The Changing Faces of Tradition

The Changing Faces of Tradition A Report on the Folk and Traditional Arts in the United States Written, edited and compiled by Elizabeth Peterson Research Division Report #38 National Endowment for the Arts Cambodian silk weaver Bun Em and her daughter Pech Yuos, Harrisburg, Pennsylvania. (Photo by Jane Levine ©1996/courtesy of Pennsylvania Heritage Affairs Commission) 1 Copyright © 1996 National Endowment for the Arts Library of Congress Cataloging-in-Publication Data Published by the National Endowment for the Arts Peterson, Betsy. Statistical Research: The changing faces of tradition : a report on the folk and traditional arts NuStats, Inc., Austin, Texas in the United States / written, edited and compiled by Elizabeth Peterson. National Assembly of State Arts Agencies, Washington, D.C. p. cm. -- (Research Divison report ; 38) Includes bibliographical references. Design: 1. Folk art--United States. 2. Arts, Modern--20th century--United States. Cox & Associates, Inc., Silver Spring, Maryland I. Title. II. Series: Research Division report (National Endowment for the Arts. Research Division) ; 38. Visually or learning impaired people may obtain a cassette NX504.P48 1996 recording of this report by contacting the Endowment’s Office 700' .973'0904--dc20 96-41191 CIP for AccessAbility at the address below. Phone: (202) 682-5532 Voice/TT: (202) 682-5496 Permission to copy, to disseminate or to otherwise use information from this report is granted as long as appropriate acknowledgment is given. Copies of this report can be obtained by contacting: National Endowment for the Arts Office of Public Information 1100 Pennsylvania Ave., NW Washington, D.C. 20506 2 Contents Foreword 5 Chapter Five: Organizing 68 Hanging by a Blade of Grass: Chapter One: Introduction 6 Traditional Basketmaking in Maine, South Carolina and California Chapter Two: Inheriting and Sharing 16 by Theresa Hoffman 70 Mariachi Conferences and Festivals in the United States by Mark Fogelquist 18 Chapter Six: Counting Us In 80 Investing in the Future of Tradition: Blues and Bluegrass: Tough Arts State Apprenticeship Programs by Susan Auerbach 24 of the Underclass by Joe Wilson 82 Chapter Three: Creating, Changing, Renewing 32 Chapter Seven: Coming Home 90 Brave New Worlds: Mindanaoan Kulintang Contributors 92 Music and Cambodian Classical Dance in America by David Roche 34 Notes and Other Works Consulted 93 A Revival Meeting and Its Missionaries: The Cowboy Poetry Gathering by Buck Ramsey 42 Acknowledgments 96 Chapter Four: Connecting and Translating 50 Common Threads and Common Ground: Mississippi Cultural Crossroads by Deborah Boykin 52 Folk Arts Private Non-Profit Organizations by Elizabeth Peterson 58 3 4 Foreword The poet Wendell Berry has a vision for a future where communities are guided by local culture. He writes: “We can perhaps speak with a little competence of how it would begin. It would not be imported from critically approved cultures elsewhere. It would not come from watching certified classics on television. It would begin in work and love. People at work in their communities three generations old would know that their bodies renewed, time and again, the movements of other bodies, living and dead, known and loved, remembered and loved, in the same shops, houses, and fields. That, of course, is a description of a kind of community dance. And such a dance is perhaps the best way we have to describe harmony.” When thinking about the folk and traditional arts, one automatically thinks of community, or traditions passed down through generations, or—to paraphrase Berry—art that is remembered and loved, renewed by the living and dead, arts in harmony with our instinct to create. The folk and traditional arts field described in this study is enormously complex, encompassing the traditions of literally thousands of communities, but in another way it is quite simple to com- prehend. Folk and traditional arts have the aura of authenticity about them: real art by real people who draw their inspiration, technique and aesthetics from traditions as old as the land, as old as home, as old as a family and community. The stories and findings of this report bear out the need for us to continue to support and sustain the traditional arts. Alan Lomax warns: “If we continue to allow the erosion of our cultural forms, soon there will be no place to visit and no place to truly call home.” The folk arts are part of what make our homes and communities ours. They breathe life into the community dance. Jane Alexander Chairman, National Endowment for the Arts 5 C H A P T E R O N E Introduction The “field” is the folk and traditional arts. These “acces- tamburitza groups, volunteer-run ethnic organizations, “The field of folk sible arts,” to paraphrase one folklorist, are practiced bluegrass societies, gospel quartets, crafts fairs, family- arts is nurtured in among families, friends and neighbors throughout the based rituals and traditions, the church suppers or Bud- United States in familiar settings of everyday life and, in- dhist temples? In fact, you don’t. Instead, this study exam- America’s communities, creasingly, on concert stages and in museums. Most folk ines how artists, communities and organizations marshal providing for the arts activity occurs outside institutional settings and, while the desire and resources to make folk arts activities happen some of it intersects with commerce and popular culture, and continue. Within a larger context of social scientific reinvigoration and other portions find nurturance from public and private research, planning and evaluation, folk arts and other com- sustenance of funding. Folk arts are seemingly everywhere and nowhere munity-based arts require a re-consideration of conven- at the same time. This study sketches the breadth and depth tional approaches to measurement, assessment and evalua- community strength of folk and traditional arts activity in the United States. tion. A different kind of inquiry combining field-based around the concerns Our goal is to begin to provide some quantitative and or case study methodologies with quantitative research is evaluative data about this area of cultural activity which essential to fully understanding the diverse cultural situa- that all Americans remains remarkably unexamined. There is no national ser- tions and non-institutional base of most folk or traditional share.” vice organization to track information about folk and tradi- arts. This study is a first exploration towards that goal and tional arts. Systematic research has rarely been conducted an invitation to others to amplify its findings. Peter Pennekamp to assess the growth of folk arts organizations, the nature With the assistance of Endowment staff and a national Humboldt Area Foundation and extent of artistic activity, audience participation or con- advisory committee, a small number of organizations, indi- stituents served. Most documentation efforts remain scat- viduals and activities were selected as case studies to pro- tered, anecdotal and simplistic in their conceptions. Stud- vide in-depth examination of common issues, obstacles and ies of other areas of the arts provide little help, compound- useful strategies for action. While they do not constitute a ing this lack of information since traditional artists, cultural representative sampling of the field, they suggest a broad practitioners and community-based organizations are spectrum of folk arts activities. Profiles were developed by rarely counted in studies which rely on self-identification. writers with expertise in the field—artists and specialists But how does one go about identifying the unidentified? alike. They conducted interviews and analyzed materials How do you count or account for all the basketmakers, provided by the organizations or individuals in the study. 6 “This report is not about what the rich and powerful have done to make a splash in the arts world. This is not a report to justify any political purpose. This is a report about how ordinary people are coping with change and how their cultural traditions are faring.” Hal Cannon Founding Director Western Folklife Center Spectators at Fryeburg Fair, Maine. (Photo by Craig Blouin/courtesy of Maine Arts Commission) 7 T H E C H A N G I N G F A C E S O F T R A D I T I O N “The next ten to fifteen years constitute a very critical period for the continuity and development of Native American communities. Many traditions are now at risk of being lost, since only a few elders in communities remember them. It is an important time for documentation, inspiring such communities, and teaching these traditions.” Dave Warren (Santa Clara Pueblo) Member, President’s Committee on the Arts and Humanities David Gonzales performing Comanche dance, Talpa, New Mexico, 1996. (Photo by Miguel Gandert ©1996) 8 I N T R O D U C T I O N Statistical information appears throughout the publica- responding to the NuStats survey designed to gauge Types of Activity Annual Budget of of Organizations Involved Organizations Involved tion—some from original surveys developed for the study breadth of activity included several local arts agencies; per- in Folk Arts Programming in Folk Arts Activity and conducted by NuStats, Inc. of Austin, Texas (see page formance groups; historical societies; non-art museums; (n=102) (n=102) 10 for further discussion of methodology) as well as available festivals; schools and other instructional organizations; sources. The study has been structured to be as inclusive as community service organizations;

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