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Festival of American Folklife 1995 Festival of American folklife SMITHSOIMIAIM INSTITUTION ^ Above: Basket Dance On the front cover: On the back cover: Carnival celebration in the on Mother's Day,1994, Nha Nacia Gomi and Czech Republic precedes the somber Lent at San lldefonso Pueblo, her neighbors perform observance and the intensive labor of the spring New Mexico. The the batuku at her home season. With the nights still long and snowy, women strike the in Santa Cruz, Santiago villagers revive this tradition by gathering for baskets with sticks. Island, Cape Verde. caroling, masquerade parades, dances, and Photo by Ray Almeida balls. Photo courtesy Wallachiati Museum COMPLIMENTARY COPY faSJuyuaaaaaasAd SMITHSONIAN INSTITUTION 1995 Festival of American folklife June 23-27 and June 30-July 4 ON THE National Mall of the United States The Cape Verdean Connection The Czech Republic: Tradition and Transformation Heartbeat: The Voices of First Nations Women Russian Roots, American Branches: Music in Two Worlds Cosponsored hy the NATIONAL PARK SERVICE 4 CONTENTS The Cape Verdean Connection 17 The Festival As Model /. Michael Heyman 5 Nos Ku Nos: A Transnational Our Dynamic, Living Heritage Cape Verdean Community Bmce Babbitt 7 Raymond A. Almeida 18 Note on Kriolu "So Long, It's Been Good to Know You" A A Remembrance of Festival Director Orthography 21 Ralph Rinzler Cape Verdeans in the Richard Kunn 8 Cranberry Bogs Marilyn Halter 25 The Festival Never Ends Cape Verdean Kriolu in the Diana Parker 1 United States Manuel Da Luz Gongalves 27 mmmmm "Batuku" Kaoberdiano Dambard 28 SS^$K?! Traditional Festivities in Cape Verde HiiiiiUiiiAftiiii Cabnel Moacyr Rodngues 29 GENERAL Cape Verdean Musical Traditions Marganda Bamabe Bnto Martins 33 INFORMATION 97 "Moma de Despedida" Look here for Festival Eugenia Tavares 34 Services & Hours "The Famine of '59" Participants Kode di Dona 36 Daily Schedules Cape Verdean Pottery Site Map Ledo Lopes 37 Contributors & Sponsors Arts and Crafts: Cultural Staff Expression of a People Mana Estrela 39 © 1995 SMITHSONIAN INSTITUTION ISSN 1056-6805 Learning from EDITOR: Carta M. Borden • ART DIRECTOR; Joan Wolbier • Cape Verdean Experience ASSISTANT DESIGNER: Karin Hayes • DESIGN COORDINATOR: John W Franklin and Peter Seitel 41 Justine Walden • DESIGN AIDE: Rachel B. Young • PRINTER: Schmltz Press • TYPEFACES: Eurostlle & Veljovic • PAPER STOCK: LOE Dull • INSERT PAPER STOCK: Simpson Evergreen The Czech Republic: Heartbeat: Tradition and The Voices of Transformation 45 First Nations Women 65 The Czech Republic: Heartbeat: The Voices of In the Heart of Europe First Nations Women Jaroslav Stika and Josef Jancar 46 Rayna Green and Howard Bass 66 Vernacular Architecture in the Czech Republic Jifi hanger 48 On the Role of Culture Vaclav Havel 51 Culture and Art on the Road to Democracy Kristina Zantovskd 52 From Folklore to Hard Rock /iff Cemy 55 Poppies, Pillows, and Polkas: Russian Roots, Czech-American Folk Culture American Branches: James P Leaty 58 Music in Two Worlds 79 Cross-cultural Negotiation: Building Stages of a Festival Program A Russian-American Cultural Exchange Amy Horowitz 60 Richard Kennedy 80 Molokans and Old Believers in TVvo Worlds Margarita Mazo 83 RESEARCH REPORT 90 The African Immigrant Folklife Study Project Diana Baird N'Diaye and Betty Belanus 91 The Festival As Model I. MICHAEL HEYMAN Secretary, Smithsonian Institution very summer, a new museum with nei- ativity. If only for a few days, the Festival pro- ther roof nor walls arises on the vides a good example of bringing people B National Mall. Its congeries of people, together— no mean feat in these troubled performances, lectures, processions, signs, times. Understandably, the Festival served as and foods offer a somewhat incongruous pres- a centerpiece of the American Bicentennial in ence on the nation's front lawn, flanked as it 1976, and more recently as a model for such is by monuments, federal buildings, and large-scale public events as the Black Family national museums. But the Festival of Reunion, the L.A. Festival, presidential inau- American Folklife, now in its 29th year, has gural festivals, and Olympic Arts festivals. become a mainstay of the Smithsonian, an The Festival extends beyond the Mall immensely popular exhibition of American with the production of Smithsonian/Folkways and worldwide cultural heritage. The Festival, Recordings, traveling exhibitions, books, which has been called a "living museum," "a films, and educational programs. Some prod- national treasure," "a service at the Church of ucts have won Academy, Emmy, and the Great American Idea," is an extension of Grammy awards. Michigan, Massachusetts, the Smithsonian outdoors, with the same mis- Hawai'i, Oklahoma, New Mexico, the Virgin sion but a somewhat different approach than Islands, and several nations have reproduced most museums. their Festival programs at home and some- The Festival's approach is to help people times used them to establish ongoing cultural represent themselves, to be broadly inclusive, heritage projects. Wliite House Workers — a and to present grassroots cultural traditions in 1992 Festival program on the work lore of an engaging, educational way. The Festival White House butlers, doormen, seamstresses, assumes that people who create much of the and others — exemplifies this Festival after- art, artifacts, and technology housed in our life. The Festival program was filmed and edit- museums are themselves national treasures. ed into a recently aired television documen- Our researchers work with represented com- tary. It was also developed into an exhibition munities to develop accurate and insightful now traveling to presidential libraries across public presentations that usually include the country. A second version of the exhibi- museum-like signs, a printed program book, tion was mounted for local schools and served scholarly introductions to events, musical per- as a basis for educational programs (one of formances, craft and cooking demonstrations, them hosted by the First Lady). The exhibition celebratory reenactments, and narrative dis- will eventually rest in the new White House cussions. Overall, the tone is conversational, Visitors Center. The Festival program also the spirit free, the event participatory. The list stimulated a "Blacks in the White House" issue of states, nations, occupations, communities, of American Visions magazine. and themes that have been represented at the This year's Festival features American Festival is encyclopedic. The Festival has Indian women's musical traditions, the her- illustrated the cultural richness and diversity itage of the Czech Republic and Czech of our nation and the world. It has also Americans, music of Russian and Russian- demonstrated how differences can be appreci- American groups, and the cultural life of the ated and serve as a source of strength and cre- Cape Verdean community. These programs testify to the vitality of the human spirit, to and documentation, and strong commitment how people, ideas, and forms of cultural to and pride in Festival representation. The expression increasingly cross boundaries of Cape Verdean Connection program well demon- geography, politics, language, race, and gender. strates these processes. Cape Verde is an inde- Heartbeat: The Voices of First Nations pendent island nation and former Portuguese Women presents the musical culture of colony located off the west coast of Africa. American Indian women. The program exam- Cape Verdean Americans, now numbering ines how these women express their identity about 400,000, most born and raised here, his- through the use of a variety of musical forms torically settled in New England during the — from traditional songs of home to contem- 18th century, playing instrumental roles in the porary songs of Indian life, from the appropri- whaling and cranberry industries. Cape ation of men's music to the fusion of root Verdeans have an important story to tell about music with country, folk, blues, and gospel. their role in American life, their immigrant The Czech Republic: Tradition and and continuing transnational cultural experi- Transfonnation provides a broad survey of the ence, their multiracial heritage, and their ways national, regional, ethnic, and local tra- enduring sense of community. We have much ditions have been defined in a complex state to learn from their story. Cape Verdeans pro- located at the crossroads of Central Europe. vided the impetus for the Festival program, The "Velvet Revolution" of 1989 and the sepa- carried out most of the research in concert ration of the Czech and Slovak Republics in with Smithsonian scholars, led the effort to 1993 have prompted further examinations of raise funds from governments, foundations, cultural identity, the relationship between the corporations, and individuals through benefit state and popular expression, creativity and dances, auctions, and other community tradition. Czech Americans, too, have looked events, and, as is fitting, joined with the at these changes and the reestablishment of Smithsonian to share their experiences with relationships to their ancestral homeland. A the American public. third program, Russian Roots, American The Festival can never offer up more than Branches: Music in Two Worlds, explores the a sample of the rich and complex cultures it musical culture of Old Believers and seeks to portray. Yet by engaging people in Molokans, Russian religious communities cre- their presentation — the people represented as ated in the 1 7th and 18th centuries. The pro-
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