Smithsonian Folklife Festival

Home , Bedrock (duo), Los Super Seven, Music of Haiti, Rasin, Twoubadou, Woke Up Laughing

I SMITHSONIAN FOLKLIFE FESTIVAL

.J HAITI Freedom and Creativity from

the Mountains to the Sea

NUESTRA MUSICA

Music in Latino Culture

WATER WAYS Mid-Atlantic Maritime Communities The annual Smithsonian Folklife Festival brings together exemplary keepers of diverse traditions, both old and new, from communities across the

United States and around the world. The goal of the

Festival is to strengthen and preserve these traditions by presenting them on the National Mall, so that the traciition-bearers and the public can connect with and learn from one another, and understand cultural differences in a respectful way.

Smiths (JNIAN Institution

Center for Folklife and Cultural Heritage 750 9th Street NW Suite 4100 Washington, DC 20560-0953

www.folklife.si.edu

Editor: Carla Borden

Associate Editors: Frank Proschan, Peter Seitel Art Director: Denise Arnot Production Manager: Joan Erdesky Graphic Designer: Krystyn MacGregor Confair Printing: Schneidereith & Sons, Baltimore, Maryland FESTIVAL SPONSORS

The Festival is supported by federally appropriated funds; Smithsonian trust tunds; contributions from governments, businesses, foundations, and individuals; in-kind assistance; and food, recording, and cratt sales.

The Festival is co-sponsored by the National Park Service.

Major hinders for this year's programs include Whole Foocis Market and the Music Performance Fund. Telecommunications support tor the Festival has been provided by Motorola. Nextel. Pegasus, and Icoiii America. Media partners include WAMU

88.5 FM, American University Radio, and WashingtonPost.com. with in-kind support from Signature Systems and Go-Ped.

Haiti: Frcciioin and Creativity fnvu the Moiiiitdiin to the Sea is produced in partnership

with the Ministry of Haitians Living Abroad and the Institut Femmes Entrepreneurs

(IFE), 111 collaboration with the National Organization for the Advancement of

Haitians, and enjoys the broad-based support of Haitians and triends ot Haiti

around the world. Major contributors include the Haitian Go\-erniiient and Public

Administration. USAID (Aid to Artisans), Rhum Barbancourt, Government of Taiwan, Government of Gabon, Federation of Native Cotiee Producers and

Development Alternatives Inc. (Haitian Blue), HaiTel, UNESCO, Comcel, DaimlerChrysler, Inter-American nevelopment Bank. Merrill Lynch. SOFIHL^ES.

Unibank. U.S. Embassy 111 Haiti. jean-Mane Vorbe.Youri Mevs. Clement Beyda, and Harriet Michel. Major m-kind support comes from Seaboard Marine and American

Airlines with additional assistance from Valerio Canez, Sun Auto, S.A., and Drexco.

Niiestra Mtisica: Music in Latino Culture has been generously funded by the

Smithsonian Latino Initiatives Fund and the National Endowment for the Arts.

Additional funding comes through Anheuser-Busch, Inc., with in-kind support

through Delta Air Lines. Cooperating organizations include Arts ot the Americas Institute—Umversitv of New Mexico. Radio Bilingiie. Umvision. and the Smithsonian Center tor Latino Initiatives.

/^^^ Water Ways: Mid-Atlaiiiii Maritniu- C^ouiniuuities is made possible ^^Sv- by a partnership with the National Oceanic and Atmospheric '^"' Administration, and produced m collaboration with the State ot

Maryland, National Endowment tor the Arts, and Chesapeake Bay Gateways Network/National Park Service; with generous contributions from Virginia

Historic Resources, Mary Ball Washington Museum & Library, St. Mary's White Chapel Episcopal Church. Maryland State Arts Council. North Carolina Arts Council, North Carolina Tourism. U.S. Fish and Wildlife Service, Phillips Seafood, and The Nature Conservancy; and with special thanks to National Marine Sanctuary Foundation.

FESTIVAL SPONSORS 13|

TABLE OF CONTENTS

Tlie Festival's Broad Reach 7

LAWRENCE M, SMALL

Extending Cultural Democracy: 9

From the Festival to L'XESCO RICHARD KURIN

Haiti: Creativity and Freedom from the Mountains to the Sea 14

GERI BENOIT. MONIQUE CLESCA. PATRICK DELATOUR, OLSEN JEAN JULIEN. DIANA BAIRD N'DIAYE, AND PATRICK VILAIRE

Vodou 23 GERDES FLEURANT

Ayiti: Lihete ak kreyativite. soti nan mon rive nan Lanme 29

GERI BENOIT, MONIQUE CLESCA, PATRICK DELATOUR, OLSEN JEAN JULIEN, DIANA BAIRD N'DIAYE, AK PATRICK VILAIRE

Kreyol translation by TEDDY THOMAS AND OLSEN JEAN JULIEN

Xiicstra Mi'isica: Music in Latino Culture 38

DANIEL SHEEHY

Music and U.S. Latino Identity: La nuisica es mi handera 41 ENRIQUE LAMADRID

Vamos a Bailar: Let 's Dance! 43 OLGA NAJERA-RAMiREZ

\'uestra Musica: Musica en la cultura latina 48 DANIEL SHEEHY

Aiusica y la idcntidad latina en los Esiados Vnidos: 51

La Du'isica cs mi handera ENRIQUE LAMADRID

/ 1 amos a Bailar! 52 OLGA NAJERA-RAMiREZ

Spanish translations by NILDA VILLALTA

Water Ways: Charting a Future for Mid-Atlantic Maritime Conununities 56

BETTY J. BELANUS

TABLE OF CONTENTS General Festival Intorni.ition 72

Daily Schedules 74

Evening Programs 93

Of Related Interest 94

Festival Participants 95

Festival Sponsors 111

Staff 115

Site Map 118

SMITHSONIAN FOLKLIFE FESTIVAL THE FESTIVAL'S BROAD REACH

LAWRENCE M. SMALL, SECRETARY, SMITHSONIAN INSTITUTION

Welcome to the 2004 Smithsonian Folklife Festival, featuring programs on Haiti,

Latino music, and Mid-Atlantic maritime culture. The Festival continues its long tradition of presenting the diverse cultural heritage of the people ot the United

States and the world to large public audiences in an educational, respecttul, and profoundly democratic way.

This year, the Haitian people mark the bicentennial of their independence.

In 1804, inspired by American and French ideals, Haitians fought tor their own freedom, abolished slavery, and created the second independent nation in the

Western Hemisphere (the United States was the first). Haitians have sought freedom and liberty ever since, and through tough times have relied on their rich culture and seemingly boundless creativity to persevere. The Festival program, in the planning for several years, comes at what is obviously an important time tor Haitians and Americans—particularly Haitian Americans. It provides an excellent opportumtv for Haitians to tell their own stories through their skill and artistry, and for others to learn troni them.

The Latino music program helps the Smithsonian reach out to a major segment of the American population not only as audience, but also as presenters, performers, and spokespeople tor their own cultural expressions. Latino music includes a wide variety of traditions now energizing social and community lite in the United States. Some are centuries old and reach back to early indigenous,

European, and African roots. Others have come to us more recently, with immigrants from south of our border. Sharing these traditions broadly at the Festival contributes to a valuable and needed cultural dialogue.

The Mid-Atlantic maritime program allows us to convene a public discussion of "water ways'" spanning six eastern seaboard states. Many people and communities depend upon the ocean, coast, bays, and rivers for their livelihoods—whether through commercial fishing and aquaculture or recreation and tourism. Homes, jobs, and ways of life are currently facing unprecedented economic and ecological challenges. The Festival program has brought together scores ot workers, professionals, and officials who use. monitor, and regulate these water ways to demonstrate their knowledge and inform visitors about the key issues they tace.

The Festival has been an amazingly successful means of presenting living cultural traditions, and has provided the model for other states and nations. It has also been adapted for marking major national milestones—ranging from the cultural

Olympics to presidential inaugural festivities, from the celebration of the millennium to the Smithsonian's own isoth anniversary. This year, the Festival's organizer, the Smithsonian Center for Folklife and Cultural Heritage, has been called upon to produce two other major national cultural events.

Hardly a month ago during Memorial Day week, the Center, with the

American Battle Monuments Cx:)inmission, produced the outstanding "Tribute to a Generation: National World War II Reunion" to mark the dedication of the new

INTRODUCTION [7] veterans World War II Memorial. Hundreds of thousands attended—including many and members of the WWII generation and their tamilies.They witnessed peiformances ofWWII-era music, participated in workshops on the preservation of memorabilia,

and heard the recollections and oral histories of D-Day vets and national figures, Tuskegee airmen, Rosie the Riveters, Navajo code talkers, Japanese-American internees,

and many others. The Center collaborated closely with U.S. Department ofVeterans

Affairs, Stars and Stripes, the Military District ofWashington, the District of

Columbia's City Museum, the Veterans History Project at the American Folklife

Center of the Library of Congress, and scores of veterans' service organizations. The Smithsonian too mobilized around the Reunion, as the National Air and Space Museum and the National Museum of American History organized special

programs, the Smithsonian Press published a book on the memorial, Smithsonian

Folkways Recordings issued a wonderful album ofWWII-era music performed by

the Smithsonian Jazz Masterworks Orchestra, and Smithsonian Business Ventures

provided crowds with mementos of their visit. Overall, the Reunion was a magni-

ficent American occasion, a great gathering of the WWII generation to mark their

service and sacrifice, and to convey their legacy to their children.

Looking ahead, the Center will produce the First Americans Festival to mark

the opening of our new National Museum of the American Indian in September.

This will be a massive, week-long celebration of Native American culture replete

with a Native Nations Procession; performances by a lull range ot musicians,

singers, and dancers; demonstrations by artisans; and other presentations. Parti-

cipants will come from Canada, the United States, Hawai'i, Central and South

America, and the Caribbean. It will be an unprecedented gathering of Native

peoples and announce in the most forceful way that their cultures are not mere

artifacts of the past, but part and parcel of living communities.

The Smithsonian has long pursued the research and presentation ot the great

range of American and world cultures. It is a tribute to the Festival and its accom-

plishments over the decades that in the span of a few months the Center has been

entrusted by World War II veterans, Haitian artists. Latino musicians, Chesapeake

Bay fishermen, and a variety of Native peoples to help them represent themselves

on such significant occasions in the most important public space in the United

States. I am confident we will continue to exercise that trust m the most profes-

sional, ethical, and humane way we can, humbled by the responsibility and buoyed

by the opportunity to serve the greater public good.

SMITHSONIAN FOLKLIFE FESTIVAL —

EXTENDING CULTURAL DEMOCRACY: FROM THE FESTIVAL TO UNESCO

RICHARD KURIN, DIRECTOR, SMITHSONIAN CENTER FOR FOLKLIFE AND CULTURAL HERITAGE

This past year the United States rejoined UNESCO, the United Nations Educa- tional. Scientific and Cultural Organization, after a 19-year hiatus. The United

States had been a founding member of the organization, established in 1945 in the wake ofWorld Wlir II. UNESCO's raison d'etre is summed up in the words of

American poet Archibald MacLeish included in its constitution; "Since w'ars begin in the minds of men. it is m the mmds of men that the defenses of peace must be constructed." Though active m UNESCO for almost four decades, the United

States withdrew in 1984, claiming that the body was overly bureaucratic, biased against the United States, and hostile to a free press. Two decades ago, just before the split, Ralph Rinzler, the founding director of the Smithsonian's Folklife

Festival, served as vice chair for culture of the U.S. National Commission for

UNESCO. Now, as the United States has re-entered UNESCO, the Festival because of its philosophy, methodolog\; and national standing—has had an immediate impact upon UNESCO cultural programs and approaches, illustrating how activities to encourage cultural democracy at the Smithsonian and on the National Mall may indeed reach around the globe. UNESCO's Cultural Program

UNESCO, part of the U.N. family of organizations, includes 190 member nations.

It is headquartered in Pans, and has an international staff of about 2,000 employees and an annual budget of about S300 million. This relatively small size for an intergovernmental orgamzation belies a broader reach for the agency through UNESCO national commissions—generally consisting of government officials, private citizens, educators, scholars, and scientists in each member state and hundreds of associated non-governmental educational, scientific, and cultural organizations. UNESCO has ambitious programs in education, science, and communication. Current priorities in these areas include literacy, access to public education, and HIV/AIDS awareness, protocols for ethics in scientific research, and broadening the availabihrs* of digital resources around the world.

The philosophy behind UNESCO's cultural program is provided in its constitution, which states that "ignorance of each other's ways and lives has been a

common cause" of war, and that the "wide difiusion of culture" is "indispensable

to the dignicN" of man" and constitutes "a sacred dues' which all the nations must

fulfill" by "means of communication between their peoples" and "for the purposes

of mutual understanding and a truer and more perfect knowledge of each other's

lives." To achieve this, UNESCO operates a multifaceted worldwide cultural

operation, striking for its scope, prestige, and influence given its relatively paltrv^ S2S million annual budget.

UNESCO is probably best known for the World Heritage List—a program that recognizes significant cultural monuments and archaeological and natural sites

and encourages their preservation and protection. Among the more than 700 sites

recognized are the Statue of Liberty, the Everglades, Puerto Rico's old San Juan,

Haiti's Citadel, India's Taj Mahal, and the Great Wall of China. UNESCO has also

EXTENDING CULTURAL DEMOCRACY mobilized expertise and financial resources for cultural work ranging from the digiti-

zation of archives and documentary publication of world music, to the enhancement

of museums and attempts to record and save endangered languages. Its compilation

of the World Culture Report has helped identify trends and issues. UNESCO has supported scholarly and educational programs on the cultural aspects of international

exchanges that cross continents, oceans, and centuries—as for example its progranrs

on the Silk Road and the current International Year to Commemorate the Struggle

against Slavery and its Abolition. It also publishes work on cultural policy—generally tying together concerns for and about human rights, sustainable development, and

cultural diversity.

UNESCO also develops normative instruments in the cultural field—interna-

tional conventions or treaties, recommendations, and declarations. This function

was at the heart of UNESCO's early post-World War II work, when it served as the intergovernmental organization concerned with copyright and related creative

rights. Some treaties developed through UNESC;0 have been ratified by the

United States, including the 1970 Convention on the Means of Prohibiting and

Preventing the Illicit Import, Export and Transfer of Ownership of Cultural

Property. This has a heightened current relevance given the U.S. presence m Irac]

and its attempts, aided by UNESCO, to track and return the artifacts infimously

looted from museums and archaeological sites m the wake ot the war. Another instrument, the 2003 Declaration concerning the Intentional Destruction ot

Cultural Heritage, was a reaction to the demolition of the Bamiyan Buddha

statues in Afghanistan by the Taliban despite strong UNESCO efforts to protect

them. Since assuming the UNESCO helm 111 1999, Director-General Koichiro

Matsuura has made new cultural conventions a priority. In many of these projects, UNESCO has continued to work closely with American institutions and experts, even during the period when the United States

had withdrawn from the organization. For example, in 1999, the Smithsonian

Center for Folklife and Cultural Heritage co-convened a conference of experts

from 27 nations in Washington, coinciding with the Folklife Festival on the Mall. to evaluate the UNESCO Recommendation on the Safeguarding of Traditional Culture and Folklore. Tony Seeger, the director emeritus of Smithsonian Folkways

Recordings, has worked closely with UNESCO on its world music recording

project; staff member James Early, now acting director of the Anacostia Museum, has been involved in UNESCO cultural policy dialogues; senior folklorist Peter Seitel has helped redefine UNESCO orientations to folklore and living cultural

heritage; and I, among other involvements, have served as a member of UNESCO's

international jury to select their Masterpieces of the Oral and Intangible Cultural

Heritage of Humanity—a recently established program somewhat parallel to the

World Heritage List.

Cultural Treaties

The United States rejoins UNESCO just as two new cultural treaties have come to

the fore. One, the international Convention for the Safeguarding of the Intangible Cultural Heritage, was approved overwhelmingly by the UNESCO General Con-

ference in October 2003. Some 120 member nations voted for the convention;

scores more registered their support subsec]uently. No one voted against it; only

a handful of nations abstained—Australia, Canada, Great Britain, Switzerland, and the United States among them. The other, currently in the form of the Universal

10] SMITHSONIAN FOLKLIFE FESTIVAL Declaration on Cultural Diversity, was slated by the General Conference to move toward a convention by 2005. Together they represent a growing multilateral response to globalization that many nations and people believe is challenging the viability of their local, regional, and national cultures—and that many associate with an overwhelmingly American mass commercial culture.

Cultural treaties are somewhat of an anathema for the United States. Not only has culture historically not been high on the U.S. foreign policy agenda, but it also is a domain that even domestically is not traditionally subject to a great deal ot regulation. The United States has a generally laissez fure approach to cultural activity, leaving it mainly to the private sector and the marketplace, considering it largely a matter of individual choice. While the federal government helps support a number of institutions that undertake cultural work—the National Park Service, the Smithsonian Institution, the Library of Congress, the National Endowment tor the

Arts, and the National Endowment for the Humanities, among others— its overall support IS relatively miniscule and generally non-prescriptive beyond the bounds of their respective programs. Unlike many other nations, the United States does not have a ministry of culture, nor enforceable tonus ot otlicial culture—such as language or religion. Indeed. Americans as a rule regard culture as a matter ot freedom—of association, of speech, of religion, and so on. To be sure, Americans strongly debate cultural issues, though such debates tv'pically involve the degree to which tolerance for and rights of private behavior should be recognized and accepted m the public sphere. Intangible Cultural Heritage

Though the United States may have an inherent lack ot enthusiasm tor cultural regulation, the international Convention for the Sateguarding ot the Intangible Cultural Heritage was consistent with many public-sector practices. The convention, now awaiting ratification by 30 members before it can go into effect, advocates universal respect for cultural traditions, but imposes no new or special

intellectual property rights or legal protections. It is largely directed toward traditional culture and calls for national governments to inventory their "intangible cultural heritage"—living traditions of music, narrative, craftsmanship, forms ot tblk

knowledge, rituals and celebrations, all consistent with human rights—and devise

action plans tor safeguarding them. The convention calls upon national agencies to

work closely with cultural practitioners on research and documentation projects, educational programs, national honors, protective laws, and economic development

plans, so that the traditions are kept alive and transmitted to the ne.xt generation.

UNESCO will extend its Masterpieces of the Oral and Intangible Heritage of

Humamrv' to a list of traditions to be recognized, as well as establish a list ot

endangered traditions meriting immediate international support tor their survival.

Whether these measures are effective and equal to the large and complex task is questionable, but the convention gives professionals and communities an added

tool tor charting their cultural tutures.

The treaty has its flaws, and indeed, one could question whether a treaty is

really needed in this case; a strong action program might sutFice. Nonetheless, the

U.S. abstention was somehow ironic. The convention evolved from a much more state-run, "top-down," archivally oriented 1989 UNESCO Recommendation on the Safeguarding of Traditional Culture and Folklore that tended to "freeze" and

idealize national culture and limit citizen participation in efforts to both preserve

EXTENDING CULTURAL DEMOCRACY |lll a and energize it. Changes resulting m the new convention grew directly h-om cri-

tic]ue of that approach offered by U.S. experts, key among them Smithsonian staff'

members Seitel, Seeger, Early, Amy Horowitz, Olivia Cadaval, Diana N'Diaye, Frank Proschan, fellow Anthony McCann, associate Leslie Prosterman, and community-

oriented cultural workers including Hawai'i's Pualani Kanaka'ole Kanahele, India's

Rajeev Sethi. Ecuador's Miguel Puwamchir, and the Bahamas' Gail Saunders, all of whom have cooperated closely with the Festival over the years. Such contributions were based upon best practices to conserve and encourage living cultural traditions, many inspired by the Festival. Consequently, the UNESCO convention was re- oriented toward promoting the ongoing vitality of local-level, grassroots cultures. The convention became profoundly democratic, and stressed community participation and integration with local economic development and education efforts,

hnportantly, it also encouraged respect for diversity within nations, while recognizing,

as Its limits, accepted human rights provisions.

U.S. support for the convention, even with reservations, would have cost little

— as cultural agencies already do the work it envisions—and it would have helped buttress U.S. accomplishments and leadership in this arena not only by the Smith-

sonian, but by our colleagues in the American Folklite Center of the Library ot Congress, the Traditional Arts Program of the National Endowment for the Arts,

the National Park Service, the National Council for the Traditional Arts, as well

as many other state, regional, and non-proht organizations.

Cultural Diversity

The second initiative, UNESCO's effort to turn the 2001 Universal Declaration

on Cultural Diversity into an international convention, is far more problematic.

Its recognition of cultural diversity as basic to human existence—parallel to biolog- ical diversity in the natural world and thus worthy ot being sustaineci— is little contended. The declaration holds that there are different ways of being human,

and those ways are worthy of respect as long as they are m keeping with human

rights. It also asserts that various cultural enterprises, though they may be economic,

are crucial to the ongoing identity and sustainability of a nation's culture.

Therein is the underlying, motivating issue of the proposed convention. The

current declaration focuses (as presumably the draft convention will also) on the national culture of the state—not on the culturally diverse traditions of communities

and ethnic and regional groups found within its borders. This is not an instrument directed toward ensuring respect and legal protections for minority cultural groups

or subnational cultures. Rather, it is to assert economic nationalism, even protec-

tionism, on the basis of preserving the diversity of national cultures. The proposed

treaty, somewhat misnamed, seeks to encourage the growth and sustenance ot

nation-based cultural industries—e.g., French wines, Canadian television, Arabic

publications, Chinese films. The argument is that the cultural industries of many

countries face economic threats to their survival due primarily to the global reach of American-based cultural products. The financial success of such country-based

cultural industries is key to the sustainability of national cultures; how can French

national culture, tor example, be sustained without the active and successful prom-

ulgation of French films, books, television programs, recordings, wine, cheese, and other consumables?

The proposed treaty thus sets the stage for cultural exceptionalism m world trade policy. According to the treaty's advocates—and there are many—tree trade

SMITHSONIAN FOLKLIFE FESTIVAL — —

has its limits; it should not put a nation's culture in jeopardy, nor threaten the

diversity of the world's cultures. A strong fight is expected as the proposed treaty moves through various drafts and into final form. It is reasonable to expect that it

will be the United States versus most of the world on this one—as even the

Australians and Canadians are keen to safeguard their media industries. Key to its acceptance will be the definition of those cultural goods and enterprises to which

It will apply. It the scope is very broad—encompassing wiclely produced goods, for large markets, and involving digit.il and electronic technologies—there will be greater contention among those seeking to dominate markets on the t)iie hand, and enter them on the other. Pursuing Cultural Democracy

Through debates over such treaties, as well as m the operation of UNESCO's cultural programs, the United States has important contributions to make. First,

It can represent its own cultural issues and approaches with tar greater richness and nuance than usually appreciated by other nations. It can both undo and flesh out stereotypical visions ot a complex American cultural reality that can helptully create needed empathies throughout the world. The United States is likely the most diverse nation on earth, and, despite a number of historical failings, is nonetheless

the most successful in providing a home for people trom around the globe. It should not cede its leadership m this arena. Second, the United States can learn trom fellow UNESCO members about the cultural issues they face and the programs and policies they have developed to deal with them. Sometimes these foreshadow American issues—such as with increasingly large and assertive religious and linguistic minorities. Listening to others also provides insights to the beliefs

and values that shape perceptions ot the United States, its people and culture

of obvious importance after y/ii and m the global climate of threats of terrorism.

Finally, by actively engaging UNESCO, its members, and programs, the United

States can help promulgate civic cultural values that have been at the core of its

national experience and have tueled the human rights movement. If m rejoining

UNESCO and participating as an active, strong member, the United States can convey the importance of cultural democracy—culture of, by, and for the people of citizen participation, of the value of fundamental human freedoms, and the

importance of toleration and respect for cultural difl'erences. it will then have

played a role worthy of and commensurate with its standing in the world.

The Festival both mirrors and contributes to these values and orientations.

It provides a model of cultural democracy in action for Americans as well as for people of other nations. Cooperation with UNESCO can help extend that model.

This year, UNESCO has helped support the Haitian program at the Festival

through its program to Commemorate the Struggle against Slavery and its Abolition. Our scholars have contributed to UNESCO cont'erences and publica-

tions. Experts from other nations, beginning to apply UNESCO's provisions under

the convention for intangible cultural heritage, have sought the advice and counsel

of Smithsonian staff and looked to emulate some of the Festival's documentary

approaches and public presentation practices. Finally, talks have begun to feature the worldwide community-based cultural programs of UNESCO on the National Mall

at a future Smithsonian Folklite Festival.

EXTENDING CULTURAL DEMOCRACY |13| &^jl

'*^m '^- HAITI Freedom and Creativity from the Mountains to the Sea

GERI BENOIT, MONIQUE CLESCA, PATRICK DELATOUR, OLSEN JEAN JULIEN, DIANA BAIRD N'DIAYE, AND PATRICK VILAIRE

inuary i, 1804. marked a watershed m world history. For the first tune, a revokition

by enslaved people, who were of African descent, ended \\ith the creation of a nation. Haiti thus became the second country in the Americas—succeeding the United States by a mere 28 years—to achieve independence. Haiti subsequently both inspired and supported other people elsewhere in the Caribbean, Latin America, and Africa in their

quest tor selt-determination. And 200 years later, Haiti still calls on us to recognize the

eternal value of freedom, as well as the costs of sustaining it.

Ayli, in the language of the indigenous Tainos, means "mountainous land." Haitian

mountains are symbols of revolt, rebellion, and resistance, as Tainos and later enslaved

Africans who fled the inhumane ciMiditions on the coastal plains sought refuge in the

mountains. From there, an army led by former slaves Toussamt Louverture and |ean-Iacques Dessalines liberated the French colony of Saint-Domingue.

Haiti is surrounded by the sea e.xcept on its eastern border, which it shares with

the Dominican Republic. The sea. too. is an important part of Haitians' life: it feeds

them and links them with other populations m the region. It also represents both a barrier to freedom—close to a million Africans chained in slave boats as \\ell as (Facmg page) The European colonizers arrived Haiti by sea and a route to freedom, across which m — Citadel Henry Chris-

Haitians have traveled to nearby countries seeking refuge from economic and political tophe, built between

troubles at home. 1805 and 1820, endures as a symbol of Haiti's Haiti is indeed beset with grave problems. But Haitians' love of freedom inspires independence. Photo by nurtures their imaginations. them and Despite and often because of the challenges they 1 Blair have continued to face, Haitians create powerful artistic expressions in music, painting,

crafts, sculpture, and architecture: in religion: and m language. The encounter ofTaino

and African cultures, along with that of European colonizers, gave birth to the dvnamic

Creole culture that defines Haiti today. As a result. Haiti is one of the richest nations

in terms of its culture and its people. Through their voices and creations, that indefati-

gable and ever-resourceful spirit is what will be celebrated at the Smithsonian Folklife

Festival this bicentennial year.

Haiti: Freedom and Creativity from the Mountains to the Sea is produced in partnership with the Ministry of

Haitians Living Abroad and the Institut Femmes Entrepreneurs (IFE), in collaboration with the National Organ-

ization for the Advancement of Haitians, and enjoys the broad-based support of Haitians and friends of Haiti around the world. Major contributors include the Haitian Government and Public Administration, USAID (Aid to Artisans), Rhum Barbancourt, Government of Taiwan, Government of Gabon, Federation of Native

Coffee Producers and Development Alternatives Inc. (Haitian Blue), HaiTel, UNESCO, Comcel, OaimlerChrysler,

Inter-American Development Bank, Merrill Lynch, SOFIHDES, Unibank, U.S. Embassy in Haiti, Jean-Marie Vorbe, Youri Mevs, Clement Beyda, and Harriet Michel. Major in-kind support comes from Seabord Marine and American

Airlines, with additional assistance from Valerio Canez, Sun Auto, S.A., and Drexco.

HAITI; FREEDOM AND CREATIVITY FROM THE MOUNTAINS TO THE SEA 115] —

'^' BAHAMA '. ^X ' 3 C; . ISLANDS THE LAND FrajtDA TURKS ft CAICOS ISLANDS PUERTO X CUBA RICO .Le Borgne Deye moii j^eit mon. HAITI DOMINICAN ^Mole Saint-Nicolas ' REPUBLIC -Cap-Haiticn Baie de Henne Limba Behind mountains there are more mountains. CAYMAN fort-Ubcrte ISLANDS JAMAICA •Grande Rivici \ GcinaVves -Ennerv -Saint-Raphae

it on a Crumple a piece of paper and drop Saint-Majc-M5. -^f""'' Hinch« -Verrcttes MonYfouis table, and it will give you an idea ot the ter- <;P^J><;avenne . Mirebala 'Anse-a-Galets^ rain of Haiti: mountain ranges, plains, and - -iJeremie _Mannevi Dame-Mar^ .Ctoix-des-Boii[ ^tit Trou de Nippes Jioitaurfriict 1 ..... -« coast. Five mountain ranges divide the country Leogane. -pitiociville Pestel Anse d'Hainault Mira'goane "I"""' Goave "Kenscoff into three regions—northern, central, and 'Trouir ^ -Bcllt-* ^ Jacmel Marigot -^ C6tes-(rc*Fer ~> ,/ Les Cayes Bainet southern; the population is concentrated m the Port-SaluK X "^=^

lower elevations. Barely as large as Maryland

with about 7 million people—the counti-y is Mops copyright "'2004 Digital Wisdom, Inc 27,500 square kilometers in size, part ot the practices, and soil erosion Haiti's biggest largest Caribbean island after Cuba. Haiti used —

export today is topsoil are among the tactors to be called the Pearl of the Antilles because — accelerating the degradation of the land. The of its abundant tropical forests and lush vegeta- northwest area, severely stricken by repeated tion. But the land has a history of intensive

coupled with deforestation, is exploitation. The plains were converted to droughts becoming a desert. Less than 2 percent ot the sugar-cane and sisal plantations; tropical forests has tree cover. in the mountains have been cleared tor coffee country

life in Haiti is unlike that most cultivation. Export of tropical trees since the Coastal on communities. colonial period, rapid population growth, other islands or coastal Although

is trom tishing and increased urban demand tor charcoal, unse- the sea a source of income — cured land tenure, unsound agricultural in tishing towns such as Luly people pay hom-

A fisherman displays his prize catch. Many people in Haiti depend on the sea for their livelihood. Photo by Terie Rai

[161 SMITHSONIAN FOLKLIFE FESTIVAL —

Tnree worrier; uri Lrit: rudu Lu rridri^cl ncd' i.ne tOwn of Milot. "The courage of Haitian women has a photographer Photo courtesy More-Yves Regis, background. It didn't begin now, no. It began with Anacaona, an Indian queen. You know Haiti was peopled by Indians age to the sea and theVodou deities that inhabit it before the Spanish came. There were sev- Haitians hving on the shore build their houses facing eral zones, with a king for each zone. inland. have turned their backs to the sea Some Anacaona was the wife of one of those figuratively as well, so that parts of the coastline have kings..,. [W]hen the Spanish disembarked become polluted and clogged with refuse. Yet Haitians, in Haiti, the Indians received them with whether on the island or abroad, sing affectionately ot open arms. But the Spanish wanted gold. They made the Indians do hard labor for their attachment to '"Haiti Cherie." Even when they that gold. Oh, it was brutal... The Indians leave the land, Haiti inhabits them tbrever. began to revolt. Anacaona's husband was one of the kings struggling against the A TURBULENT HISTORY Spanish. Anacaona herself was a poetess and singer. But still she was supporting her husband shoulder-to-shoulder. When The early inhabitants of Ayti, dating from the 14th the Spanish killed him, Anacaona carried century, were the Arawak Taino. About five hundred on the fight. She was courageous. I tell thousand in number, the peaceful Tainos migrated you: courageous! She rallied others to from southern North America, most likely via the challenge the Spanish; she organized and plotted to save their land. But the Spanish Lesser Antilles, and settled m Jamaica, Cuba, and had sophisticated weapons; Anacaona had Haiti. They hunted and fished for food; sang, recited none. They captured her and killed her poetry, and danced for their leaders and gods, called too. From Anacaona we were born. When pottery. Although their language zemes; and crafted you take our history-the struggle against was not written, several of their words such as kasai; the invaders, the war of independence,

iiuibouYih )iiais, wowoli, and haycikoti survived and are and everything that came after-there were women there standing strong, right commonly used to this day. next to the men. But they're rarely told The Taino had a hereditary system ot government about in history. Only their husbands- headed bv a uiciqiic and du'ided into tlve states. One unless a woman does the telling." of the first leaders of the state of Xaragua was a

woman, Anacaona, who was a high priestess and poet Josie, quoted in Beverly Bell, Walking on Fire: Haitian Women's Stories of Survival and Resistance. as well. She has become a legendary figure and role Ithaca: Cornell University Press, 2001, pp. 1-2. model tor Haitian women. Schools and shops are Reprinted with permission.

HAITI: FREEDOM AND CREATIVITY FROM THE MOUNTAINS TO THE SEA [171 rN'?£KoN6iWA6y,o*)T5 www -^y,5y£,^!j

A mural near the Presidential Palace in Port-au-Prince shows demonstrators with signs in Kreyol. One reads,

"Reconciliation without justice, no!" Photo courtesy Marc-Yv^s Regis, photographer

named after her, and she is the subject ot The French appeared m Hispaniola m the numerous poems and songs. mid-i6th century—pirates first, toUowed by Tragedy arrived with Christopher farmers and other settlers and, in the 1660s, the

Columbus in December 1492. In his journals, French West Indies Corporation. The Treaty of

he wrote that he was overwhelmed by the Rijswijk, signed by Spain and France m 1697,

splendor of the bay and the sanciy coastal area ceded the western third of the island to the

where he landed. He also marveled at the high French. The French established the most rigor-

mountain ranges covered with forests ot apri- ous slavery and plantation system and

cot and mahogany trees and colorful orchids. transformed Haiti, then called Saint-Domingue,

The Tainos, little suspecting what Columbus into the richest French colony of the time, prin-

had in mind, gave him a joyous welcome. cipally through tracle in sugar but also coffee, Renaming the island Hispaniola—Little cotton, cocoa, indigo, and precious wood. Spain—the Spanish forced the Tainos to per- Much of the wealth of the coastal cities of

form hard labor digging for gold. Many France such as Nantes, Marseilles, and Bor-

Indians rebelled and fled to the mountains. deaux came from Haiti. Whites and people

But the harsh conditions, sickness, and mas- of color from Saint-Dommgue, and the slaves

sacres effectively exterminated the indigenous they brought with them, also contributed

population in less than fifty years. enormously to the development of sugar-cane

In 1502, to supplement the work force, the cultivation in Louisiana when it was a French

Spanish brought the first Africans m bondage territory; they later played a role in enabling the

to the island. When many of them also ran United States to make the Louisiana Purchase.

away and became mnroons (fugitive slaves) in Following the French Revolution in 1789,

the mountains, it was the Tainos who showed and incited also by nationalistic sentiment

them where to hide. The interaction between expressed during Vodou ceremonies and the

these two groups, rooted in resistance to slav- racism m Haitian society, slave revolts spread

erv, resulted in significant cultural exchanges. throughout Haiti and coalesced in 1791 into

SMITHSONIAN FOLKLIFE FESTIVAL a general slave insurrection. Toussaint Louverture these might spread further, the European colo- assumed leadership of the long and heroic war nial powers and the United States refused to against the French until his capture and exile recognize Haiti's independence formally. Not in prison in France. Jean-Jacques Dessalmes, until i,Sfi2, during the Civil War, did the

Henry Chnstophe, and Alexandre Petion in United States reverse its position. a show of unity between slaves and freemen, The post-independence period brought blacks and mulattoes, continued the fight tor about a significant change in the pattern of liberty and dealt Napoleon's powerful army land ownership m Haiti. The colonial planta- one of its most significant defeats. Among the tions, characterized by large areas of mono- French Caribbean colonies, only Haiti launched culture, were progressively divideti and sub- a successful slave revolution. divided into small plots and given to the

With independence, Haiti outlawed slavery, dismantled revolutionary army corps for the tlrst place m the Western Hemisphere to subsistence farming. Even today, although do so. In 1S15 the southern part ot the island urban areas have experienced tremendous became a refuge for Simon Bolivar, the libera- growth, a m.ijority of the population lives tor of most of South America; when he and works m the agricultural sector tending received supplies .ind troops to continue his those plots, which nevertheless yield less and fight against the Spanish colonizers, the less. Grains such as corn, millet, and nee are

Haitians made him promise m return to free cultivated; in the higher mountains, the farmers all the slaves in the newly independent produce yams, potatoes, and other vegetables; colonies. Haiti's example had inspired slave and, in the north, south, and m the Grand- revolts ill the United States, and, worried that Anse departments, coffee.

A Haitian farmer cutting cane. Photo courtesy More-Yves Regis, photogmpher

r\'i7j

HAITI FREEDOM AND CREAIIVIIV FROM THE MOONTAINS TO THE SEA [191 KREYOL (CREOLE)

Far from being "broken French," Kreyol,

the mother tongue of Haiti, is a full-

bodied language rich in its power to convey the entire spectrum of human thought and meaning. There are many

words in the Kreyol vocabulary of French

origin, but the language is African in grammatical structure and tone. Kreyol includes words from the original Arawak and from African ancestral languages as well. Kreyol supports robust verbal art traditions of song, storytelling, oratory, discussion, debate, and an increasingly voluminous written literature. Before independence, Kreyol was the main language of communication among enslaved

Africans. Today, it is the everyday language for the entire population, and

since 1987 has been an official written

language taught in schools.

Two women at a market in Petionville.

Photo courtesy Marc-Yves Regis, photographer ^^ Winnowing rice in L'Artibonite. Photo courtesy Marc-)mHr r>l>her H.iiti has rcni.uncd independent except for a

bitterly fought occupation by the U.S. Marines from

191S to 1934. This occupation had a number of imme-

diate and longer-term effects. It reorganized the

defense system as well as the road network and intro-

duced large-scale manutacturmg, new work schedules,

and a new transportation system, including railroads.

All told. It restructured the rhythm of Haitian life in

less than twenty years.

The Haitian social body tried to defend and

preserve its culture in the face of this set of rapid transformations. What emerged was an Indigemsm

movement that focused mainly on Haiti's African

and Taino roots and finding new values in the coun-

try's past to reaffirm Haitian cultural identity. This

Indigenism is an aspect of a larger cultural move-

ment including painting, sculpture, music, and

literature; the preservation of historic buildings and

archaeological sites; systematic research on history,

ethnology, linguistics, and anthropology; and the valorization of Vodou and the Kreyol language.

In 1957, a medical doctor named Francois

Duvalier became president following rigged elec-

tions. As an intellectual, Duvalier was part of the

[20] SMITHSONIAN fOLKLIFE FESTIVAL Indigenism movement, but he set up one ot the most ferocious dictatorsliips m Haiti's history. Tens of thousands of Haitians were killed, disappeared, or died m jail m then- struggle tor tVeedom. A great exodus ot

Haitians to the United States took place, and today, close to a million Haitians and their

Haitian-American descendants live in cities such as New York, Miami, Boston, and

Washington, D.C. It was .ilso during this period that hundreds of Haitian professionals traveled to newly independent African countries to serve as civil servants and ease the transition from colonization to freedom,

Duvalier was succeeded by his son, jean-

Claude. Altogether the Duvaliers ruled for

30 years. Children play on handmade flutes.

In 1987, Haitians voted overwhelmingly Photo courtesy More-Yves Regis, photographer for a new constitution that defines a legal CREATIVITY, A LIVING LEGACY framework for a transition toward democracy and economic development. The constitu- The creativity at the root of Haiti's heritage tion establishes new mechanisms of govern- has been and continues to be expressed m ment with greater citizen participation, many ways in Haiti. In the visual and plastic guarantees more civil and individual hberties, arts, creativity may actually arise as the result and addresses problems related to economic of the distressed circumstances in which people development. It has not provided a basis tor live. Thus, very often Haitian artists and crafts- political stability to date, however. From the people transform and restore life to things National Council of Government (CNG) others throw away, like old carburetors, bent that replaced Duvalier m February iijS6 to cooking utensils, or empty plastic juice bottles. President Jean-Bertrand Aristide's ouster in It IS that c]uest for new materials and forms February 2004, Haiti has had 10 presidents. that liberates their creativity, and, m turn, that The primacy of the struggle for the presi- creativity that validates their freedom. dency over one for economic development Craftsmanship is one of the few dynamic has led to mismanagement, corruption, sectors of Haiti's economy. In the city' of jacmel, human rights violations, uneven foreign aid an especially vibrant and viable activity' is the flows, and an indifference to more funda- craft of papier-mache. Originally used to create mental challenges of rapid population elaborate and breathtaking masks for the tradi- growth, extreme poverty, and the alarming tional Carnival, papier-mache has become a degradation of the environment. veritable industry with artisans making mirrors, The most recent events m Haiti show place mats, bowls, furniture, and other utilitarian that the last 200 years of difficult historic as well as decorative products. Basketry and other experiences have not destroyed Haitians" straw work are also important commercial activi- creativity and their strong attachment to ties. Influenced by indigenous, African, and freedom. This e-xtraordmary cultural potential European traclitions, products vary around the

holds the key for the realization ot their country, depending on the types of fiber that are

dreams of democracy and human develop- available and the needs of consumers. Like weav-

ment during the 21st century. ing, woodcarving is an ancient art form drawing

HAITI: FREEDOM AND CREATIVITY FROM THE MOUNTAINS TO THE SEA |21| A wall of paintings displayed on a busy street in Port-au-Prmce creates an outdoor gallery for popular painters.

Photo by Patrick Vilaire

on Native, African, and European traditions. painting extends to street signs, decorative

With certain species of trees such as cedar and objects, political graffiti, and tap-taps. The^e

mahogany disappearing, the supply ot raw mate- buses used for public transportation mostly in

rials has dramatically decreased, but craftspeople the Port-au-Prmce area are completely trans-

continue to work. Carved stone frames, candle- formed by popular painters who translate

sticks, bowls, and trays are sold in craft shops. themes about life, women, and religion into

Areas that are rich in clay produce potteiy extraordinary, moving works ot art.

Several forms of artistic expression that are As Haitians invent new ways of expressing

fairly recent and make remarkable use ot the their creativity, they also must protect and pre-

imagination include the metal work that is serve the tangible and intangible heritage from

done particularly in the Croix-des-Bouquets earlier in their history. It could help reinforce a

area, a few kilometers from Port-au-Prince; sense of a common identity, particularly when

Haitian painting; and ri;;i-ri(/)s.The metal pieces so many divisive forces are at w^ork in the coun-

are carved from the sheet metal ot flattened try. The development of cultural tourism around

cans. This craft, known as drum art, originated this heritage could also bring much-needed

with Georges Liautaud, a metal smith from the resources to Haiti, providing long-sought region who began making crosses and other economic freedom tor many people.

decorations tor tombs m the local cemetery. A tap-tap carries visual messages through the streets Now there are a multitude of talented artists of Port-au-Prince. Ptioto courtesy Domel Kedor who create masterworks using this technique.

Haitian paintings are well known abroad

and are sold on every street corner, even m the

smaller cities. Painting traditions in Haiti are

centuries old, but with the creation ot the

Centre d" Art in f944, Haitian popular painting

came to the world's attention. The center's founding members were painters, architects,

sculptors, and writers who encouraged artists without formal academic training to exhibit

their work. Inspiration for this art comes from

scenes of history and everyday lite, reality and dreams. Today the range of Haitian popular

[221 SMITHSONIAN fOLKLIFE FESTIVAL VODOU Haitian Vodou incorporated many aspects of Catholicism into its ritual as well. There are two main

GERDES FLEURANT reasons for the appearance of Catholic elements in

Vodou. The first was a simple matter of force: Colonial

A turning point in tine Haitian saga of resistance to policies such as the Code Noir, or "Black Code," pre- physical and cultural oppression both enslavement pared in France in 1685, declared that "all slaves on ritual and politi- was the 1791 Bwa Kayiman Vodou our islands will be baptized" and that "the practice of cal congress held near Franijais by runaway Cap all religion except Catholicism" would be forbidden. slaves [maroons]. The gathering led to a general The second reason was appropriation: presented with slave uprising, which became a war of national lib- images of Christian saints, the Africans readily recog- that in the proclamation of eration culminated nized in them elements that appealed to their own

on January 1, 1804. For the Haiti's independence sensibility This phenomenon is known as syncretism, African captives revolted, success was due in who and its meaning is the subject of serious debate large measure to the cohesive force of Vodou. among Vodou scholars today: while some hold that Popular labeling of Vodou as "witchcraft" and Catholic practices were actually absorbed into Vodou, "magic" has been a historical tradition among others contend that the Africans never accepted the films European colonialists, and Hollywood and European elements into their rituals and instead sim- myths. Yet supermarket tabloids sustain the Vodou ply used the saints and Christian rituals as a cover to is essentially a monotheistic religion, which recog- continue their own Vodou practices. Whether one nizes single and supreme spiritual entity or God. a accepts one interpretation or another, syncretism is visible cultural ritual dimen- Besides Vodou's and a basic part of Haitian Vodou. sions expressed through the arts-especially in The Vodou ceremony consists of a series of Haitian music and dance-its teaching and belief songs and dances accompanied by the drums, system include social, economic, political, and prac- offered in honor of the Iwa. Through possession, tical components. Today, for example, Vodou's basic an important dimension of Vodou worship, both the teachings are concerned with what can be done to Iwa and the community are affirmed. The people overcome the limiting social conditions of Haiti- transcend their materiality by becoming spirits, and what to do in case of illness in a country that the spirits renew their vigor by dancing and feasting counts only one physician for every 23,000 people, with the chwal, or horses, for it is said that during and what to do before embarking upon major possession the Iwa rides a person like a cavalier undertakings, such as marriage, business transac- rides a horse. Equally as important, possession is tions, or traveling abroad. Vodou gives its adherents a time when the Iwa communicate in a tangible positive means to address these issues. way with the people, who during such times receive Vodou resulted from the fusion of rituals and the best possible answers to pressing questions. cultural practices of a great range of African ethnic groups. In colonial Haiti, the Africans came into contact with the original inhabitants of the island, the

Arawak Taino. In time, the captives would also adapt elements of indigenous ritual into their own Vodou practices. This can be observed in the Vodou practitioner's use of polished stones, considered sacred, and also in symbolic ground drawings, called veve or sere-

moni, indispensable at all rituals. The veve are also in

part the legacy of certain African ethnic groups who

use them in the same manner as Haitians do: Each

Iwa has an intricate veve design that recalls its

unique characteristics. (The Iwa are the intermediaries

between humans and the realm of the spirit. As spiri-

tual entities, the Iwa symbolize major forces and

elements of nature-such as earth, water, air, fire,

wind, and vegetation— as well as human sentiments

and values, such as love, bravery, justice, and fidelity.)

Vodou pilgrims travel from across Haiti and from over-

seas to bathe in the sacred waters of Saut d'Eau (Sodo).

Photo courtesy More-Yves Regis, photographer

HAITI FREEDOM AND CREATIVITY FROM THE MOUNTAINS TO THE SEA [23] —

What is the future of Vodou in Haiti and outside, Music

In the diaspora? Haiti's 1987 constitution recognizes

freedom of religion In Haiti and Vodou as the national Some say that Haiti has been in perpetual religion of the Haitian people. Yet Vodou continues to revokition for 200 years. If so, then that revo- endure ambivalent status in Haiti, for many attempts kition has a soundtrack: one that began with have been made to uproot It. While such purges have

generally failed, they have the effect of casting doubt the rattle ot' the Tamo uniques: that invokes dur- on its merit as a cultural practice. Nevertheless, healmg and fighting spirits with the drums and ing the past thirty years people have been practicing chants ot rada and pcni'o in Vodou; and that Vodou openly. The Haitian expatriate community, continues to express the appetite for freedom numbering over a million Haitians, includes many sly double (betiz) in the Vodou advocates, including respected artists and writ- through the meanings

ers like Franketienne and world-renowned musical songs of Carnival and rara. the cathartic dance groups such as Boukman Ekspen/ans, Boukan Ginen, rhythms of konpa, the poignant country ballads RAM, and the Fugees. of hi'oubadou, and the compelling global edge With its decentralized structure, Vodou has been ot' iiiizih rasiii (roots music). Haiti has proven diffused throughout Haiti, growing and transforming to be t'ertile ground both tor revolution and, to meet the needs of the people and the existential

realities of the land. Thus Vodou, the rich cultural irrigated by the flow of multiple cultural

heritage of the Haitian people, far from being a form influences throughout its history, for bountitiil of superstition, remains the true source igniting and harvests of musical creativit)'. According to inspiring the country's artistic expressions. With its Haitian ethnomusicologist Eddy Lubm: reverence for the ancestors, Vodou is the cement that

binds family and community life in Haiti. The music of Haiti was born out ot unique and dramatic circumstances. Ten years after Adapted from the introduction to Phyllis Galembo, the arrival of the conquistadors on the island, Vodou: Visions and Voices of Ho/f/(Ten Speed Press, the Spanish decided to import captive 1998), with permission. Africans. After the atrocious genocide of the

Gerdes Fleurant is an associate professor at Wellesley College. tirst mh.ibitants of the island, whose numbers

they decimated in their rush for gold, they A follower of Azaka, the patron deity of agriculture, had to find another population of servile wears Azaka's characteristic straw hat and bag at Saut

d'Eau (Sodo). Photo courtesy Moic-Yves Regis, photographer laborers to make the colony profitable. One should think that music has always

been present in the hell that the island ot Saint-Domingue was for captive people of the time. How could the enslaved people of the island have been able to stand their con- dition of dehumanization otherwise? The

music that would emerge from this society

certainlv sprang troiii inextricable mixtures,

landscapes of varied rhythms and colors.

The music of Haiti. Lubm remarks, is a creolized

music—like so much else in Haiti it is a synthe-

sis ofTaino, African, and European music created

out of often violent encounters. The ^hiWci—

a grated gourd scraped to create sound

the conch shell, and the rattle, still used in

Haitian ritual music, are reminders of the music

of Haiti's original Tamo settlers. Their music,

mflised throughout the Caribbean, found willing

company in the drumming vocabularies imported

from West and Central Africa and perpetuated in

U4l SMITHSONIAN FOLKLIFE FESTIVAL A rara band parades through the streets of Port-au-Prince during the pre-Lenten season. Photo courtesy More-Yves Regis, photographer the mountain encLwes where Hberated Taino Much has been \\ ritten about the music and Atricaii descendants {iiuirooiis) shared a of rjr.!. Performed in procession, ranj music mutual aversion to slavery and communicated and dance share several characteristics with ideas about the composition of the world the music of Carnival that immediately beycind what was visible to the eye. precedes it on the religious calendar. Both

Specific African sources of Haitian music involve costuming, both have strong musical and dance are most recognizable in the sacred and danced masquerade, and both include music traditions of Vodou. Several drums, songs of struggle and risky social commen- rhythms, and terms of ritual dance are named tary. While Carnival— especially Jacmefs after their presumed origins on the AtVican event—draws participants from all social continent—rite Congo, rite Ibo. rite Rada classes, including Haitian transnationals and

(Yoruba or Fon), rite Senegal. well-to-do Haitian Americans visiting home,

European dance music and musical instru- rara is considered a poor man's (and woman's) ments reached Saint-Dommgue and were activity. Scholar Elizabeth McAlister has writ- transtbrmed by Atf ican percussion and voice. ten about vara both as songs containing social

The marriage ofWestern social dance and protest (fe pwcii) veiled in obscene or raucous

African movement gave birth to the cliicii, the composed verses (hcii:) and as serious mysti- idliiidd, and the nicringiic. Music and dance ot cal work and dangerous battle against spiritual the French and English countryside—con- rivals. Rara music is the roots component tradance, c]uadriUe, polka, and mazurka—were behind what Haitians call "roots music." reinvented as were elite dances of the European iiii:ih rasiii, a popular form that consciously courts such as the minuet and the waltz. These celebrates Haitian and African tradition. dances were learned by the captive laborers in Both konpa and iiii:ik raiiit also speak the colonv at the time of l\iinhoiiliii or author- about politics and social issues through then- ized weekly social dances, which the colonials lyrics. As ethnomusicologist Gage Averill has saw as safety valves for the frustrations ot the chronicled, musicians in Haiti who fall out enslaved population. Some of these old dance of favor with Haitian politicians have often

and music forms forgotten ttiday m Europe still ended up under arrest, or even killed. Koiipa

exist in rural pockets of Haiti. These musics ot and mi:ik raslii are transnational musics that

European origin are strongly "Africanized," and influence and are themselves influenced by

have been introduced into repertories ot"Vodou circum-Atlantic music, from American jazz to

songs and rara orchestras. reggae, calypsoAoa?, and Afro-Cuban music.

HAITI: FREEDOM AND CREATIVITY FROM THE MOUNTAINS TO THE SEA (251 Architecture

Haitian airhitfcture is oik- of the most signifi-

cant dimensions of Haiti's cultural heritage.

Before incicpencience in 1804, the colonial administration and economy were concentrated

in coastal areas, to facilitate trade. Fortifications

were buili to protect the coastal cities and

ports; then the colonizers penetrated into the

interior, constructing grand residences and

slave quarters on plantations. The iiiuivons m

the mountains, who fought the colonial system

for centuries, built their small houses ot mate- new cities. People who were free and owned

rials at hanci—wood, mud, reed, and leaves. property could construct larger and more sta-

Called fetiys, these dwellings owe their form to ble dwellings. The lakou became a larger space

both African and Tamo traditions. The kay is for social and commercial activities, shared by

the central element of the Lthoii (yard) — itselt families and neighbors, with an oiiiijo (temple)

the center of a communal rural society—and where Vodou ceremonies could take place.

basically serves as storage and sleeping space Haitian architects and preservationists have

and as protection from evil spirits. begun to document peoples ingenious appli- Independence created the conditions tor cations of vernacular architecture's principles an important evolution of Haitian architecture in urban areas to cope with overpopulation,

that resulted m its most striking examples, the pollution, and other difficult social and eco-

forts. First, the need for the new nation to nomic conditions. The recycling ot materials

defend itself against the possible return ot such as old tires and plastic cups tor use as

European colonizers and to organize the state flowerpots, and the vitality and spontaneity ot

led to the building of the Citadel by Henry the urban version of the lakou seen m Haitian Christophe, king of the northern part of Haiti, slums, are convincing examples that vernacular

as well as over twenty other torts atop the architecture will continue to influence the

highest mountains m the cinmtrw and tour future built environment 111 Haiti.

Several generations meet at an ounfo at Leogane. Photo courtesy More-Yves Regis, photographer (Above) Haitian traditional building

arts range from the simple to the spectacular. A country house bears decorative "gingerbread." Photo courtesy Patrick Deiatour

(261 SMITHSONIAN FOLKLIFE FESTIVAL SPIRIT OF FREEDOM. CULTURE OF RESISTANCE

The rejection of sLnerv .md tlie quest for freedom .iiid equality li.ive left an indelible mark on the history of Haiti, and the world. This bRentennial year ot

Haiti's independence—also a year UNESCO has declared the International Year to Commemorate the Struggle against Slavery and its Abolition— is a significant crossroads for Haiti, as its people continue to search tor its long-elusive dream of freedom.

Haiti: Freedom ami Crcalivity from the Momitiiiiis to the Sea offers a special opportunity tor the artisans and craftspeople of Haiti to showcase then- culture, which IS anchored in resistance to oppression, and their tradition ot creativity.

Festival visitors will be able to participate in the creative process while engaging in conversations with the craftspeople and observing the masters.

They will contribute to the economic well-being of the people of Haiti by taking home marvelous artifacts, not only for their own enjoyment but as a gesture of solidarity.

The Festival also presents an important opportunity for Haitian Americans. Since the beginning of the massive exodus ot Haitians to the United States in the 1960s, Haitians have become part of the overall American population. This Festival will help validate their culture and contlrm their contribution to American lite. For young Haitian Americans who do not know their ancestral home, Haiti: Freedom and Creativity A mural at Place Vertieres in Gonaives commemorates leaders from the Moiiiiiaiiis to the Sea will help them of the Haitian revolution. Photo courtesy Marc-Yves Regis, photogcapher understand their unique and prmid heritage.

In the end, it is our hope that this program will touch the hearts of Festival visitors and leave them with a much better understanding not only ot Haitians' contribution to world culture, but also of the relevancy ot treedoni as a value that guides a people's quest tor dignity as a nation.

Geri Bcitoit heads tlie Haiti-haied ivmiiiissioii for llie Smiilisoiiia)i Folk'Ufe I-'estival and i.< executive director of tlie Instilitt I'eiuiiies Fnierjiretiettn. an \GC) deivied to the eionomit rehiiihhin; of Haiti. Patriik Oelaloiir. an arelnleit and liisloric preservationist, is curator oj litis proi;raiii as well as of a Smithsonian iravelim; exhibition on the Citadel oJ Henry Christophe

(a UNESCO World Herita{;e site). He has worked on the restoration of historic sites in Haiti for the past two decades. Patrick F llaiie, a cniator of this proiiratii, is director of Haiti's Center of

Ethnology. An internatioiially renoivned sculptor, educator, and connntmity developer, he has used his expertise in the service of brini;ini; electricity and water to rural communities in Haiti.

Diana Baird N'Diaye. Ph.D., is a Smithsonian-based folklorist /cultural anthropologist and curator of this program. She has curaled several programs and exhibitions over the past 20 years on African and Caribbean expressive culture, including the exhibition and Web site "(Creativity and Resistance: Maroon Culture in the Americas." Monique Clesca is a communications specialist who also tvrites commentaries on issues regarding culture, children, and ivomen's rights.

She recently published her Jlrsi novel. La Confession. Olsen Jean Jiilien, Smithsonian-based

HAITI: FREEDOM AND CREATIVITY FROM THE MOUNTAINS TO THE SEA [271 coordinator of the program, is an architect speciaUzed The Haitian Institute. 2001. Tlie Art and Soul oj in the use of information technologies pr the docu- Haitian Cooking. Kearney, NE: Morris Press. mentation and exhibition of cuhural heritage. He holds McAlister. Elizabeth. 2002. Rara'.: \odou. Power, an M.Sc. in historic preservation. and Performance in Haiti and its Diaspora. Photographer Marc-Yues Regis, a native of Berkeley: University- of California Press. Haiti, is a photojourtialist with the Hartford

Courant and the author of three books. Listening READING, SUGGESTED Rhytiiins of Rapture: Sacred Musics of Haitian

LISTENING, AND VIEWING Vodou. 1995. Washington, DC: Smithsonian Folkways CD 40464.

The list of excellent print, audio, and visual Caribbean Revels: Haitian Rara and Dominican materials on Haitian culture and history is very Gaga. 1992. Washington, DC: Smithsonian long. We have selected a few tides that reflect Folkways CD 40402. different aspects of the program "s focus on Hairi s foLklife. creativit\. and the quest for freedom. Viewing

Reading Haiti Rising: Celebrating the First Black Republic.

1999. DVD Compiled and directed by Robin Aid to Artisans. 2003 Artisans of Haiti. Photos Llovd and Doreen Kratt. Vermont: Green Valley by Chantal Regnault. Hartford: Aid to Artisans. Media.

Armand, Stephanie Renauld. 1990. A Taste of Tlic Divine Horsemen/ Tlie Living Gods of Haiti. Haiti: Haitian Creole Cuisine. Haiti: Stephanie 1953. Filmed by Maya Deren. Burlington, VT: Renauld Armand. Mystic Fire Video.

Averill. Gage. 1997. --1 Day for the Hunter, Web Sites A Day for the Prey: Popular \[usic and Power in

Haiti. Chicago: Universitv,' of Chicago Press. There are several Haiti Web sites in English, Kreyol. and French, and many compilations Bell, Beverly. 2001. Walking on Fire: Haitian ofWeb sites on Haiti. Here again, while we IVomen's Stories of Survival and Resistance. could not hope to list all of them, we have Ithaca: Cornell University Press. listed some that are related to the program.

Danticat, Edwidge. 2002. After the Dance: w\v\v.haiti-usa.org A Walk through Carnival in Jacmel, Haiti. Contains information on the Haitian diaspora. New York: Crown Journeys. Produced by the Haiti Program at Trinity

Danticat, Edwidge, ed. 2001. Tlie Butterfly's College, Prof. Robert Maguire, director.

Way: Voices from the Haitian Dyaspora in the lanic.utexas.edu/la/cb/haiti/ United States. New York: Soho Press. Contains links to sev'eral academic and

Fleurant, Gerdes. 1996. Dancing Spirits: Rhythms cultural websites. and Rituals of Haitian Ibdou, the Rada Rite. w^^-^v.heritagekonpa.com/hnks.hcm Westport, CT: Greenwood Press. Contains compilations of links from several Fouron, Georges, and Nina Glick SchiUer. Haitian and Haitian-American sources,

2001 . Georges Woke Up Laughing: Long Distance including the sites of music groups and

Nationalism and the Search for Home. Durham: newspapers.

Duke University Press.

Galembo, PhyUis. Vodou: Visions and Voices of Haiti. 1998. Berkeley: Ten Speed Press. —

AYITI: LIBETE AK KREYATIVITE SOTI NAN MON RIVE NAN LANME

GERI BENOIT, MONIQUE CLESCA, PATRICK DELATOUR, OLSEN JEAN JULIEN, DIANA BAIRD N'DIAYE, AK PATRICK VILAIRE

TRADIKTE; TEDDY THOMAS, OLSEN JEAN JULIEN

le'iiive janvve i;S04. gen yon evennian san parey ki rive nan istwa Icnionn. Se preniye fwa von revolisyon esklav debouche sou kreyasyon yon peyi. Ansyen eskLiv sa yo, ki se yon gwoup desandan afnken. te reyalize pi gwo niouvnian liberasyon ki janni tet kont kolonizasyon ak lesklavaj.

Se konsa Aviti te tounen dezyem peyi nan Anierik ki te vin endepandan 2

~~Karavib ak Atrik yo batay pou liberasyon. Kounyea, apre 200 ane. Ayiti ap kontmye te nou sonje enpotans libete, ansanm ak pn pou nioun peye pou kenbe libete yo.~~

Nan langTayno yo, Ayiti vie di "Te ki gen mon". Mon Ayiti yo senbolize revolt, rebelyon. ak rezistans, paske Tayno ak Atriken ki te chape soti nan lanfe esklavaj la, te nioute sou tet mon yo pou al viv nan niawonaj epi al oganize rezistans. Se nan konsa yon lame ki te genyen ladan 1 bann mawon ki te soti nan mon yo, ansanm ak solda

~~Tousen Louveti ak Jan-Jak Desalin tap komande, te libere koloni franse yo te rele~~

~~Sen Domeng Ian. Tousen ak Desali te ansyen esklav tou.~~

~~Ayiti se yon peyi ki nan iiiitan lanme Karayib ak nan pati no Oseyan Atlantik.~~

~~Ayiti pata]e zile Kiskeya ak Repiblik Doniiniken ki se vwazen li nan bo les zile a.~~

~~Lanme jwe yon wol enpotan nan lavi ayisyen yo; li ba yo manje, epi li konekte yo ak lot popilasyon ki nan zon Ian. Lanme a sevi an menm tan kom barye kont libete Lanme enpotan nan lavi~~

ekonomik ayisyen e li paske preske yon milyon Afriken te rive Ayiti anba chenn nan bato negriye. le kolon konekte yo ak lot pep Ewopeyen te mennen yo—epi lanme a sevi tou kom yon wout pou jwenn libete, nan zon nan. Foto koutwazi: paske Ayisyen konnjanbe dlo pou ale chache refij poutet pvvoblem ekononiik ak More-Yves Regis politik kap kofre yo nan peyi yo.

~~Ayiti pase nan yon paket pwoblem grav. Men~~

Ayisyen telman renmen libete. sa ba yo enspirasyon epi sa rantose imajinasyon yo. Malgre pwoblem yo kontinye genyen yo, epi anpil fwa ou ka menm di poutet pwoblem sa yo, Ayisyen konn kreye ekspresyon atistik ki gen anpil fos nan mizik, penti. atizana, eskilti. achitekti. epi nan relij\on ak nan lang. Rankont ki te tet ant kilti Tayno ak kilti Afriken, mete ak kilti kolon

~~Ewopeyen yo, bay kom rezilta yon kilti Kreyol dinamik ki defini Ayiti jodi a. Se konsa Ayiti se youn nan peyi ki pi rich nan zate kilti ak nan popilasyon 1. Nan Festival~~

~~Kilti Tradisyonel Smithsonian pancTan ane bisantne a, se avek vwa ayisyen yo epi ak sa yo kreye nou pral tete volonte enfatigab ki fe yo kontinye ap pwodui.~~

~~AYITI: LIBETE AK KREYATIVITE SOTI NAN MON RIVE NAN LANME TE AYITI YON ISTWA Kl BOULVESE~~

~~Ayisyen yo se Tayno Arawak yo.Te gen Dcyc inoii i^'c/) iiidii. Premye senk san mil Tayno konsa nan zile a nan fen~~

~~la. te yon popilasyon Chifonnen yon tey papye epi lage 1 sou yon tab; kenzyem syek Tayno yo~~

~~ou ka gen yon lide sou jan teren an ye nan peyi pezib ki te soti nan Sid Amenk.Yo te pase~~

~~Ayiti: chenn niontay, plenn, ak zon kotye. Gen nan Ti Antiy yo, pou vin rete Jamayik, Kiba,~~

~~senk chenn niontay ki divize peyi a an twa ak Ayiti. Pou manje, yo te fe lachas epi yo te~~

~~rejyon: no, sant, ak sid. Pifo popilasyon an viv peche pwason; yo te konn chante, ak resite~~

~~nan kote ki pi plat yo. Ayiti, ki preske menm poem, ak danse pou chef yo ak pou lespri~~

~~gwose ak Merilann, avek 2 milyon moun konsa yo te sevi yo, yo te rele lespri yo zemes; yo te~~

~~te an plis, niezu'e 27 500 kiloniet kare epi li nan pi konn te potn ton. Menm si lang yo konn~~

~~gwo zile nan zon Karayib la apre Kiba.Yo te pale a pa te ekri, gen anpil nan mo yo te konn~~

~~konn rele Ayiti yon mevey nan Antiy yo poutet sevi ki la toujou, epi ki sevi anpil kounye a, tan-~~

~~li te gen anpil pyebwa yo ak bel vejetasyon. kou kasav, mabouya, mayi, wowoli, ak bayakou.~~

~~Men depi nan tan kolonizasyon an, te a an Tayno yo te gen yon sistem gouvenman~~

~~Ayiti sibi anpil move tretman, li viv yon istwa eredite ki te gen kom chef yon kasik, e zile te~~

~~esplvvatasyon san pran souf.Yo te konveti plenn divize an senk Eta (kasika).Youn nan kasik yo~~

~~yo pou fe yo tounen plantasyon kann ak sizal; se te yon fanm ki rele Anakaona, se te chef~~

~~yo te koupe bwa nan fore twopikal nan mon yo nan kasika ki te rele Zaragwa. Anakaona te~~

~~pou te plas pou plante kafe. Nan pami lot rezon yon gwo pretres e lit e konn te pwezi ton.~~

~~ki fe te a ap depafini, gen ekspotasyon pyebwa Li se yon pesonaj ki gen anpil enpotans e ki~~

~~twopikal depi peryod kolonyal la, kantite moun kom sevi yon model pou fanm nan peyi Ayiti.~~

~~nan popilasyon an k ap ogniante, gen moun vil Gen plizye lekol ak magazen yo bay non li, epi~~

~~yo ki bezwen plis chabon, moun ki ap okipe te istwa li pase nan anpil pwezi ak anpil chante.~~

~~yo se pa yo ki reyelmam met te yo, gen move Male a koumanse le Ki-istof Kolon debake an~~

~~metod agrikilti, epi gen ewozyon sol la. Pi gwo desanm 1492. Li ekri nan jounal pesonel li jan h~~

~~ekspotasyon Ayiti genyen kounye a, se te yo ki te egare devan bel irievey li we an Ayiti, epi kahte~~

~~pral nan lanme. Zon nodwes la preske tounen bel sab li te jwenn ate a le li desann bato a. Li te yon deze akoz anpil peryod sechres kote tore egare tou de\'an chenn montay ki te kouvn ak~~

~~yo pedi pyebwa. Kounyea, gen mwens pase 2 fore zabnko, ak pye kajou, epi ak bel pye fie tout~~

~~pousan nan peyi a ki kouvn ak pyebwa. koule yo. Tayno yo, ki pa te sispek kisa Kristof~~

~~Ayisyen kap viv nan zon kotye yo pa viv Kolon te gen lide fe, te resevwa 1 ak anpil ke~~

~~menmjan ak moun lot zile yo, oswa nan lot kontan. Panyol yo chanje non zile la, yo rebatize~~

~~kominote ki bo lanme yo. Nan yon viLij tan- 1 Ispanyola (ki vie di Ti Espay) epi yo oblije Tayno~~

~~kou Lili kote gen anpil aktivite lapech, moun yo te travay tose pou fouye te povi jwenn 16 ba~~

~~yo te seremoni pou lanme a ak pou IwaVodou yo. Anpil nan Endyen yo revoke epi yo ale kache~~

~~kl rete nan lanme a. Menm si lanme a pemet nan mon, epi al chache refij nan kav yo. Men~~

~~yo te lajan pou yo viv nan peche pwason, anvan senkant an te pase, move kondisyon lavi,~~

~~moun Lili yo tankou anpil lot moun ki rete maladi, ak masak te depafini popilasyon Tayno a.~~

~~nan zon kotye yo bati kay yo pou bay lanme a An 1502, pou ogmante kantite travaye yo,~~

~~do. Ou ka di gen anpil ladan yo ki bay lanme a Panyol yo mennen premye Afriken yo nan zile~~

~~do nan sans yo pa angaje nan pwoteje li kont a pou travay kom esklav. Le anpil ladan yo te~~

~~polisyon. Men, kit se Ayisyen ki rete nan peyi sove tou pou tounen Mawon nan mon yo, se~~

~~a, kit se Ayisyen ki rete nan peyi etranje, yo Tayno yo ki te montre yo kote pou yo kache.~~

~~tout toujou di yo gen anpil ateksyon pou 2 gwoup sa yo te te aktivite ansanm pou~~

~~"Ayiti Cheri". Menm le yo kite te a, Ayiti reziste kont esklavaj, e nan aktivite sa yo te~~

~~kontinye abite andedan yo tout kote yo ale. gen anpil echanj kiltirel ki te tet.~~

1301 SMITHSONIAN FOLKLIFE FESTIVAL Plante ak Moulin Kann pou fe sik se te prensipal sous Gen yon rezon ki fe fanm nan peyi Ayiti gen anpil riches nan peryod kolonyal la. Foto koutmozi More-Yves Ri;gis kouraj. Sa pa koumanse jodi a. Sa koumanse depi

Anakaona, ki te yon ren Tayno. Nou konnen se Franse yo koumanse vini in Ayiti nan Tayno ki te rete Ayiti anvan Panyol yo te vini. mitan i6yem syek la; pu'at vini an prenive. Te gen plizye zon, avek yon wa nan cinak zon. kiltivate lot ak kolon te nve apre epi. pandan Anakaona te madanm youn nan wa sa yo... ane 1660 yo, gen Koporasyon Antiy Franse yo Le Panyol yo debake Ayiti, Tayno yo resevwa yo ki te nve. An 1697, Espay ak Lafrans siyen bra louvri. Men sa Panyol te vie, se 16. Yo fe Tayno yo fe travay fose pou jwenn 16 a. Panyol Trete Riswik, ki te bay Franse yo yon tye zile te brital.... e Tayno yo te koumanse revolte. Mari a, nan pati wes la. Franse yo nioute yon sistem Anakaona se te youn nan wa ki te deside goumen esklavaj ak plantasyon ki te pi fewos pase tout kont Panyol yo. Anakaona limenm te yon powet sa ki te genyen anvan. epi yo te Ayiti. ki te \\n epi li te konn chante. Men li te kole zep6l ak mari

~~rele Sen Domeng. tounen koloni transe ki te I pou ba li tout sipo li kapab. Le Pany6l yo touye~~

mari a, pi rich nan tan sa a, prensipalnian avek komes Anakaona kontinye lit la. Fanm sa a te gen kouraj. An verite! Li te brav tout bon vre. sik, men ton avek komes kafe, koton, kakawo, Li di lot moun antre nan batay pou goumen kont digo. ak bwa ki gen anpil vale an Ewop. Anpil Panyol yo; li oganize moun, epi li fe plan batay nan gwo riches ki gen nan vil kotve Lafrans pou defann te yo. Men Panybl yo te gen bon jan yo. tankou Nantes. Marseille, ak Bordeaux, se zam nan men yo. Anakaona te manke zam.

Ayiti yo te soti. Yo fe I prizonye epi yo touye I tou. Nou se pitit - Plante ki te soti Sen Domeng, ansanm ak Anakaona. Le w gade istwa nou nan batay kont anvayise yo, nan lage pou endepandans nou, esklav yo te mennen avek yo, te ede anpil nan epi nan tout sa ki rive apre yo - te gen fanm ki devlopman kilti kann nan Lwizyan, le li te yon te kole zepol ak gason pou pote kole avek yo. koloni transe; pi ta, revolt esklav Sen Domeng Men yo pa di anpil bagay sou fanm sa yo nan yo te vin jwe yon gwo \v61 nan pemet Etazini istwa nou. Se non mari yo selman yo nonmen — achte teritwa Lwizyan yo. s6f le se fanm ki rakonte istwa yo.

~~Apre Revolisyon ki te tet an Frans an~~

Pawol Josie, ki paret nan liv Beverly Bell. Walking on Fire: Haitian 1789 la, kondisyon yo pral pemet ti rebelyon Women's Stories of Survival and Resistance [Mache sou Dife: esklav ki te gaye nan tout koloni an tounen Istwa lavi ak rezistans Fanm Ayisyen.] Ithaca: Cornell University yon ensireksyon jeneral esklav an 1791. Press, 2001, paj 1-2. Nou gen pemisyon pou enprime tekssa.

~~AYITI: LIBETE AK KREYATIVITE SOTI NAN MON RIVE NAN LANME [31] Santinian nasyonalis ki tc devlope nan moman Ayiti tc kontinye rete endepandan, eksepte~~

~~an te brase angajnian ki pr.ni nan serenioni pandan peryod 1915-1934 le Etazini te okipc 1.~~

Vodou yo epi kontre ak aksyon rasis ki te Ayisyen yo te batay san pran sou kont okipasyon anpil chan- konn tet nan koloni a. Nan nioman boulves sa ameriken an. Okipasyon sa a te lakoz a.Tousen Louveti pran komannman yon lage jman an Ayiti. Ameriken yo te reyoganize sistem

~~vanyan ki dire lontan kont Franse yo.jouktan defans peyi a ansanm ak rezo wout yo, epi yo te pwodiksyon taktori, reyoganize ore yo te 1 pnzonye epi yo depote 1 pou voye louvri gwo~~

~~te bati sistem transpo temen 1 an Frans an i.Soi. Jan-Jak Desalin. travay yo, epi yo yon~~

~~Anri Kristof, ak Aleksann Petyon te kontinye tounef ki te gen ray tren ladan 1 ton. Kom rezilta, goumen pou libete epi yo bay lame Napoleon nan mwens pase 20 an, okipasyon an te atake epi~~

~~an youn nan pi gvvo kal lame sa a te janm chanje anpil aspe nan kilti peyi Ayiti.~~

~~pran. Nan tout koloni franse nan Karayib la, se Sosyete ayisyen an te leve kanpe pou~~

~~Ayiti selman ki te rive gen laviktwa nan yon defann epi prezeve kilti peyi a antas menas~~

~~revolisyon esklav. okipasyon te reprezante pou kilti tradisyonel~~

~~Ayiti vin touneii yon peyi endepandan, e li yo.Youn nan rezilta leve kanpe sa se yon mouv-~~

~~deklare esklavaj ilegal. Nan moman an se sel man endijenis ki konsantre prensipalman sou~~

~~peyi nan emisfe Iwes la kote esklavaj te ilegal. eritaj Afriken ak Tayno ki nan rasin pep~~

~~Le Simon Boliva, ki te dirije pwosesis liberasyon ayisyen an, epi ki ap chache nouvo vale li ka~~

nan pifo peyi nan Sid Amerik la. te jwenn refij jwenn nan istwa peyi a pou rekanpe idantite se an Ayiti an iSis li te resevwa materyel ak solda kiltirel Ayiti. Mouvman endijennis la yon pou kontinye goumen kont kolon Panyol yo. branch nan yon gwo mouvman kiltirel ki

~~literati, Ayisyen yo te te 1 pwomet yo pou 1 libere tout genyen ladan 1 penti, eskilti, mizik,~~

~~esklav nan koloni ki ta pral vin endepandan yo. prezevasyon moniman istorik ak sit akeyolojik,~~

~~Egzanp Ayiti a te enspire revolt esklav Ozetazini epi rechech sistematik sou istwa, etnoloji, lang,~~

~~e, kom pouvwa kolonyal ewopeyen yo ansanm ak antwopoloji. Leve kanpe sa te pemet val-~~

~~ak Etazini te pe pou revolt yo pa gaye nan lot orize Vodou ak lang kreyol la.~~

~~kote, yo te refize rekonet endepandans Ayiti An 1957, gen yon dokte an medsm ki tele~~

~~ofisyelman. Se selman an 1S62, pandan Lage Franswa Divalye ki te pase kom prezidan nan~~

~~Sivil la, Etazini te chanje pozisyon 1. yon eleksyon fo mamit. Kom entelektyel,~~

~~Revolisyon esklav yo te niennen nan Divalye te nan mouvman endijennis la, men~~

~~endepandans e li te pote anpil chanjman nan kom prezidan li mete youn nan diktati pi~~

~~repatisyon te nan peyi Ayiti. Nan tan kolonyal, fewos ki te janm genyen nan istwa Ayiti. Sou~~

~~plantasyon yo se te gwo pwopriyete kolon gouvenman. Divalye a gen plizye dizen milye~~

~~franse ki te plante yon sel danre sou yo, swa Ayisyen yo touye, oubyen yo te disparet,~~

~~kann, swa kakao, swa kafe, elatriye. Apre ende- oubyen ki mouri nan prizon paske yo te~~

~~pandans Ian, te yo chanje met e pratik agnkol goumen pou libete. Yon paket Ayisyen te pati~~

~~yo vin chanje. Anpil nan te yo te divize an ti le sa a pou Etazini, epi jodi a, gen preske yon~~

~~teren yo te bay seten nan ansyen solda ki te milyon Ayisyen ak desandan yo, ki Ayisyen-~~

~~goumen nan lage revolisyone a. Anpil nan Ameriken, ki rete nan vil Ozetazini tankou ansyen esklav yo vin tounen peyizan ki travay New York, Miami. Boston, ak Washington D.C.~~

~~sou te yo. Jis jounen jodi a, menm si zon lavil Se pandan peryod sa a tou plizye santen~~

~~yo vin gen anpil moun, menm si rannman te a pwofesyonel ayisyen te ale nan kek peyi Atrik~~

~~ap besejou apre jou, majorite popilasyon an ki te tenk gen endepandans yo, pou travay kom~~

~~toujou travay late.Yo kiltive manje tankou fonksyonne ak pou ede nan tranzisyon pou soti~~

~~mayi, pitimi, ak din. Nan mon ki pi wo yo, nan kolonizasyon epi antre nan libete. Divalye~~

~~kiltivate yo plante yanm, patat, ak lot legim. te remet pouvwa a bay pitit gason l,Jan-Klod.~~

~~Nan depatman No, Sid ak Grandans, yo tou- Divalye ak pitit li a te, kenbe pouvwa a pandan~~

~~jou kontinye plante kafe. 10 an.~~

~~[32] SMITHSONIAN FOLKLIFE FESTIVAL Kreyativite atis ayisyen yo rete pemet yo kole ak reyalite yap viv la. Penti sa moutre jan yon pwogram aksyon sivik~~

~~gouvenman an frape imajinasyon atis la. Foto koutwozi Marc-Yvss Regis~~

~~An 1987, apre yo te fin leve kanpe kont KREYATIVITE:~~

~~te vote pou yon Divalye, niajorite Ayisyen yo YON ERITAJ Kl VIVAN nouvo konstitisyon ki te detuii yon chapant~~

~~jnidik pou ede peyi a antre nan demokrasi ak Gen anpil tason Ayisyen itilize kontinye~~

~~nan devlopman ekonomik. Konstitisyon an montre kreyativite yo. Nou pale sou mizik,~~

~~tabli yon nouvo sistem gouvenman ki pemet achitekti, ak relijyon nan lot atik apa. Nan~~

~~plis patisipasyon sitwayen epi plis garanti pou travay vizyel ak travay plastik atis konn te, ou~~

~~libete sivil ak libete mdividyel yo, epi li abode ka jwenn yon tbm kreyativite ki soti nan mize~~

~~pwoblem devlopman ekonomik yo. Selman, moun yo ap viv la. Se konsa anpil fwa atis ak joukjodi a, li pa rive tabli yon baz pou esta- atizan ayisyen yo konn transtome epi remete~~

~~bilite politik. Si w gade depi Konsey Nasyonal lavi nan bagay lot moun voye jete. tankou vye~~

~~Gouvenman (KNG) ki te ranplase Divalye an kabirate. materyel kwizm ki detome tankou~~

~~fevriye iyS6 la. pou rive nan dat prezidan jan- \ye chodye. gren kiye. oswa bidon plastik.~~

~~Betran Aristid te tonbe an tevriye 2004 la. mamit let. bouchon boutey, elatriye. Ayisyen~~

~~Ayiti pase 10 prezidan. Batay pou vin prezidan yo toujou ap chache nouvo materyel ak nouvo~~

~~kl pran plis enpotans pase devlopman ekon- fom pou libere kreyativite yo e an retou se~~

~~omik mennen nan move jesyon, konpsyon, kreyativite sa a ki rantose libete yo.~~

~~vyolasyon dwa moun, asistans etranje ki pa Sekte kl dinamik nan ekonomi peyi Ayiti~~

~~regilye, epi yon endiferans pou pwoblem ki pi pa anpil men Atizana se youn ladan yo. Nan vil~~

~~fondamantal yo tankou ogmantasyon popilasy- Jakmel. youn nan aktivite ki cho epi ki gen~~

~~on an. pito popilasyon an kap viv yon mize anpil avni se travay atis yo te ak papye mache.~~

~~ekstrem ak degradasyon anviwonnman an. Anvan. papye mache te koumanse sevi pou te~~

~~Denye evenman ki rive Ayiti yo montre bel mas pou madigra nan kannaval. Men papye~~

~~pandan 200 ane ki pase yo, malgre eksperyans mache te vin tounen yon endistri tout bon le~~

~~istorik ki difisil yo, Ayisyen pa pedi kreyativite atizan te koumanse fe glas pou moun gade figi~~

~~yo epi vo toujou pare pou bat.iy pou libete. yo, epi ti tapi pou tab, bol, meb. ak lot bagay~~

~~Potansyel kiltirel ekstrawodine sa a se poto pou moun sevi oswa dekore kay yo.Yo sevi~~

~~mitan espwa Ayisyen yo pou konstui demokrasi anpil ak pay tou pou te panye ansanm ak lot~~

~~epi devlope peyi a pandan 2iyem syek la. atik pou vann. Avek enfliyans tradisyon Tayno,~~

~~AYITI: LIBETE AK KREYATIVITE SOTI NAN MON RIVE NAN LANME 133] Afriken cpi Ewopeyeii yo, gen plizye kalite plizye syek men se an 1944, 'ip^ kreyasyon yon~~

~~pwodwi yo tc iKin tout pcyi a, tl.ipic kalite pay sant espesyal ptni atis ki rele "Centre d'art", moun~~

~~yo jwenii iiaii zon Ian ak dapre sa kliyan yo toupatou sou late vm konnen belte penti popile~~

~~bezwen. Menni jan ak tisaj, eskilti sou bwa se Ayisyen. Se yon ekip atis pent, eskilte ak ekriven~~

~~yon fom travay atis ansyen ki pran moso nan ki te fonde sant sa pou ankouraje travay atis nan~~

~~tradisyon Tayno, Afnken, ak Ewopeyen yo. popilasyon an ki pat suiv yon antrenman nan lekol~~

~~Kom li vin pi difisil pou jwenn pyebwa tankou poll atis. Atis sa yo te rive moutre bel travay yo ka~~

~~bvvadchen ak pye kajou, niatye preniye yo vni te le yo itilize istwa peyi yo, reyalite lavi yo, ak rev~~

~~manke, men atizan yo kontinye ap travay. Nan kom sous enspirasyon yo.Jodia penti popile~~

~~magazen atizan yo, ou ka jwenn achte monti prezan nan anpil aspe lavi Ayisyen. Yo itilize yo~~

~~an bwa eskilte, chandelye, bcM, ak kabare.Yo te nan pankat, n.m panno piblisite, nan dekorasyon~~

~~pom nan zon ki genyen anpil ajil yo. kay, nan gatiti politik epi nan tap-tap yo.~~

~~Nouvo fom ekspresyon atistik kap paret Tap-tap yo se kamyonet ki sevi pou~~

~~yo, kit se metal dekoupe, penti oubyen tap-tap, transpo piblik prensipalman nan rejyon~~

~~kontinye moutre jan atis yo gen kapasite itilize Potoprens Ian. Atis pent ak eskilte yo trans-~~

~~imajinasyon yo. Travay an metal yo se pa tome kamyonet sa yo pou te yon seri bel~~

~~eskilti, men se travay ki tet ak feblan ki soti pwodui atistik mobil ki eksprime yon seri lide~~

~~nan dwoum yo plati. Travay metal sa tet pi plis pa ekzanp sou lavi a, sou tanm ak sou relijyon.~~

~~nan zon Kwa Debonke, ki pa Kven Potoprens. Pwoteksyon riches kiltirel an Ayiti merite~~

~~Moiin ki te koumansc te kalite travay sa a se yo ba li yon gwo priyorite. Se youn nan aktivite~~

~~Joj Lyoto, yon atizan ki te konn travay ak ki kapab ede ranfose sans idantite nasyonal ak~~

~~metal pou fe kwa ansanm ak lot dekorasyon kiltirel popilasyon an, espesyalman le gen tout~~

~~pou simitye nan zon nan. Kounye a gen anpil tos sa yo k ap goumen nan peyi a. Sa ka pemet~~

~~atis ki gen talan ki te bel travay ak teknik sa a. jwenn anpil entomasyon sou istwa epi ede nan~~

~~Tablo ayisyen yo gen gwo repitasyon nan peyi devlopman yon politik toiiris kiltirel la ki ta~~

~~etranje, epi yo vann yo byen nan tout kwen Ian, kapab pote anpil resous Ayiti bezwen, epi pemet~~

~~menm nan ti vil yo. Tradisyon penri an Ayiti gen anpil moun jwenn libete ekonomik yo.~~

~~Yon tap-tap ki fe transpo ant anba lavil Potoprens ak zon Kafou fey ki nan sides kapital la 'J/; /Worc-Vves Regis~~

~~134] SMITHSONIAN FOLKLIFE FESTIVA^ —~~

~~Mizik~~

Gen nioun ki di toujou gen revolisyon k ap tet nan peyi Ayiti depi 200 an. Si se vre, revolisyon sa gen yon inizik ki akonpaye li: yon nnzik ki konianse ak son tchatLha kasik Tayno yo: epi ki gen envokasyon lespn Vodou pou gerizon ak pou lage nan kout tanbou ak nan chante rada ak petvvo yo; epi ki kontmye te tande apeti libete atrave chante pwent nan Kanaval ak nan rara yo, nan kadans konpa yo, nan bel chante tris twoubadou yo. ak nan son niizik rasin ki mache nan ko tout nioini. Ayiti bay prev h se yon bon teren pou revoHsyon. ansanni ak pou bon rekol nan kreyativite niizikal paske li se yon te anpil kouran kilitnel te wouze pandan tout istwa li.

~~Dapre yon etnoniizikilojis ayisyen ki rele Edi Liben:~~

~~Lide rara kap pare pou bay yon cho ak fret-kach.~~

~~Foto koutwazi- Chontal Regnoult Sa ki te kreye niizik Ayiti, se yon sen sikonstans eksepsyonel draniatik. Dis ane Afriken yo (Mawon) te mete ansanm pou~~

~~apre yo te nve nan zile a, espayol yo te retlze asepte esklavaj. le yo te pale youn ak~~

deside voye chache Afriken. Apre jenosid lot sou jan yo konprann lavi a. fewos ki te preske fini ak Tayno nan fose Kote ou reyelman rekonet sous atnken travay di nan fouye 16. espayol yo yo mm nan mizik ak nan dans ayisyen yo, se nan te bezvven jwenn yon lot popilasyon tradisvon mizik sakre Vodou yo. Gen plizye travaye pou fe koloni a vin rantab pou yo. tanbou, plizye kadans, ak plizye tom dans sakre Nou panse nnzik te toujou la nan lanfe ki ki gen orijin yo an Afrik—rit Kongo, rit Ibo, te genyen nan koloni Sen Donieng Ian. Ki rit Rada (Yowouba oubyen Eon), epi rit jan pou esklav yo ta ka viv san niizik nan Senegal yo. kondisyon yo te oblije yo ekziste menm Le mizik pou dans ansanm ak enstriman jan ak bet? Men niizik ki te vm paret nan te nan koloni sosyete sa a te soti nan yon paket melanj ki mizik ki te soti Ewop yo nve

~~te genyen anpil kadans ak anpil koule. Ispanyola, kout tanbou ak chante atriken te transfome yo. Maryaj dans sosyal Oksidantal yo~~

~~Dapre Edi Liben. nnzik Ayiti a se yon mizik ak mouvman dans Atrik yo te bay dans ki rele kreyohze—tankou anpil lot bagay ou jwenn chika, kalinda, ak mereng yo. Dans ak mizik ki~~

~~Ayiti, se yon sentez nnzik Tayno, Atnken, ak te soti nan zon riral Lafrans ak Anglete yo~~

~~Ewopeyen ki te soti nan plizye rankont ki sou- tankou kontredans, kadriy, polka, ak mazouka~~

van te fet nan vyolans. Guido—ki se yon po —te pase nan yon transtomasyon menm jan ak dans anstokrasi wayom Ewop yo, tankou men- kalbas yo grate pou te yon son—po lanbi. epi tchatcha, ki sevi toujou nan mizik sakre Ayiti, wet ak vals. Esklav yo te aprann dans sa yo nan

~~se enstriman mizik ki fe sonje mizik premye koloni a le yo te ale nan banmboula, ki te yon~~

~~popilasyon Taino yo te konn jwe Ayiti. Mizik fet kolon yo te pemet yo te chak semenn pou te yo a, ki sikile nan tout zon Karayib la. makon- danse ak defoule kole yo, pou tnstrasyon yo~~

~~nen ak rit tanbou ki te soti nan Atrik Wes ak sibi nan esklavaj la. Genyen nan ansyen tom~~

~~Afnk Santral, epi mizik sa a donnen nan tout dans ak mizik sa yo moun bliye jodi a nan~~

~~kwen mon kote Tayno lib yo ak desandan Ewop, men yo toujou la nan kek zon nral nan~~

~~AYITI: LIBETE AK KREYATIVITE SOTI NAN MON RIVE NAN lANME 1351 peyi Ayiti. Mizik sa yo, ki te soti Ewop, te rea- Achitekti janse epi "AtVikanize" anpil anvan yo te antre~~

~~nan repetwa chanteVodou ak chante rara yo. Achitekti se youn nan dimansyon ki pi enpotan~~

~~Yo ekri anpil sou mizik rara. Rara yo se nan eritaj kiltirel Ayiti. Anvan Endepandans Ian~~

~~bann a pye ki sanble anpil bann kanaval yo. an 1804, administrasyon ak ekonomi koloni an~~

~~Peryod rara yo komanse depi apre kanaval pou te konsantre nan zon bo lanme yo, pou tasilite~~

~~nve nan semen vandredi sen.Tankou kanaval, komes.Yo te bati totitikasyon pou defann vil ki~~

~~anpil moun nan rara degize, se yon egzibisyon bo lanme yo ak p6 yo; apre sa, kolon yo antre~~

~~nan lari ak anpil teyat, inizik, dans, chante pwent, pi fon pou bati kay pou yo abite epi kote pou~~

~~ak yon seri komante sou lavi sosyete a ki niontre esklav rete sou plantasyon yo. Mawon nan mon je patisipan vo klere. Menni si kanaval—espesyal- yo, ki goumen kont sistem kolonyal la pandan~~

~~man kanaval Jakmel la—rale moun ki nan tout plizye syek, te bati ti kay ak materyo ki te klas sosyal, san bliye Ayisyen ki te ale vim oubyen genyen kote yo ye a—tankou bwa, labou,~~

~~ak Ayisyen Amenken ki vin vizite Ayiti, anpil banbou, ak tey. Fom ti kay sa yo te soti m nan~~

~~moun konsidere rara tankou yon aktivite pou tradisyon Afriken yo m nan tradisyon Taino yo.~~

~~moun ki pa gen mwayen. Nan travay rechech li Kav la sitou sevi pou sere bagay enpotan tanmi~~

~~te sou rara, Elizabeth McAlister, jwenn chante an, pou domi, epi pou pwoteje moun ki viv~~

~~rara ki eksprime pwotestasyon sosyal sou tom ladan 1 yo kont move ze. Kay la se eleman~~

~~voye pwent oubyen ki vlope nan pawol betiz. An santral yon lakou ki sevi kom espas kote anpil~~

~~menm tan, li we nan rara yo yon seri travay mis- nan relasyon sosyal yo devlope.~~

~~tik serye nan kad yon batay kont move ze ki ka Endepandans Ian te kreye kondisyon~~

~~soti nan lot bann rival yo. Mizik rara yo reprann favorab pou yon evolisyon enpotan nan~~

~~epi alimante mizik vodou yo.Yo se yon foni achitekti an Ayiti. Ekzanp ki pi vizib nan~~

~~mizik popile ki tet pou selebre tradisyon ayisyen evolisyon sa se to yo. Nan bezwen yo te~~

~~e yo retlete anpil tradisyon ki soti an Atrik. genven pou detann peyi a kont retou posib~~

~~Ni konpa m mizik rasin pale ton sou ke- kolon franse yo,jeneral lame endijen yo te~~

~~syon politik ak sosyal. Dapre sa etnomizikolojis bati veil to sou tet mon ki pi wo nan peyi a.~~

~~Gage Averill ekri, gen mizisyen ayisyen poli- Sitadel Ann Krist6t"la se youn nan to sa yo.~~

~~tisyen yo konn pa renmen, epi yo konn te Kristof te te bati fo sa pandan li te wa nan zon~~

~~arete oubyen touye yo. Konpa ak mizik rasin no a.Ansanm ak to yo gen kat nouvo vil ki te~~

~~se yon mizik transnasyonal ki entliyanse, epi ki konstui: Petyonvil,T6, Milo, Machan Desalin.~~

~~sibi enfliyans mizik ki soti nan tout direksyon Yon lot kote, moun ki te lib epi ki te gen~~

~~nan Atlantik la, depi djaz amenken pou rive pwopriyete yo te kapab bati kay ki pi gwo, pi~~

~~nan rege, kalipso/soka, ak inizik Atwo-Kiben. solid. Lakou a te touiien yon pi gwo espas ki~~

~~te genyen pou aktivite sosyal ak komesyal, pou Yon ekzanp achitekti tradisyonel an Ayiti. Foto- Patrick Viioire fanmi ak pou vwazen yo, yo te ka gen yon~~

~~ounfo pou te seremoni vodou. Achitek ak prezevasyonis ayisyen yo komanse~~

~~etidye kijan popUasyon an aplike presip achitekti~~

~~tradisyonel yo pou rezoud pwoblem nan vil yo~~

~~tankou pwoblem moun pil sou pil, polisyon, epi~~

~~lot kondisyon sosyal ak ekononuk ki ditisil.~~

~~Resiklaj materyel tankou vye kawoutchou ak~~

~~gode plastik pou sevi kom po fle, ansannr ak~~

~~aktivite dinamik ki eskiste nan lakou nan vil ak~~

~~nan katye popile ayisyen yo, se egzanp ki moutre~~

~~achitekti tradisyonel la ap kontinye entliyanse jan~~

~~moun bati kay nan peyi dAyiti.~~

~~^ONIAN FOLKLIFE FESTIVAL Devlopman heyjt;vite timoun yo se avni kilti resistans la nan peyi dayiti Foto koutwaz! ChontaiRegnauit~~

~~LESPRI LIBETE Nou ta rennien we Ayiii: Lilvic ak Kivyatlrltc AK KILTI REZISTANS soli nan iiioii lire nan Liiniiic autre nan santiman moun ki \iii vizite Festival la, epi ede yo kon-~~

prann pi byen kontribisyon Ayisyen pote nan Revolisyon 1804 la ki rejte esklavaj epi chache kilti lemonn, ansanm ak enpotans libete kom chemen libete ak egalite kite yon niak ki pap yon bousol pou pep ki vie viv nan diyite. jaiim efase nan istwa Ayiti ak nan istwa lenionn.

Ane bisantne Endepandans Ayiti a (ki se ane Geri Beiioit se li ki ap dirije koiiiisyoii ayisyen pou UNESCO deklare "Ane Entenasyonal pou Festival la. li se Direkte Ekzekitif IFE (Institiit Komemore Lit pou abolisyon Esklavaj" la) Feiiiiues Entrepreneurs), yon ONG ki i;en pou objektif

~~se yon kafou enpotan pou Ayiti, paske pep patisipe nan rekoiistui ekonomi Ayiti. Patrick Delatonr~~

~~ayisyen ap kontinye chache yon libete ki se yon acliitck. Ekspe nan kons(}vasyon nioniiiiaii istorik~~

~~sanble yon rev ki difisil pou reyalize. an Ayiti depi plis pase 20 ane, kom kirati' li patisipe~~

Festival la epi d(ia- Ayiti: Lihctc iik Kicyiitifitc soti tiau dhvi rive nan defnii patisipasyon Ayiti nan iii:e prezantasyon pivoi^rani nan. Patrick Delatonr te nail Laiiinc hay yon chans espesyal pou atis ak kiratt' poll Siiiitlisonian nan yon ekzihisyon sou Sitadcl atizan yo montre kilti yo, ki makonnen ak Henry Cliristoplie (nioninian ayisyen liiesko klase kom rezistans kont opresyon epi ak tradisyon kreya- patrimaii limanilel. Patrick \'ilaire se kirate pivoj^ram tiNite pep la. Moun ki vm vizite festival la nan tou menm jaii ak Patrick Delatonr. li se direkte pral patisipe pwosesis kreyatit la, kapab nan Biu'o Etnoloji an Ayiti. Patrick I 'ilaire <.;eii yon

~~an menm tan yo pral kapab pale ak atizan yo eksperyans entenasyonal kom eskilte. edikaie e kom~~

epi gade kijan yo metrize travay yap te a. moun ki travay nan devlope pwoje pon pole dio ak kouraii elcktrik nan diferan :6ii pivovens an Ayiti. Yo pral pote yon kontnbisyon nan anielyore Doktc Diana Baird N'Diaye. travay pou Siiiitlisonian kondisyon ekonoinik pep Ayiti a nan achte bel kom espesyalis nan kesyon jolklo ak anlivopoloji travay atis yo fe, pa selman pou pwop plezi yo, kiltirel. Diana se kirate pivo'^ram nan ton. Diana men tou kom yonjes solidante. travay kom kirate depi plis pase 20 ane. li reyalize la reprezante tou opotinite Festival yon aupil pwociraiii ekzihisyon pon prezanie riches kiltirel

~~enpotan pou Ayisyen-Anieriken. Depi anpil ail Alrik ak nan Karayih la. \'oiin nan ekzihisyon sa yo~~

~~Ayisyen te koumanse vini Etazini pandan ane ki pihiiye sou entt'iiet rele "Creativity and Resistance:~~

1960 yo, Ayisyen vm tome yon pati nan popi- Maroon Culture in the .-imericas" (Kreyativile ak rezistans: Kilti Mawon an Amcrik). Olsen Jean Jiilien lasyon Etazini a an jeneral. Festival sa a pral travay pou Siiiitlisonian kom kowodonate patisipasyon mete kilti yo an vale epi li pral konfime kon- Ayiti nan Festival la. Olsen se yon acliiiek ki espesya- tnbisyon yo pote nan lavi moun nan Etazini. lize nan itilizc teknoloii eiifomasyoii ak koniinikasyon Pou jenn Ayisyen ki pa konnen peyi papa ak pon konsevasyon eritaj kiltirel. Moniqiie Clesca se yon

~~manman yo, festival la pral ede yo konprann espesyalis nan koiiiiiiikasyon ki ekri atik sou kilti,~~

~~eritaj yo genyen, ki pa menm ak eritaj lot timoiin ak dwa fanm. Monique fek pihiiye yon uviiiaii~~

~~kote epi ki dwe ba yo fyete. ki rele, La confession.~~

~~AYITI: LIBETE AK KREYATIVITE. SOTI NAN MON RIVE NAN LANMt 1371 9mimimi%Mm>mmu,'^ ii»mmmi»mmimm mitmkmmiiM^^^m~~

~~^* -%, *«-'~~

~~W'^'iV NUESTRA MUSICA~~

~~Music in Latino Culture~~

~~DANIEL SHEEHY~~

~~er forty million people of Hispanic descent make the United States their home.~~

One out of eight Americans uses such labels as hispano. Latino, tcjano. Chicano, mcxi- caiio, Nuyorican, Cuban, iiuci'oiiic.xiiaiio, sali'ddorcno, and coloinbiiVio to point to their Spanish-speaking heritage m Latin America or the United States. Front-page news proclaims Hispamcs the largest minority group and the fastest-growing segment of the population, having more than doubled since 1980 and accounted for half the total population growth since 2001. In the past decade, the highest rates of

Liispanic growth have been not in California, Texas, New York, Miami, Chicago, and other long-time Latino strongholds, but 111 states such as Arkansas, Indiana, Michigan, North Carolina, Virginia, and Wisconsin. Hand m hand with the bur- geoning Latino population has come an equal infusion ot Latino music, usually

~~called iiii'isicti hiiiiia in the windows and bins of record stores.~~

~~If you are not Latino but have ever moved to the rhythm of salsa music, sung~~

~~"Cielito Lmdo" ("Ay. ay ay ay. caiiia y no llorcs"), seen the tilm Biiciia llsta Sonal~~

Club, heard pop singer Linda Ronstadt's concerts of Mexican rancliera music, (Facing page) In the rural community of Malaga in enjoyed the late Tito Puente's Latin jazz, or taken a salsa aerobics class, you have California's San Joaquin experienced the major impact of Latino music that has spread through the elec- Valley, mariachi musicians

~~tronic nredia and pop culture. But iiiuiicd Lniiid''i presence in the English-speaking accompany a procession~~

media only hints at the real explosion of the music m the United States and its celebrating the feast of the Virgin of Guadalupe. importance in the lives of Latinos. In the United States, a "parallel universe" of Photo by Eric Paul Zamora, exists alongside the English-dominant mainstream. The cre- Latino performance courtesy Amy Kitchener ation of the Latin Grammys in 2000 marked the new, permanent prominence of

~~Latin music on the North American scene. Latin divisions of the nrajor record~~

~~labels (e.g., Sony Discos and EMI Latin) have tapped the buying power of Hispanic~~

listeners, estimated at S580 billion in 2002 and projected to be $926 billion by 2007. U.S. -based Spanish-language television networks Univision and Telenuindo bring musical programming from the United States and Latin America into the homes of millions of viewers. Spanish-language stations claim increasing space on

~~Nuestra Miisica: Music In Latino Culture has been generously funded by the Smithsonian Latino~~

~~Initiatives Fund and the National Endowment for the Arts. Additional funding comes through~~

Anheuser-Busch, Inc., with in-kind support through Delta Air Lines. Cooperating organizations include Arts of the Americas Institute-University of New Mexico, Radio Bilingue, Univision, and the Smithsonian Center for Latino Initiatives.

NUESTRA MUSICA rulUSIC IN LATINO CULTURE 139] AM and FM radio dials, with the Hispanic himself" and connecting with his cultural Radio Network, the nonprofit satelhte Radio "home," as well as by the engaging aesthetic

~~Bilingiie, XM satellite-radio Spanish channels, and challenge of the music itself. He aban- and other national broadcasters heard by mil- doned the Broadway-show orchestra pits and~~

~~lions of people over hundreds of stations. organized Los Pleneros de la 21, a ground-~~

~~Concerts promoted entirely to Spanish- breaking group that served as the model tor~~

~~speaking audiences attract audiences in the dozens of others, from the East Coast to~~

~~tens of thousands. The Latin music and media Chicago to Te.xas.~~

~~industries are a powerful presence in American The sounds of muika laliini and the voices~~

~~life, and their influence is increasing. of musicians themselves help us understand the~~

~~But if you look beyond the glitzy veil of struggles, aspirations, and joys of Latinos in the~~

pop culture, you will find something much process of making the LJnited States their grander—dozens of musical styles from many home. Nati Cano tells another of these stories. cultures; music played for religious ceremonies, A pioneering mariachi musician in the United

~~in the privacy of homes, at birthdays, wed- States since the 1960s, Cano speaks of his life's~~

~~dings, Latin American independence days, work in music as a struggle against the class~~

~~and many other community occasions; music bias he experienced in Mexico and the racial~~

~~made by and for young Latinos; music recalled prejudice he felt in the United States. He by older generations; music that represents remembers being on tour in Lubbock, Texas,~~

~~generations-old heritage; and music that speaks m 1965, where a restaurant waiter told him.~~

~~to the changing panorama of contemporary "Look buddy, we don't serve Mexicans." It~~

~~American life. A close-up view of music in reminded him of the painful time when, as a~~

~~the lives of individuals and communities young boy, he would play mariachi music with~~

~~reveals rich details about the role and impor- his father to support the family, and a sign at~~

~~tance of music in Latino life. When professional the entrance of a local bar said: Broadway theater musician Juan Gutierrez moved to New York from Puerto Rico, for WOMEN, MEN IN UNIFORM,~~

~~example, he looked for other musicians from SHOE-SHINE BOYS, STREET VENDORS, MARIACHIS, the New York barrio. Revisiting the roots ot AND DOGS NOT ALLO'WED. the percussive sounds of Puerto Rican plena,~~

~~he was buoved bv the ]o\ and relief of "finding At the hotel that night, he recalled he could not~~

~~sleep, and he told a friend, "'You know what?~~

~~One day I'm going to have a place. It's going to~~

~~be a place where people of all colors will go, of~~

~~all flavors, from all countries will come to see~~

~~us.' And that day. La Fonda was born." Nati~~

~~Cano's eflbrts to instill the highest performance~~

~~standards in his Mariachi Los Camperos have~~

~~opened the doors of the most prestigious con-~~

~~cert halls in the United States and Mexico, and~~

~~his Los Angeles restaurant. La Fonda de Los~~

~~Camperos, attracts people "of all flavors" and~~

~~has been a model for other mariachi dinner restaurants m the Southwest.~~

~~Nati Cano warms up backstage at Radio BilingiJe's~~

~~iViva El Mariaclni! Festival in Fresno, California.~~

~~Photo by Daniel Sheehy~~

140] SMITHSONIAN FOLKLIFE FESTIVAL Members of the Latino community in Manassas, Virginia, applaud the mariachi musicians during a Mass celebrating the feast of the Virgin of Guadalupe. Photo by Charles Weber

MUSIC AND U.S. LATINO IDENTITY: arrangements, which favor trumpets and saxophones over the accordions of Texas. Unlike the Top 40 or LA MUSICA ES Ml BANDERA hit parade, heritage music tends to be intergenera- ENRIQUE LAMADRID tional in appeal. The newest music on the radio often features traditional corridas and folk songs

Like the spices and salsas that bring our senses to life such as relaciones. the satirical songs of children. and remind us who we are, music is a staple of our Our cultural past and present is embedded in daily existence, as essential as bread, tortillas, plan- our music. The old indita songs emulate the melodic tains, potatoes, and beans and rice. In the plethora scales of our Native American neighbors. The of sounds that advanced technological societies serve melodies of the traditional matactiines dance con- up to us, we choose what we hear, just as we choose tain the rhythms of the son, our living contact with what we eat. We remember where we come from by pan-African culture. Recently, the South American listening and savoring our roots, the rhythms and cumbia has increased that presence, penetrating the melodies that our families give us. We realize where ranchera sensibility with its exotic rapture. The we are by turning on the radio, by opening our ears intercultural experience of daily life in the United and hearts to what surrounds us. As the Puerto Rican States is also saturated by mainstream popular and Cuban musicians say in New York City, "La musi- musics, from country to rock, pop, and hip-hop. Our ca es mi bandera, " music is my flag. own artists adapt them with bilingual lyrics and an

~~My own corner of the Hispanic world is New intercultural aesthetic. The Chicano list of oldies~~

~~Mexico, with its deserts and mountains and valleys. also includes bebop classics and '50s rock and roll.~~

Here the oldest music is also the most cherished. The Musical tastes vary by generation, by class, by alabado hymns, from the 16th century, are sung on occupation, and by rural or urban settings. Just as holy days by entire communities in solemn antiphony. everywhere else in America, members of the same The ancient stories unfold as the communal choruses family are both united and divided by their musical answer. Melodies vary from valley to valley. You can preferences. One of the truest measures of the tell where someone is from by how they sing. In the health of our musical identity comes from the com- north, o/obodos are stylized with melismatic flourishes. parison of what we consume to what we produce.

Across the mountains on the plains, the same lyrics Singing it makes it more truly ours. The music we are sung plain and unembellished, with melodies and most identify with, the songs that most lift our tempos that wander like the wind. spirits, tell us most about who we are. Varied and Secular music celebrated by the same communi- multicolored, "La miisica es nuestra bandera," music ties also has many layers. Corrida ballads memorialize is our banner, our joy, our soul. historic episodes. The cancion or lyrical song, with its expressions of love and life and death, is accom- The many layers of musical culture in New Mexico have and mariachi music. Although panied by ranchera always fascinated Enrique Lamadrid, who teaches folklore brought to the northlands by radio, film, and in the Spanish 8t Portuguese Department of the University records, this music becomes New Mexican in its of New Mexico.

~~NUESTRA MUSICA MUSIC IN LATINO CULTURE Karol Aurora de Jesus Reyes records for Smithsonian Folkways Recordings in Puerto Nuevo, Puerto Rico. Photo by DomeiSheehy~~

~~Like Cano, Roberto Martinez, a veteran heritage:"! think that there is no way to create~~

~~singer, guitarist, and composer from Albuquer- if you don't have the roots.... 1 think that the~~

~~que, New Mexico, saw in his own New- creative thing is just something that happens,~~

~~Mexican Hispanic traditional music a way to you know? I intend to be creative, but it's not~~

~~strengthen the social struggle against racism. that I plan it. It's like I teel that I have enough~~

~~When, during the iy6os, discrimination m his information on the pattern, on the tradition, workplace shocked and outraged him, one ot and that gives me the opportunity to build on~~

~~the ways he fought back was by writing and it." For many Latinos young and old, the joy~~

~~recording corridos (narrative ballads) that of music-making is a life-transtorming passion~~

~~enshrined important events of Hispanic New that can become a career as well. When protes- Mexico. One was the "Corrido of Daniel sional maraca player Omar Fandino ot~~

~~Fernandez" that recounted how, during the Colombia was 12 years old, he discovered his~~

~~Vietnam War, Fernandez threw himself on a life's calling in the driving /oropo rhythms of~~

~~live grenade to save the lives ot his buddies. iin'isica lldiieid, the harp, guitar, maraca, and~~

~~Many grassroots Latino musical traditions vocal music of the Orinoco plains: "It's part " have enjoyed a resurgence among young of my life, I think I breathe /oco/w.~~

~~people in recent decades, and with this self- As with other cultural minority groups in~~

~~confidence in musical roots have come new the multicultural United States, Latino commu-~~

~~social and creative aspirations. When 16-year- nities have often used music to express~~

~~old Karol Aurora de Jesiis Reyes was asked in themselves in the public commons—civic~~

2002 what future she dreamed of for musicci celebrations, ethnic festivals, cultural education jibara—the centuries-old Puerto Rican string, programs, and political events, for example. percussion, and vocal music that she sings—she Many kinds of music that were historically

~~answered, "MTV. Los Grammys. I love MTV." intended for private occasions—such as tor Little did she know that the recording she social dancing or for religious devotion—take~~

~~helped make that year, Jlbcvv Htista el Hiieso: on new meaning as they are moved into the~~

~~Mountain Music of Puerto Rico by Ecos de public realm m order to send a message of iden-~~

~~Boriuqucn, would be nominated for a Grammy tity: "We are Dominican" (or Mexican, or~~

~~in the Best Traditional World Music Album cat- Cuban, or Puerto Rican, and so forth). Some~~

~~egory. Her fellow Puerto Rican Hector "Tito" musical styles, forms, and repertoires have deep,~~

~~Matos is one of the most creative of the "core-culture" associations and/or "stage per-~~

~~younger piciid musicians and a strong propo- tormance value" to please broad audiences with~~

~~nent ot the value ot being grounded in one's a strong stamp ot cultural identify. These become~~

[421 SMITHSONIAN FOLKLIFE FESTIVAL symbols, aimed either at a new, broader audience VAMOS A BAILAR: LET'S DANCE! or at the same community audience but with OLGA NAJERA-RAMiREZ the new purpose of coining group identirv'.This transition to a new role has raised important Dance forms an integral part of Latino cultures, concerns among performers and communities. occupying a special place as popular entertainment, in religious ceremonies, and as an expression of Often, when the symbolic value of a music or national pride. It is also vibrant and dynamic, dance form is ampHfied, it may displace the cul- shaped by the same processes of hybridization turally internal roles and meanings that gave the and transculturation that have continued to music life and social relevance in the first place. redefine culture, society, politics, and identity

~~When Afro-Cuban cirummer. singer, and in the Americas since the colonial period.~~

In Spanish, "dance" is translated as both danza spiritual leader Felipe Garcia ViUamil came to the and baile. Technically, there is no difference United States, he was asked to peiform his pri- between these terms, but in vernacular speech, vate ritual music for general American audiences. danza often refers to ritual dance that is rooted in He took on the challenge ot demystify'ing tor indigenous practice. During the process of coloniza- and instilling in others an appreciation of the tion, danza gradually fused indigenous and Euro- ailniml importance of the music, dance, symbols, Christian beliefs and practices. Today, danza continues to be performed throughout the Americas. Some of and customs of his huiiiiil. pale, and iihiikwd tradi- the best-known danzas include la danza de moras y tions. To do this, he cratted performances that cristianos, la danza de las matachines, and la danza balanced the sharing of public knowledge of his de la conquista. Despite the broad variation in rehgion with the need to maintain the secrecy of names and its syncretic nature, danza is almost certain elements intended only for the initiated. always associated with "la India" or indigenousness.

In the North American context, CJarcia accepted Baile refers to secular, social dance performed by couples at parties, commercial dance halls, and night- the value of his tradition as a public, symbolic clubs. Waves of European immigrants brought popular representation ofAfro-Cuban culture, while at ballroom dances, such as the polka, the waltz, and the the same time keeping its spiritual integrity. habanera, that contributed to the development of

Karol Aurora de Jesus Reyes is unreserved about mestizo regional dances. African-based traditions also the capacity ot her nuisic:! jihahi to pRuidly repre- sparked the creation of new song and dance styles. The cumbia, for example, emerged from the African- sent her culture without artistic compromise: "It based traditions of coastal Colombia to become a wiU make us shine before the world, and then favorite pan-American dance and musical style now people wiU hear the music and say, 'Look, that is played by regional ensembles such as the chanchona the music trom Puerto Rico.'" She brims with from El Salvador and the mariachi from Mexico. 8o//es pride m her music. folcloricos represent another type of popular dance.

~~Stylized and choreographed for staged presentations,~~

Tito Matos has shown the creative potential in the pan- fao;7es folcloricos promote national pride, cultural deretos in Puerto Rican plena music. Photo by Domd Sheehy heritage, and tourism. Today, globalization has increased the movement of peoples and cultures within and across

~~national borders. As a result, regional dances are becoming more widely known beyond their place of origin. Localized traditions from Latin America are~~

~~springing up in new cultural environments through-~~

~~out the United States. Although dance is continually~~

~~changing in form, function, style, and context, it remains one of the most important and widespread~~

~~expressive forms in Latino cultures.~~

~~Olga Najera-Ramirez, professor of anthropology at the University of California, Santa Cruz, received her Ph.D.~~

~~from the University of Texas in Austin. Author of books and producer of an award-winning video, she has concentrated~~

~~on documenting and critically examining expressive culture~~

~~among Mexicans in both Mexico and the United States.~~

~~NUESTRA MUSICA MUSIC IN LATINO CULTURE [431 J~~

~~«fe~~

•«*

~~t :,^~~

~~/r At the s.nne tune that forms ot' music (and dance) have become vehicles tor~~

~~creating social identity-, they have also become means for creating a new sense of~~

~~community. Music in any society is a social magnet, a way of bringing people~~

~~together, the major attraction at a myriad of social events. But among Latinos in~~

~~the United States, this role has been expanded and its importance heightened. Music~~

~~has become a primary vehicle tor reuniting people who share a similar background~~

and recreating their lost sense of community—especially tor a dispersed immigrant Latino community, or for a Latino minority culture living among people of other cultural backgrounds who speak languages other than Spanish. The rhythms of pan-

~~Latin popular singers like Marc Anthony, the late Celia Cruz, or Los Tigres de Norte~~

~~playing salsa, )nercii^Ui\ or polai nortcihi attract throngs of Spanish-speaking Latinos~~

~~of many backgrounds to nightclubs and dance halls throughout the United States.~~

~~In the daytime, audience members might work in a warehouse, a construction com-~~

~~pany, or an ottice that calls tor interacting in a different language or communication~~

~~style. But at the nightclub, dance hall, or the stadium concert, they are Latino and~~

~~can do their Latmo way ot dancing, of speaking, and of interacting, with the free-~~

~~dom ot not having to think about it. Music-making—both its sounds and its~~

~~occasions— is paramount in creating community. From the pop culture experience~~

~~has emerged a growing pan-Latino identity that combines various Latinos" back-~~

~~grounds with a sense of common difference tVom the "Anglo" mainstream.~~

~~Another way music creates community in the United States is Latinas' use of public~~

performance as a social forum in which to forge new gender roles for women within (Facing page) Dance can be a Latino culture—a reshaping of their communitv. AU-temale mariachi ensembles such as form of music-making. For

~~Las Reynas de Los Angeles and Mariachi Mujer Dos Mil of California have successfLiUy example, in the fandango of~~

challenged the male gender domination of that musical tradition and profession. Likewise, southern Veracruz, dancers' zapateado (rigorous foot- all-female salsa orchestras and salsa superstars such as Ceha Cruz have carved out new worl<) creates a percussive or expanded roles greater and space for women musicians in the professional realm. sound that complements the

~~Music can also re-create a sense of community for Latinos in the United other instruments in the~~

ensemble. Photo by Jon Kersey, States using core ingredients from life "back home." The marimba, ever-present m courresy Otgo Ndjero-Romirez Guatemalan life, brings expatriates and their children together in the United States

~~when It plays popular melodies from "back home" at Guatemalan community Master accordionist Eva~~

weddings, birthdays, and dances. And it only takes a few staccato notes from the Ybarra has earned her place in conjunto music, which she accordion-driven coiijiiiiio trom Te.xas to flip on an internal switch ofTexas-Mexican describes as a "man's world." identify, as the listener begins to move with the sliding step of the rcjiiiio polka and Photo byt/lichael Young, courtesy yearn tor the social surroundings of a dance hall. Cathy Ragland

~~Music has many places in Latino cultural and social~~

~~lite, but, put simply, music is one of the essential ingredients~~

~~for anyone to live a normal, satisfy-ing hfe. In its rich cultural~~

~~diversity and engaging social complexity, iiu'iska ktiiui gives~~

~~voice to the cultures, struggles, issues, hopes, and joys of all~~

~~people called "Latino."~~

~~Dr. Daniel Slicchy is an cihiiomusicologisr, LiiiiUoi] iiuisicidii,~~

~~and director of Sniitlisoiiiaii Folkways Recordings, the national~~

~~nniseuni's nonprotlt record label. He has aniliored and edited~~

~~fuinierons pnhlications on Latin American nnisic, as leell as produced concerts, tours, ami recordings of innsicians from~~

~~Latin America and the United States.~~

~~NUE5TRA MUSICA MUSIC IN LATINO CUL'. 1451 THE LATINO MUSIC PROJECT Recording Initiative, entitled Tradiciones/Traditions, to expand Latino music holdings, to publish and~~

~~The Smithsonian Foll~~

~~Musica: Music in Latino Culture showcases the site offering bilingual educational materials.~~

~~experience of Latino music and dance, using it as To date, eleven recordings have been published-~~

~~a way into a variety of complex cultural and social two of them nominated for Grammys-presenting~~

~~issues. As music helps us understand the broader music from over twenty musical traditions (see the~~

~~social experience, so the social and cultural con- list on the next page), and reaching millions of~~

~~texts help us understand the music. This is what listeners through radio airplay and the distribution~~

~~the living, thought-provoking, engaging Smith- of recordings.~~

sonian Folklife Festival does: it gives voice to The 2004 Festival program lays out the themes communities and cultures from around the globe, of the years to follow: Vamos a Bailor: Latino Dance Raices Ramas/Roots and it gives space to the performance of their Music-Dancing Community; y

~~defining forms of expression. An exhibition that and Branches: Continuity and Creativity in Latino~~

~~would do justice even in a minimal way to the Music; and jSomos Latinos! Music and Latino~~

~~scope, complexity, and beauty of Latino musical Identity The program will explore the historical~~

~~in life could never be contained in a single year's roots and development of Latino cultures the~~

~~Festival program. Consequently, the program will United States, contemporary social issues articulated~~

~~embrace an unprecedented four consecutive years in music and dance, and the role the music indus-~~

~~of the Festival, with each year shaped by a special try plays in the continuity and transformation of~~

~~theme highlighting a coherent constellation of Latino musical tradition. Thematic threads, artist~~

~~will issues in Latino music and culture. input, and evaluation of the pilot Festival year~~

~~The program's overarching title, Nuestra contribute to the elaboration of the themes high-~~

~~Musica: Music in Latino Culture, points to the lighted in the Festivals for 2005, 2006, and 2007.~~

~~two conceptual pillars that support the four-year The future promises a major and growing~~

~~project: understanding musica latina in its broader presence for Latino cultures in the United States.~~

~~cultural life as a way of realizing its rich potential But social, cultural, and language barriers have~~

~~for public engagement and education; and exploring sometimes caused public understanding of, and~~

~~the power of music in Latino cultures as an index engagement with. Latino culture to lag behind~~

~~or coin of cultural identity. The more we grasp this development. The Nuestra Musica: Music in~~

~~the deeper significance embodied in the phrase Latino Culture Festival program, and the Latino~~

~~nuestra musica— "our music"-the more we will Music Project in general, are highly visible, national~~

~~understand the cross-cultural, cross-generational, steps toward remedying this communication gap.~~

~~gendered complexity of the "we" in the "nuestra" Through engaging, participatory presentations of~~

~~and the meaning-laden, diverse, engaging beauty music and dance from many Latino cultural back-~~

~~of the "musica." grounds, Nuestra Musica will open an important~~

~~Nuestra Musica: Music in Latino Culture is door to the public understanding of the diversity,~~

~~a signature component of a larger Latino Music heritage, and hopes of Latinos in the United States~~

~~Project conceived by the Smithsonian's Center and abroad. Our goal is to expand social under-~~

~~for Folklife and Cultural Heritage. In 2001, the standing and exchange, and what better place to~~

~~non-profit record label, Smithsonian Folkways start than music? In an age of globalization, music~~

~~Recordings, a division of the Center for Folklife presents a unique opportunity to build bridges and~~

~~and Cultural Heritage, launched its Latino Music strengthen cross-cultural understanding.~~

~~146] SMITHSONIAN FOLKLIFE FESTIVAL SUGGESTED READING Quisqueya en el Hudson: Dominican .Music in AND LISTENING Neu'York City. 2004. CD 40495.~~

Raices Latiiias. 2002. CD 40470. Olsen, Dale A., and Daniel Edward Sheehy, Sacred Rhythms of Cuban Santeria. 1995. editors. 2000. Tlic Gtulami Hiuidhook of Latin CD 40419. Aiiicriidii iMusii. New York: Garland Publishuig.

~~Si Soy Llanero: Joropo Music from the Orinoco~~

~~Schechter, John M. 1999. Music in Latin Plains of Colombia. 2004. CD 40515.~~

~~Anwriidii Ciiltiiir: Rciiional Traditions. Taqnacliilo \'i};hts. 1999. CD 40477. New York: Schn-mer Books.~~

~~I lento de .-It,'"'' i'nplu^i^ed: Materia Prima. 2004. Smithsimian Folkways Recordings CD-40513.~~

~~Borderlands: Conjiinto to Cliichcn Siiatcli, From /I7i'(7 (7 Mariachi! Nati Caiio's Mariachi Los~~

~~Music of tlic Rio Grande I alley of Texas and Camperos. 2002. CD 40459. Southern Arizona. 2002. CD 40418.~~

~~For more information and other selections see: Ciipoeira Au'^ola 2: Brincando na Roda. 2003. www. folkways. si. edii. CD 404NS.~~

~~C((/n; /)/ W'ashinfiton. 1997. CD 40461.~~

~~Havana & Matan:as. Cuba. ca. 1957: Batd,~~

~~Bendn-, and Palo. 2003. CD 40434.~~

~~Havana, Cuba, ca. 1957: Rliytlniis and Soiv^s for the Orislias. 2001. CD 404IS9.~~

~~Heroes & Horses: Corridos from tlic Ari:ona- Sonora Borderlands. 2002. CD 4047s.~~

~~Jibaro Hasta el Hiieso: Mountain Music of Puerto~~

~~Rico by Ecos de Borinquen. 2003. CD 40S06.~~

~~La Baiiiba: Sones Jaroclios from I'eracru:. 2003.~~

~~CD 40505.~~

~~Marino Rivero, Rene. Bandoncon Pure:~~

~~Dances of Lku{;uay. 1993. CD 40431.~~

~~Matanzas. Cuba, ca. 1957: Afro-Cuban Sacred~~

~~Musicfrom the Countryside. 2001. CD 40490.~~

~~Music of New Mexico: Hispanic Traditions. I99-- CD 40409.~~

~~Puerto Rican Music in Hawaii. 19S9. CD 40014.~~

~~Puerto Rico in l\dslnn^;ton. 1996. CI^ 40460.~~

~~Felipe Garcia Villamil shows a beaded~~

~~ritual bottle that he himself decorated.~~

~~Photo courtesy Felipe and Valeria Garcia Villamil~~

~~NUESTRA MUSICA MUSIC IN LATINO CULTURE 147) NUESTRA MUSICA~~

~~Musica en la cultura latina~~

~~DANIEL SHEEHY~~

~~Traducido por Nilda Villalta~~

~~as de cu.irenta niillones de personas de descendencia hispana han hecho~~

~~de los Estados Uiiidos su hogar. Uno de cada ocho norteameiicanos se autodeiuiimna~~

~~hispano, latino, tejano, chicano, niexicano, Niiyoricaii, cubano. nuevomexicano, salvadoreno,~~

~~colombiano u otro termino para atlrmar su herencia latina ya sea en America Latina o~~

~~en los Estados Unidos. Noticias de primera plana proclaman a los latinos como la~~

~~minoria mas grande y el grupo con la mayor expansion ciemograt'ica. habiendo diiplica-~~

~~do el numero de su poblacion desde 1980 y representando ya la niitad del crecmiiento~~

~~total desde 2001. En la ultima decada, los indices mas altos de crecmiiento demogratlco~~

~~entre los latinos no se han dado en California, Texas, NuevaYork, Miami, Chicago ni~~

~~en otros espacios histoncamente latinos, sino en estados como Arkansas, Indiana,~~

~~Michigan, Carolina del Norte, Virginia y Wisconsin. De la mano con el tlorecimiento~~

de la poblacion latina viene una explosion de musica latma llenando escaparates y Mariachi Los Camperos mostradores de las tiendas de musica. toca en el festival anual Si no eres latino pero has bailado al ritmo de salsa, cantado "Cielito Lmdo" ("Ay, ay de Radio Bilingue jViva El ay ay, canta y no Uores"), visto la pelicula Biiciia I Ista Social Club, escuchado los conciertos Mariachi! en Fresno, Cali- fornia. Foto de Donid Shechy de rancheras de la cantantc popular Lmda Ronstadt, disfrutado del jazz latino de Tito

~~Puente, o tomado clases de salsa aerobicos; eso~~

~~significa que has experimentado el gran impacto~~

~~de la musica latma que se ha expandido a traves~~

~~de los medios de comumcacion y la cultural po-~~

~~pular. Pero la presencia de la musica latina en los medios de comunicacion norteamericanos anglo-~~

~~parlantes es solo una pequena muestra de la~~

~~explosion de esta musica en los Estados Unidos~~

~~\ su importancia en la vida de los latinos. En los~~

~~Estados Unidos existe un "universo paralelo"~~

~~de artistas latinos coexistiendo con la corriente~~

~~dominante del mundo anglo. La creacion de los~~

~~Grammys Latino en 2000 marctS la nueva y per-~~

~~Radio manente importancia de la musica latina en la Natiop:?" Latin escena iiorteamencana. Divisiones latinas de v«i-S Liv grandes sellos disqueros (ej. Sony Discos y EMI~~

~~Latin) han capturado el poder de compra del~~

~~SMITHSONIAN FOLKLIFE FESTIVAL publico latino, estmiado en $sNo billones en orquesta en Broadway y organize Los Pleneros~~

~~2002 y proyectado a alcanzar los $926 para de la 21, una agrupacion innovadora que ha 2007. Cadenas de television en espanol conio servido de modelo para muchos otros grupos,~~

Univision y Teleminido llevan progranias de la costa este a Chicago y Texas. musicales a lo largo de los Estados Unidos y Los sonidos de la mi'isica latina y las voces America Latina a los hogares de millones de de los musicos mismos ayudan a entender las televidentes. Estaciones de radio en espafiol luchas, aspiraciones y alegrias de los latinos en reclaman mas y mas espacio en diales de banda el proceso de hacer de los Estados Unidos su

~~AM y FM. La Red Hispana de Radios, la hogar. Nati Cano cuenta una de estas historias. estacion satelite sin fines de lucro Radio Pionero de la musica mariachi en Los Estados~~

Bilingiie, canales en espanol XM radio-satelite Unidos desde los anos sesenta, Cano describe y otros medios a nivel nacional son todos el trabajo de toda su vida como musico, como escuchados per millones de personas a traves una lucha contra los prejuicios de clase que de centenares de estaciones. Conciertos el expenmento en Mexico y los prejuicios orientados a audiencias latinas atraen miles raciales que expenmento en los Estados de personas. Las industrias de la nu'isica y las Unidos. Recuerda que estando de gira en comunicaciones latinas tienen inia presencia Lubbock, Texas, en 1965. el mesero de un muy solida en la vida norteamericana, y su restaurante le diio, "mira, nosotros no le servi- intluencia esta creciendo. mos a mexicanos". Le recordo del momento

Sin embargo si vamos mas alia del destello doloroso cuando. siendo todavia muy joven, de la cultura popular, se observa algo mucho el tocaba musica mariachi con su papa para mas grandiose. Decenas de estilos musicales mantener a la familia, y a la entrada de un bar provementes de muchas culturas, musica que local habia un letrero que decia "mujeres, uni- se toca en celebraciones religiosas, en la mti- formados, boleros, vendedores ambulantes, midad del hogar, en cumpleanos, bodas, dias de mariachis y perros no son admitidos en este la independencia, y muchas otras celebraciones lugar". Ya en el hotel esa noche, recuerda que

~~comumtanas. Miisica creada para y por jovenes no pudcT dorniir y le clijo a un aniigo, ";sabes latinos, musica recordada por los mayores, nu'isi-~~

~~ca que representa la herencia de generaciones pasadas y musica que habla del panorama cam-~~

~~biante de la vida norteamericana conteniporanea.~~

~~Un acercamiento al impacto de la musica en~~

~~la vida de mdividuos y comunidades revela~~

~~detalles muy ricos sobre la importancia y el~~

~~papel de la musica en la vida de la comumdad~~

~~latina. Cuando Juan Gutierrez, niusico prote-~~

~~sional en Broadv,'ay, se mudo de Puerto Rico~~

~~a NuevaYork busco a otros nu'isicos del barrio.~~

~~Volviendo a las raices de los sonidos de per-~~

~~cusion de la plena puertornquena, se lleno de~~

~~alegria y alivio de "encontrarse a si imsnio" y de sentirse en conexion con su hogar cultural.~~

~~al mismo tiempo que se involucraba en la~~

~~estetica y el reto que la musica presentaba en~~

~~si misma. Gutierrez abandono el toso de la~~

~~Pleneros del barrio tocan en un desfile en Nueva York,~~

~~foto de Doniel Sheehy~~

~~NUESTRA MUSICA MUSIC IN LATINO CULTURE 1491 Roberto Martinez fundo el grupo Los Reyes de Albuquerque en 1961. Foto de Enrique Lamadrid~~

~~que? Yo iin dia voy a tencr un lugar, va a ser Muchas tradiciones musicales latmas de~~

~~Lin lugar donde van a venn" de todos colores, base ban gozado de un resurgimiento entre la~~

~~de todos sabores, de todos los paises van a gente joven en decadas recientes, y con auto-~~

~~venir a vernos.' Y ese dia nacio el restaurante confianza en las raices latinas ban florecido La Fonda". Los esfuerzos de Nati Cano por nuevas aspiraciones creativas y sociales. Cuando~~

~~buscar los mas altos niveles de interpretacion en 2002 e le pregunto a Karol Aurora de Jestis~~

~~musical en su nianachi, Los Camperos, les han Reyes de 16 anos cual era el tuturo que ella~~

~~abierto las puertas de los mas prestigiosos esce- sonaba para la nuisica jibara — la centenaria~~

nanos en los Estados Unidos y Mexico. Su musica puertorriquena combinacion de cuerdas, restaurante en Los Angeles — La Fonda de percusion y voces — ella respondio: "MTV, los los Camperos — atrae gente diversa y ha grammys, amo MTV". Poco sabia que el album

~~servido de modelo para restaurantes-mariachi del que ella fue parte ese mo.Jilhiro HdUti c!~~

~~en el suroeste del pais. Como Cano, Roberto Hueso: Musicti dc la nioiuaua dc Puerto Rico dc~~

~~Martinez — cantante, guitarrista y compositor Ecos de Boriiiqiicn, seria nominado paia un~~

~~de Albuquerque, Nuevo Mexico — vio en su Grammy en la categoria de Best Traditional~~

~~propia mi'isica tradicional hispana nuevomexi- World Music. Su compatnota. Hector "Tito"~~

~~cana una forma de fortalecer la lucha social Matos es uno de losjovenes musicos pleneros~~

~~contra el racismo. Durante los anos 60, la dis- mas creativos y uno de los tenaces propulsores~~

~~criminacion en su lugar de trabajo le asombro del valor de estar asentado en la tradicion cul-~~

~~y enojo, el resistio a ese hecho escribiendo y tural propia. Matos explica, "pienso que no hay~~

~~grabando corridos que conmenioran eventos forma de crear si no se tienen raices.. .pienso~~

~~importantes de los hispanos en Nuevo Mexico. que lo creativo el algo que solo pasa, ^sabes?~~

~~Uno de ellos es "El Corrido de Daniel Fernandez" Yo trato de ser creativo, pero no es algo que yo~~

~~que cuenta como, durante la guerra de Vietnam, planeo.Yo siento que tengo suficiente intorma-~~

~~Fernandez se lanzo sobre una granada para sal- cion en el patron, en la tradicicSn, y eso me cia~~

~~var la vida de sus companeros. la oportunidad de construir sobre lo L]ue hay".~~

[50i SMITHSONIAN FOLKLIFE FESTIVAL MUSICA Y LA IDENTIDAD LATINA tambien incluye corridos y canciones tradicionales como las relaciones, los cantos satiricos para EN LOS ESTADOS UNIDOS: ninos. Nuestra cultura pasada y presente esta liga- LA MUSICA ES Ml BANDERA da estrechamente a nuestra musica. Los antiguos cantos llamados inditas imitan las melodias de ENRIQUE LAMADRID nuestros vecinos indigenas. Las tonadas tradi-

cionales de las danzas de Matachines contienen Como las especias y salsas que despiertan nues- ritmos del son, nuestro contacto vivo con la cul- tros sentidos y nos recuerdan quienes sotnos, la tura pan-africana. Recientemente, la cumbia musica es parte esencial de nuestra existencia, suramericana ha incrementado su presencia, tan esencial como el pan, las tortillas, los pla- entrando en el campo de la sensibilidad ranchera tanos, las papas y el arroz con frijoles. Dentro de con su belleza exotica. La experiencia intercultural la gama de sonidos que las sociedades tecnologi- de nuestra vida diaria en los Estados Unidos esta cas nos brindan, escogemos lo que oimos, asi tambien saturada por las diferentes miisicas popu- como escogemos lo que comemos. Recordamos de lares norteamericanas, que van de la musica donde venimos, escuchando y saboreando nuestras country d\ rock, pasando por el popy el hip-hop. raices, los ritmos y las melodias que nuestras Nuestros propios artistas adaptan estos ritmos familias nos dan. Nos damos cuenta de donde anadiendo letras bilingiies y una estetica inter- estamos al escuchar el radio, al abrir nuestros cultural. La lista chicana de musica de ayer, los oidos y corazones a lo que nos rodea. Como los oldies, contiene clasicas del ritmo bebop y can- musicos cubanos y puertorriquenos dicen en ciones de rock and roll de los anos cincuenta. Nueva York: la musica es mi bandera. El gusto musical varia de generacion a gene- Mi propio rincon en el mundo hispano es racion, de acuerdo a clases sociales, ocupaciones, Nuevo Mexico, con sus desiertos, montanas y valles. y ambientes rurales y urbanos. Como en cualquier Aqui la musica mas antigua es la mas apreciada. Los otro lugar en los Estados Unidos, miembros de la alabados, himnos del siglo XVI, son cantados en dias misma familia se unen o se separan por sus prefe- sagrados por comunidades enteras en solemne anti- rencias musicales. Uno de los parametros mas fonia. Las antiguas historias se desenlazan y el coro autenticos para medir la salud de nuestra identi- responde. Las melodias cambian de valle en valle. dad musical viene de la comparacion de lo que Uno puede identificar de donde es una persona por consumimos con lo que producimos. Cantar algo la forma en que canta. En el norte, los alabados son lo hace mas nuestro. La musica con la que mas adornados con tonadas floridas. En los llanos mas nos identificamos, las canciones que mas levantan alia de las montanas, las mismas letras se interpre- nuestras animas, son las que mas nos dicen tan de forma Nana, sin adornos, con melodias y quienes somos. Variada y con multiples colores, compases que vuelan como el viento. la musica es nuestra bandera, nuestra alegria, En la musica secular, cantada por las mismas nuestro espiritu. comunidades, tambien encontramos mucha diversi- episodios historicos. dad. Los corridos conmemoran Las muchas esferas de la cultura musical en Nuevo Mexico han La cancion con sus expresiones de amor, vida y fascinado siempre a Enrique Lamadrid quien ensena cultura y muerte es acompanada por musica ranchera o literatura popular y espanol en el departamento de Espanol y Portugues en ia Universidad de Nuevo Mexico. musica de mariachi. A pesar de que esta musica llegara a las tierras del norte a traves de la radio, peliculas y discos, esta musica se hace nuevomexi- cana por sus arreglos, que favorecen el uso de trompetas y saxofones sobre los acordeones de

~~Texas. A diferencia del la lista de exitos "Top 40,"~~

~~la musica tradicional se comparte entre diferentes generaciones. La musica mas nueva en la radio~~

~~La orquesta Marimba Antigua toca en un concierto de~~

~~marimba en su pueblo natal de El Tejar en Guatemala.~~

~~Siempre presente en la vida guatemalteca en los Estados~~

~~Unidos, la marimba reune a expatriados y a sus hijos cuando tocan melodias guatemaltecas populares en~~

~~bodas, fiestas de cumpleanos y bailes en la comunidad.~~

~~Foto de Don Porter~~

NUESTRA MUSICA MUSIC IN LATINO CULTURE (5I| iVAMOS A BAILAR! Para niuchos latinos, viejos yjovenes, el goce de hacer im'isica es una pasion que transtorma sus OLGA NAJERA-RAMiREZ vidas y que puede convertirse en una carrera

El baile forma una parte integral de las culturas lati- tanll^ien. Cuando el colombiano Omar Fandino, nas, ocupando un lugar especial como forma de prot'csional de las inaracas, tenia 12 aiios des- entretenimiento popular, en ceremonias religiosas y en cubno la nusion de su vida en el pegajoso expresiones de orgullo nacional. Tambien es vibrante y ritnio de joropo de la niusica Uanera, el arpa, la dinamico, moldeado por los mismos procesos de hibri- guitarra. niaracas voces de la niusica de las IJa- dacion y transculturacion que han contribuido a y

definir la cultura, la sociedad, la politica y la identidad nuras del Orinoco. Fandino dice:"es parte de en las Americas desde tiempos coloniales. mi vida, creo que respiro joropo". danza baile son palabras que se En espafiol y Como sucede en otros grupos minoritanos refieren a dos modalidades de una misma expresion en los Estados Unidos, las comunidades latinas cultural. Tecnicamente, no hay diferencia entre estos han utilizado la miisica para expresarse en am- terminos, pero en el habia popular, danza se refiere a civicas, ritos que tienen sus cimientos en practicas indigenas. bientes publicos: celebraciones

Durante la colonia, la danza fusiona creencias y prac- festivales, programas de educacion musical y ticas indigenas y euro-cristianas. En la actualidad, eventos politicos, por ejempio. Diterentes tipos danzas son representadas a lo largo de toda America. de miisica que historicamente fueron creados Algunas de las danzas mejores conocidas son la danza para ser ejecutados en ocasiones privadas — de moros y cristianos, la danza de los matachines y la bailes sociales o devociones religiosas — danza de la conquista. A pesar de las variaciones en

~~nombres y lo sincretico de su naturaleza, la danza es adquieren nuevos signitlcados en la niedida que casi siempre asociada con lo indigena. van incursionando en espacios publicos como~~

Baile se refiere a lo secular, al baile social practi- estrategia piara enviar un mensaje de identidad. cado por parejas en fiestas, en salones de baile y en "Soiiios dominicanos" (o mexicanos, cubanos, bares. Oleadas de inmigrantes europeos trajeron bailes o pucrtorriquenos y demas). Algunos estilos de salon como la poica, el vals y la habanera que han coiitienen contribuido al desarrollo de bailes mestizos regionales. musicales, tbrnias y repertonos

~~Tradiciones de origen africano tambien posibili- asociaciones directas con el "tiucleo de lo~~

~~taron la creacion de nuevas canciones y estilos de cultural" o asociacion con lo que es "represen- baile. La cumbia, por ejempio, surgio de tradiciones~~

africanas de la costa de Colombia hasta convertirse en Omar Fandiino toca maracas entre sesiones de grabacion baile pan-latino ahora es un estilo de miisica y que en Bogota, Colombia, para Smithsonian Folkways

~~interpretada por conjuntos regionales como la chan- Recordings. Foto de Dame! Sheehy~~

~~chona de El Salvador y mariachis de Mexico. Los bailes folcloricos representan otro tipo de baile popular y se~~

~~caracterizan por ser estilizados y coreografiados para~~

~~ser presentadas en teatros. Los bailes folcloricos pro-~~

~~mueven orgullo nacional, herencia cultural y turismo.~~

~~En el presente, la globalizacion ha posibilitado el~~

~~flujo de gente y culturas dentro y mas alia de fronteras~~

~~nacionales. Como resultado de ello, los bailes regionales~~

~~se estan haciendo mas conocidos fuera de su lugar de~~

~~origen. Muchas tradiciones latinoamericanas estan flo-~~

~~reciendo en nuevos ambientes culturales por todos los~~

~~Estados Unidos. Aunque el baile esta continuamente~~

~~evolucionando en su forma, funcibn, estilo y contexto,~~

~~permanece como una de las formas expresivas mas~~

~~diseminadas en la cultura latina.~~

~~Olga Najera-Ramirez, profesora de antropologia en la Univer-~~

~~sidad de California, Santa Cruz, recibio su doctorado de la~~

~~Universidad de Texas en Austin. Autora de libros y productora~~

~~de un video galardonado, la autora se ha concentrado en doc-~~

~~umentar y examinar criticamente las expresiones culturas~~

~~entre mexicanos en Estados Unidos y Mexico.~~

152] SMITHSONIAN FOLKLIFE FESTIVAL El baile puede ser una found uc nacer musica. Por ejempio, en el fandango del sur de Veracruz, ei ^dpateado de los bailadores crea una percusion que complementa el de los otros instrumentos del conjunto. Foto de Damci Sheehy tado en escenanos" para coniplacer a grandes algunos elenientos reservados solo para los ini- audiencias con un sentido tuerte de identidad ciados. En el contexto norteamencano, Garcia cultural. Estos se convierten en simbolos diri- acepto el valor de su tradicion come una re- gidos a una nueva y mas amplia audiencia o a presentacion publica y simbolica de la cultura la misma audiencia coniunitaria pero con el afro-cubana, mientras que al mismo tiempo renovado proposito de nrarcar la identidad mantuvo su mtegridad espiritual. Karol Aurora grupal. Esta transicion hacia nuevos roles y de jesLis Reyes no tiene dudas sobre la capaci- significados de la niusica ha hecho surgir dad de su musica jibara como representante de preocupaciones entre artistas y las conuinidades. su cultura al decir "nos va a hacer brillar trente

~~Muchas veces, cuando el valor sinibolico de al mundo. y la gente va a decir, 'niiren. es la~~

~~la niiisica o la danza es aniplificado, puede musica de Puerto Rico"'", anadiendo rebosante~~

~~desplazar los roles culturales establecidos al de orgullo.~~

~~interior de las comunidades y afectar el signifi- Al mismo tiempo que tormas de musica~~

~~cado que tiene la musica en si misma y la (y danza) se han convertido en vehiculos para~~

~~relevancia social que posee. crear identidad social, tambien se han conver-~~

~~Cuando el percusionista, cantante y lider tido en medios para crear un nuevo sentido de~~

~~espiritual, Felipe Garcia Villamil, vmo a los comunidad. La musica en cualquier sociedad es~~

~~Estados Unidos se le pedia que interpretara su un iman social, una forma de reunir a la gente,~~

~~nuisica ritual para audiencias norteamericanas. la atraccion principal dentro de una gama de~~

~~El tomo el reto de desmitificar y de myectar eventos sociales. Pero entre los latinos en los~~

~~en otros la apreciacion de la importancia cul- Estados Unidos su papel se ha extendido y su~~

~~tural de la musica, la danza los simbolos y las importancia se ha hecho aiin mayor. La musica~~

~~tradiciones de sus creencias lumnii. palo y alu}- se ha convertido en el vehiculo principal para~~

~~ku'd. Para hacer esto, el construyo actuaciones reunir gente que conipartc un mismo origen y que mantenian un balance entre compartir el quiere recrear un sentido de comunidad, espe-~~

~~conocimiento publico de su religion con la cialmente para una comunidad inmigrante y necesidad de mantener lo secreto inherente a dispersa, o para una minoria latina viviendo~~

NUESTRA MUSICA' MUSIC IN LATINO CULTURE [531 entre s^ente de otras culturas o de otros ongenes h.iblando lenguas que no son el espanol. Los ntnios pan-latmos de nitcrpretes conio Marc Anthony, de la ya talle-

~~cida Celia Cruz o de los Tigres del Norte tocando salsa, merengue, o polca nortena~~

~~atraen multitudes de latinos a bares y salones de baile por todos los Estados Unidos.~~

~~Durante el dia, niienibros de la audiencia pueden trabajar en bodegas, companias de construccion o en oficinas que inanejan sus negocios en lenguajes y estilos de~~

~~conuiincacion diversos. Pero en el club, en el salon de baile, en el concierto en el~~

~~estadio ellos son latinos y muestran las formas latinas de bailar, de hablar y de mter-~~

~~actuar con la libertad de no tener que pensar en ello. Hacer miisica — tanto en~~

~~sonidos conio para ocasiones niusicales — es principal en crear comunidad. Desde~~

~~la expenencia de la cultura ;)('/> ha surgido una creciente identidad pan latma que~~

~~conibma los varios modos de ser latino, con un sentiniiento comun de diterencia~~

~~ante lo anglosajon y la cultura dominante.~~

~~Otra forma en que la musica crea comunidad en los Estados Unidos es el uso~~

~~que las latinas han hecho de presentaciones pubhcas como un foro social en que~~

~~pueden fotjarse nuevos roles de genero para las mujeres dentro de la cultura lati-~~

~~na, una transformacion comunitaria. Manachis temenmos como Las Reynas de~~

~~Los Angeles y el Mariachi Mujer Dos Mil de California han tenido exito en retar~~

~~la dominacion masculma en esa tradicion musical. De la misnia forma, orquestas~~

~~femenmas de salsa y superestrellas en salsa como la difunta Celia Cruz han labra- do nuevos cammos o expandido los ambitos para las mujeres en el campo de la musica profesional.~~

~~La miisica tambien puede recrear el sentido de comunidad para algunos latinos~~

~~en los Estados Unidos utilizando elementos claves de la vida que dejaron atras. La~~

~~marimba, siempre presente en la vida guatemalteca, une a expatnados y a sus hijos~~

viviendo en los Estados Unidos, cuando melodias populares de la tierra natal son Mientras que el oficio mterpretadas en bodas, cumpleanos y bailes; y con solo el sonido de unas cuantas de hacer instrumentos es principalmente un notas de acordeon de la musica conjunto de Texas se enciende la internalizada

terreno masculino, las identidad mexico-tejana, a medida que el oyente empieza a moverse con el paso mujeres desempenan un de la polca tejana y anora el ambiente social del salon de baile. papel mas equitativo en La musica ocupa muchos lugares en la vida social y cultural latma, pero los bailes. Foto de Jon Kersey,

~~cortes'io Olgo Najoia-Ramirez en esencia, la musica es uno de los ingredientes esenciales para que una persona viva una vida normal y satistactoria. Por~~

~~la riqueza de la diversidad cultural y la~~

~~complejidad social, la miisica latma da~~

~~voz a las culturas, luchas, preocupaciones, esperanzas y alegrias de todos~~

~~aquellos cjue se Hainan latinos.~~

~~|34| SMITHSONIAN FOLKLIFE FESTIVAL NUESTRA MUSICA: MUSICA EN LA CULTURA LATINA~~

~~El programa Nuestra Musico: Musica en la cultura latino del Festival de Tradiciones~~

Populares del Smithsonian presenta la experiencia de la musica y baile latino, utilizan- dolos como una via para mostrar la complejidad cultural y las preocupaciones sociales de esta comunidad. Asi como la musica ayuda a entender la experiencia social en una forma mas amplia, de la misma forma los contextos culturales nos ayudan a entender la musica.

~~Esto es lo que el cautivante y provocador Festival de Tradiciones Populares del Smithsonian~~

- presentando la cultura en vivo - hace, dar voz a las comunidades y culturas alrededor del mundo, y crear un espacio para la representacion de las formas de expresion que les definen. Una exhibicion que haga justicia, aiin en forma minima, a la amplitud, lo complejo y lo bello de la vida musical latina no podria ser contenido en un solo aiio como uno de los programas del Festival. For lo tanto, el programa abarca una forma sin prece- dente de cuatro ahos consecutivos en el Festival. Cada afio sera definido por un tema especifico subrayando una constelacion coherente de elementos alrededor de la musica y baile latinos.

El titulo general del programa, Nuestra Musica: Musica en la cultura latina senala los dos pilares conceptuales que apoyan los cuatro afios del proyecto. Primero, una comprension de lo que es musica latina, en su forma mas amplia, en lo que se refiere a vida cultural

~~como una forma para descubrir el gran potencial que posee para atraer gente y su poder~~

~~educativo; y segundo, explorar el poder de las culturas musicales latinas como un indice~~

~~de la identidad cultural.~~

~~Mientras mas nos adentramos en la frase nuestra musica, mejor entenderemos la~~

~~complejidad cultural, generacional y de generos que conforman el "nosotros" - de~~

~~"nuestra" - y la belleza y riqueza de significados de esta musica.~~

~~Nuestra Musica: Musica en la cultura latina es el evento clave de un gran proyecto de~~

~~musica latina concebido por el Centro de Tradiciones Populares y Patrimonio Cultural del~~

~~Smithsonian (CFCH-siglas en ingles). En 2001 el sello disquero, sin fines de lucre, Smith-~~

~~sonian Folkways Recordings, una division del CFCH, lanzo la Iniciativa de Grabaciones de~~

~~Musica Latina bajo el titulo Tradiciones/Traditions, para ampliar su coleccion en musica~~

latina, publicar y diseminar nuevos albumes y para crear una pagina en la Internet que ofreciera materiales educativos bilingiies. Hasta este dia, once grabaciones han sido lan- zadas - dos de ellas nominadas para Grammys - presentando musica de mas de veinte

~~tradiciones musicales (ver la lista en el articulo en ingles), llegando a millones de oyentes~~

~~a traves de las ondas de radio y por medio de la distribucion de los albumes.~~

~~El programa del Festival para 2004 expone los temas para los anos siguientes: Vamos~~

~~a Bailar: Latino Dance Music; Raices y Ramas/Roots and Branches: Continuity and Creativity~~

~~in Latino Musiciy jSomos Latinos! Music and Latino Identity Este programa explorara las~~

~~raices y desarrollo de las culturas latinas en los Estados Unidos, temas sociales contem-~~

~~poraneos articulados en musica y baile, y el rol de que la industria musical juega en la~~

~~continua transformacion de la tradicion musical latina. Venas tematicas, opiniones de los~~

~~artistas y evaluacion de este programa piloto ayudara a la conceptualizacion de los temas~~

~~a ser presentados en los festivales de 2005, 2006 y 2007.~~

~~El futuro promete una mayor y creciente presencia de la cultura latina en los Estados~~

~~Unidos. Pero barreras sociales, culturales y del lenguaje han provocado, algunas veces, que~~

~~la comprension y relacion del publico con la cultura latina se haya quedado atras de este~~

~~desarrollo. La musica en el programa del Festival Nuestra Musica: Musica en la cultura~~

~~latina en general, es un paso a nivel nacional, muy visible, hacia remediar esta brecha en~~

~~la comunicacion. A traves de presentaciones animadas y participatorias de musica y danza de muchas herencias culturas latinas, Nuestra Musica abnra una puerta muy importante~~

~~en el entendimiento del publico acerca de la diversidad, herencias y deseos de los latinos~~

~~en los Estados Unidos y fuera del pais. Nuestra meta es ampliar el entendimiento social~~

~~la En era de y crear un intercambio,~~

~~globalizacion, la musica presenta una oportunidad unica para construir puentes que solidifiquen un entendimiento entre culturas.~~

~~NUESTRA MUSICA: MUSIC IN LATINO CULTURE l55] «»~~

~~^ v^^mm^i / / ./>^^ WATER WAYS~~

~~Charting a Future for Mid-Atlantic Maritime Communities~~

~~BETTY J. BELANUS~~

~~hen I stepped aboard the A.J. Mccnvald, a restored Delaware Bay oyster~~

~~schooner and New Jersey's official tall ship. I was not assaulted by the full weight~~

~~of the past, present, and future of Mid-Atlantic maritime communities. I was~~

~~struck, instead, with the thrill ot cruismg under sail on a beautiful historic vessel,~~

~~all polished wood and coiled ropes. The day was gorgeous. The sails— hoisted with the help ot some ot the passengers, including my daughter— lutTed gently in the breeze.~~

~~This trip on the .-4./. Mccnvald in July of 2000 was my maiden voyage on a ]ourney (Facing page) Ned Winder~~

across over 2,000 miles of shoreline in the states of New York, New Jersey, Delaware, from Poquoson, Virginia, Maryland, Virginia, and North Carolina, with an occasional foray into Pennsylvania. starts a new day of commercial fishing. Photo by To a water-loving person such as myself, much of it was pure pleasure. Visiting small Harold Anderson and large maritime and waterfowl museums, enjoying choppy NEW YORK boat trips, crossing comple.Ndy engineered bridges, socializing on Ea5T Hampton J'eat Pecontc So;'- York 'Long bland weathered docks, and helping h.uil 111 nets 111 hopes offish, I New City v! Freeporf , Newark.N PENNSYLVANIA c,eai s>ui(i Bo^ learned a great deal. The people who live around the ocean and Lambertville. NEW JERSEY ^^•Harnsburg •Trenton bays, marshes and swamps, rivers and creeks of the Mid-Atlantic .'*'' Philadelphia -^cf* ' Bornegot Bay have lifetimes of knowledge to offer a visitor who cares to listen 'Tuckerton •Wilmington Port Ffenn. Despite the deep sense of contentment that a sailing ship or MARYLAND •Atlantic Cfty 'O,, "Bivalve Baltimore* Rock Hall back porch with a water view can bring, however, much of what Annapolis Dover >'i'. •Cy Washington, DC "Lewes .St. Michaels " ^^ I learned in my research was disquieting. So many changes have DELAWARE .^ occurred over the past couple of generations of maritime com- '°^f.: "''o^t Crislield O — munities in this region that long-time residents can sometimes *Chincoteague Cj Pamuntey Reservation Reedville' Sl ^Smrth Island r . barely recognize their hometowns. A deep sense of loss tempers \ Richmond" ^Tangier Island 1 the stories of nianv. 'Cape Charles -^ ^' VIRGINIA , Norfolk-„

~~Gieat O'Srnol Swamp~~

Water Ways: Mid-Atlantic Maritime Communities is made possible by a partnership with the National Oceanic and Atmospheric Administration, and produced ftLBEMARU SOUND Columbia* in AlUfat collaboration with the State of Maryland, National Endowment for the Arts, • Raleigh and Chesapeake Bay Gateways Network/National Park Service; with generous

NORTH j.v'''-' Cape Hatteras contributions from Virginia Historic Resources, Mary Ball Washington Museum CAROLINA Ocracoke Island Et Library St. Mary's White Chapel Episcopal Church, Maryland State Arts 'Cedar Island Beaufort,^ COM sooNo Council, North Carolina Arts Council, North Carolina Tourism, U.S. Fish and Markers Island Wildlife Service, Phillips Seafood, and The Nature Conservancy; and with • Wilmington special thanks to the National Marine Sanctuary Foundation.

~~WATER WAYS: MID-ATLANTIC MARITIME COMMUNITIES 1571 Sound Waterfowl Museum project, to ensure~~

~~that some small piece of the local heritage was preserved and interpreted "for the people."~~

~~In Lewes, Delaware, Festival fieldworker Harold Anderson was taken by Rufus Carter~~

~~to see "his boat." After traveling about twenty~~

~~miles inland, Anderson found himselt face to~~

~~face with the last known wooden menhaden~~

~~tlshing boat, the McKccivr Brothers, which has~~

~~been converteci to a landlocked restaurant,~~

~~complete with a mural of frolicking crabs and~~

~~lobsters painted on the side. Carter and his fellow crew members had worked on the~~

~~AkKcci'cr Brothers in the 1960s, following the~~

~~schools of fish locally called "bunker" that sup-~~

~~plied a huge Mid-Atlantic industry processing~~

The A.}. Meerwald, restored oyster schooner, on tlsh meal and oil. Reedville, Virginia, where one of her educational cruises on the Delaware Bay. Mr. Carter still has relatives, is home to one Photo courtesy Boyshore Discovery Center of only two menhaden operations lett m the

~~On the way to a beautit'ul new museum region. Those interested in the history ot the on Markers Island, North CaroHna, director menhaden industry wouki like to see the~~

~~Karen Willis Amspacher rode me past the McKect'cr Brothers returned to Lewes, restored,~~

~~grove of windswept oaks that was her father's and made into a museum.~~

~~home place; it is now a summer residence In Amagansett, New York, sitting around~~

~~bemg used by "dmgbattcrs"— a Down East, the kitchen table drinking a cup ot tea. tleld-~~

~~North Carolina term for outsiders. For various worker John Eilertsen and I chatted with~~

~~reasons more fannlies like Karen's were selling Madge and Stewart Lester about the heritage~~

~~their land and moving otTthe island, and local of their fishing family and the demise ot com-~~

~~traditions were being lost. This, she explained, mercial tlshing m eastern Long Island. Lobsters~~

~~was her motivation tor spearheading the Core and scallops in the area had both succumbed~~

~~T • \ '^fr-W •~~

158] ju;iiA;i FulkLife festival to disease, and haul seining for striped bass ties, told as much as possible in their own had long since been prohibited. The view out words. It speaks about their joys, frustrations, of the Lesters' window reminded nie of many and work to conserve the rich heritage that other fishermen's backyards m the region: permeates this region like the smell of salt piles of traps, nets, ropes, small boats, and other water and marsh mud. equipment awaiting a better harvest that may The whole story of Mid-Atlantic mar- never come. itime culture would take thousands of pages But maritime communities often adapt to and hundreds of photographs to tell, and many changes. When one species ot fish becomes pnze-wmning authors ha\-e already \\ ritten scarce or unmarketable, you fish tor another. volumes. (See "Suggested Reading.") To illus- When crabbing with wire mesh pots proves trate the rich complexity of the story, we will more efficient than trot-limng (running a baited explore three natiu-al resources that have been line across a section of water), you buy or important throughout the region's history: learn to make pots. When recreational tlshmg oysters, shad, and Atlantic white cedar. The catches on in your area, you fish for bait or get past, present, and future of the region are a charter-boat license. When the oyster-shucking svnopsized m these resources, all three of or crab-pickmg plant shuts down, you get a which cut deeply into cultural, economic, job cooking at a local seafood restaurant or a and ecological life. Each carries with it stories nearby school. It's all about adaptation, flexibilin,-, of exploitation, decline, and renewal of the and survival. resources that shaped Mid-Atlantic maritime And even when some things are in danger community culture, the theme that brings of being lost forever, like the fleet of Delaware the whole rei^ion into focus. Bay oyster schooners, someone like Meghan Wren has the vision to spearhead an effort to give at least one of them a new life. The A.J.

Mccni'dld represents a sense of local pride, an opportunitv to educate kids about the ecology and history of the region, anci a hope for cultural tourism that can help bolster the flagging fishing economy. All these spring from the ribs of a boat destined, like so many of its sisters, to sink to the bottom of the Maurice River and become a fish habitat.

~~IViUcr Ways: Mid-Arlaiitii Maritime~~

~~Comniuiiitici is about change and renewal, pride m the past and hope for the future, and~~

~~the interconnectedness of cultural life and~~

~~natural history in this region. It is composed~~

~~of the stories of people like Karen Willis Amspacher, Rufus Carter, Meghan Wren, and Madge and Stewart Lester and their comnumi-~~

~~Visitors get hands-on experience hauling sails aboard~~

~~the A. J. Meerwald. Photo byB^ttyJ Bdanus~~

~~(Left) Rufus Carter from Lewes, Delaware, poses in front of the McKeever Brothers, a menhaden fishing boat that was turned into a restaurant in Seaford, Delaware.~~

~~Photo by Harold Anderson~~

~~WATER WAYS MID-ATLANIIC MARITIME COMMUNITIES (591 —~~

~~EASTERN OYSTERS "presentation" are considered. As soon as a~~

~~champion is declared, the audience is served~~

iiiiisciiiii the raw oysters—first come, first served "This is a happy ouasioii. I thank the ami shuckers the carpenters and all the people who rohititeered to and soon at'terwarcis the women take the stage for competition. work on the boat. It was a disaster when it came in display of skill at a time when here, hut. thank the Lord, it's in i;ood shape today- This comes

oyster harvests are at an all-time low in the Plannin^i on f^oiii^; hack on the ii'ater" —Captain Mid-Atlantic, with no clear evidence that they Art Daniels, Jr.. on the occasion of the launch houses of his newly restored oyster-dredging boat, the will ever rebound. Oyster-shucking

~~have closed, and those still operating get then- City of Crisfield supply more often from the Gulf ot Mexico~~

October 2003 marked the 37th annual than from the Chesapeake or Delaware bays. National Oyster Shucking Competition m But the shucking contest is one sign of hope projects, stringent pollu- Leonardstown, St. Mary's County, Maryland. that restoration more Sponsored by the Lexington Park Rotary tion control, and disease-resistant strains will for- Club each year, the contest pits champion one day bring oysters back a bit of their shuckers from Texas, Louisiana, and Massa- mer glory as the most important tishery m the

chusetts against Mid-Atlantic favorites, all Mid-Atlantic. their the human competing for a trip to the World Oysters have left mark on Bivalve Championships in Ireland. landscape in this region, in names like and A pile of two dozen lumpy, grey, tightly and Shellpile around the Delaware Chesa-

closed oysters faces each of the eight male peake bays. You can walk across any non-asphalt lot the Great South Bay of Long contestants. The signal is given, and the shucking parking from and cheering begin. Less than three minutes Island to Core Sound, North Carolina, crunching as go. though later, the fastest contestant signals completion oyster shells underfoot you And oyster- by raising his arms in triumph. Alter the other they are not shucking anymore, former as Butler shuckers follow suit, the oysters are whisked packing-house workers such Mildred away forjudging, for not only time but also from Rock Hall, Maryland, can tell you what the work was like: "An oyster knite was rough,

~~and you had to wear gloves. You had to be~~

~~careful: you steadied your hands. If the gloves~~

~~got a hole in them, you had to get another~~

~~pair. Couldn't work with your fingers out.~~

~~It would cut your hands up. It was rough,~~

~~I'm telling you."To make the work go a bit~~

~~easier, shuckers often sang some of the same~~

~~old-time hymns they still sing in church.~~

~~The Eastern oyster (Crassostrea virginicus)~~

~~was one of many varieties of seatood eaten by~~

~~Native Americans in the region. Its tough, sharp~~

~~shells were often used for tools, and vast mid-~~

~~dens (ancient refuse mounds) of them are tbund~~

~~m many coastal areas. Nanticoke Indians from~~

~~Delaware were adept at fashioning wampum~~

~~(beads used for commerce) from the shells.~~

~~Colonial settlers in the Chesapeake Bay Contestants at the National Oyster Shucking region considered oysters only a hardship Championship in Leonardstown, Maryland.~~

~~Plioto by Betty 1 Belonus food, since they were one of the few fresh~~

1601 SMITHSONIAN FOLKLIFE FESTIVAL foods available throughout the coldest months To the south, oystering in the Delaware of the year. Oysters began to gain favor in the and Chesapeake bays blossomed into an indus- growing cities of the region, and by the end try far surpassing the Long Island operation. of the 1 8th century, oysters were sold ui bars, Shipping oysters by rail to Philadelphia, fancy restaurants, and even by street vendors Baltimore, and beyond sparked economic in Baltimore, Philadelphia, and New York. booms m towns like Port Norris, Nev.- Jersey,

~~On the Great South Bay of Long Island, and Cristleld, Maryland. At the height of the such entrepreneurs as Dutch immigrant Jacob oyster industry on the Delaware Bay near Port~~

~~Ockers,"The Oyster King." grew rich by mar- Norris, the fleet of oyster schooners (sister keting his famous bluepomt oysters at New York ships of the A.J. Mccni'ahf) numbered more~~

City's Fulton Fish Market and exporting thou- than 500. An estimated 4.000 people fished sands of barrels to Europe. Around the turn of the Delaware Bay for oysters, and many more the 20th century, Ockers owned ten schooners people were involved m the support industries and shipped more than 150,000 barrels of oysters of processing, shipping, and shipbuilding. a year ti'oni processing plants called ""shanties" In the year 1.S80, 2.4 million bushels of along the bay. But by the late iy3os, overtishing, oysters were harvested. But today. Bivalve contaminated run-otT, and a dewistatmg hurri- (Port Norris's port on the Maurice River) cane had killed what was lett ot the Long Island IS practically a ghost town. oyster industry. The Blue Point Oyster Ca)iii- In the Chesapeake Bay, before the early pany recendy donated its former oyster grounds i8oos,"tonging" was the most common means to The Nature Conservancy, which will use the of harvesting oysters. This process involved area for an oyster restoration project, as well as standing precariously on the side ot a small for research and education, sustainable aqua- boat with long-handled scissors-like tongs culture, and a nature sanctuary. equipped with a metal basket at the end.

~~scooping heavy loads of oysters off their reefs.~~

Oyster shell piles of this magnitude were common sights By the 1810s. a more efficient method, the in the Mid-Atlantic around the turn of the 20th century. cirecige. was introduced to the Chesapeake Bay Photo courtesy The Mnrincn' Mu^i'um

~~WATER WAYS MID-ATLANTIC MARITIME COMMUNITIES |61| by New Englanders, who had ah'eady wiped out most~~

~~of their own oyster beds with tlie device. "Dredging"~~

~~or, as It came to be called in the Chesapeake region,~~

~~"drudging" required a much larger boat and more~~

~~manpower. A large metal dredge with teeth scraped~~

~~the oysters ott reets, dumping huge loads ot oysters,~~

~~and whatever else the reets contained, cinto the deck~~

~~ot' the ships. The invasion of the Chesapeake by Northerners~~

~~led the state of Maryland in 1820 to impose a ban on~~

~~dreciging and transporting oysters out ot state. At the~~

~~end of the Civil War, when many returning soldiers~~

~~went back to the bay to make a livmg in a soaring~~

~~ovster market, watermen and businessmen successtully~~

~~lobbied to allow dredging. A tull-blown "Oyster War" The City of Crisfield won the annual skipjack~~

race on Deal Island, MarYJand, in 2003. Such broke out: tongers versus dredgers, and the crews ot competitions are based on the tradition of schooners and other large dredging boats from work boats racing into port to be the first to Maryland versus those from Virginia. Guns ranging get fish to market. Photo by Betty J.Belonus from carbine ritles to cannons became standard

The City of Crisfield, a skipjack owned by ecjuipment aboard oyster boats, and Maryland found Captain Art Daniels, foundered on its dock It necessary to institute an "Oyster Navy" (which before being hauled to the Chesapeake Bay evolved into the present-day Marine Police). Maritime Museum for restoration. In 2003, It took a while longer for the Chesapeake and the City of Crisfield won the annual Deal

~~Island, Maryland, Skipjack Races on Labor Delaware bay oyster industry to decline to the point~~

~~Day. In the Cliesapeal~~

W. Fincham, writer/producer for the things were looking grim. Adding to problems ot Maryland Sea Grant College, wrote about overfishing, two oyster diseases, MSX and Dermo, Deal Island, the Daniels family, and the began to devastate the beds, and soon up to 90 per- human consequences of the decline in cent of the oysters were dead. Fishing tor blue crabs, oyster fishing, which in turn affects the

~~skipjack fleet: "Down at the long neck of formerly considered a seasonal sideline for oystermen,~~

flat woodlands and wide-open wetlands. took over as the main occupation tor many ot Deal Island is home to 900 people clustered Maryland's Chesapeake Bay watermen. In recent around three harbors and three villages and years, the blue crab harvest in Maryland (where the at least six Methodist churches. It was here crab IS the "state crustacean" and a popular tourist that Art Daniels was able to raise his sails symbol) has declined so dramatically the Chesa- every winter and through hard work and m

~~summer crabbing raise his five children. peake that many think crabs could go the way of~~

His three sons all went to work as water- oysters before long. To meet the demand for popular and so did of their children. His men some regional dishes like crab cakes, crab meat is now likely skipjack, some days, has three generations to come from North Carolina or as tar away as Asia, of Daniels men on board. All his children prompting manufacturers and restaurants to advertise still live nearby. For most of the 20th cen- "Maryland-Style Crab." tury, during decades of rural outmigration

to the cities, fishing villages like these cre- The decline of the Eastern oyster affected not ated habitat for thousands of men and only watermen, oyster shuckers, and those whci carried women who on the pace and pleas- longed for a dozen on the half shell. It also hurt the ures and traditions of small town life in skipjack, a regional boat developed on the Chesa- supportive communities, close-knit by kin- peake in the 1880s for dredging in relatively shallow ship, work ethic and church. Would these waters. At the peak of oystermg on the Chesapeake, Bayside communities break down and thin

~~out like those underwater oyster reefs?" these single-masted, 70-foot-long boats, purportedly~~

~~1621 SMITHSONIAN CENTER FOR FOLKLIFE AND CULTURAL HERITAGE Roosevelt Wingfield working on the~~

~~Rappahannock River in Virginia tonging for oysters, circa 1990. He is one of the few waternnen who used a bamboo pole to sound the bottom for oysters.~~

~~Photo by Lorry Chowning, courtesy Cornell~~

~~Maritime Press~~

~~(Below left) The Oty of Cr/sf/eW skipjack sinking near its dock in Wenona,~~

~~Maryland. Photo courtesy Chesapeake Bay~~

~~Maritime Museurv~~

~~The OryofCnsffeW undergoing restoration at the Chesapeake Bay~~

~~Maritime Museum in St. Michael's,~~

~~Maryland. Photo (center! courtesy Chesapeake~~

~~Boy Maritime Museum and (right) by Michael~~

~~Fincham, courtesy Maryland Sea Grant Program~~

named tor a rs-pe ot" local tlsh that skims across "11 Most Endangered" list in 2002. the water, numbered m the hundreds. In a The Skipjack Restoration Project housed conservation measure, Maryland oystermen at the Chesapeake B.iy Maritime Museum in have been hmited to dredging only under sail, St. Michael's, Maryland, has so far saved six except on Moiida\s and Tuesdays, when they boats from the scrapyard, including Captain may use their small, gasc>line-engine-equipped Art Daniels's City of Crisficld, a frequent "yawl" or "push" boats tor power. Thus, the winner of the annual skipjack races held skipjack fleet on the Chesapeake has survived otT Deal Island, Maryland, every Labor Day. as the last commercial t'lshmg fleet in the The future of oysters in the b,iy may lie countr\- that still tlshes under sail. not with Crassostrca I'irginiiiis at all. but with

As oysters became scarce, and watermen a new Asian strain ot oyster (Cinaostrcii switched to crabbing or other types ot t'lshmg, iiiicikcfisis), which has proven to be disease skipjacks were ot'ten lett to rot. Today, there are resistant, fast growing, and similar 111 taste about 30 left, and only about a dozen ot'them to the native oyster. Many scientists, environ- still dredge for oysters commercially. Alarmed mentalists, and watermen have reservations by the disappearance of the fleet, community- about the new species tor a number of members and museum otTicials in Maryland reasons. But some brisk October day m began working together to save the remaining the not too distant future, the champion skipjacks. The skipiack fleet was placed on shuckers m Leonardstown could be showing the National Reo;ister of Historic Landmark's otf their prowess on CrassostiVii iiiidkciisis.

~~WATER WAYS: MID-ATLANTIC MARITIME COMMUNITIES 1631 AMERICAN SHAD On the Friday night before the 2003 festival began, the workers at the fishery, headed~~

~~"FI7((';/ it u'iiriiis past forty Fahrenheit, ihcy hc^iiii these days by fourth-generation shad fisher-~~

~~their miiircUioii, in pulses, poil<— iiuiles (lor tlie most man Steve Meserve, made two "hauls" with~~

~~part) first. Soon, a single senteiiee iiioirs northward their 200-yard-long, lo-foot-deep net as they~~

~~other nights late to late with them— //; e-mails, or telephones, down hall- do most from March~~

~~ways, up streets—sending amps and I'olts through May. Despite the chilly evening, spectators and~~

~~the likes of nie. The phoiw rings, and someone says, potential customers nrilled around watching~~

~~'They're in the river.'" —^John McPhee, the process, which takes about 20 minutes per The Founding Fish haul. Fred Lewis, the fishery's owner, is usually there, lending his~~

~~It's Ai>Kii on the Delaware River.The small Fiaul-seining for shad has not changed~~

~~white flowers called Spring Beauties and the much since the 1800s. The "sea end" of the~~

~~serviceberry, locally called the "shad bush," are net, gathered into the fishery's rowboat~~

~~in bloom. It is the weekend of the Lambert- manned by three crew members, is "paid out"~~

~~ville. New Jersey, Shad Fest, during which the m a wide circle. Meanwhile, the "landsman"~~

~~small town of 4,000 will host 30,000 visitors carries the other end of the net along the~~

~~who walk around Union Street browsing craft riverbank.The boat rows to shore, and the~~

~~stalls and tasting seasonal treats which may crew jumps out to bring their end of the net~~

~~include roast shad, shad dogs, shad chowder, to the point where the fish will be hauled m.~~

~~and shad cakes. The finalists of the poster con- The landsman walks back to that point with~~

~~tests, featuring creative and colorful renderings his end of the net, and, when they meet, all~~

~~of shad and other harbingers of spring, are crew members (and anyone else who wants to~~

~~hanging in store windows. help) pull 111 the net, creating a baglike pocket~~

~~The festival has been going on officially that everyone hopes is full of fish.~~

~~since 1981. But the reason for the festival, cele- The dramatic moment at the Lewis Fishery~~

~~brating the return of shad to the Delaware that evening, when the net was tight enough to~~

~~River by fishing for and eating shad on the reveal the catch, was as exciting as the clima.x of~~

~~river, is much older. In ancient tunes the Lenm an adventure film. Would there be enough roe Lenape Indians caught shad m tlshing weirs and buck shad to satisfy customers, some of~~

~~they built with stone. But in LambertviUe, shad whom have come all the way from Philadelphia~~

~~fishing is usually traced back to the late i8th and Trenton? How many game fish, some of~~

~~century, when the first commercial shad fish- which are illegal to catch m these waters, would~~

~~ery was established on what is now called have to be thrown back? What else of value~~

~~Lewis Island. Today, the Lewis Fishery is the (like carp, which some Asian-American cus-~~

~~heart and soul of the Shad Fest. tomers prefer over shad) would there be?~~

~~Steve's wife. Sue Meserve, called out each~~

~~type offish and placed them into plastic laundi'y A typical evening's shad-fishing haul at the Lewis Fishery~~

~~on the Delaware River. (Far right) Keziah Groth-Tufts, baskets. She and her helpers then retreated to the~~

~~left, helps her others pull in the net at the mother and first floor of a small white cabin to sell the fish to Lewis Fishery. Ptioto^by Betty JBdanus~~

i Id41 n 3 u M ft Iv r u L N L I F t FESTIVAL the patient customers according to certain rules that allow regulars their fair share whUe honoring as many requests from visitors as possible. No one goes home emprv-handed. Before they are sold, each shad must be weighed anti measured, and scale samples need to be scraped otF each iridescent body and placed m a small envelope for the scientists who monitor the health ot the fish and the river. After the second haul, the family, crew, and visitors often relax on the second floor ot the cabin on benches around an old wood stove, enjoying a dinner diat may include grilled shad and shad roe fritters.

~~American or white shad {Alosa sapidissiiihi, translated~~

"most delicious shad") is a tasty but bony fish that migrates up rivers to spawn, as do other anadromous fish: herring, striped bass (rock fish), blue fish, and the now nearly e.xdnct sturgeon. Native Americans from New York to North Carolina fished for shad and herring, using them tor food and for tertilizer. It you can get around the bones, the fish of the American shad is white and sweet. The roe (egg sac) is a special delicacy.

~~Legend has it that, during the Revolutionary War, an earlv run of shad saved Washington's troops at~~

Valley Forge from starvation. It is true that shad and other anadromous tish were staples of Mid-Atlantic fmiilies that lived near rivers. In the spring of 1874, in the midst of difficult economic times, .m unusually prolific run of hickory shad (American shad's more oily cousin) and blue fish caused farmers in and Henry Langston extracts eggs from a roe shad; around Lewes, Delaware, to run to the beach with they will be hatched at the Pamunkey Shad nets, buckets, and even frying pans to scoop up the Hatchery on the Pamunkey River in Virginia. fish for food and fertilizer for their crops, saving Photo by John Pemberton manv people from possible starvation. Pamunkey shad-hatchery worker Henry In North Carolina, the plentiful shad and herring Langston squeezes eggs from a roe shad runs on such rivers as the Roanoke and Chowan in caught in the Pamunkey River. In the gave rise to a large-scale the I Nth and 19th centuries early 1980s, Virginia author Larry seasonal industry manned by enslaved and tree Blacks Chowning went fishing with the late and brought to lite m the writings of regional historian Chief William H. Miles and his son Billy, and described the historic Pamunkey David Cecelski in his book. The IVdtcniuiii'i: Song: fishing method in his book, Harvesting Slauciy and Freedom in Maritiiiie North Ciirolinn: the Chesapeal

Laying seines around schools ot a hundred thousand "Long before the English arrived on the scene, the Pamunkeys were harvesting fish required an orchestra's sense of timing and shad with crude weir traps made from teamwork.... The fishery' was a Herculean test of rocks and brush. They'd build a dam of endurance and perseverance.... The fish ran so rocks across the river leaving gaps. In bountifully during the si.x- to eight-week peak sea- the gaps, they would secure woven funnel- son that the fishermen worked the seines evei7 day shaped baskets that snagged the shad as all day and all night. Every haul lasted of the week, they swam upriver to spawn. 'Naturally,

~~on the average from four to seven hours, making we don't fish like that anymore,' said three or four hauls daily an accomplishment. Chief Miles."~~

~~WATER WAYS MID-ATLANTIC MARITIME COMMUNITIES 1651 Today, only one commercial herring fishery finally done, you should throw it away and eat remains on the Chowan River, run by brothers the plank.)~~

~~Bobby and Herbert Byrum. But even if shad Shad restoration efforts are underway~~

~~and herring fishing is no longer commercially throughout the Mid-Atlantic, including~~

~~viable in North Carolina, the Albemarle shad improvements to river-water quality and~~

~~boat, a sturdy vessel made of native Atlantic removal of obstructions preventing fish from~~

~~white cedar (juniper) and still used by some swimming upstream. One restoration efibrt~~

~~commercial and recreational fishermen, keeps dates back to 1918, when the Pamunkey tribe~~

~~the memory alive. The shad boat was recently of Virginia started a shad hatchery. "We've~~

~~named the state boat of North Carolina. been fishing all our lives, and the river is a~~

~~Overfishing, tire building of dams and way of life," says vice chief and hatchery~~

~~other obstructions in rivers, and the large administrator Warren Cook. "We decided~~

~~volume of pollutants that have been dumped we wanted to help put shad back in the river.~~

~~into rivers for years eventually took their toll We're the oldest shad hatchery in the United~~

~~on anadromous fish. The phenomenal shad States." In 1999, the shad hatchery, which leans~~

~~and herring runs were gone, and the canning out onto the river near small fishing shanties,~~

~~houses that once offered seasonal employ- was updated with funds from the Chesapeake~~

~~ment closed. (Can labels have become antique Bay Program and the state. The neighboring~~

~~collectors items.) By 1980, there were so few Mattaponi tribe has established a hatchery~~

~~shad 111 the tributaries of the upper Chesapeake on the Mattaponi River, adding to the restora-~~

~~Bay that Maryland institutecl a moratoriunr tion eftort.This past autumn, the Pamunkey~~

~~on shad fishing. In Virginia, shad fishing was hatchery sustained considerable damage from~~

~~proliibited after the harvest of 1993. Hurricane Isabel, but it is hoped that it can~~

~~The annual Shad Planking in Wakefield, be repaired m time for the spring shad season.~~

~~Virginia, a political rally in its 56th year, now Hatchery workers catch female shad (called~~

~~must import shad from out of state. Other "roes" or "cows") and squeeze eggs from the~~

~~communities have discontinued their shad fish. The eggs are then fertilized and hatched in~~

~~plankings in support of the fishing ban. (The big tanks, and the baby fish are fed brine~~

~~events are called "plankings" because the fish shrimp. At about 15 days old, they are tagged~~

~~are cooked by nailing them to wooden planks using a harmless chemical dye and released into~~

~~and smoking them slowly over an open fire. the muddy river. From 1989 to 1997, more~~

~~A traditional joke claims that when the fish is than 32 million young shaci were released into~~

~~the wild from the Pamunkey facility. Thanks to~~

~~the tagging, fish hatched in the Pamunkey and~~

~~Mattaponi hatcheries and released into the~~

~~James and the Susquehanna rivers can be traced~~

~~far beyond Virginia. Bill Matuszeski, former~~

~~director of the EPA's Chesapeake Bay Program~~

~~Office, said, "We can only hope that some day,~~

~~one of the fry from [the Pamunkey hatchery]~~

~~supplied to the Susquehanna will become the~~

~~first shad to return to Lake Otsego in New~~

~~York, one of the farthest sources ot water to~~

~~the Chesapeake Bay."~~

~~Postal workers offer a special "shad cancellation"~~

~~at the annual Lambertville, New Jersey, Shad Fest.~~

~~Photo by Susan Charles Groth ,^<>J ^-~~

~~1661 SMITHSONIAN FOLKLIFE FESTIVAL Chief William H. Miles and his son Billy wait for gill nets to drift down the Pamunkey River to catch shad. Phowby~~

~~Lorry Chowning, courtesty Cornell Maritime Press~~

~~The Lewis Fishery cannot lay claim to Vice president for resource protection the depth ot' history of the Pamunkey and of the Chesapeake Bay Foundation, Mike~~

~~Mattaptini tribal fisheries, but it has been a Hirshtleld, has stated, "It's tragic that a genera- bellweather for the health of shaci on the tion of kids |in Maryland and Virginia] is~~

Delaware River and in its tributaries for over growing up not even knowing what a shad is." a hundred years. Captain Bill Lewis knew But some kids on the Delaware River are something was wrong back in the early years more fortunate. Nine-year-old Keziah Groth- of the 20th century, as the numbers of tlsh Tuft, daughter of tblklorist Susan Charles caught began declining. By the iy40s, so few Groth, loves to go out in the rowboat, help fish were being hauled in the Lewis nets that pull in the net, and weigh and measure the some people wondered why the seasonal fish- fish, although she'd rather eat a hot dog than ermen kept at It. No shad were caught at all in a piece ot shaci.The Lewis family considers

~~1953 and 19s'''. Records from the Lewis Keziah and the other young people involved~~

~~Fishery, which have been kept every year since in the fishery a sign of hope for the next gen-~~

~~1888, helped convince the states along the eration of traditional shad fishermen. Fred~~

Delaware River to form a coalition to study Lewis recalls: "Well, I got started because my the decrease in shad and to work on cleaning father was into it. And he began fishing back up polluted waters around the Philadelphia- in 18S8. And ever since then, one of us has

Camden area. Shad populations began been doing the fishing every year. We never rebounding in the ry6os, and tociay the catch missed a year." And if this fishery's family, crew, numbers around soo fish each season. and friends can help it, they never will.

~~WATER WAYS MID-ATLANTIC MARITIME COMMUNITIES [671 Brothers Lemuel and Steve Ward, barbers and pioneer waterfowl carvers from Crisfield, Maryland, called themselves~~

~~"Counterfeiters in Wood." Their favorite wood was cedar, photo courtesy Ward Museum of Wildfowl Art~~

~~ATLANTIC WHITE CEDAR many clear-cut swamps were drained, and the loss of the natural tiltering qualities ot trees~~

"Wluii I i.jiiV (ji7 ifi/jc no iiioir, irliy. I'll jiisr and peat wreaked havoc with the water quality have to quit iiuikiiit; sindhlhwcs.... Jersey sinahboxcs needed to sustain anadrc>mous tlsh species " — iiiiisr he one reason why God iniuie trees. such as shad in the local rivers, and shellfish

~~George Hendricks. Now Ciretn;i. New Jersey such as ovsters in the nearby sounds and bays. B\ noon on that soggy March day, one~~

~~On the vernal equinox, Mari'li 20. 2000. hundred trees had been planted, the first of studcius tVom Tvrrcll (.\niiity Elementary the 7,000 planned m a project ot the arts~~

School ni rural eastern North Carolina joineci organization Pocosin Arts in Columbia. a group of naturalists, educators, and arts Attached to each juniper seedling was a activists ni a muddy swamp to plant tree handmade cl.iy marker, upon which each child seedlings. This wasn't just any lesson m trees inscribed a SNinbol "to commemorate the day, and ecolog)-, though. The children were planting the project, and the millennium."" Feather

~~Atlantic white cedar, known locally as jumper, Phillips, the director of the project, explained, a mainstay ot' traditional lite and economy in [The Millennium Forest] will be open space~~

~~the coastal Mid-Atlantic. Since colonial days, alternating with dense planting, the w.ry the~~

~~entrepreneurs throughout the region had trees grow m nature. It \\ill be a place visitors~~

~~become so etYicient at cutting down and can enter to sit, meditate, and contemplate."~~

~~marketing cedar wood for boat-building and Atlantic white cedar (Chiinhiecypiiris tliy-~~

~~roofing shingles that whole forests had disap- oides) once grew m profusion in wetlands from~~

~~peared by the iSoos,To add to the problem. Lono; Island to North Carolina. The trees grow~~

~~SMITHSONIAN FOLKLIFE FESTIVAL in clumps that tend to intertwine as they reach heights ot up to eighty' or a hundred feet, making~~

~~It diflicult to cut just one or two trees at a time.~~

~~Referring to cedar stancis m the wetlands of southern New Jersey in The Grcdi Book ofU'ildfoirl Decoys, author Gary Giberson explained how the clear-cut timber was used with ruthless efficiency:~~

~~The smallest trees, those growing around the outside of the stand, would make the best bean~~

~~poles or net markers. The next size tree, two~~

~~to four inches in diameter, would be used for~~

~~fence posts. The six-inch-diameter trees would~~

~~be used for cedar shingles. Working in toward~~

~~the middle of the stand, the next size tree~~

~~would be cut tor weather boards or small trim~~

~~material. These logs would be around eight to~~

~~ten inches in diameter. The remaining large~~

~~trees were used as boat lumber.~~

~~Straight grained, hght, anci insect resistarrt,~~

Atlantic w hite cedar was also used for duck and goose decoys, barrels, buckets, furniture, channel A stand of Atlantic white cedar in the New markers, utilir\- poles, railroad ties, the interior of Jersey Pine Barrens, showing how the trees grow freezers and washing machines, and even for organ in a dense cluster, which led to clear-cutting.

Photo hy George F. Russell @ USDA-NRCS PLANTS Database pipes. In the i8th and 19th centuries, reforestation was not a conin:on practice, and the trees did not Spanning the border of North Carolina and regenerate themselves. The wood eventually became Virginia, the Great Dismal Is a vast swamp so scarce that lumber companies in New Jersey cre- where huge stands of Atlantic white cedar ated a brisk business in the 19th century "mining" (juniper) and cypress once stood, before the it by dredging up fallen trees from the swamps. lumber companies cut them down. North

~~Carolina author Bland Simpson traveled with~~

~~An elementary school student from Tyrrell County, North local guide Reggie Gregory to the last stand~~

Carolina, plants an Atlantic white cedar (juniper) seedling of Great Dismal juniper and described It in in the Millennium Forest at Pocosin Lakes National Wildlife The Great Dismal: A Carolinian's Swamp Refuge as part of the 7,000 Junipers project. Memoir:"\n close ranks, the cedar spires Photo courtesy Pocosin Lakes Not'onr: ','.' - stand, each tree a tall tawny pole with bark \ In thin vertical strips marking a slow swirling whorl around and about the tree up to its

~~dark green arrow-crown. They grow In thick,~~

~~high-acid peat of their own making and~~

~~reach heights of sixty and seventy feet,~~

~~diameters of a foot. Deadfalls and windfalls~~

~~cross and lap each other on the forest floor,~~

~~and walking in the cedars is slow going or~~

~~no going at all.... In aerial photographs, the~~

~~Swamp's few remaining patches of cedar~~

~~show up stark and dramatic, like shadows on the moon.~~

~~'Well,' Reggie said, 'there's your juniper.'"~~

~~WATER WAYS: MID-ATLANTIC MARITIME COMMUNITIES 1691 Gus Heinrichs poses with a sneakbox at the Perrine Boat Shop at Tuckerton Seaport. Photo courtesy Tuckerton Seaport~~

~~Legendary decoy carvers Lem and Steve of a mule as it sweats up a dusty road." These~~

~~Ward, wlio are nreniorialized at the museum in boats need wood that is light, tlexible, straight-~~

~~their hometown ofCnsfield and at the Ward grained, and resistant to wood-eatmg marine Museum ot'Wildtbwl Art m nearby Sahsbury, animals: "swamp cedar" or "Jersey cedar," as~~

~~Maryland, were tau'ly typical m their use ot Atlantic white cedar is called locally, was the~~

~~cedar. Sometimes they used old cedar telephone only wood that could fill the bill.~~

poles, hut if they could get a good piece ot Ill the late 1970s, tblklorists trom the "North C'arolma jumper," they were happier. Library of Congress's American Folklite Though cedar was their Lnonte. they used any Center interviewed sneakbox maker Joe Reid, kind of wood they could obtain. After World trom Waretown, New Jersey, who explained,

~~Wir II. they bought a number of Navy life rafts "Fiberglass doesn't handle itself in water the~~

~~and cut thousands of blocks ot balsa wood to wMy cedar does. Cedar takes 111 just the right~~

~~use for gunning decoys. Balsa had the adwmtage amount of water and settles down.... You can't~~

~~of being lighter than cedar, but it was much less beat cedar for a boat." Folklorist Mary HutTord~~

~~durable. Today, Chesapeake Bay carvers Ron noted that, although most of the older men Kiie and Dan Brown carry on the Ward broth- were no longer making full-sized sneakboxes,~~

~~ers' tradition, still using cedar w hen they can and many of them had stopped hunting, they for get it. Decoy collectors p,iy thousands ot dollars had started making miniature sneakboxes~~

~~for a decorative Ward decoy, and those made ot their children and grandchildren. HutTord~~

cedar are the most prized. observed that these miniatures are "a means Another piece of watertliwhng equipment of transporting agmg gunners mentally into iden- made trom cedar is the "sneakbox."' a 12-toot- the marshes, while transmitting regional

~~long boat with a spoon-shaped hull traditionally titv to children and grandchildren."~~

~~built and used by duck hunters in the Barnegat The sneakbox tradition lives on m Gus~~

~~Bay-Pine Barrens region of New Jersey. Like Heinnchs, born in 1931 in Tuckerton, New~~

~~many folk cratf, the boat was developed to [ersev, a historic shipbuilding and lumbering~~

~~meet a unique set of needs, in this case, hunt- town. Heinrichs came from a boat-building tather ing 111 conditions ranging trom open water to tamih'. and when he was young, his~~

~~the thinnest layer of marsh mud and, in the built him a 24-foot garvey, another type ot~~

~~coldest months, to ice. The boat draws so little regional boat made of cedar. He used it tor~~

~~water, it is joked, that it can "tbllow the trail clammiii!^ until the 19.SOS, when he became~~

~~170] SMItHSONIAN FOLKLIFE FESTIVAL a house carpenter. In igS^, Heinrichs was WORKS CITED AND admiring a sneakbox at a decoy and gunning SUGGESTED READING show when someone dared him to build one.~~

He went to work ahnost immediately on his Cecelski, n.ivid. 2001. llic WUleriiidii's Soin;: first sneakbox. which won a prize at the show SLwery and lircdoiii in .\hirifiiiic Sortli Ciirolnid. Chapel Hill: University of North Carolina Press. the next year. Today, Gus Heinrichs is the resident sneakbox maker at the Tuckerton Chownmg, Larry S. 1990. Hdn'esil}ii; the Chesdpedke:

Seaport museum complex. "My dad wanted at Tools dnd Traditions. Centreville. MI!): Tidewater least one ot his sons to learn sneakbox-build- Publishers. ing and carry on a tradition that he had Clarke, Wendv Mitiiian. :;oo::. Windoii' on the started many years before The sneakbox Chesapeake: The Bay. lis People and Places. I build is a different style but from the Newport News: The Manners' Museum. same patterns passed down by my ciad,"

Fincham, Michael W. "Saving C)ysters . . . explains Heinrichs. 2003. And Oystermen." Chesapeake Quarterly 2(1). At last count, there were still 1,000 junipers to be planted to reach the 7,000 mark at Garnt\-Blake, Barbara, and Susan West. 2003.

Pocosin National Wildlife Refuge. There are Fish Honse Opera. Mystic, CT: Mystic Seaport Press. also nian\' other Atlantic \\ hite cedar forest Giberson, Gary. lyyo. "New jersey." In the Great restoration projects going on from New jersey Book of Wildfowl Decoys, joe Eiigers, editor. San to North Carolina. These efforts won"t make up Diego: Thunder 15.iv Press. Inc. for the millions of trees clear-cut in the Mid- HutTord. Mary. 19.S6. (hie .Space. Many Places: Atlantic over the past three centuries, hut they Folklife and Land Use in Sew Jersey's Piiielands are significant. Meanwhile, one can only hope Salioiial Reserve. Washington, DC: American that Heinrichs his helpers can continue Gus and Folklife Center, Library ot Congress. to find enough cedar to build their boats and Matthiessen, Peter. 19.S6. .Men's Lives: demonstrate their skill for the public. Other- The Siirfiiien and Baynicn of ilie South Fork. wise, sneakbox-making w ill become a part New York: Random House. of meiiu>r\- culture, with only miniature models made for grandchildren remaining McPhee, John A. 2002. The Foundiut} Fish. York: Farrar, Straus and Girou.x. as evidence of the legacy. New

Simpson, Bland. 1990. 77u' Great Disnuil: shad, These three resources—oysters, and A Carolinian's Swamp .Memoir Chapel Hill: Atlantic white cedar—sketch a history ot the Umversitv ot North Carolina Press. maritime traditions of the Mid-Atlantic region. Walker, Thomas, editor. 2003. Folk .-irts & The next generation of skipjack captains, shad Cultural Traditions ot the Delmarva Peninsula: fishermen, and sneakbox makers \\ ill build upon .-\u hnerpretive Resource Guide. Baltimore: the past, charting a course for the region's mar- Mid Atlantic Arts Foundation. itime resources into the future. Through efforts Warner. William. 1976. Beaunlnl Swiiunu'rs: of grassroots conservation and local wisdom, the Walenneu, Crabs and the Chesapeake Bay. region's cultural history lives on through the Boston: Little, Brown. eternal process of change and renewal.

~~Wennersten,John R. 19S1. The Oyster ]]'ars~~

~~of Chesapeake Bay. Centreville, MD; Dr. Betty /. BcLviia t< au cihiduloii spciialist dt Tidewater Publishers. the Center for Folklifc atui Ciihtiral Heritage~~

and hd< been uvrkiiig on the Fesliihil since il)S6. SUGGESTED LISTENING She //!?.< cnrdtcil or co-curdlcd Ihv other I-estirdI progrduis; this ii\is by far the niost elidlleiiging, Inn Classic .Maritime Music from Suiulnonian Folkways

~~one of the most reti'drtiing. Recordings. 2004. CD 400.S3.~~

~~WATER WAYS: MID-ATLANTIC MARITIME COMMUNITIES 171] GENERAL FESTIVAL Press~~

~~INFORMATION Visiting menibers of the press should register~~

at the Press tent located near the Smithsonian Festiva I Hours Metro Station on the Mall at Jefferson Drive The Opening Ceremony tor the Festival takes and 12th Street. place at Kiicstra Mihicd'^ La Fonda stage at

~~II a.m., Wednesday, |une 23. Thereafter, Festival First Aid hours are 11 a.m. to 5:30 p.m., with special~~

~~evening events. The Festival is closed Monday, A first aid station is located near the~~

~~June 28, and Tuesday, June 29. See the schedule Smithsonian Metro Station on the Mall at~~

~~on pages 74-93 for details. Jefferson Drive and 12th Street.~~

~~Festiva I Sales Restrooms 8: Telephones~~

~~Visitors may purchase Haitian, Latino, and There are outdoor tacilities tor the public and~~

~~seafood lunches, snacks, and dinners trom tor visitors with disabilities located near all ot~~

~~Festival food concessions. A Haitian Market the program areas on the Mall. Additional rest-~~

~~will feature traditional craft products and foods room facilities are available in each ot the from Haiti. A variety of objects produced by museum buildings during visiting hours. Public~~

~~Festival artisans and a selection ot related telephones are available on the site, opposite~~

books and recordings will he available at the the National Museums of American History Festival Marketplace on the Mali-side lawn ot and Natural History, and inside the museums. the Freer Gallery of Art. Smithsonian Folkways

recordings will also be available there (For the Lost 8: Found/Lost People Ntiestra Mi'isica program, Music of New Mexico: Lost Items or family members should be Hispanic Traditions; Borderlands: From Conjiinto to brought to or picked up trom the Volunteer Chicken Scralcli: Heroes & Horses: Corridos from tent located near the Smithsonian Metro the Arizoiia-Sonora Borderhuids: Taqiiacliito Nii^hts: Station on the Mall at Jefferson Drive and jVipa el MariachU: Raices Latiiias; Capoeira i2th Street. Angola 2: Bri)icaiido iia Roda (Grammy nomi-

~~nated!); Sacred Rhythms of Cuban Santeriu: Cuba~~

in Washington; Puerto Rico in Washington; Jibara Metro Stations Music Puerto Rico by Hasta el Hucso: Mountain of Metro trains will be running every day ot the Ecos de Boriuquen (Grammy nominated!); Festival. The Festival site is easily accessible Music in Quisequeya en el Hudson: Dominican from the Smithsonian and Federal Triangle Vnplug\;ed: Alateria Prima. NyC;\'iento de Agna Stations on the Blue and Orange Lines. For the Water Ways program. Classic Maritime

~~Music front Smithsonian Folkways Recordings. For Services f o r Visitors the Haiti program, Caribbean Revels: Haitian with Disabilities Kara & Dominican Gaga and Rhytlnns of~~

Rapture: Sacred Musics of Haitian I odou) Large-prmt and audio-cassette versions ot the and through www.folkways.si.edu. Digital daily schedule and audio-cassette versions of the downloads from Smithsonian Folkways program book and signs are available at the

~~and from Festival recordings will be available Festival Information kiosks and the Volunteer~~

~~from Smithsonian Global Sound at tent. Other tbrmats are available upon request.~~

~~www.globalsound.org. Volunteers are on call to assist wheelchair users.~~

~~Audio loops to assist hard-of-hearing visitors~~

~~are installed at the music stages. Service animals~~

172| SMITHSONIAN FOLKLIFE FESTIVAL are welcome. American Sign Language inter- Especia I ly for Children preters are available on site; the Festival schedule and Families indicates which performances and presentations Haiti: Ongoing activities for families in the are interpreted (Sgp). Other modes of interpre- Kids' Corner Tent will include interactive per- tation may be provided it a request is made a formances; mini-workshops on music, dance, week in advance by calling (202) 7Sd-24i4 pamtmg. games; crafts such as toy-making; and (TTY) or (202) 27s- 1905 (voice), or e-mailmg plav activities designed to introduce children [email protected]. to the culture of Haiti's young people. Thunderstorms Water Ways: In Kids' Cxiast participate in inter-

In case ot a severe rainstorm visitors should active displays on Mid-Atlantic maritime go inside a museum. If museunts are closed, creatures and natural resources and on what visitors should go into the Metro Station. you can do to keep the region's waterways

Summer rainstorms are usually brief, and often healthy from the staff of the National Oceanic the Festival resumes operations withm an hour anci Atmospheric Administration, The Nature or two. In the event ot a severe thunderstorm Conservancy, Pocosm Lakes National Wildlife the Festival must close. Do not remain under a Refuge/US. Fish and 'Wildlife Service, The tent or a tree! Oyster Recovery Partnership, and The Clearwater Hudson River Sloop (week two).

~~ONGOING FESTIVAL Week one, use river clay to learn about the~~

~~PRESENTATIONS ancient art of Pamunkey Indian pottery from~~

In addition to the daily scheduled performances, Mildred Moore, master potter. there will be ongoing demonstrations in the individual program areas. Each day, a different organization will lead a hancls-on activity in Kids' Coast. Check

Haiti: Woodcarving, straw work and basketry, the Kids' Coast schedule for the activity of pottery, mural-painting, coffee, i;/c'/('/(-making, the day. paper- and mat-makmg, boat-building, tap-tap Chart a course with experts from the (bus) decoration, net-makmg i!\ other mari- NOAA time traditions, historic restoration arts. Weather and Ocean Services, and try on a

Carnival arts, cut-metal work, sequmed flag lifejacket and guess what happened to the making, and other needlework arts. ruined boat with the Sail and Power Squadron in the Water Safety Tent; learn to tie a knot

~~Nucftra Miisica: Instniment-making demonstrations. and hoist a sail with the National Maritime Heritage Foundation m the Sailing Crafts Tent;~~

~~Water Hays: Commerciil fishing methods, try knitting a net in the Net Fishing Tent. net-gearing and -mending, fish-marketing,~~

recreational tlshmg crat'ts (custom rod making, Be sure to pick up a copy of The Nature activity salt water tly-rying, charter boat captaining), Conservancy's Nature Navigator waterfowl decoy carving and marshland tradi- booklet at any Information booth on site,

~~tions, maritime ecology and environmental and investigate Mid-Atlantic Maritime education, wooden boat building and restora- Mystery Creatures!~~

~~tion, maritime blacksmithing and metalwork,~~

~~rigging, knot-tying and sailing crafts, model~~

~~boat building, marine weather prediction, light-~~

~~house and lightship information, boating safety.~~

~~GENERAL FESTIVAL INFORMATION 173] FESTIVAL SCHEDULE (Programs are subject to change.)~~

~~Wednesday, June 23~~

~~11:00 Ffilii'iil Opciiiii^i Ccrciiioiiy Haitian Kitchen La Pen a La Fonda Stage Ongoing demonstrations ot 12:00 jarocho Traditions:~~

everyday and ritual cooking in Jose Gutierrez y Los Haiti: Freedom and connection to Haitian cultural Hermanos Ochoa Creativity erom the and religious lite and celebra- 12:45 Plena y Bond'a of Puerto Mountains to the Sea tion; displays of food for sacred Rico: Viento de Agua

otferings. Check the Web site ^^1 :30 Marimba Traditions of Mizik ak Dans Stage for daily schedules. Cuatemala: Marimba ^^12:00 Riiii? A/(/.m'c. San Rankni Linda Xelaju 12:45 \'oiioii Dniiiiinlini: Azor Nuestra Musica: 2:15 Afro-Cuban Relii^ious

~~1 :30 Koiihit .S();;i;.<; K6c1-o-Bann Musk; in Latino Music: Emikeke Bdlhuis: Boulo Valcourt 2:15 Culture Sgf3:00 The Acoustic Bass in Latino 3:00 I'odoii Druiiiiiiiiii^: Azov Music: Ricardo Albino~~

~~3:45 Koiihii So)/i;,<; K6d-o-Bann Zapata Barrios; Pedro La Fonda 4:30 Tii'oiihiulou A/zo/V; Tikoka Hernandez Chandtoita: 5:00 Rdid Mii~~

1 :30 Los Camperos and Lakou Manachi de Natl Cano El Portal 1 2 :45 I 'ci'c 1 1 orksliop: Sacred 2:15 Traditional Meren};ue: Drawings in Honor ot 12:00 Music and Commodifcation Franklyn Hernandez y Papa Legba 12:45 Harp Construction sus Tipican Brothers ^^ 1 :30 Rhythm and RitiiLd Dance 1:30 Music Scenes: 3:00 Plena y Boinba: 2:15 Makiiii; the Sacred Ahai Sidemen's Perspectives Viento de Agua for Papa Lc(iha 2:1 5 Musical Traditions 3:45 Son Jarocho: 3:00 I'odoii, Freedom, of New Mexico lose Gutierrez y Los and Creativily 3:45 Music and Resistance Hermanos Ochoa 3:45 Cokn. Dress, and 4:30 Joropo Llaiicro: El Grupo Ritual Display El Salon de Baile Cimarron de Colombia 4:30 Elements of Ceremony: ^^5:30-9:00 12:00 Ncii' Mexican Social Honoring Papa Legba Evening Concert Dance: Emikeke 12:45 Baileinos, Let's Dance! Krik Krak String Traditions In Mexico and the Son Jarocho Fandaufio: Narrative Stage United States Sponsored by the National Endowment for the Jose Quetzal Flores; 12:00 Tales of Bonki and Mails Arts (NEA) featuring National Francisco Gonzalez; 12:45 Kreyol Lan'ina\;e Workshop Heritage Fellows Mariachi Los Martha Gonzalez 1:30 Architecture, Freedom, 1 :30 Salsa Dance Class: Camperos cie Nati Cano; Jose and Creativity Bruno and Gutierrez y Los Hermanos DJ 2:15 Stories fivni the Land of Eileen Torres Ochoa; Lorenzo Martinez y Mountains Behind Retlexiones 2:15 Bailemos, Let's Dance! Mountains CoiijutitoTcjano: Eva Painting as Popular ^^3:00 Ybarra y su Conjunto Tradition in Haiti 3:00 Salsa Dance Class: 3:45 Haitian I'roverhs DJ Bruno

~~Sg^ 4:30 Diaspora I oices~~

~~174| SMITHSONIAN FOLKLIFE FESTIVAL 3:45 Bdilciiios. Let's Daucc! 2:45 Meiilhidcii-Fishiiig IVorh Kids' Coast~~

~~Mcrcii(;uf Pcricc Ripiao: Souths: Northern Neck Environmental~~

Franklyn Hernandez y Chantey Singers Learning Center sus Tipican Brothers; 3:30 Southern Maryhuid 12:00-5:30 Eileen Torres 'liinesiiiith: David Norns Ii,i;i/ Museum ofW'iLffou'lArt: Sgf 4:30 Sdls:i Diince Class: 4:15 Dcirr; East North Carohita Hands-on Marshlands Ecology, DJ Bruno Stories and Son^s: Duck Decoy Carving and Duck- Connie Mason and Coose-Calling Activities Water Ways: 5:00 Life Jacket Drih: Sail and Power Scjuadron Mid- Atlantic Maritime Kitchen Maritime Communities Bayhouse Narrative Stage 12:00 Crisjield Cookuii;: Ramona Whittington Shore Memories Sgf 12:00 Weather and the Wdtei 1 :00 I '/i\'///ici Eastern Shore 12:30 Lii^hthonse Stones 12:00 Smith Island Life: C^ookini;: Dawn Chesser 1:15 Boat Talk lanice Marshall 2:00 Markers Ishtnd Cookiui^: 2:00 Maritime Connnuihiies in 12:30 Meiilidilen-Fisliiiifi Wlvh Karen Amspacher Transition: Smart Crowth So I {ifs: Northern Neck 3:00 Sumh Island Crah-Piekitii!^ Programs Chantey Snigers and Cooknio: Janice 2:45 Fishin\;: Then and Now 1 :15 Soulheni MaiyLiiid Marshall lliifc; Hjj'.v- Ecotounsm Tiinesmith: David Norris ^c^3:30 4:00 I '/i\'//;iii Eastern Shore and Ecology ^^2:00 Li

~~Costumed for Carnival inJacmel, Haiti. PhowbyChantoi Regnouit Thu rsday, June 24~~

~~Haiti: Freedom and Creativity from the Mountains to the Sea~~

~~Mizik ak Dans Stage~~

~~11 :00 Riiiti Music: San Rankin~~

~~11:45 Koiihit St)/)i;>; K6d-o- Bann~~

~~^^12:30 'Hi'oiilhiiloii A///s(V;Tikoka~~

~~1:15 I bdoii Dniiiimliig: Azor~~

~~2 :00 Ballads: Boulo Valcourt~~

~~2:45 Tii'oiilhidoii A/i/.s/V; Tikoka~~

~~3:30 Konbil Soin;s: K6d-o-Bann~~

~~4:15 \odoii DniiiiiiiiHiJ: Azor 5:00 Riim Music: San Rankin~~

~~Ou nfo~~

11:00 1 :30 .Vfic Mexican Social Water Ways: Mid- 2:45 Old-Styk Gospel: Dance: Lorenzo Martinez Atlantic Maritime SAIF Water Singers y Reflexiones Communities 3:30 Menhaden-FisliintJ Work 2:20 Bdilcnioi. Lcf\ Dance! Sont^s: Northern Neck Son larociio Fandani^o: Shore Memories Chantey Singers Jose Quetzal Flores; ^^4:15 Eastern Shore Folklore: 11:00 Doirn luist Soith Francisco Gonzalez; ^f Carolinu Tom Flowers Stories and Sottas: Martha Gonzalez 5:00 Litesafiiii^ Stories: Connie Mason 3:10 Ballcinos, Lcl'i Dance! Albert Reginald |ones 11:45 Chesapeake Scenes Conjunto Tejano: 12:30 OhI-Stylc Gospel: Bayhouse Narrative Stage Eva Ybarra y su Conjunto SAIF Water Singers 4:00 Ballcnios, Let's Dance! 11:00 Boat Talk: TiU Ships

1:15 Mcnliaden-Fisliin'^ 1 1 oik Merengue Pcrico RIplao: 1 1 :45 National Mnsenni of Soni;s: Northern Neck Franklyn Hernandez y Wniiral History's Chantey Singers sus Tipican Brothers Ocean Hall 2:00 Chesapeake Scenes 4:50 Salsa Dance Class: ^^12:30 Life III the XLnsh DJ Bruno & Eileen Torres 1:15

~~Work boats owned by the Rogers family of Reedville, VA. Photo by Hamid Anderson Friday, June 25~~

Haiti: Freedom and u nf 6 ^^12:30 Kreyol 1 1 orkshop Creativity from the 1 :1 5 Stories of Freedom 1 1 :00 1 'vri- 1 1 orkshop: Sacred and (aratirity Mountains to the Sea Drawings tor Agwe/ 2:00 Carniral and Rara La Sirene 2:45 Coffee, Cane, and History Mizik ak Dans Stage 11:45 Spdcc iiiitl the Oiiiifd 3:30 Kreyol— Oral Tradition to

12:30 I odoii Rhythm dinl 11:00 Rnin Miisir. S.\n Rankin Written Uoid Ritual Driiiiniiiii^i 11 :45 Koiibit Soiii;s: 4:1 5 Diaspora I oices K6d-o-Bann 1:15 I 'odoii Ritual Foods ami Altar-Makiiii; 12:30 7i/'(i(//m(ftii/: Tikoka Haitian Kitchen 2:00 Ritual Dins 1:15 I bdoii Dniiiiiiiiiifi: Azor

2:45 I odoii and Artistic Ongoing demonstrations ot Sgf2:00 Koiibit Son^s: Creativity and ritual cooking in K6d-o-Bann everyday ^^3:30 Consecration and connection to Haitian cultural 2:45 Tiroitlhidoii .)///.

[78] SMITHSONIAN FOLKLIFE FESTIVAL 3:30 Down East North Carolina NuESTRA Musica: El Portal Songs and Stories: in Latino Musk: ^^11:00 Music and the Industry Connie Mason Music Culture 11 :50 Women in 4:15 Smith Island Life: ConniuiiiitY 1:30 Music and lanice Marshall Reli{;ious La Fonda 3:10 Afro-Cuhan 5:00 A Capella Gospel: Music Traditions Paschall Brothers 11:00 Siilivdoidii Ch>iiiilioiia: 4:00 The Emeri;ence oj the C'hanchcma San Chaiichoiia Bayhouse Narrative Stage Sinionense

11 -.50 Soil Jawclic: 11:00 Boat Talk Baile El Salon de Wiler lose C'lUtKMTCZ y 11:45 Weather and the Los Hcrnianos Ocho.i 11:00 loropo Dance of Colombia: ^g- 12:30 Waterways: Project Sa^ 12:40 I'Icihi y Boiiiha: El Grupo Cimarron The SAIF Water Viento dc Agua de Colombia 1:15 Muitime Communities

lldifltioiis: in Transition 1 :30 Afiv-(^iih,vi ^^11:50 Baileiiios, Let's D>:i(;(T.' Water: Eniikekc Mereu'iue Perico Ripiao: 2:00 Crossing the Crewnig 2:20 Triiiiilioiial Mmii,\:uc: Franklyn Hernandez Tall Ship

Rv7i///,i,': Then and Now Franklyn Hernandez y sus Tipican Brothers 2:45 Harkers and y susTipican Brothers 12:40 Saha Dance Class: 3:30 Island Life: Island 3:10 Music of Scir Mexico: nj Bruno Cedar Recreational FisliingTips Lorenzo Martinez y 1:30 Bailenios, Let's Dance! 4:15 in the Marsh Reflexiones Conjiinto Tejaiio: 5:00 Life

4:00 Coiijiiiito Tejaiio: EvaYbarra y su Conjunto EvaYbarra y su C;onjunto 2:20 Salsa Dance Class: Kids' Coast Camperos Environmental 4:50 Manachi Los I3J Bruno de Natl Cano 3:10 Bailenios. Let's Dance! Learning Center Fandango Son Jarocho 11:00-5:30 Pena ^^4:00 Salsa Dance Class: La I Irginia Coastal Resources: l)j Bruno Oyster and Sea Grass Ecology 11:00 Mdiinilhi'liadiiioiis oj Mexican Social 4:50 -Veil' Activities Help Build an GihitciihiLi: Marnnba — Martinez Dance: Lorenzo Reef; Meet the Live Luida XeLiju Oyster y Reflexiones Chesapeake Bay Creatures in 11:50 Afro-Culniii Rclijjious Oceans Emikeke Kids' Coast and at the Music: Water Ways: Mid- in Motion Traveling Aquarium Hiiips Mexico 12:40 rlic of Atlantic Maritime diid Coloiul'iii Communities Maritime Kitchen oj 1 :30 Mdiiiiilhi Tmditioiis Guatemala: Marimba 11:00 Long Island Eel Smoking: Shore Memories Linda Xelaju Cory Weyant — ^^2:20 Uaiieiv Musical Traditions ^^11:00 Old-Style Gospel: 11:30 Fishing Boat Cooking of Colombia: El Grupo SAIF Water Singers Desserts: Kenny Pinkard Cimarron de Colombia 11:45 Tastern Shore Folklore: 12:00 Jams and Jellies: 3:10 local Styles Tom Flowers Dawn Chesser Cooking: 4:00 The Sou Jarodio oJ 12:30 Menhaden-Fishing Work 1 :00 Fishing Boat Pinkard 1 eracnis, Mexico: Songs: Northern Neck Kenny Sine-Layer Jose Gutierrez y Los Chantey Singers 2:00 Smilh Island's

C.iil'c.- Janice Marshall Hermanos Ochoa 1 :1 5 Eastern Shore Folklore: Whittmgton 4:50 Plena y Bomha of Puerto Tom Flowers 3 :00 Pies: Ramona Shore \ 'irginia Rial.- Viento de Agua ^^2:00 Old-Style Gospel: ^cf 4:00 Eastern SAIF Water Singers Cooking—Hunting Lodge Chesser 2:45 Menhaden-Fishing Work Dessert: Dawn Bread Pudding: Songs: Northern Neck 5:00 Crisfield Whittmgton Chantey Singers Ramona

~~FESTIVAL SCHEDULE [791 1~~

~~Saturday, June 2 6~~

~~Haiti: Freedom and Krik Krak NuESTRA Musica: Creativity from the Narrative Stage Music in Latino Mountains to the Sea Culture 11:00 Haitian Folktales~~

11:45 Siii^ar and Haitian History La Fonda Mizik ak Dans Stage 12:30 Kreyol Workshop Freedom Mercnguc: 11:00 Rara Music: S.m Rankin 1:15 Stories of 11:00 Iraditional aud Creativity Franklyn Hernandez 11:45 k'ii/il)/(.- K6d-o-Bann y

S(i;;s;-A/(ife//;,i;: sus Tipican Brothers 12:30 Tii'oiibadou: Tikoka 2:00 Rara, Carnival, and KiMibit 11:50 ]oropo Llauero: El Grupo 1:15 I bdoii Druiiiiiiliii;: Azor 2 :45 Crafts, Trade, and Cimarron de Colombia Sgf 2 :00 Ballads: Boulo Valcourt Economic Freedom 12:40 Son Jarocho:]oii: 2:45 K'onftir; K6d-o-Bann 3:30 Kreyol: Gutierrez Los 3:30 7]/'ci)(/)

Drawings for Smihi Ybarra y su Conjunto Ongoing demonstrations ot Sah'adoran Clianchona: 11:45 Or^iani:iii}^ Ritual Space 3:10 everyday and ritual cooking in 12:30 Ritual Food Display Chanchona Sgf connection to Haitian cultural San Simonense 1 :1 5 Rata and I odoit and religious life and celebra- 2:00 Ritual Dniuuniug Workshop 4:00 Manachi Los Camperos tion; displays of food tor sacred de Nati Cano 2:45 I c)(/c'i), Freedom, and History offerings. Check the Web site 3:30 Maritime Ritual 4:50 Plena y liomba: tbr daily schedules. A>j;ua 4:15 Preparing a I'odou Viento de

~~Cereiuouy for Simbi~~

~~A potter from Aux Pins, Haiti. Photo by Patrick Vilcire~~

~~SMITHSONIAN FOLKLIFE FESTIVAL tlf 5:30-9:00 12:40 Danza: Los Tecuanes 11:45 Boat Talk: Evening Concert of I'uebla. Mexico Duck-Hunting Boats~~

~~Grassroots Traditions Jroiii Central 1:30 Carnival: ^^12:30 Duck- and Goose-~~

~~anil Soiitli America: C^hdnchona Sangre Boliviana Calling Exhibition~~

~~San Simonense; Marimba Linda 2:20 Salsa Dance Class: 1:15 II etlands Restoration~~

~~Xelaju; El Griipo Cimarron de nj Bruno 2:00 Author Talk:~~

~~Colombia 3:10 .-l//v-Ci//'(ii; Dance: Earn' Chowning, Fishing~~

Emikeke 111 the Chesapeake Region La Pena ^^4:00 DiHirii; Los Tecuanes 2:45 Duck Blind Building of Puebla, Mexico 3:30 Duck- and Goose-Calling S^ 11:00 Musical Traditions of 4:50 Carnival: Exhibition New Mexico: Lorenzo Sangre Boliviana 4:15 Deciphering Decoys: Martinez y Reflexiones Carving and Judging 11:50 Afro-Cuban Religious Water Ways: Mid- 5:00 Awards Ceremony for Music: Emikeke Atlantic Maritime Decoy Contest 12:40 Mariaclii Musical c (immunities Traditions: Manachi Los Kids' Coast Camperos de Natl Cano Environmental Shore Memories 1:30 Marimba Traditions of Learning Center

Giiateniala: Marimba Baf 11:00 Smith Island Life: 11:00-5:30 Linda Xelaju Janice Marshall Bayshore Discovery Center Staff: 2:20 Afro-Latino Drum Menhaden-Fishing Work 11:45 Kids Teaching Kids—Students Traditions Songs: Northern Neck from the Port Norns, New 3:10 Llanero Mnsicallradilions Chantey Singers Jersey, area present Maritime of Colombia: El Grupo 12:30 F.astern Shore Gospel Folklife Research; Make and Cimarron de Colombia Music: New Gospelites Float a Model Boat with 4:00 Marimba Traditions of 1:15 Down East North Carolina Seaworthy Small Ships Guatemala: Marimba Songs and Stories: Linda Xelajii C'onnie Mason Maritime Kitchen 4:50 The Son Jaroclio oj 2:00 Fish House Liars:

I cracru:, Mexico: Sonny Williamson; 11:00 Hunting Lodge Meals: Jose Gutierrez y Los Rodney Bradford Kemp Dawn Chesser Hermanos Ochoa 2:45 Menhaden-Fishing Work 12:00 Recipes from the One Fish, Songs: Northern Neck Two Fish Cookbook

El Portal Chantey Singers 1 :00 Soft-Shell Crabs: Sg^ 3:30 Eastern Shore Gospel Janice Marshall; 11:00 Music and Identity: Music: New Gospelites Ginny Williamson Fiesta de LaVirgen 4:15 /-Ls7; House Liars: ^^2:00 Smoking Eels and Boning 11 :50 Music and Family Rodney Bradford Kemp; Shad: Cory Weyant; Sgf 12:40 Afro-Puerto Rican Sonny Williamson Clyde Roberts Musical Traditions 5:00 Tugboat and Piloting 3:00 Taming the Wild Rock Fish: 1 :30 Fandanj^os in California Stories: Herbert Groh Ramona Whittmgton 2:20 Latino Master Musicians: 4:00 CookingVour Eastern Sliore NEA National Heritage Bayhouse Narrative Stage Catch: Dawn Chesser; Fellows Shawn Giacobbe 3:10 Carnival Traditions Wateifowl Day: All-day Working 5:00 Gathering and Cooking Waterfowl Decoy Judging in Greens: Ramona El de Baile the Marsh Life Tent area Salon Whittington

~~11:00 Salsa Dance Class: 11:00 Author Talk: PrisciUa D] Bruno Cummings' "Chadwick 11:50 Bailemos, Let's Dance! the Crab" Series Salvadoran Chanchona~~

~~FESTIVAL SCHEDULE Sunday, June 2 7~~

Haiti: Freedom and Haitian Kitchen 1 :30 Musical Traditions of New Creativity from the Mexico: Lorenzo Ongoing demonstrations of to Sea Martinez y Retlexiones Mountains the everyday and ritual cooking in 2:20 Llanero Musical Traditions connection to Haitian cultural of Colombia: E] Grupo Mizik ak Dans Stage and religious life and celebra- Cimarron de Colombia tion; displays of food for sacred Riiiii Music: Sau Rankin ^^11:00 3:10 Plena y Botiiba of Puerto offerings. Check the Web site n :45 Koiibit Sollies: Kod-o-Uann R/Vci; Viento de Agua for daily schedules. 12:30 Tiiviib.idoii A/i(_Music and Politics Marimba Linda Xelaju 1 1 :00 I 'cvc 1 1 oiksliop: Sacivd ^a 12:40 Colombian Llanero 12:40 Coit junto Tejano: Drawnigs for Loko Musical Traditions Eva Ybarra y su Conjunto 11 :45 OiyaniziinJ Ritual Space 2:20 Conjunto Traditions of

1 :30 Traditional AkremJue: 12:30 Ritual Food Display Texas Franklyn Hernandez 1:15 Rara and I 'odou ^cf 3:10 Music and Identity: sus Tipican Brothers 2:00 Ritual Dniiiuuiiig y Latino Musicians in 2:20 Manachi Los Camperos Workshop the United States t><^ de Nati Cano 2:45 I 'odou, Fnrdoiii, and 4:00 Perico Ripiao: 3:10 Sou larocho: Jose History Traditional Merengue ot Gutierrez Los 3:30 Ritual and Craft y the Dominican Republic Hermanos 4:1 5 Prcpariin; a \ odou Ochoa

Ccrciiuviy Loho 4:00 Salradoraii Chanchona: lor El Salon de Baile Chanchona San 11:00 Salsa Dance Class: Krik Krak Simonense Bruno Narrative Stage »^4:50 foropo Llanero: El Grupo DJ Cimarron de Colombia 11:50 Bailemos. Let's Dance! 11:00 Haitian Prorcrbs Saluadoran Chanchona 11:45 Traditional Knowlcditc— La Pena 12:40 Afro-Cnban Dance: Owning; It. Passim; It On Emikeke

11 :00 I 'ioliiis ill Latino Music 12:30 Kreyol Workshop 1:30 Bailemos, Let's Dance! 11:50 Perico Ripiao— Traditional Sof 1:15 Stories of Freedom and Son Jarocho Fandango Mcren^ue: Franklyn Creativity 2:20 Salsa Dance Class: Hernandez sus Tipican 2:00 Kids and Artistic Creativity y DJ Bruno Brothers 2:45 Diaspora Ibices: 3:10 Ncu> Mexican Social 12:40 The Son Mexicano: Haitian Identity Dance: Lorenzo Martinez Jose Gutierrez y Los 3:30 Haitians and the Sea y Reflexiones Hermanos Ochoa; 4:15 llii//i('/;'> Roles in 4:00 Bailemos. Let's Dance! Mariachi Los Camperos Haitian Culture Conjunto Tejano: Eva de Nati Cano Ybarra y su Conjunto 4:50 Salsa Dance Class: DJ Bruno

~~|82| SMITHSONIAN FOLKLIFE FESTIVAL Bivalve, New Jersey, waterfront. Photo com tesy Boyshoie Discovery Ccmer~~

~~Water Ways: Mid- Bayhouse Narrative Stage Maritime Kitchen Atlantic Maritime 11:00 Fisliing: Then and Now 11:00 Fastcni Shore Communities 11:45 Maritime Conniiunities Sunday Breakfasts:~~

~~in Transition Dawn Chesser;~~

~~Shore Memories ^^12:30 Crossifig the Hater l^amona Whittington~~

1 :15 Ili'jf//('r ami the IVater 12:00 I'isitiui^ Chef- Sgf 11 :00 lihitui Siiiulay Moiiiiiii;s 2:00 Recreational Fishing Tips Crab Cakes: 11:45 Fiili House Liars: 2:45 Boat Talk |ohn Shields Sonny Williamson;

3:30 Water Ways 1 :00 IsLmd Sunday Dinner: Rodney Bradford Kt-nip 4:15 River Life lanice Marshall 12:30 Mciihddcii-Fisliiin; Wbih 5:00 Festival Memories, 2:00 Crab Soup: John Shields Soii'^s: Northern Neck Week One 3:00 Eastern Shore Chantey Singers Sunday Dinner: Dawn Chesser 1:15 Down East North Caroliiui ^^4:00 Gone Fishing: Songs and Stories: Kids' Coast Connie Mason Environmental Clyde Roberts; Cory Weyant ^^2:00 Fish House Liars: Sonny Learning Center 5:00 Sunday Dessert: Williamson; Rodney 11:00-5:30 Bradford Ramona Whittington Kemp Chesapeake Bay Foundation: 2:45 Meiihadeii-Fisliiiig Work Crawl Through a Chesapeake Softp: Northern Neck Bay Drainpipe; Play the Chantey Singers Chesapeake Bay Game 3:30 Skipjack Stories

~~4:15 Smith Island Life: Janice Marshall~~

~~5:00 Lifcsai'iiig Stories: Albert Reginald Jones The Festival is closed Monday, June 28, and Tuesday, June 29.~~

~~FESTIVAL SCHEDULE 2~~

~~Wednesday, June 30~~

~~Haiti: Freedom and Creativity from the Mountains to the Sea~~

~~Mizik ak Dans Stage~~

~~11:00 RiVti Music: San l<.ankin~~

~~11:45 Koiihil Songs: K6d-o-B.inn~~

~~Ssf 12:30 7]i'i'/(/iii(/(iii; Tikoka 1:15 ]'odoii Diiiiiiuiiin;: Azor~~

~~2 :00 Koiihii Sotigs: K6d-o-Bann~~

~~2:45 Twonbddou Mi/.>r/c- Tikoka~~

~~3:30 Vodoii Dniiiiiiiiiig: Azov~~

~~4:1 5 Ballads: Boulo Valcourt~~

~~5:00 Rata A///.wV; San Rankni~~

~~Ou nfo~~

~~Sgf 11:00 Vcvc Woikshop: Sacred Drawings~~

~~tor Ogou~~

~~11:45 Oi);aiil:iin; Ritual Space~~

~~12:30 Ritual 1-ood Display~~

~~i/anBucen 1 :1 5 Crafts aud I odou Franklyn Hernandez y sus Tipican Brothers. P/ioto by fom~~

2:00 Ritual Dntiiiuuni; ll'oikshop 2:20 Satradoran Chancliona: 2:45 I odou. lircdoiu, Haitian Kitchen ^cf and History Chanchona San Ongoing demonstrations ot 3:30 Harvest Rituals Simonense everyday and ritual cooknig ni So;; laroclw: Jose 4:15 Prepariii}^ a I'odou 3:10 connection to Haitian cultural Gutierrez Los Cereiiiouy for Oi^ou y and religious lite and celebra- Hermanos Ochoa tion; displays ot tood tor sacred Krak 4:00 joropo Llanero: El Grupo Krik otfenngs. Check the Web site Cimarron de Colombia Narrative Stage for daily schedules. 4:50 Mariachi Los Camperos 12:00 Talcs of Bouki and Mails de Natl Cano

~~1 :45 Kreyol Language Workshop Nuestra Musica: Music~~

1:30 Arcliilecluic. Frccdoui. IN Latino Culture La Pe fi a and Crealirity 11:00 'The Son Jarocho 2:15 Stories from the Laud La Fonda of I'eracru:, Mexico: ot Mouinaiiis Belt nut ^^11:00 Traditional Mercngne: Mountains Jose Gutierrez y Franklyn Hernandez Los Hermanos Ochoa ^^3:00 Paiiniug as Popular sus Tipican Brothers y Bouiba Puerto Tradition in Haiti 11:50 Plena y of 11:50 ConjuntoTejano: Eva 3:45 Haitian Prorerbs Rico: Viento de Agua Ybarra y su Conjunto and Sayings Sgf 12:40 Marimba Traditions of 12:40 Mariachi Los Camperos 4:30 Diaspora Ibices Guatemala: Marimba de Natl Cano Linda Xelaju

~~1 :30 Plena Boniba: y 1:30 Afro-Cuban Religious Viento de As;ua Music: Emikeke~~

~~[84] SMITHSONIAN FOULlFt FESTIVAL 2 1~~

2:20 The Acoiistic BcUs in Latino Water Ways: Mid- 2:45 Art, Ecology, and Tradition Music: Ricardo Albino Atlantic: Maritime 3:30 Marine Archaeology Zapata Barrios; Pedro Communities 4:15 Marsh L/'/K' Ecotourism Hern.indez 5:00 Skipjack Memories

3:10 Mariiiibci Traditiom of Shore Memories Kids' Coast Cuiitciiuila: Marimba Environmental Linda Xela]u ^^11:00 Down East North Carolina Learning Center 4:00 The Chaiuhoiui Stories ami Son^s: Connie Mason ot El Sali'iidor 11:00-5:30 11:45 lm;hoat Pilotmo Stories: 4:50 The Son Jc-irocho of Tuckerlon Seajtort Education Staff: Herbert Groh I eyiicru:, Mexico: Horseshoe Crab Activities

~~1 :30 Chesapeake Bay Music Jose Gutierrez y Los Maritime Kitchen Hennanos Ochoa 1 :1 5 Tait~~

~~Bayhouse Narrative Stage 5:00 )'oiipon Tea: El Salon de Baile Connie Mason 11:00 Weather and the Water~~

11:00 Neu' Mexican Social 11:45 liland Life Jim Langley, a master maritime Dance: Lorenzo ^^12:30 I'iihiin;: Ther\ and Now wood carver and boat model maker Retlexiones Martinez y 1:15 Water Ili!)'<; Rip Currents on the staff of the Calvert Marine 11:50 Joropo Dance of Colombia: 2:00 Maritime Coiiimiinities Museum in Solomons Island, MD.

~~El Grupo Cimarron in Transition Photo by John Pemberton de Colombia~~

~~12:40 Salsa Dance Class: DJ Bruno~~

~~1:30 Bailcinos. Let's Dance!~~

~~Coijjuiito Tejano: Eva Ybarra y su Conjunto 2:20 Salsa Dance Class: D| Bruno~~

~~3:10 Baileiiios, Let's Dance!~~

~~Meren^ue Perico Ripiao:~~

~~Franklyn Hernandez y sus Tipican Brothers~~

~~^^4:00 Bailenu\<, Let's Dance! Son Jarocho Fandango~~

~~4:50 New Mexican Social Dance: Lorenzo Martinez~~

~~V Retlexiones~~

~~FEStlVAL SCHEDULE [851 Thursday, July 1~~

Haitian Kitchen La Pena Haiti: Freedom and Ongoing demonstrations of S^ 1 1 :00 Llanero Musical Traditions Creativity from the everyday and ritual cooking in ot Colondiia: El Grupo to the Sea Mountains connection to Haitian cultural Cimarron de Colombia

and religious life and celebra- 11:50 The Chanchoua of El lizik ak Dans Stage ^9 tion; displays ot tood for sacred Salvador offerings. Check the Web site 1 2 :40 The Accordion in Latino 11:00 Kara Music: San Rankin for daily schedules. Music: Eva Araiza Ybarra; 11:45 Konbit Songs: K6d-o-Bann Franklyn Hernandez 12:30 Old-Styk Kciipa:

1 :30 Mariiidm Traditions Reginald Polycard Nuestra Musica: of in Guatemala: Marimba 1:15 I oihiii Dnniiniing: Azor Music Latino Linda Xelaju 2:00 Twotibadou A/iiiif; Tikoka Culture The Chanchona 2:45 Hditituijdzz: ^^2:20 El Salvador Reginald Polycard La Fonda of 3:10 The Son Jarocho of 3:30 I'odoii DniDiiiiiiig: Azor 11:00 CoujuuloTejano: Veracruz, Mexico: 4:1 5 Ballads: Boulo Valcourt Eva Ybarra y su Gutierrez Los 5:00 Ram Music: San Rankin Jose y Conjunto Hermanos Ochoa 11 :50 Music of New Mexico: 4:00 Mariachi Musical u n f 6 Martinez Lorenzo y Traditions: Mariachi Los 11:00 I'cpclVorksliop: Reflexiones Camperos de Nati Cano Sacred Drawings 12:40 Son Jarocho: Vodou 4:50 Rhythm Guitars of for Azaka Jose Gutierrez y Los Mexico and Colombia

~~Sof 11:45 .S'/'i!(C and the Ouiifo Hermanos Ochoa~~

~~12:30 I ;'~~

~~of Guateniala 2:45 I odou and Artistic 3:10 Joropo Llanero: El Grupo Family Lineages in Music Creativity Cimarron de Colombia SgfM'AO~~

1 :30 Radio Bilingiie: 3:30 Consecration and 4:00 Plena y Boinha: Public Radio/ Purification Viento de Agua 4:45 Honoring Azaka 4:50 Guatemalan Marimba: Community Resource 2:20 Melodic Guitar Mexico Marimba Lmda Xelaji'i of Krik Krak ^^5:30-9:00 and Colondiia Narrative Stage Evening Concert 3:10 Music and Appropriation Afro-Latino Drum Traditions 1 1 :00 Haitian Folktales Sponsored by the National El Salon de Baile 11:45 Crafts and Hiiviroinncnt Endowment for the Arts 12:30 Making Musical 11:00 Salsa Dance Class: featuring National Heritage lustniuients 1)J Bruno Fellows Felipe Garcia Villamil 11:50 Afro-Cuban Dance: 1:15 Stories of Freedom and his group Emikeke; Emikeke (tgf and Creativity Viento de Agua with 2:00 Saints' Days and 12:40 Salsa Dance Class: Juan Gutierrez Celebrations DJ Bruno

~~2:45 Everyday Architecture 1 :30 New Mexican Social Sgf 3:30 Kreyol Workshop Dance: Lorenzo Martinez~~

~~4:15 Diaspora Voices y Refle.xiones~~

~~SMITHSONIAN FOLKLIFE FESTIVAL BI^NVENIDOS~~

~~Chanchona San Simonense from El Salvador. Photo by Damei Sheehy~~

2:20 BiiilcDios, Let's Dance! 2:45 Old-Time and Bhiegrass Kids' Coast Son Jiiivcho Fauiiaii^o Mnsic: Carawan Brothers Environmental 3:10 Bdilemos, Let's Dame! 3:30 Gospel: Elmer Mackall Learning Center Coiijiinto Tejaiio: Eva and The Faith Singers 11:00-5:30 Ybarra y su Conjunto 4:15 Down East North Carolina Smithsonian Environmental 4:00 Bailenios, Let's Dance! Stories and Songs: Research Center: Tales ot the Blue .Meyein;ue Perico Ripiao: Connie Mason Crab; Hands-on Crab Activities Franklyn Hernandez y 5:00 Gospel: Ehiier Mackall (also, check Bayhouse Narrative sus Tipican Brothers and The Faith Singers Stage schedule for the "Tales of 4:50 Salsa Dance Class: the Blue Crab" performance 1)J Bruno Bayhouse Narrative Stage times by musical duo Magpie!)

11:00 Life in the Marsh Water Ways: Mid- 11 :45 Tishing: Then and Now Maritime Kitchen Atlantic Maritime ^^12:30 Magpie: T:i\es of the 11:00 Crisfield Cooking: Communities Blue Crab Ramona Whittington 1:15 Water Ways 12:00 Delaware Bay Oysters: Shore Memories 2:00 Author Talk: ]ohn Page Whittmgton Family Williams, Chesapeake Sgf 11:00 Tangier Island Life: 1 :00 Smith Island Crab Balls: Almanack David Crockett Susan Stiles Dowell 2:45 A/i!i;/)/('; Tales of the 11:45 The Phillips Gant^plank 2:00 S'ortli Carolina Shrimp Blue Crab Ra'^tnne Band Cooking: Debbie Styron 3:30 Island Life 12:30 Old-Time and Blnei^iass 3:00 Northern Neck Cooking: 4:15 Weather Awareness: Mnsic: Carawan Brothers Theresa Dunaway Ron Gird, NOAA 1 :1 5 Tangier Island Life: 4:00 Fishing Boat Cooking: Extreme Weather Expert David Crockett Whittington Family 5:00 Recreational Fishing Tips 2:00 The Phillips Gangplank Sgf 5:00 I egetables from the Garden: Ragtime Band Ramona Whittington

~~FESTIVAL SCHEDULE : 6~~

~~Friday, July 2~~

~~Haitian Kitchen~~

~~Ongoing demonstrations of~~

~~everyday and ritual cooking in~~

~~connection to Haitian cultural~~

~~and religious life and celebra-~~

~~tion; displays of food for sacred~~

~~offerings. Check the Web site~~

~~for daily schedules.~~

~~Nuestra Musica: Music in Latino Culture~~

~~La Fonda~~

~~11:00 Sah'adoran Cliancliona: Chanchona San Simonense~~

~~11 :50 Son Jaroclio:~~

~~Jose Gutierrez y~~

~~"Ti Marchands"-market women m Ha beii produce along the road. Los Hermanos Ochoa~~

~~Photo courtesy Dome! Kedor ^^12:40 Plena y Bonduv Viento de Agua Haiti: Freedom and Ou nf 1:30 Afro-Cnban liaditions: Creativity from the 1 1 :00 I 'ci'c 1 1 orlisliop: Sacred Emikeke~~

~~Mountains to the Sea nrawings for Ibo Lele 2:20 Traditional Meren~~

~~11:45 Orgaiii:iii'i Riliial Space Franklyn Hernandez y Mizik ak Dans Stage 12:30 Ritual Food Display sus Tipican Brothers~~

~~1:15 Raid and \ odon 3:10 Plena y Bomba: 11:00 Rdhi Music: Sin Rankin 2:00 Ritual Driinimiin; Worksliop Viento de Agua~~

~~11:45 Koiibii : Kod-o-BAim 2:45 I odon, Fivcdoui. and History 4:00 /()rci/)i' Llanero: El Grupo Sg^ 12:30 B<7//(ir/5;BouloValcourt 3:30 Dress and Ritual Cimarron de Colombia~~

~~1:15 I i>~~

~~SMITHSONIAN FOLKLIFE FESTIVAL 1 :30 Miirii)dhi Tiiiditioiis Water Ways: Mid-~~

~~of Giiiitemalii: Atlantic Maritime Marimba Linda Xelaju Communities~~

~~2:20 LLiiu'io Miisiciil~~

lidditioiii ot Colciuhia: Shore Memories El Grupo Cimarron 11:00 (Jld-Iinie and Bliiegrass de Colombia Music: Carawan Brothers 3:10 I ('(•.;/ Styles 11:45 Down East North CaroUna 4:00 Ihc Son Jiiwiho Stories and Songs: ot I cnicruz, Mexico: Connie Mason Jose Gutierrez v Los ^^12:30 Ciiesapeake Bay Music Hermanos Ochoa 1:15 Tani;ier Island Life: 4:50 Musical Traditions of David Crockett Seir Mexico: Lorezno 2:00 Old-Tinie and Bluegrass Martinez v Reflexiones Music: Carawan Brothers

~~2:45 Cliesapcake Bay Music El Portal 3:30 Tni;hoat and Piloting Stories~~

~~11 :00 Music and ludiistiy 4:15 Tangier Island Life:~~

~~11 :50 Radio Bilini;ue: Public vs. David Crockett~~

~~Commercial Broadcastiiu 5:00 Life Jacket Drill:~~

~~12:40 Women in Music Sailing and Power 1:30 Music and Coiiniiuuity Squadron~~

~~^^3:10 Afro-Ciibaii Relioioiis~~

~~Music Traditions~~

~~4:00 Tlic Enicri^cnce of~~

~~the Cliaiiiliona~~

~~El Salon de Baile~~

~~11:00 Saturday, July 3~~

~~Haiti: Freedom and Ou nf 6 Haitian Kitchen Creativity from the 1 1 :00 [ t'i'f Workshop: Sacred Ongoing demonstrations of Mountains to the Sea Drawings for Danbala everyday and ritual cooking in~~

~~11:45 Becoming an HounsI connection to Haitian cultural Diiisponi Day 12:30 \odoii Rhytlnn and and religious life and celebra-~~

Ritual Dniinming tion; displays of food for sacred Mizik ak Dans Stage 1:15 I'odou In Haitian History offerings. Check the Web site 2:00 Ritual Dross for 11:00 R.iy.i Miisk:Sin Rankin daily schedules. Sgf2-A5 ]bdoii and Artistic Crcatit'ity 11 :45 Koiihit Songs: K6d-o-Bann 3:30 I'rcparing a Ritual Space Nuestra Musica: Music 4:45 Honorliig Danbala IN Latino 12:30 Old-Stylc Koiip,i: Culture Reginald Polycard Krik Krak La 1:15 I'odcn Drumming: Azov Fonda Narrative Stage 2:00 7i/v///iii(/('i(.- Tikoka 11:00 Traditional Merengne:

11:00 Haitian l-'olktales 2:45 Haitian Jaz:: Franklyn Hernandez y Reginald Polycard 11:45 People's Music in Haiti sus Tipican Brothers ^^12:30 Krcydniorkshop 3:30 Konhit Songs: 11 :50 Joropo Llanero: K6d-o-Bann 1:15 Stories of Freedom El Grupo Cimarron and Creativity de Colombia % 4:1 5 Ballads: Boulo Valcourt 2 :00 Song-making—Rara, ^^12:40 Soujaroclio: 5:00 Rata: San Rankin Carnival, Konpa, Jose Gutierrez Los ^^6:00-7:30 y and Konbit Hermanos Ochoa Evening Concert 2:45 Crafts, Trade, and 1 :30 Music of New Mexico: Kandjanii'on! An Ei'cning Uconontlc l-'reedoin Lorenzo Martinez of Haitian Music 3:30 Kreyol Fro;;; — Oral y Reflexiones Tradition to 2:20 Con junto Tcjano: Written Word EvaYbarra y su Demonstrating cut-metal in 4:1 5 Il7;c' (.)u'ns Haitian Croix-des-Bouquets, Haiti. Conjunto

~~Ptioto by Diana N'Diaye Culture?~~

SMITHSONIAN fOLKLIfE FESTIVAL 3:10 Sah'iuiohvi Cluiiiclioiia: El Salon de Baile 12:30 Water Ways: Living on the Chanchona San Chesapeake Bay 11:00 Salsa Dance Class: Sinionense 1:15 Maritime Communities in DJ Bruno 4:00 Manachi Los Caniperos Transition: Cristield and 11:50 Baileinos. Let's Dance! de Natl Cano Smith Island Salvadoran Chanclioua 4:50 PIciiti y Boiidni: ^cf 2:00 Skipjack Stories 12:40 Baileinos. Let's Dance! Viento de Agua 2:45 The Chesapeake Conjunto Tejano: Eva Gateways Setwork Ybarra y su Conjunto La Pefia 3:30 The Rivers of the 1 :30 Salsa Dance Class: Chesapicake Region 11 :00 I'hc So}i Jarccho of DJ Bruno 4:15 Fisliiii\; the Chesapeake

I cnicru:. Mcxiio: 2:20 Baileinos. Let's Dance! Bay Jose Gutierrez y Los Son Jaroclio FandaiiiJO 5:00 just [ 7.v/f//(jJ.- Chesapeake Hermanos Ochoa 3:10 Salsa Dance Class: Bay Tourism 11:50 Alro-Culhin Rclit^ioHS DJ Bruno Muiic: Eniikeke 4:00 Joropo Dance of Colcmhia: Kids' Coast 12:40 Mdiuuhi Miishdl El Grupo Cimarron de Environmental Tiiuiiiioiis: Manachi Los Colombia Learning Center Camperos de Nati Cano 4:50 Baileinos. Let's Dance! 1 :30 Marinihci Traditions of 11:00-5:30 Meren<^ue Perico RIpiao: GiicUciiiala: Marimba Liviti}; Classrooms DC: Franldyn Hernandez Linda Xelaju y Chesapeake Bay Watershed: sus Tipican Brothers 2:20 Llaiicro Musical Tiiuiilioiis Anacostia Reiver Ecology

of Colombia: El Grupo Activities Water Cimarron de Colombia Ways: Mid- Atlantic Maritime 3:10 Afro-LiUiiio Drum Maritime Kitchen Traditions Communities 11:00 Crab Cakes: John Shields Sgf ^:00 Mnsical Traditions of 12:00 Crab Soup Cook-Off New Mexico: Lorenzo Shore Memories Competition Martinez Reflexiones y Cliesapeake Music and Stories Day 1 :00 Crab Curry: [ohn Shields 4:50 Marind^i Traditions of (Sponsored by the Chesapeake Bay 2:00 Crah Soup Cook-Off Guatemala: Marimba Gateways Nervvork): Michael Judging and Oyster- Linda Xelaju Buckley. Master ot Ceremonies sliiickiiii; Demo 3:00 Oyster Cooking El Portal 11:00 Jaiiie Meiieely S^4:00 Cooking the Music: 11:45 I'lieni Eastport Oyster Boys Sgf 11:00 Mariaclu Chesapeake 's Bounty: Commercial vs. S^ 12:30 T.VII Wisner Ramona Whittington

~~Traditional 1:15 Bob Zeiitz 5:00 North Carolina Shrimp~~

~~11 :50 Music and Family 2:00 Janie Meneely Cooking—App)etizer:~~

~~12:40 Afio-Pucrto Rican 2:45 Bob Zent: Debbie Styron Musical Traditions 3:30 Them Eastport Oyster Boys~~

~~1 :30 Musical Traditions 4:1 5 Tom Wisner of El Salvador 5:00 Cliesapieal;e Jam Session ^5f 2:20 L~~

~~in California 3:10 I-andan^o Sg^ 1 1 :00 The Chesapeake and the 4:00 Musical Traditions Delaware: Comparisons~~

~~in I'eracruz 11:45 Criiisiiifr the Chesapeake~~

~~Planking (smoking over an outdoor fire)~~

~~shad, an old tradition in the Chesa-~~

~~peake Bay region. Photo by Lorry Chomning~~

~~FESTIVAL SCHEDULE 19 11 :~~

~~Sunday, July 4~~

Haiti: Freedom and Haitian Kitchen 2:20 Llanero Musical Traditions Creativity from the of Colombia: El Grupo Ongoing demonstrations of Mountains to the Sea Cimarron de Colombia everyday and ritual cooking in 3:10 Plena y Bomba of Puerto connection to Haitian cultural Mizik ak Dans Stage Rico: Viento de Agua and religious life and celebra- 4:00 Afro-Cuban Religious 11:00 R,rm.San Rankin tion; displays of food for sacred Music: offerings. the Emikeke 11 :45 Koiihit Soii^s: K6d-o-Bann Check Web site tor daily 4:50 Marindia 'Traditions of 12:30 Old-Style Koiipa: schedules. Guatemala: Marimba Reginald Polycard Nuestra Musica: Linda Xelajii 1:15 I bdoii Druinining: Azor Music 2:00 Tikoka: Tvvoubadou IN Latino Culture El Portal 2:45 Hiilti,niJ

~~4:15 I ('(/oil Dniiniiiiin;: Azor Viento de Agua 1 2 :40 Colombian Llanero 5:00 Rara Music: San Rankin 11:50 Cualenialan Marimba: Musical Traditions~~

~~Marimba Linda Xelajii ^^2:20 C^onjnnlo 'Traditions~~

u nfo 12:40 Conjunto Tejano: Eva of lexas Ybarra su Conjunto 3:10 Music and Identity: (/•( y 12:00 I ]Vorksliop: 1:30 Traditional Merengue: Latino Musicians m Sacred Drawings Franklyn Hernandez y the United States tor Bawon Samdi sus Tipican Brothers ^^4:00 Perico Ripiao: Tradhioml ^^12:45 [;.,/,)/( and Space: ^f 2:20 Mariachi Los Camperos Merengue of the The Ounto and Lakou de Natl Cano Dominican Republic 1 :30 Rhythm ami Ritual Daucc 3:10 Son Jarocho: Jose 2:15 Makiin; ilic Sacred Altai Gutierrez y Los El Salon de Baile 3:00 I'odou, Frecdoui, ami Hermanos Ochoa Creativity 11:00 Salsa Dance Class: 4:00 Salvadoran Cliancliona: %3:45 Color. Dress, and Bruno Chanchona San DJ Ritual Display 11:50 Bailemos. Simonense Let's Dance I 4:30 Eleuients of Ccreuioiiy: Salvadoran Chanchona 4:50 Joropo Llanero: El Grupo Honoring Bawon Sanidi 12:40 Salsa Dance Cimarron de Colombia Class: DJ Bruno Krik Krak La Pena 1:30 Bailenu^s. Let's Dance! Narrative Stage Son Jarocho Fandango 11:00 ]'iolins in Latino Music 2:20 11:00 Haitian Talcs. Proivrbs. AJro-Cuban Dance: 11 :50 Perico Ripiao, Traditional and Souths Emikeke Merengue: Franklyn 3:10 11:45 Traditional Knou'ledi;e: New Mexican Social Hernandez y sus Tipican Dance: Lorenzo Owning It, Passing It Martinez On Brothers 12:30 Kreyol Workshop y Reflexiones % 12:40 The Son Mexiavio: 1:15 Stories Freedom 4:00 Bailemos. Let's Dance! of Mariachi Los Camperos and Creativity Conjunto Tejano: de Nati Cano; Jose 2:00 Kids and Artistic Creativity Eva Ybarra y su Gutierrez y Los S^ 2 Conjunto :45 Diaspora I oices Hermanos Ochoa Haitian Identity 4:50 Salsa Dance Class: 1 :30 Musical Traditions of 3:30 International DJ Bruno Trade. New Mexico: Lorenzo Local Tradition Martinez y Retlexiones 4:15 Tradition, Art. and

~~Freedom in Haiti~~

192) SMITHSONIAN FOLKLIFE FtSIIVAL Water Ways: Mid- 3:30 Recreational Fishiin;Tips EVENING CONCERTS Atlantic Maritime 4:15 Crossing the Water ^^ Wednesday, June 23, 5:30-9:00 Communities 5:00 Festival Memories, La Fonda Music Stage ]\'eek Tii'o Mexican String Traditions in Shore Memories Kids' Coast Mexico and the United States Sponsored by the National lt>^ 11 :00 /../;//(/ Sunday Moiiiiinis Environmental for the Arts (NEA) 11:45 Scuthcni Mivylaiiil Stories Learning Center Endowment and Sc');(;j;Joseph Norris and featuring National Heritage 11:00-1:30 12:30 Tangier Island Life: Fellows Nati Cano and his Make \bnr Oii'ii David Crockett Mariachi Los Camperos; Roberto Lighthouse Actii'ily and Lorenzo Martinez and their 1 :15 Old-Tiinc and Blucgrass 1:30-5:30 Music: Carawan Brothers group Reflexiones;Jose Gutierrez CJIearu'dlcr Sloop Educational ^c^2:00 Sonrhciii Maryland Stories with the Hernianos Ochoa Staff: Singalong River Songs and Songs: Joseph Norns ^^ Friday, June 25, 5:30-9:00 2:45 Down East North Carolina Haiti Mizik ak Dans Stage iVlaritime Kitchen Stories ami Soni;s: Ralph Rin:lcr Memorial Concert

~~11 :00 Sunday after Cluirch Connie Mason in Honor of Roland Freeman: 3:30 Old-Tinic and BInegrass Cooking: Gospel Traditions from Music: Carawan Brothers Raniona Whittington Maryland and Virginia~~

4:15 Tni;boat and Pilolin\^ 12:00 Delaware Bay ^^ Saturday, June 26, 5:30-9:00 Stories: Herbert Groh Oyster Cooking: La Fonda Music Stage 5:00 Festival Memories Whittington Family Grassroots Traditions from Central 1 :00 Special Occasion Shrimp: and South America: Marimba Bayhouse Narrative Stage Debbie Styron Linda Xelajii; Grupo Cimarron 2:00 Cris field Celebration 11:00 (.Church and C'.onnnnnity de Colombia; Chanchona Cooking: 11:45 Maritime I-'onrth San Simonense of Raniona Whittington July Celebrations Thursday, July 1, 5:30-9:00 3:00 Xorth Carolina Cooking: ^^ ^^12:30 Boat Talk Nadme Benevides La Fonda Music Stage 1 :15 IItMf/;c; and the Hater ^^4:00 Delaware Bay Afro-Latino Drum Traditions 2:00 Maritime Communities Sponsored by and featuring Celebration Cooking: NEA ui Transition Whittington Family National Heritage Fellows 2:45 Blessiitiis of the Fleet Felipe Garcia Villamil and his 5:00 Fourth of July Beverages group Emikeke.Viento de

~~Tap-taps, examples of Haitian painting traditions, that literally carry Haitians' Agua featuring Juan Gutierrez~~

~~hopes and prayers over countn/ roads and through city streets. Photo by Poind Viioire ^^ Friday, July 2. 5:30-9:00 La Fonda Music Stage~~

~~Dance Party: EvaYbarra y su Conjunto; Franklyn Hernandez y sus Tipican Brothers, Son de Aqui~~

~~^^ Friday July 2, 6:00-7:30 Haiti Mizik ak Dans Stage Kandfanwou!* An Evening of Haitian Music~~

~~^^ Saturday, July 3, 6:00-7:30 Haiti Mizik ak Dans Stage~~

~~Kandfanwou!* An Evcnitig of Haitian Music~~

* .1 Kreyol word meaning

~~dance party and teast~~

~~FESTIVAL SCHEDULE [93] OF RELATED INTEREST Nuestra Musica Concerts~~

~~Haiti The Kennedy Center's Millennium Stage will Exhibitions feature concerts of Latino Music on June 2IS~~

and 29 and 2, and 5 'it 6 pm. For more \'ivc Haiti! CoiitciiipordiY Art July 3, 4, information visit www.kennedycenter.org. of the Haitian Diaspora May 24-August 6 Water Ways An exhibition of 11 outstaiuiiny; coiueinpoiary

~~Haitian artists in tribute to the people of Haiti \]'dter Ways on tlie W'aslnii'iton Waterfront~~

on the occasion of the Bicentennial ot Haitian June 23-July 4 independence. Inter-American Development An extension of Water Ways on the Southwest Bank Cultural Center Art Gallery, 1300 New Waterfront, four blocks south of the National York Avenue NW.Washington, D.C. Mall, sponsored by the National Maritime Heritage Foundation. Further explore maritime Haitian Art B.xhibit & Sale culture on the water with a variety ot vessels, a June 26—July i, 12-7 pm and June 27, 2-7 pm colonial tall ship, an ocean racing sailing yacht, Celebrating 25 years of partnership between and a bay oyster schooner with tours, public St. Patrick's Episcopal Church and Haiti and sails, dockside demonstrations, and exhibits. the Haitian Bicentennial. For more mtbrmation See details at: www.nmhf.org. call 202-342-2800. St. Patrick's Episcopal

~~C'hurch, 4700 Whitehaven Parkway NW, |une 26, C'hildren's author Priscilla Cummings,~~

~~Washington, D.C. who wrote the popular CJiadwick tlie Crab series,~~

~~and Larry Chowning, author of Harvestings tfie~~

~~Concerts Clicsapcake, will be on site for presentations at~~

~~The Kennedy Center's Millennium Stage will the Bayhouse Narrative Stage followed by a~~

~~feature concerts ot Haitian music on June 27, book-signing at the Festival Marketplace.~~

~~June 30, and July i at 6 pm. For more informa- Check the Bayhouse Narrative Stage scheclule.~~

~~tion visit www.kennedycenter.org.~~

July I , Mapgie, a musical duo, will present "Tales of the Blue Crab" twice on the Bayhouse Conference Narrative Stage. Check the schedule for times. Haiti: A Rctiaissaiicc for Hope— Tlie Connections Also, John Page Williams, author of Chesapeaf;e betit'cen Haiti and the United States Abnaimck, and Susan Stiles DowHng, co-author The conference will focus on Haiti's rich history of Afo. Kiteliing's Smith Island Cookbook, will be and its contributions to and involvement in the on site for presentations and book-signings. American Revolution, as well as its influence

~~on the AfrKan-American diaspora. Organized Net maker, Markers Island, North Carolina. Photo by Scott Taylor~~

~~in collaboration with the National Park Service~~

~~and the Smithsonian Institution Folklife Festival~~

~~in support of the United Nation's International~~

~~Year to Commemorate the Struggle against~~

~~Slavery and its Abolition. Tentatively scheduled~~

~~to take place on June 26 at the National Park~~

~~Service Auditorium in Washington, D.C.~~

~~Please consult the Festival Web site (wwrw.si.edu/~~

~~folklife/festival) for updates on other Haiti-related~~

~~activities taking place in the Washington, D.C,~~

~~area around the time of the Festival.~~

~~1941 SMITHSONIAN FOLKLIFE FESTIVAL FESTIVAL PARTICIPANTS~~

~~Haiti: Freedom and Creativity from the Mountains to the Sea~~

~~Agricultural Traditions Building Arts Cut-Metal Work~~

Banana Farming Citadel Restoration Jean Pierre Richard Dcsrosiers, AND Craft (^roix-des-Bonquets Frederic llieodiile, Pori-au-Prince Jean Pierre Richard Desrosiers Sempiliin Josepli Hiiiilc, Ca^iil Frederic Theodule has nearly 20 has nearly lo years of experience In Cazal. all parts of the banana years ot restoration experience in creating crafts from iron. He plant are used, from the bark to Haiti. For the past ID years has he constructs plates, vases, and other the leaves. Joseph Seraphin Emile led a team of carpenters and traditional metal arts at his shop, and other artisan-farmers use the masons in the restoration of the Etoile Guinee. banana plant to create a wide Citadel Henry Chnstophe.

~~range ot accessories such as bags, Lnhernier Joseph. Traditional Architecture hats, belts and many more mar- Croix-des- Bouquets~~

ketable items. Emile is a master at Loiiiiics Fdiiioiid. Ciirpeutry Lubernier Joseph contributes a creating place mats from various Jean Robert Fanfan, carpentry wide range of decorative iron banana fibers. Savencr Severe, carpentry works that combine uniquelv

artistic elements with utilitarian Marie Maiiolcllc Hoiioic. C,i;ii/ Haitian architecture styles pre- functions. His work includes deco- With assistance from the govern- sented at the Festival include rative folding screens and mirrors. ment ofJapan, local artisan- wooden /i;i.v;/-based structures

farmers such as Marie Manolette used in Vodou temples anci Musical Instrument Making Honore have been learning to peasants' homes, along with make high-quality paper from gingerbread architecture. Joel Loiiishotninc, Artibonite banana pulp. Joel Louishomme has been a Craft it Trad ion s skilled tin worker and instrument Coffee Farming maker for over years. He spe- Basketry 30 cializes in construction of the Andre Tclfis metal trumpets called raksiii used Marcel Fortune Maiiioiiiie Clerossaint, Cote de Fer in Lenten street festivals called ram. The mountains covering nearly Mamoune Clerossaint, a voung hat maker, carries on the tradi- two-thirds ot Haiti provide ideal Needlework tion of staw hats. conciitioiis tor the production ot some ot the highest-quality Jean Foutrcre Chcrisiite. Dien Puissant Laniotlic, La I'allee cotTee in the world. Coffee Fo nd- des - Negres Dieu Puissant farmers Andre Telfis and Marcel Lamothe is a pio- Jean Fougere Cherisme uses Vodou Fortune demonstrate harvesting neer in the use of vetiver vines flag techniques to construct deco- and roots and blending techniques passed to weave baskets into rative beaded containers and uniquely shaped rustic baskets. down for hundreds of years. ornaments. He has trained over Vetiver is a species of grass tradi- 40 individuals at his workshop. tionally used in perfumes. Sugar Cane and Olipsie Daniel. Terrier Rouge Rum-Making Pierre Roland Saniedi. Jacniel Daniel is a doll maker whose cloth Pierre Roland Samedi creates Josepli Lot'iniky dolls have become a source of turmturc from straw. income for her. Joseph Lovinsky is a sugar cane mill technician and an expert Anii'in I'alhrnn, Bondmrdopolis Mireille Delisitie, Leoganc on making traditional beverages Corbeilles Mireille Delisme learned the kleren, the called and on produc- Thirty years ago. Anivin Valbrun Vodou designs from her father, tion ot rum trom sugar-cane juice. began his apprenticeship at the Tan an oungan (Vodou specialist), that Tam Shop. Now, a master latanier she sews into sequined tlags. She weaver, he makes baskets, and place makes tlags and pocketbooks using mats using latanier and banana t'lbers. sequmcd embroidery techniques.

~~FESTIVAL PARTICIPANTS Ai'ilci Raiiiic-Lainy, Cite Soleil Popular Painting Woodworking~~

Avila Raime-Lamy is a master ot Louisdorjean, Port-au-Prince Joseph Saint Juste Carihcn, the art ot making appliqued and embroidered textiles. She depicts Louisdor Jean began painting m Leogane under the tutelage ot Elie colorful gardens, flowers, and 1993 Joseph Saint Juste Carilien is an Roosevelt. currently sells his local fauna on tablecloths and He expert wood sculptor with 30 pieces at the gallery Bicentenaire pillowcases using appliqued fab- years of experience. He uses oak de la Republique. is also a rics stitched to cotton sheets. Jean and mahogany to carve statues primary school teacher. and intricate designs into turniture.

Paper Craft Sinuvi I Ictor, Groi Mornc Simon Victor has had an urge to Food ways and Etnnhviud Auihroisc, Johnny paint since childhood and has been Sacred Feasts Port-au-Prinw a painter for 20 years. Victor is also Ambroise, a street vendor of paintings and Johnny Emmanuel Carlinc Elisee. Port-au-Prince a master kite and lantern maker, sells his work in popular galleries. Nelie Giliis. Port-au-Priiice has won six competitions for his work. He combines speed and Pottery Carhne Elisee and NeUe Gilus are experienced chefs and demonstrate dexterity and is gifted with a Eriste Dumersicr,Au.x Pins the preparation of various Haitian great inventiveness for forms Born in 1953, master potter Eriste dishes such as pumpkin soup. and details. Dumersier began to learn the — secrets of the tradition practiced A/i7ir Antoine Ehsee, Papier-MAc.he in Aux Pins at the age of 13. He Port-au-Prince

Carnival Costume Making constructs evei-yday items such as Marc Antoine Elisee sings the plates, vases, and bricks as well as songs of the inwasoii (iiioissoii) Frantz Dcncjoiii.jinnicl ritual ware for Vodou ceremonies. or harvest celebration. Frantz Denejour specializes in con- Bcrtlio Pierre, Aiix Pins struction of papier-mache birds. Jean Joscpli Frant: Pierre. Carrefour Jean Bertho Pierre has been Joseph Frantz Pierre is a professor Tidier Lei'oyant,J

~~creates sel iiuitiiiin. or papier- the harvest feast or iiiwasoii~~

~~mache gargoyle-like animals, tor Stone Sculpture (nioisson) in Haiti. Jacmel's Carnival. Louis Jean Cliery, Leoi^ane~~

Rony Liiutli. jacnicl Louis Jean Chery sculpts 111 soap- Kids' Corner The costumes worn during stone. He learned his craft ti'om his older brother nearly 30 years ago. Carnival are a celebration ot Marie Lourdes El};irus, Chery uses white and grey stones Haitians' creativity and freedom. Port-au-Prince found in the loca] river to carve Rony Lundi is one of the masters Lourdes Elgirus has been statues of animals, angels, and hearts. Mane at constructing papier-mache an educator, storyteller, and costumes ot imaginary animals Tap-Tap organizer of children's activities for Carnival. Construction both in Haiti and the United Yves Lors Courtois, Carrefour States. She emphasizes the value Mulct Scutt Jacnicl , of Haitian play traditions and After a tap-lap is constructed, the Mulot Scutt creates a wide range stories in her work. owner and design team develop a of animals using traditional papier- name and theme for each tap-tap mache techniques. Jean Chrude Garoutc. which turns it into a mobile

work ot art. Courtois is a master Port-au-Prince Jacques Turin. Jiumcl tap-lap artist. Jean Claude Garoute, known Using goatskin, cardboard, and as "Tiga," is a well-known paper wire or clay molds, on Jean Eliser Sei'cr, Carrefoiir painter, educator, and musician Jacques Turin uses the papier- Tap-laps, the mam source ot trans- who has exhibited his work mache construction technajues portation in Haiti, are brightly internationally. begun in the 1970s to create the painted pickup trucks and buses butterflies that are his specialty. with specially constructed iron

~~facades and seats. Sever constructs these iron exteriors.~~

~~|96| SMITHSONIAN FOIKLIFE FESTIVAt Maritime Arts RarA Faucia Duniorney, Gressier~~

Faucia Dumorney is a specialist m San Rankin: Merigene Valem: Rigal PIcnc Loiilsitct Bcaiicc, Lnly the different rhythmic dances for Mhidor: Frantz Eiistache: I 'icrgenie Vcidou ceremonies. The dances are Pierre Louisnet Beauce, Dorleaii: Dieufort Dorlean integral toVodou ceremonies be- a skilled painter, specializes cause each movement is intended to in painting boats. This traditional rara group is known for its costuming and the emulate a specific lira. Sony CoiistiVit, Lcoc;tiiie lyrics, which express their com- inunitv concerns. Pierre Julmis, Gressier Sony Constant works m the , shop Celiane Milor, where he Pierre Julmis, an experienced TwouBADOU Music constructs traditional lobster drummer, provides the music and traps tor decorative purposes. beat forVodou celebrations. The Tikoka, Port-au-Prince drum is an important element m Kesncr Bolane: Juste Allen: ]cdii Gesiicr Elieii, Lnly the ceremonv because it symbol- Wilfrid Bolane: Menie Mandira Boat builder Jean Gesner Elien izes /ici/s and provides rhythmic uses techniques passed down troni Cliertoute Matliieu: David beats to invoke the /i/ws. early sea pirates to construct boats Meiellns (Ti Coka) on the southern coast of Haiti. This music originates from a rural Haitian Market Haitian interpretation of European Osiiiiiig Pierre, Bois Xeiif traveling balladeers and includes In addition to the work of Along Haiti's coastline, fisherman rhythms musical instru- drum and Haitian Festival participants avail- Osniing Pierre makes and repairs ments from African sources. able at the Festival Marketplace, nets as a part of his occupation ot cut-metal work, canvases, bas- more than l^ years. VoDOu Drumming ketry, needlework, and other art

AND Haitian Jazz from artists' workshops, coopera- tives, galleries, and non-govern- Music Azor: Lcnor Fortune: Francois mental organizations throughout Fortune: Leniour Fortune: Augustine .^^ L L .\ S B D Haiti will be available for sale Fortune: Rose-AIanie Fortune: throughout the Festival at a Botilo I dhviirt, Port-ati-Prince Simeon Elius Osius; Jerome; special Haitian Marketplace. Valcourt sings solo twoubacion. LudnerToussaint; Foniiie Faustin

~~Known throughout the world as KoNBiT Music I eiuior/Artists: one of the most powerful voices Ace Baskets Kod-o-BiiiurVoleiie Papoiiloiite, m traditional sacred music in~~

Dondoii;Andiii Aiigiistin, dip Vodou.Azor and his group ot Aid to Artisans traditional drummers travel and Haiticii: Mcrcile Destiii, Ctiyes; Art Utile S.A. record e.xtensively. Marie Eniie Josepli, Cnycs; Roieliiie ART-ICKLES Godar Jedii Giles, Petit-Godir Bel Zeb Storyte 1 1 i ng Konbir songs are traditional work Cafe REBO songs sung by men and women Joseph jean Francois, Port-au-Prince CAH - Comite Artisanal Haitien working the fields together. This Francois is a traditional raconteur group of market women from Caribbean Arts who has told stories for over various parts of Haiti performs a S.A. SO years. COHART capella and are accompanied by Color Me Caribbean percussion instruments. Jean Claude Martineau Fleur de Canne Martineau is both a scholar of Old-Style Konpa Freer and Sackler Gallery Shops the Haitian oral traditon and a AND Haiti Jazz Fusion storvteller in his own right. Galerie Nader Gingerbread Reginald Polycard ami Frie}}ds. Vou dou IFE - Institut Femmes Port-au-Prince Entrepreneurs Reginald Polycard: Ricluud Abnor Adely, Gressier Les Ateliers Taggart Barbeau;Joel Widmaier As theVodou priest (ouugaii), M.M.B/R.CAZI This group combines two reper- Adely is the leader of"Vodou cer- toires important m Haiti's music emonies. Before each ceremony, Palmier Royal history, early koupa and jazz, he draws the vet'h (sacred draw- Pyramide which was learned through ings) to symbolize the different Rwustik Haitian interaction with Americans, /iiMS (deities) w-ith ground flour, wood ashes, coffee powder, or Serge Gay Pottery but developed its own unique brick powder. sound and cadences in Haiti. Sud i<^ Co.

~~FESTIVAL PARTICIPANTS 197) Nuestra Musica: Music in Latino Culture~~

~~Performance Traditions/ Etnikekc Eva Yharra y sit Conjunto Tradiciones en musica Los Atjgeles. California San Antonio, Te.xas~~

~~y danza Felipe Garcia I 'illainil, botd, Eva Yharra, accordion /acordeon~~

~~shekere, bells /cainpaiias, giiiro, Max Baca, bajo se.xto~~

Music/MusicA conga, lead vocals /pri)iiera vo: Gloria Garcia, vocals /I'oces Valeria Garcia, shekere, bells/ Oscar Garcia, bass /bajo Chdinhona San Siiiiouanc campanas, clave, chorus /coros, Aaron Holler, drums /percusion San Simon. 1:1 Salraiior dance/danza Tomasa Esteha-Garcia, shekere, Wilmer Bladimir Diez, niniha One ot the few widely recognized bells /campanas, clave, chorus/coros, female Luciano "Cbanito" Hernandez, conjunto musicians, San datice /danza Antonio native EvaYbarra leads violin /violin Atoyebi Esteba-Garcia, batd, this swinging conjnuto tcjano. She Eniilio Antonio .\lontca\;uilo, shekere, conga, hells /campanas, shares vocals with Mexican singer viluiela guitar /ffiitarm thorns /coros Gloria Garcia; veteran musicians Hcrndn Moreno, bass/clianihona like bajo-scxto Miguel Esteba-Garcia, batd, master Max Baca HernanA. Moreno, violin /violin (Flaco Jimenez, Los Super Seven) shekere, bells /campanas, Jose Lucirio Sol,guiro: tuiuha round out the group. Ybarra, who dance/danza has taken on the social challenge of The Chanchoiia San Simonense AJamu Smith, batd, shekere, this masculine scene, successfully typifies the rural musical tradition bells /campanas, clave, chorus/coros demonstrates the capabilities and ot eastern El Salvador, particularly possibilities that women offer the Morazan, La Union, San Miguel, and NEA National Heritage Fellow coiiiuiuo musical genre. Usulutan regions. The region is the Felipe Garcia Villainil is an Afro- homeland of the majority of Cuban spiritual leader, master Una de las pocas artistas de Salvadoran immigrants in the United drummer, and craftsman originally musica conjunto ampliamente States, This type of string and per- trom Matanzas, Cuba, and he leads reconocida es Eva Ybarra, nativa cussion musical group takes its name this fimilial ensemble, Emikeke. de San Antonio, quien dirige from the ciuimhona (literally "big Garcia Villamil and ensemble pre- este ritmico conjunto tejano. sow"), the local name given to the serve the music, dance, symbols, Compartiendo el microfono con la large stringed bass that provides the and customs of his lucuiiii, palo, and cantante me.xicana Gloria Garcia, harmonic foundation for the group. ahaku'd traditions. They currently el grupo es mtegrado ademas per The chandwna typically has six promote an appreciation for these nnisicos veteranos como el maestro members, playing chandwna. two traditions among many of the del bajo-sexto Max Baca (Flaco violins, guitar, tiiudia (conga drum), diverse communities of the greater Jimenez, Los Super Seven). En su and other percussion. Its grassroots Los Angeles area where they reside. trayectoria como miisico Ybarra sound interprets the popular cumbia ha aceptado los retos sociales dance rhythm and a variety of songs. de interactuar en un espacio Felipe Garcia Villamil, National La Chanchona San Simonense predominantemente masculiiio, Heritage Fellow del Fondo ejemplifica la musica tradicional rural demostrando las habilidades y Nacional para las Artes (NEA - del occidente de El Salvador, parricu- capacidades que las mujeres siglas en ingles), es un lider espiri- larmente de los departamentos de otrecen al genero musical de la tual atro-cubano, maestro per- Morazan, La Union, San Miguel y iniisica conjunto. cusionista y artesano onginario Usulutan. Esta region es rierra natal de Matanzas, Cuba quien dirige el para la mayoria de salvadorenos vivien- ensamble familiar, Emikeke. Garcia do en los Estados Unidos. Este tipo I^lidad v Servicio Villamil y su ensamble preservan la de ensamble musical, de cuerdas y iniisica, danza, simbolos y costum- percusion, toma su nombre de la bres de sus tradiciones Lucumi, chanchona (literalmente "gran cerda"), \'<\\o y Abakwa. Actualmente pro- el nombre local del bajo de grandes mueven la apreciacion para este dimensiones que da la flindacion tipo de tradiciones entre las diver- armonica al grupo. La chanchona sas comunidades del area tipicamente tiene seis miembros, el metropolitana de Los Angeles, bajo, dos viohnes. guitarra, tumba y donde viven. algiin tipo de percusion. Su sonido popular interpreta la popular y bail- able cumbia, y otros tipos de musica. Marimba Linda Xelaju. Photo by AumGiron

~~a^L-M. 1981 SMITHSONIAN fOULIFE FESTIVAL Frauklyii Hcrihunic: y nts junto de maestros de la tradicion educate them about the social~~

TipiiiUi Bivtlicis joropo, que se interpreta en los dynamics ot New Mexican history llanos compartidos por culture. Philadelphia, Pciunyh'auia Colombia y and Venezuela, deslumbra a sus audien- Compartiendo el honor de ser Fidiihlyii Hciiiaiidc:. kadcr/Udcr, cias con su virtuosidad melodica y National Heritage Fellows de 2003 lead voiali/primcra ivc, ritmica, el manejo de la percusion, y del NEA, Roberto y Lorenzo accordion /acordeivi el sabor colombiano de su musica. Martinez (padre e hijo), junto a Jcsiis Bonilla, tjiV/Vt' otros miembros de su famiHa, Gutierre: Mii^iicl Hcniidii, saxophone /saxofoii Jose y presentan la musica tradicional de Los Hermanos Ochoa Rafael Tiiieo, landiora Nuevo Mexico. Lorenzo, maestro

I eracruz, Rajaenbrres, electric bass/hajo elirtrico Mexico violinista del estilo nuevomexicano, y su padre, compositor de corridos Now m PhiLidelphij. Fijiiklvn Jose (jUlierre:, reqniuio y activista de derechos civiles de los Hernandez y sus Tipicm Brothers Marcos Ochoa, jarana hispanos. no solo entretienen a sus continue to perform widely in the Felipe Ochoa, harp/arpa audiencias sine que tambien las edu- New York merengue club circuit. caii sobre las dinamicas NEA National Heritage Fellow- sociales de la The group prefers playing the historia Jose Gutierrez and Los Hermanos y cultura de Nuevo Mexico. traditional merengue called pcrico Ochoa represent the best of the son ripiao featuring the button accor- jarocho tradition from the southern ALiriacln Los (Jamperos dion, saxophone, tanihora drum, coastal plain ot"Veracru2, Mexico. de \'ati Cano and i^iiiro scraper. virtuosic interaction The between Los Aii'^eles, Calijoruia Franklyn Hern.indez y sus Tipican these musicians who play and sing

~~Brothers se presentan en la actuali- creates an exciting dialogue of Natii'idad "\ati" Cano, director, dad en la escena de merengue en musical and textual flow that vihuela~~

NuevaYork. El grupo prefiere defines the simple harmonic yet Serfîo Aloiiso, harp/arpa interpretar el merengue tradicional rhythmically complex style of the Jesus Guzman, violin /violin conocido conio perico ripiao a dance music that is the son jarocho. Istnacl Hernandez, violin /violin ntmo de acordeon, saxofon. tani- National Heritage Fellow del NEA, Pedro Hernandez, ûitarron bora y giiiro. Jose Gutierrez y los hermanos Martin Padilla. violin/violin Ochoa representan lo mejor de la Arturo Palacios, guitar /ûitarra Grupo Cimarron dc Colombia tradicion jarocha del sur de Juan Rodriguez, violin /violin Bogota, Colombia Veracruz. Mexico. La interaccion Arturo Salgado, trumpet /troinpeta virtuosa entre estos miisicos quienes Carlos Rojas Hernandez, tocan y cantan crea un dialogo Native of Ahuisculco, Jalisco, and leader /iider; harp /arpa musical y textual cuyo flujo define NEA National Heritage Fellow, Ycsid Boiites Sarniieiiio, bandola el estilo armonicamente sencillo y Nati Cano celebrates more than E. F. RaDiires, niaracas Omar al mismo tiempo ritmicamente 40 years of directing his highly Willon E. G. Valcdrccl, tvcals /voces complejo de esta mCisica con su accomplished Mariachi Los es Ana Vcydo Ordone:, ivcals/ivces baile que el son jarocho. Camperos of Los Angeles. In addi-

Pedro Libardo Rcy Rojas, cnatro tion to preserving a rock-solid Carlos Qnintero, harp/arpa Lorenzo Martinez y Reflexiones "mariachi sound," Cano has been Ricardo Albino Zapata Barrios, Albuquerque, New Mexico an innovator in his musical presentations as well as in his business acoustic bass/bajo acnstico Lorenzo Martinez Sr., violin/violin endeavors, establishing the popular

Carlos Rojas Hernandez has Ramona Martinez, dance/danza mariachi dinner show at the brought together an all-star team Roberto Martinez Sr., vihuela restaurant he owns. La Fonda instrumentalists Roberto of exciting and Martinez Jr , guitar/ffiitarra de Los Camperos. singers of Colombia in Grupo Roberto "Robby "Martinez, Nativo de Ahuisculco, Cimarron. These masters ot the bass/bajo Jalisco y National Heritage Fellow del jcropo tradition, which is practiced Co-recipients of a NEA, Natividad "Nati" cele- along the plains shared by Colombia 2003 NEA Cano National Heritage Fellowship bra mas de cuarenta and Venezuela, astonish their audi- anos dingiendo Roberto and Lorenzo Martinez su exitoso mariachi Los ences with their melodic and Camperos (father and son), along with other de Los Angeles. rhythmic virtuosity, percussive Ademas de man- family members, present the musi- tener un indiscutible sonido drive, and sahor coloinbiaiio, cal traditions of New Mexico. mariachi, Cano ha sido un Colombian flavor. mno- Lorenzo, a master of the violin vador en su presentacion musical Carlos Rojas Hernandez ha congre- style from New Mexico, and his y tambien en sus proyectos comer- gado un equipo de musicos y father, a composer of corridas and ciales, estableciendo el mariachi cantantes estrellas en el Grupo activist for Hispanic rights, not "dinner show" en su propio restau- Cimarron de Colombia. Este con- onlv entertain their audiences but rante. La Fonda de Los Camperos.

FESTIVAL PARTICIPANTS |39| Maiiiiiba Liiidii Xclaji'i as an acoustic ensemble, Viento Dance Ensembles/ de Agua also performs as an Silver Spriiii;, Maryland Ensambles de danza orchestra (adding bass, piano, and section), Robert Giroii, marimba a horn developing Fratcrnidiul Saiii^re Boliviana explosive, contemporary arrange- Beverly GirSii, marimba ArliiifJton, I Iri^inia the traditional plenas Jennifer Giron, marimba ments of and bombas. The Fraternidad Sangre Boliviana ot" Linda The members Marimba is not just a tolkloric dance Xelaju exemplify the tension ensemble that performs national Viento de Agua, dirigido por innovation between tradition and dances such as Los Caporales, Hector "Tito" Matos, es un colec- in their interpretation ot Guate- Tinkus, and Suri Sicuris, but is a tivo que reiine a los interpretes transmission malan marimba. The space that provides an understand- mas excelentes de las tradiciones of musical knowledge from father ing of Bolivian heritage and musicales de plena y bomba de to son is very practice common tradition. Founded in out of Puerto Rico. La dualidad de sus 1987 111 traditional music. However, the a need to provide a religious dance vidas como puertorriqueiios sharing of knowledge from lather y tribute to theVirgen de Urkupifia, Nuyoricans crea un impetu en su to daughter opens up new possi- this ensemble has been recognized contribucion al desarroUo de esas bilities in the practice of Latino expresiones musicales. Ademas de for their participation in local and music. The Giron family, a local national heritage festivals. actuar como conjunto acustico, D.C.-area ensemble, represents Viento de Agua tambien se pre- these new possibilities. La Fraternidad Sangre Boliviana senta como una orquesta (con es no solo un ensamble de danza La marimba Linda Xelaji'i bajo, piano y metales) desarroUan- folclorico que presenta danzas ejemplifica la tension entre las do arreglos contemporaneos y como los Caporales, Tinkus, y ideas de tradicion e innovacion explosives de las tradiciones de Suri Sicuris sino tambien un en su interpretacion de la marim- plena y bomba. espacio que permite un entendi- ba guatemalteca. La transmision miento del patrimonio y del concicimiento musical de Special Ccjncert tradicion boliviana. Fundado en padre a hijo es una practica 1987 de la necesidad de rendir comun en la musica tradicional. de Son AquI tributo en torma de danza reli- Sin embargo, el compartir de ese Wasliin(;toti, D.C. giosa a laVirgen de Urkupifia, conocimiento de padres a hijas The local orchestra Son de Aqui, este ensamble ha sido reconocido abre nuevas posibilidades en la composed mostly of Peruvian por su participacion en testivales practica de la musica latina. La nivel local musicians, follows a strong salsa a y nacional. familia Giron, es un grupo local music tradition that was estab- del area de Washington, D.C. que lished Fania, label Los leciianes representa estos nuevos caminos. by a record from New York. The members of Manassas, I 'irginia the band grew up hearing the

[ Icnio de In Manassas, Mexican immi- Afina sounds of Ray Barretto, Papo grants trom Acatlan de Osono, New Mvk. Neii'Yorh Lucca, Eddie Palmieri, and others Puebla, express their religious in the barrios ot Peru. Their Hector "Tito" Matos. director; devotion by dancing in front of music IS characterized as a hard- lead siiifjer/primera voz; requinto; All Saints Church on December hitting salsa sound, making them 12, the feast the Virgin of tiitnbaiidero; barriles de bomba one of the most exciting dance day of Guadalupe. The dancers begin Juan Gutierrez, se^nidor; barriles bands in the Washington, DC, their ritual de bomba; chorus/coro metropolitan area. before dawn and continue late into the night, re- Roberto Cepeda, setrnidor; pun- La orquesta local Son de At]iii, enacting an ancient Mexican teador; sin^er/cantante; dance /haile formada casi por completo por colonial dance drama. In Sammy Tanco, maracas; i^iiiro; nuisicos peruanos, sigue la fuerte Nahuatl, los Tecuanes means singer/cantaiite tradicion de mijsica salsa estable- "tigers." The tiger, or a moun- Joksan Ramos, cud; piinteador; cida por el sello disquero Fania tain-type feline of the western requinto; singer/cantante de NuevaYork. Los miembros del Sierra Madre region, is one of Viento de Agua, led by Tito grupo crecieron escuchando los the characters that constitutes Matos, is a sonidos de Barretto, collective of the finest Ray Papo this dau:a genre. practitioners of the plena and Lucca, Eddie Palmieri y otros en bomba musical traditions of los barrios de Peru. Su musica se En Manassas, Virginia, inmigrates Puerto Rico and New York City. caracteriza como un potente me-xicanos de Acatlan de Osorio, Their dual lifestyle as Puerto sonido salsero, haciendolos una de Puebla, expresan su devocion reli-

~~Ricans and Nuyoricans creates las grupos locales mas populares giosa bailando en frente a la~~

~~momentum to contribute to the en el area metropolitana de iglesia de la Virgen de Todos los~~

~~development of these musical Washington, D.C. Santos el 12 de diciembre, dia de forms. In addition to performing laVirgen de Guadalupe. Los dan-~~

liool SMITHSONIAN FOLKLIFE FESTIVAL zantes empiezan su ritual antes and as a devotee of ahakwa him- Jose Ciiiiierrez, Jarocho instrii- del amanecer continuan y dan- self, Garcia ViUamil has developed ments/instrumentos jaroclios zando hasta tarde en la noche, a creative style within these tradi- I eracniz, Mexico recreando un drama del Mexico tions of building altars and the de la epoca colonial. Tecuanes es ritual items that adorn them. Jose Gutierrez has been gifted nahuatl para tigres. El tigre, o with musical talent m a very Ademas de presentarse con su telino montanes de la parte ori- complete manner. He constructs ensamble Emikeke, el maestro ental de la Sierra Madre, es uno the instruments he plays. As a percusionista de los personajes que constituve Felipe Garcia master builder of the seven-panel Villamil ha este genero de danza. ganado una repu- harp and the solid one-piece

tacion como artesano por su jaraihis and rcqiiiiitos, Gutierrez construccion de tambores supplies quality instruments to Instrument Makers/ sagrados y objetos rituales. other fine jarocho musicians in Constructores de Construyendo a partir del Mexico and the U.S. conocimiento heredado por su instrumentos Gutierrez ha sido dotado padre, de la tradicion Palo, de su Jose con un talento musical en madre. de la tradicion Lucumi, una Omar E. F. Riiiiiiir:, DiLiraais y de su propia practica en Abakwa. torma muy completa. El mismo Bofjota, Colondyiii Garcia Villamil ha desarroUado construye los instrumentos que toca. un estilo creativo dentro de estas Como maestro en la cons- Known as "Choco," maraca mas- truccion de arpas de siete tradiciones en la creacion de paneles ter Omar Edgar Fandiiio Ramirez yjaranas requintos altares y los elementos rituales y de una sola is a member of the outstanding pieza, Gutierrez distribuye instru- Colombian ensemble Grupo c]ue les adornan. mentos de calidad a otros grandes Cimarron. In addition he makes musicos jarochos en Mexico y los and supplies maracas for other Francisco Gonzalez, Estados Unidos. jcivpo musicians in Colombia. striitfis/cnerdas Based on the role of the maracas Golcia. California in each performance space. Carlos Molina Saenz, llancro Francisco Gonzalez is a multi- Fandino Ramirez determines the traditional instruments /instru- instrumentalist who out of size and sound of the instrument mentos llaneros tradicionales frustration has embarked on a that will stand out from yet com- Meta, Coloiidda journey to find the perfect plement the ensemble sound. string tor his instruments. He is a mas- A native of Mongui, Boyaca, Conocido como el Choco. Omar ter harpist, a founding member of Colombia, Carlos Molina Saenz Edgar Fandino Ramirez, es maestro the group Los Lobos del Este de learned his vocation through de la maraca e incegrante del exce- Los Angeles, has worked as the working with the Padilla family, lente ensamble colombiano Grupo musical director for the Teatro a long line of luthiers in Campesino, and currently leads Cimarron. Ademas. el construve y Colombia. Molina Saenz is distribuye maracas para otros musi- the Conjunto Guadalupe. well versed in the construction

cos de la tradicion joropo en Gonzalez also started his own ot harps, cuairos. baiiiiohis. and business. Colombia. Basandose en el papel Guadalupe Custom guitars. Established in his own Strings, que las maracas desempenan en which now provides workshop, he works in conjuc- cada tipo de presentacion, Fandino strings for contemporary and tion with a new generation of traditional guitar and harp types Ranairez determina el tamano y el musicians looking for solutions throughout the globe. sonido de este insrrumento para que tor the needs of the newer

sobresalga y al mismo tiempo com- interpreters of the Ihimiv Francisco Gonzalez es un mi'isico plemente el sonido del ensamble. musical tradition. que toca muchos instrumentos y debido a la frustracion se embarco Originario de Mongui, Boyaca. Felipe Garcia I 'illaiiiil. iacrcd en la aventura de encontrar las Colombia, Carlos Molina Saenz, drums and ritual objects /ramborcs cuerdas pertectas para sus instru- aprendio su oficio de la tradicion sa^radcis objctos riniales y mentos. El es un maestro del arpa, de la Familia Padilla, lauderos Los Aii'^eles, California fundador del grupo Los Lobos del famosos en Colombia. Mohna este en los Angeles, ha trabajado Saenz tiene un gran conocimien- In addition to performing with como director musical para el to de la tabncacion de arpas, his ensemble Emikeke, master Teatro Campesino, y actualmente cuatros, bandolas guitarras. drummer Felipe Garcia Villamil y dirige el Conjunto Guadalupe. Establecido con su propio taller has gained a reputation as an arti- Gonzalez inicio, ademas, su pro- el trabaja conjunto con la nueva construction ot sacred san for his pio negocio, Gudalupe Custom generacion de musicos en la and other ritual objects. drums Strings, que distribuye cuerdas busqueda de soluciones a las of his Building on the knowledge para guitarras contemporaneas y necesidades aciisticas de los father as a practitioner o( palo, his tradicionales y todo tipo de arpas nuevos interpretes de musica mother of the hiciiiiii tradition. alrededor del mundo. de los llanos.

~~FESTIVAL PARTICIPANTS lioil Water Ways: M i d- At la n t i c Maritime Communities~~

~~Boatyard Long Island Maritime Miisciiin, Danny Bowden,~~

]]''cst SayviUe, New York Chincoteai^iie, I 'irginia Ahwiiiidiiii Seaport FoiiiKlatioii, Volunteers from the Long Island Danny Bowden can trace his Alexandria, llrgiiiia Maritime Museum work on family back to the K)OOs on The Alexandria Seaport Founda- boat-buildmg projects. Their lat- Chincoteague and Assateague

cion IS a non-profit organization est project is a 22-foot catboat, Islands. Today, like many of his dedicated to providnig families, built with the plans of legendary ancestors, he follows the seasons, schools, and communities with Long Island boat builder Gil gill-netting for rock fish in the

~~educational opportunities. At the Smith. This boat will be finished spring and fall, crabbing in the~~

~~Festival the Foundation will run and rigged at the Festival, and the spring and summer, and guiding~~

an extension of its family boat- museum volunteers will also waterfowl hunters in the fall and building classes. Fifteen teams ot carve scale models of the boat. winter. people will work along with a volunteer to build Bevm Skiffs. The Mariner's Museum, Ii'Y Bradley and Warren Cook. The rowboats are approximately

Neu'port News, I 'ir^^inia Paimnikey Reservation, I'iri^inia 12 feet long, and their design makes them easy to build and use. The Mariners Museum has an The Pamunkey Indian Tribe runs extensive collection of small craft the oldest fish hatchery in the from the Chesapeake Bay region United States. Cook and Bradley JiiiiiiiY Aimpaclier, and also maintains a boat-build- are two managers of the hatchery, Marshiillher'^, North Caroliiia ing and repair shop. They will which works to restore American Jimmy Amspacher grew up pulling work on repairing a deadrise shad, a fish important to the crabpots, hauling scallops, and work boat. Pamunkey tribe for centuries,

culling fish for the commercial in the rivers of the Mid-Atlantic. fishhouses of his home communi- Sl^ipjack Captains and ty, Atlantic, NC. Here he exper- Restoration Experts, Dallas Bradshaw, ienced firsthand what made a Cliesapeake Bay Rei^ion Crisfield, Maryland 'good work boat, " learning from roots the fishermen and boat builders ot Captains of the oyster-dredgmg Dallas Bradshaw, with on Smith Island, is a year-round Down East, as they worked the sailboats known as skipjacks and waters of Core Sound. Today he ship-restoration experts have waterman experienced with fish- maintains the same high standards been working together to ensure netting, oystering, clamming, crab-scraping, bank-trapping, and of traciitional boat-building in his a future for this Chesapeake Bay crab-potting. has extensive models and in his backyard boat- craft. They will be on hand daily He building operation. to help interpret the skipjack, the knowledge of the Chesapeake Bay environment and volunteers /())' Parks. with the Chesapeake Bay Heber Giitlirie, Foundation. Gloucester, North Carohna Commercial Fishing

Heber Guthrie inherited his pas- Nadine and foey Benei'ides, Rufiis Carter. Lewes. Delaware sion and appreciation for Harkers Gloucester, North Carolina Rufus Carter is a veteran ot the Island boat-building from his Benevides is as menhaden boats, having worked father, Chauncey Guthrie, and his Nadine known as all trades. at as crew and qualified a captain. uncle, Julian Guthrie. They, in a jack of She works He moved to Lewes in the 1950s turn learned from Island legends Beaufort Fisheries, Beaufort, NC, and has a comprehensive knowl- Brady Lewis, Earl and James one of two menhaden factory plants left on the eastern seaboard. edge of boats and their operation. Rose, and a community of master boat builders. Tod.ay Guthrie She makes and repairs nets, works deck, meals for the honors the old ways m traditional on and cooks Captain I'irgin "Gus" Dunaway, crew on fishing trips, as well as boat-building demonstrations at Lancaster County, I 'irg^inia the Core Sound Waterfowl making and repairing other types Captain Dunaway learned the gear. She also uses her Museum throughout the year. of fishing waterman trade from the bottom skills to craft items such as lob- Guthrie and his son Clifford are up, handling most waterman tasks also model-boat builders and ster-pot tables. Her son, Joey until he received a captain license decoy carvers, keeping the family Benevides, in the strong local tra- in 1973. He remained a captain dition of family businesses, crabs woodworking skills safe for for 20 years, retiring in 1994. another generation. with his father, Joey Benevides Sr.

~~[1021 SMITHSONIAN FOLKLIFE FESTIVAL Ronald Flilil,iii, Stewart Lester. Carl I'arnoii', Hall, Rock Maryland Ania^ansett, New York Raritan Bay, New Jersey~~

Ronald Fithian left hill-tinie fishing Stewart Lester has fished all of Carl Tarnow has been a pound- to the become town nicin.iger oi his lite. He grew up in net fisherman, a clammcr, and an Rock Hall, a historic waterman's Amagansett as part of an extend- oysterman and is an expert net town. In his position, he has helped ed haul-seining family. He has mender. He has many stories create a safe harbor for commercial also been a dragger-man, lob- about the history of fishing in fishermen m the town, which is sterman, swordfish harpooner, New- Jersey bays and about mar- also an important recreational and pound-trap fisherman, as keting fish at the Fulton Fish fishing and boating center. well as a claninier and scalloper. Market and has collected family He is an accomplished net pictures ot older fishing methods Captain Charles Forrest and maker and mender. and boats. Helen Forrest,

Matthews County, I 'iri;inia Stei'e and Sue Mescrue, Melrin Fwiddy, Captain Forrest retired m 1996 Lainherti'ille, Xew Jersey Manns Harbor, North Carolina after working as a menhaden Steve Meserve is the fourth gen- Melvin Twiddy has worked as fishing boat captain for 33 years. eration ot fishermen who manage a pound netter m the Croatan His wife, Helen Forrest, worked the Lewis Fishery, a seasonal shad- Sound in Dare County over as both parents whenever Captain fishing operation on the Delaware the past so years. He owns two Forrest was ,iway fishing. River. His wife. Sue Meserve, Albemarle shad boats, the only works with the fishing crew and working sailboat indigenous

~~Captain Matthew organizes sales of the fish. to North Carolina. "Sonny" Gaskins St.,~~

Lancaster Contity, I 'irginia Flo Sharkey, Carl Tyler, Jr. , Crisfield, Maryland Captain Gaskins learned the men- Brookhaivn, \'ewYork Carl Tyler is the fifth generation haden tishing business at an earlv Flo Sharkey is the only woman in a family of watermen and rep- age, attained the level of captain, working the bay in Patchogue. resents the youngest of Crisfield and retired in 1991 after captain- second-generation A baywoman, watermen. He knows all aspects ing menhaden fishing vessels for she learned from her father how of crab harvest (with three differ- 26 years. Matthew Gaskins fol- Jr. to catch clams, scallops, blue- ent trapping methods), oyster lowed in his father's footsteps and claw crabs, and eels when she harvest, crab-shedding operations, currently captains a menhaden was very young. She uses one- boat and equipment repair, and fishing vessel m Louisiana. toot-Iong, handmade wooden navigation. stilts to wade into the mud flats. Skye Hilton, Cory lieyant, Frecport, Neu'^'ork Patchogne, XewMvh Scott Sheppard, Port Norris, New Jersey Cory Weyant is an expert eeler Skye Hilton works with his father. and crabber, dragger mate, fish Bob Kaler, in Patchogue, NY. In Scott Sheppard fishes for oysters, smoker, and storyteller. He builds the spring, when he is not crab- crabs, and conch on the Delaware his own traps and, like most bing, he catches bait mussels on Bay. By diversif\-ing the species he commercial fishermen, has the North Shore of Long Island. catches, he negotiates the econom- learned a variety of skills in ic and ecological difficulties facing order to work year-round. many Mid-Atlantic fishermen. He Wayne "Hon" Lawson, is passionate on all matters relating Crisfield, Maryland to the Bay's maritime culture. The Uliittington Family, As an nth-generation waterman. Port Norris, New Jersey Wayne "Hon" Lawson has per- Bradley Styron, The Whittington family were formed nearly all aspects of Cedar Island, North Carolina originally from Crisfield, MD, work related to crab and oyster Bradley Styron is descended from where they worked in the harvests in Crisfield. Lawson's a long line of Cedar Island water- seafood industry. The family long family history dates back men. He was reared on the water, began to work seasonally in the to the 17th century with records worked as a shrimp, fish, crab, oyster-shucking houses of the of their work on the Chesapeake oyster, and clam fisherman, and Port Norris-Bivalve, New Jersey, Bay. When his son decided not later started his seafood wholesale area in the late 1920s. Over the to continue the family tradition business. Quality Seafood. He years, besides working m the of working the water, "Hon" joined the North Carolina shucking houses, the family dubbed hiniselt the "last Marine Fisheries Commission worked on clam and waterman." ovster in 2000 and continues to serve as boats, m the fish houses, and at a voice for commercial fishermen tomato tactories. Thev are also on that riile-makmg body. gospel singers.

FESTIVAL PARTICIPANTS |1031 Community Program Pani Dai'is Morris, Keeping the Waters Davis, North Carolina Presenters Safe / Water Safety Pam Davis Morris has spent the Kiinii Willis Aiuspaclier, Delaware River Pilots, last 20 years in the family com- Mtuslhillherg, Nonli Caivliiia mercial fishing business. During Leii'es. Delaii'are this time she has active Karen Willis Amspacher is a become River pilots help guide large fisheries native of Harkers Island, where in the North Carolina container and oil ships up the

her family has been a part of management process, representing Delaware Bay and River. Pilots local fishermen several state the boat-building and fishing on will be on hand to tell about and regional committees. traditions of the community their craft and how they learn it,

for generations. She left her Growing up with deep family and to relate stories of their teaching career to work for roots in the area has instilled in experiences. her community as director of her a love for the people living the Core Sound Waterfowl along Core Sound and strength- Herbert Groh, Museum in 1993. She has also ened her contributions at the Catonsville, Maryland worked with documentary Core Sound Waterfowl Museum, projects focusing on eastern where she works with commu- Captain Groh is a retired docking Carteret County and edited nity members to document the pilot who was been on the water numerous publications. stories of the region. since he was 16 years old. After a six-year apprenticeship, he worked his way up to Senior Feather Phillips, James Lane, Ci is field, Maryland Docking Pilot, handling ships Cohiinbia, North Carolina James Lane is a community of up to 265,000 tons in the scholar with an interest in Feather Phillips is executive Baltimore Harbor and through- the history and traditions of director of Pocosin Arts, an out the Mid-Atlantic region. African-American communities organization that combines the in Maryland. He was involved arts with learning about the Reggie Jones, with other local scholars in the environment and local cultural Jones Beach, NewYork Delmarva Folklife Project, as traditions. She initiated the

well as the Folklife Field School, "7,000 Junipers" project that Reggie Jones is a living legend, conducted during the summer created a Millennium Forest the longest-serving lifeguard at of 3003 by Salisbury University of 7,000 seedlings of Atlantic Jones Beach. He started with a

~~and the Library of Congress's white cedar (locally called summer job in 1944, at 17, and American Folklife Center. juniper), important in boat- since then has kept watch over~~

~~building, decoy-carving, and thousands of swimmers, a tradi- Tom McHugh, other traditions of the area. tion that he has passed on to his She is married to a crabber. two sons. Rock Hall, Maiylaud~~

Tom McHugh first came to Meghan IVreii, Oveijalls Maritime Mnsenm the Eastern Shore in 1967 to Bii'alue, Jersey Foundation, Lewes, Delaware teach at Washington College New before moving to New York Meghan Wren has worked as a The Overfalls Maritime Museum State andVassar. Now retired. shipwright's apprentice, a deck- Foundation seeks to restore and

~~Dr. McHugh returned to hand, and a crabber. She is now preserve articles of maritime his beloved Eastern Shore. the founder, e.xecutive director, significance in the Delaware~~

~~A musician. Dr. McHugh is and acting education director of Bay region and educate the the founder and director of the Delaware Bay Schooner Bay public about their significance.~~

~~The Mainstay, located in a former Project based in Port Norris, NJ. Its initial project is the restoration~~

~~grocery store, where he offers The project's mission is to build of one of the few remaining~~

~~high-quality artistic e.xperiences; stewardship for the history, cul- lightships of the U.S. fleet,~~

~~at the sanre time he uses the ture, and ecology of the Delaware which guided mariners to safe~~

~~organization and the arts as estuary through education and harbors. This 423-ton ship, now~~

~~ways to effect social change, celebrations. It began with the listed on the National Register~~

promote businesses, and raise restoration of a historic Delaware of Historic Places, has been a money for local charities. Bay schooner, the A.J. Mcerwald, fixture in the Lewes harbor for which has become the focal over 30 years. point and catalyst for programming and events. In 1998 the A.J. Meenmld was designated New Jersey's official Tall Ship.

~~|104i SMITHSONIAN FOLKLIFE FESTIVAL The United States Sail The Natiue Couservaucy Clyde Roherts.~~

and Power Squadron The Nature Conservancy has Port Penn, Delaivare been working with communities, The United States Sail and Clyde Roberts is a waterman businesses, Power Squadron (USPS) was and individuals since who remembers the huge stur-

organized in 1914 and is a non- 1 95 1 to protect more than 117 geon and plentiful shad runs profit, million acres of the earth's sur- educational organization on the Delaware River. He is a face. dedicated to making boating The Nature Conservancy's master shad filleter and de-boner, safer and more enjoyable by mission is to preserve the plants, and prepares shad every spring teaching classes in seamanship, animals, and natural communities for the annual Port Penn navigation, and related subjects. that represent the diversity of hfe Marshland Dinner. The members are boating fami- by protecting the lands and waters lies who contribute to their they need to survive. The organi- /('/(// Shields, communities by promoting zation has chapters in New York, Baltimore, Maryland safe boating through education. New Jersey. Delaware, Maryland, USPS has some 60,000 members, North Carolina, and Virginia. Called the "culinary ambassador who are organized into 450 of the Chesapeake Bay," John squadrons Shields is a nationally acclaimed across the country: Oyster Recovery Partnership among them is District s in expert in regional American The Oyster Recovery Northern Virginia. USPS is coastal cuisine who has authored Partnership was founded m 1994 America's largest non-profit three award-winning cookbooks by Chesapeake Appreciation Inc. boating organization and on the cuisine of the Chesapeake, and IS the leading regional organ- has been honored by three and had a public television series, ization that initiates, coordinates, U.S. presidents for its ci\-ic "Chesapeake Bay Cooking." For and manages oyster restoration contributions. the series. Shields interviewed etlorts in the Maryland waters people around the Chesapeake ot the Chesapeake Bay. The region and showed how they Kids' Coast Partnership planted over 73 mil- prepared their favorite regional lion oysters in the Chesapeake Environmental dishes. He has WTitten for numer- Bay and its tributaries in 2002 ous national publications, is a Learning Center and a record 79 million in 2003. frequent guest chef on radio and Hudson Riirr Clearwater television, and teaches classes in IVIaritime coastal Sloop, Inc. Kitchen American cooking. The Hudson River Clearwater Dawn Chesser, Sauford, I 'ir^iinia Sloop, Inc., was founded in Debbie Styron, Dawn Chesser runs the Holden 1966 by a handful of river-lovers Cedar Island, Wvth Carolina Creek Gun Club with her hus- who decided to change the Debbie Styron is a native of band, Grayson Chesser, who is a course ot events destroying Cedar Island and wife of master decoy carver. Chesser is the Hudson River in order well known on the Eastern Shore commercial fisherman Bradley to reclaim this natural treasure. tor her down-home cooking. Styron. She grew up in the Clearwater conducts environ- fishing business, opening clams, mental education, advocacy culHng fish, and heading shrimp. Janice Marshall. programs, and celebrations. Today, with daughter Beverly Smith Island. Maryland and sons Samuel and Brad Styron, she helps Mildred Moore, Pamunkcy Indian Janice Marshall is a sixth-genera- manage the family seafood tion Smith Islander. She is a crab business. Quality Reservation , Vir';;iiiia picker by occupation and an Seafood. She also works at the Mildred Moore is a potter who entrepreneur by necessity, having Cedar Island ferry terminal. carries on an ancient tradition founded a crab-picking coopera- of using Pamunkey River clay. tive to comply with state health Ramona Wliittington, She is currently teaching an regulations. She is also an award- Crisfield, apprentice as part of a program Maryland winning cook. of the Virginia Foundation for As a part of a third generation the Humanities and Public of women revered for their Policy's Folklife Program. Kenneth Pinkard, cooking, Ramona Whittington Burgess, Virginia preserves traditional family recipes and prepares local Kenneth Pinkard was a cook on seafood in ways that are the a large menhaden fishing vessel. mainstay of her maritime He was instrumental in unioniz- communitv. ing the menhaden fishery in the

~~Northern Neck area and is still active in the union.~~

~~FESTIVAL PARTICIPANTS 105] Kelley Nelson, Marsh I ife/ Grayson Chesser,~~

~~Waterf w ling Area Sanford, I 'irginia Morehead City, North Carolina~~

Grayson Chesser is one ot the Kelley Nelson is an accomplished Anthony Broohs, most respected decoy carvers of decorative decoy carver and artist, Markers Island, North Carolina his generation. He learned carv- whose love of hunting led him to

Anthony Brooks is a carver of ing from old-time masters like pursue the art of carving. Sharing traditional working duck decoys. Chincoteague carving legend in the long-standing tradition of Raised on Cedar Island and Cigar Daisy and Miles Hancock. Core Sound carvers, he teaches Harkers Island, he studies the He spent much of his childhood decoy-carving at Carteret work of well-known Core Sound duck-hunting in the marshes Community CoUege and volun-

~~carvers of the early 20th century: around the Chesapeake Bay and teers at the Core Sound Waterfowl~~

men such as Mitchell Fulcher, collecting hand-carved decoys the Museum as a demonstrator. He Eldon Willis, and Elmer Salter. way other boys take up model also has entered, placed, and won Brooks creates his decoys using cars. In 1995 Grayson Chesser in many carving competitions only the hand tools of the old wrote the definitive guide to across the United States. masters: hatchet, penknife, and rasp. decoy carving, Makint; Decoys the Ceutury-Old Way. Currently out Glenn Phillips, Chatmon Bryant, of print, this book is coveted Ocean City, Maryland nearly as much as his decoys. He Alligator, North Carolina currently runs the Holden Creek Glenn Phillips is a skilled crafts- Chatmon Bryant is a long-time Gun Club in Sanford with his man who specializes in duck, hunter and trapper, and a beloved wife. Dawn Chesser. goose, chicken, and turkey calls, storyteller, in the small community as well as all kinds of wildlife of Alligator near Columbia. Jack Combs, whistles. Several years ago, Phillips started the Litrie Loii'j Island, New'^'ork

I litor Bryson, Quackers Outdoor Club and Jack Combs is a fourth-genera- Port Pcnn, Delaware also began appearing at a number tion decoy carver who carves of outdoor shows each year, Victor Bryson is one of Dela- traditional decoys without power conducting duck- and goose- ware's few rem.nning "proggers" tools. He grew up on the Great calling contests. (trappers who specialize in har- South Bay, son and grandson vesting snapping nu'tles for of local baymen gunners and

restaurants in Wilmmgton, guides, but left the Bay to work Fred Reitineyer, Baltimore, and Philadelphia). on tugboats. Tnckerton, New Jersey He uses a "prog" (a long metal- Fred Reitmeyer is an avid hunter tipped pole with a hooked end) Donglas Gibson, and decoy carver who demon- to probe the mud for turtles. Milville, Delaware strates the traditional carving Douglas Gibson has been carving techniques he learned from his

~~duck decoys for over 20 years. father. He is also known for his His biggest pleasure from carving, model sneakboxes, which are~~

he says, is to look at a live bird traditional Barnegat Bay area and see that there's not much duck-hunting boats. difference between that bird and his except his doesn't move. — "Ray" Loiinie Sykes,

(Allif;ator Coininunity) Bo Liisk, Cape Charles, I 'irginia Columbia, Nortli Carolina Bo Lusk represents the new tradition of "eco-tourism," Mr. Sykes's skills, which have guiding kayak trips through the been handed down from genera- marshes of the Eastern Shore of tions of fishermen, include Virginia. He grew up exploring hunting, trapping, commercial the marshes, tishing and boating, fishing, and raising and training deer- and coon-hunting dogs. and is happy to have turned his love of the natural beauty of the He builds fishing traps, turtle traps, steel area into a profession. and traps. He is also a community activist and organizer, as he has worked with the Con-

~~Victor Bryson catches snapping servation Fund to organize a local club. turtles witin a handmade progging hunting~~

~~tool (long, metal-tipped pole with a~~

~~hooked end to probe the mud for~~

~~turtles). Photo by Brett Breeding~~

~~1106) SMITHSONIAN FOLKLIFE FESTIVAL Recreational Fishing Richie TtUmau, ]r., Harry Saarinen,~~

Chesiipcdke Bay, AlaryLmd A)iiityville, Neiv York Pcrc Ames, Sr., Richie Tillman learned to fish as Like other "bay rats" from Great Little Neck, NewYoii: a toddler, and his uncle taught South B.iy. Harry Saarinen spent Pete Ames learned to make fishing him to tie tlies at an earlv age. his childhood clamming, fishing, rods fk)m his father and grandfather. He turned his love of fishing into and killeying (catching bait min- He makes rods for recreational a tly-rying business after he was nows) with his father and friends. fishermen who fish the South inspired by a college project that .As a welder, he creates spectacu- Shore of Long Island. Ames uses combined business with art. lar steel fish from metal and fire. decorative "wraps"; designmg and Saarinen also paints intricate wrappmg the rod is a meticulous maritime scenes on skimmer process, one that requires aesthetic Sailing and clams found on nearby beaches. judgment and mechanical dexterity. Related Crafts Ames has taught his son how to Kelly Smyth, design and decorate the rods, so The Biiyshore Discovery Chadd's Ford, Peinisylvauia that this family tradition contin- Center/A. J. Meerwald Schooner, Kelly Smyth has been a black- ues on Long Island. Bivalve. New Jersey smith tor nearly 20 years, named one of the top 200 traditional The .-1 J. Mccrii'iild is a restored Shawn Giacchbe, oystering craft from the Delaware craftsmen in the country by Chincoteiigiie, I 'irt^iiiia Bay, used today by the Bayshore the prestigious magazine Early

Aiucricaii Life. is Shawn Giacobbe is a former Discovery Center to teach about Smyth adept m all facets of the blacksmith's trade, commercial fisherman who is the rich history of oystering m now in the sport t'lshing business the region. Schooner crew and but has a special talent and love of as a charter boat captain. He Center educators are knowledge- maritime blacksmithing. She has worked as the is the founder of Fishawn able on topics ranging from oyster master Charters, which he operates ecology to tall-ship restoration. blacksmith for the restoration with his brothers. of the Susan Constaul and the Jii)i Laiigley, Kaluicr Nyckel, as well as the

Solomons Island, Maryland building of the Sultana, creating George MiGiiinitY, authentic hinges, hooks, chain- Freedom, Learning the artistry from his New Pemnyhwiia plates, marlin spikes, hanks, and father Leroy Langley,Jim Langley McGmniry's Taxidermy was other period items. paints boats, builds beautiful and founded in 1964 by George precise models from wood, and McGinmtv'. Although performing Lyini Stevens, carves wooden signs with mar- all phases of taxidermy work, Shady Side, Maryland itime themes. He has built about he quickly recognized that the 7s boat models over the years. Lynn Stevens was introduced strong suit of this family business to sailing by her husband Langley is on the staff of the and was fish taxidermy. In lyyo his learned to repair sails living Calvert Marine Museum in while company began creating fiberglass with Solomons Island. MD. him on their sailboat in reproductions from molds made Ft. Lauderdale. Since then she originally from real fish; these National .\[aritime Heritage has taken up the job of cutting provide memories for catch- Foundation out sails the traditional way (by and-release fishermen, who do hand rather than computer) at a National Maritime not keep the fish The Heritage they catch. sail loft in Florida, and currently Foundation (NMHF) is a non- works on all parts of sail making profit corporation located on Shirley Price, from measuring the boat to Washington, DCs waterfront. installing the sails. Cedar Neck, Dchiware It has a fresh approach to

Shirley Price is a former state educating today's youth while legislator born and raised in the stimulating economic and Rehoboth Bay/Ocean Beach cultural community development. area. She worked side by side NMHF's maritime education with her father, "Crabbin' Jim" and community outreach Murray, running Murray's Bait programs offer hands-on & Tackle Shop and continues to exploration for children in help her mother run the business. the area by providing a unique She fishes (throw-netting and perspective on history. trapping) for various bait fish and is a supplier of bait for other local bait-and-tackle shops. Kelly Smyth, maritime blacksmith.

~~Photo byAmySkillmon~~

~~[1071 .~~

~~Shore Memories Dan Brown, master duck decoy Performa nee Area carver from the Eastern Shore of Maryland, in his workshop. Photo~~

~~EnrI aitd Ldaud Carawan, courtesy Word fAuseum of Wildfowl Art~~

~~Su'iiii 's Qiiditer. Not// Cdiolliia~~

~~Earl and Leland Carawan grew Elmer Mackall and TIte Faith up in Hyde County in a family Singers, Prince Frederick, Maryland that followed the seasons and~~

~~lived oft' the land and water. Elmer Mackall, 79, grew up The family was also very musical, singing with his mother m and the Carawan brothers play churches and camp meetings in~~

a variety of old-time, bluegrass, Calvert County, MD. A powerful and country music. singer and talented piano player, he has recorded many pieces from Dai'cy Crockett, his mother's repertoire which are The New Gospel ites, Tangier Island, Virginia vigorous and deeply moving. His IVbrton Point, Maryland music IS reminiscent of Mississippi Captain Crockett runs a small John Hurt, with an original style The New Gospelites celebrated ferry boat from the mainland containing elements of ragtime 30 years of service in performing of the Eastern Shore of the and barrelhouse piano. His daugh- gospel music on September 14, Chesapeake to his native Tangier ters, Thelma Claggett, Margaret 2003. The group originated in Island. He also sings, plays the Copeland, and AUie Williams, back iy74, from the kitchen of the guitar, and composes songs about him up as The Faith Singers. same house where most of the life on the Chesapeake Bay. original members grew up in the Magpie, Takonia Park, Maryland Dr. Tom Flowers, small town ofWorton Point on This musical the upper eastern shore of Kent Dorchester County, Maryland duo made up of husband and wife Greg Artzner and County, MD. They have performed Dr. Tom Flowers grew up on the Terry Leonino has written and at numerous churches, festivals, and Eastern Shore of Maryland on performed a number of pieces universities throughout the Mid- Hooper's Island and has worked inspired by the Chesapeake Bay Atlantic region and beyond. in the Chesapeake Bay area as an and its ecology. Their performance educator for over 40 years. He Dai'id Norris, piece, "Tales of the Blue Crab," is has written a book about his a favorite of schoolchildren learn- California, Maryland experiences entitled Slunc ing about the bay. Southern Maryland singer/song- Folklore, and leads tours called writer David Norris' family has "Crab Mania," taking groups to Connie Xlason, deep roots on the western shore Hooper's Island to learn about Carteret County, North Carolina of the Chesapeake, going back to crab-picking. Dr. Flowers cur- Connie Mason is a museum the 160OS. In 1996, his song rently serves as a Dorchester historian, musician, and award- "Timberline" won Nashville's County councilman but also winning folklorist descended Chris Austin Songwriting Contest gives talks on the folklore of the at Merlefest, in Wilkesboro, NC. Eastern Shore. from eastern North Carolina fishermen, farmers, blacksmiths, His songs reflect his connection Rodney Kemp. poets, and musicians. Her reper- to the Chesapeake Bay region. toire includes both traditional Mooreliead City, North Carolina and original material. Her grand- Joseph Norris, California, Maryland Rodney Kemp's love for Carteret mother, Rosa Mason, toiled as an Joseph Norris, like his twin brother County has been the centerpiece oyster shucker but could play any David, IS a singer/songwriter and of his lifetime's work in collect- musical instrument she picked up. storyteller. He pert'ormed for the ing, teaching, and telling the Duke and Duchess of Kent at stories of this region. His story- Janie Menecly, Historic St. Mary's City during telling, known affectionately as Eastport, Maryland Maryland's celebration of its 350th "fish-house lies," tells the facts anniversary in 1984, and with leg- Meneely, is through the voices and experi- Janie who by day an endary folk singer Pete Seeger in editor at Chesapeake Bay Maga- ences of the generations of folks Baltimore. His stories reflect the zine, IS also a local Eastport who have lived and shaped this Native entertainer and raconteur, American heritage of his history. Kemp was named the who great-grandfather. Norris sings shares a delightful mix cruising North Carohna Historian of the of information, of rivers and riverboats, light- Year in 2003 folklore, and anec- houses and lost love, of ghosts dotes about good (and bad) and green fields. His newest cruising destinations around the CD northern Chesapeake. is called Mariner's Compass.

~~[108) SMITHSONIAN FOLKLIFE FESTIVAL The Norlherii Neck Clhvitcy Them Eastport Oyster Boys, Tom Wisner,~~

~~Singers, NorthiiniberliVid and Eastport, Maryland Solomons Island, ALiryland~~

~~Lancaster Counties, Virginia Since the early 'yos, the Oyster Tom Wisner, a native of the~~

The Chantey Singers have been Boys' collaborative creativity has Chesapeake watershed, is a singer, rehving and reviving the history yielded songs ranging from a songwriter, and educator devoted and the culture of watermen deck-shoe chantey to a tango to raising awareness of the spirit and through their animated per- about sub-aquatic vegetation beauty of his home. He is the recip- formances of songs and chants. to reggae verses about sailing. ient of the Maryland Governors In rhythmic fashion, they reph- They even composed the Citation as well as excellence awards cate the cadence of movements "Maritime Republic of Eastport" from the University of Maryland used by menhaden fishermen national anthem. and from the president of the m order to create unity when United States. These awards cele- Soiniy II Hli,}iiison. hauhng nets. Their songs are brate the unique quality of his work telHng. soulful, and sometimes Cedar LPopular Music and Song" (iS90-i950).They are currently performing in their 25th year at Phillips Harborplace Restaurant in Baltimore, MD.

~~The SAIF IVater Singers, Lancaster and Northumberland~~

~~Counties, I Irginia~~

The SAIF Water Singers organized in 2001 to support the SAIF Water Committee. They sing old-time prayer-meeting music in voice and sign language and usually perform a capella.The singers are from families that have been helped by SAIF Water. SAIF Water has brought indoor plumbing and repaired a contaminated well for the families.

~~A waterman from Tangier Island,~~

~~Virginia, one of the last few islands~~

~~in the Mid-Atlantic region accessi-~~

~~ble only by water or air. Photo by~~

~~Harold Anderson~~

~~FESTIVAL PARTICIPANTS 11091 SMITHSONIAN SUPPORT RALPH RINZLER MEMORIAL CONCERT FOR THE FESTIVAL IN HONOR OF ROLAND FREEMAN:~~

Office of the Secretary Gospel Traditions from Maryland Office of External Affairs and Virginia Office of Development Office of Sponsored Projects Roland Freeman, a native of Baltimore. Maryland, Office of the Inspector General Office of the General Counsel began his career as a freelance photographer m the 1960s, photographnig the Civil Rights Movement. Office of the Deputy Secretary and He has been a research associate tor the Smithsonian Chief Operating Officer Center for Folklite and Cultural Heritage since 1972. National Museum of American History, A major emphasis of his work is a study of Black culture Behring Center that uses the camera as a tool to research, document, Latino Initiatives Center

~~Facilities Engineering and Operations and interpret the continuity of traditional African-~~

~~Office of Engineering, Design, and American folklife practices. He is the founder and Construction president otThe Group tor CAiltural Documentation~~

~~Office of Facilities Management in Washington, D.C. Horticulture Services Division~~

~~Office of Facilities Reliability The Christianaires, Balriiiiorc. Marylami~~

Office of Facilities Planning and Resources The Christianaires was organized in iy6o.The group Office of Architectural History and performs almost every week for church functions, and Historic Preservation does many benefit concerts to raise money tor sickle Office of Project Management cell anemia. The Christianaires have released five Office of Protection Services recordings and a video. Office of Safety and Environmental Management Gospel Supreme, Bahiiiiore, Maryhvid Office of Government Relations Office of Communications The Gospel Supreme reunited in 1994 and is made Office of Public Affairs up of five God-fearing women: two sets of sisters and

Visitor Information Et Associates a lead singer. The group has released two recordings Reception Center and is working on a third. Accessibility Program Office of Human Resources The Piuchall Bivihers, Noiiolk, I 'irgiiiiti Office of Special Events and Protocol The Paschall Brothers stand firmly in the great tradi- Office of Government Relations tion of unaccompanied religious singing in Tidewater Office of the Chief Information Officer Office of Imaging and Photographic Virginia. Reverend Frank Paschall Sr. formed the

Services ensemble in 1981 with his five sons. Reverend Paschall Office of IT Operations Sr. passed away in 1999, but his sons have carried on Office of System Modernization his legacy. They are one of the few remaining ensem- Office of the Chief Financial Officer Office of the Comptroller bles pertorming this once-tlourishing art form. They

~~Office of Contracting have recently completeci their first recording, support-~~

~~Travel Services Office ed by the Virginia Foundation for the Humanities. Office of the Treasurer~~

~~Office of Planning and Budgeting The Zioiiaires, Princess Aiiiie. Marylaud Office of Financial Systems Integration The Zionaires celebrated their 50th singing anniver-~~

sary 111 February 2004; more than so singers and Office of the Director, International Art Museums musicians have been members of the group over the Freer Gallery of Art years. For 40 years the group broadcast on radic:) Office of the Under Secretary of Science station WJDY, Salisbury, MD, and in 2003 the group Office of International Relations headlined the August Quarterly Gospel Festival in Smithsonian Environmental Research Center Wilmington, DE, the largest gospel event in the state.

Office of Business Ventures Through their music. The Zionaires spreaci the word Smithsonian Magazine of God to radio audiences throughout the lower shore of Maryland, Virginia, and Delaware. Smithsonian Women's Committee

(no) SMITHSONIAN FOLKLIFE FESTIVAL M. & Mme. Reginald Vorbe, AND Haiti: Freedom and SPONSORS Deschamps & Co.,Ary Ceant, Creativity from the SPECIAL THANKS Gilbert Bigio,Jean Henry the Sea Mountains to Ceant, M. & Mme. Christian Dutour, Banque de la FoUlife This program has been produced Smithsonian Repubhque d'Haiti, USIS, m partnership with the Ministn' Festival Sponsors AmCham, Hendnk Verwaay, of Fiaitians Living Abroad and Geri Benoit, Femmes Entre- Axan Abbellard, The Festival is supported by the liistitut collaboration Mario Delatour, Gisele federally appropriated tunds; preneurs (lFE;,in Fleurant. Michael Gay, Smithsonian trust funds; contri- with the National Organization Mrs. Haitians, Raymond Jeanty, Mr. &: butions from governments, for the Advancement of Mevs, sup- Richard Kurin, Bernhard businesses, foundations, and and enjoys the broaci-based Laurent ot j. Serge Pansien, individuals: in-kind assistance: port of Haitians and fi-iends Pierre-PhiUippe, Jean Luc and food, recording, and cratt Haiti around the world. Major Haitian Vorbe, Nicolas Vorbe. and sales. Major funding for this contributors include the Astnd Winter. year's programs comes from Government and Public Admini- the Whole Foods Market and stration, USAID (Aid to Additional support was provided Music Performance Fund, a Artisans), Rhum Barbancourt, the following companies and Festival sponsor for 34 years. Government ofTaiwan, by Telecommunications support Government of Gabon, individuals: Bernard Fils Anne, Carl Fils for the Festival has been provid- Federation of Native Coffee Embassy of Benin, ed bv Motorola. Nextel. Producers and Development Anne, America. of Mexico, Bacchus, Pegasus, and Icom Alternatives Inc. (Haitian Blue), Embassy WAMU Edouard Bausan, Mane Alice Media partners include HaiTel, UNESCO, Comcel, University Sharon Bean, Jean SS.s FM, American DaimlerChrysler, Inter-American Baussan, Grimard Radio, and WashingtonPost.com. Development Bank. Merrill Wilfrid Bertrand. support trom Bertrovna, Sheyla Biainbi, with in-kmd Lynch. SOFIHDES, Unibank. Systems and Go-Ped. Pierre Bnsson.Jean M.iurice Signature U.S. Embassy in Haiti, Jean Mane J. Cadet, James Vorbe.Youn Mevs, Clement Buteau. Claelle Fcstifdl hi-Kiiid Cadet, Serge Calvin, Durosier Geiicnil Beyda, and Harriet Michel. Carribean Canadian Coiitriinitors Major in-kind support comes Carl, Chemical, Adrien Castera, from Seaboard Marine and USA: Grundens USA, Castera, Patrick Fujifilm American Airlines with addition- Agnes Ltd: Heath Crab Pots; Krispy Canez, Charlestin, Max Chauvet, al assistance fa-omValeno Kreme Doughnuts: Marshall Chauvet, Roland J B Sun Auto, S.A., and Drexco. Myriam Manufacturing Co.; Ricola Chavannes, Cimenterie Video Inc.: Ashby and Associates Nationale, Citibank, Monique Special thanks to U.S. Production Services; Global Cubano, Alexis Ambassador James B. Foley, Clesca, CRS, Village Productions: John Lyonel Dartiguenave, [udith Trunzo, Mark O'Connor, Damaz, Media Paulson Productions; Anacelia Perez de Meyer, Lionel luha Stanley, David Adams of Visions Video Duphcation; Denerville, USAID, and the former U.S. Delatour, Karl Patrick TelePictures: Target de I'lmmigration, Ambassador to Haiti, Brian Direction Distributing Audio/Video Dumas, Ingnd Dean Curran. Pierre-Raymond Division; TDK Electronics; Monsset Duperval, Claude

and Ken-Tron jr., Ralph Edmond, Early sponsorship of the Haiti Duvse Sergo Etienne, program came from: Essence, you to General Festival thank Guerrier Exalus, Jean-Jean M. c\ Mine. Roger Letevre, Dwayne Winters and Mary Henry Georges Fils, M. & Mine. Fritz Mevs II, Fabius, Boachman. Hans Garoute, M. & Mine. Gregory Mevs, Izralon Fntzner. Green, Bernard M. & Mme. Pierre Claude, Yvrose Our gratitude to all the Bernard Hadjadj, M. & Mme. Dimitri Vorbe, Guercm, volunteers who make the Hadjadj, Haitian M. & Mme. Philippe Vorbe, Danielle Festival possible.

SPONSORS AND SPECIAL THANKS [1111 Television Network. HAT Marc-Yves Regis; Ginau Nuestra Musica: Entrepnses S.A., Georges Mathurin; EchodHaiti.coni; Music in Latino Henry, Gilbert Hippolite, Elizabeth McAlister; Chantal Culture Indepco, Indice Faces, Regnault; Hannah Richards; International Monetary Fund, Paul Schiavone; Stephen This program has been gener-

~~Remy Jean, JMB SA (Jean Stuempfle, Historical Miisciiia of ously funded by the Smithsonian~~

~~Maurice Buteau), Henry Soiithcni Florida; Lois Wilcken Latino Initiatives Fund and the~~

~~Robert Jolibois, Jeanfois Joseph, National Endowment for the~~

~~Aniosson Joy, Wesley Jean Horticulture: Arts. Additional funding comes~~

~~Julien, Mane Laurence Kerby, Robert A. DeFilipps, National through Anheuser-Busch, Inc.,~~

~~Kinam Hotel, La Direction Museum of Natural History: with in-kmd support through~~

~~generale des Impots, Frantz Meredith Hubel, 5/ Horticulture Delta Air Lines. Cooperating~~

~~Large, Le Bureau de la C'ulture, Services Division; D.iyna Lane, organizations include Arts of the~~

~~Le Bureau des Haitiens Vivant U.S. Botanic Garden; Joel Lemp, Americas Institute-University of~~

~~a TEtranger, Le Nouvelliste, SI Horticulture Services Division; New Mexico, Radio Bilingiie,~~

~~Le Regency, David Lee, Robert Tornello, Tornello Nurseries Univision, and the Sinithsonian~~

~~Les Archives Nationales, — luternatioual Wliolesale Bamboo Center for Latino Initiatives.~~

~~Claude Mancuso,Jean Pierre Nurseries; U.S. Botanic Garden; Mangones, Claude Metayer, Beverly Wolpert Special thanks; Eugen Meyer, MIZIK MIZIK,~~

~~Fritz Evens Moise, Ferailleur General Program: Participant Research:~~

~~Monique, Luis G. Moreno, Gerald Alexis, Gage Averill, Maria Teresa Velez Myra Moss,Josette Nazon, Max Beauvoir, Ludovic Booz, GAS, Sally Patton, Agathe Frederic Surpris, Steven Benoit, Program Advice:~~

~~Pellerin, Natalia Meyer Perez, Mushi Widmaier, Serge Calvin, Manuel Bernal; Angel Carias;~~

~~Jean Kelly Pierre, Prestige Beer, CJlaude Carre, Dominique Rolando Reyes; Center for Moiuiir Rached, Anneliesse Carvonis Fombrun,Jean Traditional Music and Dance;~~

~~Reinenieyer, Guerrier Renel, Coulanges, Lilas Desquiron, Consejo Nacional para la~~

~~Jean Frantz Richard, Jacqueline Martine Deverson, Philippe Cultura y el Arte de El Salvador~~

~~Roche, Karl Rosenberg, I )odard, Pierre-Raymond (CONCULTURA) Stephane Rosenberg, Daniel Dumas, Mane Lourdes Elgirus,~~

Rouzier, Reginald Sassme, Patrick Elie, Etheard Bernard, Photographs: Sassine Entreprises, Reynold Gisele Fleurant, Georges Cristina Benitos, Gonzalo Savain, Signal FM, Paul Emile Fouron, Michelle Frish.Jean Gutierrez, Jon Kersey, Amy Simon, Strings, Guy Supplice, Claude Garoute,Viviane Kitchener, Enrique Laniadrid, Bernard Theart, Hans Allen Gauthier, Haitian Young Tatiana Maldonado, Elsa

~~Theophile, Nadege Tippen- Professionals, Raymond Jeanty, Mantilla, Cnstina Montes, Lidya hauer.Vision Industrie, Mushi Carl Lafontant, Rogert Large, Montes, Olga N,ijera-Raniirez,~~

Widmaier, Richard Widmaier, Evans Lescouflair, Danielle Patrick Polk, Cathy Ragland, Beatrice Wroi, and Carole Yates. Longo, Jacky Lumarque, Nicole Omar Ramirez, David Ramos, Lumarque, Frances MacLean, Eduardo Robledo.Tom Van Special thanks: Jean Claude Martineau, Buren, Michael Young, Alliance Genevieve Menos, Tequila of California Traditional Arts, Photographs: Minsky, Mambo Oni, Marc Center for Traditional Music Aid to Artisans; Mark Caicedo. Panics, Roland Paret, Jacqueline and Dance, www.Fraternidad,

~~hucr-A\iicricau FoHiidatioii; Pompilus, Barbara Prezeau, Sangre Bohviana Paula Durbin, hitcr-Amcricau Jacqueline Roche, Carole Roy, Fowidation; Phyllis Galenibo; Paul Emile Simon, Paulette Materials:~~

~~Rebecca Janes, hilcr-Aiiicricaii St. Lot, Marie Thomas, Cathv Pulhn~~

~~Foundation : Daniel Keclar; Daniel Supplice~~

SMITHSONIAN FOLKLIFE FESTIVAL Water Ways: Mid- In-kind services came trom Wildlife Refuge; Keith Segerson, Atlantic Maritime Anne Ciant; Wendell and Anne U.S. Sail and Power Squadron; Communities Haynie; George and Denise Sonya Spery; Polly Stewart, Klein, Marine Transport; Salisbury University; Mike

~~This pii5gi\ini IS made possible by Memphis Net and Twine; Vlahovitch, Chesapeake Bay a partnership with the National Omega Protein; Larry Phipps, Maritime Museum; Kenneth~~

Oceanic and Atmospheric Rockhold Creek Pile Driving; Waller; Elizabeth Watson, Administration, and produced in Myrtle Phillips, Mary Ball Eastern Shore Heritage .'irea; collaboration with the State of Washington Museum; Albert Joanne Welsh; Lee Whaley, Maryland, National Endowment and Mary Louisa Pollard; Senator Sarhanes ' office; Lydia for the Arts, and Chesapeake Bay Chenlyn Widell. Wood, Piney Point Lighthouse Gateways Network/National Museum; Joe Youcha, Alexandria Park Service; with generous con- Special thanks: Seaport Foundation; Bernadette tributions from Virginia Historic van Pelt Resources, Mary Ball Washington Coiisiiliiiiiis: Museum & Library. St. Maiy's Doug Alves, Ciih'ert Marine Photographs and Illustrations: White Chapel Episcopal Church, Muscum:Ken Basil, Ward Joshua Brewer; Cornell Maryland State Arts Council, Mufciiiii of ]\'ildtoii'l Art: Maritime Press/Tidewater North Carolina Arts Council. Lorraine Boice, Tncherloii Publications; Larry Chowning; North Carolina Tourism. U.S. Seaporl; Todd Crouteau; Martha Cooper; Heather R. Fish and Wildlife Service, Phillips Jonathan Doherty, Chesiipcakc Davidson; Steve Gravano; Seafood, and The Nature Bay Gateways Xeluvrli; Betty Claudia Jew, The Manners' Conservancy; and with special Duty, Maryland IVaterniaii's Musenin; Alice Lippson; Bill thanks to National Marine J. Sanctuary Foundation. Association: Gai\ Fuller, U.S. Mansfield; Nainia Rauam; Scott Coast Guard; Chip Heaps, Taylor; John H. Whitehead III;

~~In-kind and tinancial support Hasierii Shore Maryland Difision, Sherman Woltson comes from Alexandria Seaport Ducks Unliiiiited; Mark Hollmgs-~~

~~Foundation; Bayshore Discovery worth; Paula lohnson, S'ational Education Activities:~~

~~Center; Calvert Marine Miisciini ot American History; Carla Arnold. Sligo .Middle~~

~~Museum; Clearwater Sloop; Dianne Jordan. Steaniboat Era School; Lea Dower, Living Core Sound Waterfowl Musciini; Kevin Kilcullen, Classrooms DC; Mark Haddon.~~

Museum; Delaware Division U.S. I-lsh and IVIIdlife: Sniilhsonian Envirotinieiital of the Arts; Exhibit Center, U.S. Honey Konikoff. Piiillips Research Center: Heather Coast Guard; Harry Lundeberg Seafood; Paayal Malhotra, Hetzeck, Chesapeake Bay School of Seamanship; Institute The Nature Conseri'ancy; Foundation; Trish Schuster. tor Cultural Partnerships; Douglas Manger, Mid Atlantic Tuckerton Seaport; Lindsey Mariners" Museum; National Arts Foundation; Wayne Martin, Smith, Bayshore Discovery Center; Maritime Heritage Foundation; Xortii Carolina Arts Council; Ray Emmons. Wird Museum of New York State Council for the Patty McNaughton. National Wildfowl Art; Kristopher Arts; North Carolina Maritime .Maritime Hcrita'^e Foundation; Whitney. Bayshore Discovery Museum; Overfalls Maritime Michael Miller. Delaware Center; Gigi Windley, Kahnar Museum Foundation; Oyster Dii'ision of Parks and Recreation; Nyckel Foundation; Virginia Recovery Partnership; Phillips Dottie Mitchell. U.S. Coast Witmer, VA Coastal Resources Seafood; Pocosin Arts; Guard; Katie Mosher. North ReedvilUe Fishermen's Carolina Sea Grant; Debra NOAA Contributors: Museum; Small Ships

Pence. Piney Point Lighthouse NOAA 's Ocean Service (NOS); Association; Tuckerton Seaport; Museuiti; Berkeley Pollard. Richard Spinrad. Assistain Ward Museum of Wildfowl Art; Conservancy; The Nature Susan Administrator of NOAA 's U. S. Sail and Power Sc^uadron. Russo, Pocosin Lakes National Ocean Scri'ice

SPONSORS AND SPECIAL THANKS (1131 NOS, Comiiiiiiiicatioiii VISIT THE CENTER FOR FOLKLIFE AND and Education Division CULTURAL HERITAGE ON THE WEB Thomas Cox, Colleen Labbe, Nadia Sbeih, Paul Taylor, The Smithsonian Center for Folklife and Cultural Heritage Tim Tomastik, Bill Zahner is about to extend its global reach with three new Web sites. NOS. National Mavinc Together, they will serve the Center's mission as a facilitator Sanctuaries Program of cultural exchange far beyond its current capabilities. Michael Murphy NOS, National Geodetic Survey Steve Vogel P 3 Smithsonian Global Sound

NOS, Office of Coast Siuvey Nell Codner The Smithsonian Global Sound site will offer audio and Barbara Hess video downloads, streaming media, educational resources, Exhibit Representatives and detailed liner notes to music lovers, students, historians, NOS, Office of Ocean and teachers, and the academic community. It is powered by an Coastal Resource Mananeinent international network of cultural institutions working to Chris Stevens preserve and distribute music from archives worldwide, NOS, Center for Operational while generating revenue for musicians and safeguarding Oceanographic Products their intellectual property, www.globalsound.si.edu and Services

Stephen Gill Gma Stoney ^ 3 Smithsonian Folkways Recordings NOS Public Affairs Ben Sherman Global Sound will be integrated into a new Smithsonian NOAA Coastal Services Center Folkways Recordings Web site that will bring Folkways' Margaret A. Davidson, Director rich and expanding catalog to a wider audience. The easy- 0/ Coastal Services Center site will be a starting point for newcomers to Amanda Ruthertbrd to-navigate traditional music and a rich resource for experienced NOAA 's National Marine specialists to explore, sample, and purchase Folkways' Fisheries Service award-winning offerings, www.folkways.si.edu Judy Bowie Laurel Bryant Molly Harrison Smithsonian Jennifer Jefferies ^ J *^ Center Folklife and Cultural Heritage Michael Kelly for Brenda Rupli The Center's new mam site will enhance its educational NOAA 's Chespeake Bay Office Peyton Robertson mission by featuring content-rich modules for the Smith- Linda Taylor sonian Folklife Festival and the Ralph Rinzler Folklife Archives and Collections. Teachers, students, and general NOAA 's National Weather Service Ron Gird visitors will find content from 38 years of Festivals, as well Deborah Jones as links to relevant Global Sound and Folkways resources. Jon Parein NOAA Sea Grant ProfJrani Together, the Global Sound, Smithsonian Folkways Jamie Krauk Recordings, and the Center's sites will be an unparalleled Delaware, Maryland and North entrance into the world of traditional music and culture

Carolina Sea Grant located at a computer near you. Tracey Bryant, DE Sea Grant Jack Greer, MD Sea Grant Doris Hicks, DE Sea Grant Doug Lipton, MD Sea Grant Katie Mosher, NC Sea Grant All NOAA volunteers

SMITHSONIAN FOLKLIFE FESTIVAL SMITHSONIAN Mary Monseur, Cultural Heritage Policy INSTITUTION Production Coordinator Emily GrenJich, James Early, Director Lawrence M. Small, Secretary Production Intern Lisa Friedman, Sheila P. Burke, Deputy Secretary Judy Barlas, Mike Thompson, Interns and Operating Chief Officer Maintjacturing Coordinator

John Smith, Sales Assistant Cultural Research and Education Center for Fol kl ife Mark Gustafson, , and Cultural Marketing Assistant Olivia Cadaval. Chair Ipek Buberci, Sarah Coleman, Heritage Thomas Vennum, Jr., Senior Brian Foster, Sammy Mack. Elhnomusicologist Enuritus Richard Kunii, Director Kelly C^hve, Rachel Panitch, Betty J. Belanus, Olivia Cadaval, Richard Kennedy, Deputy Director Ginnie Roa, Amy Schneter, Nancy Groce, Majorie Hunt, Loretta Cooper. Michael Sertich, Elissa Staley, Diana Baird N'Diaye, Peter Development Director Rosann Watanasanticharoen. Seitel, Cynthia Vidaurri. Nilda Rebecca Snierling, Anisiaiit to Jennie W.iyne, Folkirays Villalta, Curators. Folklorists, the Center Director/Special Events Marketing Interns Education & Cultural Specialists Hsin-tai Lni, Deirlopiiient Intern Kish.i Anderson, Carla Borden. Program/ Hannah Smith, Spvcinl Events Financial Assistant Publications Manager Intern Ronnie Simpkins, John W. Franklin. Program Manager

Norman van der Sluys, Jessica Murray, Kristen Petros, Adiniiiistriifioii .-li/i//i> Recording Specialists ItUerns Lee Michael Demsev, Barbara Strickland, Ryan Hill, Helen Lindsay, Folklife Advisory Council Assistant Director lor John Passmore, Customer Kurt Dewhurst (chair), |udy Finance and Procurement ami Sales Support Mitoma (vice-chair), Michael Marquinta Bell, Biid{;et Analyst Shira Backer, Diaz Carrera, Doucet, Anthony Gittens, Claudia Telliho, Sandra Grady, Chris Mule, Barbara Kirshenblatt-Gimblett, Administrative Specialist Folkways Interns Debora Kodish. Enricjue Michael Page, Computer Specialist Lamadnd. Worth Long, Libby Rachelle Hardy. Adnnnistrativc Ralph Rinzler Archives O'Connell.J. Scott Raecker, Assistant Robert SanteUi, Ricardo TrimiUos, Dale Dowdal, Ramona I!)owdal, Jeffrey Place, Archivist /Audio John Herzog (ex-officio) Enid Hairston, Renny Smith, Doctniwnlation Coordinator

|udv Weincoop, I oinnteers Stephanie Smith, Assistant Folkways Advisory Council Archivist /Photo Documentation Michael Asch (chair), Phyllis Sniithsonian l-olhn\iys Recordings Coordinator Barney, Hall Cannon, Don Kimberly Berman, Daniel Sheehv, Director and DeVito, Ella Jenkins, Anthony Kimberly Fletcher. Jaime Cinator Seeger (ex-officio), Fred Silber Freedman, Sarah Graham, Anthony Seeger, Director Emeritus Amy Roberson, Rebecca D. A. Sonneborn, Assistant Director Research Associates Summerour, Scott Prouty, Betty Derbyshire, Financial Roland Freeman, han Karp, Interns Operations Manager Corinne Kratz, Worth Long, Richard Burgess, Marketing Rene Lopez, Kate Rmzler, Sai'c Our Sounds Manager Sam-Ang Sam, Laura Schneider,

~~Pete Reiniger, Sound Production Rajeev Sethi, Chucho Valdez Frank Proschan, Project Director Supervisor Andrew Nelson, Intern Margot Nassau, Folkways~~

~~Licensing and Royalties Sniithsonian Global Sound Dede Adomayakpoa, Qumn~~

~~Marshall, Licensing and Toby l^odds, Fechnical Director~~

~~Royalties Interns Ted Messerschmidt, Intern~~

1115] Smithsonian Folklife Manuel Mijando, Elisa Miller, Erin Wilder, Supply Intern Luke Perry, Alaric Beverly Simons, Festival Eric Nance, Strickland, Darwin Todd, Erin Foodways Coordinator Diana Parker, Fcsiivdl Directoi Whitcomb, Exhibit Workers Jamie Daggon, Foodu'ays Intern Stephen Kidd, Piodiidioii Miviin;cr Dave Lannini;, Trucking Diana Grose, Hisczak, AisiiUiiit to Natalie I blunteer Coordinator

~~the Festival Director Steve Fisher, Sound/Stage Jade Alburo, A.«i57i7/;f I 'olunteer~~

~~Snpervisor Coordinator Participant Support EricVogel, I'ohnUeer Intern~~

Pnhlications Kathryn Garcia, Rachel Delgacio, Marketplace and Participant (.Coordinator Carla Borden, Publications Haitian Market Coordinator James David, Marsha Michel, Manager/Chief Editor Angehca Collins Oxendine, Participain Assistants Carla Borden, Frank Proschan, Marketplace Assistant Coordinator Connie Brandan, Meredith Arlene Reiniger, Peter Seitel, Henri Goodson, Marketplace Forster, Participant Snpport Team Writers/Editors Consigiuuent Coordinator

Sharon Chewnmg, Olsen Jean Julieii, Marsha Alit'Bin Brahim, Carlos Bruce, Housing Coordinator Michel, NildaVillaita, Translators Jason Castro, Aaron Chaisiri, Judy Luis-Watson, Allison Fax,Jon-Nicolai Social Coordinator Design & Production Langlois, Nathan Langlois, Jason Dooley, Swatantar Mann,Jared Miller, Transportation Coordinator Demse Arnot, Art Director Wendall R. Morris, Dan Mary B. Considine, Assistant Krystyn MacGregor Confair, Sheehy, Adelina C. Simmons, Transportation Coordinator Graphic Designer l^osemary Taing, Erin Toller, loan Erdesky, Prodnction Manager Marc Whirl, Alexandra Zapple,

~~Technical Support Zaki Ghul, Miguel Moraii, Marketplace Associates Design Interns Krystel Armand,~~

Rob Schneider, Technical Director Haitian Market hnerit Frank Caulder, Associate Documentation Perry Smith, Technical Director Program Book Sales Coordinator Media Specialist/ Ariadne Pineda, Assistant Charlie Weber, Eddie Mendoza,

~~I Ideo Docniuentaiion Coordinator Technical Director Concessions A lanager Casey Kennedy, Aduniiistrative Kathenne O'Toole,~~

Technical Associate Docninentation Intern Haiti : Freedom and Ayanna Mackms, Adininistratiir Creativity from the Education and Program Support Assistant to the Technical Director IVIountains to the Sea Tommy Starkey, Electrician Arlene Reiniger. Program Ray Reed, Pipe Fitter Haiti Yancy Cooper. Anthony Milby, Specialist /Intern Coordinator John W. Franklin, Carpenters Gen Benoit, Comnnssioner Accessibility Coordinator Emily Becher, Mark Hanneinan, General Candas Barnes, Martin Hiraga. Lighting Patrick Delatour, Curator Diana Mele, Hank Young, Carl Anderson, Bob Brox.John Patrick Vilaire. Curator Sign-language Interpreters Bullock, Adam Cahan, Victor Vicki Moeser, Public Affairs Crook, Cairo D'Elia, Michelle Washington Becky Haberacker. DeCesare, Kendra Denny, Piddic Affairs Assistain N'Diaye, Ralph Derbyshire, Dale Farmer, Diana Baird Mary Aquino, Christen Program Curator Bruce Hall, Eric Haminons, McCluney, Public Affairs Interns Program Joshua Herndon, Kathleen Olsen Jean Juhen, Paul Jones, Supply Coordinator McBride, Charles Andrew Coordinator Nathaniel Berndt, Ayiti Cheri Marcus, Terry Meniefield, Robert Maguire, Supply Assistain Curator

[1161 SMITHSONIAN fOLKLlFE FESTIVAL Ralph Auguste, Marie Augustin, Gonzalez, Nancy Groce, Thomas Hemans, |ill Bernard Guercin, Raymond Scout Mahler, Michael Mason, Hemming. Paula Johnson, Jeanry. Chantale Joseph, Claude Olga Najera-Ramirez, Danny Carrie Klme, James Lane, Jon Metayer. Cassandre Sanit Louis. Roman, Eileen Torres. Lohman, Tom McHugh.

~~AdmiiiistriUivc Slaft. Haiti Cynthia Vidaurn. Presenters Connie Mason. Rita Moonsammy. Pam Morris.~~

~~Abnor Adely, Michaelle C^raan. |aime E. Bosserman, Cristma Charlie Petrocci, Amy Skillman,~~

~~Raoul Denis, Alex l^uquella. Diaz-Carrera, Natalia Correa, Nancy Solomon. William Stott,~~

~~Louis Antonie Elysee, Lara T. Manzanares, David Rory Turner, Tom Walker,~~

~~Gisele Fleurant, Jean Claude Sheehy, Lara Sheets, Sandra Meghan Wren, Presenters~~

~~Garoute, Henry Robert Villatoro. EduarYancz, hiteriis~~

~~Jolihois, Eddy Lubni, Nicole Gwynneth Anderson,~~

~~Luniarque, Robert Magiure. Norma E. Cantu. G. Adriana Mackenzie Banta, Brigid Jean Claude Martmeau, Frantz C'ruz, Manjarrez Garcia, Barrett. Lauren Bressack,~~

~~Pierre, Jacquelnie Ponipilus. Enrique Lamadnd, Steven |. Kathryn C^hisholm, Melissa~~

~~Pascal Theodore. Rescare he is Loza, Ana Maria Ochoa, Olga Gallagher, Adma Langer,~~

~~Najera-Ramirez, Carolina Bart McGarry, Interns~~

MireiUe Beniardin, Barbara Santamaria. Advisory Couiiiiiltee Christophe, Michaelle Craan. NATIONAL PARK Gertie David, Patrick Delatour, Water Ways: Mid- SERVICE Lionel Desmarrates, Alex Atlantic Maritime Duquella, Gerdes Fleurant, Gisele Fleurant, Henry Frank, Communities Gale A. Norton,

~~[ohn Franklin, [ean Claude Secretary ol the Interior~~

Martineau, Elizabeth McAlister, Fran P. Mainella, Bettv |. Belanus. Curator Lois Wilcken, Presenlers Arlene Reiniger, Coordinator Director, National Park Seri'ice Amy SkiUman, Fieldworh Donald W. Murphy, Deputy Camille deChevigny, Patsy Coordinator Director, National Park Service ndatour, Megan Green, Maya Terrv R. Carlstrom, Regional

Johnson, Ava Jones, Michael Director, The American Folklife Natioiuil Capital Region Knoll, Gretchen Reinemeyer, Center/ Library of Congress, Dwight E. Pettiford, Acting Katya Salnii, Inrcnis States Police Salisbury University's 2003 Chief, United Park Summer Folklife Field School: Sgt. Roxanne Brown-Ankney, Nuestra Musica: Music Karen Amspacher, Harold United States Park Police, Special Anderson, Lora Bottinelli,Tom Forces Branch in Latino Culture Carroll, Shelly Drummond, Vikki Keys, Acting Super- intendent, Elaine Eff, |ohn Eilertson, National Capital Olivia Cadaval, Daniel Sheehy, Susan Charles Groth, Thomas Parks-Central Curators Rick Merryman. Chief. Hemans. |ill Hemming, James Russell Rodriguez, Lane, Jon Lohman, Connie Division of Park Programs Guest Co-Curator Mason, Charlie Petrocci, Leonard Lee. Special Events Nilda Villalta, Program Coordinator Feather Phillips, Michael Coordinator, Dii'ision oj Sciarappa, Amy Skillman, Park Programs AnaMaria Paredes Escalante, Nancy Solomon, William Stott, Steve Lebel, Concession Specialist, Public Relations Tom Walker, Meghan Wren, National Capital Region

~~Hugo Morales, Samuel Orozco. Fieldii'orkers Robert Karotko, Chief,~~

~~Media Collaborators Division ('/ I Isitor Services~~

~~Karen Amspacher, Harold Sean Kennealy. Chiel ol~~

Quique Aviles. Geaner "1)J" Anderson, Lora Bottinelli, Maintenance Bruno, David Champion, Juan Charles Camp, Shelly Employees of the National Flores, Dies, James Early, Joanne nrummond, Elaine Eff, Capital Region and the Jose Quetzal Flores, Martha Susan Charles Groth, United States Park Police .iiiiiiiiuiimuimuuiiuiiiiuiL- tIMIIIIII

~~NATIONAL MUSEUM OF AMERICAN HISTORY nr MADISON DRIV / TOTHEWASHINGTON MONUMENT Lj a 4 WATER SAEETy~~

~~AVITI CHERI~~

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~~NEEDLEWORK MARITIME KITCHEN iQD AND FESTIVITY WATERFOWLINI FESTIVAL ARTS HAITIAN KITCHEN AND MARSH LIE~~

~~JEFFERSON DRIVE~~

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~~[ij Information ® Press |r^ Handicapped Access and Seating /- , ©r , pn , , r Food Concession \j*j Lost and Found Sign Language Toilets (M) O Metro Interpretation Information~~

~~SMITHSONIAN FOLKLIFE FESTIVAL I~~

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~~M iiiiiiiiiii n liiiiiiiiJ! !!!! i NATIONAL MUSEUM OF NATURAL HISTORY 3DC TO THE CAPITOL~~

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~~BEVERAGES ^H U PENA BEVERAGES TALLER ILANERO~~

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~~EL PORTAL HAITIAN MARKETPUCE SMITHSONIAN CASTLE~~

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~~r"7 s I' III' FREER GALLERY SACKLER GALLERY NATIONAL MUSEUM OF AFRICAN ART~~

~~Illustration by Miguel Moran~~

~~1119]~~

~~Illustration by Miguel Moran~~

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~~[ij Information (3 Press Handicapped Access and Seating (jy Food Concession (^ Lost and Found Sign Language Toilets (M) Metro 0) Interpretation Information~~

~~hl9l [118] SMITHSONIAN FOLKLIFE FESTIVAL Continue the celebration of the 38th annual Smithsonian Folklife Festival's music by taking home these featured Maritime, Latino, and Haitian releases!~~

Classic Maritime Music from jViva el Mariachil— Nati Cano's Quisqueya en el Hudson: Puerto Rico in Washington: Smithsonian Folkways Recordings Mariachi Los Camperos Dominican Music in New York Marcial Reyes y sus Pleneros and Cuerdas de Borinquen More than just sea chanteys, maritime Traditionalist and visionary, Nati Cano An exciting, fast-paced journey music encompasses an ocean of songs has been a driving force in the mari- through music from the Dominican Spontaneous and powerfully resonant, from people who have lived and worked achi tradition for more than 40 years. Republic that has made New York City this live recording at the 1989 Festival of Marcial Reyes on the water. On board are Folkways' His group Los Camperos have been a its home. This extraordinary assortment American Folklife of y sus favorite singers -Pete Seeger, Dave Van fixture around LA, and his longtime of Dominican styles features the Pleneros and Cuerdas de Borinquen cap-

Ronk and the Foc'sle Singers, Lead Belly, collaboration with Linda Ronstadt ever-popular merengue, folk-religious tures the energy and creative genius of Paul Clayton, and many more. lsm4O0S3i helped catapult mariachi music to singing and drumming, working-class these masters as they draw the audience unprecedented national prominence. bachoto dance music, the Dominican into their musical traditions of bomba, Viento de Agua Unplugged: In this collection, Cano and Los offshoot of the Cuban son, contempo- plena, and jibaro. isfw4O460I Materia Prima Camperos perform new material with rary fusions, and much more. (siW4C49ei Rhythms of Rapture: When Tito Matos created the group vibrancy and intensity that distinguish Sacred Musics of Haitian Vodou Viento de Agua ("Wind of Water"), he them as one of the finest mariachi La Bamba: Sones Jarochos from alive the "streetcorner Explore the recent innovations and vowed to keep bands in the world. isFW404S9} Veracruz featuring: Jose Gutierrez traditional roots of this potent music. sound" of the plena, music rooted in the and Los Hermanos Ochoa lives of ordinary people. Viento de Agua Included are well-known artists such Si, Soy Llanero: Joropo Music from Jarocho describes the people and cul- Unplugged plays the stripped-down ver- the Orinoco Plains of Colombia as Boukman Experyans, RaRa Machine, ture of the southern coastal plain of sion of his music-unbridled percussion Boukan Ginen, and RAM, as well as From the violence-torn plains of Veracruz, home for more than two cen- in underscoring the lyrics. (SFWaosui more traditional recordings made eastern Colombia, thejoropo's turies to one of Mexico's most exciting Haiti, including some from Vodou syncopated drive and top-of-the-lungs musical traditions. Jose Gutierrez, Jibaro Hasta el Hueso: ceremonies, ism 40464) Mountain Music of Puerto Rico by singing proclaim a cattle-herding mes- Felipe Ochoa, and Marcos Ochoa, raised Ecos de Borinquen tizo people proud of their homeland. on the ranches of Veracruz's interior, are Caribbean Revels: Haitian Rara Percussive harp techniques and fast- accomplished ambassadors of the and Dominican Gaga The resurgence of cultural and racial picking bandola guitar rise upon a modern-day son jarocho tradition. pride in the US during the 1960s and The week before Easter, roads over bedrock rhythm of cuatro guitar, bass, They play complex, hard-driving 1970s had a parallel in Puerto Rico-so Haiti swell with revelers, dancers, and maracas to produce the signature rhythms on the Veracruz harp and much so that the mere sound of musica singers, and percussionists, traveling plains sound. Grupo Cimarron, a on guitars called jarona and requinto, jibaro can provoke cheers. As young from Vodou temples to their villages. mainstay ensemble of musica llanero and sing melodies brimming with wit singer Karol Aurora De Jesus Reyes says, Rara and gaga are wildly festive (plains music tradition), joins other and regional pride. i5FW404osi the music "will make us shine around sounds, featuring unusual percussion all-star musicians in the energy spon- the world, until the people hear [it] and and wind instruments, and often bawdy taneity and virtuosity of their music. say, look, that is the music of Puerto lyrics. Remastered recordings from the (Sm40S)5} Rico."' iSPNAosoe) streets, plazas, and cemeteries of Haiti and the Dominican Republic. iSFW40402j

~~f^^. 3 Smithsonian Folkways Recordings~~

~~connecting people through music~~

~~www.folkways.si.edu [email protected] 1.888. FOLKWAYS 1.800.410.9815 202.275.1165 (fax)~~

~~Smithsonian Folklife Festival~~