Folklife Festival Tjgjtm Smithsms Folklife Festival

Home , Box zither, Daina (Lithuania), Dave Tarras, Hardanger fiddle, Kankles, Kihnu

Smithsonian Folklife Festival tjgJtm SmithsMS Folklife Festival

On the National Mall Washington, D.C.

June 24-28 & July 1-5

Cosponsored by the National Park Service 19 98 SMITHSONIAN

^ On the Cover General Festival

LEFT Hardanger fiddle made by Ron Poast of Black Information 101 Earth, Wisconsin. Photo © Jim Wildeman Services & Hours BELOW, LEFT Participants Amber, Baltic Gold.

Photo by Antanas Sutl(us Daily Schedules

BELOW, CENTER Pmi lace Contributors & Sponsors from the Philippines. Staff Photo by Ernesto Caballero,

courtesy Cultural Special Concerts & Events

Center of the Philippines Educational Offerings BELOW, RIGHT Friends of the Festival Dried peppers from the Snnithsonian Folkways Recordings Rio Grande/

Rio Bravo Basin. Photo by Kenn Shrader Contents ^ I.Michael Heyman 2 Inside Front Cover The festival: On the Mall and Back Home Bruce Babbitt Cebu Islanders process as part of the Santo Nino (Holy 3

Child) celebrations in Manila, the Philippines, in 1997. Celebrating Our Cultural Heritage

Photo by Richard Kennedy Diana Parker 4 Table of Contents Image Jhe festival As Community .^^hb

The Petroglyph National Monument, on the outskirts Richard Kurin 5 ofAlbuquerque, New Mexico, is a culturally significant Jhe festival and folkways — space for many and a sacred site for Pueblo peoples. Ralph Rinzler's Living Cultural Archives Photo by Charlie Weber Jffc

Site Map on the Back Cover i FOLKLIFE FESTIVAL

Wisconsin Pahiyas: The Rio Grande/ Richard March 10 A Philippine Harvest Rio Bravo Basin Wisconsin Folldife Marian Pastor Roces 38 Lucy Bates, Olivia Cadaval, 79 Robert T.Teske 14 Rethinking Categories: Heidi McKinnon, Diana Robertson,

Cheeseheads, Tailgating, and the The Making of the ?di\\\yas and Cynthia Vidaurri

Lambeau Leap: Tiie Green Bay Packers Culture and Environment in the Rio Richard Kennedy 41 and Wisconsin Folldife Grande/Rio Bravo Basin: A Preview Rethinking the Philippine Exhibit

GinaGrumke 17 at the 1904 St. Louis World's Fair The Neighborhood Tavern: Festival Concerts Elena Rivera Mirano 45 Community Tradition at the Harmony The Fourth Annual Friends of the Masters of Tradition in the Modern World Festival Ralph Rinzler Memorial Ruth Olson 20 Ramon RSantos 49 Concert The Wisconsin Dairy Farm: Traditional Music in Philippine Cultures A Working Tradition Peter Sokolow 95 Doreen G. Femandez 51 Jazz and First-Generation American Ruth Olson 23 Philippine Food Klezmer Musicians "A Good Way to Pass the Winter":

Sturgeon-Spearing in Wisconsin Ricardo D.Trimillos 53 Henry Sapoznik 97 Filipino-American Youth Old- Time Music and the Klezmer Revival: Thomas Vennum, Jr. 26 Performing Filipinicity A Personal Account The Enduring Craftsmanship of Wisconsin's Native Peoples: Folkways at 50 The Ojibwe Birch-bark Canoe The Baltic Nations: Anthony Seeger 98 Richard March 31 Estonia, Latvia, and Folkways at 50: Festivals and Recordings Polka: Wisconsin's State Dance Lithuania

Anne Pryor 34 Elena Bradunas 58 Faith, Politics, and Community A Song ofSurvival © 1998 SMITHSONIAN INSTITUTION at the Dickeyville Grotto Ingrid Ruutel 60 ISSN 1056-6805 Traditional Culture in Estonia editor: Caria M.Borden

ASSOCIATE editor: Peter Seitel Valdis Muktupavels 66 ART direqor: Kenn Shrader Latvian Traditional Culture and Music designer: Jen Harrington

Zita Kelmickaite 72 PRODuaiON manager: Kristen Fernekes The Tenacity of Tradition in Lithuania

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Smithsonian Folklife Festival

Earl Nyholm, Charlie Ashmun, andJulia Nyholm splitjackpine roots for sewing and

lashing on a traditional Ojibwe canoe on Madeline Island, Wisconsin.

Photo by Janet Cardie 1998 Smithsonian Folklife Festival

The Festival: I.Michael Heyman Secretary On the Mall and Back Home Smithsonian Institution

1998 Smithsonian Folklife Festival is Council of Folklore, among other insti- Theproud to host programs on Wisconsin, tutions. the Rio Grancle/Rio Bravo Basin, the Research allows us to plan and produce the Festival. It also leads to other outputs

Philippines, and the Baltic nations of Estonia, well beyond the Mall that cause the staff Latvia, and Lithuania. to declare, "The Festival never ends." Highly visible Festival presentations

• Wisconsin this year celebrates its a Tibetan sand mandala maker from have gone to the Olympic Games and sesquicentennial, and seeks through the Wisconsin, a Filipino artisan who fash- formed the core of festivals in Hawai'i,

Festival to demonstrate to the nation the ions musical gongs from bullet casings, Oklahoma, Michigan, Iowa, Mississippi, vitality of its people and their traditions. a New Mexican pueblo potter who and other states. There is a copious • The Rio Grande/Rio Bravo region was incorporates modern flood stories into scholarly literature on the Festival and

redefined 150 years ago with the Treaty her craft, and a Baltic-style St. John's some three dozen documentary films and of Guadalupe Hidalgo, which established Day ceremony. television shows, radio broadcasts, a few

a new boundary between Mexico and the Impressive as it is, though, the dozen Smithsonian Folkways recordings,

United States. The river has a variety of Festival is more than the presentations and numerous cultural learning guides

meanings for local communities that will on the Mall. It begins back home — for schools and communities. be explored on the Mall. wherever that may be — with good The pattern holds for this year's

• The Philippines first tasted indepen- research. Wisconsin fieldworkers have Festival. Wisconsin, in association with dence 100 years ago, and marks its cen- done a wonderful job documenting the the Smithsonian, will mount a Festival of tennial with activities that give voice to state's community-based culture. In the Wisconsin Folklife in Madison in August.

Filipino peoples, both in the island Rio Grande region, cooperative field We have produced a Smithsonian nation and here in the United States. schools led by the Smithsonian with the Folkways recording on one of the state's • The Baltic nations each demonstrate University of New Mexico, Colorado dance music traditions, and Wisconsin the richness of their cultural life, and its College, University of Texas-Pan public television is shooting a documen-

importance in sustaining the struggle to American, and Tierra Wools have tary for broadcast. In the Rio Grande

regain their freedom and independence encouraged local-area students and Basin, Festival collaborations assure a only a decade ago. community members to study their cul- continuing effort to research the region

The Festival will attract about a mil- tural traditions. In the Philippines, the and develop multimedia materials for

lion visitors. They will dance to polkas Cultural Center has devoted its staff to the schools. And, for the Baltic nations,

from Milwaukee, learn borderlands bal- researching the traditions of the varied we trust the Festival on the Mall will

lads, participate in a Philippine islands and developing a national reinforce the relationship between the

pageant, and marvel at the amber work, archive. And in the Baltics, research has encouragement of grassroots cultural flax weaving, and choral songs of depended upon the documentation expression and the development of a

Estonia, Latvia, and Lithuania. The efforts of the Lithuanian Folk Culture free, democratic, civil society — as it unexpected will also meet their eye — Center and the Estonian National does for us every year.

Smithsonian Folklife Festival 1998 1998 Smithsonian Foliclife Festival

Celebrating Bruce Babbitt Our Cultural Heritage Secretary of the Interior Over the past three decades, the Smithsonian Folklife Festival has brought millions of people together on the National Mall in an annual celebration of the art of American life and the cultures of our worldwide heritage.

The National Mall is a public landscape dynamic process, vital in the lives of that connects our institutions of democ- diverse people and communities, and racy, our monuments, museums, and represents their heritage, creativity, storehouses of history in a unique layout knowledge, and skill. in the Nation's Capital. The Mall and its Our cultural heritage is the gift of our institutions are open to all — annually forbears which welcoming millions of people from every cames a responsi- The National Mall is a public background and cultural heritage. bility for us to landscape that connects our Each year, the Festival celebrates the share this inheri- institutions of democracy, our cultural traditions of specific regions of tance with our store- the United States and other nations children for monuments, museums, and around the world. Among those this year, future generations houses of history in a unique the Festival features the cultural tradi- to understand and layout in the Nation's Capital. tions of Wisconsin, which is celebrating enjoy By nurtur- its 150th anniversary of statehood, and ing our cultural heritage, respecting what the Centennial Celebration of the has been created, and passing it on, we

Philippine declaration of independence. give future generations the symbolic tools

Also featured are the Baltic nations — to construct worlds of meaning that pro-

Estonia, Latvia, and Lithuania — whose vide answers to many questions. This is cultural traditions have been of para- what we do at our memorials and monu- mount importance in defining and sus- ments, in our national parks, and through taining them. The Festival also hosts our varied programs. members of communities in the Rio The Festival gives voice and vision to Grande/Rio Bravo Basin, from Mexico our worldwide cultural experiences. and the United States, who draw mean- Reflect for a moment on how events like ing and sustenance from that great and the Festival help one generation commu- important river. nicate with the succeeding one. Reflect

The people and traditions on the Mall for a moment on how it tells where we are here for us to understand, appreciate, have been, what type of stewards of the and respect. We learn from the artisans, land we have become, and who we are.

musicians, storytellers, workers, and The Festival is an annual remembrance

other cultural torchbearers at the of our rich past and rededication to a

Festival. They teach us that culture is a promising future.

1998 Smithsonian Folklife Festival 1998 Smithsonian Folldife Festival

The Festival As Community

Smithsonian Folklife Festival presents Diana Parker Thecommunity-based culture. It does this in a

global capital under the aegis of a global ture, history, and traditions. Blues and institution. This makes the Festival an instance rockabilly rang out across the festival grounds next to the levee of the of "glocalization"— an activity through which Mississippi River. On the third day, a contemporary local traditions and their enactors warm, spring Delta Sunday, Dr Sandra are projected onto a world stage. Scott, a professor at Mississippi Valley State University, organized a special pro-

The Festival tries to do this in a respect- Festival for two decades or so. Al gram. Because of her connections to reli- ful, intimate, meaningful way. McKenney, stage manager, is back for his gious communities in the region, she

In presenting conimunit}' cultural life, 25th year; Barbara Strickland, our was able to entice more than 150 singers the Festival engages communities. This administrative officer, is here for her from some 20 churches to come together year's Festival is a good case in point. All 24th. We've watched each other grow for a sacred sing. People, Black and

professionally White, of varied ethnicity, class, back- The Festival not only engages one and personally as ground, and religious affiliation, met a result of our each other on the stage — most for the or another community, but it Festival experi- first time. Dr. Scott moved between key- also forms its own. ence. And we've board players, soloists, and selections of seen new genera- repertoire. There was no division of the nearly 75 researchers who docu- tions of people joining that community, between audience and performers. mented, analyzed, and recommended tra- as staff, volunteers, student interns. A Singers began to relax, jokes were made ditions and people for the Festival came Mississippi Delta participant from last about towns, styles, and roles. People from the represented communities. year — Gregory Dishmon, a drummer in sung and swayed together. Everyone took Festival curators and senior staff met with Sweet Miss Coffy & The Mississippi delight in Darice Robb's soulful rendition researchers, shared experience from pre- Bum'in Blues Band — is returning this of the Lord's Prayer, and in the beautiful vious Festivals, challenged assumptions, year as a sound engineer solos performed by Ike Trotter of the listened, learned, argued, and negotiated But the Festival is not just a perfor- First Presbyterian Church of Greenville, the character of the programs. This is not mance, an exhibit, or a mere activity of and Chief Minor, the African-American an easy way to craft a cultural represen- the Smithsonian. Its effects reach well chief of police in Greenville. The audi- tation, but it allows for an honest, intel- beyond its producers. For example, this ence, composed of varied local and area lectual engagement. Mutual respect and May, the Mississippi Delta program that residents, sat entranced, occasionally discovery are the usual result. was produced on the National Mall as bursting into enthusiiistic applause or

The Festival not only engages one or part of the Festival last year was restaged jumping to their feet in appreciation. another community, but it also forms its in Greenville, Mississippi. The Festival Through teary eyes, we all watched a own. As participants live together at the mobilized local organizations and volun- magical moment. It was the Festival at hotel, see and hear each other on the teers. There were billboards on the high- its very best — community was being Mall, they become friends and colleagues ways saying "From the Delta to the presented, engaged, and indeed, created.

across linguistic, cultural, racial, gender, Smithsonian and Back. " For many of age, and religious lines. Staff and volun- those who'd been on the Mall, the Diana Parker has worlied on the Smith- teers are, as Margaret Mead once noted, Greenville festival was a reunion. On sonian Folklife Festival since 1975, and also participants in the Festival. Many opening day, a hundred school buses has served as Festival director since 1984. staff and volunteers have worked on the pulled up to the festival site with students and teachers using the program as

a vehicle for learning about local cul-

Smithsonian Folklife Festival 1998 1998 Smithsonian Folldife Festival

The Festival and Folkways

Ralph RInzler's Living Richard Kurin

Cultural Archives offered a rendition of "Tom Dooley." Rinzler was struck by Watson's version, 'his year Smithsonian Folkways received two diverging as it did from the Kingston Trio's hit. Upon questioning, Watson said third Grammy Awards and a nomination. he knew the Dooley story as told by his TThe updated re-release of the Harry Smith great-grandmother. Watson went on to talk about the place where Dooley was Atitholog)' ofAmerican Folk Music, ded- hanged. He pointed out the Grayson icated to the work of Ralph Rinzler, won Hotel that belonged to the family of the for best historical album and best album sheriff that arrested Dooley. Tom Dooley notes, with staff members Amy Horowitz, was not some character made up for the

Jeff Place, and Pete Reiniger honored puqwse of singing an entertaining song, with awards. The New Lost Cit)' Ramblers Rinzler realized, but part and parcel of a

— John Cohen, Mike Seeger, and Tracy community's oral history. Schwarz — were nominated for There At Watson's house Rinzler was intro-

Ain't No Way Out as best traditional duced to Doc's father-in-law, Gaither

(st)'le) folk album and performed at the Carlton. Rinzler described Gaither as "an

Festival's 1997 Ralph Rinzler Memorial extraordinary man. He was a great pres-

Concert. The connections between these ence: very quiet and shy but with a real albums and Ralph Rinzler is central to depth and intensity and a quality that I the work and history of the Festival, The Anthology, re-released in expanded form, won really loved."

Folkways, and the Center. two Grammy Awards in 1998. Rinzler told the Watsons about the folk

The connections go back to the 1950s. revival, but they didn't really understand Rinzler had been learning about folk Kingston Trio and other folk pop groups why people would be interested in that music from Librar>' of Congress field of the time. They were used for their kind of music. Doc was playing rockabil- recordings, attending university folk fes- rough St) le and lyrical content by Bob ly with an electrified guitar and asked tivals with Roger Abrahams and Peggy Dylan, Joan Baez, Jerry Garcia, and many Rinzler about touring as a country musi- Seeger, and, with Mike Seeger, seeking others. cian. As Rinzler recalled, out migrants from Appalachia who sang Rinzler was hardly alone in thinking I said, there is this album of records and placed at various gatherings. He pro- that the people and music on the Smith recorded in the twenties and thirties duced Folkways recordings, and valued Anthology were mainly the stuff of that lias been reissued because there's a the Folkways Harry Smith Anthology archives and museums — long dead. of whole group of people who are interest- American Folk Music. The Anthology, On a trip to North Carolina in I960, ed in this music now, and they'll buy published in crucial docu- Rinzler and Seeger with none 1952, was a met up this record — people like me who are ment in the history of the folk revival, other than Clarence Ashley, whose 1929 in college and they're fascinated. But no containing 84 tracks from commercial recording of 'The Coo-coo Bird" was on one believes that Clarence Ashley and records of Southern, Appalachian, Black, the Anthology. It was as if Rinzler was the people on this record — any of and Cajun musicians made in the 1920s immediately connected to a past he had them — are still alive. and 1930s. These raw recordings were thought was mjlhological. Through Gaither looked at the Autlmlogy. He annotated with weird yet insightful notes Ashley, Rinzler met Doc Watson. On a recognized some of the names. We by avant-garde artist/anthropologist drive to Watson's house in the back of a played G. B. Grayson's recording of

Harry Smith. The recordings were a far pickup truck, Rinzler, who'd been playing "Omie Wise." Gaither sighed when it cry from those of the chart-topping the banjo, was joined by Watson, who wiis over -— he literally had tears in his

1998 Smithsonian Folklife Festival 1998 Smithsonian Folklife Festival

eyes. Aiid he said, very quietly, under his I knew the style of the music but had Rinzler (right) on a fieldwork trip in 1966. breath, "Sounds Hke old times." never really connected with the people Photo by Bob Yellin

He said that in a way that came from who played. I knew it as a sound, not as

so deep inside of him that it just gripped an expression of the thinking, function- comed or valued, but that was imposed;

me and really moved me: even now ing person sitting in front of me. I had and while the younger generation was

[1986] I just get tears in my eyes thinking no idea what kind of people played this reaching for it, I came later to realize

of it. And what that said was how deeply music. I just had the sound ringing in that as the generations matured, they

meaningful that music was for those peo- my ears of this beautiful, pentatonic, became more wistful and looked back

ple. I got an inkling of understanding of archaic-sounding music sung in a vocal and gave value to things that they were

the degree to which many people did not style that left Frank Sinatra far quick to reject earlier.

want to give up that music, but felt that it behind. ... What astonished me was that On that one trip I got an understand-

was outmoded or discarded, and whatever the people who are great musicians in ing of the meaning and value and func-

they may have thought of it, the world traditional music are as profound as tion of music — a whole contextual

knew better. It was the beginning of a artists in any kind of art. framework that I built on later — and

kind of anger, an activist, ideological, All of a sudden I understood that style of craft, that I never had before.

romantic stance that I took. was emblematic — that it was their

identity. The style of that music, and the It was these sounds, songs, and styles Doc, Gaither, and others played that day sound, was for some people who they that Mike Seeger, John Cohen, and Tom — the old tunes they knew and liked. As were. It represented their parents and Paley (and later Tracy Schwarz) sought Rinzler remembered, their values, and a way of life that was out, learned, and recorded as the New

slowly changing. For those people it was Lost City Ramblers. They were musical not necessarily a change that they wel- traditions that Mike and Pete Seeger,

Smithsonian Folklife Festival 1998 1998 Smithsonian Folklife Festival

Alan Lomax, Ralph Rinzler, and others whelm local cultures. But the same drew a huge crowd and strong press brought to the Newport Folk Festival. means could enhance and promote interest. It was an instant hit. Its success

Other musicians on the Anthology — knowledge and appreciation of those was recognized by many on Capitol Hill. Dock Boggs, Mississippi John Hurt, Eck local expressive systems, as well as their Said one congressman, Robertson, Sleepy John Estes, the Carter continuit) within host communities. For the first time, thousands of people, Family — as well as Doc Watson partici- Rinzler brought this philosophy to the over 430,000, experienced a live muse- pated in the Newport Festival. Smithsonian. In the mid-1960s S. Dillon um which exhibited the art of American Rinzler was heavily influenced by Alan Ripley, then secretary, wanted to enliven folklife and they loved every toe-tapping Lomax's ideas about the connection the institution. "Take the instruments out minute. ... Basket weavers, pottery mak- between the survival of folk traditions of their cases and let them sing," he said. ers, woodworkers, carvers, doll makers,

needle workers, tale tellers, boat

builders, and folk singers, dancers, and

musicians from all over the country

were brought to remind Americans of

their heritage — still a living part of

our nation. In this day of the frug and

jerk Americans need to be shown what

their own culture has produced and

continues to produce.

Another senator noted, "The Smithsonian

is becoming much more than a reposito-

ry for old artifacts. The exliibits are coming out of the display cases and the men and women directing the institution are

showing that a museum can be vital and

creative."

What started out as the discovery in Doc Watson's home that the Anthology

The Watson family in 1960. Photo by Bob Yellin James Morris was hired and became head represented a living tradition had turned

of the Division of Performing Arts. He into a revitalization of the museum. and their public perfomiance and dis- instituted a wide variety of performance Rinzler quickly articulated a cultural semination. Lomax observed two cultural programs and suggested a summer folk- conservation strategy for the Festival — currents simultaneously occurring in the life festival. Rinzler was hired on con- suggesting that museums conserve cul-

United States and abroad. Like his prede- tract to program the event. tures while they live rather than waiting cessors, he found many cultural st)'les The Festival would present living — as to collect their remnants after they die. falling into disuse or being destroyed. But distinguished from historically re-created The role of a museum can be to help he also found a broad array of cultural — traditions. The living culture Rinzler empower people to practice their cul- traditions with an amazing resiliency. had found, in Appalachia, in Cajun ture, realize their aesthetic excellences,

Lomax suggested that enlightened gov- country, through his Newport work, use their knowledge, transmit their wis- ernment policies could help preserve and needed help, encouragement, and valida- dom, and make their culture a vital encourage those cultural forms by utiliz- tion in a society whose sense of beauty means for dealing with contemporary ing them in the schools, popular enter- and value is generally driven by the exer- circumstances. tainment, and other forums. He recog- cise of power and the commodification This approach characterized Rinzler's nized that some of the factors that has- of the marketplace. "There was a sense tenure as Festival director until 1982, tened the destruction of cultures, such as in my mind that cultural democracy was and was extended after he was appointed new technologies, could now aid them as as important as any other kind of the Smithsonian's assistant secretary for well. Radio broadcasts, sound recordings, democracy," said Rinzler. public service. In that position he blazed television programs, and films promul- Tlie Festival began in 1967. It included the Smithsonian's first steps toward digi- gating mass global aesthetics could over- 58 craftspeople and 32 musical groups, tal technologies, led efforts to establish

1998 Smithsonian Folklife Festival 7 1998 Smithsonian Folklife Festival

continues to characterize the activities of / deeply indebted to Ralph Rinzler. am the Center. Anyone who comes to our He did not leave me where hefound me. archive today finds old recordings being mined for new releases. Festival research -Doc Watson and documentation being used for new

recordings and education kits. Multi- media projects range from music provid-

ed for Wl)ere in the World is Carmen

SandiegoF and Encarta to Web pages and video anthologies of American and world music. No dead archive or dusty museum collection here, but rather an

energetic activity to understand, repre-

sent, and nourish living traditions and

their ongoing transformations. It is thus

most fitting that the Smithsonian regents

at their meeting this January formally named the Center's holdings the Ralph

Rinzler Folklife Archives and Collections.

Folkways: A Vision Shared won a Grammy in 1989. Comprised of recordings made at the Festival, Roots Dr. Richard Kiirin is director of the

of Rhythm and Blues was nominated for a Grammy Smithsonian Institution Centerfor Folklife museums and programs that addressed Award in 1992. Programs & Cultural Studies and the the diversit)' of American culture, and author q/" Reflections of a Culture Broker: A pursued the acquisition of Folkways our musical cultural heritage. View from the Smithsonian and Smithsonian

Records. He envisioned Folkways coming After his stint as assistant secretary, Folklife Festival: Culture Of, By and For the to the Smithsonian from founder Moses Rinzler continued his work with the People. Hefirst worked on the Festival in Asch as a documentary collection, muse- Festival and Folkways. He co-curated 1976 and was awarded the Secretary's Gold um of sound, and self-supporting enter- Roots of Rhythm and Blues at the 1991 Medalfor Exceptional Service to the prise. With Don DeVito and Harold Festival and won another Grammy nomi- Smithsonian in 1996. Leventhal, he lined up contemporary nation for the resultant recording. He musicians — Bruce Springsteen, Bob produced a series of oral history/music Dylan, Emmylou Harris, U2, John Cougar instruction videos with Pete Seeger,

Mellencamp, Brian Wilson, and others Ralph Stanley Watson, and Bill Monroe. who also had been influenced by the He produced new Folkways albums of

"old music" of Folkways — to do a bene- Watson, Monroe, and Ashley, and at the fit album. That album paid for the acqui- time of his death was working on an sition of the collection, won a Grammy expanded edition of the Anthology of and assured that Folkways would contin- American Folk Music. ue to actively document and disseminate Upon his death. Doc Watson said, "I am deeply indebted to Ralph Rinzler. He did not leave me where he found me." The same could be said in reverse. From Doc and Gaither Rinzler had found the

Harry Smith Anthology to provide a window into a whole realm of culture, sub- merged, hidden, and overlooked, but

nonetheless real and alive. This view per-

meated his vision of the Festival, moti- vated the acquisition of Folkways, and

Smithsonian Folklife Festival 1998 isconsin Wisconsin

Wisconsin Foiiciife Richard March

Wisconsin lies in the heart of a distinctive American varieties of cheese in the many cheese factories in small and large towns region, Upper Midwest. It is a place where a the throughout the state. Wisconsin produces unique way of life has developed, little noticed elsewhere 30 percent of the cheese in the United States, using cheese-making skills and but markedly shaped by the state's diverse population and practices that have evolved from Old striking natural environment. Moreover, concepts concern- World traditions. Today even the whey is processed into valuable lactose and ing civic participation and land stewardship brought by protein products. the European immigrants who settled in Wisconsin during The land-use pattern iissociated with dairy farming contributes to the striking social, cultural, the 19th century have deeply influenced beauty of Wisconsin's landscape. Neat economic, and ecological activity in the state, making an farmsteads dominated by huge barns and towering silos are surrounded by corn state's folklife. impact on the and alfalfa fields and pastures. Dairy

farmers also tend to preserve some

The climate, geography, and economy Bay Packers home game. woodlands on their farms to meet timber of Wisconsin have shaped many shared Nicknamed America's Dairyland, much needs and to provide habitat for the deer regional traditions. The abundant timber of the southern two-thirds of Wisconsin's which are hunted in the fall for venison. of Wisconsin's forests is the basis for tim- rolling landscape is dominated by family It is also significant that family dairy ber-harvesting folklife as well as vital dairy farms. During the mid- 19th centu- farms have contributed to community woodworking traditions. Wisconsin's ry, dairy farmers from upstate New York stability and the persistence of traditions. inland "seashores" on Lakes Superior and Central Europe established an In hundreds of Wisconsin communities, and Michigan and the thousands of lakes enduring agricultural practice suited to the family names in the current tele- dotting Wisconsin's glacial landscape phone directory match those on the old have stimulated nautical pursuits like headstones in the cemetery. Descendants boatbuilding and myriad fishing tradi- of 19th-century settlers make up much tions. The central North American cli- Whether expressed of the populace in Wisconsin towns, mate with its hot summers and cold win- through church, often lending them an ethnic identity. It ters has produced an annual cycle of is well known that Westby is Norwegian, activities suited to the changing seasons. tavern, or home, the Pilsen is Czech, Rosiere is Belgian,

Wisconsinites tap maple trees, pick Mayville is German, Monroe is Swiss, and role of ethnic identity mushrooms, and dip smelt in the spring; Little Chute is Dutch. People of Northern cut hay, pick cherries, and welcome remains prominent and Central European origins have been tourists to lakeside resorts in summer; the most numerous, but the Wisconsin in Wisconsin. harvest corn and cranberries and hunt cultural mixture is enriched by immi- geese and deer in the fall. There is an grants from all around the world. intense concentration of festive community events crowding Wisconsin's warmer Wisconsin's land and climate. Dairy The Wisconsin program is made possible by and is months, but Wisconsinites' famed farmers typically provide much of their produced in cooperation witli tlie Wisconsin Arts propensity for partying also defies the own hay and corn to nourish the dairy Board and tlie Wisconsin Sesquicentennial cold. Wisconsinites celebrate winter herds. The cattle also generate other by- Commission on the occasion of Wisconsin's 150th carnivals, compete in ski races and ice products such as meat, leather, and fer- anniversary ofstatehood. Wisconsin corporate con- fishing tournaments, and turn the tilizer. A large majority of the milk pro- tributors include AT&T, SCJohnson Wax, and The parking lot of Lambeau Field into a duced in Wisconsin is processed into 250 Credit Unions of Wisconsin. cold-weather Mardi Gras for every Green

10 Smithsonian Folklife Festival 1998 Wisconsin

polka music and dancing or quilting are truly American, having developed from a mixture, a creolization of the contribu-

tions of various culture groups now liv-

ing side by side in Wisconsin. Cultural sharing began with what the Europeans learned from the Native peo-

ples. European immigrants observed the fishing, hunting, and gathering practices

of the Woodland Indian tribes. Native practices influenced the way European

immigrants began to tap maple trees for

sugar, to gather and use wild rice, fish for walleyes and muskellunge, and hunt deer For example, 19th-century German- American farmers in the Lake Winnebago

siere area observed indigenous Ho-Chunk fishermen spearing sturgeon through the

February ice and took up the practice themselves. Today the descendants of those immigrants and other Wiscon-

sinites assemble a temporary village of

some 3,000-4,000 ice fishing shanties on Lake Winnebago. Inside the shanties,

with spears at the ready, these fishermen

peer into the greenish water, some listening to polkas on AM radio from nearby Chilton, others sipping homemade honey wine made from Wisconsin wild grapes

and an Old World recipe, all hoping and waiting for the rare moment when a

monstrous five- to eight-foot sturgeon might come nosing around their sub- merged decoy. At the end of the 19th and through the The governance of Wisconsin towns In these stable and participatory com- 20th century, arrivals of Southern and and cities is in the hands of an active cit- munities, the varied traditions of the Eastern Europeans, African Americans izenry. The mid- 19th-century antimonar- people who have made the state their from the South, Asians, and Latinos have chist revolutions in Central Europe pro- home have influenced one another The enriched the cultural landscape. The duced ideas about a just and participa- Belgians of southern Door County have most numerous Eastern Europeans are tory society that were very much on the embraced the brass-band dance music of Polish Americans, who have substantial minds of many immigrants to Wisconsin, their Czech neighbors in Kewaunee communities in Wisconsin's industrial especially those from the ranks of the County, while the Czech Catholic parish towns. Milwaukee's south side with land-

German "Forty-eighters." Examples of picnics in the area serve up the Belgians' marks like the St. Josephat basilica and their legacy are still found in local con- booyah soup from 60-gallon cauldrons. the shrine to St. Mary Czestohowa at St. trol of infrastructure, in rural township Some Old World folkways like the mak- Stanislaus Church is the state's largest government, and in a history of pioneer- ing of Norwegian Hardanger fiddles and "Polonia" (the nickname for a compact ing efforts toward industrial democracy. the weaving of Latvian sashes have been Polish-American neighborhood). Polish

preserved or revived. Other traditions like

1998 Smithsonian Folkiife Festival // Wisconsin

crossroads taverns in Wisconsin's rural

areas, have served their communities as

twin hubs of social life. Many religious communities have an

ethnic aspect to their congregation's makeup. One Lutheran church might

attract primarily Norwegian parish-

ioners, while another appeals to Germans. Catholic churches may be pre-

dominantly Polish, German, Irish,

Mexican, Italian, Croatian, or Slovak.

Services may be offered in the language

of the old homeland as well as in

English. Ethnic crafts and foodways may

be practiced in women's clubs and altar

societies associated with the church. Not necessarily conflicting with church

life, taverns in Wisconsin serve as anoth-

The gambrel-roofed barn, gothic-roofed barn, and pole barn (from left) on this farm demonstrate both the er venue for expressing ethnic and change in style and continued usefulness of older structures. As farms grow and change, barns are added, not regional traditions. In Wisconsin, taverns replaced. Photo © Bob Rashid have a generally positive image. Austrian-American singer Elfrieda Haese traditional foods like pierogi and czarni- trial cities of southeastern Wisconsin remembers the women of her communi- na are prepared in homes and neighbor- increasingly attracted new arrivals to ty catching up on gossip while doing hood restaurants. Polish religious and work in factories, mills, foundries, and knitting in a booth in Schaegler's Tavern social customs are actively pursued in packing houses, on the docks and ship- in Milwaukee while the men played cards

numerous Polish lodges, social clubs, yards of Great Lakes ports, and in rail- or sang. It is a Friday-night tradition soccer teams, choirs, and folk dance way shops and roundhouses. Today throughout Wisconsin to take the whole

groups. Polish handicrafts are practiced southeastern Wisconsin abounds with family to a tavern for a fish fry.

by artisans like Bernice Jendrzejczak, a skilled machinists who create construc- Whether expressed through church,

maker of iiyciiuinki (paper-cut art). tion equipment, farm implements, and tavern, or home, the role of ethnic iden-

Milwaukee's large African-American tools. A few, like retired millwright Roy tity remains prominent in Wisconsin. community boasts a strong tradition of Treder, have turned these skills to artistic Fourth- and fifth-generation Americans

gospel music, and traditional crafts like pursuits. When a retirement gift is need- in Wisconsin are still quite cognizant of

quilting and doll-making persist. The ed for a fellow worker at Milwaukee's their ethnic origins, as pure or as varied

Queens of Harmony sing a capella gospel Harley-Davidson motorcycle factory, Roy as they may be. It is very common in

in a ver)' traditional style. Velma Seales welds together an elaborate base for a Wisconsin to be asked when first meeting

and Blanche Shankle are active in a clock or lamp from tools and machinery someone the ethnic provenance of one's

Milwaukee women's quilt group. George parts symbolic of the worker's career. last name. Not only are there recent

McCormick carves and dresses wooden Roy has created more than 200 retire- immigrants who speak Spanish, Laotian,

dolls, while Mary Leazer's making of tra- ment gift sculptures for his fellow or Hmong, but German, Polish,

ditional rag dolls has drawn her hus- employees. Norwegian, and the Walloon dialect of

band, George Leazer, into the creation of Wisconsin's industrial towns and cities French are still spoken in some

dioramas comprised of his handmade are a patchwork of urban ethnic villages, Wisconsin homes by families whose for-

clay dolls arranged to depict African- neighborhoods comprised of blocks of bears immigrated generations ago. In

American social customs. well-kept, modest frame houses with folk dance groups and ethnic orchestras,

While earlier immigrants came to churches and taverns on the street cor- ethnic identity is taught to Wisconsin

farm, cut timber, or mine ores, the indus- ners. The church basement and the cor- children, an important reason why eth- ner bar, much like the churches and

12 Smithsonian Folklife Festival 1998 Wisconsin

nicit}' remains so pervasive in the state. of driftwood or to lamp bases, but Brooks Wisconsin's sesquicentennial of state-

Traditional arts are one of the most also carves less decorated decoys that are hood. It is a challenging task to repre- important mari

Norwegian Ainericans have placed great so that they will "swim" realistically in dents of Wisconsin in a single event emphasis upon crafts Hke rosemaling, the water when he is ice fishing. To fish- involving only ten or twelve dozen peo- acanthus-carving, and Hardanger fiddle- ermen like Brooks, it is the whole tradi- ple. The program participants are all making. Among the Slavic nationalities tion involving the decoy that matters — outstanding bearers of traditions signifi- in Wisconsin, Ukrainians make pysanki knowing a good spot to catch walleyes or cant in Wisconsin, all evidence of the

Easter eggs and cross-stitch embroidery, muskies in winter, making the hole natural, cultural, and historical forces

Poles wycinanki paper-cut art, and through the ice, constructing the dark that have molded Wisconsin's unique

Slovaks wheat weavings; Serbians play house tepee, and actually landing a big and vital folklife. the one-stringed giisle, Slovenians the fish for his family's dinner table. diatonic button accordion, and Croatians Wisconsin folklife continues to evolve Suggested Reading the lute-like tamburitza. and to be enriched by new immigration. Allen, Terese. Wisconsin food Festivals. Amherst, Wl:

In many ethnic groups, the craft item Refugees from wars and political oppres- Amherst Press, 1995. may be created primarily for display in sion continue to find a haven in the Leary, James P., ed. Wisconsin Folldore. Madison: the home, to indicate to all who see it state. Wisconsin now has America's sec- University of Wisconsin Press, 1998. that the owner is a proud bearer of a ond largest population of Hmong, Teske, Robert l, ed. Wisconsin folk Art: A venerable heritage. But in other Southeast Asian refugees who actively Sesquicentennial Celebration. Cedarburg: instances crafts may have retained their pursue their unique music, craft, and Cedarburg Cultural Center, 1997. pragmatic purpose in a traditional pur- social customs in the new homeland, as Woodward, David, et al. Cultural Map of Wisconsin. suit as well. Wisconsinites like .Mar}' Lou well as one of the major settlements of Madison: University of Wisconsin Press, 1996.

Schneider and Willi Kruschinski ponder Tibetans. Latino populations in the state long and hard how to design the perfect have increased markedly in recent Richard March has been thefolk arts spe- fishing lure to catch a particular type of decades, the largest being of Mexican cialistfor the Wisconsin Arts Board since game fish. The ice-fishing decoys in the origin. 1983- Since 1986 he has been the producer shape of minnows made by members of The Wisconsin program at the and on-air host of "Down Home the Lac du Flambeau band of Ojibwe Smithsonian Folklife Festival in Daityland." a program featuring the tradi- may serve both practical and ethnic dis- Washington, D.C., and its restaging in tional and ethnic music of the Midwest on play purposes. Today decoy car\'ers like Madison as the Wisconsin Folklife Wisconsin Public Radio. He is active as a Brooks Big John make some purely deco- Festival are auspicious events to honor polka musician, playing button accordion rative decoys, attached perhaps to pieces the many people who preserve in the Down Home Datryland Band.

Wisconsin's folklife and to observe

Tibetans, like these women

at a Buddhist ceremony in

Dunn, constitute one of the

newest immigrant commu-

nities in Wisconsin. Photo ©

Bob Rashid

1998 Smithsonian Folklife Festival 13 Wisconsin

Cheeseheads, Robert T.Teske

long and celebrated history has Tailgating,and enhanced the aura of tradition surrounding the team, supported the creation of the Lambeau Leap: popular heroes which still capture the imagination of football enthusiasts The Green Bay Packers and everywhere, and continued to generate a rich body of "Packerlore." Wisconsin Foikiife As important as tradition in winning a place for the Packers in the hearts of

have been a fan of the Green Bay Packers all my life. Wisconsin fans is the team's understanding of, and appreciation for, its commu-

I When I was growing up in Milwaukee during the late nity. As the only franchise in the United

States which is publicly owned, the '50s and early '60s, my brothers and I could hardly wait for Packers enjoy a unique affiliation with Sunday afternoon telecasts of Packers games to end so the smallest market in professional that we could rush outside to imitate the heroics of Paul sports. During a recent public offering, thousands of Packer fans snapped up Hornung and Jim Taylor, Bart Starr and Ray Nitschke. stock in the organization — despite the fact that the $200 shares will never

Throughout high school, I joined mil- Philadelphia, Detroit, and Washington, appreciate in value. People simply want- lions of other Wisconsin residents in D.C., before returning to Wisconsin in ed to be able to say they owned a part of cheering the team on to several NFL 1985, 1 remained a committed Packers the team. Following the Packers' 1997 championships during the "Glory Years" fan — and so did literally millions of conference championship victory over under legendary head coach Vince others. Why such loyalty? Why such dedi- the Carolina Panthers, thousands of fans

Lombardi. As a college freshman, I cation and commitment? The answers to paid $10 each for pieces of "frozen tun- picked the lock of my proctor's door to these questions lie, I think, in the success dra" stripped from Lambeau Field. The watch "The Pack" trounce the Kansas of the Green Bay Packers in appealing to fact that all the proceeds from the sale of

City Chiefs in Super Bowl I. The follow- Wisconsin's appreciation for tradition, the turf were donated by the Packers to ing year, I viewed the Packers' Super community, and celebration. local charities further enhanced the

Bowl II victory over the Oakland Raiders When it comes to professional athletics organization's ties to the community. on an ancient black-and-white television in Wisconsin, the Green Bay Packers Other symbols of the Packers' connec- that made 250-pound linemen look as embody tradition. For more than 75 tion to their hometown are somewhat tall and thin as the Celtics' front court. years, half the history of the state itself, less quantifiable, but no less important.

Little did I know then that almost 30 the Packers have been a vital part of Take, for example, the now-famous years would pass before the Packers Wisconsin life. While other professional "Lambeau leap." By hurling himself would return to the Super Bowl, that a sports franchises found their way to headlong into the stands after scoring a generation of Packer fans would have to Milwaukee, neither the Braves, their suc- touchdown, each jubilant Packer shares suffer through humiliating losses to the cessors the Brewers, nor the Bucks — his moment of triumph with the commu- likes of the Chicago Bears and the hated despite world championships in their nity which cheers him on every week.

Dallas Cowboys before reaching the pin- respective sports — have ever command- The fact that this forni of end-zone cele- nacle again, that my own son would be a ed the same fan support. Dedication and bration has never drawn a penalty flag senior in college before the Green and commitment among fans take time to seems to suggest that even officials rec-

Gold would reclaim the Lombardi grow and develop, identification with a ognize it as a sign of solidarity with foot-

Trophy. Yet, throughout this long team and pride in association require ball's most dedicated fans. drought, during which I moved to stability as much as success. Each new game, each new season in the Packers'

14 Smithsonian Folklife Festival 1998 Wisconsin

"St. Vince"and "Title Towel Man" are among the characters tailgating at Lambeau Field in Green Bay. Photo by Andy Kraushaar

The community which cheers the despite having their own professional ularly hold "Green and Gold Days"

Green Bay Packers actually extends teams, typically have one or more bars before big games, and merchants offer throughout Wisconsin and well beyond. designated as gathering places for area Packer specials, like a free sack of bagels The Packers organization reserves tickets Packer fans. Only the Fighting Irish of for every Packer sack. The Archive of for Milwaukee season-ticket holders at Notre Dame also seem to draw the sup- Folk Culture at the Library of Congress designated games each year in Green port of fans so widely distributed around has received cassette tape recordings doc- Bay, thus maintaining intense fan loyalty the country. umenting over 45 Packer songs and song

(and encouraging some of the largest In addition to building a formidable parodies in a wide variety of styles rang- traffic jams imaginable on Sunday tradition and cultivating the support of a ing from polkas to pop (see page 16). mornings along 1-43 from Milwaukee to broad-based community, the Green Bay None of these spin-offs, however, can

Green Bay). At games in Tampa Bay, Packers have long been the occasion for, quite compare with the central Packer many "snowbirds" who have pemianent- and center of, Wisconsin celebrations. celebration, the one which engulfs ly fled Wisconsin's long, hard winters During the last few years, Packer celebra- Lambeau Field during ever)' Packer gather with loyal fans who follow the tions have expanded to fill virtually every home game. In much the same way that team from Wisconsin to generate a available time slot from the opening of Cheese Days in Monroe give local dairy crowd of some 30,000 "Packer backers." preseason in July till the last second ticks families a cause to celebrate and

Cities like San Francisco and San Diego, off the clock during the Super Bowl in Syttende Mai in Stoughton encourages late January. Schools and businesses reg-

1998 Smithsonian Folklife Festival 15 . Wisconsin

"Scatter My Ashes" antlered "Packalope" and the blessed By John Harmon Shardik "St. Vince." Occasionally, the University

of Wisconsin Marching Band will add its Just let me hear that Lambeau cheer postgame concert, known ;is the Fifth To set my spirit free Quarter, to the conclusion of a Packer Scatter my ashes in Lambeau Field game, thus combining two long-standing That's where I want to be. state athletic traditions. After the game,

more tailgating or a trip to the local tav- In the fall I count the days 'til Sunday rolls ern to review the highlights may well be around, in order. Cuz that's the day the Packers play — the With their victory over the New only game in town. England Patriots in Super Bowl XXXI, the

I haven't missed a game in years; some say (Ireen Bay Packers demonstrated that — I've paid my dues, as bumper stickers had proclaimed hope- But in my soul I'm green and gold. I'll be fully, but prematurely, for years — "The there win or lose. Pack Is Back." With their second consec-

utive appearance in football's grand

And when I die, don't nobody cry finale in Super Bowl XXXII, the team has And no pine box for me. shown that it ranks among the NFL's Just scatter my ashes in Lambeau Field, best. Whether such good fortune contin-

And I can rest peacefully. Packers It is a tradition for Packers players to borrow bikes ues for Green Bay or not, the from local kids to ride from the locker room to the will remain near and dear to the hearts Through the years I've shed some tears, I ain't practice field each day ofpreseason training camp. of all Wisconsin residents because of the ashamed to say. tradition, Photo courtesy Green Bay Area Visitors team's abiding appreciation for Through thick and thin, I've always been and Convention Bureau community, and celebration. behind them all the way.

And Lambeau Field is home-sweet-home to members of the Norwegian ethnic com- Suggested Reading die-hard fans like me. munity to get together, so, too, do Packer Cameron, Steve. Brett Favre: Huck Finn Grows Up. There's no place like home, they say, no place games give those attending — and even Indianapolis: Masters Press, 1996. I'd rather be. . . those watching the game at home — an Favre, Brett. Favre: For the Record. New York: Doubleday, Courtesy Hillfield Publishing opportunity' to enjoy themselves. 1997. Packer fans typically arrive hours Qreen Bay Packers Yearbook.Qreen Bay, 1997. before game time to take part in a form Kramer, Jerry. Instant Replay. New York: World of revelry widely known as tailgating. At Publishing, 1968.

1 985. the minimum, the pregame celebration . Distant Replay. New York: G.R Putnam, usually involves cooking bratwurst on Lombardi, Vince. Run to Daylight. New York; Grosset and charcoal grills set up in the Lambeau Dunlap,1963.

Field parking lot, and washing down the Schaap, Dick. Qreen Bay Replay: The Packers' Return to

sauerkraut-covered sausages with large Glory. New York: Avon Books, 1997.

quantities of another venerable

Wisconsin product, beer. Of late, out- Robert T. Teske is afolklomt and has landish costumes have come to comple- servedfor the last ten years as the executive ment the ubiquitous "cheeseheads," director of the Cedarburg Cultural Center

inflatable Packer helmets. Packer jerseys. He is the curator of the traveling exhibition

Packer jackets, and green and gold face Wisconsin Folk Art: A Sesquicentennial paint worn by most fans to tailgate par- Celebration, tvhich is touring the state dur-

ties and Packer games. Among the cos- ing 1998 in conjunction with the tumed characters regularly sighted in Wisconsin Folklife Festival. and around Lambeau these days are the

16 Smithsonian Folklife Festival 1998 Wisconsin

The Gina Grumke

Neighborhood Taverns contained fantastic, mysterious things that flickered, beeped, and squawked. We pestered our parents end-

Tavern: lessly for quarters to fill pinball Community Tradition at machines, juke boxes, and pool tables. the The adults who frequented these places, Harmony including our parents, were more tolerant there of kids' behavior and exuber- ance. They themselves talked and I was a child, a perfect meal was a greasy When laughed more than they did at home. hamburger topped with a slice of raw onion, Taverns or bars (these words seem to be used interchangeably) in Wisconsin accompanied by krinkle-cutfrench fries slathered with are a ubiquitous feature of the landscape Heinz ketchup and served in a wax-paper-lined plastic in both rural and urban areas. Local taverns have been community gathering basket, and washed down with an ice-cold, syrupy Coke. places in Wisconsin since European set-

My brothers and I also enjoyed other gastronomic tlement. Although the social fabric of Wisconsin has undergone tremendous delicacies such as beer nuts, sour cream and onion potato changes since the days of "a bar on every chips, maraschino cherries. Slim Jims, Blind Robins, and corner" — in particular, as affects taverns, there are more health-conscious Weasel Peters. Food this wonderful was only served in a consumers, stiffer drunk driving laws, neighborhood tavern: a dark, heavenly place that smelled and an increasingly mobile population which no longer has to live within walk- like fried food and cigarette smoke. ing distance of entertainment — taverns continue to exist and even thrive in vari-

ous incarnations in all regions of Wisconsin, and they provide a corner-

stone of social life.

When I left Wisconsin in my twenties,

I was surprised to realize that most of

the country did not share this idea of the

tavern :is a comfortable gathering place

for all family members. Instead, taverns

were viewed as places to imbibe liquor, consort with unsavory characters, and

generally get yourself in trouble. I was

puzzled by what I encountered — bars

closed on Sundays, the creation of pri-

vate "clubs'" to circumvent restrictive

liquor laws, the concept of a "dr) " any-

thing — and I found state-run liquor

Patrons at the Harmony Bar play sheepshead, a

German card game popular throughout Wisconsin.

Photo © Bob Rashid

1998 Smithsonian FoiiaiFE Festival 17 Wisconsin

stant stream of delivery people bringing

beer, liquor, and food. Around 11:30 the

lunch rush starts — workers from the

neighborhood, government office staff who obviously have driven there from the State Capitol building, and folks from the neighborhood. After lunch peo-

ple start drifting in for a beer or two, maybe a bowl of soup, a plate of stuffed jalapefio peppers ("poppers"), or a bas-

ket of homemade chips and dip. There are decks of cards and cribbage boards

behind the bar for the asking. The tele-

phone rings frequently; many calls are

for customers whom the bartenders know by name.

The adjoining dining room, with its

black-and-white checked tile floor and

beautiful tin ceiling, is full of chairs and

tables that are easily and frequently

rearranged by customers to accommo-

date their needs and activities, including

eating, drinking, playing cards, holding

A Softball team sponsored by the Harmony enjoys beer and food at tournament time. Photo by Gina Grumke infant carriers, displaying birthday cakes, and stacking presents. Customers

Stores with lab-coat-attired sales staff behind the bar themselves, serving are welcome to bring in their own deco- absurdly fuiin\'. In the 1980s I spent a drinks, making burgers, and generally rations for parties, ranging from embar- summer working in Germany and dis- keeping order. rassing photo montages of the birthday covered the neighborhood Stuben. They Sitting in Madison on the comer of a person to signs of farewell, good luck, had soup and sandwiches, beer on tap, a busy cross-town artery and a residential and congratulations and balloons and juke box, some electronic games, and a street in a couple of connected two-story crepe paper Also in the dining room are crowd that could walk there. The storefronts is the Harmony Bar. Housing electronic dart machines, framed posters,

Wisconsin taverns that I grew up around a bar since at least the 1930s, the build- announcements of past concerts and were close cousins of these neighborhood ing has tiny signs out front proclaiming dances at the bar, and an elaborate

Stuben. "Bar" and "Grill" and neon beer signs in menu board. When there is no band

Wisconsin taverns are generally housed the small windows. Regular customers playing, the stage is used as more dining in long, narrow buildings and are fur- enter the bar by the side door, from the space. nished with a counter, bar stools, a few side street. (Only new customers use the Keith Daniels and his wife, Jo tables, and maybe a pool table and some "front" door.) Bartenders and customers Raggozino, opened the bar in 1990. Keith pinball machines. Most bars have at least greet each other by name and inquire was bom and raised in Burlington, out- a small grill and fryer, and some have about each other's lives. "Did you catch side of Milwaukee, and spent his youth full-size kitchens in back. Many bars the Softball game last night? Did you see helping out in the family bar, which was have an attached "dining room," which Dave slide into third base?" "Where is also called the Harmony Bar. He left is used for eating, as a performance your wife working now?" During the day Wisconsin for a while but retumed, with space for bands, and for parties and people come and go, drinking coffee, Jo and a strong sense of what kind of bar other special celebrations. Tavern owners reading the paper, watching the news or he wanted to open. When he and Jo, more often than not work several shifts sports on the televisions, and chatting along with a partner, bought the bar, it with the bartenders, many of whom have

worked there for years. There is a con-

18 Smithsonian Folklife Festivai 1998 Wisconsin

was, in their words, "a dump." The only band Keith will never allow brats, burg- evenings because the atmosphere is so positive angle was that there was no ers, and cheese curds to be removed from frenetic. clientele to offend or change. Designing the Harmony's repertoire, she is continu- The Harmony has close connections the Harmony to be a place where he ally changing and tinkering with the with the Atwood community center, a would enjoy hanging out with his menu, with mouth-watering results. Jo volunteer communit}' service agency a friends, he packed the juke box with his was raised on the East Coast and was not block away The busiest night of the year favorite blues, rock, and some jazz (B.B. familiar with the Wisconsin neighbor- at the bar is a tropical theme party King, the Rolling Stones, Stevie Ray hood tavern, but she has embraced the which benefits the center The Harmony

Vaughan), stocked local and regional concept wholeheartedly sponsors a music stage at the Atwood beer, and slowly started building a menu Throughout the year customers from neighborhood summer festival, and of tasty bar food. He purposefully built a the neighborhood gather at the Harmony inside the bar a bulletin board displays base of customers who were at least in for a variety of food and entertainment. announcements for upcoming communi- their thirties, relaxed, and would return There is a daily sheepshead table in the ty events. frequently to a place they liked — in front of the bar, instigated by Keith, an Taverns like the Hamiony Bar are sig- particular, women can come to the avid player Keith's enthusiasm for many nificant social and cultural institutions

Harmony and not be hassled. Although professional sports, including basketball, in Wisconsin. At once rooted in past tra- the clientele is primarily from the neigh- is reflected in the Boston Celtics posters ditions and dynamic, they provide a borhood, people drive there from all over throughout the bar Several large televi- space where people of all ages can come the city. The owners have installed bike sions are mounted high on walls — together and enjoy food and drinks, racks for those who prefer to cycle in. In often as not tuned to different sporting music, sports, games, entertainment, and a '90s update, although cigarette smok- events, with the volume turned down each other. Wisconsinites appreciate the ing is allowed in the bar, there is no cig- except, of course, during big events such idiosyncratic, community-based charac- arette machine. A small number of as playoffs and anything involving the ter of taverns, which stand in sharp con- brands are sold from behind the bar at Packers. On the weekends there is live trast to the homogeneit}' of larger very high prices, reflecting the manage- music in the dining room. Keith only American fast-food culture. They are ments ambivalence towards smoking. books genres of music he likes. proud that taverns, emblematic of social

Jo's area of expertise at the Hamiony is Throughout the year the bar sponsors identity in Wisconsin, are places in which the food. The Harmony offers wonderful darts, basketball, pool, volleyball, and they can assert and maintain their own examples of traditional Wisconsin "bar Softball teams. The undisputed favorite is distinctive cultural traditions. food " — hamburgers, cheeseburgers, Softball. The Harmony Bar sponsors the french fries, deep-fried onion rings, and most Softball teams in the city of Gma Grtimke. a Wisconsin native, has even deep-fat-fried mushrooms and Madison. In fact, the Hannony fields so donefieldwork relating to Wisconsin tai'- cheese curds. Jo has added a chalkboard many that Keith is able to put on a day- erns and is now completing her disserta- menu of weekly and daily specials such long tournament at the end of the season tion at the University of Wisconsin- as quesadillas, vegetarian sandwiches, with only Harmony teams. Teams are Madison. She is currently employed by the pasta salads, and stir-fries. She recently expected but not required to come to the Doblin Group, a Chicago-based innovation installed a pizza oven and now serves an bar, relax, and, they hope, celebrate after planningfirm. old-fashioned, thin-crust pizza, complete the game. The bartenders keep track of with gobs of cheese and toppings. Using each team's orders on a big chart behind her extensive skills and vision and fresh the bar, and at the end of the season the vegetables from her father-in-law's gar- team that has spent the most gets a free den, Jo is redefining what bar food is (at pizza and beer party. The Hannony is least at the Harmony). Although her hus- developing such a reputation for softball and postgame celebrations that some regular customers stay away on summer

1998 Smithsonian Folklife Festival 19 Wisconsin

The Wisconsin Ruth Olson

ardship for both land and animals. But Dairy Farm: most people rely on an image of farming Working Tradition rather than an actual knowledge of A farming as it exists in the 1990s.

Contemporary dair)' farming demon- Wisconsin boasts a population of 1 cow for every 3 strates a principle folklorists love to pro- people. We produce almost 15 percent of the nounce: culture, like the traditions that assist in its maintenance, is dynamic. It nation's milk, 25 percent of its butter, and 30 percent of its changes to suit the needs of the members

of a particular communit)' at the same cheese. With more than 27,000 dairy farms and 1 .45 time that it retains the core values of million dairy cows, the state clearly still deserves the title that community. While farms are becom- "America's Dairyland." ing much larger and technologically more complex, they are still community

The honor of having the largest num- of the county's small rural roads and just based and resource conscious, and are ber of dairy cows in the state is shared by as likely to come across tractors pulling usually family concerns.

Marathon and Clark counties, neighbors whatever piece of equipment is appropri- Here's what more and more contempo- near the center of the state. Each has ate to the season. rary dairy farms look like. There's a

62,000 cows. Clark County is the picture The culture of dairy farming in the "milking parlor," where the cows enter of a healthy farming community; its state is pervasive. Many residents either into stalls to be milked; then they are landscape dotted with working farms and grew up on a farm or have spent time on released into "return lanes" to head back a plethora of agriculture-related busi- their old "home farm" run by relatives. into the adjacent barn. The milker stands nesses, from feed cooperatives and Many still value such connections and in a "pit" about three feet lower than the implement dealers to pole-barn construc- credit farm life with fostering strong milking stalls, where she can easily put tion companies and milk pickup stations. family ties and a spirit of cooperation, the milking machine on the cow without

You're likely to meet a milk truck on any moral instruction and a sense of stew- having to bend over. Many farms have free-stall barns — long, open, one-story barns where the cows wander in large

pens, entering stalls to eat or lie down. These bams often have curtained sides that can be raised in the summer to

allow a breeze to pass through. Most

farms still keep their old two-story barns but find new uses for them, frequently as treatment barns for sick cows or mothers

ready to give birth. Near the milking parlor or in the

house you'll find the farmer's office,

filled with certificates and awards, pic-

tures of both cows and kids, an aerial view of the farm, and, of course, a com-

puter All the information on each indi-

Light spills through the curtain of the free-stall barn

at the Boon Farm in Greenwood, Wisconsin. Photo by

Andy Kraushaar

20 Smithsoman FoLiaiFE Festival 1998 Wisconsin

vidual cow — her breeding records, her health records, her milk production — is kept on the computer, and the computer rfe*^ I may be hooked up to the Internet, to allow the farmer to communicate with any of a number of agriculture-based discussion groups, both nationally and within the state. On the bigger farms, you'll find a work force which divides up to perfonn specialized tasks but in which any individual can handle a number of tasks. Where Dick and Peggy Rau run their 700-cow farm, near Dorchester in Clark

County, there's a lot of community support for dairy farming. Peggy says:

We don't meet a lot of people who are

against us. You'll meet a few people that

say, "Oh, you're putting the little fanner

out of business." Well, not really. What

would the difference have been if we

would have stayed at 72 cows? We'd just

be struggling the same as the rest of

them, and I'd probably have an off-farm

job instead of staying here. I've been

lucky enough to be here 18 years; I've

never bad to work off. And I've always

been here when the kids get home, and

when they leave, which I consider a

big plus.

The heart of the family farm is its children. The hope is that the farm will be there for the children who want to continue the tradition. To assure this, the farm has to be more than just financially secure; farming has to be something that the children can imagine themselves doing. Peggy Rau says that expanding helped increase the kids' interest in farming. Their son Zack helps to maintain the cows' feeding schedule, getting up at four in the morning before school to help feed. A year ago their daughter Stephanie began working as a milker, and Peggy and Dick have been surprised by her enthusiasm. "Who would have "

Wisconsin

T' ' •I'a*'- rr Wisconsin

^^A Good Way to Pass Ruth Olson the Winter^^: Sturgeon-Spearlng in Wisconsin

y talk with sturgeon

fisherman Bill Casper begins with an early history lesson.The healthiest population of sturgeon in the world is in Lake Winnebago, in eastern Wisconsin.

Lake Winnebago, one of the largest inland lakes in the area, is 1 1 miles wide and 28 miles long — but at its deepest point only 22 feet deep. "It was shoved in here by the glacier. You can tell by all the north-and-south running lakes in the Great Lakes area. Even Lake Michigan got sort of plowed in here. You can see where the drumlins in the land were On opening day ofsturgeon-spearing season on Lake Winnebago, thousands of fishing shacks are brought onto formed by the great glacier pushing the the ice with the help of four-wheel-drive vehicles and snowmobiles. Photo © Bob Rashid earth and bringing stone and debris along down. Must have been quite a Until the 1800s, lake sturgeon were He would come up from Milwaukee on time." As the glacier melted, lakes abundant in the Great Lakes. Although weekends and stay at our home, and formed and fish migrated into the area. commercial fishing there almost wiped then he'd go fishing, and I'd always

Bill believes the sturgeon came into the them out in the mid- 1800s, it was a dif- want to go with him. And so my mom

Great Lakes and Lake Winnebago area ferent story for the fish in Lake said, "Well, you've gotta be eight years from glacial runoff and by traveling Winnebago. The lumber boom in the old at least." So when I was eight and north along rivers like the Mississippi. area resulted in a number of dams on he showed up, I started going with

Sturgeon have been around for 3 or 4 the Fox River between the lake and him. ... We'd leave when it was almost million years. They are a primitive fish, Green Bay, practically trapping the crop dark, and we'd go out to the lake. He

growing to be decades old and yards of sturgeon in Lake Winnebago. The stur- had just a car. . .and we'd drive out on long. Bill describes them as "a very nice geon still have ample place to spawn in the lake, and shovel our way out there fish to eat — their meat is very good." the Wolf River, which runs 125 unre- because there were no snow plows at

They have marrow — a soft, cartilage- stricted miles from Lake Winnebago to that time. And we'd start fishing. Fish till type bone — and gizzards, like the Shawano dam. he couldn't see anymore down in the

dinosaurs and chickens. Covered with a Spearing sturgeon on the lake has long hole. . .then we'd come back home and tough hide, sturgeons' backs and sides been a tradition. Bill remembers going have our supper at our house. ... It was are ornamented with "scoots" or hackles. out with his Uncle Ambrose and com- at a time where you could get five fish.

Their heads are a heavy mass of bone. pares those earlier seasons with the more Well, some days we'd get two, but in

restrictive season now, when individuals those years there weren't so many

are only allowed one sturgeon each year: sturgeon fishermen out there.

1998 Smithsonian Folklife Festival 23 Wisconsin

It's different today. register, it'll auto-

Bill estimates that matically get during sturgeon- called in to Jerry spearing season, Schneider's radio which runs from station. So every- the second body on the lake

Saturday in will know who got

Februan' through it — there's no the tiiird weekend secrets any more. of that month, . . . Then they may there can be 3,000- start moving. ... If 4,000 shanties on they know where the lake, and of I'm at, and they course the same know someone number of pickups. else near me and if Twent>'-four we happen to both hours before the get a fish, they'll season starts, peo- Sturgeon fishermen push cut ice underneath the surface and away from the fishing hole on Lal(e Winnebago. say, "Wow, they're ple can cut their Photo © Bob Rashid in there." Shanties hole in the ice — will come in, and producing a block about 4 feet by 6 feet, tavern, or he's got a radio in his truck they'll be cutting holes around you,

and 2 feet thick. To cut through that ice with a flasher on the roof, and you can chain saws are going. . . . Some morn- a chain saw with a special 42-inch-long usually spot him out there, and you just ings you go in your shanty, and there's ice bar is used. The ice is cut at an angle go over and say, "Hey, I'm over here. four shanties out where you are.. . . You — narrower on top, wider on the bottom When you're ready, come cut a hole for come out in the evening, and you could

— to make it easier to push the ice me." And it works out very nicely. He be right in the middle of a big town. block down into the water. They then use has all the gear for sinking the block, long pike poles to sink the block under he'll help you move your shanty on the But life on the ice is more sociable than the ice. hole, and then they leave and cut the competitive. People stop to visit each

Once the hole is cut, the ice shanty next hole. other's shanties, maybe sharing a beer gets dragged over it. A shanty typically is while they sit and talk. Many people have equipped with two doors in the floor that People may move three times a day, but CB radios in their shanties and chat back raise up to expose only the hole. Thus, Bill stays put. Sturgeon-fishing requires a and forth. Like most shanties, Bill's is the sturgeon spearer can sit on a nice, lot of waiting. Some people wait for two equipped not only with a heater but with dry, carpeted floor, in a heated shanty, or three years to see a fish. Some, in half a two-burner gas plate. "If you spend a while waiting to spot a fish. an hour, see a fish or maybe two. Bill's whole day out there, you have to do a lit-

When Bill fished with his uncle, the had pretty good luck over the years get- tle cooking. If somebody visits, you gotta hole would be sawed entirely by hand ting his sturgeon. have a bowl of chili." with ice saws, and, once they had a hole Is there a good strategy for picking a Most of the gathering is in the taverns cut, they didn't move. Now, with a chain place to set up? Bill says you try to get in the evening. "It used to be years ago, saw, a shanty can be set up in 20 closest to the spot where you caught a the guy would walk in with a sturgeon minutes. Like most spearers today. Bill fish last year. on his shoulder and flop it on the tavern hires someone with a chain saw to cut floor, even on the bar — everybody had

his hole. Or you turn on your radio.. . . Jerry a treat. Now, of course, they don't want

Schneider, the radio station up at you to do those things. It's always kind of

A big chain saw is so very expensive Chilton,. . .has a sturgeon report every a fun time, you know. And it's a good

. . .so a guy will buy [one], and he'll go hour or so, where if you get a sturgeon way to pass the winter in Wisconsin."

out there and cut holes for ten bucks in the morning and you take it in and Bill's sister Mary Lou Schneider not

apiece. People will leave their name at a only spears sturgeon, she carves the

24 Smithsoniain Folklife Festival 1998 Wisconsin

wild on you. If you just leave him alone Sturgeon For Tomorrow

for a little while and he starts coming Bill Casper founded Sturgeon For Tomorrow to, they will take off like a wild calf on a (SFT) 21 years ago, after he decided there was rope. And they're all over the place, a need to learn how to raise sturgeon artificially

down in the mud and up against the ice, in case something happened to the healthy local

and down and up. You will not believe. fish population. He printed up bulletins, posted

And then when they come up into the them in local taverns, and had 150 fishermen

shanty with you, there's water flying, show up at his meeting. Eventually, with the help

water on the stove — you know, the tail of William Ballard of Dartmouth College, who had

is going! If you get a big fish, 80 studied sturgeon in Russia and Romania, SFT

pounds, every swat of the tail seems like spearheaded the effort to hatch sturgeon artificially.

5 gallons of water comes up at you.

Today, the Wisconsin Department of Natural

Yet one person usually can bring the Resources (DNR) manages to hatch more than 90

fish out of the lake. In fact, one woman percent of fertilized sturgeon eggs.They have

can do it. Mary Lou, who weighed only helped to restock sturgeon in the surrounding

1 1 5 pounds, speared one that weighed states of the Midwest and even Canada. SFT con-

1 17 pounds. She got it out by herself tinues to work closely with the DNR, as members

It's not just the good meat or the plea- serve on a sturgeon advisory board and help staff

sure of the company that keeps people a volunteer patrol every spring to stop poaching

sturgeon-spearing. For many, to be out on rivers while vulnerable fish are spawning.

Dennis Haensgen waits for to sturgeon swim by the on the ice is a clear statement of who When SFT started in 1 977, there were 1 1 ,500 hole in the floor of his sturgeon shad on Laice they are — as displayed through their sturgeon in Lake Winnebago; now, helped by both

Winnebago. Photo © Bob Rashid ice shanties, for example. People put a a reduction in poaching and adding to the natural

lot of effort into personalizing their population, the population is estimated at decoys she uses to attract them. She's shanties. Bill's is a Green Bay Packer hel- 45,000-50,000 fish. gained local popularity as a decoy maker. met. A lot of people come to see it, and Decoys are one of the most important on the lake they always know where he's elements in sturgeon-spearing. As Bill at. "If you have your radio they'll say, 'He says, everyone has a favorite. They can got one in the Packer helmet!'" But it's range from brightly painted carved all right. Bill doesn't mind that people wooden fish weighted down with lead, to like to come and visit. "You just sit and corn cobs, to kettles. "I've seen washing talk and fish." machine agitators down in the sturgeon holes. ... Whatever got lucky a year or two ago, that's what [people] like to Suggested Reading use." Boyle, Robert H. "Friends of a Living Fossil." Sporfs

While many people use spears with ///usfrafed, 4 March 1996. detachable spearheads (once the fish is Lyons, John, and James J. Kempinger. Movements of speared, the handle comes free, exposing Adult Lake Sturgeon in the Lake Winnebago System. the rope attached to the spearhead), Bill Madison: Wisconsin Department of Natural does not. Resources, 1992.

Priegel, Gordon R., and Thomas LWwth. Lake Sturgeon

Because when you first hit the fish, it Harvest Growth and Recruitment in Lake

will just stop. And if you bring it up Winnebago, Wisconsin. Madison: Wisconsin

right away, and you've got a gaff hook, Departmentof Natural Resources, 1977. depending on how you got him, you can

take him right outside before he gets too

1998 Smithsonian Folrlife Festival 25 Wisconsin

The Enduring Thomas Vennum, Jr. Craftsmanship of Wisconsin's Native Peoples: The Ojibwe Birch-bark Canoe The bark canoe of the Chippeways [Ojibwe] is, perhaps, the most beautiful and light model of all the water crafts that were ever invented. They are generally made complete with the rind of one birch tree, and so ingeniously shaped and sewed together, with

roots of the tamarack . . . that they are water-tight, and ride upon the water, as light as a cork. They gracefully lean and dodge about, under the skilful [sic] balance

ofan Indian . . . but like everything wild, are timid and treacherous under the guidance of[a] white man; and, if he be not an equilibrist, he is sure to get two or three times soused, in hisfirst endeavors at familiar acquaintance with them.

Fig. 1 . for/ Nybolm and Charlie Ashman tie inner stakes to exterior canoe

—George Catlin, Letters and Notes of the Manners, Customs, form-stal

Photo by Janet Cardie

The traditional crafts of Wisconsin as metal and plastic, as they became for Indian peoples in the western

Indian tribes are perpetuated by many of available were adapted by Indian people Woodlands. Early European travelers in

their talented craftspeople, several of to age-old technologies. For example, the the American wilderness were amazed by

whom are represented in this year's traditional birch-bark tray used to "fan" this unfamiliar type of boat and rarely

Festival. Centuries-old traditions contin- wild rice — that is, to separate the seed failed to comment on its construction.

ue to flourish and develop, not only in from the chaff — is generally made Most scholars generally agree with the

the realm of decorative arts but also in using birch bark, cut and folded into 19th-century artist George Catlin that the

the manufacture of utilitarian objects. shape, then sewn with split roots. But Ojibwe more than any other people

Wisconsin Menominee, Potawatomi, and some Indian people create the same raised canoe-building to a fine art.

Ojibwe still produce bark containers tra- object using heavy cardboard or even Although the birch-bark canoe today has

ditionally used to store wild rice and pieces of sheet metal riveted together. been supplanted by wooden, metal, and

maple sugar, historically the principal Perhaps no single item in the tradi- plastic boats, a handful of Ojibwe crafts-

subsistence foods of Woodlands Indians tional economy combines finesse and men still retain the important knowledge

in the western Great Lakes area. And craftsmanship better than the birch-bark of all the steps in its traditional manufac- even materials not naturally found, such canoe — historically the principal mode ture and the skills needed to apply them. of transportation and cargo-freighting

26 Smithsonian Folklife Festival 1998 Wisconsin

In the summer of [N]ew canoes are being

1997, a film crew from constantly built around the Smithsonian Center me or old ones repaired for FolkHfe Programs & and I saw them in every

Cultural Studies docu- stage of perfection. The mented the construction Indians expend as many of a traditional Ojibwe bark canoes as we do canoe. (Currently in pro- liuntingboots.... The duction, the film, like largest and smoothest this year's Wisconsin trees are selected so that program, was supported the pieces of bark may by a grant from the be as large as possible

Wisconsin Sesquicen- and prevent too much tennial Commission.) sewing (Kohl 1860:2829). The master builder. Earl

Nyholm, is a professor of Fig. 2. This detail oftlie gunwale assembly shows the tapered end of the thwart inserted into the Canoe builders have a the Ojibwe language at mortise of the inwale, splitjackpine roots for lashing, and double-stitch sewing. trained eye for picking

Bemidji State University Photo by Janet Cardie out a "canoe birch-bark in Minnesota and had tree," which ideally demonstrated his canoe-building skills should be some 50-60 inches in diam- at two of our earlier Festivals. Earl was eter. Due to the decimation of forests assisted by his 84-year-old mother, for lumber and pulpwood, birch trees

Julia; an apprentice, Mark Wabanikee this size are a rarity today from Bear Island in Lake Michigan; Furthermore, the tree must be straight, several of Earl's relatives living on the free of "eyes" and lichen growth that

Bad River Reservation in Wisconsin; might cause the bark to tear under and a craftswoman from the Red Cliff pressure, and must not bifurcate at its

Reservation, Diane Defoe, whose birch- top. (Earl suggested that only one in a bark work is featured in this year's hundred trees meets these criteria.)

Festival. The five-week-long construc- After they had rejected for imperfec- tion took place on a Lake Superior tions a number of large trees identified beach on Madeline Island — the in advance of the builders' arrival on ancestral homeland of the Ojibwe peo- the mainland opposite the island, their ple. The site selected was in fact the search ended in a wilderness preserve location of the first trading post of the on Madeline Island with the discovery

Northwest Fur Company in the 18th of a 54-inch tree. century; undoubtedly this very beach (Canoe builders need a single large had witnessed canoe construction in piece to run the bottom length of the earlier times. vessel; if the bark is not wide enough

The process began with an exhaus- to reach the gunwales on either side, it tive five-day search for the proper requires "piecing"; that is, bark must birch tree. The German cartographer Fig. 3. Canoe-prow assembly with "man-board" — so called be added along the gunwales at the

Johann Kohl visiting Madeline Island because it resembles a human form. A single piece of cedar is widest part of the canoe. Such in 1854 to observe the distribution of used which is split into more than 30 laminations to effect "pieced" bark requires double-stitch treaty annuities remarked on the the bends in its form. These are held in place using wiigoob sewing to the bottom strip, which is importance of good bark for a canoe: (the inner bark of the basswood tree) and threaded through very time consuming. Thus the harvest

and inserted over the man-board. Photo by Janet Cardie of large birch by the dominant society

1998 Smithsonian Folkiife Festival 27 Wisconsin

hastened the decUne of the craft — one virtually sprang off the tree with a loud that the outside of the tree becomes the reason there are so few today building zipping noise; several days later it would exterior of the canoe.) An elliptical bark canoes.) have been irremoveable. wooden canoe form with pointed ends The builders made their incisions to To begin canoe construction a flat rec- was placed on top of the bottom bark remove the bark. (Some builders will fell tangular bed of sand was spread out and weighted down with rocks to stabi- the tree, but Earl likes to take his bark evenly and picked over for rocks and lize it. Ojibwe believe that their culture from a standing tree. The removal of twigs. At the site a wigwam framework hero, the legendary Wenabozho, invented bark does not kill the tree immediately was improvised over this building area to the canoe for them, and Indians can since the exposed cadmium layer will accommodate tarps (see Fig. 6). These point to a pile of rocks on one of the heal, although the tree will eventually kept the canoe out of direct sunlight and Apostle Islands, saying these were the die.) Timing is critical, for there is only thus prevented materials from drying too ones he used in weighting down the form about a five-day window of opportunity quickly; bark, for example, will curl. On of the first canoe. in late June, dependent on both day- and the level bed of sand. Earl spread out the The bark was brought up outside the nighttime temperatures, when the bark is piece of bottom bark with its exterior length of the canoe and large birch ripe for taking. After two circumference (the white side) facing upward. canoe stakes driven into the ground incisions, the final cut was a straight ver- (Miniature canoes made for sale to along each side the length of the canoe tical joining them. The bark of this birch tourists mistakenly give the impression to begin to form its shape (see Fig. 1).

Fig. 4. Earl Nyholm bends canoe ribs, using two at a time to guard against Fig. 5. View of the interior of the canoe with some of the thin cedar planldng in breakage. Photo by Janet Cardie place. Note the hanging bent and dried ribs which will be reinserted once the

flooring is completely set in place. Photo by Janet Cardie

28 Smithsonian Folklife Festival 1998 Wisconsin

The ends of the bottom piece were research, extolled the creation of the construction: "The Indians make no use clamped together using "Indian clothes- canoe from natural resources: "All the of nails and screws, but evervlhing is pins" made of cedar. The outer stakes forest's life was in it,/All its mystery and sewn and tied together. But the seams, were then tied to the inner stakes with magic,/All the lightness of a birch- stitches, and knots, are so regular, firm,

"Indian string" (pieces of the inner bark tree/All the toughness of the cedar/All and artistic, that nothing better could be of the basswood tree; see Fig. 1). the larch's sinew supple.") asked for" [1827].)

Because the bottom bark was not suffi- After the added pieces were sewn, the The next and crucial step in construc- ciently wide to reach completely from long, thin, cedar gunwales were created, tion involved bending and inserting the gunwale to gunwale at the canoe's mid- both an outwale and inwale, the latter cedar ribs, which give the canoe its final point, a strip of added bark had to be being mortised to receive the tapered rounded shape. About 40 thin cedar ribs sewn ("pieced") on either side for a butt ends of three cedar thwarts which had been soaking for several days to length of perhaps three feet. All sewing is serve to hold the top of the canoe apart make them more pliable. Still, boiling entrusted to the women, using roots of (see Fig. 3). Once in place, the gunwales water must be poured over them to the jackpine tree which are split and kept had to be lashed to each other and to the increase their pliancy. Rib-bending is a in water until needed. Julia and Diane bark for the full perimeter of the vessel. most frustrating time for every canoe attended to this t;isk, laborious and time At this point Earl, as the master crafts- builder. Despite all the soaking and heat- consuming as each stitch must be dou- man, completed the all-important finishing, the ribs are still quite brittle and bled for strength, that is, brought over ing work at both ends by inserting an easily broken. (Canoe-builders always and under each side of the overlapped elaborately constructed cedar prow-piece prepare additional ribs, knowing they bark (see Fig. 2). To accommodate the (Fig. 3). can expect to break several in the bend- stitches, an awl was used to poke holes (Thomas McKenney, touring the area ing process.) Wearing a special pair of through the bark. (In his famous poem around Madeline Island in the mid- 19th moccasins. Earl stood each time on a "Hiawatha," Longfellow, basing his infor- century, praised the Indian talent in pair of ribs and through exertion gradu- mation on Henry Schoolcraft's Ojibwe using only natural materials in canoe ally pulled up on either end (Fig. 4) until

Fig. 6. The 14-foot canoe, invert-

ed for "gumming" ("pitching") all

cut and sewn areas on the bark,

is ready for launching.

Photo by Janet Cardie

1998 Smithsonian Folklife Festivai 29 Wisconsin

he achieved the proper bend, at which Once the pitch dried, the canoe was Works Cited and point he carried it to the canoe to insert ready to launch. Wearing beautiful Suggested Reading it in place. Once all the ribs were intact, Ojibwe black velveteen vests adorned in Catlin, George. Letters and Notes on the Manners, the canoe was allowed to dr)' for a day; typical curvilinear beadwork repre.sent- Customs, and Condition of the North American then the ribs were removed and thin ing flowers and leaves, Farl and Julia Mom. 2 vols. London: Tosswill and Myers, 1841. cedar planking, constituting "flooring," climbed aboard and paddled off into the Kohl, Johann G. Kitchi-gami, Wanderings round Lal(e installed along the length of the craft sunset to provide the Smithsonian cam- Super/or. London: Chapman and Hall, 1860. and held in place by reinserting the ribs eraman his final shot for the film. McKenney, Thomas L. Sketches of a Tour to the Lal(es.

(see Fig. 5). The 14-foot canoe Earl built for the Baltimore: Fielding Lucas,Jr., 1827.

I'inalh, a gunwale cap was installed filming was fairly typical of a "family- Ritzenthaler, Robert E. Building a Chippewa Indian over the gunwale assembly with birch- size" two-man vessel; during the fur Birchbarl< Canoe. Milwaukee Public Museum wood pegs; the cap offers protection to trade much larger ones were built for Bulletin 19(2). Milwaukee: Milwaukee Public the lashing holding it together. The long-distance freighting on the Great Museum, 1960. canoe was then inverted for "pitching" Lakes. (McKenney [1827:146] described a

(see Fig. 6). Places where the bark had 30-foot canoe which by his estimation been cut and sewn had to be made could carry 2,000 pounds.) Kohl in 1854 nomas Vennumjr., is senior etbwmusi- watertight. Pitch for this purpose, made was amazed at how much Indians could cologist in the Centerfor Folklife Programs from spruce gum and deer tallow, was pack into a canoe and describes a family & Cultural Studies and co-curator of the heated and melted down, with black from 150 miles in the interior of Wisconsin program. His books include Wild charcoal from a maple log added for col- Wisconsin arriving on Madeline Island. Rice and the Ojibway People and American oring. (Black is a popular choice in the As the father and one son glided the Indian Lacrosse: Little Brother of War.

Ojibwe repertoire of colors.) Like a bicy- canoe into an inlet, he observed that clist's patch kit, Ojibwe canoers always kept a small supply of pitch with them in the wife, with her other children, two the boat in case repairs were needed. boys and two girls, was buried beneath a

pile of parcels and boxes. Among them

lay a dog, with three pups, and on top of

all the plunder, was a large cage, with

two tamed falcons in it. The gunwale of

the boat was only a few inches above

the water, and in this way all these

beings, and animals, and lumber, had

made a seven day's voyage (Kohl

1860:35).

30 Smithsonian Folklife Festival 1998 Wisconsin

Polka: Richard March Wisconsin's State Dance

The 19th-century European immigrants to

Wisconsin arrived with polkas ringing in their ears.

The polka, a lively couples dance in 2/4 time, had developed from folk roots and became a European popular dance craze in the 1840s.

Couples at the Ellsworth Polka Fest in Ellsworth, Wisconsin, dance a ring schottische, in which ladies advance to

In elite Paris salons and in humble vil- the next partner as part of the dance's pattern. Photo © Richard Hamilton Smith lage squares and taverns, polka dancers flaunted their defiance of the staid dance Like the electronic keyboard in the late toire and the ethnic heritage of many of forms, the minuets and quadrilles, which 20th century, the squeeze box was the the musicians. But in the Midwest, music had preceded this raucous and, for the 19th-century 's most popular mechanical and dancing are shared among ethnic times, scandalous new dance. instrumental innovation. A single musi- groups, and most bands are ethnically

The political and social upheavals that cian could replace a small ensemble, mixed. coincided with the polka craze also playing melodies and harmonies with the In the 20th century, radio broadcasts launched thousands of European vil- right hand while producing rh\1hmic and recordings delivered the polka to lagers on their hazardous migration to chords and bass notes with the left. The more new enthusiasts. Clear channel the American Midwest. They became prized possession in many an immi- WCCO in Minneapolis broadcast farmers, miners, lumberjacks, factory grant's pack was a button accordion or Whoopee John's Dutchman music to six workers, and entrepreneurs and contin- concertina, and that musician undoubt- or more states, much as WSM's Grand ued to enjoy the music and dance tradi- edly played a lot of polkas. Ole Opry spread Southern traditional tions of their homelands, passing them Upon its arrival, the polka became an music far and wide. The recordings of on to the American-born generations. American folk tradition. At rural house groups like the Romy Gosz Orchestra and Concurrent with the emergence of the parties with the rug rolled up or at cor- Lawrence Duchow's Red Ravens aided polka w;is the booming popularitv' of ner taverns in industrial towns, a their efforts to become popular as brass bands and the invention of a vari- squeezebox or a horn was likely to keep regional touring dance bands. ety of squeeze boxes — accordions and neighbors' feet stomping out polkas. A Right after World War II, almost exact- concertinas. Innovative tinkerers in variet)' of American polka styles evolved ly a century after the original polka

France, England, and Germany devel- in different sections of the Midwest, craze in Europe, polka music and danc- oped a new family of instruments based shaped by the creativity' of particular tal- ing briefly entered popular culture in a on the principles of the sherig (a Chinese ented and influential musicians. The big way once more, this time in America. free reed instrument) but using the styles have ethnic names — for example, Slovenian-American accordionist Frankie levers and springs of the Machine Age. Polish, Slovenian, Bohemian, Dutchman Yankovic, of Cleveland, became the — based on the origin of the core reper-

1998 Smithsonian Folklife Festival 31 Wisconsin

biggest star and attracted devotees have absorbed the style like a sponge. Virtually every weekend he packs up the nationwide to his style. Lil' Wally In response to his pleas, Karl received van and instrument trailer, and he and

Jagiello's recordings on his own Jay Jay a concertina as a Christmas present his sidemen converge on a dance hall or label established Chicago as the center of when he was 12. A few months later he outdoor polka festival. Casual in his influence for Polish polka and converted was sitting in with the Swiss Boys, and dress and personal style, Karl is many musicians to his "honky" sound. six months after that, at age 13, he had nonetheless very serious about his music.

By the 1960s, rock 'n' roll had captured his own band, the Country Dutchmen, He is recognized as the outstanding the popular music industry but polka now in its 24th year. Karl has turned out Dutchman concertinist of his generation. has endured in enclaves of a variety to be just as original and passionate a Paradoxically, his music is at once of communities. controlled and free. Karl In these communities, has emphasized the during the hust quarter-cen- syncopation, chromatic tury polka musicians and runs, and improvisational dancers have organized flourishes of the basic institutions to perpetuate Dutchman style more than their passion. These include any of his predecessors. a network of polka dance It is indicative of the halls, clubs, festivals, unique cultural milieu of newsletters, mail-order eastern Wisconsin that recordings outlets, Cletus Bellin, a proud accordion makers and member of the Walloon dealers, and radio and Belgian ethnic community television shows. of northeastern Wisconsin, A ^ I Karl Hartwich was bom A V AppletonjfaA is also the leader of one of in Moline, Illinois, in 1961. the finest Czech-style polka His father had relocated bands in the Midwest, the % • Clete Bellin Orchestra. A about 200 miles down the • Mississippi River from his proficient pianist and a I H _ hometown near La Crosse, very strong singer, Clete MadKonOY *^ ^©Milwaukee Wisconsin, seeking the took the trouble to learn good-paying factory jobs * the correct pronunciaUon making agricultural imple- i * of the Czech folk song lyrics

ments in the Quad Cities from a friend in the nearby Polka Map Key area. But farming was in town of Pilsen. Each dot on the map represents the home of a musician, the location of a radio station with polka his blood, so the programs, or a site where polka music or dance is performed. As a boy in the 1940s on

Hartwiches lived outside of Polish-Style Polka German-Style Polka • Czech-Style Polka Swiss-Style Polka a farm in southern Door Norwegian-Style Polka Moline in rural Orion, Slovenian-Style Polka Finnish-Style Polka ft County, Wisconsin, Clete where they raised hogs and was as likely to use the

field crops. Walloon Belgian dialect of

Karl's family kept in touch with their musician as his mentor He recalls dri- French spoken in his highly culturally

Wisconsin relatives. Karl remembers that ving the tractor on his family's farm, retentive community as the English he

at least twice a month they would make with dance tunes ringing in his head — learned in school. Clete has had a life-

the trek upriver to attend dances where the engine roaring, his left hand on the long interest in his Belgian culture, and,

his distant cousin Syl Liebl and the Jolly wheel, his right hand on the tool box now in his fifties, he is one of the area's

Swiss Boys were playing. Syl Liebl, a beside the seat pressing out concertina youngest remaining truly fluent speakers

Dutchman-style concertina player, is a fingerings on the vibrating metal. of Walloon. natural musician, inventive, sponta- Karl has moved back upriver to Clete's career in music has included

neous, and passionate. Little Karl must Trempealeau, Wisconsin, a location more playing in the Wisconsin Bohemian- or central to his band's regular gigs.

32 Smithsonian Folklife Festival 1998 Wisconsin

Czech-style bands of Marvin Brouchard and has continued the family tradition in response. Norm stresses the singing of and Jerry Voelker and working for many the polka-music business, playing the old Polish songs but also includes in

^'ears as the radio station manager and regionally and nationally, producing his the band's repertoire Gemian, Czech, and on-aiT personality for a Kewaunee, own CDs and videos, and organizing even Norwegian numbers to satisfy Wisconsin, polka station. Moved by the polka tours and cruises. Steve acknowl- patrons of other ethnic backgrounds. style of singing and playing of the Czech edges his musical debt to the Slovenian- These four polka musicians represent musical performing groups Budvarka, style musicians of the previous the ways in which ethnic polka styles

Veselka, and Moravanka, which toured generation but h;is pushed the envelope have remained distinct in Wisconsin.

Wisconsin in the early 1980s, Clete of the form in hot arrangements and in Their repertoires also demonstrate the resolved to start a band to perform in a original material which expresses a transformation of polka traditions in the style closer to the European manner range of emotions. Midwest, the development of regional from which the other Wisconsin When Norm Dombrowski was a sounds played by bands of mixed ethnici-

Bohemian bands had diverged. His group teenager in the 1950s, he wasn't particu- ty. The dedication and artistry of these is widely acclaimed at polka festivals larly inspired by the polka bands active and many other musicians, who contin- and Czech ethnic events throughout in his hometown of Stevens Point, in a ue to reinvent tradition, attest to the the country. rural area of central Wisconsin populat- vitality of the polka in Wisconsin. Steve Meisner was bom in I960 in ed by Polish-American dairy and potato The polka was a rebellious dance in Whitewater, a small town southeast of farmers. The Dutchman style was the the 19th century and has become a Milwaukee. At the time, Steve's father popular sound then at old-time dances. Midwestem regional tradition since. Verne was already an established musi- According to Norm, the bands he heard Today Midwestemers have the opportuni- cian, an accordion prodigy whose origi- didn't sound too spontaneous; perched ty to dance to rock music, join square nal band, Verne Meisner and the Polka behind bandstands, the musicians' noses dance clubs, or do Country line dancing,

Boys, was aptly named — the members seemed to be stuck in their sheet music. but instead choose to polka. It is a vali- were in their early teens when they Then, in 1956, Chicago's Lil' Wally dation of their regional and ethnic roots, started taking professional gigs. That was Jagiello gave two legendary performances an expression of their determination not the early 1950s, just in the wake of at the Peplin Ballroom in Mosinee, just to be homogenized out of existence. Frankie Yankovic's having made the north of Stevens Point. Huge crowds Through the polka they reaffirm mem-

Slovenian style of polka one of the most turned out. Norm heard a modem Polish bership in a supportive and embracing popular forms of music in Wisconsin. By polka sound fimily grounded in the communit)' based upon friendship, eat- the 1960s, the Verne Meisner Band was Polish folk music familiar to him from ing, drinking, and socializing, as well as one of the best-known polka groups in house parties and weddings. What plenty of dancing. the region. impressed Norm were the band's lack of Steve received an ambivalent message sheet music and their liveliness, reminis- Suggested Reading from Verne when he showed an interest cent of rock 'n' roll bands. Norm decided Greene, Victor. A Passion for Polka. Berkeley: University in music. Seven-year-old Steve's he wanted to play in this style, and, like ofCalifornia Press, 1992. entreaties to his father to teach him to his new hero Lil' Wally, he was deter- Keil, Charles, Angeliki V. Keil, and Dick Blau. Polka play were rebuffed at first. Then Verne mined to become a singing drummer. By Happiness. Philadelphia:Temple University Press, thrust a momentous decision upon his i960 he was able to start the Happy 1992. young son: "If you begin to play, you Notes Orchestra with three friends, play- Leary, James P., and Richard March. Down Home have to promise that you'll never quit." ing for dances locally and as far afield as Dairyland:A Listener's Guide. Madison: University

Steve leapt at the challenge without a Minneapolis and Chicago. of Wisconsin-Extension, 1996. safety net and made it. Only a year later The Happy Notes evolved into a family his father began to bring Steve along to band as Norm's children grew old Suggested Listening play with the Meisner band, often plac- enough to be competent musicians. Deep Polka: Dance Music from the Midwest. Smithsonian ing the diminutive kid on a box so that Unlike most other Polish-style bands at Folkways 40088. A new release featuring the he could reach the microphone. the time, Nomi's did not adopt the groups discussed in this article and others. Steve started his own band, the Steve streamlined "Dyno" or "Push" style, but

Meisner Orchestra, while still in his teens remained closer to Lil' Wally's "honky" sound, which emphasized call and

1998 Smithsonian Folklife Festival 33 Wisconsin

Faith, Anne Pryor Politics, and Community at the Dickeyviiie Grotto

The southwestern corner of Wisconsin is a beautiful series of rolling hills, hidden valleys, rocky bluffs, rivers, and caves, all part of WisconsinV'driftless region" not flattened by glaciation. Bordered by the

Mississippi River, this former lead-mining region is today farmland and cheesemaking country.

In Dickeyviiie, one of the area's small history and love of Like the Dickeyviiie Grotto, the Holy Family Grotto in St. Joseph, with its embedded towns, is Holy Ghost parish, the home of country represented cement flags, was built in the 1920s to represent Catholic allegiance to both God a remarkable piece of folk architecture. by Columbus, and country Photo by Anne Pryor

Situated between the rectory, church, and Washington, and cemetery is the Dickeyviiie Grotto, a Lincoln. All of these creations display Walloon heritage. structure so amazing that I have seen decorative embellished cement ornamen- On Highway B in the rich farmland of unsuspecting drivers come to a full halt tation, achieved by placing patterns of central Wisconsin, a sign reading in the middle of the road to gape. What colorful materials in the concrete when "Welcome to Visit Our Chapel" invites stops them short is a 15-foot-tall false it is still damp: shells, stones, tiles, glass, the traveler to enter a three-sided struc- cave, decoratively covered with colored petrified moss or wood, geodes and gems. ture. A motion detector triggers a taped stone and glass, dedicated to Mary the Iron railings with the same distinctive message explaining that the Memorial mother of Jesus, to God and country. decorations border the walkways between Expellee Chapel, built in 1995, is dedicat- Although the name implies a singular the different shrines and grottos, unify- ed to beloved relatives who were slain or structure, the Dickeyviiie Grotto is actu- ing these separate structures. expelled from the Sudetenland due to the ally a series of grottos and shrines. It All roadside shrines in Wisconsin Yalta and Potsdam agreements. includes the grotto dedicated to the reflect their time. In the 19th century, ill- At least two embedded cement grottos Blessed Mother, the structure seen from ness was a major concern. In the north- in Wisconsin, the Holy Family Grotto in

Highway 61; a shrine dedicated to Christ eastern part of the state, French-speaking St. Joseph and the Dickeyviiie Grotto, the King; a shrine to the Sacred Heart of Belgian settlers built small chapels in reflect American religious politics in the

Jesus; and a Eucharistic Altar in the thanksgiving for the recovery of an ill 1920s. Until the election of John Kennedy parish cemetery, formerly used for annu- family member. Today in Kewaunee as the United States' first Catholic presi-

al outdoor Corpus Christi processions. County, one can visit these chapels, no dent, the patriotism of Roman Catholics

The large Patriotic Shrine depicts the longer used for community prayer but was often questioned due to misunder- proudly maintained as part of local

34 Smithsonian Folklife Festival 1998 Wisconsin

standings about their allegiance to the pope (Stone and Zanzi 1993). To show that Catholics could love both church and country, Fr. Mathius Wemerus, the Dickewille Grotto's builder, created two stone pillars on either side of the main grotto. In colorful tile and stone, one pil- lar depicts the U.S. flag and spells "Patriotism"; the other shows the papal flag and spells "Religion." While the Dickeyville Grotto began as the story of 1920s Catholic patriotism, today it speaks more of community pride in local history. When Fr. Wemerus was the pastor of Holy Ghost parish, he relied on the devoted volunteer labors and donations of his parishioners, young and old, to help him build his masterpiece. In the care and management of the grotto today, current pastors do much the same.

The results are strong personal connections to the grotto held by all ages of parishioners. Fr. Jim Gunn, pastor of Holy Ghost parish from 1995 to 1997, explained, "People have the pride, so it's not something that somebody else did but it's something that T had a hand in" as well."

Holy Ghost parishioners participate in the grotto's upkeep in various ways. A parish Grotto Committee has been suc- cessful for many years in keeping the grotto financially sound. One source of income is the donations made by the

40,000-60,000 visitors who tour the grotto each year. Another is the income from sales at the grotto's gift shop.

Because the grotto is run as a nonprofit organization, any excess funds generated The Dickeyville Grotto is actually a series of shrines consisting of gardens, fountains, and sculptures made of go to charity work or for special needs in stone and embellished cement. Photo by Anne Pryor the parish or town. As Fr. Gunn explained,

"The grotto tries to pour back into the the beauty of the shrines. Despite the God led me to this place. I'd like to help community as much as possible." general financial health of the grotto, restore this grotto.'"

By 1995, the grotto needed extensive such a large project was beyond its This local hero had been visiting his restoration. Cement and embedded means. As grotto manager Marge daughter, a student at nearby UW- stones were coming loose and falling Timmemian recalled, "We thought, Platteville, when he happened upon the out, iron railings were falling apart, and 'Where is the money going to come from grotto. A devout Christian, he explained decades of weathering had compromised for all this repair?' And then out of the to Timmerman, "God has been so good

blue comes this man and he says, 'I feel

1998 Smithsonian Folklife Festival 35 Wisconsin

to me and my construction business that ing with Fr. Wernerus when they were the grotto one man's masterpiece that

as is I feel he led me here to do this to thank youths. Henrietta Hauber washed rocks should be maintained and not him." The Grotto Committee accepted his and helped to "put things together." changed, or is the grotto a community offer of a crew to lead the restoration ilsther Berning placed glass shards in the creation that should absorb new artistic and paid for only the materials. Parish wet cement. Henry Mellsen helped carry endeavors and reflect current religious members eagerly participated in the pro- completed sections out from the rectory and political issues? This question is not ject, donating funds, learning techniques, basement in the spring. Today's parish easily answered in Dickeyville, requirin*; replacing missing stones, and cleaning children participated in the restoration a balance between the many opinions of years of discoloration off the shrines. by placing stones and shells in the iron parish leaders and grotto volunteers with Excitement was so high and so many railings' damp cement. generations of connection to the grotto. people volunteered that Timmerman With the restoration completed by The Dickeyville Grotto is an recalled, "Sometimes there was almost 1997, the grotto's structures are in fine extraordinary display of religious faith, too much help." physical shape and will not need such secular allegiance, personal genius, and

When Fr. Wernerus constructed the massive attention for a long time to community pride. A visit to this south- grotto, he collected many natural materi- come. An integral part of the grotto that western Wisconsin roadside gem is well als from local caves and fields, solicited does annually require a great deal of worth the trip. manufactured materials from attention, however, is the gardens. Filling Midwestern industries, and encouraged the space around and between the differ- Work Cited and his parishioners to donate common ent shrines in the grotto, the gardens Suggested Resources household objects, all of which he used give the grotto its park-like essence and "Grottos and Shrines, Dickeyville, WI."N.p.,n.d. to decorate the cement. Parishioners were an important part of Fr. Wernerus's Niles, Susan A. Dickeyville Grotto: The Vision ofFather were happy to participate in this way, overall design. Parishioner Delia Mathias Wernerus. Jackson: University of even though material wealth was scarce Schroeder organizes each year's group of Mississippi Press, 1997. in those post-Depression years. gardeners, with an individual or family Stone, Lisa, and Jinn lanii.Sacred Spaces and Other

During the restoration, Fr. Gunn put a taking one of the gardens to design, Places: A Guide to Grottos and Sculptural box outside his rectory door for parish- plant, weed, and maintain. Using a mix Environments in the Upper Midwest. Chicago: The ioners to donate items just as their 1920s of annuals, perennials, and statuary, they School of the Art Institute of Chicago Press, 1 993. counterparts had done. Even though the proudly add to the grotto's beauty and The Story of the Dickeyville Grotto. 9 min. Richland grotto's storage shed was filled with tranquility. These volunteers tell of work- Center.Wi: Nova Video, 1995. materials left over from Wernerus's own ing in the gardens from before sunrise to collection, Gunn solicited these new after sundown. A local joke about their donations so that the current generation diligence says that they're out there wait- Anne Pryor is a cultural anthropologist of parishioners could later point with ing for a weed to come up just so they who specializes in religious traditions and pride to what they or their family had can pull it. children 's folklore. She is also a specialist in contributed. The last area of the Grotto Committee's folklife education and conducts teacher

Additionally, Fr. Gunn made sure to responsibilities is planning for the future. workshops and school residencies. include the children of the parish in the Many parishioners talk of expanding the Currently, she worksfor the Wisconsin Arts

restoration process, just as Wernerus had grotto by building another shrine, possi- Board on the stajfofthe Wisconsin Folklife

done. Current parish elders recall work- bly in honor of Our Lady of Fatima or Festival.

the Right to Life movement. Such discussions are the source of debate about how

to approach the grotto's management: is

36 Smithsonian Folklife Festival 1998 /'Sfahiyas: A Philippine Haruest Pahiyas: A Pfiz/ippine Haruest

Reth/nk/ng Caiegones:

The Making of the Pahiyas Marion Pastor Roces

Festival program, the first order of busi- \ hundred years after the leaders of the Philippine ness was to define an approach that declared their archipelago nation, r\ Revolution a engages not only how intricately we artic- Filipinos maintain an intense fascination for the develop- ulate identity and reweave tradition with 20th-century passions, but also how we ing shape of that body politic. We talk exuberantly — do this while simultaneously expressing indeed incessantly — of the relative strength of kin and delight and dignity, vivacity and solemni- other allegiance groups in the fabric of the nation and ty. The demand for accuracy of representation has been extraordinarily high. The the dynamic balance between our many similarities and project was negotiated by the Philippine differences. Centennial Commission with the Center

for Folklife Programs & Cultural Studies We wonder aloud about the way we approached, we had impassioned debates of the Smithsonian Institution in the con- think in our tenacious vernaculars, even about the historical narratives which text of the Philippine Centennial celebra- as we maintain fluency in universal lan- instill pride — or demand pause. We tions in the Philippines and of the associ- guages. Particularly during elections, we conjured hundreds of ways of explaining ated events planned in many cities in the carry on about the relationships between who we are and why we do things as we United States. the ambitions in cities and the longings do, all the while maintaining with cer- It has been clear from the outset that in rural areas and between charismatic tainty that our nation is built on a funda- during these celebrations, Filipinos wish leaders and their eager, if fickle, follow- mental, and perhaps even stubborn, to signal our arrival at a juncture in ers. As the 1998 century-mark of the Filipino-ness. history where we can enjoy a complex declaration of Philippine independence At the start of work on this Philippine understanding of the deepest sources of

our cultural pride. It has been clear that

the project's goal is to express a sophisticated sense of the dynamics of

folklife in a national fonnation. Thus, the Cultural Center of the Philippines (CCP),

the implementing agency for the project

on the Philippine side, assembled a project team of independent cultural workers and began working with the

Smithsonian to create a Festival concept

and presentation to communicate that

sense of arrival and register that refined understanding.

The Philippines program is produced in collaboration

with the Cultural Center of the Philippines and the

Philippines Centennial Commission and is supported A child watches the parade of the Pahiyas festival in Lucban, Quezon Province. Kiping, elaborate, colored, rice- by the American International Group, Inc., The Starr flour designs, decorate the vifindows and balconies ofhouses throughout the town during this annual May Foundation, Bell Atlantic, the Philippine Centennial harvest celebration. Photo by D. Martinez, courtesy Cultural Center of the Philippines Foundation/USA, and the Asian Cultural Council.

38 Smithsonian Folklife Festival 1998 Pahiyas: A Philippine Harvest

A map of the Philippines highlighting the home-

towns and provinces of Festival participants. V # The invested whole lifetimes in mastering

Philippines their art forms. These artists have Kalingo-Apayao * Pmvince achieved such levels of virtuosity that there can be no doubt of the continued

Ifugao power of their forms to move people Pmvince f i •Baguio today, even across extremely wide cultur- LUZON al and social divides. Early in the planning, the team decided Pampanga Province

Malolos. Bulacan Province to rethink the categories promoted by Manila^ many previous presentations of •Paete •Paracale Philippine culture which subsequent

scholarship has shown to "thin" and atangas ^^^IP be lacking in descriptive power. For instance,

separate historical experiences have

heretofore justified the now-standard > SAMAR division of Philippine peoples into low- Man land Christians, Muslims, and highland Province VISAYAN ISLANDS "pagan" or "tribal" groups. These cate- PANAY gories, however, are not useful in under- # 1^^ CEBU LEYTE >: standing the cultural forms shared across •Cebu City PALAWAN contiguous areas of the Philippines. NEGROS Those similarities are pronounced

,.*Bacong despite differences in religious beliefs or /- experiences during the colonial period.

Bulfidnon Happily, co-curator Dr. Richard Kennedy Province endorsed the possibility, for instance, of # ^ MINDANAOMINI exploring relationships among diverse Cotabato* ^K musical traditions that use percussion Maguindanao 1 Pmvince Davao | instruments, or among celebrations and

Souf/i Provmff rituals associated with harvest, or among fafatoo Province ,J gift-giving traditions from all over the SULU ARCHIPELAGO Philippines. Work on the Festival proceed- • 4 ed with great energy in anticipation of

possibilities such as masters of carving traditions from Muslim, Christian, and

Conscious of the pitfalls of viewing tra- benefits of long years of experience with animist groups sharing a single space, or dition as a static legacy from the past, the cultural analysis and representation. The cooks from a wide variety of Philippine research team under the direction of Dr. project has been built on their well-estab- culture areas demonstrating their com- Lennette Mirano guided planning with a lished connections with long-term efforts mon relationships with the food sources sure grasp of the persistence of tradition- of cultural institutions and academic cen- in the archipelago. More importantly, the al culture in contemporar)' experience. ters. In the course of working with, sup- project team felt the need to consider the Dr Mirano, program director Ramon porting, and helping articulate the special links among art forms normally separat-

Obusan, project manager Eva Marie devotions of traditional artists, these ed by the disciplines of those who study

Salvador of the CCP, and their respective institutions and centers have identified them. Hence our plans embody the hope associates each brought to the project the those rare individuals and groups in that some viewers may intimate connec- many parts of the Philippines who have

1998 Smithsonian Folklife Festivai 39 Pahiyas: A Philippine Uarvest

ored by the Smithsonian Institution and their nation have in common — aside

from their exquisite levels of achievement — a strength of character that has

enabled them to meet the challenge of modernity by accepting and reworking

certain aspects of it. Many of the artists are savvy about recordings and other forms of documentation, marketing techniques, alliances with other communities

and countries, public presentations, dis-

cussions, and political action.

Individually and as a group they lay to

rest the weary stereotypes of the primitive or the abject rural peasant. Although many of them are poor by the standards

of urban society, they all project a grace,

a pride, and a sense of assurance which

Staff of the Cultural Center of the Philippiries carry out research near Lake Sebu, in southern Mindanao, in seem to issue from the aesthetic pleasure preparation for the 1998 Smithsonian Folklife Festival. Photo by Richard Kennedy and wisdom inherent in their chosen art forms. tions between weaving traditions and inaudible at a distance, and highly Finally, these remarkable artists share a musical forms, and between the processes dependent on context for their meaning, common involvement in elaborate sys- of metallurgy and those of food prepara- may require that they be abridged, ampli- tems of exchange, reciprocity, and gift- tion. The project team also wanted to fied, or reconfigured. Framing the artists giving — a theme we have chosen to bring together a wide variety of beating in physical structures that inevitably are highlight at the Festival. Their lives are and pounding processes — finishing simulacra of fragments of home and per- essays on gift-giving: mentors of younger cloth made from the Miisa textiles (wild haps in conceptual categories that do not generations, diplomatic representatives to banana) plant, the drone melodies of resonate with the way the artists under- worlds outside their communities, custo- gong music, repousse goldworking, stand their own experience also leads to dians of artistic creation, perfonners and hulling rice with mortar and pestle — to compromise. These can make artists makers of the implements of celebrations. convey a sense of rhythm that seems to and audiences uncomfortable and They represent the spirit oipahiyas, a be universal in the Philippines. lose an opportunity for cross-cultural word which collects notions of gem-like

As long-time cultural workers, mem- communication. treasures and blessings. Pahiyas is a bers of the project team were aware of However, the project team has taken shower of gifts and blessings in the the difficulties inherent in a festival — these problems as creative challenges in celebratory abundance of a harvest. particularly one in a foreign land — their work of cultural translation. Tlie Through these artists, the Philippines which often make it impossible to meanings may not wholly carry over, but celebrates the centennial of its declara- communicate the nuanced relationships the effort is valuable in a world constant- tion of independence by asserting its free- that exist in traditional contexts among ly recrafting ways to celebrate and honor dom to construct the future with the artists, materials, processes, perfor- those among us who courageously, culture of gift-giving. mances, and their audiences. Moreover, inventively, and often joyfully carry a logistical limitations make it impossible valuable past into the future. Our empha- Marion Pastor Races is a freelance essayist, to represent all Philippine languages, sis on relationships across domains editor, consultant television producer, and regional groups, or forms of traditional embodies the Festival project team's curator based in Manila. She has published art. The Festival emphasis on local determination to achieve fresh perspec- numerous essays and books on Philippine traditions, which may be long-standing. tives in translation. art and culture and is the author of the

The 80 Philippine master artists hon- book Sinaunang Habi: Philippine Ancestral

Weave (1992).

40 Smithsonian Folklife Festival 1998 Pahiyas: A ?\\\\\pp\m Haruest

Reth/nk/ng the ?h\\\\)ip\ne Exhibit at the 1904

St. Louis World's Fair Richard Kennedy Why do we organize a Festival program? And why does the public attend? These are critical questions asked by organizers of the Philippine program at the 1998 Smithsonian Festival.

The same questions were asked in 1904 of the Louisiana Purchase Exposition in

St. Louis, one of the last great fairs from the golden age of world expositions. The answers given to the questions nearly 100 years ago, however, were quite different from those we give today. The 1904 Louisiana Purchase Exposition celebrated the centennial of the 1803 purchase of the Louisiana Ihe midway at the 1904 Louisiana Purchase Exposition in St. Louis was the center of the world's fair that Henry represented Territory from France, which Adams called "the first creation of the twentieth century."As part of the celebration of the centennial of the the first major expansion of American 1803 U.S. purchase of the Louisiana territory from France, the fair presented the cultures of the Philippines, territor)'. The public sentiments support- territory bought from Spain in 1898. Photo by Frances Benjamin Johnson, courtesy Library of Congress ing expansion in 1904 were not dissimi- lar to those in 1803. In the late 19th cen- demands for the annexation of Hawai'i Purchiise centennial as well as its newly tury, the nation responded to the and the invasion of Cuba, but by 1898, gained territory with a major world's fair. tragedies of the Civil War by isolating President McRinley had made Hawai'i a Among the newly acquired lands were the itself from major foreign engagements, territory and ignited the short-lived 7,000 islands of the Philippines. just iis it had done for similar reasons in Spanish-American War by sending troops Americans had initially indicated some the late 18th century. But by the 1890s, a to Cuba to assist the overthrow of support for the Philippine independence spirit of adventure spurred economic and Spanish rule. The Philippines was inad- movement but did not recognize its 1898 military interests to expand U.S. territory vertently drawn into that war when declaration of independence from Spain for the first time beyond its borders. Assistant Secretary of the Navy Teddy (now being celebrated at this Americans were ambivalent about this Roosevelt asked Commodore George Smithsonian Festival in 1998). The expansion, at times supporting the doc- Dewey to launch a surprise attack on the McKinley administration, in a highly con- trines of Manifest Destiny and Social Spanish fleet protecting Manila, Spain's tentious decision that accompanied the

Darwinism, which seemed to ordain the colonial capital for over 300 years. end of the war, then bought the country country's expansion, and at other times The United States won the Spanish- from Spain for $20 million. By 1899, expressing dislike of any American American War, and for the public many American guns turned on the insurgents, involvement in colonial rule. In the mid- earlier doubts about engagement were and in the end as many as 200,000

1890s, President Cleveland resisted resolved. By 1904 it seems that America Filipinos may have died as a result of the was prepared to celebrate the Louisiana

1998 Smithsonian FoiKirFE Festivai 41 Pahiyas: A Philippine Harvest

fighting. More than 70,000 American sol- convincing the American public that the Roosevelt himself, a leader in the Spanish- diers were involved. These developments newly conquered country should eventual- American War, and Philippines governor drew much criticism in the United States. ly become a part of the United States. The William Taft (soon to be secretary' of war

The St. Louis Exposition was planned to inclusion of model schools, bands, and and then president). W.P Wilson, director be tlie biggest fair in U.S. history; Henry police drill teams was thought to balance of the Philadelphia Commercial Museums,

Adams called it "the first creation of the a program that to some appeared to pre- was soon appointed to be head of the twentieth century." Following and in the sent a 'primitive" culture. So the term installation, and Dr. Gustave Niederiein, same spirit as the great 1893 World's "encampment" highlighted the presence also from Philadelphia, was placed in Columbian Exposition in Chicago, the of disciplined military' troops, civic order, charge of collections. John Barrett, com-

Louisiana Purchase Fair celebrated explo- and, in effect, terrain familiar to the pub- missioner-general for Asia at the fair, ration and conquest. It was meant to out- lic. On the other hand, the temi "reserva- called on the business community to orga- shine Chicago, but in the annals of world tion" made a clear reference to American nize a committee to advise the govern- expositions St. Louis is not as well known Indians and, by implication, created a par- ment on the project, and many of the

— most people are familiar with it pri- allel between the takeover of the exliibits in the forestry, agriculture, and marily through the 1944 film and title Philippines and that of the American West. commerce pavilions would portray the song "Meet Me in St. Louis." Spread over Both these messages were encoded in the natural resources and potential riches of

1,270 acres (twice the size of Chicago's cel- Philippine Exposition program. the Philippines. The fair was part trade ebration), the fair followed the pattern of Many players were involved in the show, and thousands of examples of crops, past expositions but on a much grander exposition, which cost $\5 million. tropical woods, and other goods were scale: it featured individual state exhibits, Individuals, the U.S. government, and the exliibited in addition to Philippine

"palaces" of industry, education, agricul- city of St. Louis each committed $5 million ethnic communities. ture, etc., and intemafional pavilions. In in the hopes that an event of profit (from For the presentation of Philippine cul- addition, over 400 international congresses entrance fees and fair sales) as well as of ture four major ethnic villages were built. and meetings were held in the city during world importance would take place. Tlie A copy of the walled city of Intramuros in the six months of the fair, and the 1904 $1.1 million Philippine program similarly Manila housed, among other things, cap- Olympics were staged nearby. However, had a variety of supporters. In 1902, the tured weapons. A plaza surrounded by what particularly distinguished St. Louis U.S. Colonial Administration in Manila reconstructions of official buildings con- were the size of its anthropology section allocated $250,000 (later supplemented tained the above-mentioned topical pavil- and the degree to which attempts were with another $250,000) for the program. ions, including an ethnology exhibit in a made to construct authentic environments Behind the decision was President building modeled on a Manila cathedral. for its participants. Tlie grandest of these constructs was the Philippine Exposition.

This special exhibition was also called the Philippine Encampment or the

Philippine Reservation, and togetiier these terms reflect some of the conflicting attitudes expressed in the program. In discussing the participation of the Philippines in the fair, some advocates of American expansion were concerned that "displaying" Filipinos would hurt the chances of

The Metcalfe sisters photographed the 1904 fair exten-

sively. Here one ofthe sisters (at right) is photographed

with a Bagobo participant About 30 people from the

Bagobo community in central Mindanao were part ofthe

1,200-member Philippine delegation to the fair.

Photo by the Metcalfe sisters, courtesy Smithsonian Institution

National Anthropological Archives

42 Smithsonian Folklife Festival 1998 Pahiyas: A ?\\\\\}pp\m Harvest

the site design was clear. oco The symbolism of nOO°'

/Vfter crossing a bridge and walking through the walled cit\', the visitor would come upon the center of the exliibition, the Plaza St. Thomas, which represented in the minds of the organizers the most

"civilized" aspects of Philippine society'.

Also in the plaza, the education pavilion presented the educational activities of American teachers. Nearby were the parade grounds and bandstand in which the more than 400 members of the

Philippine constabulary paraded, drilled, and were housed. These troops were also brought to police the site.

Tlie four villages — Igorot, Negrito, Visayan, and Moro — representing a diversity of Philippine communities, were placed in a circle outside the central plaza.

Tliis diversity' was important to the organizers. The 19th-century process of establishing administrative control of new lands created among many imperial powers an obsession with categorization as a way of understanding (and taxing) colonial pos- sessions. Scholars often assisted their efforts. The turn of the century was in some ways a golden age of applied anthropology President McKinley's Philippine specialist, Dean Worchester, for example,

division of Philippine people Philippine. Expasmo/i proposed a sr.Lcuis.r.o. woKLW R^^iE. into 84 "tribes" — 21 Negrito, l6

Indonesian, and 47 Malay The official catalogue of the exhibition takes the categorization further, stating that 103 "groups" The Philippine exhibit at the 1904 World's Fair was an elaborate re-creation of elements of Philippine culture. out of 144 and 308 "classes" out of 807 Surrounding the central plaza were buildings displaying Philippine commerce, forestry, culture, and education, were represented. The specific meanings of and the U.S. role in their development. Skirting the center of the exhibit were the "villages" of the Igorot, these crude categories seem less important Negrito, l^oro, and Visayan participants. Plan reproduced from William P. Wilson, Official Catalogue. Philippine Exhibits. than the fact that attempts were being Universal Exposition (St Louis: The Official Catalogue Co., Inc. 1 904), courtesy Library of Congress made to represent a hierarchical cultural diversity. The Report to the Exposition semi civilized in the Bagobos and the Defining degrees of "civilization" was Board claimed. Moros and the civilized and cultured in an important message of the fair.

the Visayans as well as in the The 335 ethnic Philippine participants

While all of the 70 or more groups of Constabulary and Scout organizations. included members of the Bontoc, Suyoc,

people in the archipelago could not be In all other respects — commercially, and Tinguian (collectively known as

represented, there were the least civi- industrially, and socially — the exhibit Igorot) communities in upland mountain

lized in the Negritos and the Igorots, the was a faithful portrayal. Luzon; Bagobo from Mindanao; two

1998 SlHI'raSONIAN FOLKLIFE FESTIVAL 43 Pahlyas: A ?\]\\\pp\m Hardest

Muslim Mora groups from Zamboanga; St. Louis World's Fair was the product of Suggested Reading and a variety of Negrito and Visayan com- many voices. The dominant one spoke of Breitbart, Eric. /I World on Display, Photographs from munities. Singers, dancers, ;md musicians the rich potential of America's newest the St. Louis World's Fair, 1 904. performed regularly on stages from 1 1 a.m. colony and the important role civilization Albuquerque: University of New Mexico Press, to 6 P.M., and craftspeople such aspiiia would play in the development of this dis- 1997.

(pineapple fiber) weavers and basket mak- tant land. But other voices wanted simply Karnow, Stanley. In Our Image, America's Empire in the j ers demonstrated their skills. They were to show how other cultures live and to Philippines. New York: Ballantine, 1 989, housed on the site and were paid for their "promote peace and good will." Audiences Lowenstein, M.J., comp. Official Guide to the Louisiana pre.seiitations. The specifics of the selection certainly did come to see these "others," Purchase Exposition. St. Louis: The Official Guide process of participants were not recorded and heard all these voices. And undoubt- Co., 1904. other than that Dr. Niederlein w

Philippine names on the various commis- Philippine Festival program have been Richard Kennedy is co-curator of the sions, the selections seem to have been quite different, as Marian Pastor Roces Philippines program at the 1998 made entirely by American officials. writes in her article in this volume. The Smithsonian Folklife Festival. He is deputy

The choice of the tribal communities led Festival team organized by the Cultural director of the Smithsonian Centerfor to extensive media coverage, and perhaps Center of the Philippines in Manila Folklife Programs & Cultural Studies, where as a result the Igorot village was one of researched, conceived, and produced an he also has co-curated Festival programs the most popular at the fair. In response to event that, at its heart, honors and puts at on Hawai'i, Indonesia, nailand, and charges that this coverage was exploita- the center master artists. The Festival aims Russian music. He was chair ofSouth tive, a report to the Exposition Board stat- to present their traditions with sensitivity Asian Area Studies at the U.S. State ed, "It is not true that the savages have and does not by implication, as in 1904, Department's Foreign Service Institute. been unduly exploited at the expense of present these artists as representatives of the more dignified exhibits, but no stages of civilization. Artists were selected amount of emphasis on commercial for their ability to keep their tradition vital exhibits, constabulary drills and Scouts and relevant in the contemporary worid. parades has distracted attention from the And, most importantly, the Festival enables

'dog eaters' and head-hunters'." artists to speak for themselves. At the cen-

Tlie Philippine exhibition at the tennial of its declaration of independence

the Philippines is strong enough to be

proud of the traditions of all its people

and to let tliem speak for themselves.

44 Smithsonian Folklife Festival 1998 Pahiyas: k ?\\\\\X}\>\m Hardest

Masters of Trad/t/on \n the

\\^o(kvx\ World Elena Rivera Mirano

subtler and healthier values that reflect tradition bearer is sometimes stereotyped as a quaint older ways of thought and living. And relic in /\ a remote setting, admired ancf extolled but some of them have been able to enlist isolated and left behind by the times, focused on the past government and corporate support for their individual and collective programs. while others face forward to the future. Three accounts from our research files

fill in these general outlines with glimpses of the human experience

reflected in Philippine traditional arts.

Victorino Saway

Victorino Saway was l6 when he first saw

the cit): His father was the great Datu Kinulintang, leader of the Talaandig peo-

ple and epic singer from the southern mountains of Bukidnon. He was sending

his third son, Vic, to the University of the

Philippines in Manila to transcribe and

translate the Agyu epic. Vic had attended

school in his home village of Sungko and

was excited about going to the city. But

the universit)' disoriented him. Sitting at

a desk, listening to his father's taped per-

fomiances day after day, he realized that

the epics, which he had never paid atten-

tion to because they were old-fashioned,

were difficult to understand. One day, he

recalls, he asked a young Mansaka sitting Staff of the Community Crafts Association of the Philippines film basket makers in Manila. As part of a project beside him for help. The latter chided to train traditional craftspeople to market goods directly through the Internet, these basket makers learn to him, "I'm having enough trouble deci- photograph and write about their work for direct sale on the Web. Photo courtesy PEOPLink phering my own language, and you ask

The year-long research that identified tion, and energy in traditional culture, me about yours?" After three weeks, Vic

"traditional Filipino artists" for the 1998 though knowing full well that it is easier gave up and went home.

Folklife Festival made it clear that this to reject the old ways while living in the But the datu would not give up. When figure does not exist. The picture that city. They have become masters of their Camien Unabia appeared in Sungko emerged was strikingly different. Most traditions despite pressure from the swift looking for an assistant for her own dis- artists were equally at home in villages change that engulfs the cities and every sertation research on the Agyu epic, Vic and in more cosmopolitan settings. Bom village in the Philippines. They under- was enlisted. He had begun to understand and raised in traditional communities, stand commerce and have found ways to his father's intent. Later the datu packed many had come to the cities as young maintain standards of excellence against him off to Silliman University, and by the people to study or find work. There they demands for mass production. Well aware time he graduated with a bachelor's learned to negotiate with modernity. But of the emphasis on glossy and elaborate degree in anthropology, he had learned to they chose to invest their training, educa- production values in the entertainment sing the Agyu as well.

industry, they have decided to project the

1998 Smithsonian Folklife Festival 45 Pahiyas; A ?h\\\pp\m Hardest

Aga Mayo Butocan presents Maguindanao kulintang music in Manila. Photo by Richard Kennedy

Two graduate degrees later, Vic, now games, and stories of their people as well lage of Simuay on the island of Mindanao. also known as Datu Migketay, is a as the rudiments of reading and count- She was an accomplished player in the respected Talaandig leader. He was ing. Their older siblings in elementary village, but she had never taught kulin- instrumental in drafting the newly signed and high school congregate here after tang in school. Nor had anyone else in Indigenous Peoples' Rights Act (IPRA), class hours to learn to make and play the Philippines, for that matter, tried to which seeks to protect the rights of instruments, embroider, weave, and man- teach this ancient Southeast Asian fonn indigenous people to their traditional ufacture clay beads in the traditional way. of bossed gong music in school. Aga's lands, and is now busy explaining the law Their elders who teach in the school naturally reflective spirit rose to meet the to these groups all over the Philippines. share with the members of the communi- challenge, supported by a quiet strength

Recently, he was appointed commissioner ty their expertise in plant and herb lore, that had served her well as a young of the National Commission on myth recitation, ritual performance, and student who traveled through crocodile- Indigenous People (CIP) created under methods of healing. In this way, they con- infested waters to reach the Cotabato the new law. sciously ensure that the wisdom of Datu Public High School three hours away

On the community level he and his Kinulintang's generation is handed down. from Simuay. The Muslim village girl many talented and far-sighted siblings who persisted came back to her village have organized a preschool for the Aga Mayo Butocan with a teacher's certificate. Later she had traditional arts in Sungko that is a model Wlien she was asked to teach Maguindanao come to Manila hoping to get accepted for the teaching of indigenous culture in kulinUing at the Department of Music into a more advanced teacher training the Philippines. Children from the age of Research in the University of the Philip- program, but, lacking important political three onwards learn songs, dances, pines in 1968, Aga Mayo Butocan was a 19- connections, she could not get in. The job

year-old schoolteacher in the seacoast vil-

46 Smithsonian Folkiife Festivai 1998 Pahiyas: A ?h\\\ppme Haruest

"/ had to study myself,...! had to learn about my own body, mind, and spirit.''

—Aga Mayo Butocan

A group ofKalinga men participate in a

budong (peace pact). Photo courtesy

Cultural Center of the Philippines

at the University of the Philippines was a about my own body, mind, and spirit." in negotiation and diplomacy, and knowl- valued opportunity. Slowly, she developed a method that edge of ritual and protocol. In this way, a

The challenges Aga faced in the first has been elaborated and published as the community assures itself that it will be years were fonnidable. Outside of the textbook for teaching ^////;?to»^-playing well represented in intra- and intervillage island of Mindanao, most Filipinos were in Philippine schools of music. In her 30 disputes about land, security, peace-keep- not aware of kulintang, and there were years of teaching she has taught the ing, and domestic conflict. The communi- no models for teaching it other than the kulintang to thousands of students. She ty leader who holds the pact is the one traditional system of listening and imitat- hits inspired many composers, teachers, who is entrusted with negotiating and ing. In the capital city of Manila, music and researchers. She has organized and recording its terms. students were well versed in Bach and trained kulintang ensembles that have Benny Sokkong is the chosen budong

Beethoven, jazz and rock 'n' roll, but had played all over the world. Despite a grow- (peace pact) holder of the village of never heard of kulintang. Aga herself ing clamor for dramatic and showy preci- Tanglag, Lubuagan, in the province of had never conceptualized the kulintang. sion in perfomiance, she maintains a tra- Kalinga. As a young boy, he watched and

Meeting students' needs, teaching them to ditional improvisational style that is listened as his father held sensitive play for eight hours a day, five days a quiet, reflective, and focused on the spirit. discussions with elders from other week, she was forced to think through villages. He saw how peace and harmony her playing, to focus on how she moved, Benecio Sokkong were ensured. By the time he came down what she thought about, and how she felt Although the office of peace-pact holder to Manila in 1978, hoping to study den- as she played. "1 had to study myself," she is handed down from a father to a son in tistry, he was already skilled in the ritual

recalls. "Before I could understand what communities in the northern Cordillera preparations of materials involved in the kulintang meant, I had to learn mountains, the selection is further holding peace pacts. Lacking the means

refined by criteria of social stature, skill

1998 Smithsonian Folklife Festival 47 Pahiyas: A ?\\\\\pp\r\e Harvest

to finance his education, Benny took a College of Music, not commercial centers this ensures the health and well-being ol night job as a securit)' guard. He also like the Baguio market, for the instru- the community. As conditions change and became a member of BIBAK, a cultural ments there are made for the tourist time passes, parts of tradition may alter organization of highlanders from the trade. Now a dentistr)' graduate and or even disappear to suit changing needs, northern Cordilleras with a chapter in working as a dental technician, Benny set but the core, the heart of the "proper Manila. Although BIBAK was conceived as up a workshop/factory in Baguio city, the way," must remain recognizable. The tra- a performing group that could be invited hometown of his wife, who is a Kalinga- dition bearer has invested time and ener- to school programs, cultural shows, and Ibaloi nurse. The new facility has made it gy in mastering the knowledge, skills, festivals to present northern Cordillera easier to keep up with orders, and his res- and meaning needed for "the proper culture, it also developed into a support onant instruments, full of the sound of way." Thus, as artist and community are group for highlanders in the city. It helps the mountains, fulfill their purposes in drawn into conditions of change, the cen- organize traditional weddings, funerals, rituals and other cultural events. ter can stand to remind us all of what is and other large community events, and it Benny continues to commute to healthy, whole, and lasting. The germ transports people, equipment, and mate- Quezon City in metropolitan Manila to charged with meaning is passed on, rials to and from these events. Benny teach at the university every week. But he grows, and develops. Traditional masters found himself working not only with travels just as regularly to Tanglag to set- have made a difficult journey in time and kinsmen from Kalinga but also with tle disputes and conflicts among his kins- space while living and acting in a worid other highlanders from different parts of men. He looks forward to the day when full of tumult and change. The core, the the Cordilleras. he, like his father before him, will offici- germ of their vision and wisdom, will

His triple life in Manila — as security ate at a full-scale budotig, a peace pact carry us all, as a nation, into the future. guard, dental student, and culture bearer between communities, which requires an — intensified as he was about to finish intimidating array of financial, physical, Elena Rivera Mirano is professor of music his dental degree. He accepted an invita- cultural, and spiritual resources, but at the University of the Philippines. She is tion to teach Kalinga music at the which assures these communities a har- an author andperformer of traditional

University of the Philippines. With the monious, peaceful coexistence. Philippine music. Her book Subli: One teaching job came lucrative work as an Dance in Four Voices won the 1989 instrument maker. Cordillera culture has Reviewing the life stories of these Philippine National Book Award. She is also a high visibility in Manila, and many admirable men and women, one can artistic director of the Cherubim and schools, cultural troupes, and community begin to reflect on the questions, what is Seraphim, the official children 's choir of the organizations regularly purchase its frag- tradition, and how is it related to the University of the Philippines. ile bamboo instruments. They know their national life of the Philippines a century reliable source is the instructor at the after the birth of the nation? Tradition is

society's perception that there are proper

ways of doing things. Undertaking activi-

ties in the right way is important because

48 Smithsonian Foiklife Festival 1998 Pahiyas: A ?h\\\\)pme Haruest

IradWlonal Music m

Phi/jppine Cu\xures Ramon P. Santos

an environment of modern, technological material- musically complemented by larger gongs In with varying resonance and tone colors. Philippine traditions rooted in ism, musical remain On the other hand, aerophones (flutes spirituality and ancient wisdom about life and nature, and trumpets), idiophones (buzzers,

stamping tubes, log and bamboo slit mey provide valuable, alternative perspectives on drums), and chordophones (lutes and Philippine life, history, culture. Even a fleeting survey and zithers), mostly made of bamboo and of these musical traditions reveals a multisided prism local timber, also represent specific language groups and communities through that reflects Philippine society and culture as a complex their physical and musical characteristics. in amalgam of forms time and space.These forms present Melodic drones from these instruments striking varieties and nuances, and delineate not only usually combine with kinetic movements in physical and metaphysical space to distinct regional and cultural borders and social create an intense, integrated fomi of structures, but also connections to peoples and cultures expression. This integration is character- outside the Philippines. istic oipagipat healing rites of the Maguindanao and the death ceremonies

The kaleidoscopic variety of indigenous kidintang are suspended in pyramid for- of mattalatam among the Aetas from musical traditions is easily seen in their mation from the lowest drone gong Kalinga Apayao and himmung among instruments, performance techniques, {bandil) to the highest of the melodic the Ifugao. repertoires, and languages. Flat gongs, gongs called tagmigguan. Tlie gongs of Vocal repertoires offer an even more from the uplands of northern Luzon, are the kidintang from western Mindanao intriguing variety of fomis and styles, played in a variety of styles and in groups are laid in a row. In the ensembles of the from epics such as the Ifugao's Hudhud ranging from five to six musicians Maguindanao, Maranao, Tausug, Sama, and the Mansaka's Manggob to forms of among the Kalinga, Bontoc, Bago, and Yakan, and Subanen, the kidintang is lyrical poetry and recitation, e.g., the

Gaddang communities, to an ensemble of three among the Ifugao, accompanied by a single conical drum among the Applay, and an ensemble of two gongs and two drums among the Ibaloi of Benguet.

Such an abundance of musical styles also can be found for bossed (knobbed) gongs, which cover a much wider area from Palawan to the southern islands of Mindanao and Sulu. Among the Bagobo,

Manobo, and Bla'an in eastern

Mindanao, sets of graduated gongs called

Musicians from the Manobo community in

Malaybalay, Bukidnon Province, Mindanao, perform

on the tangkol (bamboo zither) and kudyapi

(stringed lute). Instruments like these are found

throughout the Philippines. Photo by E. Caballero,

courtesy Cultural Center of the Philippines

1998 Smithsonian Folklife Festival 49 .

Pahiyas: A ?h\\\\)\)\ne Hardest

inated as written literature, the awit and popular Filipino religious worship,

kurido in time became committed to oral whether they are expressed in Tagalog, memory and were easily quoted in formal Kapampangan, Ilonggo, Sebuano, or and infomial discourse. Related genres Bicol and whether they use ancient from Spain also became part of the musi- regional airs or rock 'n' roll tunes.

co-literary and theatrical experience of The dynamic kaleidoscope of musical

the early Christian Filipinos, including life in Philippine cultures has assumed a

the komedya and its subgenre moro- significant role in nation-building over

moro, named for its perennial plot of the last 100 years. From their virtual iso-

Christian-Moorish conflict, and the sar- lation and derogated status in the emerg- swela, romantic comedies featuring ing Christian society of the 19th century, members of the Philippine upper class at these musical practices have gained new the turn of the 20th century. strength in the present century

In these communities, gongs and bam- Indigenous and folk artists are now boo instruments were replaced by the closing ranks with their urban counter-

Musicians on harp and guitar play lively balitaw guitar; by the rondalla, a plucked string parts to form their own cultural troupes, songs based on the Spanish jota and sequidilla, on ensemble that evolved from the Spanish creating their own choreographies, and the island ofCebu. Stringed instruments introduced estiidiantina; by the comparza, the brass sometimes performing Western-derived instruments. by the Spanish in the Uth century remain popular band, and its local versions, the tunes on gongs and bamboo structural today in traditional Philippine music. musikong btimbong and banda boca; As contributors of new forms aesthetic meanings to contemporan. Photo by Rey S. Rastrollo, courtesy Cultural Center and by a variety of instrumental group- and of the Philippines ings that accompany other vocal and the- musical expression, traditional musical

atrical performances. cultures have been selectively adapting to

Ibaloi badiw, Maranao bayok, and The impact of Christianity can also be the artistic norms of mainstream society, Kalinga ckingo. seen in the hybridization of religious not only to survive, but also to continu- Another type of oral repertoire evolved practices in rural communities. The ously enrich and expand the techniques in Christian communities across the sanghiyang in Cavite province is still a and repertoires of their unique musical archipelago in four centuries of cultural trance ceremony, but its practitioners heritage. encounter between East and West. These now invoke the names of saints and use musical expressions took their present rosary beads and scapulars. In Batangas, Suggested Listening hybrid forms through aesthetic assimila- the subli, a secular folk dance propagat- Folk Songs of the Philippines. Folkways 8791 tion, selective synthesis, and cultural ed since the 1930s, is now being rediscov- Hanunoo Music from the Philippines. Folkways 4466. cross-breeding. The varying degrees of ered as a complex religious ritual of Music of the Magindanao in the Philippines, vols. 1 acculturation mirrored in these forms semi-improvised dances, chanting, and and 2. Folkways 4536. indicate the people's resiliency and cre- drum playing in honor of the Holy Cross ative response to change while preserving and the Holy Child (Santo Nifio). Ramon P. Santos, an etimomusicologist as fundamental aesthetic values. Locally created musical activities are tvell as a composer, is a professor of music In Christian population centers, indige- mostly related to the liturgical cycle of at the University of the Philippines. His own nous practices such as epics and rituals Christmas, Lent, Easter, and Santacrusan, works are strongly influenced by his stud- gave way to musical resources introduced the May commemoration of the finding ies of Philippine and Asian musical tradi- by Spain. One of these is the long of the Holy Cross by Constantine and tiom. He is also secretary-general of the romance narrative later known as awit Helena. The spiritual depth of rural National Music Competition for Young and kurido. The genius of local literary Christian Filipinos comes to the surface Artists. composers easily assimilated this form, during Lent, when people perform parali- creating highly imaginative stories that turgical rituals and acts of self-abnega- combine characters and events from tion and penitence. The chanting of the

medieval Europe with local heroes and life and Passion of Qxx'vsi, pabasa and

familiar places. Although initially dissem- pasyon, and their theatrical reenactment, setiakulo, are almost synonymous with

50 Smithsonian Folklife Festival 1998 Pahiyas; A PhiWppme Haruest

Pfifl/ppjne Food Doreen G. Fernandez

What is the most typical Philippine food? Is it s'ml- gong, a cold, sour stew that equally accommodates fish, meat, fowl, or prawns — so refreshing in hot weather? Is it adobo, meat, shellfish, or vegetables cooked in vinegar, which keeps without refrigeration? Is Wpancit, the many kinds of noodles found at all celebrations?

Could it oe rellenong manok, the capon stuffed for

Christmas? Or might it be pritong manok, chicken fried after a vinegar and garlic marinade?

Even Filipinos cannot frame a simple Their dishes entered the local diet at a answer to the question, so varied is their popular level, and are now found in mar- cuisine. Siuigang is obviously indige- kets, sidewalk carts, restaurants called A meal served on banana leaves in Paete, Laguna nous, with all its ingredients found in the panciterias, school cafeterias, and homes Province. The foods in this meal vi/ere prepared mostly countryside, and with its analogs in of all social levels. So indigenized has from local products and include bagoong (shrimp

Southeast Asia. Adobo, too, is indigenous comida china become that some dishes paste) and sticky rice, representing an indigenous but bears a Spanish/Mexican name, per- bear Spanish names — probably because cuisine. Photo by Richard Kennedy haps because of its similarity to the panciterias were among the first places

Mexican adobado. Pancit is obviously a for public eating during the Spanish colo- instant foods — were introduced with

Chinese contribution, but it has been nial period. Most of the dishes have been American colonization, education, stan- indigenized by native ingredients and so well integrated into eating patterns dards of hygiene, and technology. The tastes. The capon and its stuffing are that many Filipinos consider them not multitude of advertisements for ham-

Spanish in origin and the fried chicken is foreign but native bom. burgers, fried chicken, fast food, junk

American, but both have been adapted to Spanish dishes and cooking techniques food, and soft drinks might make one the local palate. came with the colonizers and instantly think that this is the most typical

The variety is explained by history and assumed positions of prestige. For one Philippine food. social adaptation. First, there was food thing, many of their principal ingredients But typical Philippine food is all of the drawn only from natural surroundings: — olive oil, saffron, hams, and sausages above. The indigenous cuisine is alive marine, river, and other creatures from — were imported and expensive. For and well in the provinces, where the the waters on and around the archipel- another, the food of officials, friars, and ingredients are always available, inexpen- ago's 7,000 islands; other animals: fowl, other foreigners seemed superior and sive, and sometimes even free. The flavor- birds, and other creatures from field and desirable because these people comprised ing sauces and dips — patis or fish forest; and vegetation for edible leaves, an elite social class. Thus, fiesta food is sauce, bagoong or shrimp paste, and pods, seeds, roots, flowers, tendrils, as often Spanish: /?«?//mechado, and rich alone or in combinations to fine-tune

Indigenous cuisine is found everywhere desserts of the Spanish tradition. even foreign food to local palates. The with regional differences depending on Christmas, too, features Spanish dishes, indigenous, peasant diet of rice, fish, and the ecosystem: lowland or highland, inte- since Christianity arrived with the vegetables has been rated by nutritionists rior or shoreline. Spaniards: y«wo« en dulce, ensainiadas, among the healthiest in the world with

Chinese traders, who have been visiting queso de bola, apples, oranges, and its high carbohydrate/low protein level since the 9th century or earlier, brought chestnuts. and minimal fat. noodles, soybean products, and pork. American dishes and preparation styles

— pressure-cooked, precooked, fast, and

1998 Smithsonian Folklife Festival 51 Pahlyas: A Philippine Harvest

A meal served on china in Malolos, Bulacan Province.

The recipes for several of these dishes are inspired by

Spanish cuisine, and include the use of vinegar, saf-

fron, and olive oil. Photo by Richard Kennedy

ties served with meat and vegetables, its

noodles fat or thin, transparent or

opaque with egg, shaken in broth or

water (luglog), sauteed or fried, sauced

or plain.

Try dishes that retain their native names: laing, taro leaves with coconut

milk and chile; pina is, shrimp and young

coconut wrapped in banana leaves and

steamed in coconut water. Taste Chinese dishes with Chinese names — lomi, mami, kekiam — and those with Spanish names — arroz caldo,

Indigenized cuisines originally from indigenous cuisine does not seem likely camaron rebozado. Venture to taste the

China, Mexico, and the United States are to disappear under the onslaught of fast work of young chefs who prepare mango, fairly ubiquitous, although more readily food, for it remains a deep cultural and coconut, and venison in nouvelle ways. found in towns and cities, in restaurants personal preference. Try local fried chicken; let your tongue large and small, and on the tables of the Indigenized cuisine is found on urban tell you how it differs from American middle and upper classes. and upscale tables and in public eating style and illuminate for you some princi-

Imported or foreign cuisine that has places. The Philippines has the best ples of Filipino flavor. not been indigenized is eaten and under- Spanish restaurants in Asia because they Food is not only for the eating, but also stood as foreign: Japanese, Italian, are not foreign here, but part of a 300- for the contemplation of history, society,

French, and Middle Eastern. Globalization year history. Imported food is generally and taste. has made these cuisines known, avail- expensive and exclusive, although stalls able, and attractive through the media selling shawarma (Middle Eastern skew- Suggested Reading and through the experience of travelers, ers of meat) established by returning Fernandez, DoreenG. Tikim:fs5flys on PM/pp/nefoorf the educated, those have overseas contract workers are creeping and who worked and Culture. Manila: Anvil Publishing, Inc., 1994. and lived abroad. into villages and subdivisions.

Indigenous, indigenized, and imported Tasting the local variations in foods meet and mix on the Philippine Philippine food is savoring the many fla- Doreeri Fernandez is professor of literature landscape. They speak of a history of vors of the Philippine culture and envi- and communication at the Ateneo de trade, colonization, foreign influence, and ronment. Try kinilaw, for example, on an Manila University. She writes books and social transformation. They also illumine island like Bohol. Fish from clean waters articles on cultural, theater, literary, and the social structure. is dressed fresh with palm vinegar and culinary history. Her weekly column, "In

At home among peasants and workers, condiments to create one of the islands' Good Taste,'' appears in the Philippine Daily indigenous cuisine can also be found on oldest dishes. Sample the lechon at a bar- Inquirer the elite's tables, where it is the food of rio fiesta. Unlike the Spanish cochinillo memory — childhood and provincial asado, this could be a full-grown pig beginnings and ancestral holiday tables. stuffed with tamarind or lemongrass

Methods of preparation may have leaves and spit-roasted over coals. changed from long, slow boiling over Compare the many varieties ofpancit: wood fires to microwave cooking, but from seaside towns served with oysters, squid, or shrimp, from inland communi-

52 Smithsonian Folklife Festival 1998 Pahiyas: A Philippine Harvest

FilipinO'American Youth

Performing filipiniciti) Ricardo D.Trimillos

century young intellectuals began study- Filipinicity, according to nationalist scholar Antonio ing in the United States as pensionados Molina, is the quality of being Filipino regardless of (government-sponsored scholars). A location or surroundings, a quality that describes many decade later sakadus (workers) were providing cheap and dependable labor for Filipino-American youth in America. the plantations of Hawai'i, the farms of California, and the salmon industry of

How can we understand their cultural ment to Europe. They sailed from ports Alaska and Washington. Although the identity, created from a Philippine her- such :is Vigan and Manila for the six- early migrants were mostly male, they itage in an American context? Any expla- month voyage to Acapuico, Mexico. There were eventually followed by couples and nation is necessarily complex, given their some jumped ship, and by the close of entire families. World War II brought diversity of language backgrounds, class the 18th century, these seamen had estab- another opportunity — citizenship which origins, and histories in the United States. lished the first documented Filipino set- could be obtained by serving in the U.S.

Filipino Americans (informally, Fil-Ams) tlement in America in the bayous near armed services. Until the outbreak of war have successfully assimilated into the New Orleans. in 1941, the Philippines' commonwealth American mainstream, often becoming Filipino settlement in the United States status made relocation to the United invisible to the general population while was gradual; groups came under a variety States simple. Following the end of the remaining highly visible to one another of circumstances and for a variety of rea- war the number of U.S.-bound Filipinos

Filipinos came to America over 250 sons. Besides serving on ships, increased despite U.S. efforts to limit it. years ago, before the Philippines or the "Manilamen" (another term for They were encouraged by relatives

United States wiLs a nation. The pioneer Filipinos) worked on the haciendas of already in the States, by opportunities for

Filipino Americans were crew on Spanish Mexican California, and some were even study and work, and by the promise of a galleons that brought luxury goods from enlisted as members of the Royal better life than their postwar homeland

China to Mexico for eventual transship- Hawaiian Band. By the turn of the 20th coidd offer. After the imposition of mar-

tial law and the rise of the Marcos dicta-

torship in 1972, there was another wave of emigration largely from the profes-

sions, business, and academe. Meanwhile, ongoing since 1898, the

American military, missionaries, and businessmen were bringing home

Filipina brides, and Filipino men living in

the States were marrying non-Filipinas. Their part-Filipino offspring would fur-

ther enrich Fil-Am identity and shape its

version of Filipinicity.

Young Filipino-American dancers perform the

tinikling at the annual Philippine Festival in

Washington, D.C. This dance from the Visayan

Islands has become a standard part of most

Filipino-American community gatherings as well

as public events. Photo by Paul Tahedo

1998 Smithsonian Folklife Festival 53 Pahiyas: A ?h\\\pp\ne Haruest

the only, opportunity for youth to become familiar with Philippine languages. Folk choral genres from the Visayas also are

featured in the Festival.

Youth have sparked an interest in kulintang, the gong-chime tradition of Muslim groups from the southern

Philippines. Cultural organizations in

New York (Amauan) and in California

(World Kulintang Institute in Los Angeles,

Kulintang Arts in San Francisco) have

received National Endowment for the Arts

(NEA) grants to support residencies by

master artists Dr. Usopay Cadar of the Maranao tradition and Danongan Kalanduyan of the Maguindanao.

Kulintang master Kalanduyan is the sin-

Danongan Kalanduyan, director of the Mindanao Kulintang Ensemble of Seattle, Washington, performs with his gle Filipino-American artist who has been group. Filipino Americans and others join to perform music from the Muslim region ofMindanao. Photo by Xander awarded the prestigious National Heritage

Hobayan Fellowship from the NEA. Although most students have lowland Christian rather

Strategies for identity fonnation in the ubiquitous ensemble of the Spanish- than Muslim forbears, they have become America have been both proactive and Influenced lowlands and stands as a serious participants in the genre. Its defensive, the former arising from pride Philippine national icon. It provides fes- ascendancy has significance for cultural in cultural achievement and the latter tive accompaniment for song, dance, and identity: kulintang is clearly a Southeast from anxiety about cultural loss through socializing. Romiallas were popular Asian tradition without Spanish or assimilation. Instrumental to both strate- among prewar immigrants, who soon American influence and is related to the gies, folk dance is the oldest and most learned, however, that playing in gamelan gong orchestras of Java and widespread focus for Filipino identity. American dance bands was much more Bali. It has become an icon of decolo- Organized by adults for their children, profitable. At present there are youth ron- nization: associated with high status as the dance represents a community-based, dallas in such diverse locations as entertainment in the courts of the sul- grassroots effort to maintan identity. Boston, San Diego, and Seattle. It is a tanates and structured by a highly codi-

Filipino youth come together (under challenge to sustain rotidallas overseas. fied system of music theory, improvisa- watchful parents, of course!), participate Their musical demands are high — one tion, and aesthetics, it is art music. in cultural learning, and gamer positive must be able to play by ear and by nota- Maguindanao kulintang is included as recognition from non-Filipinos through tion, and their instruments are crafted part of the Folklife Festival program. public performance. Dance groups gener- only in the Philippines, principally in Young Fil-Ams have also resuscitated ally draw upon the choreographies of Pampanga and Cebu. A rondalla is pre- several moribund traditions. Thirty years Bayanihan, the Philippines' most success- sented at the Smithsonian Festival. ago, for example, they initiated a renais- ful folkloric company. For example, their Filipino choral groups are very popu- sance of Philippine martial arts, particu- tinikling bamboo dance has become a lar: three centuries of Spanish larly escrima and amis, which were cultural icon and is now practically de Catholicism have made choral singing maintained in secret by early immigrants rigeur for the close of any dance pro- central to Philippine heritage. The chorus to Hawai'i and California. There are now gram. More recently some American is also popular in many Fil-Am commu- a national association, a calendar of troupes, like the L.A.-based Kayamanan nities, which sponsor groups such as the competitions, and studios and clubs ng Lahi, are pursuing greater ethno- Philippine Chorale (New York City), the nationwide. graphic integrity by seeking models Mabuhay Singers (Daly City, California), As cultural activists, Filipino-American directly in community culture bearers. and the Silangan Singers (Honolulu). descendants from the mountain tribes of

The rondalla (plucked string band) is Choral singing is often the major, if not Luzon formed BIBAK, a network for

54 Smithsonian Folklife Festival 1998 Pahiyas: A Philippine Harvest

Members ofBIMAK, an organization in the

Wasiiington, D.C., area, participate in f/ie annual

Philippine Heritage Parade in Washington, D.C.

BIMAK represents Filipino Americans whose families

came from upland tribal communities in Luzon.

BIMAK and BIBAK organizations across the United

States are proud of their heritage and work to keep

these traditions alive in their families

and communities. Photo by Paul Tanedo

defending the cultural rights of upland cultures. Members of these societies, which were put on display at the 1904

St. Louis Exposition and subjected to exoticization and other fomis of misrep- resentation, are now demanding accurate and respectful treatment of their heritage.

BIBAK, an acronym for the five major upland linguistic groups, provides workshops on culture, crafts, dance, and music for the general community. It actively assists folkloric dance groups in appreciating the upland repertory'. Each (AIDS). Remarkably, PCNs are entirely mercial music businesses. In classical

BIBAK chapter has young people in posi- organized, rehearsed, and presented by music, besides performing Schubert and tions of responsibility. The Kalinga students, as one year's producers share Bach, Fil-Ams may mark Filipinicity by upland group is presented at the Festival. their experience with the next. Although programming kundiman art song or

Fil-Am youth have been creative in the originally intended as educational out- folk-inspired compositions, such as the present climate of pluralism and multi- reach to the non-Filipino community, violin classic "Hating Gabi." culturalism, using opportunities to they have become largely a celebration of In even more nontraditional settings, explore heritage that were not available Filipinicity for friends and family. The perfomiing Filipinicity may involve a sar- in previous generations. Filipino Cultural PCN model has given rise to similar torial dimension — for example, using

Nights (PCNs), presented on numerous efforts b) Korean, Chinese, and accessorized kiniona or barotig tagolog college campuses, are evidence of this Vietnamese campus groups. (embroidered gauzy overblouse or over- creativity. Most universities with a signifi- We can encounter Filipinicity in a vari- skirt) as nightclub wear. It may also cant population of Filipinos (internation- ety of social settings, each reflecting a dif- involve creating in-jokes by appropriating al students as well as Fil-Ams) have them. ferent kind of commitment to heritage. In slang: three young L.A. artists collectively

Their typical format includes a selection a nontraditional cultural setting, for call themselves "The Badaf Pinoys." of folk songs and dances, usually drawn example, an emergent Fil-Am theater ("Pinoy" is an informal, in-group term of from the Bayanihan repertory. In a style addresses issues of homeland and dias- self-reference derived from the final sylla- reminiscent of the homeland's bodabil pora. For example, "Scenes from an bles of "Pilipino," while "Badaf" defies

(vaudeville) shows, humorous skits about Unfinished Country- 1905/1995," a work direct translation.) the Philippines and, increasingly, about by the Pintig Cultural Group (Chicago), There are private displays of identity as life in America are interspersed. Recent explores themes of American interven- well. For example, individual families

PCNs sometimes select a single theme or tion. Sining Kulisan & Pinoy Ink [sic] continue regional customs of the reli- create a imifying stor)' line. More than (Vallejo, California) treats the Spanish gious year. The Cebuano celebration of just entertainment, some productions period in its production, "Heart of the the Santo Nifio (Christ Child) still takes address social issues such as glass ceil- Son." The adjective "Filipino" for jazz, place during January in Hawai'i, ings in employment for minorities, U.S.- rock, and hip hop carries specific and California, and Illinois, replete with

Philippine relations, and "Tita Aida" positive connotations in regional com- songs, prayers, santos (icons), and food.

1998 Smithsonian Folklife Festival 55 .

Pahiyas: A ?}ni\\pp\m Harvesi

second generation (the first American Filipino identity is made even more com- bom) maintained some foodways, had plex by the emergence of ethnically passive understanding of the languages, defined gangs.

and kept some of the customs, such as The Centennial celebration itself prob-

touching the back of an elder's hand to lematizes identity for Filipino-American

one's forehead as a sign of respect youth. It raises issues about the two rele- {mamatw). The third and fourth genera- vant countries — one, the source of eth-

tions — most of today's Fil-Am youth — nic heritage, the other, the place of citi-

are often unaware of which Philippine zenship. U.S. intervention in the

language their elders spoke, observe few Philippines a century ago interrupted the of the customs, and know only a few of development of an independent Asian

the Filipino foods served at celebrations, nation. However, that intervention

such as spring rolls {lumpia), marinated enabled today's youth and their forbears

meat (acfobo), baked rice cake to become part of American life. Fil-Am

(bibingka), and banana fritters identity emerges directly from the com-

These World War II veterans are members of the {cambo/mariiya/baduya) plex commingling of these two national

Veterans of Foreign Wars Vicente Lim Post 5471 in But there is a contrasting segment of and cultural streams. We hope that

Oxon Hill, Maryland. More than 120,000 soldiers from Filipino-American youth composed of the Filipino-American youth will find in our

the Philippine Commonwealth Army fought alongside newly arrived. Typically having received Festival program, Pahiyas: A Philippine

Americans against the Japanese. Thousands of these early schooling in the Philippines and Harvest, resonant moments of encour-

soldiers resettled in the U.S. after the war. Photo by coming from urban rather than rural agement and self-recognition.

Paul Tahedo areas, they are an couraiit with the latest Manila fashions and music; their food- Suggested Reading

During Holy Week, families in ways reflect the eclecticism of the pre- Gonzalves,Theo."The Show Must Go On: Production Washington, Texas, and West Virginia per- sent-day Philippines; and they are fluent Notes on the Pilipino Cultural Night."Crif/'c(7/Mo5s 2,

fonn the pas)'on, a vernacular poetic in the national language, Pilipino, and no. 2 (1995).

account of Christ's Passion that begins often in another regional language. Tiongson, Nicanor.'Tilipinicity and the Tagalog komedya

with Creation and ends with the Final The two groups constitute polarities: at and sinakulo." Mure ],f\o.2(m&).

Tiongson, Nicanor, ed. CCP Encyclopedia of Philippine Art. Judgment; it also has songs, prayers, San- one end are the children of "old-timer"

tos, and food. In New Jersey and Nevada families, who do not speak a Philippine Manila: Cultural Center of the Philippines, 1994.

Muslim Filipinos observe Ramadan with language, and who feel they have paid Trimillos, Ricardo D."Music and Ethnic Identity, daytime fasting and singing the maiilid, their dues by confronting generations of Strategies for the Overseas Filipino Youth

a poetic account about the life of the racism in America; and at the other is the Population." Yearbook for Traditional Music

Prophet. These are the less public parts of "1.5 generation," Filipino newcomers, 18{1985):9-20.

identity. Pasyon and other religious gen- who are generally unaware that their way ."Asian American music, 6. Southeast Asian, ii.

res are part of the Festival. was paved by the old-timers. These con- Filipino." In The New Grove Dictionary ofAmerican

There are challenges to the identity of trasts generate tensions between, for Music, ed. H.Wiley Hitchcock & Stanley Sadie,

Fil-Am youth. Assimilation looms large. example, an upwardly mobile third-gen- vol. 1, 83-84. London: Macmillan, 1986.

Among eariy immigrants its pull was very eration student from a farm labor back-

strong. Its forces had already been at ground and a Manila-oriented 1.5-gener- Ricardo Trimillos is chair ofAsian Studies work in the homeland: an American- ation youth from a professional family and professor of ethnomusicology at the

based public education system, a U.S.- who affects Philippine versions of cloth- University ofHawai'i, Manoa. He is also a style democracy, and a high degree of ing, music, and dance. research associate of the Cultural Center of English fluency. In general, first-genera- On a continuum between these polari- the Philippines, Manila, and a member of tion immigrants kept many customs, ties are other groups, including part- the Advisory Board of the Smtihsonian maintained foodways, and retained their Filipino children, whose Filipino identity Centerfor Folklife Programs & Cultural languages, speaking Bikolano or may be problematic and varied, depend- Studies

Pangasinan at home, for instance. The ing upon whether the other parent is Anglo, African, Asian, or Native American.

56 Smithsonian Folklife Festivai 1998 he Baltic Narions

ill. **^asl^" A' The Baltic Nations A Song of Survival Baltic nations emerged on the world Thenews scene in 1988 ana 1989 as if from Elena Bradunas nowhere. For 50 years they had literally disappeared from the map, subsumed into the nations migrated around them gave monochromatic zone of tne USSR. Only occa- them a strong territorial claim. That their languages were neither Slavic nor sionally would Americans hear that the United Germanic helped to insulate them States did not recognize the illegal incorporation through the many years of subjugation of the three nations into the Soviet Union. to those more powerful neighbors. The conservatism of the peasants who kept

When Gorbachev FINLAND strong ties to land and customs enabled invoked glasnost traditions to endure. EUROPE and peresfroika to Already in the 18th century, when the rele:ise the tight Romantic Movement was sweeping RUSSIA controls on eco- through Europe, the "lore" of these small nomic, political, nations had been recognized, first by for- cultural, and social eign and eventually by their own intel- life, the people of lectuals. The first Estonian and Latvian the three Baltic national song festivals, held in 1869 and 1873 respectively, reawakened a sense of Demographics unity. This ethnic awareness built a

Estonia: national pride in all three countries that

Geographic size: 17,i7Ssq.mki; Population: led to their proclaiming independence 1.5 million: Language: Estonian (official); from Russia in 1918. Religion: Lutheran, Russian Orthodox; Ethnic

groups: 6096 Estonian, ]0% Russian, 10% Other The period of independence was short Latvia: lived, however, as World War II ushered in Geographic size: 2-^,950 S(;. miles; Population:

2.7 million; Language: Latvian (official); the Soviets, then the Germans, and then Religion: Lutheran, Roman Catholic, Russian the Soviets again, unleashing a blood bath Orthodox; Ethnic groups: 57% Latvian, 30% in all three Baltic lands and years of Russian, 4% Belarusslan, 9% Other RUSSIA Lithuania: oppression. Closed borders, forced collec- BELARUS Geographic size: 25, 175 sq. miles; Population: tivization, and strict controls on all U million; Language: Lithuanian (official).

Religion: Roman Catholic, Protestant, Russian POLAND aspects of cultural and social life did Orthodox; Ethnic groups: 85% Lithuanian, 8% much to break the natural continuity of Russian, 7% Other customs and traditions. countries organized However, language held its own in all grassroots movements that pushed the massive demonstration told the world three countries, despite dictums that experiments to new limits. The demand that they existed as nations and that they everyone learn Russian. Privately, and to discuss the past openly and to raise the yearned to be masters of their own des- issue of "divorce" from the USSR startled tiny. They sang their messages and called This program is made possible by and is produced in and irritated the Kremlin. it the Singing Revolution. cooperation with the Estonian Government and

On August 23, 1989, people in the The strength of their conviction came Estonian Ministry of Culture, the Latvian Government Baltics formed a human chain stretching from centuries of consciousness of who and Latvian Ministry of Culture, and the Lithuanian 430 miles, connecting Tallinn, Riga, and they are as people, bound by language, Government and Lithuanian Ministry of Culture. Vilnius. They remembered the day in customs, and belief. The fact that they Additional support comes from the Cultural 1939 when Hitler and Stalin had made a settled this Baltic coast so very long ago Endowment of Estonia, the American Latvian secret pact that sealed their fate. Their and stayed there while other tribes and Association, and the Lithuanian Foundation.

58 Smithsonian Folklife FEsrrvAi 1998 The Baltic Nations

very carefully, people still held on to reli- recording traditional cultural expressions independent countries, society is under- gious beliefs and some family traditions. increased on the professional, academic, going many changes. The market econo-

In Estonia, television antennas faced and grassroots levels. Local folk in vari- my is affecting daily life, not always bene-

Finland so that people could have a ous rural regions and young people ficially. Western popular culture is exert- glimpse of life in the West. Writers, studying in urban settings formed per- ing a homogenizing influence, especially artists, and scholars devised clever ways forming groups to perpetuate song, on the younger generation. The desire to to circumvent Soviet censorship. For dance, and musical traditions. Every- join the ranks of "modem nations" some- example, folklorists would argue that, where there was an impetus to learn as times clashes with the urge to celebrate under Soviet ideology, the ordinary folk, much as possible about the past and to one's cultural uniqueness. Will the people like the proletariat, should be held in actively relate that knowledge to the of the Baltic countries continue to prac- esteem. In this way one could defend the present. These activities were in full tice and cherish their traditions now that study of pre-Soviet songs, tales, and tra- swing in the late 1980s. these no longer serve the function of ditions, and interest in authentic folklore The numerous folk ensembles became political resistance to a foreign oppressor? became a form of subtle resistance. an integral part of the mass rallies com- Hopefully, they will, although inevitably

During the 1970s collecting and prising the "Singing Revolutions" in all some transfonnations will occur. three Baltic Our guests from the Baltic nations at Suggested Reading nations. Some say the Festival have lived through many swift General Baltics they could not and significant changes. They have much

Clemens, Walter C, Jr. Baltic Independence and Russian Empire. New York: imagine the to show and tell; we have much to leam.

St.Martin's Press, 1991. national re-awak-

Kirby, David G. The Baltic World 1772-1993. London & New York: Longman, 1995. ening having Elena Bradunas, an anthropologist and

Lieven, Anatol. The Baltic Revolution: Estonia, Latvia and Lithuania and the Path to occurred without folklorist. worked at the American Folklife

Independence. Ind ed. New Haven: Yale University Press, 1994. the ensembles and Center. Ijbrary of Congress, from 1977 to

Misiunas, Romuald J., and Rein Taagepera. The Baltic States, Years of the entire folklore 19S5 and is now based in Hawai'i. Her pri-

Depenrfence 7940- ;990. Berkeley: University of California Press, 1993. movement. These mary documentary work has been among

$midchens,Guntis."A Baltic Mu5ic:The Folklore Movement in Lithuania, ensembles continue the Lithuanian-American immigrants in

Latvia and Estonia, 1968-1991." Ph.D. diss., Indiana University, 1996. to play a vital role the anthracite region ofPennsylvania. Since Estonia today, as the 1990 she has been making extended annu-

Oinas, Felix J. Studies in Finnic Folklore. Bloomington: Indiana authors in this sec- al visits to Lithuania and studying the role

University Uralic and Altaic Series, vol. 147. tion describe in offolklife in the post-Soviet society.

Raun, Toivo. Estonia and the Estonians. 2nd ed. Stanford: Hoover their essays.

Institution Press, 1991. In these newly

Taagepera, Rein. Estonia: Return to Independence. Boulder: Westview Press, 1993. Latvia Baltic-American Communities

Dreifelds, Juris. Latvia in Transition. New York: Cambridge University America has been connected to the Baltic countries primarily through the

Press, 1996. Baltic-American communities. Earlier immigrants lobbied the U.S. gov-

Plakans, Andrejs. The Latvians: A S/iorfW/sfory. Stanford: Hoover Institution Press, 1995 ernment to recognize the fledgling countries at the end of World War I, and

Skultans,Vieda. The Testimony of Lives: Narrative and Memory in Post-Soviet Latvia. they continued to rally aid for them. After the countries were forcibly incorpo-

London: Routledge, 1998. rated into the Soviet Union, newly arrived refugees worked hard to ensure

Lithuania that the U.S. government would never recognize the legitimacy of that incor-

Bindokiene, Danute Brazyte. £;f/?(/fl/7/(7n Cusfoms one/ rrarf/f/ons. Chicago: poration. Many families did their best to aid relatives left behind or exiled to

Lithuanian World Community, Inc., 1989. Siberia. For themselves they created their own press, ethnic education pro-

Eidintas, Alfonsas, with Vytautuas Zaiys and Alfred Erich Senn. Lithuania in European grams for their youth, and a rich cultural and social network throughout the

Politics, The Years of the First Republic 1918-1940. Ed. Edvardas Tuskenis. New York: country. When the Iron Curtain finally came down, they rejoiced in near-dis-

St.Martin's Press, 1997. belief Since then, many have been making frequent trips to their homelands

Milosz, Czeslaw. The Issa Valley. New York: Farrar, Straus, Giroux, 1981. and also hosting visiting guests and relatives here. Some Baltic Americans

Rowell, S.C. Lithuania Ascending. New York: Cambridge University have returned from abroad to work in their professional capacities or even in

Press, 1994. politics. The most recent example is the current president of Lithuania, who is

Senn, Alfred E. Gorbachev's Failure in Lithuania. New York: St. Martin's from Chicago. The Smithsonian Festival provides a forum for Baltic Americans

Press, 1995. to join in the presentation and celebration of their cultural roots.

1998 Smithsonian Folklife Festival 59 ,altic Nations: Estonia

Traditional Culture

in Estonia Ingrid Ruiitel

/;? prehistoric titnes the Finno-Ugric tribes, including ancestors of the Estonians, populated vast areas between the Ural Mountains and the Baltic Sea. Estonian culture developed in ^'' close contact with the Baits (ancestors of the Indo-European ^ Latvians and LithuaniansJ and other Indo-European peoples: # Scandinavians. Germans, and later also Russians.

In the IJtb century the Estoniatis were conquered by the

Danes and Germans. In time, the German landholders took Saarema, possession of the entire territory of Estonia, and most Estonians Islarii were reduced to serfdom. In 1721 Estonia became part of the Russian empire. Estonian LATVIA

•""^^m ^.*~

^.^

^. The Baltic Nations: Estonia feasants remained serfs of the German anne.xation to the Soviet Union in 1941. Russians and Germans for hundreds of

'amiholders until thefeudal system was Tl)is was in turn followed by the Nazi years. It continues to be vital in the pre- ibolished in the middle of the 19th occupation. Both occupations were sent, because of the large Russian popu- :entury. We antiserfdom movement was accompanied by political repression and lation in Estonia and because, as iccompanied by a national awakening deportations; Estonia lost one-fourth of its UNESCO's 'Recommendation on the vith emphasis on Estonian-language population. These losses were "replaced," Safeguarding of Folklore" (1989) education andpublications and collect- in accordance with the Soviet resettlement describes, small nations are always more

'ngfolklore, as well as on political rights. and russifwation policy, by hundreds of threatened by cultural assimilation in Jn February 24. 1918. following the thousands of colonistsfrom Russia. the situation where the adherence to Russian Revolution, the independent We perestroika led by Gorbachev one's own culture "is often eroded by the Republic ofEstonia was proclaimed. The sparked a unique movement, known as impact of the industrialized culture pur- var of independence against Russia was the Singing Revolution, in Estonia and veyed by the m;iss media." mded by the Tartu Peace Treaty on other Baltic states. Tl)e efforts by In two regions of Estonia the living

February 2, 1920. when Russia agreed Estonians to restore their independence tradition of folk song, dance, and music forever to relinquish claims over Estonia. succeeded: on August 20, 1991, the inde- has managed to survive with its integrity Nevertheless, the secret agreement in pendent state ofEstonia was restored. intact up to the present time. These are 1939 between Hitler and Stalin, the noto- the small island of Kihnu, off the western ious Molotov-Ribbentrop Pact, resulted in Estonia's folklore today falls coast of Estonia, and the southeastern 'he Soviet invasion of Estonia and its into three basic categories. corner of Estonia, Setumaa.

There is a repertoire of con- In Kihnu, people have preserved the temporary folklore — anec- ancient wedding ceremonies, singing old

dotes, children's games and alliterative verses in Kalevala meter (the

rhymes, student songs, etc. — which is regilaulud or runosongs), and dancing

orally transmitted. Traditional music, traditional folk dances. Such weddings

dances, and tales, which live in the mem- derive from clan wedding ceremonies

ories of older people and continue to be that confirm the contract between two

practiced, are orally transmitted and also lineages. They have pre-Christian origins

preserved in archives (the central archive and are essentially similar to the ancient

for folklore and traditional music being wedding rites of other Baltic-Finnic peo-

the Estonian Folklore Archives in Tartu ples. The "two-part" wedding is celebrat-

at the Estonian Literary Museum). The ed separately at the homes of both the

third form, the so-called secondary tradi- bride and the groom; the old ritual songs

tion or folklorism phenomenon, consists are performed at the main events in of traditional heritage that has been which both clans participate.

transmitted through written sources, An important wedding rite is the distri-

tapes, radio and television programs. It bution of the dowry. The bride's dowry

takes on a "second" life in modem soci- chest has to be filled with items made by

ety, in a new context, and is a resource her and her friends, and this tradition

for contemporary amateur and profes- has supported the persistence of handi-

sional art practice. craft skills. Also worth noting is that the The preservation of national culture wedding ceremony includes dancing of

and identity has been a vital question in old folk dances, which in other settings

Estonian history: nation-building as well were long ago replaced by modem

as our very persistence as a nation have dances. Only in the last decade have old

been extremely difficult under various folk dances regained their place along- occupations and subordination to side contemporary dance forms in Kihnu's public social events.

/I region where traditional culture has persisted with- Although the old wedding rites and

out disruption is Setumaa. Pictured is a Setu wedding. songs have lost their religious and magi-

Photo by Kaido Haagen cal connotations, they have retained their

Smithsonian Folkiife Festival 61

The Baltic Nations: Estonia The Baltic Nations: Estonia

peasants remained serfs of the German annexation to the Soviet Union in 1941. Russians and Germans for hundreds of

landholders until thefeudal system was This was in turn followed by the Nazi years. It continues to be vital in the pre- abolished in the middle of the 19th occupation. Both occupations were sent, because of the large Russian popu- Traditional Culture century. The antiserfdom movement was accompanied by political repression and lation in Estonia and because, as

accompanied by a national awakening deportations: Estonia lost one-fourth of its UNESCO's "Recommendation on the in Estonia Ingrid Ruiitel with emphasis on Estonian-language population. Tl)ese losses were "replaced,'^ Safeguarding of Folklore" (1989) education andpublications and collect- in accordance with the Soviet resettlement describes, small nations are always more ing folklore, as well as on political rights. and russification policy, by hundreds of threatened by cultural sissimilation in /n prehistoric times the Finno-Ugric tribes, including ances- On February 24, 1 91 S. following the thousands of colonists from Russia. the situation where the adherence to tors of the Estoniatis, pofmluted vast areas between the Ural Russian Revolution, the independent Ihe perestroika led by Gorbachev one's own culture "is often eroded by the Mountains and the Baltic Sea. Kstonian culture developed in Republic ofEstonia was proclaimed. The sparked a unique movement, known as impact of the industrialized culture pur- close contact with the Baits (ancestors of the Indo-European b^ ^ war of independence against Russia was the Singing Revolution, in Estonia and veyed by the nuLss media." Ixitvians and Lithuanians) and other Indo-European peoples: 4 ended by the Tartu Peace Treaty on other Baltic states. We efforts by In two regions of Estonia the living Scandinavians, Germans, and later also Russians. February 2, 1920, when Russia agreed Estonians to restore their independence tradition of folk song, dance, and music In the 13th century the Estonians were corufuered by the forever to relinquish claims over Estonia. succeeded; on August 20. 1991. the inde- has managed to survive with its integrity Danes and Germans. In time, the German landholders took Saarema Islan Nevertheless, the secret agreement in pendent state Estonia was restored. intact up to the present time. These are possession of the entire territory of Estonia, and most Estonians of 1939 betweeti Hitler and Stalin, the noto- the small island of Kihnu, off the western were reduced to serfdom. rious Molotov-Ribbentrop Pact, resulted in folklore today falls coiist of Estonia, and the southeastern In 1721 Estonia became part of the Russian empire. Estonian Estonia's the Soviet invasion ofEstonia and its into three basic categories. corner of Estonia, Setumaa.

There is a repertoire of con- In Kihnu, people have preserved the temporary folklore — anec- ancient wedding ceremonies, singing old

dotes, children's games and alliterative verses in Kalevala meter (the

rhymes, student songs, etc. — which is regilaulud or runosongs), and dancing orally transmitted. Traditional music, traditional folk dances. Such weddings

dances, and tales, which live in the mem- derive from clan wedding ceremonies ories of older people and continue to be that confirm the contract between two

practiced, are orally transmitted and also lineages. They have pre-Christian origins

preserved in archives (the central archive and are essentially similar to the ancient

for folklore and traditional music being wedding rites of other Baltic-Finnic peo-

the Estonian Folklore Archives in Tartu ples. The "two-part" wedding is celebrat-

at the Estonian Literary Museum). The ed separately at the homes of both the

third form, the so-called secondary tradi- bride and the groom; the old ritual songs

tion or folklorism phenomenon, consists are performed at the main events in

of traditional heritage that has been which both clans participate.

transmitted through written sources, An important wedding rite is the distri-

tapes, radio and television programs. It bution of the dowry. The bride's dowry

takes on a "second" life in modern soci- chest has to be filled with items made by

ety, in a new context, and is a resource her and her friends, and this tradition

for contemporary amateur and profes- has supported the persistence of handi-

sional art practice. craft skills. Also worth noting is that the The preservation of national culture wedding ceremony includes dancing of

and identity has been a vital question in old folk dances, which in other settings Estonian history: nation-building as well were long ago replaced by modem

as our very persistence as a nation have dances. Only in the last decade have old

been extremely difficult under various folk dances regained their place along- occupations and subordination to side contemporary dance forms in Kihnu's public social events.

A region where traditional culture has persisted with- Although the old wedding rites and

out disruption is Setumaa. Pictured is a Setu wedding. songs have lost their religious and magi-

Photo by Kaido Haagen cal connotations, they have retained their

Smithsonian Folklife Festival 61 The Baltic Nations: Estonia

remarkable characteristics of Kihnu cul-

ture is its ability to integrate various elements over the course of time without

losing its basic substance. The new has

not completely superseded the old. Performing groups on the mainland have adopted some Kihnu songs, dances,

and instrumental melodies in their

repertoire. Kihnu folk songs have also inspired professional composers. Thus

Kihnu culture, though mainly in its

newer forms, is perceived as an integral component of Estonian national culture. Organized folklore groups have become important mediators between traditional and contemporary culture; young people accept such a medium for learning and perpetuating the cultural heritage of their parents. The most

ABOVE In 1989, to famous such group today is Kihnumua, protest Soviet directed by Katrin Kumpan. Performers occupation, Baltic in the group represent a mb( of genera- peoplejoined hands tions. Members of Kihnumua are fre- to form a human chain quently invited to weddings to perform that stretched from the role of traditional wedding singers.

Estonia, through Latvia, Wedding songs are led by the older to Lithuania. Photo by women in the group; girls sing as a cho-

Peeter Langovits rus and assist the brides. Another region where traditional cul-

RIGHT St. John's Day ture has persisted without disruption is

celebration on Kihnu Setumaa, a relatively isolated area whose

Island, Estonia. Photo by population is Eastern Orthodox. Its

Veera Nazarova ancient folk song style has been pre-

served, and the elderly women are still symbolic significance. They promote the ther influenced the culture on Kihnu masters of their local singing language importance and festiveness of the wed- island. Radio, television, tape recorders, to the extent that they are able to impro- ding for the bridal couple and their fami- and recently also video have become a vise new songs in the traditional manner. lies, help to prepare the bride for her new part of daily life, disseminating the glob- Also important in Setu are the village social status, and remind the newlyweds al commercial culture; passive listening feasts — kirmased — which sometimes about their duties and responsibilities. has replaced active participation. Many coincide with a traditional calendar cele-

The main bearers of tradition in Kihnu Kihnu youth study on the mainland, bration such as Easter. Setumaa is the have been women. Kihnu men long ago where they take up residence after they only region of Estonia where death discarded their traditional attire and graduate. In summertime they visit their laments and rituals of ancestor cults, songs, and the playing of traditional native island and bring forms of contem- such as a commemorative meal on a musical instruments, which used to be porary urban culture with them. Never- grave, have been preserved. men's domain, has today been adopted theless, when at home in Kihnu, girls Setu singing deviates considerably by women (mainly young girls). Sea- wear traditional striped skirts (the fabric from other Estonian folk singing, partic- farers since time immemorial, the men is always woven at home, even if the ularly in its polyphony and performance have brought innovations back home. looms are borrowed) and sing and dance style. The Setu dialect is likewise unique, The openness of modem society has fur- old Kihnu songs and dances. One of the even incomprehensible to a northern

62 Smithsonian Folklife Festival 1998 .

The Baltic Nations: Estonia

Estonian. While being an essential bearer National song festivals are large affairs with the participants numbering in the tens of thousands, and the of identity for the Setus, Setu folk songs, audiences in the hundreds of thousands. Pictured is the 1990 All-Estonian Song Festival. Photo by Gustav German like the culture as a whole, strike other

Estonians as strange. This strangeness is Organized amateur cultural activities nels is always more popular. sometimes a source of embarrassment to have provided urban Setus with such an Still, during the last decade, recogni- Setus and has caused serious problems opportunity to consciously practice their tion of local cultural traditions has for those who have migrated to towns heritage. Setu ensembles of singers are grown and consequently enhanced the and tried to maintain their identity'. active both in Setumaa and in cities appreciation of the native culture by its

A performer and researcher of Setu where Setus have settled. They come bearers both in Kihnu and in Setu. But it culture, Oie Sarv, who is the grand- together at the leelopaev festival every is impossible to revive all the old forms, daughter of a great Setu singer, Anne three years and various other events. and noticeable changes have taken place

Vabarna, writes: Their main objective is not to perform in those that have been retained. for an audience, especially for outsiders Alongside and/or replacing the old ritu- In the environment where I live, there to the community. More important is the als and customs, new feasts have arisen occurs desperate aspiration to mold all interaction and communication that take in which old songs and dances are used people alike, to level any deviation. The place among members of the community with changed functions and in changed inside wants to fight against it, but and foster the preservation and mainte- forms. unfortunately I miss the helping and of cultural identity and unity. In other parts of Estonia, folk songs, caring support of my own culture. There nance attitude that was cultivated in the music, and dances have spread mainly in are a lot of people like me in Tallinn The forms. [the capital of Estonia] and elsewhere, Soviet period, and that unfortunately is secondary groups are those who are not satisfied with the present gaining ground in the current open-mar- Among amateur folk

situation but wish to preserve their ket society — the degradation of local which directly carry on the primary tra-

ancestral culture, in order to transmit it cultural heritage, and traditional culture dition, i.e., at least some of their mem-

in turn to their own children. Those in general, as something obsolete and bers are authentic tradition bearers and

phenomena which in the past func- worthless — gives an enormous impetus teach younger participants, as is the case

tioned naturally and implicitly should to the bearers of the culture themselves, with the Kihnu and Setu groups. Other

be attended at present consciously. . the young especially, to underestimate it. folk music and dance groups perfomi the

(Sarv 1994:69). What is promoted via mass media chan- so-called secondary tradition. They either

1998 SmiTHSONIAN FOLKIIFE FESTIVAL 63 The Baltic Nations: Estonia take examples from authentic folklore ditional as well as classical musical while the arrangement, sound, and and try to perform them in the most gen- instruments and always played from singing style of the singer were those of uine manner (although the primary tra- written scores. Later, especially rock. These songs were performed dition has been broken and the reper- in the 1970s, the so-called kiikikapeUid, together with old national songs during toire is learned through recorded "country orchestras," became popular, the recent "Singing Revolution" and sources), or they perform folklore representing more spontaneous music- became very popular at political rallies. making and hav- The lines by the lead singer were repeat- ing stronger tradi- ed by thousands of people, the majority The preservation of national tional roots. Many of whom had never before sung old tra- culture and identity has been a skilled folk musi- ditional songs nor been rock music fans. cians, true carriers (The singing of old folk songs by a lead vital question in Estonian history. of traditional singer and chorus had also been some- music, participated what popular during the Soviet era arrangements in a more stylized, (and still participate) in such small thanks to folklore ensembles like up-to-date form. orchestras; they were not able to perform Leegajus and Hellero, but also thanks to Authentic folklore groups, which began as soloists at public festivities for a long a well-known composer of a number of to be formed in Estonia in the 1960s, time, because their style of music-mak- folk song arrangements, Veljo Tormis, were rather rare. The groups who per- ing was not officially recognized. Only in who has promoted such a singing style formed stylized arrangements and new the last decade have authentic folk musi- while performing as a lead singer him- creations "in folk style" were preferred at cians become appreciated anew. A new self at various gatherings.) At the 1990 official festivals and were also chosen to generation of folk musicians has Song Festival, which was organized dur- represent the national culture abroad. appeared who follow traditional performing the process of restoring indepen-

The ideology at the time aimed to merge ing styles and teach them to other young dence, barriers between performers and the nationalities and create new entities people. the audience crumbled, and all the par- — the Soviet people and the Soviet cul- In spite of the fact that the inner quali- ticipants joined as one rejoicing mass of ture. Openly expressing one's national ties of traditional culture were not recog- people, singing old and new popular self-consciousness and ethnic identity, nized during the Soviet period, that songs and dancing spontaneously. even through the native culture, was authentic folk art was forced into alien Festivals of authentic folklore — local, regarded as "nationalistic" and was pro- frames, its essence and meaning greatly all-Estonian, and international — which hibited. "Nationalism" was to be replaced distorted, even the officially accepted started some 15 years ago, represent a with "Soviet patriotism," which had to be folkloric forms served as a means of new trend in the Estonian folklore move- demonstrated at all official festivities. national self-expression. The same has ment. The first local festivals were Viru

Every festival and even concert program been true in the case of large song festi- Saru in northern Estonia and Setu had to be approved by appropriate state vals — the first of which was held in Leelopaevad and Viljandimaa Virred in organs. Estonia in 1869 — at which numerous southern Estonia. Their goal has been to The new, choreographed "folk dances" amateur choirs from all over the country bridge the ancient cultural heritage of

were performed to the accompaniment of — tens of thousands of singers — per- their district and contemporary culture special folk music arrangements as well form and which hundreds of thousands by acquainting people with authentic as new works by contemporary com- of people attend. A sense of national and traditional customs, songs, dances, posers. The so-called folk instrument or cultural identity and the need to mani- instrumental music, games, and tales, folk music orchestras might contain tra- fest it have been carried through the popularizing traditional handicrafts, and

course of history of all these festivities, disseminating the folklore of other regardless of what and whom they had to

be devoted to officially. Professional composers such as Alo

Mattiisen attempted in the 1980s to introduce into rock music elements of folk music — the monotonously repeat-

ed melody that lasts one verse line, performed by a lead singer and chorus —

64 Smithsonian Folklife Festival 19981 The Baltic Nations: Estonia

Finno-Ugrians and other cultures around own traditional culture. Understanding the Baltic Sea. and respect towards strangers together

I The same philosophy lies behind other with preserving and ensuring of one's local festivals (in recent years their num- own identity helps to create harmony; it ber has noticeably grown) as well as the guarantees the right of all nations and international folklore festival Baltica, the cultures to permanent existence in a lin- largest folklore event in the Baltic states. guistically, culturally, ethnically diverse,

This annual festival, begun in 1987, is and interesting world. organized by the Baltic National Com- mittee of CIOFF (Conseil International des Work Cited and Suggested Reading

Organisations de Festivals de Folklore et Koiva, Ottilie, and Riiutel, Ingrid, eds. and comps/'/fZ/inu regilaulud" (Kihnu wedding d'Arts Traditionnels) and is held in the songs). In Vana kannel (The ancient kannel). Monumenta Estoniae Antiquae,

three Baltic states on a rotating basis. vol. 7, part 1 . Tartu: Eesti Keele Instituut, 1 997.

Organizers first and foremost value inner Pino, Veera, and Sarv,Vaike."Sefusumu/f/tu(yi-H"(The Setu death dirges). Ars Musicae

Freedom and naturalness in presentation, Popularis. Tallinn; Eesti Keele Instituut, 1981-1982. (with Russian and English not stage efficiency. In addition to pre- summaries) serving, reviving, and developing national Riiutel, lngrid."Estonian Folk Music Layers in the Context of Ethnic Relations." Paper and regional cultural traditions, the presented at Congressus Octavus Internationalis Fenno-Ugristarum Jyvaskyla,

Baltica festival aims as well to promote 10-15 August 1995. In Orationes plenariae et conspectus quinquennales, pan 1, contacts with other countries and nations. ed. Heikki Leskinen. Jyvaskyla, Finland, 1995, 117-141.

The folklore movement in Estonia and Sarv, 0."Connections between family and folk culture in modern times." Abstract of in other Baltic countries is one of the paper presented at the Nordic, Baltic, Finno-Ugric Conference: Family as the reflections of the worldwide folklore Tradition Carrier, Vdsu, Estonia, 25-29 May 1994. Tallinn: Folklore Department, movement of the last decades. On the Institute of Estonian Language, 1 994, 68-69. one hand it is connected with the ideals Vissel,Anu."fesf;/tflryflse/flu/udl-IV" (Estonian herding songs). Ars Musicae Popularis. of national identity, of retaining the his- Tallinn: Eesti Keele Instituut, 1982-1992. (with Russian and English summaries) torical and cultural memory of nations; on the other, with the ideals of cultural Suggested Listening pluralism. Pahnapuu, Veera. Sefutoe/flu/e (Setu folk songs). Comp.Vaike Sarv. Forte FA 0084

Today the international exchange of (Tallinn). Cassette.

Folklore groups has become rather exten- Setu Songs. Global Music Centre, Mipu Music MIPUCD 104.

I. sive, as there are numerous festivals in Suu laulab, siida muretseb. . . (an anthology of Estonian folk songs). Comp. Riiiitel. different countries where Estonian Forte (Tallinn). CD (with English and Russian summaries) groups participate, and foreign groups often visit local festivals arranged in Estonia. One of the new international

Festivals was started in 1993 in Viljandi Itigriii Riiutel, director of the Folk Music by young graduates of the folk music Department ofthe Institute ofEstonian department established at the Viljandi Language, holds degrees in folklore, tradi-

Cultural College in 1991- Their folk tional music, and philological sciences. She music groups, folk music summer has studied and collected thefolk music of schools, and festivals have become very Estonians and other Finno-Ugric peoples popular, especially among young people. andpublished 200 scholarly works. She is a

The essential purpose of international metnber ofthe scientific board ofthe Inter- festivals, as we see it, is to widen the cul- national Institute of Traditional Music in tural competence of the Estonian audi- Berlin and a liaUion member ofthe Inter- ence, to learn to understand different national Councilfor Traditional Music. cultures, and through all this to create a more tolerant society. This way we may also better comprehend the values of our

1998 Smithsonian Folklife Festival 65 The Baltic Nations: Latvia

Latvian Traditional

Culture and Music Valdis Muktupavels

Zatvia is a northern European countty on the eastern shore of the Baltic Sea. with a territory of 24.950 sq. miles. It is gen- erallyflat andforested, with higher elevations in the northeast

and east, where there are numerous lakes. Tlje original inhabitants were Indo-European-speaking Bait tribes and Einno-

Ugric f.irs. of whom only a small group has survived on the northwestern shore and in some towns. I^tvia's present popula-

tion is more than two and a half million, of whom almost a

million live in its capital, Riga. For 300 years after the German Crusaders^ conquest in the 13th century. Latvia and Estonia were ruled — under the name ofLivonia — by the Livonian Order and the Catholic Church. Livonia was dissolved in 1561, and three parts of what

is noiv Latvia developed separately: Kurzeme as the Duchy of Courland: Vidzeme as apart of the Latvian-Estonian province Liefland. ruled by the Swedes: and Latgale as a part of the Polish-Lithuanian state. After the Russian conquest in the 18th century they became three separate provinces within the

Russian empire. Latvia achieved its independence in 1918, The Baltic Nations: Latvia uniting the three distinctive regions. both to the ordinary events of daily life ciated with work in the fields. During Latvia was occupied by and incorporated and to special events and communal cel- singing, a quatrain is followed rather into the USSR in 1940, and regained its ebrations. As such, they only rarely tell freely by other quatrains. The choice of independence in 1991. stories, but rather comment on per- the following dainas is up to the soloist;

Christianity reached all social strata formed rituals, express feelings, or con- it depends on his/her ability, skillfulness, only after the Reformation, while some dense folk wisdom into pithy epigrams. and knowledge, as well as the context in pagan rites and practices survived into Dainas contain many mythological which the singing takes place. Though the 20th centur)'. Before World War II a images, episodes, and motifs. Tlie court- each quatrain is short, the singing can majority ofLatvians (64 percent) were ship and wedding of cosmic deities, such go on for hours. Lutherans. Twenty-six percent of the as the sun and the moon, are reflected in In contrast, the "sung" songs are per- countr)''s population — only Latgale some rather extensive song cycles. formed mostly solo, but other singers can and a small enclave in western Kurzeme The first recordings of dainas are from join as well. The melody of the sung — were Catholic. Haifa centur)' later the 17th century; more systematic collec- songs, with its range often exceeding an these two main confessional groups were tion began in the second half of the 19th octave, is as important as the text. almost equal in number People's sense century. The compilation of Latvian folk of religious identity has tended to become songs by Krisjanis Barons, Latvju dainas, From the Cradle to the Grave stronger in the 1990s. appeared in 1894-1915 and comprised In Latvia's traditional culture two ritual ne iMtvian language has changed about 300,000 song texts and their cycles — seasonal rituals and rituals very little over the centuries, and together variants in six volumes. marking the progression of family mem- with Lithuanian it is regarded as a sur- bers through major stages of life — were viving dialect of early hido-Europeati. "When They Sing, intended to assure wealth, fertility, and

There are, in fact, two literary language They Are HowUng As Wolves" continuity. Many themes and symbols of traditions: Latvian, which has developed This extraordinary description by these cycles overlapped, in particular the on the basis of the central and southern Sebastian Miinster, author of the 16th- sun. Festivals of the calendar cycle are dialects and has been the language of the century book Cosmographia about the linked to the major stations of the sun

Protestant Church, and Latgalian, the singing in Livonia, is, in fact, the first — the summer and winter solstices and language of the Catholic Church. In addi- written evidence of a unique drone the spring and fall equinoxes. (The world tion, the Finuo-llgric Livs have produced singing tradition which is still practiced ispasaule, "under the sun"; after death a significant body ofpublished materials in certain areas, especially in the suiti the human soul goes singing to aizsaule, in their almost extinct language. region in Kurzeme. Singers are any "beyond the sun," or to vina saule, "that

group of people, among whom there is at sun, the other sun.") Dainas and Singing Traditions least one recognized soloist, who starts One of the most developed vocal gen- differences in musi- the singing. Usually after half of the res — ligotnes — is connected with Jani, Majorcal style and repertoire four-line stanza is sung, the counter- the midsummer solstice celebration on exist between Protestant singer repeats it, while a vocal drone part June 23. Janis is the central mythological

Vidzeme and Kurzeme on is performed by vilcejas, "those who figure of this orgiastic midsummer night

the one hand and drawl, pull (a tone).'" The drone is sung feast, the celebration of which combines

Catholic Latgale on the other. On the on the vowel e (as in "there") with a features of solar, phallic, and fertility whole, traditional singing is preserved sharp, intense voice. rites. The singing of ligotnes can start a much better in Latgale, while modem This vocal drone is closely connected fortnight before and can continue a week lyrical and other popular styles are com- to the so-called recited style, which is after midsummer, but the culmination is mon in most of Vidzeme and Kurzeme. one of the two basic singing styles in reached on the evening and the subse-

Despite the significant differences, howev- Latvian folk song. The recited style is quent night of the celebration. Melodies er, there is a remarkable uniting entity characterized by the domination of text of the songs vary from place to place, — dainas. Daina — the basic fonn of over melody, and the respective songs are and several different melodies might be the Latvian folk song text — is a short, part of traditional events and celebra- used in one place during the celebration. self-contained quatrain of two non- tions; the recited style occurs in family In rural areas singing accompanies rhyming couplets; when sung, the couplet celebration songs, especially at weddings, autumn work in the fields and vakare- or each line of text is usually repeated. in lullabies, in a good portion of calen- sana, communal spinning and sewing on Dainas are sung as accompaniments dar celebration songs, and in tunes asso- autumn and winter evenings. It is also

1998 Smithsonian Folklife Festival 67 The Baltic Nations: Latvia

The Livs Dainis Stalls

The Livs, an ancient Finno-Ugric people, today live in various concen- trations in the country of Latvia. Known as White Indians (baltie indidni) in reference to American Indians, with whom they believe they share some cultural attributes and historical experiences, they strive to preserve their language and traditions.

Some of these traditions are extraordinarily beautiful, such as the Rite of Spring, which is held at the top of the highest sandy elevation on the seashore.The tradition reflects the belief that in waking returning migrant birds with special songs and rituals on the first day of spring,

Livs communicate with the souls of their ancestors, which have been embodied in tiny birds called tshitshorljinlists.W\lh the birds' return also returns hope.

The Livs may have inhabited Latvian territory for more than 5,000 years. The earliest records of the Livs are inscriptions on 7th- and 8th- century Scandinavian rune stones. Artifacts uncovered at grave sites attest to the Livs' skills as craftsmen, makers of tools, weapons, and builders of ships. Letters and chronicles mention the prosperity that existed in Liv-dominated regions around the 12th century. This relative prosperity, however, attracted marauders and pillagers; in the early 1 3th century the first Teutonic Crusaders subjugated the indigenous people in the name of Christianity, acquiring lands and creating a ruling class which prevailed in the territory of Latvia for over 700 years. During these centuries the majority of the Livs died in wars, of bubonic plague, and of hardship.

After the abolition of serfdom in the 19th century, the rebirth of the

Liv nation, who then numbered 3,000, began. The first Liv-language books and the first Liv dictionary were published. But after World War I, Traditional Liv singers. Photo by Imants Predelis only 1,500 Livs remained.

Latvia's declaration of independence in 1918 inspired a second Liv With the collapse of the Soviet regime, the region along the Baltic renaissance. Livs organized themselves in communities and established seashore was returned to the Livs; they were recognized officially as an choral societies and associations for Livs and friends of Livs. They pro- ancient founding member of the Latvian people in the new laws of the duced a newspaper and built a cultural center. Along the Latvian shore republic. in the Kurzeme region, some local schools began to teach the Liv The prospect of keeping Liv alive as a spoken language is rather language. bleak. No more than several dozen people speak it and only one family,

The renaissance was disrupted by the 1940-1941 invasion of Latvia mine, is known to speak it at home. Still, the Livs can hold their sacred by the Soviet Union. The Liv societies were dissolved, the cultural center rites by the seashore, communicate with the souls of their ancestors, and closed, and language teaching banned. Deportations to Siberian gulags celebrate their traditions with their relatives and friends. Livs, today and flight to the West reduced the Liv population in Latvia by more than numbering 500, can freely utter their ancient pledge, "M/nofl un Livli. half. During their 50 years of occupation, the Soviets made every effort Min rou un min ouf (I am a Liv. My people is my honor). to ban Livs from the dozen or so fishing villages in the northern part of

Kurzeme that were their ancestral homes. Fishing boats and equipment Dainis Stalls is a folldore specialist for ttie Latvian Etiinographical were destroyed, schools closed, and the people evacuated to all parts of Open- Air Museum and was a member ofttie Latvian Parliament from

Latvia. Only at certain Liv folk festivals could the scattered members of 1993 to 1995. He fias been a l

68 Smithsonian Folklife Festival 1998 The Baltic Nations: Latvia an indispensable part of all ritual and Singing Bones and Golden Strings heavenly aura and a fine, deeply touch- religious events. After a christening in A popular legend tells of the magic ing tone quality. church, singing took place at home power of pipes that are made from a reed The violin became very popular in the during a feast, which in southwestern growing on a grave. When played, those 19th century, first as a solo and then as Kurzeme was followed by didisaiia, ritual "singing bones" reveal the reason for the an ensemble instrument with zither and swinging and rocking of the baby by all death and return the person to life. accordion. The dominance of the accor- participants in the celebration, accompa- Various bark or nied by special songs. Rural weddings clay whistles, started in the bride's house with a wooden flutes and Daina — the basicform of the farewell party, at which girlfriends of the reeds, hornpipes, Latvian folk song text — is a bride would sing. Since there should be wooden and birch- short, much noise and joy after the marriage bark trumpets self-contained quatrain of ceremony, singing and dancing were were made and two nonrhyming couplets. essential parts of the celebration. The played by shep- central musical event at the wedding was herds, not only for apdziedasanas,''smgmg back and forth" entertainment but to collect the herd in dion increased in the second half of this

— antiphonal, humorous, competitive the morning and gather it in the century, and it is still the main instru- singing, involving two opposing groups evening. Hornpipes were used to calm ment used for traditional dance music. of singers (e.g., boys and girls, relatives the herd or to direct its movement. Horns of the bride and bridegroom, members of and trumpets announced forthcoming A Singing Nation the household and guests); each group weddings and signaled important More than 200 years ago Latvian music sang in turn, teasing or making fun of moments of the wedding ritual. Goat- was mostly peasants' music, but various the other, largely improvising the words. horns, usually with three finger-holes, kinds of popular music were developing.

At about midnight, when the bride's were played during communal work Following the abolition of serfdom, crown was taken off and replaced with a in the fields or at matchmaking Latvian social life blossomed in the mid- woman's headdress, all participants em- ceremonies. 19th century. Singing societies emerged braced the new couple in a circle and The making and playing of instru- all over the country and sought choral sang songs called micosanas dziesmas to ments — except for shepherds' instru- works that represented the spirit of the mark this particular event. ments, which boys and girls made — emerging feeling of unity and "Latvian-

Of music accompanying stages of the was traditionally a male activity. ness." Four-part harmonizations of life cycle, that for funerals bears the However, rattle-sticks (trideksnis, a wood- Latvian folk songs served this purpose strongest relation to Christian ceremony; en stick with hanging bells and jingles) well, and so more and more composers it is mostly psalms and parts of the litur- and eglite (a fir-tree top decorated with used folk materials as a source for their gy that are sung in the house, on the way colored feathers and with hanging bells arrangements. to the cemetery, and by the grave. The and jingles) were used by women to ac- Choral singing culminated in a large funeral is preceded by vakesana, praying company singing in wedding or winter musical event — the Song Festival. The and singing by the corpse the night solstice rituals. first Latvian Song Festival, held in 1873, before the funeral, a custom which was The instrument most characteristic of became a political event of the first still observed throughout the country Latvia and significant in Latvian cul- importance, symbolizing the reawaken- until the end of the 19th century but ture is the kokles — a box zither with ing and unity of the new nation. now is practiced only in Latgale. five to twelve or more strings that is Subsequent festivals involved thousands

In addition to the music perfomied in supposed to be the instrument of God of participants and dramatically concen- ritual contexts, both men and women (compare it to the kannel in Estonia, trated national aspirations. After World sing at the table during feasts, in pubs, the kankles in Lithuania, and the kan- War II the Song Festival was reinterpret- and at other social occasions. Courtship tele in Finland). The tree for its wood ed in terms of Soviet ideology and was and wedding songs are the most com- must be cut when someone has died successfully incorporated into the mon, but certain mythological, soldiers', but is not yet buried. To emphasize the regime-supported musical life. sailors', humorous, and drinking songs special value and importance of the are important as well. instrument, it is traditionally named

golden strings. It has an Apollonian,

1998 Smithsonian Folklife Festival 69 The Baltic Nations: Latvia

Dainas The song is a traditional magic charm to The noted folklore group Skandinieki sang the ward off evil: following daina in July 1988, as they led the Baltica folklore festival procession past the KGB Lai bij vardi, kam bij vardi I have words, — building in Riga, Latvia. On this occasion the Man pasami stipri vardi; I have strong words three flags of independent Estonia, Latvia, and Daugavinu notureju, I can drive a stake into the ground

Lithuania were carried in an open procession Mietu duru vidind. And stop the Daugava River. under Soviet rule for the first time. It is one of the events which sparked the "Singing Sita mani, dura mani, They beat me, they stabbed me

Revolution." Ka ozola blukenl; Like a wooden stump;

Neiesita, neiedura, They didn't hit me, they didn't stab me

Kd terauda gabald. Like a piece of steel.

Visi mezi guni dega, All the forests are aflame,

Visi ceji atslegam; All the roads are locked;

help BELOW The organizers of the 1993 Song Festival, Ar Dievina palJdziriu With God's

I pass it all. Riga, Latvia. Photo by Leons Balodis Visam gribu cauri tikt. want to through

until 1961. Uniform, stylized folk cos-

tumes, girls' wreaths, and artificial

braids became the emblems of all those groups. The folk music orchestra never gained much public support in Latvia, while the kokles ensembles, like the folk song and dance ensembles, were quite well accepted. Even in the 1990s those

ensembles are to some extent recognized as an expression of "national music" or "national dance."

When the Singing

Revolution Is Over The folklore movement as a socially sig-

nificant body of activities, aimed at the preservation and dissemination of the

treasures of Latvian folklore, started in

Bass Hornpipes and "improve" the old, forgotten instru- the late 1970s, a bit later than in the

Artificial Braids ments, especially the kokles, and to cre- other Baltic countries. It concentrated

In the period between the world wars, ate folk instrument ensembles. on traditional music, dance, customs, professional and popular musical life in Though the Soviet occupation in 1940 crafts, and especially on their archaic or the cities and countryside was vibrant. and World War II interrupted such authentic forms. Numerous folklore

Traditional music had lost its signifi- activities, the "modernization" of instru- groups — among which Skandinieki cance in most of the country, although ments continued in the postwar period was the first — folklore clubs, and it continued to exist in remote districts, and resulted in soprano, alto, tenor, and workshops emerged at the end of the especially in Latgale and western bass modifications of kokles, hornpipes, 1970s and the beginning of the 1980s. Kurzeme. Thus the need for national and box-shaped fiddles. Following the Folklorists arranged dance parties, music intensified, and in addition to Soviet pattern, numerous kokles ensem- singing, instrument-playing and danc- choral activities, a variety of other bles emerged, along with folk song and ing workshops. As the attention of folk- phenomena developed on the basis of dance ensembles, and a state folk music lorists was directed not towards music traditional culture. Efforts were made to instrument orchestra existed from 1947 per se but towards music as a part of

70 Smithsonian Folklife Festival 1998 .

The Baltic Nations: Latvia celebration or ritual, certain efforts were A modem kokles undertaken to preserve or renew the ritu- orchestra. als themselves. Photo by Imants Predelis The cultivation of renewed ethnic music traditions in the 1980s took on the dimension of a national resistance movement, in opposition to Soviet totalitarianism and russification. The most striking expression of this movement was the folklore festival

Baltica '88. The movement culminated in the "Singing Revolution," a fomi of non- violent resistance against the occupying regime, consisting of huge, peaceful meetings and much singing of popular and folk songs. Nevertheless, ethnic music did not become a symbol of the restored identity of national music, and in the 1990s its influence has decreased more and more. Today, while mainstream folklore ensembles show and teach traditional music "as it used to be," a different attitude has emerged among other individuals and groups — a "post-folklore" that leaves space for rather free interpretation of traditional music influenced by rock, minimalism, ethnic music of other parts of the world, or other forms. Among Suggested Reading these groups are Ilgi and Rasa. These Apkalns, Longins.'Tolk music." In [ofwfl,ed.VitoVitautsSimanis. St. Charles:The Book Latvia, Inc., 1984. various perspectives enrich the process Boiko, Martin.'latvian Ethnomusicology: Past and Present." Yearbook for Traditional Music (1994):47-65. through which Latvian people are revi- Brambats, Karl."The Vocal Drone in the Baltic Countries: Problems of Chronology and Prowmnce." Journal of Baltic talizing their musical heritage. SfMes14(1983):24-34.

Braun, Joachim. "Die Anfaenge des Musikinstrumentenspiels in Lettland."/M(y5/A(/es Osfem 6 (1971): 88-125.

Valdis Miiktuparels is a lecturei- and elhno- Jaremko,Christina."The Baltic Folk Zithers: An Ethnological and Structural Analysis." M.A. thesis, UCLA, 1980. musicologist at the Cmtrefor Ethnic Studies. Reynolds, Stephen. "The Baltic Psaltery and Musical Instruments of Gods and dm\s." Journal of Baltic Studies 14

University oflMti'ia and Latinan Culture (1983): 5-23.

Academy. His research andpublication.'! hare Vikis-Freibergs, Vaira, ed. i/ngu/sf/aonrfPoef/aofiflfwonfo//; Songs. Kingston and Montreal: McGill-Queen's focused on thefield oforganology and the University Press, 1989. traditional culture ofLatvia and other Baltic lands. He has contributed to the revival of Suggested Listening several Latvian traditional musical instru- Balsis no Latvijas (Voices from Latvia). Auss RS 001 and MC. metits, like the kokles, bagpipes, pipes, horns, \\q\.Barenu dziesmas.Supula dziesmas (W/edding songs. Orphan songs). Plate Records TMOOl -93 and MC. mouth harp, and hurdy-gurdy. He is the .Riti (Roll). Labvakar LBR 001 artistic director ofthe Rasa group and has Muktupavels,Valdis.Ze/fflM/es (Golden Kokles. Latvian traditional instrumental music). Micrec. performed as a kokles and bagpipe soloist, Rasa. iflffW./Mus/cofSo/flrWfes.lNEDIXMaison des Cultures du Monde W 260062. as well as with other musicians in the Baltics Seasonal Songs of Latvia: Beyond the River. EMI, Hemisphere 7243 4 93341 2 0. and around the world Voix des Pays Baltes. Chants traditionnels de Lettonie, Lituanie, Estonie. Documents d'archives. INEDIT, Maison des

Cultures du Monde W 260055.

1998 Smithsonian Folkufe Festival 71 The Baltic Nations: Lithuania

The Tenacity of

Tradition in Lithuania Zita Kelmickaite

Zithuanians belong to the Baltic group ofIndo-Europeans who LATVIA

appeared in the Baltic tenitories about 3,000-2, 500 li.c.

Tacitus, a Roman historian of the 1st century, made note of farmers and amber collectors in this area, hut the name

"/jthuania" appeared in a historical sourcefor thefirst time in

1009 A.D. iithuankin is the most archaic of the contimiously spo-

ken Indo-European languages and is ofgreat interest to com-

parative linguists. Ihe state of Lithuania came into being with the coronation

of its first Christian king in 1253- After his assassination, the country remainedpagan until 1387, continuing to fight the

Germanic Crusaders. Two hundred years later it had e.xpand-

ed to become one of the largest states in medieval Europe, extendingfrom the Baltic Sea south to the Black Sea and

east to Muscovy.

Treaties with Poland brought Christianity and, in 1569, uni- fication into a commomvealth of the two fiatiom. Gradually the commonwealth weakened, and in 1795 Lithuania was incorporated into the Russian empire. Failed armed revolts against the Russians resulted in the banning of Lithuanian books andfurther oppression. Out of the resistance grew a cultural and political awakening that led to the establishment ofan independent republic on February 16, 1918.

Independence was lost in 1940, when Soviet troops acted on

the clandestine Molotov-Ribbentrop Pact and invaded the coun-

try. German occupation followedfrom 1941 until 1944, when the Soviets returned and annexed Lithuania. At least 20, 000

resistancefighters lost their lives, and more than 350,000

Lithuanians were exiled to Siberia during the Soviet occupation. After a series of mass meetings during the perestroika/^enW, Lithuania was thefirst of the Soviet republics to declare the

reestablishment of its independence on March 11, 1990. In territory, Lithuania encompasses 25,175 square miles,

about the size of West Virginia. Its population is 3- 7 million, of which approximately 80 percent are Lithuaniatis. We majority are Roman Catholic. Thefour main ethnographic regions are

AuMtaitija (east), Zemaitija (west), DzUkija (southeast), and

Suvalkija (sout/nvest).

Visiting the cemetery on

All Souls' Day. Photo by

Zenonas Nekrosius

72 Smithsonian Folrlife Festival 1998 The Baltic Nations: Lithuania

The Importance expanded, they did not move to settle it. home/But we, will we ever return?"). The of Tradition to Lithuanians Their attachment to their lands and importance of home and being home was Tradition holds a very spe- homes can be illustrated by many exam- demonstrated again soon after Lithuania cial meaning for Lithu- ples. For one, sacred space remained declared its independence: huge military

anians. For centuries they sacred over time: the cathedral in aircraft brought back the remains of

Uved under the threat of Vilnius, first built in the mid- 13th centu- those who had died in Siberian exile so

extinction and learned to ry, stands on the site of a pagan temple. that they could be reburied in their fami- resist their occupiers in a passive yet per- For another, a settlement that is dated to ly cemeteries. Today if people are not sistent manner, using patience, persever- 1000 B.C. has recently been found in buried in their hometown, usually a ance, stubbornness, and conservatism. By Vilnius on Castle Hill. handful of dirt from their birthplace is holding on to their customs, their lan- Because of their strong attachment to scattered on their coffin. guage, their religion, and by establishing home, the deportations of Lithuanians to Together with the concept of home, close ties to their land, Lithuanians safe- Siberia during the first years of Soviet land itself had profound meaning to guarded themselves against complete occupation were especially harsh. The Lithuanians. For farmers it was natural cultural subjugation to those who held stories and reminiscences of the depor- to treat it with reverence. One would political sway over them. tees speak not only of the hardships of never spit on the ground. In songs and

Lithuanians and their ancestors the exile but of the constant longing for sayings earth is addressed as if it were a

Baits remained in essentially the same home. The same sentiment pervades all personified being; indeed it once was a location and did not mix with their the exile songs that were first sung pub- pagan deity, Zemyna. Before starting neighbors for over 4,000 years. Even licly during the mass meetings in 1988- their spring plowing, farmers knelt down when the territory they governed 1989 (e.g., "In spring all the birds fly on to kiss the ground and crossed them-

1998 Smithsonian Folklife Festival 73 The Baltic Nations: Lithuania

selves. Bread was plowed into the first of dissonance; elements from different and guardians of the aural tradition, the furrow as a sacrifice to the hind. belief systems and historical periods songs tend to be gentle with generous The collectivization of agriculture coexist and combine in a unique way. It use of diminutive forms. Mythological under the Soviets forced people off their is this uniqueness that Lithuanians now and metaphorical references abound. individual farms onto large collective celebrate as they — very consciously — Characters in songs are usually family farms. The liberal use of pesticides and reflect on their ethnic heritage. members, young maidens, suitors, tillers indiscriminate drainage of wetlands of the soil. The texts interweave mono- wreaked havoc on the environment and The Role of Folk Songs logue and dialogue to move the story the landscape. Bulldozers razed homes, in the Lives of Lithuanians along. Nature and human conditions are orchards, cemeteries, even entire villages. Ask Lithuanians about their culture, and juxtaposed in lyrics and express a com- invariably they will mon sentiment. For example. mention songs. The morning star bids goodbye to her By holding on to their customs, Lithuanians love to father-moon, before going to the sun, sing. The most their language, their religion, and draped in clouds with hard rain falling. accomplished by establishing close ties to their singers will know A young girl says goodbye to her mother land, Lithuanians safeguarded hundreds of songs before going to her mother-in-law, sigh- themselves against complete cul- — songs that are ing and wiping tears. tural subjugation to those who passed to other generations and to Song is very much alive in Lithuania. heldpolitical sway over them. other villages. The Lithuanians do not sing for the benefit of

archive at the an audience; for them singing is a way of

Much that was sacred was desecrated. An Lithuanian Institute of Literature and being together. In earlier times

important tie was severed — the almost Folklore in Vilnius has over 600,000 col- Lithuanians sang work songs at various spiritual relationship between a farmer lected songs. tasks such as cutting wheat and other

and his land. As more people return to At the end of the 17th century Pastor songs specific to seasons and celebra- work the newly privatized lands, it T. Lepner's Der Preiische Littaiier (The tions. Now they sing traditional and

remains to be seen what consequences Prussian Lithuanian) characterized newer songs at family gatherings, wed-

the Soviet experience will have. Lithuanian singing thus: dings and christenings, or any time com- Lithuanians are slow to make changes, pany sits down together and the mood They are all composers, since they create and when they do choose something strikes them. But when recording older their own melodies, though some of the new, they often hold on to the old "just singers, we often hear, "Oh, how they melodies they learn from the Germans. fields in case it may still be useful." During once sang! They would make the Most of their voices are strong. ... fieldwork expeditions folklorists often ring. One group would vie with another Usually women and girls sing until dawn to see who could sing better." Nostalgia find tools and work implements that are grinding grains, the humming from itself may be a tradition for Lithuanians. obsolete but that have not been discard- which gives them a bass line. ... The place, type and style of ed. Lithuanians probably were exhibiting content of their songs — themes of love The time, and ability the same tendency to conservatism when or anything that comes to mind, what song may have changed, but the togetherness, they maintained their pagan traditions in they see around them. ... Men do not of song to create a sense of

conjunction with Catholic practices. exiiibit a tendency toward this art. or communitas, as anthropologists call

Almost 200 years after the formal bap- it, has persisted. Two social developments

tism of the nation, the first Lithuanian During a recent recording expedition, illustrate this phenomenon. book was published — a catechism. In comments by singers echo and extend The Rasa (Dew) festival, organized on

the introduction were a list of pagan Lepner's observations: "If you sing, you the castle mound of Kemave on June 23,

deities and an admonition to the faithful have a life." "Our life was so hard — had 1967 (St. John's Day and Midsummer's

against practicing pagan customs in I not simg, I would have gone insane." Eve), marked the arrival of a national

their honor. Pantheistic religious relics Lithuanian songs often reflect the cultural movement of youth dissatisfied

and elements of ancient rituals survive to female perspective on love, longing, with Soviet ideology and looking to the

the present day in songs, proverbs, sto- chores, and even the horrors of war. pagan past and traditional culture to

ries, and customs. And there is no sense Since women were the primary singers restore a sense of balance and goodness

74 Smithsonian Folkiife Festival 1998 The Baltic Nations: Lithuania

The traditional clothing

ofeach region is woven

and worn in a particular

way and has a specific

pattern, color, and style

of tailoring. Photo by

Henrikas Sakalauskas

to modem society. The "Ramuva" move- The fieldwork expeditions and the together and begin to sing. When three ment sought to renew old traditions and Ramuva movement inspired the forma- or four ensembles would start a song to break away from Soviet hoHdays and tion of many folk ensembles in villages together, the audience would join, and state-sanctioned, stv'lized folklore. Named and cities throughout Lithuania. From soon the entire crowd in the stadium or in reference to sacred pagan groves, the 1980 to 1989, close to 900 folk ensembles park would be singing together. movement was characterized by an inter- appeared on the scene. The example of Eventually older people became embold- est in authentic, national, ethnic culture city ensembles as well as ethnographic ened to sing partisan songs and exile

— at the forefront of which was song. expeditions, folk music gatherings, invi- songs — songs which not so long before Since 1968, the Ramuva Society' of tations to rural artists to give concerts in they had sung only in private and with

Vilnius University has organized 27 sum- cities, and increased radio and television great caution. The repertoire of those mer fieldwork expeditions in 22 regions program time dedicated to folklore songs spread throughout the country in of Lithuania. Close to 1,500 students and encouraged village artists to form ensem- no time. They helped unite people in professors have taken part in these expe- bles. During this period, ensemble termi- sentiment and cause. The experience of ditions. Their collections have been nology was defined. Village groups that singing as a group in communal harmo- deposited at the Lithuanian Folklore draw on continuous traditions and per- ny was nothing new for Lithuanians;

Institute. The Ramuva movement form their own area's folklore are now what was unique was that song had expanded the bounds of official ethno- called ethnographic ensembles. Groups become a weapon of resistance. graphic studies and gave a patriotic tinge that indirectly adopt or re-create tradi- That same power of song was evident to the study of folklore. For this reason, tions are called folklore ensembles. on January 13, 1991, when thousands of although the Soviet government allowed Today there are hundreds of ensembles, Lithuanians gathered around the students to collect folklore for academic and their continued existence proves the Parliament building, radio and television purposes, it feared the effects of young vitality of song in modem Lithuania. headquarters, and the television tower to people gathering together and singing The second dramatic demonstration of protect their newly declared freedom during the expeditions — such as their the power of song occurred during the from Soviet tanks and troops. While they engagement in perpetuating the tradi- days of the mass meetings organized by waited through the night, they sang. The

tions and the power of the songs to unite Sajudis, the grassroots movement for song and music stopped when tanks

them against the Soviets. So the govern- independence in the late 1980s and early started to roll and gunshots were fired. I ment prohibited such gatherings. 1990s. Folk ensembles would come was standing next to an older woman

1998 SmITHSONIAIN FOLKIIFE FESTIVAL 75 The Baltic Nations: Lithuania

when it became clear that something spiritual atmosphere which prevailed Family: The Safeguard ominous was happening. She turned to while people were standing hand in of Lithuanian Traditions me and said, "I don't know what would hand in the Baltic Way or protecting the The attachment to group singing illus- be better: to pray or to sing?" Both were Parliament or television tower on the trates Lithuanians' gregarious side. It perceived to be equally sacred. night of January 13th, the authenticity was that sense of collective, experienced

At present, the interest in folk songs of that powerful emotional experience through song and its open public affir- and traditional culture that existed in cannot be re-created. mation, that helped sustain them as a the 1980s has waned somewhat. group, both in Lithuania and as exiles Although many people long for that and refugees abroad. Family traditions, on the other hand,

The Hill of Crosses is do not lend them-

located in central selves easily to

Lithuania. It is custom- public display, and

ary for people to leave a yet they are the

cross and pray when key to understand-

visiting the site. ing a cultural

Photo by Virgilijus group's attitudes,

Usinavicius values, and

morals. During all the years of the Soviet occupation, only the family was not penetrated

by the all-regulat- ing and all-sanc- tioning

Communist Party. The family nur- tured religion and national sentiment and safeguarded

traditions; tradi-

Land of Crosses Lithuania's landscape for hundreds of years. tions, in turn, strengthened familial ties.

unique illustration of the interplay between They were constructed near homesteads, at Lithuanians have always honored the

A tradition and history is the Hill of Crosses in crossroads, by waysides, and when old ones memory of their dead. It is very impor-

Siauliai.The mound was once a fortress. For deteriorated, new ones were placed in their tant to Lithuanians to carry out the will

more than a century, people erected crosses on stead. Sometimes chapels were nailed directly of a deceased loved one. To this day, in the hill for all sorts of reasons and occasions, to trees. It is quite likely that these manifesta- almost all regions of Lithuania the such as supplications for health and wealth and tions of Christian belief actually originated in departed is mourned all night with

commemorations of births, deaths, or wed- some earlier totems used by the pagans to funeral hymns. (It is a wonder how well

dings. The Soviet government could not tolerate mark sacred space around them. The sun, these hymns and other funeral traditions

such an expression of spiritual belief, and the moon, and snake motifs that decorate the have been preserved given the strength

hill was totally annihilated in 1961, 1973, and crosses clearly barken back to pre-Christian of the atheistic sovietization.) Graveyards

again in 1975. But the crosses reappeared, nature worship, though now these symbols are are considered sacred places whose tran-

almost overnight. The destruction stopped in appreciated purely for their aesthetic appeal. It quility is not to be disturbed. Periodic

1980, and now the hill is again covered with is important to note that this form of decora- visitations and upkeep of graves are

thousands of crosses. They stand witness to the tion has held its appeal for a very long time, obligations taken very seriously. Lighting

strength of tradition among Lithuanians. thus illustrating the conservatism of both of vigil candles at cemeteries on Velines,

Before the Soviet occupation, crosses and Lithuanian craftsmen and the people who the eve of All Souls' Day, is so important

chapel poles had been an integral part of patronized them. that both November 1 (All Saints' Day)

76 Smithsoman Folklife Festival 1998 The Baltic Nations: Lithuania

When land is taken away, everybody is a Souls' are des- Zita Kelmickaite is a musicologist and and November 2 (All Day) witness. When speech becomes silent,

ignated holidays. This allows people to the conscience speaks up. When ethnic assistant professor at the Lithuanian

return to their family graves, even if they traditions are taken away, a people sleep Academy ofMusic. In 1993 she received the

are at some distance. the eternal sleep of dead nations. Land NationalJonas Basanvicius Awardfor out-

Christmas Eve is the day for family re- remains in its place, a language can be standing work in the promotion of ethnic

unions, of both the living and the de- protected by the written form, but the culture. ceased. At the traditional Christmas Eve livelihood of the traditions is lost forever dinner, Kucias, an extra place setting is set and never resurrected. Like life for a

and food is left on the table all night for person, traditions are given only once.

the souls of the deceased. The meatless Ethnic catastrophes are almost unfelt dishes, some special to this night only are — like radiation. shared in reverence. Reconciliation and

the forgiving and settling of debts must be We can't afford the risk. done by Christmas Eve. It is believed that ones disposition on the holiday will Suggested Reading

remain with the person for the year. This Ambrazevicius, Rytis, comp. Lithuanian Roots, An Overview of Lithuanian Traditional

Christmas Eve gathering has always been fu/fwe.Vilnius: Lithuanian Folk Culture Center, 1994.

celebrated quietly and in private, but its Balys, Jonas. Lithuanian Foll

effect is powerful and deep. Regardless of Lithuanian Encyclopedia Publishers, 1958. whether they are believed or simply artic- Buksaitiene, Laima, and Danute Kristopaite/^u/tsfo/c/u melodijos (Melodies from

ulated, such traditions help strengthen the Aukstaitija).Vilnius:Vaga,1990.(with Russian and English summaries)

ties between the living and the dead, the Cetkauskaite, Genovaite.Dzu<;t; melodijos (Melodies from Dzukija). Vilnius: Vaga, 1981.

past and the present, and are a means of (with Russian and English summaries)

keeping a balance between material reali- Encyclopedia Lituanica, vols. 1 -6. Boston: Juozas Kapocius, 1 971 -1976.

ty and a person's spiritual life. Velius,Norbertas.r/)eiyorW0uf/oo^o/'f/)e/^nc/enfM5.Vilnius:Vaga,1989.

The fact that the shadow of our ances-

tors seems to be real and close at hand Suggested Listening

strengthens the sense of obligation that Balys, Jonas. Lithuanian folk Songs in the United States. Folkways 4009.

many Lithuanians feel toward their cul- Lithuanian folk Music. Authentic folklore, compiled by Genovaite Cetkauskaite. 33

tural heritage. Perhaps this is what Records ADD 33 CD004. Available through Bomba Records, Zygimantu 6, Vilnius

makes many of us so passionate about 2600, Lithuania, tel. (3702) 223358, fax (3702) 22571 5, or Vilnius Ploksteliu

our commitment to our traditions. Studija, Barboros Radvilaites 8, Vilnius 2600, Lithuania, tel. (3702) 610419,

Others may criticize us, saying we are fax (3702) 610491.

overly conscious in the way we interact Lithuanian folk music KANKLES, prepared by Vida Palubinskiene and produced by

with our songs, dress, music, and our Egidijus Virbasius, 1996; and Lithuanian folk music WIND INSTRUMENTS, original

historical past. We reply that we must be recordings from 1935-1939, prepared by Ruta Zarskiene, produced by Egidijus

conscious; otherwise there is the danger Virbasius, 1997. Both recordings are from the collections of the Folklore Archive

that our children will only hear someone of the Lithuanian Institute of Literature and Folklore, Antakalnio 6, Vilnius 2055,

else's song, story, and belief. Now that Lithuania,fax (3702) 226573.

freedom has come and we are mjisters in Sutaras. Prot'&iu Sauksmas (Call of the ancestors). CD Lituanus/Jade JACD 065.

our own home, we are still not out of Available from Antanas (Sutaras) Fokas, RO. Box 94, Vilnius 2000, Lithuania,

danger. Marcelius Martinaitis, a much- fax (3702) 261474.

loved and respected poet, writes: Ola Folk insembk. Lithuanian Traditional Music. BIEM neb AECD-5. Available from

Ciurlionio 1 -35, Vilnius 600, Lithuania, tel. (3702) 222755, fax (3702) 359633.

1998 Smithsonian Folklife Festival 77 \o Grande/Rfo Bravo

4[4ir

Desert Images by David Lauer Rio Grande/Rfo Bravo Basin

Culture & Environment in Compiled by Lucy Bates, Olivia Cadaval, Heidi McKinnon, Diana Robertson, and Cynthia the Rio Grande/Rfo Bravo Vidaurri; translation editors lleana Cadaval Adam and Basin: A Preview Patricia Fernandez de Castro He who drinks waterfrom the Rio Bravo This year's Festival program forms part of a larger Rio Grande/Rio will never leave its shores. Bravo Bjisin project that includes: —Popular saying collected by Gregorio Garza, Field Researcher, Laredo, Texas • Folklife Field Research Schools held in Texas, New Mexico, and Colorado

, Colorado Springs to train local academic and community scholars and to direct local

research for the Folklife Festival and other public programs

• Production of local public programs

in collaboration with local organiza-

tions to present research carried out

in the region (sponsored by the

Texas Folklife Resources and the

Texas Council for the Humanities)

• Smithsonian Folklife Festival programs for 1998 and 1999 • Production of educational materials and a film documentary. This collaborative training and research approach builds on our work with bina-

tional institutions, researchers, and com-

munity members that participated in

earlier Smithsonian projects in the U.S.- Mexico borderlands region. The follow-

ing article offers samples of project

research reports and reflects the multivo-

cality of the region.

This project is cosponsored by El Consejo Nacionalpara

la Culturaylai Artes with support from the U.S.-Mexico

Fund for Culture (The Rockefeller Foundation,

Fundacion Cultural Bancomer, theFondo Nacionalpara

la Cultura y las Artes), SBC Foundation, Texas Folklife

Resources, and the Texas Council for the Humanities.

Folklife Fieldwork Research Schools were supported by

Colorado College, Tierra Wools, the University ofNew

Mexico, University of Texas-Pan American, and a grant

from Smithsonian Outreach Funds.

1998 Smithsonian Folklife Festival 79 Ri'o Grande/Ri'o Bravo Basin

Rfo Grande/Rjo Bravo Basin Theis a complex cultural, ecological, and political landscape.

The river travels through

mountains, deserts, plains, and subtropics and the states of Colorado, New Mexico, and Texas in the United States and the states of Chihuahua, Coahuila, Nuevo

\je6n, Durango, and Tamaulipas in Mexico.

In its almost 2,000-mile journey, it is known by different names: El Rio Grande del Norte, Rio Bravo, the Wild River, Rio de las Palmas, Po'soge, the Rio Grand. Many diverse groups of people live in the Rio

Grande/Rio Bravo Basin, each with its own personal and collective experiences.

Po'soge, the Rio Grande del Norte, is

one of the longest, most celebrated, and

most vital rivers in North America, yet it

is one of the most endangered. Water

diversion has made the desert bloom

through centuries-old Native American

and Hispano aceijuias and 20tb-century

locks and canals. Only by allowing it a

measure of its previous wildness will the

Rio Grande survive as an ecologically

healthy river. —Enrique Lamadrid University of New Mexico

Much research on rivers focuses on water and land rights, environment, history, architecture, health, and archeology. In this project, we asked, together with our Rio Grande/Rio Bravo colleagues, "What about living people? What about the cultural heritage and creativity of groups whose experiences have been shaped by the river?"

In particular our challenge was to research, plan, and produce a program

on how local cultures contribute to a sustainable river-basin environment. Our

approach was to engage scholars, educa-

tors, and individuals — formally and informally trained — who are involved in community cultural work. We sought

to understand relationships between cul-

ture and environment and to see how contemporary traditions can be relevant 80 Rio Grande/Rfo Bravo Basin

going to pass this heritage to you.' And Great River, Mighty River she continued making com flour, and

it tlie Rio is a natural wonder whose power and she makes the best. ... To the boys he Like the semi-desert lands crosses, Grande/Rio Bravo ." to it. I first saw the river when I moved to Nuevo . appreciate the more get know left the music. . —Recorded by beauty we we

Enrique Lamadrid Laredojamaulipas, on the other side of the border from La redo, Texas. There on the border, I came to

Unive^sit^' of New Mexico know a river that equally separates, conjoins, and gives life to these two communities. For at the same

time that the river is a boundary marker between countries, it is also the shared resource that has

Carolina Carbajal from allowed communities to thrive together for centuries. First as ranching settlements and now also as

Las Cruces, New Mexico, international commercial gateways, the towns of Nuevo Laredo and Laredo — like Matamoros and

with a staff made from Brownsville, Mier and Roma, Piedras Negras and Eagle Pass, Ciudad Juarez and El Paso — literally live

sotol. off the river.

Carolina Carbajal de Las Why bring our river to the Smithsonian Folklife Festival? When Olivia Cadaval, Richard Kurin, Cynthia

relation- Cruces, Nuevo Mexico, Vidaurri, and I first discussed the idea in El Paso, one of our central concerns was to address the

con una ramo de sotol. ship between the river and the communities it has fostered, not only on the U.S.-Mexico border but

Photo by / Foto de throughout the watershed. About 1 3,000,000 persons live in the Rio Grande/Rio Bravo Basin. Many of

Elaine Thatcher them are first-generation inhabitants of the U.S. Southwest and northern Mexico. The families of others

have been here for a long time. Wide open spaces, clear air, life in the desert and the mountains, and the

A river provides raw materials. solace these offer have attracted many. But ironically the growth of cities, industry, agriculture, and

The Ysieta women potters dig river clay ranching have so polluted the river that it is one of the most endangered on the continent.To survive in

in several local spots. When Fermina this environment, the diverse peoples who have made this region have developed strong and tenacious

and her sisters were young and working cultures.The river's degradation is a threat to their way of life. The people of the basin have responded

with their grandmother, the family had with creativity, responsibility, and initiative in an effort to protect their cultural heritage and enhance

sources in four hills. Each hill produced the vigor of the river and its communities. It is this intense vitality that the Festival celebrates.

a different color of clay ranging from — Patricia Fernandez de Castro

pale pink to dark. Today they dig clay El Colegio de la Frontera Norte

wherever they find it. Fennina had

found a deposit of good clay but said

she had only had access to it for a brief Acequia, the Spanish word for "irriga- serve the water; but the laws say we

time before it was fenced off and posted. tion canal," is derived from the Arabic must use the water, even when we do

—Elaine Thatcher as-saquiya (water carrier). Secondary not need to use it, in order to maintain

in si' 'tu, Santa Fe, New Mexico and lateral ditches are called Sangrias, our water rights. Moreover, the attempt

a metaphorical temi that expresses the to manage the Ri'o Grande [by building

The Rfo Grande/Rio Bravo is a desert same wisdom as the Spanish saying: "El a dam] adversely affected the very social

river of limited resources. It flows agua es la sangre de la tierra," "Water fabric of Cochiti Pueblo. For some 20

through an arid region of cooperation is the blood of the land." Another say- years we were not able to carry out our

and conflict over water. ing: "El agua es vicla" "Water is life." planting rituals. Agriculture is not just a

The water in the ditch connects us to —Enrique Lamadrid food source for us; it is intimately con-

the river. But it connects us to each University of New Mexico nected to who we are. This year, for the

other as well .... Even if there are con- first time in two decades, we will plant

flicts over the watering schedule and Human practices can be in harmony or again. —Regis Pecos, State of New

you are mad at your neighbor, you at odds with the logic of the river. Mexico, Office of Indian Affairs

know you have to figure out how to Looking at the Pueblo communities on

resolve it. Over the long term, it keeps the Rio Grande, we see the large issues A river is the focus of values that can

people interacting in a very positive way of cultural survival, economic develop- bring together or divide communities. —Riparian biologist Manuel MoUes ment, and environmental maintenance. The matachines of the East Mountains

interviewed by Enrique Lamadrid Control of water is part of that cultural on the outskirts of Albuquerque perform

University of New Mexico struggle to survive. For example, our their important rituals of environmental

value system for use of land and water maintenance and renewal along the

is incompatible with that of the juris- waterways of the Rio Grande Valley But

prudence system. We are taught to con- recent urban development threatens their

1998 Smithsonian Folklife Festival 81 Rio Grande/Rfo Bravo Basin

begin. It shouldn't be like that. It's only practices. Matachin Bemadette Garcia cause of that. So the people who buy to go in proces- explains: "See, the developers go and sell don't know about it. So they happily once a year that we have sion to the spring. will always go in all this property, but they don't put in the move in. llien it's time for our fiestas We until they deeds that we have access rights accord- and our procession. And they say, 'No you procession to the spring. Or over." Barbara Gonzales ing to the original land grants. Then we can't go through our land. This is my run us — University of New Mexico end up having to fight them in court be- property.' Here is where all the fights Field School Participant

A river invites journey, settlements and

resettlements, borders, and social networks.

I was bom in Veracruz on the Gulf of

Mexico. I married when I was young. My

husband was from Ciudad Victoria in the

neighboring state of Tamaulipas, and he

w:ls picking cotton at that time. We met,

we married, and since his family lived

over in Ciudad Victoria he said: "Let's go."

And we did. After 20 years of marriage I

came to Matamoros on the border Here

in Matamoros, at the inaquiladora, we

interact with each other, tell each other

things, know each other, fight and share

our problems. We take time in between

our work for each other... Sometimes we

little extra money Matachines at the Feast ofSan Ysidro, Albuquerque, New Mexico. sell things to make a Eustolia Almaguer Vazquez Los matachines en la Fiesta de San Ysidro, Albuquerque, Nuevo Mexico. Photo by / Foto de Miguel Gandert — interview by Alma Jimenez

El Colegio de la Frontera Norte

As the field research trip came to an

end, a Texas researcher remarked upon

her different experiences of crossing the

Rio Grande. In Texas, the river forms an

international boundary, and crossing

means a forced stop by government

authorities on each bank. But in Colo-

rado and New Mexico the river can be

crossed and crisscrossed without the

need for a single halt to identify one's

nationality. This experience shed light

on the relationship between a geological formation and arbitrary boundaries. —Juanita Elizondo Garza University of Texas-Pan American

The last hand-pulled ferry on the river at Los Ebanos, Texas.

El ultimo chalan tirado a mono en el rio en Los Ebanos, Texas. Photo by / Foto de Charles Weber

82 Smithsonian Folrlife Festival 1998 Rfo Grande/Rio Bravo Basin

Los Chileros

late August one of the most celebrated In seasonal rituals of the upper Rio Grande begins: the chile harvest. Here, chile is a sta- ple. As people say,"La comida sin chile es como un beso sin bigotes,"" food without chile is like a kiss without a moustache." Eduardo and

Priscilla Chavez have been roasting and selling chile in the north valley of Albuquerque for as long as anyone can remember. Their chile stand near the St. Carmel Church on

Edith Boulevard is a popular meeting place for local residents, for Indians from the nearby pueblos of Sandia, Santa Ana, and Santo

Domingo, and for tourists. As Mrs. Chavez says, "Chile brings people together." Mr.

Chavez says,"The next best thing to growing chile is selling it."

— Enrique Lamadrid, University of A chile stand in Santa Fe, New Mexico.

New Mexico Un puesto de chiles en Santa Fe, Nuevo Mexico. Photo by / Foto de Olivia Cadaval

A river inspires singers, poets, and story- The river is the heart of a life-sustaining rhythms of cleaning the ditch. Instead tellers. In the U.S. Southwest, La Llorona environment. of beats on a drum, the cadence comes is a legend of a weeping woman encoun- Atrisco, New Mexico, began as a 1692 from the percussion of shovels hitting tered near rivers, streams, and acequias Spanish merced, or land grant, west of the ground. The flowing of the first in the region. There are many versions of the river from Albuquerque, bestowed water of the spring in the ditch is an this tale, but they all recount the story of jointly on a group of Tiwa Indians and occasion marked with blessings, excite- a Native woman who drowns her chil- Spanish settlers. The name is of Aztec ment, and anticipation. When the com- dren out of hate for their Spanish father. origin meaning "place by the water." puertas, or floodgates, are opened near

She forever haunts the waterways search- The size of the tract varied as the Rio Indian pueblos, the waters are blessed ing for her children. Grande shifted its course. Until recent with sacred commeal. In Hispano com-

La Llorona lives in the hearts and times the community made its living munities, the priest blesses the water

minds and rios of Mexican Americans through agriculture. Although the peo- and the processions that honor the

everywhere. Her stor)' is told in schools, ple of Atrisco no longer depend on agri- patron saint of agriculture, San Isidro

on camping trips, and in many other culture for their livelihood, the waters of Labrador. —Enrique Lamadrid

places. Even las aguas negras (sewage the Rio Grande still nourish family gar- University of New Mexico

waters) have heard her cries. From John dens, orchards, and alfalfa fields. The Dodd, Hispanic Folk Music ofNew traditional acequias and the water they Guillermo "Willie" Mancha owns a

Me.xico and the Southwest (1980): carry symbolize the spirit of a commu- neighborhood store which has been an

Yesterday I wept wanting to see you, nity that has learned to defend its cul- institution in Eagle Pass, Texas, since

Oh Weeping Woman ture, lifestyle, and values. 1948. Three generations of his family

And today I cr)' from seeing you. One of the rites of spring along the have prepared and sold traditional

—Molly Timko, upper Rio Grande is the annual clean- Mexican foods that are part of the University of New Mexico ing of the acequias from the acequia ranching culture of the region. For a

Field School Participant niacire, or mother channel, down to century Mexican ranchers have created

each field. Everyone is obligated to par- an economy of fruits, vegetables, and

ticipate in the effort. At the Northern livestock, which become ingredients for

Tiwa Indian pueblo of Picuris, special regional foods such as tamales, chorizo

music is sung to help keep the work (sausage), menudo (tripe slev/), fajitas

1998 Smithsonian Folklife Festival 83 Rfo Grande/Rfo Bravo Basin The Arellanos and Their Land Grant (flank steak), and barhacoa de caheza (cow's head barbecue). The custom was The Embudo Valley in New Mexico has a wide is a direct descendant of Francisco Martin, one of to consume the entire animal, prefer- variety of environmental zones ranging from the three original grantees.The Arellanos feel the ^ ably a goat, desde la barba haski la desert grassland to pinon-juniper and sub- strong link to their land strengthened and rein-

cola, "from the beard to the tail." They alpine. The Rio Grande sustains the whole region. forced through the maintenance of foodways

say Mexicans combined barba (beard) The area's history of Hispano agriculture and silvi- and other practices that follow the annual agri-

and cola (tail), to coin the term barha- culture goes back to the Embudo Land Grant of cultural cycle. —Ken Rubin

coa, the origins of barbecue. 1725.Estevan Arellano's mother, Celia Archuleta, Colorado College Field School Participant —Mario Montafio

Colorado College R.IO CiRAVMit

bKAsMg. "'IHW-IV 68 A river defines complex economic, social, and political environments. Contem- porar\' river basin cultural communities have creatively responded to historical and environmental challenges in different ways. This can be seen in the story of the Raramuri Indians of Chihuahua, Native communities who were forced to migrate from the countryside.

Considered the most majestically scenic

area of Northern Mexico, the Sierra

Madre Occidental is the homeland of an

indigenous tribe called the Raramuri

[Tarahumara]. Over the years Raramuri

families have steadily been migrating to

urban areas in the Mexican states of

Chihuahua, Sinaloa, and Durango.

Raramuri commonly visit the cities in

order to sell or trade crafts, medicinal

herbs, and textiles; to purchase goods Map of the Arellano centenary ranch.

that are not available in their home Mapa del rancho centenario de los Arellano. Drawing by / Dibujo de Joanna Stewart

communities; and to work as wage

laborers for short periods of time. In the Amidst the incredible variety in the garden there is a harmony between the plants, the soil, and

fall of 1995, Ciudad Juarez created a the human hands that nurture the harvest. According to Estevan Arellano's philosophy of farm-

neighborhood in the northwestern area ing, it is important to achieve a natural landscape."l just let [plants] go and find their own niche

of the city for migrant Raramuri. Many where they like to be. . . .They continue moving and finding their own place where it's more natural

women from this community sell medic- for them." Estevan's thoughts on chemical pesticides make clear his personal connection to the land.

inal herbs near a local market in "Pesticides are the worst thing you can do to the soil," he explains." Soil is a living organism, and it

Ciudad Juarez. Most of the herbs are has feelings, it has a soul, it has everything a human being has. So if you want it to produce, you have

brought down from the Sierra usually to treat it kindly." —Joanna Stewart, Colorado College ^

during the early fall. Taught at an early Field School Participant

age to recognize medicinal herbs found

in their homeland, Raramuri know their pine needles or bear grass (palmilla) to

uses in curing particular diseases. weave baskets (waris). But the women

Only a few crafts are made in this also find materials in Ciudad Juarez to

community, but several women often sew traditional Indian clothing and

travel to the Sierra to gather craft mate- weave sashes (fajas). They are expert rials unavailable in the urban area. For seamstresses. —Genevieve Mooser example, some Raramuri women gather Eastern New Mexico University

84 Smithsonun Folklife Festival 1998 Rio Grande/Rfo Bravo Basin

/xf/eisafiber Herbalist Maclovia

extracted from the Zamora travels

lechugilla plant and throughout the Upper used to weave ham- Rio Grande harvesting mocks, rugs, and bags. regional plants and

The Department of talking about their use

Ecology of the State in Hispanoand Native

Government of American traditions.

Coahuila is encourag- She harvests cedar ing people to work by from the East offering scholarships Mountain area of to learn this skill and Albuquerque to make by helping to support smudges that are family-run workshops. burned during ritual

Craftsman Jose Isabel cleaning and purifica-

Quiroz learned how to tion practices in Native weave /xf/e from his communities.

col- father,who still works Maclovia Zamora with him. Quiroz's wife lecting cedar for making puts the finishing smudges. touches on the crafts. Photo by Heidi McKinnon

Cecilio Hernandez crushing the lechugilla blade to release the fibers.

Photo by Imelda Castro Santillan

Brick-making Tierra Wools

mission of Tierra Wools is to produce and in Ciudad Juarez The sell yarn and hand-woven woolen goods; to

the Colonia Mexico 68 neighborhood in teach Rio Grande weaving, spinning, dyeing, and In Ciudad Juarez, many of the brick-making fami- related skills. We shall maintain a hiring prefer- lies have created a space or"yard"for their ence for low- to moderate-income people; homes, kilns, and brick-making businesses.The ensure that provisions will be made so that low-

Colonia lies adjacent to the Juarez Industrial to moderate-income employees will have finan-

Park, the second largest maquiladora manufac- cial access to ownership; help further the history turing area in the city. Don Serafin explains how and culture of the area by maintaining and

he started his own brick business in the Colonia: evolving the Rio Grande weaving tradition;

"I watched how they worked and how they maintain a preference for purchasing locally

mixed the earth and loaded it, fired it, the whole grown wool, especially churro wool; and main-

process. Before, everything was lyrical, every- tain our primary place of business within a 50- Mexico. I mile radius of Los Ojos, New thing rustic, and that is how I taught myself.

simply watched how the older people worked Antonio Manzanares with a churro sheep on his ranch

in Los Ojos, New Mexico. Photo by Cynthia Vidaurri — that's how I learned and liked it.That's why I

started to work on my own, and I am still

here...."

— Erin Ross, Southwest Center for Environ-

mental Research and Policy, New Mexico

State University

1998 Smithsonian Folklife Festival 85 Rio Grande/Rfo Bravo Basin

Immediate economic necessity and the '1t Was a Way Out of the Fields" long-term dream of owning a piece of Every weekend at places with names like El Flamingo, Prieta's Bar, or Club 77, the sound of conjunto land are factors that drive many low- music blares as dancers twirl to huapangos, polkas, redovas, and 5/)of/5.This tradition has survived

income families of migrant farmworkers in what was once an isolated cultural area in South Texas known to the conjunto aficionado as"e/

to live in colonias. To help them achieve valle" (the valley). At one time, the area was more like Mexico than the United States, but during the

their goals, the United Farm Workers of first half of this century it adapted American traditions, developing a unique blend that is now

San Juan, Texas, developed a unique known as Tex-Mex.

program that emphasizes dedication to Traditional dance music is heard in the small local clubs and dance halls where some dance styles

public action, volunteerism, respect for have remained relatively unchanged for the past 50 years. But accordion-driven Tejano music coexists

all cultures, and egalitarianism. Amid with traditional dance music in venues that appeal to the younger generations. In his accordion-

telephones, faxes, and computers, repair shop sanctuary, Amadeo Flores entertains a steady trickle of conjunto aficionados, star per-

campesinos use modem technology formers, and occasional college students looking for their roots, with an unceasing flow of humor and

while still maintaining traditional val- musical anecdotes. Although he has lived most of his life in the area, he has frequently traveled

ues and practices. where his music has taken him. Amadeo is also an expert bajo sexto musician, accordionist, accordion —Victor Hernandez and Cynthia Cortez tuner, part-time historian, and full-time player of weekly conjunto gigs. His history as a performer

University of Texas-Pan American began in the forties, when music was a pastime, and over the years he has developed it into his liveli-

Field School Participants hood. When asked why the public turned to the accordion-driven conjunto, he answers without hesi-

tation,"lt's something they understand and they can dance to. They want something simple and

Dolores Venegas teaches women tradi- return to it." On this day Amadeo was showing off publicity photos of his accordion-repair clients and

tional craft-making in Rio Bravo, his current musical competitors, some of whom could be his grandchildren and are, in fact, his pupils.

Tamaulipas, using recycled materials He survives and thrives in a changing musical world through his appreciation of younger generations

and others readily available in the sur- and his irrepressible sense of humor. rounding region. Carrizo, reed cane, for — David Champion and Ramon de Leon

pinatas is found along the banks of the Narciso Martinez Cultural Center

Rio Bravo/Ri'o Grande; flower baskets San Benito, Texas

are made from old tin cans; and glue is

produced from flour, vinegar, salt, and

water. Newspapers and mazorca (com

husks) are also used. —Beverly Ortiz, University of Texas-Pan American Field School Participant

As we followed the Rio Grande, crossing and crisscrossing this river, we became Olivia Cadaval received her Ph.D. in American studies at George Washington University. aware of the great environmental and Cynthia Vidaurri received her masters in sociology at Texas A & I University and has cultural issues that persist along this vast taught Chicano and borderlands studies at Texas A & M-Kingsville University. They are headwaters in Colorado area. From the founders of the Latino Cultural Resource Center at the Centerfor Folklife Programs & to the Gulf of Mexico, every region of the Cultural Studies and co-curators of the Rio Grande/Rio Bravo Basin program. Festival Rio Bravo/Rio Grande faces its own program interns Lucy Bates, Heidi McKinnon, and Diana Robertson are graduatesfrom issues of history, language, culture, reli- University ofEdinburgh, University ofNew Mexico, and University of California at Los

gion, and sustenance. Angeles, respectively. Ileana Cadaval Adams is an independent writer and translator

—Juanita Elizondo Garza Patricia Fernandez de Castro is a Ph.D. candidate at the University of Chicago and University of Texas-Pan American researcher at El Colegio de la Frontera Norte.

86 Smithsonian Folklife Festival 1998 y

Rio Grande/Rfo Bravo Basin

Compilado por Lucy Bates, Olivia La cultura y el medio Cadaval, Heidi McKinnon, Diana Robertson y Cynthia Vidaurri; ambiente en la cuenca redaction por lleana Cadaval Adam y Patricia Fernandez de Castro del Rio Bravo/Rio Grande: programa del Festival de este ano Elforma parte del proyecto sobre la cuenca del Ri'o Bravo/Rio Grande, Una vision preliminar que incluye: • Los Talleres de Capacitacion para la Investigacion de Campo que se Aquel que beba agua del Rio Bravo realizaron en Texas, Nuevo Mexico y nunca de sus orillas se alejard. Colorado para entrenar a investi-

—Diclio recopjiado por Gregorio Garza Investigador, Laredo, Texas gadores locales y para dirigir la investigacion en la region para el

Festival de Tradiciones Populares y Rio Bravo, Rio Grande para otros programas publicos. • La produccion de programas piibli- Como las tierras semi-deserticas que cruza, el Rio Bravo/Rio Grande es una maravilla natural cuyo cos locales en colaboracion con poder y belleza apreciamos mejor mientras mas lo conocemos.Vi el Rio por primera vez cuando me organizaciones locales para presen-

mude a Nuevo Laredo, Tamaulipas,al otro lado de la frontera con Laredo, Texas. Aqui en la frontera tar la investigacion que se realize en

llegue a conocer un rio que al igual separa que une y da vida a estas dos comunidades. Porque el Rio, a la region (auspiciados por Texas

la vez que es una frontera entre paises,es el recurso comun que ha permitido a las comunidades Folklife Resources y Texas Council fronterizas florecer juntas durante siglos. Primero como ranchos y villas y ahora como puertos de for the Humanities)

comercio internacional, las comunidades de Nuevo Laredo y Laredo — como Matamoros y Browns- • Los programas del Festival

ville, Mier y Roma, Piedras Negras y Eagle Pass, Ciudad Juarez y El Paso — literalmente viven del Rio. Smithsonian de Tradiciones

iPor que traer nuestro Rio al Festival de las Culturas Populares del Smithsonian? Cuando Olivia Populares para 1998 and 1999

El Paso, • materiales Cadaval, Richard Kurin, Cynthia Vidaurri y yo empezamos a discutir esta idea en una de nues- La produccion de tras preocupaciones centrales era tratar la relacion entre el Rio y las comunidades que han surgido a didacticos y una pelfcula documental

su vera, no solo en la frontera Mexico-Estados Unidos sino a lo largo y ancho de la cuenca. Alrededor Esta manera colaborativa de capacitacion

de 13,000,000 personas viven en la cuenca del Rio Bravo/Rio Grande. Muchas de ellas son habitantes e investigacion continiia nuestro trabajo

recientes del Sudoeste de E.U. y del Norte de Mexico. Las familias de otras han estado aqui durante binacional con instituciones, investi-

mucho tiempo. Los espacios abiertos, el aire puro, la vida del desierto y de las montarias han atraido a gadores y miembros de la comunidad que

muchos. Pero, ironicamente, el crecimiento de las ciudades, de la industria y de los ranchos han conta- han participado en proyectos anteriores

minado tanto al Rio que es uno de los que esta en mayor riesgo en el continente. del Smithsonian en la region de la fron-

Para sobrevivir en este medio ambiente, los diferentes pueblos que han hecho esta region han tera Mexico-Estados Unidos. El siguiente

tenido que desarrollar una cultura tenaz y fuerte. La degradacion del Rio es una amenaza a su modo articulo ofrece muestras de los reportes

de vida. La gente de la cuenca ha respondido creativa y responsablemente, iniciando un esfuerzo para de la investigacion para el proyecto y

proteger su herencia cultural y fortalecer al Rio y a sus comunidades. Es esta intensa vitalidad lo que refleja la multivocalidad de la region.

el Festival celebra.

— Patricia Fernandez de Castro f5fe proyecto ha sido coauspkiado por El Consejo Nacional apoyodeFideicomiso para El Colegio de la Frontera Norte para la Cultura y las Artes con el

la Cultura Mexico/USA (la Fundacion Rockefeller, la

Fundacion Cultural Bancomeryel Fondo Nacional para la

Cultura y las Artes); la Fundacion SBC; Texas Folklife

ResearchyTexasCouncilfortheHumanities.LosTalleresde

Capacitacion para la Investigacion de Campo recibieron

apoyo de Colorado College, Tierra Wools, la Universidad de

Nuevo Mexico, la Universidad de Texas - Pan Americana

una subvencion del Fondo de Smithsonian Outreach.

1998 Smithsonian Folklife Festival 87 Rio Grande/Rio Bravo Basin

cuenca del Rio Bravo/Rio Grande forma un complejo paLsaje

Lacultural, ecologico y politico. El no navega por montanas, desiertos,

llanos \ subtropicos y cruza los estados de Colorado, Nuevo Mexico y Texas en los Estados linidos y los estados de Chihuahua, Coahuila, Nuevo Leon,

Durango y Tamaulipas en Mexico. En su trayectoria de mis de 3220 kilometros se le conoce con nombres diferentes: Rio Grande del Norte, Rfo Bravo, Rio de las Palmas,

Po'soge. La cuenca del Rio Bravo/Rio

Grande esta poblada por muchos grupos diversos de individuos con sus propias experiencias personales y colectivas. La bendicion de la acequia durante la Fiesta de San Ysidro, Albuquerque, Nuevo Mexico.

Acequia blessing for the Feast ofSan Ysidro, Albuquerque, New Mexico.

Po'soge, el Rio Grande del Norte o Rio Photo by / Foto de Molly TImko

Bravo, es uno de los nos mas largos, El proyecto celebrados y vitales de Norte America, y y ver como las tradiciones contem- tambien uno de los mas amenazados. El poraneas pueden ser pertinentes para El objetivo del proyecto iniciado por el

desierto ha florecido gracias a las aguas equilibrar la prosperidad humana con la Smithsonian tiene como fin entender la

repartidas por las antiguas acequias sustentabilidad del medio ambiente. Para diversidad de la region a traves de su

indigenas y novohispanas y los canales ello nos preguntamos: naturaleza, medio ambiente, tradiciones

y presas del siglo XX. El Rio Bravo solo 1) ^Que tipos de comunidades viven culturales y experiencias historicas. podra de sobrevivir como un no hoy en di'a en la region? Nuestro equipo enfoco su investigacion

ecologicamente sano si se le deja un 2) ^En que consiste su conocimiento de campo en las empresas comunitarias,

poco de su antigua bravura. tradicional para manejar el medio el reciclaje y, en lo general, en los —Enrique Lamadrid ambiente? paisajes y los sonidos humanos y natu- Universidad de Nuevo Mexico 3) iPuede la cultura local formar los rales representatives del medio ambien-

cimientos para proyectos de desarr- te riberefio. Despues de entender el

Mucha de la investigacion sobre nos se en- oUo sostenible? "que, como y por que," los investi- foca en los derechos de tierra y agua, el Estas preguntas nos indujeron a explorar gadores llegaron al corazon de su estu- medio ambiente, la historia, la arquitectura, los varios significados que tiene el Rio dio, el espiritu o esencia del individuo o la salud y la arqueologia. En este proyecto, Bravo/Rfo Grande. de la comunidad bajo investigacion. En nos preguntamos, con nuestros colegas del Despues de revisar la investigacion de cada empresa se dlscieme la fuerza y

Rfo Bravo/Rfo Grande — ^;Y que de la campo, decidimos que un proyecto de riqueza de valores culturales, caracteris- gente que aquf vive? ^Y que de la herencia semejante magnitud y riqueza requeriria ticos de la diversidad en la region. cultural y de la creatividad de grupos cuya un afio mas de planificacion para su pro- —Juanita Garza, Universidad experiencia se ha forjado por el no? duccion. Por lo tanto, este afio presentare- de Texas-Pan Americana

Nuestro particular reto fue investigar, mos un pequefio programa en el Festival disenar y producir un programa que que ofrecera una introduccion a la pro- muestre como las culturas locales con- blematica, las regiones culturales y las tribuyen a un medio ambiente sostenible tradiciones expresivas que conformaran el en la cuenca del no. Nuestra tecnica fue programa del Festival de 1999- Muchas recurrir a academicos, profesores, e indi- voces y perspectivas han formado este viduos con preparacion formal e informal programa y el proceso colaborativo ha comprometidos con el trabajo cultural en sido tan importante como su producto. su comunidad. Intentamos entender la relacion entre cultura y medio ambiente

88 Smithsonian Folklife Festival 1998 Rfo Grande/Ri'o Bravo Basin

La cuenca del Rfo Bravo/Rio Grande Acequia, la palabra castellana para dad. Este afio, por primera vez en dos se nutre de tributaries naturales y canal de riego, se deriva del arabe, as- decadas, sembraremos de nuevo. culturales. saquiya (cargador de agua). Las ace- —Regis Pecos,

A Priscilia Chavez le gusta recordar quias secundarias y laterales se Uaman Oficina de Asuntos Indigenas

como su papa insistia en que sus hijos Sangrias, un termino metaforico que del Estado de Nuevo Mexico

aprendieran lo que nunca se les podria expresa la sabiduri'a misma de los

robar. La tierra podra perderse, pero la dichos populares: "El agua es la sangre Un rfo es un eje de valores que puede

cultura perdura como parte tan Integra de la tierra" y "El agua es vida." unir dividir comunidades.

del valle del Rio Grande como el no — Enrique Lamadrid Los Matachines de la Sierra Oriental en

mismo. "Mi papa liacia buena harina de Universidad de Nuevo Mexico las afueras de Alburquerque danzan ri-

mai'z. Era la niejor Y le dijo a mi her- tualmente para mantener y renovar la

mana — Voy a dejarte esta herencia a Los costumbres humanas pueden estar o tierra y el agua del valle del Rio Grande.

tL Y ella continiia haciendo la mejor no en hamionfa con la logica del rfo. Sin embargo, el desarrollo urbano

harina de maiz. . .. A los muchachos les Observando a las comunidades Pueblo a reciente amenaza sus costumbres. La

dejo la miisica...." lo largo del Rio Grande, aprecianios la matachin Bemadette Garcia explica: —Grabado por Enrique Lamadrid problematica de la supervivencia cultural, "Los empresarios urbanos venden todas Universidad de Nuevo Mexico del desarrollo economico y de la conser- estas propiedades, pero no ponen en las

vacion ambiental. El control del agua escrituras que tenemos derecho de acce-

Un no provee materia prima. forma parte de esa lucha cultural para so segiin las mercedes originales. Aca-

Las alfareras de Ysleta extraen la arcilla sobrevivir. Por ejempio, nuestro sistema bamos teniendo que luchar por ellos en

riberefia de varios sitios. Cuando de valores en cuanto al uso de la tierra y la corte. La gente que compra no sabe Fermina y sus hermanas eran jovenes y el agua es incompatible con el del sistema nada de esto y se muda muy contenta.

trabajaban con su abuela, la familia iba jurisprudencial. Aprendemos a conservar Entonces vienen nuestras fiestas y pro-

a buscarla en cuatro cerros. Cada cerro el agua pero al mismo tiempo las leyes cesiones. Dicen — No pueden pasar por

producia arcilla de distinto color, desde dicen que debemos usarla aiin cuando no nuestros terrenos porque son nuestros.

un rosado palido a uno oscuro. Ahora la necesitemos, para asi mantener nues- Es ahi cuando comienzan las peleas. No

extraen arcilla dondequiera que la tro derecho sobre ella. Ademas la decision debe de ser asi. Es solo una vez al afio

encuentran. Fermina encontro un de construir una presa para controlar al que tenemos que ir en procesion al ojo

deposito de calidad pero solo tuvo acce- Rio Grande afecto negativamente el pro- de agua. Siempre haremos una proce-

so a el por corto tiempo antes de que pio tejido social del Pueblo Cochiti. sion al ojo en primavera. hasta que

fuera cercado. Durante unos veinte anos no pudimos nos atropellen." —Grabado por Elaine Thatcher realizar nuestros rituales agricolas. La —Barbara Gonzales

in si' 'tu, Santa Fe, Nuevo Mexico agricultura no es simplemente una fuente Participante del Taller de Investigacion

de alimentacion para nosotros; esta inti- de Campo con la

El Ri'o Bravo/Rio Grande es un rfo de mamente relacionada a nuestra identi- Universidad de Nuevo Mexico desierto en el que los recursos son limi- tados. Fluye por una arida region carac- Rita Morales frente a un terizada tanto por la cooperacion como altaralaVirgende por los conflictos sobre el uso de agua. Guadalupe en la fdbrica

El agua de la acequia nos conecta al no. maquiladora donde traba-

Pero tambien nos une a unos con ja en Matamoros,

otros.... Aunque haya conflictos sobre el Tamaulipas.

horario de riego y estes enojado con tu

vecino, sabes que tendnls que resolver- Rita Morales, a maquiladora

los tarde o temprano. A largo plazo, eso factory worker, next to an

hace que la gente mantenga buenas altar to the Virgin of Guada-

relaciones." lupe in the factory where

—Biologo ripario Manuel Molles she works in Matamoros,

entrevistado por Enrique Lamadrid Tamaulipas. Photo by / Foto

Universidad de Nuevo Mexico de Alma Jimenez

1998 SMITHSONIAN FOLKLIFE FESTIVAL 89 Rio Grande/Rio Bravo Basin

Un rio invita viajes, asentamientos, re- Los chileros at norte de Alburquerque. Su tiendita de chile en la asentamientos, fronteras y lazos sociales. calle Edith cerca de la iglesia del Monte Carmel es

Naci en Veracruz, en el Golfo de Mexico. finales de agosto, uno de los rites mas celebra- un lugar donde se reunen amigos, vecinos, turistas

Me case muy joven. Mi esposo era de A dos del Rio Grande del Norte comienza: la e indigenas de los cercanos Pueblos Sandia, Santa

Ciudad Victoria, en el vecino estado de cosecha del chile. Aqui el chile es, mas que condi- Ana y Santo Domingo. Como dice la sefiora Chavez,

Tamaiilipas, ) en esa epoca el estaba mento, alimento basico. Como dice el dicho,"La "El chile une a la gente." El sehor Chavez dice "Si no

trabajando en el algodon. Nos conoci- comida sin chile es como un beso sin bigote." se puede sembrar el chile, hay que venderlo."

mos, nos casamos y conio sii familia Desde que se acuerda la gente, Eduardo y Priscilla — Enrique Lamadrid

estaba alia en Ciudad Victoria, pues dijo Chavez han rescoldado y vendido chile en el valle Universidad de Nuevo Mexico

— vamonos — y nos fuimos. Despues

estar casada veinte afios, vine a de Las ladrilleras Ik^U^a Matamoros en la frontera. Aqui en

Matamoros, en la niaquiladora, uno de Ciudad Juarez convive, se cuentan sus cosas, se cono- En el barrio Colonia IVIexico 68 de Ciudad cen, se pelean unas con otras, se cuen- Juarez, muchas de las familias ladrilleras han

tan sus problemas. Se dan su tiempo creado un espacio o patio para su casa,su homo

entre el trabajo para convivir. ... A veces y su negocio de ladrillos. La Colonia queda al

como vendemos cosas, nos ayudamos. lado del Parque Industrial Juarez, el segundo en

—Entrevista con la ciudad por su extension. Don Serafin explica Eustolia Almaguer Vazquez como empezo su propio negocio de ladrillos en

por Alma Jimenez la colonia. "Estuve observando como trabajaban

El Colegio de la Frontera Norte y como revolvian la tierra, como la cargaban,

como la quemaban,toda la elaboracion. Antes

Al terminarse la investigacion de campo, todo era lirico, todo rustico y fue como me

una investigadora de Texas comento enserie yo. Lo linico fui viendo como trabajaban

sobre sus diferentes experiencias al los sehores de antes, fue como aprendi y me

cruzar el Rio Bravo/Rio Grande. En gusto. Por eso es que comence a trabajar por mi

Texas, el no es una frontera intema- cuenta y aqui estoy todavia...."

cional y cruzar implica aduanas fede- — Erin Ross, Centre de Investigacion y rals de ambos lados, pero en Colorado Reglamentacion Ambiental del

y Nuevo Mexico el rio se cruza y se Suroeste Universidad del

vuelve a cruzar sin necesidad de pararse Estado de Nuevo Mexico

para identificar su nacionalidad. Esta

experiencia le ayudo a entender la

relacion entre formaciones geologicas y barreras arbitrarias. —Juanita Garza Universidad de Texas-Pan Americana

Un rio inspira a cantantes, poetas y na- rradores. En el Sureste de Estados Unidos la Llorona es una leyenda de una mujer que se encuentra llorando a la orilla de los rios, arroyos y acequias de la region. Hay varias versiones pero todas cuentan de una mujer indigena que ahoga a sus hijos enfurecida contra el padre espaflol.

Por siempre rondara los sitios de agua en busca de sus hijos.

La Llorona vive en los corazones y las 90 Rio Grande/Rio Bravo Basin

Grande todavia riegan sus jardines, Los Mancha metiendo la

arboledas y campos de alfalfa. Las ace- came en elpozo detrds

qiiiiis tradicionales y el agua que llevan de su tienda en Eagle

simbolizan el espiritu de una comu- Pass, Texas. nidad que ha aprendido a defender su

cultura, su estilo de vida y sus valores. The Manchas setting the

Lino de los ritos de primavera en el prepared meat in the pit

Rio Grande del norte es la "saca" behind their store in Eagle

[limpieza] anual de las acequias. Todos Pass, Texas. Photo by /

estan obligados a participar y a con- Foto de Mario Montano

tribuir en el trabajo. En el pueblo de

Picuris de los indios tiwas, hay cantos

especiales para acompanar la limpia de Desde el ano I948, la Tienda y Marqueta entales. Esto se puede ver en la bistoria

las acequias. En vez de tocar un tambor, de la faniilia Mancha ha sido una insti- de los indigenas raramuri de

el ritmo se niarca con los golpes de las tucion cultural en Eagle Pass, Texas. Cbibuabua, comunidades nativas que

palas contra el suelo. Ahora, Guillermo, "Willie" Mancha, el fueron forzadas a emigrar de sus tierras.

La entrada de las primeras aguas de hijo mayor, esta encargado de supervi- La Sierra Madre Occidental se considera

la primavera en las acequias es una sar a la tercera generacion de hijos y como el area mas majestuosa y pintoresca

ocasion muy anticipada y celebrada con sobrinos que continuan preparando y del norte de Mexico. Aqui viven los rara-

bendiciones y alegria. Cuando se abren vendiendo las coniidas tradicionales muri. Por anos las familias raramuri han

las compuertas cerca de las comu- tipicas de las ranchen'as mexicanas de emigrado a zonas urbanas, principalmente

nidades Pueblo, las aguas son bendeci- esta region. Por mas de un siglo los de los estados de Chihuahua, Sinaloa y

das con harina de mai'z sagrado. En los rancheros mexicanos ban creado una Durango. Los raramuris suelen visitar las

pueblos hispanos, el sacerdote bendice economi'a a base de frutas, verduras y ciudades para vender artesanias tradi-

el agua y las procesiones que honran al ganado, los ingredientes para comidas cionales, hierbas medicinales y textiles; para

santo patrono de la agricultura, San regionales como tamales, chorizo, obtener productos que no se pueden con-

Isidro Labrador. menudo, fajitas y barbacoa de cabeza. seguir en la Sierra; y para obtener trabajos —Enrique Lamadrid La costumbre era de consumir el animal asalariados temporales. En octubre de 1995, Universidad de Nuevo Mexico entero, preferibleniente chivo, desde la una comunidad raramuri se establecio en el

barba hasta la noroeste de Ciudad Juarez. Muchas mujeres

cola. Se dice que de esta comunidad venden hierbas medici-

de allf viene la nales cerca del mercado municipal de

palabra barbacoa, Ciudad Juarez. Las hierbas son comiinmente

de la combinacion trai'das de la Sierra al comienzo del otofio.

de barba y cola. Desde pequefios, a los raramuri se les —Mario Montaiio, ensefia a conocer las hierbas medicinales de

(Colorado College la Sierra, de modo que conocen sus

propiedades curativas.

Hi no define com- Se produce poca artesania en esta comu-

plejos ambientes nidad, pero algunas mujeres van a la Sierra

economicos, a conseguir material artesanal que no se

sociales y polfticos. encuentra en una zona urbana. Por ejemplo, Las comu- consiguen las hojas de pino la palmilla

nidades riberenas para hacer canastas (warts). Sin embargo, contemporaneas en Ciudad Juarez encuentran materiales

ban respondido para coser vestidos y fajas tradicionales. Las

Mujeres rardmuri vendiendo hierbas y flares en la banqueta en Gudad Juarez, creativamente y de mujeres raramuri son excelentes costureras. Chihuahua. diferentes maneras —Genevieve Mooser, Universidad de

Rardmuri women selling herbs and flowers outside on the sidewalk in Gudad a los retos histori- Nuevo Mexico Oriental

Judrez, Chihuahua. Photo by / Foto de Genevieve Mooser cos y medio ambi-

1998 Smithsonian Folklife Festfvai 91 Ri'o Grande/Ri'o Bravo Basin

Participantes en la escuela de investigacidn de campo del programa del Rio Bravo/Rio Bravo trabajando con los miembros del Sindicato de Campesinos Unidos en

San Juan, Texas.

Rio Grande/Rio Bravo Folklife Field Research School participants working with United Farm Workers Union in San Juan, Texas. Photo by / Foto de Charles Weber

Los Arellano y su merced de tierra Tierra Wools

Valle de Embudo en Nuevo Mexico tiene una gran diversidad de habitats que incluyen planicies mision de Tierra Wools es producir El La y deserticas, bosques de pino y junipero y matorral subalpino. El Rio Grande sustenta la region vender estambre y tejidos de lana hechos a entera.La historia de agricultura y silvicultura novohispana en la region comienza con la merced de mano, y ensenar a tejer, hilar, teiiir y trabajos

Embudo de 1 725. La madre de Estevan Arellano, Celia Archuleta, es descendiente directa de Francisco relacionados en la tradicidn de tejido Rio

Martin, uno de los tres cesionarios originales. Los Arellano sienten lazos fuertes con su tierra que se Grande. Daremos prioridad en el empleo a intensifican y refuerzan preservando ciertas costumbres tradicionales. personas de bajo a mediano ingreso;

— Ken Rubin, Participante del Taller de Investigacidn de Campo con Colorado College aseguraremos que habran mecanismos para

que estas personas tengan acceso a prestamos

Dentro de la variedad enorme que existe en el jardi'n, hay un sentido de armonia entre plantas, para financiar propiedades; ayudaremos a

tierra y manos que la cosechan. En la filosofia agricola de Estevan Arellano, es muy importante propagar la historia y la cultura de la region

lograr un paisaje natural. "Yo dejo que las plantas busquen su propio nicho. . . .se mueven y encuen- manteniendo y desarrollando la tradicion del tran su lugar mas natural." La actitud de Estevan hacia los insecticidas revela su relacion con la tierra. tejido del Rio Grande; daremos preferencia en

"Los insecticidas son la peor cosa que se le puede hacer a la tierra. La tierra es un organismo vivo; la compra a la lana de la region, sobre todo a la tiene emociones, tiene un alma, tiene todo lo que tiene un ser humano. Si quiere que produzca, hay lana churro;y mantendremos nuestro principal que trataria con carina" centre de negocios dentro de un radio de 50

—Joanna Stewart, Participante del Taller de Investigacidn de Campo con Colorado College millas de Los Ojos, Nuevo Mexico.

El ixtle

ixtle es una fibra que se extrae de la lechuguilla se usa para tejer hamacas, tapetes bolsas. La El y y Direccion General de Ecologia del Estado de la Secretaria de Desarrollo Social del Gobierno de

Coahuila ofrece becas a las personas que quieran aprender a trabajar el ixtle y ayuda a familias con talleres artesanales de este tipo. El artesano Jose Isabel Quiroz Garcia aprendio a tejer el ixtle de su padre, con quien todavia trabaja.Su esposa le pone los detalles finales a las artesanias.

92 Smithsonian Folklife Festival 1998 Rio Grande/Ri'o Bravo Basin

La necesidad economica y el sueno de

ser dueno de sii propia tierra son fac- Era una via para salir del campo

lugares como El Flamingo, Bar Prieta o Club 77 la musica de conjunto satura tores que impulsan a muchas familias Los fines de semana en de trabaj adores agricolas migrantes de el ambiente mientras las parejas bailan al compas de huapangos, polkas, redovas y chotises. Esta

bajo ingreso a vivir en asentamientos tradicion ha sobrevivido en el sur de Texas, en lo que una vez fue una region cultural aislada conocida

urbanos marginales o "colonias." Para por los aficionados a la musica tejana de conjunto como el Valle. En un tiempo, la region era mas

ayudarles a realizar su nieta, el Sin- como Mexico que como Estados Unidos, pero a mediados de este siglo se introdujeron tradiciones

dicato de Campesinos Unidos de San musicales estadounidenses y surgio algo que no es mexicano ni americano sinotex-mex.La miisica

Juan, Texas, desarrollo un programa tradicional se escucha en los pequerios dubes y salones de baile — en locales donde perviven

especial que enfatiza dedicacion a la estilos de baile que no han cambiado en 50 ahos. Ahora la nueva musica tejana convive con la mas

accion piiblica, trabajo voluntario, tradicional.

respeto por tod;is culturas y egalitaris- Amadeo Flores entretiene al continuo flujo de aficionados, musicos y estudiantes universitarios que

platica sobre la mo. Trabajando con telefonos, faxes, y pasan por el santuario de su taller de reparacion de acordeones con su incesante

computadoras, los trabajadores agrico- musica y refranes, dichos y chistes. Aunque ha vivido la mayor parte de su vida en el Valle, la musica

las utilizan la tecnologia modema al le ha servido de vehiculo para conocer todo el pais. Ademas de afinador de acordeones, Amadeo es

mismo tienipo que conservan valores y acordeonista, toca bajo sexto y es historiador. Su historia como musico comenzo en los anos cuarenta,

practicas tradicionales. cuando la musica para el era un pasatiempo;con el tiempo la ha convertido en una manera de

—Victor Hernandez y Cynthia Cortez ganarse la vida. Cuando le preguntan que es lo que atrae a la gente a la musica de conjunto con

Participante del Taller de Capacitacion acordeon, contesta sin vacilar, "Es algo facil de entender y bailar. Quieren algo sencillo y vuelven a

para la Investigacion de Campo con la esto." Hoy Amadeo estaba presumiendo con sus fotos de publicidad de los clientes a quienes les

Universidad de Texas-Pan Americana repara sus acordeones y de sus rivales musicales, algunos de los cuales podrian ser sus nietos y, de

hecho, son sus alumnos. Con su aprecio por las nuevas generaciones y su sentido de humor incon-

Dolores Venega le ensefia a las mujeres tenible, Amadeo prospera en el cambiante mundo musical.

de Rio Bravo a hacer artesanias tradi- — David Champion y Ramon de Leon, Centre Cultural Narciso Martinez, San Benito, Texas cionales utilizando materiales reciclados

y otras materias primas de la region. El Al seguirel Rio Bravo/Rio Grande, cruzando

carrizo para las pinatas se encuentra a y volviendo a cruzarlo, nos dimos cuenta de

la orilla del Rio Bravo/Rio Grande; las la enomie problematica cultural y ambiental

canastas para arreglos florales se hacen que persisten en este trecho vasto. Desde su

el Mexico, con latas usadas; y el pegamento se origen en Colorado hasta Golfo de

hace con harina, vinagre, sal y agua. cada region del Ri'o Bravo/Rio Grande

Tambien utiliza periodicos y mazorcas. enfrenta su propia polemica sobre la histo- —Beverly Ortiz, Participante del Taller ria, el idioma, la religion y los medios de de Capacitacion para la Investigacion vida.

de Campo con la Universidad de —^luanita Garza Texas-Pan Americana Universidad de Texas-Pan Americana

Olivia Cadaval recibio su doctorado en la Universidad de George Washington. Cynthia Vidmnri recibio su maestria en la Universidad Texas A & I y fue profesora de estudios chi- canos yfronterizos en la Universidad de Texas A & M-Kingsville. Son fundadoras del Centro Latino de Recursos Culturates en el Centro de Estudios Culturalesy Programas de Tradicion Popular y co-directoras del programa sobre la cuenca del Rio Bravo/Rio Grande Laspasantes del programa del Festival Lucy Bates. Heidi McKinnon y Diana Robertson son graduadas de la Universidad de Edimburgo. la Universidad de Nuevo Mexico y la Universidad de California en Los Angeles, respectivamente. Ileana Cadaval Adam es escritoray traductora independiente. Patricia Fernandez de Castro estd termi- nando su doctorado en la Universidad de Chicago y es investigadora de El Colegio de la Frontera Norte.

1998 Smithsonian Folklife Festival 93 1AAO Festival Concerts

94 Smithsoni\n Folklife Festival 1998 Fourth Annual Friends of the Festival Ralph Rinzler Memorial Concert

Jazz and First-Generation

American Klezmer Musicians Peter Sokolow

is the traditional instrumental Klezmer American klezmer clarinetists, Sid Becker- music of the Jews of Eastern Europe and, man follows neither Brandwein nor Tarras. Sid's style derives from that of his as far as we Imow, dates from the l6th cen- father, Shloimke Beckemian (1883-1974), tury. The term "klezmer" itself derives from the a good technician on both clarinet and Hebrew words kley zemer, "vessel of song," saxophone who played in a Paul White- man big band unit at New York's posh referring to the musical instruments. Palais Royale in the early 1920s. He was

Heavily influenced by the existing folk players followed the style and repertoire the only one of the immigrant generation genres in the area — e.g., Romanian, of Dave Tarras — smooth, graceful, and who played the saxophone well. Sid's

Russian, Polish, Ukrainian, Hungarian, elegant. 1 would compare the two: pla\'ing is totally devoid of jazz influence

Bulgarian, Gypsy — and traditional Brandwein is to Tarras as early Benny and surprisingly lacking in vibrato, which

Jewish cantillation, klezmer was filtered Goodman is to Artie Shaw. also is apparent on the few recordings through Jewish ears and consciousness. Aside from Epstein, the most important made by his father in the 1920s. On Sid's Immigrant klezmer musicians who first-generation American klezmer clar- other instmments, trumpet and trom- came from Eastern Europe to America inetist was Tarras's son-in-law, the awe- bone, the jazz influence varies. during the early 20th century found a some Sam Musiker (1916-1964), who When klezmer came to America, it ready market for their skills. Many large was the featured jazz clarinet soloist in moved indoors, from open fields to cater-

American cities had Jewish neighbor- the Gene Krupa band from 1938 until ing halls, where it found — pianos! hoods filled with large young 1942. As with most in his generation, There weren't many pianists in klezmer families.Yiddish was spoken by the vast Musiker was an outstanding saxophonist in the immigrant generafion; the piano majority. The newly arrived klezmorim as well. Jazz was an important compo- remained for the first-generation found work using the old repertoire at nent of Sam's klezmer playing and com- Americans, so many of whom were given weddings, society, labor union, and syna- posing. His younger brother, Ray Musiker music lessons by their parents. Klezmer

gogue fimctions. Those adept at reading (born 1926), plays with a more "classi- dance bands used piano for "oom-pah" music could also find employment in cal" tone, and his compositions reflect rhythm. The younger pianists such as my

Yiddish theaters. the more "modal" approach of contem- father, Abraham Sokolow (1896-1987),

American-bom musicians began to porary jazz. emulated the dynamic style of George

perform klezmer music in the mid- Others who play in the Tarras style are Gershwin (1898-1937), whose innovative 1920s. Max Epstein (clarinet/saxo- Howie Leess, a devotee of Artie Shaw and harmonies and rhythms pervaded phone/violin) was playing violin in a a brilliant improviser on the tenor sax; American dance music from the 1920s

Yiddish theater orchestra at the age of Leess's first cousin, Danny Rubinstein, until World War II. Some of these ideas

12, in 1924. Although he plays American who plays marvelous modem jazz on sax found their way into klezmer music, dance music, Epstein's klezmer clarinet as well; Paul Pincus, a Juilliard graduate introduced by Abe Ellstein, who played

and violin are totally European in overall who spent many years as a clarinetist with Dave Tarras; Sam Eisenberg, who

style. He follows in the tradition of his and bass clarinetist in Broadway pit played with Max Epstein; and Sam

idols, the European-bom Dave Tarras orchestras and plays elegant saxophone Medoff, pianist and arranger on the

(1897-1989) and Naftule Brandwein with little jazz influence; and Rudy Tepel, 1930s and 1940s radio series, "Yiddish (1889-1963). Brandwein's was the domi- for years a band leader at Hasidic wed-

nant clarinet approach — somewhat dings, who employs a curious "society" The fourth Annual Ralph Rinzler Memorial Concert is rough, but daring and exciting — until sax vibrato on the clarinet and a punchy made possible with support from The Recording

the advent of Tarras in the late 1920s. sax style reminiscent of Charlie Bamet. Industries Music Performance Trust Funds, the Ruth

Most of the first-generation American An anomaly among first-generation Mott Fund, Friends of the Festival, and Kate Rinzler.

1998 Smithsonian Folkiife Festival 95 !

Klezmer!

Peter Sokolow, Henry Spoznik, Howie Lees, and Sid The revivalists have. . . brought our old-time catering-hall dance music onto the concert Beckerman (left to right) perform in the early 1990s. Photo courtesy Peter Sokolow stage, into the recording studio, and on television and radio.

Melodies in Swing." Some bands used the revivalists of Henry Sapoznik's age and the dedicated scholars and perfonners of

accordion in addition to or as a substi- younger. I learned the music from Tarras, the klezmer revival. The revivalists have

tute for the piano. Gratz, Tepel, the Epstein brothers, and Sid redefined our old music, lending a patina

The archetypal klezmer drummer in Beckerman, all of whom I perfonned of artistry to the old, derogatory term America was Irving Gratz (1907-1989), with regularly, starting in the late 1950s. klezmer, meaning a musical simpleton

the mighty little man who played for Oddly, I learned a newer, more "yank- only capable of playing old Yiddish tunes

Dave Tarras. An immigrant who played a ified" klezmer than that of the revivalists, poorly. They have brought our old-time

pure klezmer style — rolls on the snare who went to the old Abe Schwartz, Harry catering-hall dance music onto the con- drum, steady bass drum, and cymbal Kandel, and Naftule Brandwein record- cert stage, into the recording studio, and accents — Gratz's "time" was impecca- ings for their style and repertoire. Even on television and radio, giving new

ble: no rushing or slowing down, no jazz though I have been playing this music careers and a modicum of fame and pub-

whatsoever The drummers who put since before many of the "kids" were lic recognition to a bunch of old, semi- some Krupa into klezmer were the bom, their basic approach predates mine! retired veterans. We "old guys" would like

youngest Epstein brother, Julie (born Many of my colleagues and I have intro- to thank the "young guys" for getting us

1926, in my opinion the best today), Sol duced the revivalists to the style and a part in this wonderful music scene.

Gubenko (brother of jazz vibist Terry repertoire of the Dave-Tarras-and-later Gibbs), Marvin Kutcher (nephew of period, which spans the years from 1930 Pete Sokolow « a veteran ofNetv York's

trombonist Sam), and Si Salzberg. to i960. After i960, klezmer music Jewish miisic scene. Cofounder ofKlezmer

I am the "bridge" between the first two became dormant, awaiting rediscovery Plus!, he is highly regardedfor his New

generations of American klezmer and the and revitalization through the efforts of Orleans and early jazz stylings.

96 Smithsonian Folklife Festival 1998 Klezmer!

Old-Time Music and the Klezmer

Revival: A Personal Account Henry Sapoznik

the time I graduated from high school in culture, they were still puzzled about the 1971, 1 knew that I had a great affinity for proliferation of us in old-time music. Bytraditional music — especially "old-time" After all, their own kin took nearly no interest in it. music from Appalachia. Tommy asked me, "Hank, don't your

Cutting loose from my Orthodox Jewish in the bite-size universe shared with people got none of your own music?" upbringing and liturgical studies under other urban revival old-time bands like Well, of course we had "our own" music: my cantor father, I put my Jewish music the New Lost City Ramblers and the blue- cantorial melodies I sang with my father, in deep freeze and careened my way grass-oriented Greenbriar Boys, in which Hasidic tunes we sang in yeshiva, numer- through rock and protest, winding up Ralph Rinzler played. ous songs sung with gusto during Pass-

Israeli I with "authentic folk. " Dubbing myself To this 19-year-old Brooklyn boy, North over. There was also the music

"Hank," I ventured forth with my $10 Carolina seemed like an amalgam of deeply loathed. But where were the great Japanese banjo intent on embodying the Shangri-La and Tobacco Road. My dream fiddlers, the driving elemental dance hard livin', hard travelin' repertoire of was to go as soon as possible. In the sum- tunes, and exuberant, unself-conscious rural Americans. Haunting the numerous mer of 1973 I got a chance to make a genres of music? Above all, where were coffeehouses in Greenwich Village or field trip to Mt. Airy to the home of Tom- the Jewish Tommys and Freds? I didn't heading to the Wailing Wall of folk music, my Jarrell and Fred Cockerham, two of know, but I meant to find out. And did.

Washington Square Park, I would play a the most wonderful players of old-time host of antique American songs with other music. Septuagenarians both, the irascible Excerpted from Klezmer! A Social History children and grandchildren of East Tommy and the dryly self-deprecatory of Yiddish Music in America (Schimier European Jewish emigres. The music Fred made perfect teachers. They were Press, forthcoming). scene was awash with fiddlers, banjo play- generous, demonstrative, appreciative, ers, mandolin players, and guitarists who, accessible, and endlessly authentic. Over with their long string}; beards and intense the next few years I made half a dozen Suggested Reading gazes, looked like nothing less than stu- trips; these remain some of the most pow- Sapoznik, Henry."Klezmer Music:The First Five Hundred dents playing hooky from beys medresh, erful and wonderful memories I have. Years." In Musics of Multicultural America, ed. Kip the Jewish house of study I fit right in. At breakfast one morning on one of Lornell and Anne Rassmusen. New York: Schirmer

One band I sat in with was The Wretched these trips. Tommy offered me scrambled Press, 1998. Refuse String Band, whose name under- eggs, bacon, and biscuits drenched in scored the relatively recent immigrant bacon-fat gravy. I opted for just coffee. Suggested Listening backgrounds of the musicians' families. The genial Tommy pressed me with Dave Tarras: Yiddish-American Klezmer Music 1925- 1956.

The following few years were filled with "Come on. Hank, eat up!" We parried Yazoo 7001. listening to 78 rpm recordings of bands and thrusted until Tommy, getting more Klezmer Plus! Featuring Sid Beckerman and Howie Leess. like Uncle Dave Macon and the Fruit Jar and more obstreperous, blurted out: Flying Fish 70488.

Drinkers, Dr. Humphrey Bates and the "What's the matter with you, Hank?

Possum Hunters, and my favorite, Charlie What're you, a damned Jew? " Whoa! I'm Henri' Sapoznik is a leader in the

Poole and the North Carolina Ramblers. still not sure if I was more startled by reritalization of traditional Yiddish music.

In 1972, 1 fonned my own old-time band. Tommy's language or his knowing that He is ctirre)itly working on a history of

The Delaware Water Gap String Band. pork is not kosher. In any case I stam- music and a documentaryfor public

The DWG soon became a popular group mered out: "Why, yes, Tommy, I am." It radio on the history of Yiddish radio. turned out that, touched and impressed as he and Fred were about the boundless enthusiasm Jews had for their music and

1998 Smithsonian Folklife Festival 97 Folkways at 50

Folkways at 50:

Festivals and Recordings Anthony Seeger

years ago, an immigrant audio engineer Fifty Folk Festival; he published the recordings with a deep love of American music, Moses of generations of researchers and scholars — including some of those who Asch. started his third record company in would eventually have a major influence

New York City after suffering two bankruptcies. on the Smithsonian Folklife Festival. For He called the new example, recordings of Doc Watson and company Folkways his family by Ralph Rinzler, founding

Records and decid- director of the Festival, were first issued ed he would use it on Folkways; Bernice Johnson Reagon, to create a kind of African-American scholar, singer, song- public archive of writer, and folklorist with the Festival's the world's sounds. African Diaspora Program, recorded her

He was also deter- first album on Folkways. Moreover, the mined to provide a philosophies of Folkways and the Folklife record label for Festival were similar: to celebrate cultural those whose voices diversity and human artistry; to provide were rarely heard an educational framework through which beyond their com- to understand cultural manifestations; munities, from the and to encourage people to delve as most traditional Pete Seeger and Moses Asch at Folkways' office, New York City, 1956. deeply as they wish into the subject mat- artists to the most Photo © David Gahr ter by providing substantial supplemental avant-garde. He material — liner notes in the case of would eventually produce over 2,100 LP look forward to new technologies and Folkways and program books like this records and keep them all in print until new directions through which to do the one in the case of the Folklife Festival. his death in 1986. In 1987 the Smith- same for the future. In three 50th anniversary concerts we sonian Institution acquired Folkways It is appropriate to celebrate Folkways' recognize the importance of music for

Records as well as the Moses and 50th anniversary at the Folklife Festival. children in the Folkways legacy, look

Frances Asch Collection of archival Folkways Records was a touchstone of the back at some of the influential artists materials, now both part of the Center early folk music revival through its sup- recorded by Moses Asch in the 1940s, and for Folklife Programs & Cultural Studies. port of many influential artists and its then look forward to artists who appear In 1998 we look back over a half-centu- participation in many events. Moses Asch on the most recent compact disc issued ry of activities that have profoundly housed Sittg Out! magazine during its by Smithsonian Folkways Recordings. influenced the music of our time, and early years; he recorded at the Newport Children's Matinee, Friday, June 26th,

Support for Folkways At 50 comes from BMI (the American performance rights organization), the United States 5:30 - 7:00 p.m., Featuring Ella Jenkins

Postal Service, MACE. (Mississippi Action for Community Education), Global Arts/Media Foundation, and Larry Long with Children from

P.A.C.E.R.S. (Program for Academic and Cultural Enhancement of Rural Schools) Small Schools Cooperative & Rural Schools in Alabama

Community Celebration of Place Project, KOCH International, Smithsonian Magazine, Smithsonian Institution Music for children has been one of the

National Museum ofAmerican History, TRO The Richmond Organization, Columbia Records and Sony Music most influential parts of Folkways

Entertainment, Michael Asch, Walter Beebe and the New York Open Center, Andrew Dapuzzo and Disctronics, Records — many people heard their first

David Glasser, Charlie Pilzer, and Airshow Mastering, Inc., Judith DeMaris Hearn, Ella Jenkins, Richard Kurin, Folkways record in a classroom. Moses

Mark Miller and Queens Group, Inc., Microsoft Corporation/Media Acquisitions Department, Arnold L Polinger, Asch thought children should be exposed

Razor & Tie Entertainment, and The Recording Industries Music Performance Trust Funds. to good, authentic music from many cul-

98 Smithsonian FoLiaiFE Festival 1998 Folkways at 50

tural traditions. In this afternoon concert nity-based music. The program will fea- Seminole flute player), Tzo'kam (tradi- we celebrate not only the contributions ture Sharon Burch (Navajo singer/song- tional Salish songs), and Sissy Good-

pf musicians who perform for children writer), Joy Harjo and Poetic Justice house (Lakota traditional singer). but the creativity of children themselves. (contemporary poetry and jazz), Judy

Trejo and her daughters (Paiute tradi- Anthony Seeger, Ph.D., is curator and direc- Folkways FoundersAl-S. Postal Service tional songs), Mary Youngblood (Aleut- tor ofSmithsonian Folkways Recordings. Folk Musicians Stamp Concert, Friday,

June 26th, 7:00 - 9:00 p.m.

In 1998 the U.S. Postal Service is issuing Suggested General Reading

a stamp series commemorating four Goldsmith, Peter. Moto^ People's MusicMoeAsch and Folkways teorrfs. Washington, D.C.: Smithsonian

important figures in the folk music Institution Press, 1998.The first comprehensive biography of the man who founded Folkways Records, his

revival of the 1950s and 1960s: Lead vision, and his influence on 20th-century music.

Belly, Woody Guthrie, Sonny Terry, and Josh White. All four artists recorded for Suggested Listening for the Children's Matinee

Moses Asch. To honor these men who Jenkins, Ella. Songs Children Love to Sing. Smithsonian Folkways 45042.

played prominent roles in both Folkways Long, Larry. Here I Stand: Elders' Wisdom, Children's Songs. Smithsonian Folkways 45050.

and 20th-century American music, we Smithsonian Folkways Children's Music Collection. Smithsonian Folkways 45043.

are inviting musicians whose styles have

been strongly influenced by them to per- Suggested Listening for the form at an evening concert. Featured

artists are Toshi Reagon,Josh White, Jr, Folkways Founders Concert

Arlo Guthrie, and the Willie Foster Blues Lead Belly Folkways: The Original Vision (Smithsonian Folkways 40001 ) with songs by Lead Belly and Woody Guthrie;

Band. Lead Belly's Last Sessions (Smithsonian Folkways 40068); and the Lead Belly Legacy Series (Smithsonian

Folkways 40044,40045,40105).

Heartbeat: Voices of First Nations Woody Guthrie Folkways: The Original Vision (Smithsonian Folkways 40001 ) with songs by Lead Belly and Woody

Women Concert, Sunday, June 28th, Guthrie; This Land Is Your Land (Smithsonian Folkways 40100); and, for children, Nursery Days (Smithsonian

5:30 - 9:00 p.m. Folkways 45036),

Because most traditional Native women's Sonny Terry Sonny Terry: The Folkways Years (Smithsonian Folkways 40033) and Sonny Terry and Brownie McGhee Sing

music has been performed in private set- (Smithsonian Folkways 40011).

tings — in their homes or during tribal Josh White The original acetate masters recorded by Moses Asch were preserved for over 50 years and released in

ceremonies — very little of this music April onJosh White: Free and Equal Blues (Smithsonian Folkways 40081). has been heard outside the women's own

I communities. Yet women's music is a Suggested Reading & Listening for the growing and dynamic part of Native First Nations music today In addition to traditional Women Concert

women's genres, women have recently Bataille, Gretchen. /^menran Indian Women: A Guide to Research. New York: Garland, 1991.

begun to perform music previously Green, Rayna. American Indian Women: A Contextual Bibliography. Bloomington: Indiana University Press, 1979.

restricted to men. A number of singer/ . Women in American Indian Society. New York: Chelsea House, 1 992.

songwriters also have created songs that Jamieson, Kathleen. A/uf/Ve Women in Canada: A Selected Bibliography. Onawa:Soda\ Sciences and

use Native languages and rhythms and Humanities, 1983.

often deal with issues of concern to con-

temporary American Indians. Burch, Sharon. The Blessing Ways. Canyon CR546.

Some of the artists featured on a new . Touch the Sweet Earth. Canyon CR535.

Smithsonian Folkways recording of . Yazzie Girl. Canyon CR534.

Native women's music will be presented Goodhouse, Sissy. The Third Circle: Songs ofLakota Women. Makoche 113.

in a concert that celebrates both the . r/wo/ie. Makoche 140.

release of the album and the half-centu- Harjo, Joy,and Poetic Justice, ieffe/- from the End of the Twentieth fenfury. Silver Wave 914.

ry that Folkways Records and Smith- Heartbeat: Voices of First Nations Women. Smithsonian Folkways 4041 5.

sonian Folkways Recordings have been Heartbeat 1: More Voices of First Nations Women. Smithsonian folkways 40455.

introducing wider audiences to commu- Youngblood, Mary. The Offering. Silver Wave SD 91 7.

1998 Smithsonian Folkhfe Festival 99

General Festival Information

Services & Hours 103 Participants 104 Special Concerts & Exliibition 109 Daily Schedules 110 Evening Programs & Special Events 130 Publications 131 Sponsors & Contributors 132 Staff 136 Educational Offerings 138 Friends of the Festival 139 Smithsonian Folkways Recordings 140

1998 SmITHSONIAIV FOLKIIFE Festivai 101 «k

A traditional Estonian house in winter.

Photo by Kaido Haagen General Festival Information

General Festival Information

Festival Hours First Aid Services for Visitors

The Opening Ceremon\' for the Festival takes A first aid station is located near the place at the Wisconsin Ballroom Tent at II a.m., Administration area on the Mall at Madison Drive with Disabilities

Wednesday, June 24. Tiiereafter, Festival hours are and 12th Street. To make the Festival more accessible to visitors

11 a.m. to 5:.^0 p.m. daily, with evening events to who are deaf or hard of hearing, audio loops are 9 p.m. except July 4. Restrooms & Telephones installed in the main music tent in each program area. Sign-language interpreters are on site every There are outdoor facilities for the public and Festival Sales day of the Festival. Check the printed schedule visitors with disabilities located near all of the Traditional Wisconsin, Philippine, Estonian, and signs for interpreted programs. Special program areas on the Mall. Additional restroom Latvian, Lithuanian, and Rio Grande/Rio Bravo requests for interpreters should be made at the facilities are available in each of the museum Biisin food is sold. See the site map on the back Volunteer Tent. Service animals are welcome. buildings during visiting hours. cover for locations. Oral interpreters are available for individuals if a Public telephones are available on the site, A variety of crafts, books, and Smithsonian request is made three full days in advance. Call opposite the National Museums of American Folkways recordings related to the 1998 Festival (202) 287-5417 (TTY) or (202) 287-3424 (voice). History and Natural History, and inside the sold in the Festival Marketplace on the Mall- daily schedule and are museums. Large-print copies of the side lawn of the National Museum of American audio-cassette and Braille versions of the pro-

Historv gram book are available at Festival information Lost & Found/ kiosks and the Volunteer Tent. Press A limited number of wheelchairs are available Lost Children & Parents Visiting members of the press should register at the Volunteer Tent. Volunteers are on call to Lost items may be turned in or retrieved at the at the Press Tent on the Mall near Madison Drive assist wheelchair users and to guide visitors with Administration area at Volunteer Tent near the visual impainnents. There are a few designated and 1 2th Street. Drive. Lost family mem- 12th Street near Madison parking spaces for visitors with disabilities along the Volunteer Tent also. bers may be claimed at both Mall drives. These spaces have three-hour

time restrictions. Metro Stations Metro trains will be running every day of the

Festival. The Festival site is easily accessible from the Smithsonian and Federal Triangle stations on

the Blue and Orange Lines.

1998 Smithsonian Folkiife Festival 103 Festival Participants

Sidonka Wadina, wheat weaver; Wisconsin Norm Dombrowski, drums/vocals; Rosa Chavez, altar maker; Franklin Stevens i'oint Lyons Music Dance Venerable Ngawang Chojor, sand and Marie hubowski, piano/concertina/ mandala maker; Madison Kou Xiong, marriage broker; Madison Traditions violin/vocals; Stevens Point Betty Piso Christenson, egg Dang Yang, qeej maker/player; Ci.Ki>; Bi:u.i.\ Okciii-sika — Joe Larson, bass; Stevens Point decorator; Suring Milwaukee Czech Old-Time Diane DeFoe, birch-bark basket Long Yang, basket maker; Cletus Bellin, piano/vocals; NORSKEUAI.KN TrU) — NORWEGIAN maker; Bayfield Forestville FiDDu: Sheboygan Pat Ehrenberg, quilter; Ripon Gene Bumieister, trumpet; Green Eleanor Bagstad, piano; Westby Moa Yang, needleworker; Watertown Jean Giese, rosemaler; De Soto Ba) Tilford Bagstad, fiddle; Westby Nancy R. Hall, black ash basket Bill Jerabek, drums/vocal Beatrice Olson, accordion; Westby weaver; ^X'ittenberg Occupational/ harmony; Denmark Sidney Hall, black ash basket Recreational Josepli jenibck. tuba; C;lsco Queens of Harmony — African- weaver; Wittenberg Traditions Diana Schroeder, accordion; A,MERU'AN Gospel Margaret Hart, moccasins/regalia Jeff Ackley, wild rice harvester; Manitowoc Julia Love Brown, tenor/high tenor; maker; Cumberland Crandon John Wiedow, trumpet; Milwaukee Bemie Jendrzejczak, papercutter; Neena Ackley, wild rice treader; Green Bay Dorothy Johnson, baritone/lead; Hales Corner Milwaukee Madison Joe Krevs, accordion repairer/ Vicki Ackley, wild rice harvester; Gary Drzewiecki, polka dancer; Joyce Johnson, tenor/high tenor; maker/player; Milwaukee Madison Pulaski Milwaukee George Leazer, clay doll maker; Ed Beaumont, logger; Brantwood Drzewiecki, polka dancer; Jessie McCullum, tenor/high tenor; Julie Milwaukee Belliveau, tree farmer; Pulaski Milwaukee Joe Marie Leazer, rag doll maker; Ella Ray, baritone/lead; Milwaukee Tomahawk Milwaukee Norma Belliveau, wreath maker/ Ha1:SE & SCIILEI — SCIIRAMMEL MUSlC Wang Xiong Lee, metalworker; Elfrieda Haese, vocals; Colgate Steve & Verne Meisner Orchestr\ — tree farmer; Tomahawk La Crosse Heidi Schlei, zither/vocals; Sussex Slovenlvn-Stvie Polka Fred Benjamin, moccasin game Stephanie Vuljanic Lemke, egg Rick Hartman, drums; Whitewater singer; Lac Court Oreilles decorator; Mazomanie Linda HarUvich, polka dancer; Gary Hendrickson, banjo; Monroe Brooks Big John, decoy carver/fish- Constance Mahairas, icon painter; Trempealeau Steve Meisner, accordion/bass/ erman/fishing guide; La Crosse Randy Thull, polka dancer; River piano; Whitewater Lac du Flambeau Hazel M. Maki, rag rug weaver; Falls Verne Meisner, accordion; Waukesha Bradley Boon, dairy farmer; Washburn Larry Sokolowski, saxophone; Greenwood George McCormick, wooden doll K.\RL & THE Country Dittchmen — De Forest Duane Boon, dairy farmer; carver; Milwaukee DiTCHMA-N Music Greenwood Vera Mednis, sash weaver; Warrens Nic Dunkel, trumpet; Black Earth VaTRA — TAMEVRnZA Dale Buhrow, beer brewer; Kim Nishimoto, com husk doll Karl Hart\vich, concertina; Ivo Gretic, berde; Greenfield Chippewa Falls maker; De Pere Trempealeau Boris Kuzmanovic, brac/\ocz\s; Mark Bussian, 4-H activities/ Phil Odden, woodcarver; Barronett Tony Kiiminski, tuba; Trempealeau Greendale pig showing; Columbus Christine Davor Pozgaj, btigarija/\0C2\s; Okeriund, quill basket Jeff Langen, drums; LaCrescent, MN John Bussman, cheese maker; Milwaukee maker; Wittenberg Frank Melmer, banjo; Owatonna, MN Monroe Christopher Ulm, ^rac/vocals; Linda OUemian. quilter; Ripon Gar>' Schroeder, trumpet; Fairfax, MN Bill Casper, sturgeon fisherman; Milwaukee Ron Poast, Hardanger fiddle maker; Fond du Lac R\an yflemer, prim/brac/celo; Black Earth Frank Montano, Woodland flute; Chris Dimka, shoemaker; West Allis Elda Schiesser, papercutter; New Ba>field Sheboygan Glarus Harold Hettrick, duck hunter; Craft Traditions Mildred Schuman, beadwork artist; Norm Dombrowsh & the Happy Notes Ferryville Annabelle .\rgand, needleworker; Lac du Flambeau — PousH Polka Roger King, ginseng grower, Madison Velma Scales, quilter; Milwaukee Ken Camiek, trumpet/vocals; Wausau Else Bigton, furniture builder; Blanche Shankle, quilter; Stevens Point Randy Krahenbuhl, cheese maker; Barronett Milwaukee Joe Dombrowski, trumpel/vocals; Monticello Andrej Borzecki, shrine maker; Eileen Skinaway, beadwork/regalia Stevens Point Shelley Krahenbuhl, cheese maker; Armstrong Creek artist; Luck Mark Dombrowski, saxophone/ Monticello Joe Bunij, shrine maker; Armstrong Irene Vuorenmaa, rag rug weaver; clarinet/vocals; Stevens Point Willi Kruschinski, boatbuilder/lure Creek Hurley Ray Cadotte, dance regalia maker; maker; Winchester Lac du Flambeau Betty Lacapa, wild rice parcher; Lac Jose Chavez, dXxzv/santos/retablos Court Oreilles maker; Franklin

104 Smithsonwn Folklife Festival 1998 Festival Participants

Tony Mayotte, wild rice harvester; Mellophone Pahiyas: A Lac Court Oreilles University of Emily Engel, Ellen Ezerins, Elizabeth 'Tim Murphy, beer brewer; Chippewa Wisconsin Mergener, Laura Pedersen, Chris Philippine Falls Marching Band Remington, Rae Dawn Rippchen, Dennis O'Donnell, Mike Leckrone, Director of Bands Jamie Ruprecht, Raechal Sager, Harvest Steve Schrammel, Sara White "junque'artisv'clairy farmer; Galen S. Karriker, Assistant Director Cluster A: Binding, Trombone Frederic of Bands Lashing Geoff Weaving, Arthur Oksuita, beer brewer; Stevens John Blester, Announcer Damon Bach, Bares, Derek Boatbuilders Point Gary Smith, Photographer Berget,John Buchholz, Cassie Lydia Ignacio Fojas; Aklan Province Peggy Rau, dairy farmer; Dorchester Gary Moore, Security Officer Carbon, Karey Clark, Tony Diehl, Norman P. Fojas; Aklan Province Zak Rau, dair)' farmer; Dorchester Clarinet Tun Drews, Jeff Gentile, Laura

Bill Schlinsog, cheese maker/grader; Jennifer Ceman, Christopher Goss, Hageman, Erik Hoven, Gregory Epic Singer Knoll, Chris Madison Amy Krier, Missy Mayer Ingersoll, Brad Lang Sengid Kambay; South Mary Lou Schneider, sturgeon decoy Saxophone Knudson, Natalie Krueger, Kyle Cotabato Province caner; Fond du Lac Ben Bares, Brianna Benjamin, Traq' Manske, Edward Niles, Tim Harold Schumacher, ginseng grow- Daluge, Mike Dettman, Nowaczyk, Daniel Olson, Craig Kiping Maker er; Marathon Christopher Herlache, Andrew Parker, Sue Peck, Greg Piefer, Eric Miguelito V. Abuso; Lucban, Quezon Tim Smith, deer hunter; Green Bay Klaetsch, Nicole Kreuziger, Plate, Erin Pyzik, Amy Province Paul "Sugar Bear" Smith, heritage Amanda Newby, Laurie Strobel Quackenbush, Kim Rauwald, gardener; Oneida Trumpet Daniel Rooney, Gretchen Traditional Builders Pam Walker, cranberry grower; Anne Abrahamson, Nicole Scheidler, Zac Schultz, Sarah Sylvio S. Bobos; Manila Wisconsin Rapids Ammemian, Franz Arvold, Jon Simonis, Brian Skinner, Brett Amelio Manzano; Manila Ryan Walker, cranberry grower; Berge, Rachel Berger, Ryan Slaney, Joel Sohre, Ray Tainter,

Wisconsin Rapids Beverung, Erika Breiby, Scott Jake Thull, William Tills, Geoffrey Weavers Hollis Ward, tavern owner; Elkhom Brown, Jonathan Claas, Ryan Wawrzyniak, Michael Whisler, Miguelita A. Bangkas; Davao del Sur Cindy Wills, 4-H activities/pig show- Cook, Jolene Crosby, Derek Marie Zimmer, Brian Zweig Province ing; Belmont Daun, Robert Detlefson, Pat Euphonium Baingan Adzad Dawan; Darron Wills, 4-H activities/pig Feldhausen, Mark Planner, Steve Andy Forster, Ann Kaminski, Rob Maguindanao Province showing; Belmont Geiger, Merris Gullickson, Konitzer, Kevin Krause, Branden Susima M. Dela Cruz; Aklan Gina Wills, 4-H activities/pig show- Melissa Hampton, Paul Henslin, Linley, Michael Tessmer, Dan Province ing; Belmont Scott Hurley Raymond Konyn, Uttech, David Wirch Salinta Barra Monon; Davao del Sur James Van Wychen, cranberry grow- Rob Koth, Jennifer Lange, Chad Tuba Province er; Warrens Leblanc, Steve Lindley, Paul Zachery Dachel, Daniel Evans, Hugh Rhodora D. Sulangi; Aklan Province Nodji Van Wychen, cranberry grow- Lindorf, Sarah Macleish, Scott Francis, Shane Haack, Cari Jo Maria Todi Wanan; South Cotabato er; Warrens Magee, Melissa Martin, Maureen Keller, Hans Peterman, Mark Province John Zappa, beer brewer; Stevens McDonald, Nicholas Myhre, Pronovici, Michael Schmidt, Kyle Schneider, Rob Scholl, Point Chris Nelson, Jill Newman, Cara Andy

Olbrantz, Heidi Piatt, Adam Schuh, Mindy TempeUs Cluster B: Beating, Foodway Traditions Plotkin, Brad Pope, Brian Pope, Percussion Tapping, Pounding Faessler, Frailing, Tricia Dorthy Hodgson, pasty maker; T. Gregory Reed, Kristen Riebau, Aaron Brian Goldsmith

Shuilsburg Daniel Ries, Jason Reisterer, Neal Horwitz, Joel Jacklin, Tony Roberto L. Gorobat; Paracale, Bicol

Eric Olesen, kringle baker; Racine Rozga, Jason Rymer, Heidi Larocca, Brent Lavin, David Debra Usinger, sausage maker; Salzmann, Chris Sawyer, Muencheberg, Kristin Sebranek, Silversmith Milwaukee Kiniberly Scheidegger, Steve Geoff Seufert, Kevin Sprewer Julio R. Ramirez; Pampanga SchmiU, Cathie Schallue, Anna Field Assistants Province

Sics, Benjamin Socie, Erica Sean Chandler, Bill Garvey, Carl Gitchel, Messer, Cindy St. John, Chris Stillwell, Mathew Mark

Sullivan, Bill Utter, Stephanie Schwibinger, Fritz Statz, Michael

Volden, Katie Wachowski, Justin Stone, Janice Stone, Matthew Woodley Whiting

Flitegel Horn

Bob Bailey Joel Dreier, Nathan Lukecart

1998 Smithsonian Folklife Festival 105 Festival Participants

Cluster C: Carving, T\l\andig Ensemble, SvBU Ensemble, Bat.wgas Province KlU.DATSAUK (SeTII GROUP) BuKiDNON Province Incising, Molding Abdon {). Cruzat, Leader Singers Victorino Saway, Leader Dancers: Taimi Auser BoatbiiiUler Jean S. Gangga Rufina V. Boongaling Ego Koiv Bua Hudasan Kara; Maguindanao Marlon R Necosia Beda M. Dimayiiga Helena Kudre, lace maker/singer ProNince Adolino L. Saway Bibiana C. Escalona Eevi Laanetu

Rodelio L. Saway Miguela C. Maquimot Valve Poolak Carvers Liza L. Saway Simeon C. Maquimot Maret Vabarna, sash maker/singer Fermin R. Cadapan; Paete, Laguna Orlanda R Saway Leonardo E. Valdez Province Narita T. Sihagan Drummers: LEIGARII) Rodico A. de Dios; Pampanga Felix C. Cruzat Dancers & Makers of Traditional Province Chapel Severino D. Cruzat Clothing Leon D. Tayaban; Ifugao Province CiioRu. Ensembu-;, Bacong, Negros Jose E. Manalo Tiiu Aasa Oriental Province Marget Indov Kulintang Maker Exuferio V. Tinguha, choirmaster & Sille Kapper Zacaria Akman Aniboa; parol maker Merike Reinok Maguindanao Province The Baltic Nations: Glenn S. Aurea,/)flro/-making Oie Rekand assistant Estonia, Latvia, Lembe Torop Philippine Kitchen Leona R. Aurea, a/«/ora/soprano Dancers & Game Leaders Milagros S. Enriquez; Maloios, Simplicia V. Baro, crtw/ora/soprano Lithuania Tonu A:is Buiacan Province Catalina T. Gajilomo, cantora/ Heinar Kukk Teresa C. Santiago; soprano Nicanora Estonia Alar Leming Honculada,/>«ro/-making Maloios, Buiacan Province Angel M. Tonu Linno assistant Margus Paap Basketball Court Music and Dance Genoveva T. Sagarino, cantora/a.\lo Paavo Saare Arms Masters, Cebu Crrv Sylvia T. Vendiola, caw/ora/soprano Traditions Musicians Arnold G. Canete Ali,e-aa Elina Aasa Parra Mario Isagani A. Talledo MVSICONG BVMBONG, BUUCAN PROVINCE iHleJantson Eero Sommer Alfredo C. Anastacio, snare drum Ott Kaasik Jaan Sommer Kliuntang Ensemble, Maguindanao Antonio A. Anastacio, harmonica Ando Kiviberg Toomas Torop Province Rodrigo C. Anastacio, bass drum Orjo Jaama Aga Mayo Butocan, Leader Antonio D. Bautista, trombone Tbule Kann

Sinsuat Delawangan Dalgan Roberto C. Capiral, trumpet Aare Kivivali Craft Traditions

Kanapia Sibay Kalanduyan Ernesto B. de Dios, trombone Toivo Luhats Tiit Sarapuu, boatbuilder

Dinanding Dilawangan Kalimudan Roderic C. Garcia, cymbals Raivo Sildoja Kati Sihvre, traditional clothing Labaya Sagire Piang Melchor E Gimenez, clarinet Aivar Teppo maker

Samaon Silongon Solaiman, Bemabe A. Ignacio, bamboo bass Margus Veenre Aivar Siim, herbalist

kudyupi player Zosimo B. Miday, trumpet Enrik Visla Valdur Tilk, woodworker

Rizalino A. Remigio, saxophone Liina Veskimagi, wool processor Pasiking (Kalinga Ensemble), Domingo M. Rosco, saxophone KlHNUMUA (KlHNU GROUP) Kalinga-Apayao Province Roman A. Santa Ana, bamboo bass Singers Latvia Benicio D. Sokkong, Leader Maximo C. Santiago, harmonica Ly Leas Damaso L. Balway Reene Leas, lace maker/singer Music and Dance Calixto B. Cabannag Rondalla Marikina, Marikina City, Argo Lilies Traditions Inocencio L. Damagon Manila Veera Nazarova DaND/ULiisi Sang Zigniars Kristsons Fidel R Tayawa Montano M. Santos Kiilli Sepp Zane Kriumane Teofilo M. Santos Sandra Lipska Lauris Neikens llmars Pumpurs

Valdis Putnins Ernests Spies

leva Tamane

Juris Zalans

106 Smithsonian Folklife Festival 1998 Festival Participants

Rasa Lithuania Gita Kupcinskiene Rio Grande/ Karlis Freibergs Kgstutis Kveraga iGita Lancere Music and Dance Rikante Kveragiene Rio Bravo Basin Ruta Muktupavela Jurate Narkeviciene Charies Aguilar, musician/ Valdis Muktupavels Traditions Gintautas Narkevicius farmer/fiesta organizer; Iveta Tale Kotryna Rhoda Bernalillo, New Mexico Veronika Povilioniene, singer Henrikas Rimkus Estevan Arellano, centenary SaLMANIS FAMaY Vida Rimkuviene rancher/historian/sculptor/ Insula Indra Cekstere Danguole Senutiene writer; Embudo, New Mexico Alvydas Alimas Ilze Primane Renata Svedaite Michael Blakeman; San Juan/ Sigita Daciene Aiiia Salmane Janina Svediene Rio Grande National Forest, Jonas Latakas Peteris Salmanis Rima Tainule Del Norte, Colorado Rita Macijauskiene Uldis Salmanis Orinta Vaiciulyte Jose Guadalupe Alejandro Bautista, Vygandas Norvilas Aiida Skuja Ramamuri woodcarver/bilingual Davis Skuja Milda Rickute SlTARAS teacher/runner; Cuidad Juarez, Loreta Sarkaite Talivaldis Skuja Antanas Fokas Mexico Zane Zvaigzne Valdemaras Skugaras Bronislovas Glovickis David Champion, conjunto Elvyra Spudyle Robertas Kunickas musician; Mercedes, Texas Unas Ulkstinas Stalts family Gintautas Paukstis Jose Cisneros; Big Bend National Zenaida Vaicikauskaite Martiijs HeimraLs Laimutis Zemaitis Park, Big Bend, Texas Gintaras Zoja Kjujeva Vaitkaitis Marta Cruz Moreno, Ramamuri bas- Marga Stalta Trys Keturiuose ket weaver/ Marcinkonys Village Folk Helmi Stalte Ensemble Daina Norvaisyte seamstress; Cuidad Juarez, Ruta Antulyte JulgT Stalte Gabriele Sirkaite Chihuahua, Mexico Jonas Bajoriunas Dainis Stalts Ingrida Vamiene Silvestre Amadeo Flores, conjunto Cerebiejiene Davis Stalts Jone Daiva Vyciniene musician/accordion tuner; Alice, Cesnuleviciene Raigo Stalts Juze Texas Stanislovas Cesnulevicius Ricards Stalts Craft Traditions Jesus Godinez, conjunto musician; Juze Grigiene Valda Vltola Vytautas Jarutis, blacksmith Alice, Texas Antanina Kokiene Alfredas Jonusas, amber worker Arnold Herrera, drummaker/ Juozas Korsakas Ruta Jonuskiene, sodas (straw craft) drummer/educator; Cochiti Craft Traditions Birute Korsakiene designer Pueblo, New Mexico Olgerts Gerdins, fishing net maker Vinc;is Miskinis Monika Kriukeliene, weaver Jose Maldonado, conjunto musician; Juris Indans, traditional craftsman Aldona Paulauskiene Stasys Mickus, fence maker McAllen, Texas Maris Jansons, musical instrument Roze Packauskiene Adelija Mickuviene, Easter egg deco- Rita Morales Alvarez, mMjuiladom maker Jonas Sereicikiis rator worker/brickmaker/foodways; Aldis Kalcenaus, boatbuilder Petronele Sereicikiene Raimundas Puskorius, woodcarver Matamoros, Tamaulipas, Mexico Maris Karlsons, ceramicist Joana Serencikiene Leokadija Salkovska, verba binder Jose Isabel Quiroz Garcia, ixtle Daina Kraukle, weaver Rozalija Vilcinskiene Ilga Madre, knitter weaver; Saltillo, Coahuila, Mexico Inita Straupe, weaver Sodahto (Lithuanian Folk Ensemble of Moi'ses Quiroz Cortez; Saltillo Vitauts Straupe, metal jewelry Greater Boston) Coahuila, Mexico maker Birute Banaitiene Luis Roman, relablo painter/ Vilnis Vincevics, blacksmith Bronius Banaitis muralist/sign painter; Ojinaga, Ingrida Zagata, potter Vytautas Bazikas Chihuahua, Mexico Gintaras Cepas Maria Elena Russom, Tierra Wools Valentina Cepiene weaver; Los Ojos, New Mexico Andrius Dilba Juan Antonio Tapia, conjunto musi- Vytautas Dilba cian; Brownsville, Texas Terese Durickas Dolores Venegas, paper crafts; Rio Darija Giniunaite Bravo, Tamaulipas, Mexico Danute Kazakaitiene Clemente Zaniarripa, vaquero/ Kristina Kriksciukaite horsehair braider; Santa Elena, Lilija Kulbiene Texas Aidas Kupcinskas

1998 Smithsonian Folkufe Festival 107 Festival Participants Folkways Heartbeat: Voices Folkways at 50 Ralph Rinzler Founders/U.S. of First Nations Anniversary Postal Service Folk Women Concert Memorial Concert Sid Beckerman, clarinet Musicians Stamp Sharon Burch; Santa Rosa, CA Concerts Lauren Brody, Concert accordion/piano/vocals Sissy and Cedric Goodhouse; Ciutiirie; Housatonic, MA Children's Matinee Ark) Steven Greenman, violin Fort Yates, ND Abe Guthrie Ella Jenkins; Chicago, IL Margot Leverett, clarinet/saxophone Annie Guthrie Larry Long; Minneapolis, MN Paul Pincus, tenor Christina Gonzalez; Schurz, NV Cathy Guthrie Huff; Packers Bend, AL saxophone Slater Delgadina Gonzalez; Schurz, NV Sarah Guthrie Mark Rubin, bass/tuba

Children from Monroe High School; Henry Sapoznik, banjo/ Joy FkRjo and Poetic Justice Reagon; Brooklyn, NY Packers Bend, AL Toshi vocal/producer/director Charlie Baca; Albuquerque, NM Angel Carstarphen Peter Sokolow, keyboard/ Richard Carbajal; Phoenix, AZ Whitejr.; Detroit, MI LaKecia Carstarphen Josh vocal/musical director Joy Harjo; Hollywood, CA Paulette Carstarphen Michael Spielzinger, drums Derek James; Los Angeles, CA Foster Blues Band Adrienn Cheeseboro The Willie Steven Weintraub, dance instructor John Williams; Albuquerque, NM Foster; Greenville, MS Kimberly Cheeseboro Willie Susan Williams; Albuquerque, NM III; Greenville, MS Latonya Cheeseboro John Horton, Rogers; Greenville, MS Yshika Cheeseboro Roosevelt Judy Trejo; Wadsworth, NV Taliaferro; Greenville, MS Rapheal Davis Richard E. Domoneek McCoy Larry Wright; Leland, MS Tzo'KAM Tromesha Packer Joyce Fossella; Vancouver, BC Bryant Timmons Judy Lemke; North Vancouver, BC Tunstall Patricia Irma Rabang; Sumner, WA

Maria Stiglich; Langley, BC Children from T.W. Martin High Freda Wallace; Vancouver, BC School; Goodsprings, AL Flora Wallace; Vancouver, BC Shawn Bromley Russell Wallace; North Vancouver, Courtney Dotson BC Jon Dotson Stephanie Hicks Mary Youngblood; Sacramento, CA Ryan Logan Brandon Morris Jada Parker Cameo Raney Brandon Reynolds Josh Salter Landon Waid Sabrina Williams

1998 108 SmITHSONLVN FOIKIIFE FESTIVAL Special Concerts and Exhibition

Heartbeat: Voices of First Nations Women Sunday, June 28, 5:30 - 9:00 p.m. Children's Matinee Baltics Music Stage Friday, June 26

5:30 - 7:00 p.m. Sharon Burch Sissy and Cedric Goodhouse Wisconsin Ballroom Stage Judy Trejo Christina Gonzalez Delgadina Gonzalez Mary Youngblood

Ella Jenkins Joy Harjo and Poetic Justice: Larry Long with Youth & Elders from Rural Alabama Joy Harjo Susan Williams John Williams

Richard Carbajal Derek Charlie This concert has been made possible with support from the PACERS. (Program for James Baca Academic and Cultural Enhancement of Rural Schools) Small Schools Cooperative of Alabama. Tzo'kam:

Russel Wallace Flora Wallace Maria Stiglich Joyce Fossella Folkways FoundersAJ.S. Postal Service Judy Lemke Irma Rabang Freda Wallace Folk Musicians Stamp Concert This concert has been made possible witJi suppoil from the Smithsonian Friday, June 26, 7:00 - 9:00 p.m. Institution National Museum of American History. Baltics Music Stage

The Willie Foster Blues Band: Arlo Guthrie Willie Foster Toshi Reagon Klezmer! The Triumphant Return of Yiddish Music John Norton, III Josh White, Jr. Thirsday,July 5:30 - 9:00 p.m. Roosevelt Rogers 2,

Richard E.Taliaferro Baltics Music Stage

Larry Wright

Sid Beckerman Lauren Brody Margot Leverett Steven Greenman

This concert has been made possible with support from the United States Postal Service, Paul Pincus Mark Rubin Henry Sapoznik Peter Sokolow

BMI, MACE. (Mississippi Action for Community Education), and Global Arts/Media Michael Spielzinger Steven Weintraub Foundation.

This concert has been made possible with support from the Friends of the Festival, The

Recording Industries Music Performance Trust Funds, and the Ruth Molt Fund.

Desert Voices, Desert Light LUCES Y VOCES DEL DESIERTO

a photography exhibit on the Chihuahuan Desert in conjunction with

the Rio Gramie/RioBravo Basin Smithsonian Folklife Festival program. Una exhibicion fotografica sobre el desierto de Chihuahua en conjunto con el programa de la cuenca del Rio Bravo/Rio Grande del Festival Smithsonian de Culturas Populares.

June 19 - Augu.st 30, 1998 1 9 de junio - 30 de agosto de 1 998

S. Dillon Ripley Center, Third Level Tercer Piso

Photography Fotografia: David Lauer, Nacho Guerrero, Marco Antonio Hernandez

Sound Documentation Documentacion de Sonido: Andres Camou, David Lauer, Maria Teresa Guerrero

"The desert is not an empty space, not uninhabited land, but a remark- This exhibition is sponsored by the Smithsonian Center for Folklife able place where life is fragile but tenacious." Programs & Cultural Studies, the Smithsonian International Gallery, and

the Mexican Cultural Institute with support from the Fideicomiso para la "El desierto no es un espacio vacio, ni una tierra de

Cultura MexicoA'SA (Fondo Nacional para la Cultura y his Artes, nadie, sino un lugar insolito donde la vida resiste Fundacion Cultural Bancomer & The Rockefeller Foundation) and MCI. con una exitencia tenaz y fragil"

1998 Smithsonian FouaiFE Festival 109 I FESTIVAL SCHEDULE Wednesday, June 24 Rio Grande/ Wisconsin Rio Bravo Marketplace

Ballroom Heritage Kitchen Tavern Wisconsin The Basin/ Sales Tent 11:00 Stage Stage Talk La Cuenca Stage Stage Opening Ceremony ® Honorable Esteban Torres, Secretary I, Michael Heyman. Richard kiirin, llimorable Salvador H, Uurel, Honorable Saulius Saltenis, Honorable Ramona llmblija,

Honorable Jaak Allik, Honorable Herb Kohl, Honor,ible Tommy G. Thompson, Arnold Goldstein, Diana Parker, Honorable David Obey

German-American African-American Danish Specialties Welcome to Images of the 12:00 Music: Gospel: Holly's Bar Holy Karl & the Country Queens of Dutchmen Harmony ^3&

Slovenian-Style Instruments Made Sausages Sheepshead Fish Tales Polka: & Played Euchre Steve & Verne 1:00 Meisner Orchestra

Norwegian Fiddle Schrammel Music: Finnish Dishes Jokes & Lies The Hmong

Music: Haese&Schlei Marriage Broker Norskedalen Trio

2:00 Czech-American Instruments Made Mexican Foods Concertina/ Immigration to Music: & Played Accordion Wisconsin

Clete Bellin Workshop

Orchestra

Polish-Style Polka: Ojibw/e Woodland Pasties Schrammel Music: Hunting Stories 3:00 Norm Dombrowski Flute Music: Haese & Schlei & the Happy Notes Frank Montano

Slovenian-Style African-American Norwegian Foods Tuba Workshop Mother Tongues Polka: Gospel: Steve & Verne Oueensof 4:00 Meisner Orchestra Harmony

German-American Hmong Music Danish Specialties Walloon Songs Quilts &

Music: Storycloths Karl & the Country Dutchmen 5:00 Wisconsin Nonwegian Fiddle Duckpin Bowling Wisconsin Old-Time Dance Music: Accents Workshop Norskedalen Trio ^ '^S^

5:30-9:00 Ongoing

For information on Evening Programs and Special Events see page 130.

110 FESTIVAL SCHEDULE Schedules are subject to change. Check signs in each program area for specific information. WednesdayJ June 24

Philippines Baltic Nations: Estonia, Latvia, Lithuania

Chapel Basketball Sari-sari Philippine Foodways Main Musk Pub Stage Court Store Kltcnen Stage Opening Ceremony ® Honorable Esteban Torres. Secretary I- Michael Heymm. Richard Kurin, Honorable Salvador H. Laurel, Honorable Saulius Saltenis, Honorable Ramona Umblija, Honorable Jaak Allik, Honorable Herb Kohl, Honorable Tommy G. Thompson. Arnold Goldstein, Diana Parker, Honorable David Obey

Religious Music Maguindanao Church Art Akianon Cuisine

(Bamboo Band) Kulintang Playing

Tagalog Songs & Cayak: Preparation Tagalog Cuisine

Poetry Readings as Art

Arms (Martial Arts)

^2&5^ Maguindanao Lute Performance Tagalog Cuisine

Filipino Classical Philippine Marches Music [Rondalla] (Bamboo Band)

Concepts of Home

Subli Maguindanao Bagobo Cuisine Sagayan Performance

Folk Songs and Family

Cebuano Dances {Rondalla) Aaivity: Talaandig Kipmg Devotional Singing Storytelling » (Tagalog ifr Decorative Rice Wafers)

Kalinga Music I Paglalakbay.

Dances Travel Stories

Fiesta Music (Bamboo Band)

Talaandig ^ Batangas Cuisine Kaamulan

Dancing Christmas T'boli Topical

Star Lanterns Singing

Cluster FESTIVAL SCHEDULE Thursday, June 25 Wisconsin

Ballroom 11:00 Stage

12:00

1:00

2:00

3:00

4:00

5:00

5:30-9:00

For information on Evening Progranns and Special Events see page 130.

112 Schedules are subject to change. Check signs in each program area for specific information.

Philippines

Chapel FESTIVAL SCHEDULE Friday, June 26 Wisconsin

Ballroom 11:00 Stage

12:00

1:00

2:00

3:00

4:00

5:00

5:30-9:00

For information on Evening Programs and Special Events see page 130. Schedules are subject to change. Check signs in each program area for specific information.

Philippines FESTIVAL SCHEDULE Saturday, June 2 7 Wisconsin

Ballroom 11:00 Stage

12:00

1:00

2:00

3:00

4:00

5:00

5:30-9:00

For information on Evening Programs and Special Events see page 130.

116 Schedules are subject to change. Check signs in each program area for specific information.

Philippines

Chapel FESTIVAL SCHEDULE Sunday, June 28 Wisconsin

Ballroom 11:00 Stage

12:00

1:00

2:00

3:00

4:00

5:00

5:30-9:00

For information on Evening Programs and Special Events see page 130. Schedules are subject to change. Check signs in each program area for specific information.

Philippines

Chapel FESTIVAL SCHEDULE Wednesday, July 1 Wisconsin

Ballroom 11:00 Stage

12:00

1:00

2:00

3:00

4:00

5:00

5:30-9:00

For information on Evening Programs and Special Events see page 130.

120 Schedules are subject to change. Check signs in each program area for specific information.

Philippines FESTIVAL SCHEDULE Thursday, July 2 Wisconsin

Ballroom 11:00 Stage

12:00

1:00

2:00

3:00

4:00

5:00

5:30-9:00

For information on Evening Programs and Special Events see page 130. Schedules are subject to change. Check signs in each program area for specific information.

Philippines

Chapel FESTIVAL SCHEDULE Friday, July 3 Wisconsin

Ballroom 11:00 Stage

12:00

1:00

2:00

3:00

4:00

5:00

5:30-9:00

For information on Evening Progranns and Special Events see page 130.

124 Schedules are subject to change. Check signs in each program area for specific information.

Philippines

Chapel FESTIVAL SCHEDULE

SaturdayJ July 4 Wisconsin

Ballroom 11:00 Stage

12:00

1:00

2:00

3:00

4:00

5:00

5:30-7:00

For information on Evening Programs and Special Events see page 130.

126 Schedules are subject to change. Check signs in each program area for specific information.

Philippines

Chapel FESTIVAL SCHEDULE Sunday, July 5 Wisconsin

Ballroom 11:00 Stage

12:00

1:00

2:00

3:00

4:00

5:00

5:30-9:00

For information on Evening Programs and Special Events see page 130. Schedules are subject to change. Check signs in each program area for specific information.

Philippines

Chapel FESTIVAL SCHEDULE Evening Programs and Special Events

^;^. All Evening Programs are Sign Interpreted

Wednesday, June 24 - St. John's Day Celebration in the her daughters (Paiute traditional songs), Mary Youngblood

Baltic Program Area; Bonfire begins at 5:30 p.m.- This (Aleut-Seminole flute player), Tzo'kam (traditional Salish singer). This all-day event, based on the most popular summer holiday in the songs), and Sissy Goodhouse (Lakota traditional

Baltics, will include a traditional procession, songs, and folk concert is supported by The Recording Industries Music

dances, and will culminate with traditional ceremonies from Performance Trust Funds.

Estonia, Latvia, and Lithuania around a bonfire. Wednesday, July 1- Baltic/American Dance Party at the - Thursday, June 25 - Rio Dance Party at the Baltic Main Baltic Main Music Stage Baltic Americans and the general Music Stage, 5:30 p.m., with South Texas conjunto music. audience can learn traditional dances. Estonian dancing: 5:30- 6:30 p.m.; Latvian dancing; 6:30-7:30 p.m.; and Lithuanian Thursday, June 25 - Wisconsin Concert at the Baltic Main dancing: 7:30-9 p.m. Music Stage, 7 p.m. Thursday, July 2 - Ralph Rinzler Memorial Concert: Friday, June 26 - Children's Matinee at the Wisconsin "Klezmer! The Triumphant Return of Yiddish Music" at Ballroom Stage, 5:30-7 p.m.- Music for children has been the Baltic Main Music Stage, 5:30 p.m. - This year's fourth one of the most influential parts of Folkways Records, celebrat- annual Ralph Rinzler Memorial Concert, honoring the achieve- ing its 50th anniversary this year. This concert features Folkways ments of the longtime Festival director, will feature klezmer recording artists Ella Jenkins and Larry Long, along with singers music (Eastern European Jewish music). Veteran klezmer musi- from Packers Bend and Good Springs, Alabama. This concert is cians Peter Sokolow, Sidney Beckerman, and Paul Pincus will made possible with support from the P.A.C.E.R.S. Small Schools perform with "new generation" musicians Henry Sapoznik, Cooperative & Community Celebration of Place Project, and The Michael Spielzinger, Margo Leverett, Lauren Brody, and Mark Recording Industries Music Performance Trust Funds. Rubin. The concert will be followed by a dance party with

Friday, June 26 - Folkways Founders/U.S. Postal Service instruction by Steve Weintraub. This concert is supported by Folk Musicians Stamp Concert at the Baltic Main Music the Friends of the Festival, The Recording Industries Music Stage, 7-9 p.m. - The Smithsonian Folklife Festival celebrates Performance Trust Funds, and the Ruth Mott Fund.

"Folkways at 50" marking the anniversary of this historic record Friday, July 3 - Wisconsin Tailgate Party in the Wisconsin label founded in1948. The U.S. Postal Service is issuing a stamp Program Area, 5:30 p.m. - Tap into the spirit of series commemorating four important figures in the folk music Wisconsinites' enthusiastic support for the Packers and Badgers, revival of the 1950s and 1960s: Woody Guthrie, Lead Belly, Josh as we replicate a Wisconsin tailgate party on the Mall. Included White, and Sonny Terry. This concert will feature Arlo Guthrie, will be the University of Wisconsin marching band doing their Josh White Jr., Toshi Reagon, and the Willie Foster Blues Band, traditional "fifth quarter,"costume judging, and polka dancing, contemporary musicians who have carried on the traditions of as well as roving bands and speakers drawn from Packerlore. these Folkways artists. This concert is supported by the United

States Postal Service, BMI, Global Arts/Media Foundation, and Saturday, July 4 - Wisconsin Polka Dance Party at the - The Recording Industries Music Performance Trust Funds. Wisconsin Ballroom Stage, 5:30-7 p.m. To feature this popular Wisconsin dancing tradition we are hosting a "polka Saturday, June 27 - Philippine/Philippine-American - party" drawn from the variety of polka styles present in the Program at the Philippine Basketball Court, 5:30 p.m. state-German, Slovenian, Czech, and Polish. Professional polka A traditional procession led by the Philippine delegation and instructors will teach various styles of polka dance. Philippine Americans will circle the Festival site, culminating in - a concert of Philippine music and dance. Sunday, July 5 Pan-Festival Polka Dance Party at the

Wisconsin Ballroom Stage, 5:30 p.m. - Although there is Sunday, June 28 - Heartbeat: Voices of First Nations Women atremendous diversity in the cultures presented in this year's at the Baltic Main Music Stage, 5:30 p.m. - Several of the Festival, there are many shared customs as well. Come join in artists featured on a new Smithsonian Folkways recording. this final dance party which features distinct polka styles from Heartbeat 2: More Voices of First Nations Womeri, will be present- the traditions of the Baltic nations, Rio Grande, and Wisconsin. ed in this concert, which celebrates both the release of the

recording and the Folkways anniversary. This program honors Native American women singers from across the continent, and

includes Sharon Burch (Navajo singer/songwriter), Joy Harjo and

Poetic Justice (contemporary poetry and jazz), Judy Trejo and

130 Smithsonian Folklife Festival NEW BOOKS ABOUT THE FESTIVAL AND FOLKWAYS

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Smithsonian museums, festivals, and special events.

Available through Smithsonian Institution Press RICHARD KURIN Call 1-800-785-4612 or 703-661-1599 to order Festival Supporters

Major Sponsors: Tierra Wools, the University of New In-Kind Corporate Headquarters, Mexico, l'niversir\' of Texas-Pan I.anham, MD Wisconsin American, and a grant from Contributors Silver Lynx, Denver, CO Smithsonian Outreach Funds. Sony Electronics, Inc., Teaneck, The W iscoiisin program is made NJ Spectrum Medical, Inc., Silver possible by and is produced in coop- General Festival Spring, enition with tiie Wisconsin Arts Ralph Rinzler MD Allegro Industries, (iarden Grove, CA Britain, CT Board and the Wisconsin Memorial Concert The Stanley Works, New Allied Resinov's Prod., Subway, McLean, VA Sesquicentennial Commission on is possible This program made Conneaut, OH occiision of Wisconsin's 150th from Recording Sugar Association, Washington, D(! the with support The Kay and Marie Andrews, anni\ersar\ of statehood. Wisconsin Performance Trust TDK Electronics, Industries Music Culpeper, VA corporate contributors include Ruth Mott Fund, Friends Port Washington, W Funds, the Ashby & Associates Video Production W;l\, and The Rinzler Tyson's Bagel Market, T)sons AT&T, SC Johnson of the Festival, and Kate Services, Alexandria, VA Comer, VA Credit linions of V* isconsin. Bardo Rodeo, Arlington, VA Utz Quality Foods, Hanover, PA Ben & Jerry's Ice Cream Wal-Mart, Fairfax, VA Yogurt, Washington, DC Support for Folkways at 50 and Philippines Wells Lamont, Niles, IL Bergwell Productions, Inc., comes from BMl (the American The Philippines program is pro- Westwood-Squibb Pharmcueticals, Chadds Ford, PA performance rights organization), duced in collaboration with the Inc., Buffalo, N\ Bethesda Bagel, Inc., Bethesda, MA United States Postal Service, Cultural Center of the Philippines the VHiatsa Bagel; Circuit City Foundation, M.A.C.E. (Mississippi Action for and the Philippine Centennial Connecticut Ave. NW, Richmond, VA Community' Education), Global Commission and is supported by the Washington, DC Cloister Spring Water Co., ArtsAIedia Foundation, P.A.C.E.R.S. American International Group, Inc., William B. Reily Coffee Co., Lancaster, PA for Academic and The Starr Foundation, Bell Atlantic, (Program Baltimore, MD The Coca-Cola Co., Washington, DC Cultural Enhancement of Rural the .\sian Cultural Council, and the Wilkins Coffee, Capial Heights, MI) Costco Wholesale, Fairfax, VA Philippine Centennial Schools) Small Schools Cooperative Milk Costco Wholesale, Springfield, VA Wisconsin Foundation/USA. & Community Celebration of Place Deer Park Spring Water, Marketing Board Project, KOCH International, Alexandria, VA Wisconsin Tissue, Columbia, MD Smithsonian Magazine, Chicago, IL Domino's Pizza, Inc., Ann Arbor, MI Wrigley Company, The Baltic Nations Smithsonian Institution National Ecko Housewares, Franklin Park, IL Yale Security Group, Charlotte, NC This program is made possible by Museum of American History, TRO, Fresh Fields, Georgetown, Wisconsin and is produced in cooperation with The Richmond Organization, Washington, DC Allen-Edmonds Shoe Corporation, the Estonian Government and Columbia Records and Sony Music FORCWare, Columbus, OH Port Wiishington, WI Estonian Ministry of Culture, the Entertainment, Michael Asch, Walter FUJIFILM USA, Elmsford, NY Blount, Inc., Zebulon, NC Latvian Government and Latvian Beebe and the New York Open Productions, Global Village Central Maryland Research and Ministr)' of Culture, and the Center, Andrew Dapuzzo and Alexandria, VA Education Center-University of Lithuanian Government and Disctronics, David GUisser, Charlie Goodmark Foods, Raliegh, NC Maryland College of Agriculture, Lithuanian Ministry of Culture. Pilzer, and Airshow Mastering, Inc., Mills, Marienthal, Heartland KS Clarksville, MD Additional support comes from the Judith DeiMaris Hearn, Ella Jenkins, Herrs Food, Inc., Elk Ridge, MD DEC International, Inc./Boumatic, Cultural Endowment of Estonia, the Richard Kurin, Mark Miller and Krispy Kreme, Winston-Salem, NC Madison, WT American Latvian Association, and Queens Group, Inc., Microsoft McCormick & Company, Inc., Hunt E&M Farm, Cambridge, MD the Lithuanian Foundation. Corporation/Media Acquisitions Valley, MD Federated Realty Group, Department, Arnold L. Polinger, Media Visions, Springfield, VA Cedarburg, m Rio Grande/ Razor & Tie Entertainment, and The Media Visions Video Duplication, Fred Usinger, Inc., Milwaukee, WI Recording Industries Music Rio Bravo Basin Springfield, VA JNVW, Inc., Canby, OR Perfonnance Trust Funds. This project is cosponsored by El Ocean Spray Cranberries, Jack Walters and Sons, Corp., Consejo Nacional para la Cultura y Lakeville, MA Allenton, WI las Artes with support from the U.S.- Olympic Espresso, Washington, DC Jacob Leinenkugel Brewing Co.,

Mexico Fund for Culture (The Ottenberg's Bakery, Washington, DC Chippewa Falls, WT

Rockefeller Foundation, Fundacion Papa John's, International, Midwest Express Airlines, Cultural Bancomer, the Fondo Louisville, K\" Milwaukee, WT

Nacional para la Cultura y las Peirce-Phelps, Inc. AudioA ideo Miller Brewing Co., Milwaukee,WI

Artes), SBC Foundation, Texas Products, Beltsville, MD Packerland Transport, Inc., Green

Folklife Resources, and the Texas ProCom Associates Video Production Bay,WT

Council for the Humanities. Folklife Ser\'ices, Wilmington, DE Schneider National, Inc., Green Bay, Fieldwork Research Schools were Quantegy, Inc., Lodi, N} WI supported by Colorado College, Ricola, Inc., Morris Plains, NJ Stevens Point Brewery, Stevens Shoppers Food Warehouse, Point, WI Hunt Wesson, Inc/Swiss Miss,

132 Smithsoman Folklife Festival 1998 ,

Festival Supporters

David C. Inc., Institution National Museum of Menomonie, WI Special Thanks: Jones, JVNW, University of Wisconsin, Alexandria. VA Natural History, Office of Our gratitude to all of the volun- Madison, Wl Craig Karr, Wisconsin Department Education teers who make the Festival possible. Weber-Stephen Products Co. of Natural Resources Jeff Schnieder, Smithsonian

Palatine, IL Galen S. Karriker, University' of Institution Office of Physical Wisconsin Wisconsin State Cranberry Growers Wisconsin-Madison Marching Plant-Greenhouse/ Araxy- Arganian Association, Wisconsin Rapids, Band Nursery Branch Jim Armbruster, Universit)' of Wl Mary Klein, Swarthout Museum, La Patrick Scullion Wisconsin, Dairy Science Crosse, WI Ed Silva, Cedar Pond Cranberries, The Baltic Nations Program Robert Kratochvil, Central Maryland Wareham, MA Estonia Donna Bahler, Historic Pevlon Smith, University of Research and Education Center, Estonian Institute Cheesemaking Center, Monroe, Wisconsin-Madison University of Maryland College Estonian National Folklore Council WI John Tarr, Four Lakes Council, Boy of Agriculture Estonian Tourist Board Nadine Bailey, Timber Producers Scouts of America, Madison, W[ Chuck Lau, L'niversity of Wisconsin Estonian Music Council Association Renee Tertin, Wisconsin Arts Board Extension Service Potter's Violins, Bethesda MD Brenda Baker, Madison Children's Carl Thieler, Timber Producers Michael Leckrone, University of Saku Beer Museum Association Wisconsin-Madison Marching Solness Ltd. Bob Becker Scott Thorn, Wisconsin Department Band Rust)' Bishop, University of of Tourism Phil Loen, JVNW, Inc., Canby, OR Lilbuatiia Wisconsin, Dairy Research Trina Nelson Thomas, Outgamie Tina Lynch, Smithsonian Institution Linu .\udiniai. \ ilnius, Lithuania Center County Historical Society Office of Exhibits Central Lithuanian Department of Tourism Randy Brun, Marathon Feed Inc. Jerry Thomm Jerry Mannigel, Weyerhaeuser Smithsonian Paul Thompson, DEC International, Kathryn Campbell, Company Inc./Boumatic, Madison, Rio Grande/ Institution National Museum of WI Jay Martin, Manitowoc Maritime Dickeyville Rio Bravo Basin American History Marge Timmerman, Museum Grotto, Dickeyville, WI El Colegio de la Frontera Norte Arlan Carter, Northland Fishing Agnes .McCluskey Our Lady of the George Tzougros, Wisconsin Arts Colorado College Museum Fields Shrine, Loreto, Vi 1 Board Coordinacion Estatal de la Marie Chemokov Ezquiel Mendez Carola Ward Tarahumara Migmar Chungkyi Michael, Kohler Art Center John Jennifer Wellman, Wisconsin Arts Cultunis Fronterizas Harold Closter, Smithsonian Connie Miller, Wisconsin Arts Board Board Direccion General de Ecologia del Institution National Museum of Henrik Moe, DEC International, Barbara Welsch, J.J. Plank Estado de la Secretan'a de American History Inc./Boumatic, Madison, WI Corporation, Appleton, WT Desarrollo Social del Gobierno Mert Cowley Tom Moreland, Central Maryland Chris Wood, Hillfield Publishing, del Estado de Coahuila Pete Dawson, Jacob Leinenkugel Research and Education Center, Green Bay, WI Ganados del \alle Brewing Co., Chippewa Falls, WI University of Maryland College Helena Wright, Smithsonian Mexican Cultural Institute, Randy Deer, Milwaukee Zoo of Agriculture Institution National Museum of Wiishington, DC Marlene Dombrowski Tsering Namgyal American History Narciso Martinez Cultural Center Katheryn Etter She! O'Hare, Wisconsin Arts Board Serina Yang Te.xas Folklife Resources Margaret Fay, Wisconsin Zolay Oskay, United Community Mary Jane Zdroik Tierra Wools Department of Agriculture Center, Milwaukee, WI Michael Zimmer, Rogers Street Fishing United Farm Workers, San Juan, TX Bill Gruber, Village of Plain, Plain, Village, Inc., Two Rivers, WI Bill Plank, J.J. Plank Corporation, University of New Mexico WI Appleton, WI Doran Zwygart, Historic Universit}' of Texas-Pan American Arnold Grummer Janet Pressler Cheesemaking Center, Monroe, Fr. James Gunn, Dickeyville Grotto, Sandy Price, Blount, Inc., Zebulon, WI Donations to the Festival received Dickeyville, WI NC after press time are acknowledged Bridgit Haggerty Ron Rambadt Wisconsin Sesqliicentennial on the Center for Folklife Programs Tom Hartsock, Pork Pines Fami Sharon Reese, Historic Commission: & Cultural Studies' Web site at Bill Hartwig Cheesemaking Center, Monroe, Dean Amhaus . Smithsonian Mike Headley, WI Pat Blankenburg Institution Office of Exhibits Kiiss D'Angelo Virginia Riddle, Central Fox Allen-Edmonds Shoe Marti Fr. Dennis Heifner, St. Elias Kate LaRocque Corporation, Port Washington, Church, La Crosse, Wl Kathy Malzer Orthodox Wl Dale Heikkinen Valorie Overheu Jeri Riha, JVNW, Inc., Canby, OR Gayda Hollnagel. Im Crosse Tribune, Joedy Simonsen Nathan Roth La Crosse, WI Beth Walsh Debbie Rothberg. Smithsonian John Jaeggi, University of Wisconsin, Jennifer Welsh Dairy Research Center

1998 Smithsonian Folklife Festival 133 Festival Supporters

Members of the Dr Lucretia R.Kasilag The Baltic Nations: Anne Ojalo Task Force: Kitanglad Integrated NGO Barn Estonia, Latvia, Lithuania Recording Company FORTE Pat Blankenburg, Wisconsin Michael Korff-Rodrigues OUe Reimets J. Baltic-American Festival Committee Manufacturers and Commerce Kutawato Arts Council Hermann Reisid Travel Agency Embassy of Estonia Roger Cliff, Wisconsin Farm Bureau Salvador Laurel Cardo Remmel Embassy of Latvia Federation Ariel Libria Saare Paat Factory Ltd. Embassy of Lithuania Bob Denmen, Wisconsin Farmers Tom Lovejoy Salulaid Elena Bradunas Jaan Union Mayor Conrado Lumabas, Jr. Linda Sade Galya Coleman, Finnair Bill Geary, Wisconsin Agri-Business Jose Maceda Saku Beer Brewery Ltd. John MacDonald Council and Foundation Margaret Magat Liivi Soova

Alan Geisthardt, Walters Buildings Edward Pablo M. Maglaya H.E. Kalev Stoicescu, Ambassador to Estonia Jim Haney, Wisconsin Dennis Marasigan U.S. Estonian Committee Manufacturers and Commerce General Clemente P Mariano AFP Anu Tarvis Jaak Allik, Minister of Culture, Kim Markham, Wisconsin Minonga Mashod U.S. Embassy in Estonia Chairman Department of Agriculture Jon Melegrito U.S. Information Agency Alar Ojalo, Coordinator of State Don Peterson, Wisconsin Farm Moharrim Mohammed Voice of America-Estonian Service Program Progress Days, Inc. Luis J. Morales Madis Valge Ingrid Riiiitel, Chairman of Tom Thieding, Wisconsin Farm Greta Morris Tiiu Valm Program Council, Scientific Bureau Federation Franklin Odo Riina Vanhanen Coordinator Bob Walton Office of Muslim Affairs Ulle Vomo Kale Jarvela, Igor Tonurist, Program Office of the Southern Cultural Managers Pahiyas: Philippine Communities Latvia A Riina Vanhanen, Designer Padilla Carmen Liana Eglite, Embassy of Latvia Harvest Linda Sade, Planning and Budget Ramon Patemo H.E. Ojars Kalnins, Ambassador to Mia Abeya Liivi Soova, Handicrafts Mitzi Pickard U.S. Patricia Afable Paul Hagu, Scientific Elizabeth Punsalan Kukainis and the American Corazon Alvina Documentation Janis Zenaida Quismorio Latvian Association Soliman Archsiwals Anu Tarvis, Editing Ambassador Raul Rabe Valdis Kupris Dorezil Nakano Bangkas Mart Maripuu, Recordings Ahiron Radjaie Commander J. PN Latvia Cinema-Photo-Phono-Video Bauan Technical High School Ats Joorits, Press (Voice of America) Deanna Ongpin-Recto Archive Dez Bautista Daniel Salcedo Latvia Ethnographical Open-Air Bulanao Provincial Hospital Annely Akkermann Samahang Pangkultura at Sining Museum Archive On Linda Burton Mati Aunver ng Koronadal (SPSK) Ilmiirs Mezs, U.S. Information Rita Cacas City Paper - The Baltic States Ralph Samuelson Centre Usopay Cadar Cityphoto Erico San Pedro Ramona Umblija, Minister of Nora Cadawas Coastal Corporation Vice Admiral Edward Ma. R. Santos Culture Dionisio Canete DHL Worldwide Express AFP Gloria Caoile ESTMA Estonian Open-Air Museum P. Santos Ramon U.S. Embassy in Latvw Mayor Bienvenido Castillo of Bauan Estonian Folklore Society Horticulture Services Smithsonian H.E. Larry C. Nepper, Gregory Bemardita Reyes Churchill Estonian Television Division Elttman, Robert Latge Cecily Cook Estonian Tourist Board Daniel Sullivan Julito B. Cortes Liina Keerdoja Margaret Sullivan Melvin Cruz Mati Koiva Lithuania Stacey Suyat Regina C. Cruz Laine Koiva Arvydas Barzdukas Paul Tafiedo Colonel Julius de la Torre PAF Rein Koppelmann Robin Chandler Duke Paul Taylor Romulo de los Reyes Toivo Kuldsepp H.E. Alfonsas Eidintas, Ambassador University of the Philippines, Baltazar N. Endriga Maris Laja to Canada Diliman, Quezon City Rommel Faustino Merike Lang Jonas Genys, Lithuanian American Rosalinda Yangas Doreen G. Fernandez Markus Larsson Council Mayor Bayani Fernando Peeter Laum Laima & John Hood John Forbes Aarne Leima Rita Kazragiene, Lithuanian

Kelly Gannon Lore Listra Embassy

Jocelyn Batoon Garcia Laine Lovi Ale Kezelis, LAC, Inc. Kevin Herbert Mainor Language Center Gita Kupcinskas Baby Herrera Mart Maripuu Dale Lukas and the Washington, D.C. Victoria Herrera Maritime Agency ESTMA Special Lithuanian Committee to

Nestor 0. Jardin Victoria Middleton assist at the Festival

Frank Jenesta Talvi Moss Danongan Kalanduyan

134 Smithsonlan Folklife Festivai 1998 Festival Supporters

Regina Narusas and the Lithuanian Ruben Martinez Office of the Provost American Community, Inc. Smithsonian Patricia Mendoza Accessibility Program

,' Algis Rimas, Lithuanian American William Merrill Bureau Anacostia Museum ' and Council Jose Oscar Morales S. Center for Museum Studies Ramune Rimas Pedro Moreno Office Support National Museum of American Emihja Saiiadolsids Victor Nelson Cisneros History: Director's Office, H.E. Stasys Sakalauskas, Rogelio Nuriez office of the Secretary Division of Cultural History, Ambassador to U.S. Regis Pecos Office of Inspector General Office of Public Services Mirga Viculis Pedro Perez Mata Office of Membership & National Museum of the American Eduardo Reyes Langagne Development Indian U.S. Embassy in Lithuania Alvaro Rodriguez-Tirado Office of Planning, Management & National Museum of Natural History Daiva Dapsiene, Lisa Helling Bea Roeder Budget National Anthropological Archives Juan Manuel Saldivar-Cannj Office of Exhibits Central Roberto Rio Grande/ Salmon Office of the Under Secretary Office of Fellowships & Grants Rio Bravo Bravo Basin Rafael Santi'n Office of Communications: Office of International Relations Ray Seefeldt Aurora Abrego Public Affairs, Visitor Office of Sponsored Projects Telma Alicia Soto Palma Pablo Manuel Aguirre Loera Information and Associates' Smithsonian Center for Latino Scott Storment Adriana Alarcon Reception Center Initiatives Enrique Suarez Toriello Laura Andujo y Office of the Comptroller Smithsonian Institution Traveling Governor Joseph Suina Exhibition Service Guadalupe Arizpe de la Vega Office of Contracting: Lt. Governor Simon E. Suina Governor Leonard Armijo Travel Services Office Smithsonian Office of Education Eliseo Torres Roland Simon Arriola Office of Equal Employment & Peter Treadway Diana Borja Minority Affairs Dawn Tlirton David Bosserman Office of the General Counsel Tom Vaughn Juan Briga Office of Government Relations Monica Velarde Octavio E. Chavez Office of Human Resources Monte Youngs Juanita Valdez Cox Office of Imaging, Printing & Mary Yturria Governor Walter Dasheno Photographic Services

Alejandra de la Paz Office of Information Technology Paulina del Moral Folkways at 50 Concerts Office of Physical Plant: Tyrus Fain Ruby Buck Facilities Services, Design Elizabeth Ferguson Laura Caldwell Construction, Environmental

Alberto Fierro Quint Davis Management & Safety

Jerry Freeman David Gahr Office of Protection Services

Timothy Fuller Rob Gibson Office of Public Affairs Miguel Gandert Vanessa Greene Office of Risk & Asset Management Todd Hulslander Office of Special Events George R. Cause, Jr. & Jesus Guajardo Harold Leventhal Conference Services Ian Hancock Worth Long The Smithsonian Associates

LaDonna Harris Bob Jones Smithsonian Business Meredith Hubel Bemice Johnson Reagon Management Office: Isabel Hucuja Matt Sakakeeny Museum Shops, Pete Seeger Jose N. Iturriaga de la Fuente Smithsonian Press/Productions Pat Jasper Toshi Seeger Smithsonian Magazine Colleen Keane Dr Jack Shelton Smithsonian Productions Laura Lechuga Soli's Denise Louie Tommie Syx Helen Lucero John Tyler

Elisa Lyles United States Postal Service Staff Jose Antonio MacGregor Marcela Madarriaga Darla Martinez

Estella Martinez

1998 Smithsonian Folkufe Festival 135 Festival Staff

Smithsonian Crew Chiefs: Diana Lees, Lynn Education & Progk.\m Support Wisconsin Joslin, Lisa Ogonowski Director, Cultural Studies & Curators: Richard March, Thomas Folklife Festival Administrative Assistant, Technical: Communications: James Early Vennum Julie Wblcott Education Specialists: Betty Dirtctor, (lenli'r lor lolklife Belanus, Program Coordinators: Ruth Olson, Exhibit Workers: Deborah Baker, Marjorie Hunt, Diana Programs & Cultural Studies: Baird Anne Pryor, Arlene Reiniger James Barnes, Matthew Hartel, Richard Kurin N'Diaye Wisconsin Technical Coordinator: Shara Kane, Steve Laronga, Terry Intern Coordinator: Deputy Director: Richard Kennedy Arlene Reiniger Carl Eiche Meniefield, Cheryl Zook Education Interns: Alistair Farrell, Festival Director: Diana Parker Program Assistants: Sound/Stage Staff: Teresa Ballard, Barri Williams Thomas Guthrie, Chuoa Ly Dennis Blackledge, Saul Brody, Evening Programs Coordinators: Ai)Mi\isTRATi\i; & Fiscal Sipport Interns: Barbara Baniett, Laura Frank Brown, Amanda Bishop, Betty Belanus, Rinzler, Ivy Administrative Officer: Barbara Kate Collins, Meredith Forster, Mary Noah Bishop, Barney Cable, E.L. Strickland Young Lee, Megan Rice Copeland, Henry Cross, Rachek Accessibility Coordinator: Administrative Assistants, Folklife: John Chief Volunteer: Elisa Volkert Cross, Megan Denos, Gregory Franklin Bill Holmes, Sharleen Ka\etski Fieldworkers: Lisa Akey, Terese Dishmon, Vicki Fleming, Licia Program Assistant: .administrative Cenny Hester Allen, Mike Chiarappa, Janet C. Galinsky, Gregg Lamping, Al Public Information: Vicki Assistants/Receptionists: Ramona Moeser, Gilmore, Gina Grumke, McKenney, Paul-Douglas Michelle Dowdal, Bernard Howard, Marni Kimberly Moffitt Hartley, Anita Hecht, Cindy McNevich, Mark Pur\ear, Ho)! Public Information Intern: Susan Kerchmar, Andy Kraushaar, Claudia Telliho, James Welsh, Special Events Coordinator: Linda Dyer Barbara Lau,Jiin Leary, Richard Scott Young Benner Assistant to the Festival Director: March, Ruth Olson, Anne Pryor, Supply Coordinator: Galeet Dardashti Participant Coordinator: Craig Lynn Ramsey, Bob Rashid, Pete Chris Aplin Stinson Sign-Lanuage Interpreters: Candas Roller, Craig Stinson, Evelyn Assistant Supply Coordinator: Herb Barnes, Assistant Participant Coordinators: Jean Bergey, Martin Terry, Bob Teske, Thomas Ruffin II Hiraga, Diana Mele, Kimberley Ilze Akerbergs, Helen Burghardt, Vennum, Mai Zong Vue, Thomas Logistics Coordinator: Zoe Margaret Crawford Underwood, Hank Young U. Walker Burkliolder Sign Master: Ernest Hairston Housing Coordinator: Cristina Presenters: David Bisonette, Mike Stensvaag Chiarappa, Cindy Kerchmar, Design & Production Smithsonian Folctays Social Coordinator: Johari Rashad Recordings Barbara Lau, Richard March, Art Director: Kenn Shrader Director Computer Specialist/ and Curator: Anthony Ruth Olson, Aime Pryor, Bob Production Manager: Seeger Assistants: R.C. Forney, Dale Rashid, Pete Roller, Erin Roth, Kristen Fernekes Dowdal, Pam Rogers, David Assistant Director: Am\- Horowitz Gary Sturm, Evelyn Terry, Bob Design Assistant: Jennifer Mealo, Alexander Kovetski Engineer for Archival Recordings: Teske, Mai Zong Vue, Harrington Mark Volunteer Coordinator: Valerie Tom Adams, Ronnie Simkins Wagler, Joe Bee Xiong, Thomas Design Interns: Jennifer Langdon Financial Assistant: Heather Pawlewicz Vennum Graves, Annie Stone Assistant Volunteer Coordinator: MacBride Rachel Mears Fiscal Advisor: John Fawcett Editing Marketplace Co-Managers: Marlene Licensing, Royalties, and Caria Borden, Peter Seitel, Kristen Graves, International Sales: Kevin Doran Pahiyas: A Fernekes Judy Luis-Watson Mail-Order Manager: Dudley Connell Philippine Concessions Cash Manager: A.C. Documentation Marketing Director: Brenda Dunlap Stickel Harvest Documentation Coordinator: Jeff Consignment Coordinator: Suporia Marketing Assistant: Chris Weston Curators: Richard Kennedy, Marian Place Harris Product Manager: Michael Maloney Pastor Roces Photo Documentation Coordinator: Coordinator: Consignment Assistant: Brian Posey Production Mary Program Director: Ramon Obusan Stephanie Smith Foodways Coordinator: Beverly Monseur Program Coordinators: Eva Mari G. Video Documentation: Charlie Simons Shipping Specialists: Lee Demsey, Weber Salvador, Andrea Yangas Program Book Sales Coordinator: Judy Gilmore, Matt Levine Research Director: Flora Elena R. Documentation Interns: Lee Dawn Benner Sound Production Supervisor: Pete Mirano Bickerstaff, Pilipa Esara, Jonah Reiniger Research Associate: Ricardo Horwitz, Melissa Lindsay Technical Support Jeffery, Interns: Ethan Johnson, Eduardo Trimillos Mayhood, Maria Mead, Brian Technical Director: Pete Reiniger Nunes, Siv Ostlund, Charles Paul Researchers: Marialita Yraola Pfeiffer, Dagmar Pfensig, Assistant Technical Director: Deb (supervising researcher), Edna Elizabeth Sheridan Sullivan Marcil M. Martinez (senior Chief Volunteer, Documentation: Carpenters: Dovid Adler, Anthony researcher), Eduardo Borbon, Marilyn Giiston LaGreca Ricardo Cruz, Leonido Gines, Jr., Electrician: Gary Johannsen Maria Patricia B. Silvestre, Pipefitter: Marc Breau Dennis Julio Y. Tan

136 Smithsonian Folklife Festival 1998 Festival Staff

Presenters: Paulo Alcazaren, Hood (Lithuanian-American Research Advisor:, Patricia Folkways at 50 Carniencita J. Bernardo, Eduardo Committee, Inc.), DaleLukas Fernandez de Castro. Borbon, Joseph Cristobal, (L\C, Inc. Wiishington, D.C. rep- Presenters: David Champion, Anniversary Ricardo Cruz, Frank I. resentative) Juanita Elizondo Garza, Enrique Depakakibo, Leonido Gines, Jr. Researchers Lamadrid, Ramon de Leon, Concerts Pacita 0. Ignacio, Arnelio B. General program: Ilze Akerbergs, Mario Montano, Genevieve Ciiilukun's Matinee

Manzano, Edna Marcil M. Elena Bradunas, Rebecca Mooser, Dan Sheehy folkviays foiinders/u.s. postal Flora Martinez, Jojo Mata, Elena Maksel, Kerry Stroniberg Research Coordinators:, Juanita Service Folk Musicians Stamp Mirano, Oliver Patino, Maria Estonia: Ingrid Riiiitel, Chair, Paul Elizondo Garza, Rodolfo Garza Concert Patricia B. Silvestre, Dennis Julio Hagu, Kalev Jarvela, Ats Joorits, Gutierrez, Enrique Lamadrid, Curators: Anthony Seeger, Amy Y. Tan, Marialita Yraola, Peeter I.aum, Mart Maripuu, Alar Hector Romero Lecanda, Mario Horowitz

Consuelo Zapata Ojalo, Linda Sade, Aivar Siim, Montaiio, Cirila Quintero, Coordinator: Ivy Young Site Designer: Paulo Alcazaren Liivi Soova, Anu Tarvis, Valdur Socorro Tabuenca

Production Designer: Ricardo G. Tilk, Igor Tonurist, Lembe Torop Researchers: Armando Acosta, Heartbeat: Voices of First Nations Cruz Latvia: Juris Gagainis, Juris Indiins, Estevan Arellano, Alejandro Women

Production Staff: Frank I. Lilita LIdaka, Valdis Arrecillas, Angelica Bautista, Curators: Howard Bass, Rayna Depakakibo, Dennis Julio Y Tan Muktupavels, Inese Petersone, Mike Blakeman, Norma Cantii, Green Interns: Wendy Clapper, Grace Wang Guntis Smidchens, Ernests Spies, Imelda Castro Santillan, David Artwork: Linda Lomahaftewa Daina \1tolin;i Champion, Jerry Chapman, Design: Watermark Design Office

Lithuania: Giedre Ambrozaitiene, Karen Chapman, Cynthia L. Research and Production Assistants: Birute Imbrasiene, Zita Chavez, Cynthia Cortez, Peter The Baltic Nations: J. Allison Cooley, Emily Crow, Kelmickaite, Juozas Kudirka, Garcia, Gregorio Garza, Barbara Deena Gift, Kim Harper, Ann Estonia, Latvia, Vacys Milius.Jolanta Gonzales, Steve Harris, Victor Hoog, Michael James, Lisa Paskeviciene, Giedre Manuel Hernandez, Alma Levine, Carol Keesling, Nadia Lithuania Puodziukaityte, Vida Jimenez, Ramon de Leon, Heidi Khatchadourian, Renee Pastore, Curators: Kalev Jiirvela (Estonia), Satkauskiene H. McKinnon, Genevieve Mooser, Ann Silverman, Sarah Grogan Dainis & Helmi Stalts (Latvia), Presenters: Marisa Oliva, Francis Ortega,

Zita Kelmickaite (Lithuania) Estonia: Kristiina Paul, Leena Valge, Beverly Ann Ortiz, Gustavo

Coordinators: Alar Ojalo (Estonia), Silvi Valge Palacio Flores, Marcos Ralph Rinzler Alvis Lidaks (Latvia), Vida Latvia: Andris Rutiijs, Guntis Rodriguez, Rose Rodriguez- Memorial Concert Satkauskiene (Lithuania) Smidchens, Liga Varesa Rabin, Erin Ross, Ken Rubin, Curator: Henry Sapoznik Program Coordinator: Kerry Lithuania: Elena Bradunas, Joanna Stewart, John Stockley, Coordinator: Kate Rinzler Stroniberg Audronis Braukyla, Darius Bob Tenequer, Elaine Thatcher, Intern: Elise Berman Program Assistant: Rebecca Maksel Suziedelis Molly Timko, Curtis Tunnell, Festival Aide: Guntis Kalnins Interns: Andrew Bryan, Sarah Ethel Warrior, William Warrior Embassy Liaisons: Jaan Salulaid Everett

(Estonia), Liana EglTte (Latvia), Rita Kazragiene (Lithuania) Rio Grande/ Baltic-American Festi\al Committee: Guna MacDonald (Coordinator), Rio Bravo Basin Liina Keerdoja (Estonian Curators: Olivia Cadaval, Cynthia L. American Council), Aivars Vidaurri Osvalds (American-Latvian Program Coordinator: Heidi Association), Laima Sileikis- McKinnon

Program Assistants: Lucy Bates, Heather Harbaugh, Diana

Robertson, Sonya Salazar, Natalye Swet>e

Field school Media Instructor: Charles Weber

Translators: lleana Cadaval Adam,

Luq' Bates, Patricia Fernandez de Castro

1998 Smithsonian Folklife Festival 137 Educational Offerings

Festival Teacher's Seminar

As in previous years, the Center will offer a seminar for teachers during the Festival. "Bringing Folklife Into Your Classroom" is cosponsored

by the Smithsonian Office of Education. This popular seminar, now in its fifth year, attracts Washington-area teachers who obtain hands-on

experience in the folklorist's methods of learning about culture: observing, documenting, interviewing, and interpreting. Instructors for the

course, which meets June 23-27, are Drs. Marjorie Hunt and Betty Belanus of the Center for Folklife Programs & Cultural Studies.

Visiting Students High school students from rural Wisconsin will be attending the Festival in preparation for producing their own festival based on the

histor)' and culture of their community. The students will work with staff involved in different parts of the Festival, and will take on these

roles for their own production. (This project was made possible by the Flambeau School District, the Flambeau History Club, and New Paradigm Partners with support from the Annenberg Foundation, the Kellogg Foundation, and Rippin Foods.)

Current Educational Offerings From the Center for Folklife Programs & Cultural Studies

Workers at the White House This half-hour video documentary features the occupational folklife and oral histories of a broad range of White House workers — butlers,

maids, doormen, chefs, plumbers, and others. Through their memories, skills, and values, these workers help us to understand the White

House in human terms — as a home and a workplace, a public building and a national symbol. A 24-page educational booklet accompanies

$24.95. Catalog * SF48003

Borders and Identity

This bilingual kit explores the complex notion of identity along the United States/Mexico border. In four segments — on history, belief,

expressive arts, and occupational traditions — students learn from the stories of border residents. This kit includes a four-part video, a poster-

size cultural map, and a teacher/student guide with exercises for classroom use. Published 1996. Grades 6-12. $55.00 kit; $10 cultural map separately Catalog * SF900I0 Land and Native American Cultures

This kit introduces students to the use of land in Native American communities through three case studies: the Hopi of Arizona; the Tlingit,

Haida, and Tsimshian of Alaska; and the Aymara and Quechua of Bolivia and Peru. Units address subsistence, crafts, mythology, and ritual.

The kit includes an extensive teacher/student guide with narrative, photographs, resource listing, and activity questions. A slide set accompa-

nies the guide. Published 1997. Grades 9-12. $21.00. Catalog* SF900 11

Wisconsin Powwow / Naamikaaged: Dancer for the People

This two-video set shows how powwows incorporate historical traditions and modem innovations. The first video is a general treatment of

the powwow as it is held by Ojibwe people in northern Wisconsin. The second follows a young Ojibwe, Richard LaFemier, as he dresses and

paints himself for a powwow, honors his ancestors, and sings at powwows in northern Wisconsin. A 40-page accompanying booklet includes

historical background, transcription of soundtrack, classroom questions, and suggestions for further reading and listening. Published 1996.

Grades 6-12. $34.95. Catalog * SF48004

Learning About Folklife: The U.S. Virgin Islands & Senegal

This kit concentrates on the rich folklife of the U.S. Virgin Islands and Senegal through a focus on foodways, music and storytelling, and

celebrations. The kit contains a four-part video-cassette, two audio-cassettes, and a teacher's guide with maps, photographs, and line illustra-

tions. Published 1992. Grades 6-12, $45.00. Catalog* SF900 12

To order, write, FAX, or call: Smithsonian Folkways Mail Order, 414 Hungerford Dr, Suite 444, Rockville, MD 20850

Phone: (301) 443-2314 — FAX: (301) 443-1819 — Orders only: (800) 410-9815 All prices include shipping and handling.

Visit the Smithsonian Institution on the Web at .

138 Smithsonian Folklife Festival Friends of the Festival

Friends si±Festival

The Smithsonian Folklife Festival presents the wealth of American and world cultures for the education

and enjoyment of visitors. But it doesn't end with the celebration on the Mall; Smithsonian staff transform Festival research into traveling exhibitions, films, publications, learning guides, and Smithsonian Folkways

recordings. Supported by a combination of federal and private funds, the Festival and its related programs depend on the generous assistance of the public to preserve grassroots cultures.

We invite you to join us.

As a Friend of the Festival, you will support the Festival and its work of cultural preservation, education,

and research. You'll learn what happens behind the scenes at the Festival and about opportunities to volunteer on Festival projects.

As a Friend at the $25 level, you will receive: • a newsletter about the Festival and the Center for Folklife Programs & Cultural Studies; • the Festival program book, which describes the featured Festival programs in a beautifully illustrated volume; and • a 10% discount, exclusive to the Friends, on Smithsonian Folkways recordings ordered through the mail- order catalogue.

For our Friends at the $50 level: • we also include a one-size-fits-all Festival T-shirt.

And for those at the $75 level:

• you will receive all of the above and a Smithsonian Folkways recording selected from the most popular of Festival-related recordings.

Our Rinzler's Circle^ members, at the $500 level, will receive: • all of the above gifts and other special recognition throughout the year.

Please be sure to visit the Marketplace while you are at the Festival. We look forward to discussing the Friends program with you there and can enroll you as a member of the Friends of the Festival when you

visit. Your assistance will play an integral part in supporting research and education about traditional cul-

tures.

* Ralph Rinzler was the long-time director of the Smithsonian Folklife Festival. Ralph passed away in July 1994. We have created the Circle to honor his outstanding commitment and accomplishments.

1998 Smithsonian Folklife Festival 139 Folk and Blues

y*"v/ FOLKWAYS Historic recordings from Lead Belly, Woody Guthrie, CELEBRATING FIFTY YEARS 50 OF FOLKWAYS RECORDINGS Sonny Terry, and Josh O Smithsonian Folicways White — four artists being Recordings celebrates honored with stamps unveiled jthe fiftieth anniversary of at the Folkways Founders/

otkways Recordings. U.S. Postal Semi^

ecordings related to previous Musicians Stamp Concert

mithsonian Folklife Festivals, Folk, (Friday, June 26, 7:00-9:00 p.m.).

Blues, BItiegrass, Jazz, American Indian,

lassical, World, Children's Music,

Spoken Word, and much more,

vailable at the Festival Marketplace,

'ecord stores, and at wv\/w.si.edu/folk

ways, or 800 410-9815/Catalogues

ailable.

•'T>T'

mi^ American Indian Children's Music Music

Many of the artists featured These Ella Jenkins and

at the Heartbeat: Voices Larry Long recordings give

of First Nations Women a taste of the wide variety

Concert (Sunday, June 28, 5:30-9:00 of children's music available

p.m.) perform on these two on Smithsonian Folkways.

eclectic and spirited CDs. See Ella and Larry

at the Children's Concert

(FridaxZjSn^ 21^, 5:30'-7:00 p.m.)

1^.'.

^ **«.»

For more concert Information, see schedule on page 1 30. Music from the Music and Dance Southwest from Wisconsin

Tex-Mex, Hispanic, and

American Indian sounds on

these CDs richly

complement this year's

Rio Grande/Rio Bravo Basin program.

'* ,*«.' 7—~--';^^ -^ ' •v'ir

i:i

Folkways Promotion Manager: Chief, Division of Visitor Services, Rio Grande/Rio Bravo Basin

Brenda Dunlap National Capital Parks-Central: This project is cosponsored by El Consejo

Folkways Assistant Promotion Manager: Donna Donaldson Nacional para la Cultura y las Artes with

Chris Weston Associate Superintendent of support from the U.S.-Mexico Fund for

Folkways Manufacturing & Distribution Maintenance, National Capital Culture (The Rockefeller Foundation,

Coordinator: Mike Maloney Parks-CentraLWilliam Newman, Jr Fundacidn Cultural Bancomer,the Fondo

Folkways Production Coordinator: Site Manager, National Mall, National Nacional para la Cultura y las Artes), SBC

Mary Monseur Capital Parks-Central: Foundation,Texas Folklife Resources, and

Folkways Fulfillment Staff: Tom Adams, Erin Broadbent the Texas Council for the Humanities.

Smithsonian Institution Lee Michael Demsey, Judy Gilmore, Special Assistant for Partnerships, Folklife Fieldwork Research Schools were

Secretary: I. Michael Heyman Matt Levine, Ronnie Simpkins National Capital Parks-Central: supported by Colorado College, Tierra

Under Secretary: Program Assistant: Cenny Hester Lisa Mendelson Wools, the University of New Mexico,

Constance Berry Newman Administrative Assistant to the Director Concessions Specialist, National Capital University of Texas-Pan American, and a

Provost: Dennis O'Connor & Administrative Officer: Parks-Central: Nelson Hoffman grant from Smithsonian Outreach Funds.

Linda Benner Employees of the National Capital Area Center for Folklife Administrative Assistant/Receptionist: and the United States Park Police Ralph Rinzler

Progranns & Cultural Bernard Howard Memorial Concert

Studies Volunteers: Dale Dowdal, Ramona Major Sponsors This program is made possible with

Director: Richard Kurin Dowdal, Enid Hairston, Marni Hoyt, Wisconsin support from The Recording Industries

Deputy Director: Richard Kennedy Beverly Simons The Wisconsin program is made possible Music Performance Trust Funds, the Ruth

Festival Director: Diana Parker Fellows & Research Associates: by and is produced in cooperation with Mott Fund, Friends of the Festival, and

Director, Smithsonian Folkways Roland Freeman, Dan Goodwin, the Wisconsin Arts Board and the Kate Rinzler.

Recordings: Anthony Seeger CorinneKratz, Ivan Karp, Alan Wisconsin Sesquicentennial Commission

Director, Cultural Studies & Lomax, Worth Long, Rene Lopez, on the occasion of Wisconsin's 150th Support for Folkways At 50

Communications: James Early KateRinzler anniversary of statehood. Wisconsin cor- comes from BMI (the American perfor-

Administrative Officer: Advisors: Roger Abrahams, Jacinto Arias, porate contributors include AT&T SC mance rights organization), the United

Barbara Strickland Michael Asch, Jane Beck, Don Johnson Wax, and The Credit Unions of States Postal Service, M.A.C.E.

Senior Ethnomusicologist: DeVito, Pat Jasper, Ella Jenkins, Wisconsin. (Mississippi Action for Community

Thomas Vennum,Jr Jon Kertzer, Barbara Kirshenblatt- Education), Global Arts/Media

Chair, Research & Education: Gimblett,John Nixdorf, Bernice Pliiiippines Foundation, P.A.C.E.R.S. (Program for

Olivia Cadaval Johnson Reagon,John Roberts, The Philippines program is produced in Academic and Cultural Enhancement of

Assistant Director, Smithsonian Folkways Carol Robertson, Gilbert Sprauve, collaboration with the Cultural Center of Rural Schools) Small Schools Cooperative

Recordings: Amy Horowitz Jack Tchen, Ricardo Trimillos, Carlos the Philippines and the Philippine & Community Celebration of Place

Curators, Folklorists, Education & Cultural Velez-lbahez Centennial Commission and is supported Project, KOCH International, Smithsonian

Specialists: Betty J. Belanus, by the American International Group, Magazine, Smithsonian Institution

Marjorie Hunt, Diana Baird N'Diaye, National Park Service lnc.,The Starr Foundation, Bell Atlantic, National Museum of American History,

Peter Seitel Secretary of the Interior: Bruce Babbitt the Asian Cultural Council, and the TRO,The Richmond Organization,

Program/Publications Manager: Director, National Park Service: Philippine Centennial Foundation/USA. Columbia Records and Sony Music

Caria M.Borden Robert Stanton Entertainment, Michael Asch, Walter

Program Manager: John W.Franklin Director, National Capital Region: The Baltic Nations Beebe and the New York Open Center,

Coordinator, Latino Cultural Resource Terry R.Carlstrom This program is made possible by and is Andrew Dapuzzo and Disctronics, David

Network: Cynthia Vidaurri Chief, United States Park Police; produced in cooperation with the Glasser, Charlie Pilzer, and Airshow

Technical Director: Pete Reiniger Robert E. Langston Estonian Government and Estonian Mastering, Inc., Judith DeMaris Hearn,

Art Director: Kenn Shrader Commander, Special Forces, United Ministry of Culture, the Latvian Govern- Ella Jenkins, Richard Kurin, Mark Miller

Archivist: Jeffrey Place States Park Police: ment and Latvian Ministry of Culture, and Oueens Group, Inc., Microsoft

Assistant Archivist: Stephanie Smith Maj. Marvin Ellison and the Lithuanian Government and Corporation/Media Acquisitions

Program Specialist: Arlene L. Reiniger Special Events, United States Park Police: Lithuanian Ministry of Culture. Additional Department, Arnold L. Polinger, Razor &

Media Specialist: Charlie Weber Diana Smith support comes from the Cultural Tie Entertainment, and The Recording

Fiscal Managers: Superintendent, National Capital Endowment of Estonia, the American Industries Music Performance Trust

Bill Holmes, Heather MacBride Region-Central: Latvian Association, and the Lithuanian Funds.

Folkways Fulfillment Manager: Arnold M.Goldstein Foundation.

Dudley Connell VO 00 3

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