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1986 Festival of American Folklife Smithsonian Institution National Park Service Hanadaue Periotmance Ot Rice Planting in the Village Ol Mibu, Hiroshima Prefecture

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1986 Festival of American Folklife Smithsonian Institution National Park Service Hanadaue Periotmance Ot Rice Planting in the Village Ol Mibu, Hiroshima Prefecture 1986 Festival of American Folklife Smithsonian Institution National Park Service Hanadaue periotmance ot rice planting in the village ol Mibu, Hiroshima Prefecture. PHOTO BY ISAO SUTOU Split-oak b.Lsl<ct.s b\ Maggie Mtiriihy. Cannon County Tennessee PHOTO BY ROBY COGSWELL, COURTESY TENNESSEE ARTS COMMISSION * « . <% "te^ V w l» 4. "- ^^ 1^ # /^ '^18i^ '^ 4^ € ^ m «^ ^ tk^ \ ' 4 '. \ 1 4 r ^ ^ ^* # ». 4 M^ J* * > <ih*^ r «- % ^^^ w ^'<i{> S I jR "^^ iM « 5r 1986 Festival of American Folklife Smithsonian Institution National Park Service June 25-29/July 2-6 Contents 4 The Twentieth Festival by Robert McC. Adams, Secretary, Smithsonian Institution 6 Pride in America's Cultural Diversity by William Penn Mott, Jr., Director, National Park Service 7 The Midway on the Mall Twenty Years ofthe Festival ofAmerican Folklife by Robert Cantwell 1 2 Trial Laivyers as Storytellers by Samuel Schrager 17 Japanese Village Farm Life by Kozo Yamaji 22 Rice Cultivation inJapan andTa-hayashi Festhal ofAmerican Folklilf Program B(x)k by Frank Hoff Smithsonian Institution 1986 Editor: Thomas Vennum, Jr. 26 Shigaraki Pottery by Louise Allison Co rt Designer: Daphne ShuttJewortli 32 Diverse Influences in the Development aJapanese Folk Drama Assistant Designer Joan Wolbier of Coordinator: Arlene Liebenau by Susan Asai Typesetter: Harlowe Typography 36 Traditional Folk Song in ModemJapan Printer: Ajneriprint Inc. by David Hughes Typeface: ITC Garamond Paper: 80 lb. Patina cover and text 41 Tennessee Folklife: Three Rooms Under One Roof Flysheet Kinwashi cream or Chiri new- by Robert Cogswell er Chiri Ranzan or Kaji natural Insert: 70 11). adobe tan text 46 Country Music in Tennessee: From Hollow to Honky Tonk byJoseph T. Wilson 50 Tennessee Blues and Gospel FromJug Band toJubilee by David Evans and Richard Raichelson 56 Rolley Hole Marbles by Kohen}.Yu\chex: 6 1 Moonshining and Herb Doctoring by Richard Blaustein 65 Hogmeat, Com and Catfish: Tennessee Foodways by Phyllis M. May 68 Traditional Crafts: A Lesson from Turkish Ceramics by Henry Glassie 74 Southern Pottery Tradition in a Changing Economic Environment by Charles G. Zug, III 79 Contemporary Norih American Indian Crafts by William C. Stunevant 83 Championing Crafts in the Worfplace by Archie Green 87 Tradition and Survival- Kmhmu Highlanders in America by Frank Proschan 91 Hmong Textiles and Cultural Consen'ation by Marsha MacDowell 94 Afro-American Quiltersfrom the Black Belt Region ofAlabama A Photo Essay by Roland Freeman 101 Musical Performance at the Festival- Developing Criteria by Tliomas Vennum, Jr. and Nicholas Spitzer The Twentieth Festival by Robert McC. Adams, Secretaty, Smithsonian Institution This year marks the 20th annual Festival ot Aniericmi Folklile, iuid cis importanth', the 10th :inniversary of the American Folklife Center in tlie Library of Congress. The Center, on whose board I am pleased to sit as an exofficio member, is important because that birthday passed should presage its continued health and pernicinent collegia! presence. The Smithsonian has collaborated with the Center on sev- enil folklife matters, among them the Federd Cylinder Project, which preserved imd is currently making a\'ailable to hidian communities the earliest sound recordings of American Indian music. Congratu- lations to the American Folklife Center and also tc:> our colleagues at the Folk Arts Program at the National Endowment for the Aits, now in their 14th year, for your continuing good work. Twenty yeiirs ago the Smithsonian's Festix'al announced in a national forum that study :md conserxation of lixing traditional cultures were a continuing pait of the Federal government's engage- ment with arts, humanities and science. This idea has resonated out- side the Institution in a way that helped to shape a coordinated Federal approach to tradition^ cultures. The notion of resonance alsc:) helps to note something quite different about the presentation of li\ing traditional cultures at the Festiviil, and that hcis to do with how we know and appreciate the art :md craft of a culture not our own. An object or a song in isola- tion from its culture is difticult to underst:md, or rather c^m be under- stood only with the thoughts that we bring to it. Most often these are not the same ones the people who create the :irtifacts use to think about their work. If we wish to see in the world something more than our own image, to le^irn from the lifeways of others, to be stimulated by another's aesthetic thought, then we need to find ways of understanding what it meiins to turn a pot or sing a song in another's culture. Of course, if the living people are here, as they are at the Festival, you can ask them. Another way is to sense the reso- nances among several elements of a single culture presented. In. the area of the Festival devoted to Japan, for example, the 13 foot samurai figure, in isolation, might conjure in our minds fero- cious thoughts of others' values. But note the rice field that the fig- ure adorns and the festive planting ceremony enacted in the field and the rice straw hanging up to dr\', the ver\' materiiil from which the figure is constructed. Wliat emerges is a complex and beautiful resonance among these cultunil practices that deepens our appreci- ation of each and opens the possibility' for us to begin to under- stand the many ways that Japanese folk culture speaks and sings about that most important commodity, rice. The Tennessee area also takes this approach, as music, craft and iood together define a regioniil st\'le of doing things, as well as each forms context for the other. Tliis yeai"'s Cultural Consen-ation program presents a vaiiety of craftspersons who singly iuid together define what is traditional about their crafts, how these are practiced in our countr^^ toda>', and why they are wortli preserving for the future. I think it will be evident that these crafts, in a sense, record the resonances between a crafts- person's skill and the aesthetics of a particular- tradition. Traditional crafts idso record the craftsperson's use of die local environment and his or her negotiation with a sometimes changing miirket. It is these layerings of me:uiing :ind tone that define the communal base of folk crafts and bring harmony to their ensemble at the Festival. American Trial Lawyers builds upon the Festival's 14-year attention to the folklife of occupational groups through presentation of and discussions about working skills, social organization and lore. More- over, lawyers are storytellers in a profound sense: the stories they constaict in court— the narratives of events and the interpretations of them — are meant to resonate with values held by jury members. Tlirough reason and eloquence, lawyers engage jurors' sympathies for one side or the other, and that resonance between courtroom argument and social values is a mechanism of justice. In a very different vein, daily dance parties invite you to partici- pate in resonances between traditional social music and dance. Here, as in other Festival areas, participation is the key to under- standing. Whether your sympathetic chords are staick by music or craft, food or narrative, or a rich combination of these, we invite you to participate — through dancing, understanding, questioning, or just enjoying. I think you will find this Festival engaging in many ways. Pride in America's Cultural Diversity by William Penn Mottjr. Director, National Park Service The National Park Ser\'ice welcomes you to share the historical, cultLind and culincUy exliibition of diverse life stales at the 1986, 20th anniversiiry. Festival of American Folklife on the National Mall. The Festival — traditionall}- held amidst picturesque museums, galleries, monuments and memorials in Washington, D.C. — culminates year- long efforts of the Smithsonian histitution and the National Pcirk Ser- vice to produce a unique cultural display for your enjo\'ment. This annual e\ent embodies the national theme of "Taking Pride In America," developed by the Dep;irtment of the Interior and other government agencies. It expresses achiexements which make possible living displays of social institutions, crafts, foodways and musical traditions found in many of America's ethnic and cultural communities. The Festival brings you closer to understanding the variety of life st)ies found in our great country— piuticukuly this yeiU' from the state of Tennessee. American traditions originating in for- eign countries are portrayed in the music, food, crafts and other mediums to enhance your appreciation of our national diversits'. Japan is the featured foreign countrv' at this year's Festival. More than 50 Japanese and Japanese-Americans will be demonstrating the cultivation and myriad uses of rice found in the traditional folk culture abroad and how many of them ha\'e been retained here at home. The 1986 Festi\al of American Folklife is but a small taste of America's vast cultural, ethnic and natural beaut\'. Come see and enjoy it! We welcome you to our Festi\al, our Nation's Capital and our national parks. The Midway on the Mall: Twenty Years of the Festival of American Folklife Robert Cantwell taught English at Kenyan Collegefmm 1970- 1980. He is the author of Bluegrass Breakdown: The Making ot the Old by Robert Cantwell Soutiiem Sound (University ofIllinois Press, 1984), which won the ASCAP-Deems Taylor Awardin 1985. He is currently writing a ixmk By 1967, the year of the Smithsonian's first Festival of American on thefolk rei'ival Folklife, the folk revival of that decade had dissolved into a youth movement deeply alienated from its national culture. It had created a culture of its own, with its own music and literature, its own pan- theon of heroes, its own way of life — all swiftly appropriated with characteristic voraciousness, by the nation as a whole.
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