American Folklife

-^-^ -i-^--^ . ,'^^3iiisl

American Folklife

T^^^*ltMW^^P'>*^t?. ^Ht

Imithsonian Institution National Park Sen ice .

Community: The Festival Theme

Since its beginnings in 1967, the Festival of American Folklife has approached research and presentation of traditional culture from three perspectives. These are: the perspective of style, focusing on the manner in which a traditional item is made or performed and which marks that piece as a creation within a particular tradition; the perspective of identity, highlighting the ideational content of a performance that expresses a particular ethos or approach to group life; and the perspective of community, examining the relationships among people that support and are expressed by folklife performances. We have selected the last of these, community, for particular emphasis in this year's Festival and in the four annual Festivals that will fol- low. The community that we explore and celebrate has many forms. It is the cohesive, closely knit, geo- graphically discrete community of ethnic and tribal groups. It is the occupational community that as- sembles for eight hours a day at a particular worksite. It is the community whose members may be separated by oceans and may never have met, but whose communal feelings are evoked when a shared linguistic and cultural heritage is realized. It is the community of age-mates that gathers to learn and play. And finally, it is the family community that shares its daily sustenance together. We explore the contours and meanings of these communities. We celebrate them, and we ask you to Festival of American Folklife Program 1 Smithsonian Insli(u(ion 1978 join us in experiencing and ap- © Editor: Jack Saiuino preciating their value. AiitsianI Editors: Kathleen Brown. Linda OuRrn. Constance Minkin, Ralph Rinzler | /I, Ralph Rinzler, Director yiir,,,, ).iM< I Siiallon

I ./i/,/r,( /), „^r„r Kathleen Bn>wn Folklife Program h/i' ':llii. (;<)in|X)sltion Sysii I l'u„i,i Stephenson Ini ^J<^,h .,

• Festival ~>M^sS^5S^^i^f^.y^^^w:>ri.. - American Folklife

Octohn / V,

('ohiwhin Day \\i < ' ' /

Smithsonuin Institution \iitioniil Piirk Service 1941

Contents

Community; The Festival Theme Ralph Rinzler Deer Dance, February 1977 The Folklife Festival: In Search of Community S. Dillon Ripley 3 Ceremonies in the San Juan Pueblo of The Nation's Festival on the New Mexico involve the whole commu- National Mail William J. IVhelan 4 nity. Early in the morning, deer dancers Festival, Folklife and Community are summoned from the hills with a chant led by singers drummers oj the American Sense of Ciommunit) : Circling the and pueb- Square or Hitting the Road Roger D. Abrahams 5 lo. After arriving in the pueblo, the dan- In and Out of Time: Festival, Liminality cers are allowed breakfast, and a few and Communitas Victor Turner 7 hours later, return to dance the second The Festival as Community Susan Kalcik 9 part (shoum here), where they makefour Mexican Communities circuits oj the pueblo. They dance in the South, North, and East plazas, In Celebration of Mexico Today Ralph Rinzler 12 singing a Traditional Music of the Mexican different song on each of the four circuits. Later, the dancers return to the South Mestizos Daniel Sheehy 1 plaza Craft Sales at the Festival Ralph Rinzler 16 for the conclusion of the dance. At the sound a gun shot, the deer scatter The Ethnic Community of in all directions while the women the Mexican-American Crafts and Household of pueblo try to catch them. Arts Susan Kalcik & Alicia Gonzalez 17 The gourd rattles and belts of bells Ellis Island and American around waists and legs are found in most Immigration Margaret Yocom 1 San Juan dances; the all-white costumes The Native American Community are traditional for the Deer Dance. Sprigs Seven Centuries of Tradition: The Pueblo of evergreen branches on each dancer's of San Juan Maria LaVigna 2 1 arms are symbols of everlasting life. Family Folklore

Good Stories from Hard Times Steven Zeitlin 23 The strength of San Juan tradition is Program Supplement: General Information, Schedules, Participants shown by a photograph taken in the Children's Folklore mid-30's of this same portion of the Deer Dance. years, little has changed Boys and Ball Games Kate Rinzler 25 In forty The Dunham School Exhibit Margaret Yocom 27 in the ceremony. The Occupational Community Cover photo l>y Maria LaVigna © 1978. Old photo: T. Harmon Parkhurst, courtesy Museum The Community that Works Together Jack Santino 29 of New Mexieo. Organ Building John Fesperman 3 New Life for the Ancient Craft of Organ Building Barbara Owen 32 The Brotherhood of Sleeping Car Porters Jack Santino 35 Sharecroppers George McDaniel 40

Energy and Community Peter Seitel 4 The Regional Community The Chesapeake Bay Charles Camp 43 Smith Island William W. Warner 46 The Festival Staff and Sponsors 48 a

The Folklife Festival: In Search of Community S. Dillon Ripley

What binds us together in com- families, as the basic units of society. munities? Food? danger? the scientific Communities involve people who method? jobs? songs? stories? age? are kin to each other and their rela- language? sex? color? love? geogra- tionships with people who are not kin, phy? Why the quest for community but who—because of their shared and the need for roots and multiple food, dance, crafting of musical in- identities? This is an invitation for you struments and utensils, games, songs to commune with us again—on the and stories—have a sense of being kin. Mall and in the halls of the Kinship, as all know, does nc^t mean Smithsonian—to find some answers to being alike. Relatives, Margaret Mead these fascinating questions which af- once observed, are people you might fect all of our personal lives. With the not know—or perhaps even want to 1978 Festival of American Folklife, know—unless you were kin to thein. the Smithsonian starts a five-year Families are the first places where we cycle of variations on the theme of learn about human variety, for "community." Our scholars and mothers and fathers often demon- guests will be demonstrating folklore strate great contrasts of temperament as the artistic expression of commu- and skills, and children often seem as nit\ life, and the pleasure and dignity though they are chips off quite differ- found in that process. ent blocks.

If community means the sharing So it is with folk culture generated and passing on of certain cultural and within the same kinds of linguistic, ethnic traditions, the concept pro- geographic, or occupational com- vides a nearly inexhaustible source of supermarket, may tell stories and plav munities. The songs and jokes of oil inspiration for research, symposia games that reflect cultural motifs drillers and roughnecks in Texas and and festivals. "Community" gives a from south of the border as well as the Saudi Arabia may have the same focus for examining and enjoying latest TV commercials. There is no range of variety as the songs and jokes what modern civilization owes to the fail-safe antidote to the standardiza- of coal miners in Pennsylvania, Ken- skills and values of folk not yet en- tion of mass culture, but festivals such tucky, and the Ruhr. Yet there are gulfed by mainstream media and the as ours help to maintain our system of some interesting shared responses to symbols of science and city. cultural phualism and the delights of these ways of drilling and digging for The way a person from an oyster diversity. Blue jean culture may now "energy." These are essential to un- community holds a shucking knife or be universal. With it, variety endures derstanding the human linkages to fashions a duck decoy out of wood are beneath the denim. the machines exhibited in your Na- intangible skills which produce arti- In the more than a decade already tional Museum of History and facts that give tangible continuity to devoted to folk cultures as the source Technology. Technology cannot be communities such as are found on of energy and inspiration for "high well understood without reference to Smith Island in Chesapeake Bay— art," the Festival of American Folklife the humans who design or use that unique nearby region celebrated in has dealt only implicitly with the idea technology. William Warner's Beautiful Sivimmers of community and how traditions are Our First Lady has brought new at- and James Michener's Chesapeake. transmitted —through the genera- tention to the need to stop the decline Similarly, the grinding of corn in San tions, through occupations, and from of neighborhoods and communities Juan Pueblo and in the states of the Old World to the New World. and the rupturing of the network of Mexico symbolizes the community Thanks to the reverberating appeal of personal ties which give both order bonds which cut across international the Smithsonian's 1976-1977 educa- and freedom to our society. Though boundaries. Spanish-speaking chil- tion program and symposium, "Kin some localities have lost part of their dren right in the nation's capital, de- and Commimities: The Peopling of identity when their place names no pendent upon corn from boxes in the America," soon to be published as a longer appear on postmarks, citizens book, we have discovered that we have across the land happily are engaged in

S. Dillon Ripic)' n Sirretaty oj Ihr Smilhsiiniaii only grazed the surface in trying to historic and cultural preservation, in- lii.slilulion. uncierstand communities, including volving architecture and life styles. —

The Nation's Festival on the National Mall

William J. Whelan and are seeing to it that we do not The Festival of American Folklife will find the farmer, the village ignore our community heritages. has become an important tradition on tradesman, the mill hand, the poet, Reflec ting earher symposia and ex- the National Mall. Thousands of the artist—to mention a few who have hibitions, the Smithsonian Festival for Americans look forward to the oppor- helped to weave a unique national the next five years will be devoted to tunity to revisit this exciting program, coinmunity. reawakening various senses of com- while as inany others find their first The National Park Service is a miuiity. For communities—whether visit to be equally rich and meaning- people-serving agency. The commu- inherited or joined—serve as a vital ful. nity concept is reflected in the work of butter between individuals and a The National Park Service is the organization throughout its his- world of megastates and megacorpo- pleased to combine its resources and tory. We believe that our national rations. They are more manageable talent again with the Smithsonian In- parklands have a major role in provid- units in which all can participate stitution for another presentation. As ing superlative opportunities for out- men and women, young and old—and in previous years, the Festival talks door recreation, experience in con- give some living proof of about, sings about, and dramatizes servation education for the young Schumacher's notion that "small is America's unicjue cultural story. It people of the country, and at the same beautiful." We reattlrm that humans brings together Americans from time in reminding us of our country's are important, and that we are, like almost every walk of life for what has history and ot our debt to the land of plants and other animals, dependent been described as "the great family our fathers. Our involvement in pro- upon communities for survival. reunion." grams such as the Festival which

This year's celebration is centered serves the entire community is typical

around the theme of community life. of this commitment. Participants retlecting a number of The harmony and delight that the traditions who have made our country Festival of American Folklife pro- a strong national conmuniity give us duces binds us together as a national all a more meaningful understanding community. We are proud of the Fes-

of our cultural roots. On the Mall vou tival and what it has come to mean to America. Welcome and enjoy yourself.

William J. Whelan is the Dimlm of ihe \atumal Park Si'n'Kf. American Sense of Community: Circling the Square or Hitting the Road Roger D. Abrahams

No term is closer to the center of the United States, those county seats our sentiments than community, espe- in which the town is organized aroimd cially for the folklorist. In our profes- the central square with its courthouse sion the terms folklore and commu- or commons, the park with its pond nity are intimately paired, for our and bandstand. This was the small- sense of American history—indeed town enclosure from which the gen- the story of humanity— is bound up eration of rimaways sought to escape with people getting together out of early in the century, and to which so some notion of belonging to a place, a \ ^^-i many are returning in one way or an- family, a work group, a region. other today. Or, to go to an even ear- Folklore consists of the traditional lier and more Utopian time, it is the ways in which community people earthly city on the hill in New England work and play together, and their centering on the meeting house in the customary forms of entertaining and commons, itself an imposingly spare instructing each other. Community is statement of virtue through equality composed of people meeting regu- and election. larly who have inherited or developed Or one more moving image of this ways of celebrating their sense of com- life and its values: the square dance, or

ing together. The idea of the ideal life the play party, as it was called in those lived within a community has been places in which dancing and playing

and is still central to our values from string instruments were regarded as the beginnings of our country. Even cavorting with the Devil. This perfect the most alienated among us feels a image of community engages eight great yearning for living in commu- people in couples facing the center, nity, even if we don't define that term dancing in place for a time and then in the sense of a small town, a neigh- leaving home in order to do the fig- Quilts are often made by several women borhood, or a commune. ures that circle the square—their working together. Clara Meldrum Community differs from culture from point of reference and destination Utah and her daughters proudly display and society in many ways. It is not a throughout: back home. This depiction an intricately designed quilt that they disembodied conceptual term so of vitality and form invokes the facing have stitched of their family tree. much as one that is associated with the inward of the whole group, the en- Photo hy James Piekerell for the Smithsonian. simplest of shapes and experiences in gagement of moving together in en- common, many of which, like the tive groups that work on a useful and semble effects, being guided by out- courthouse square, like square danc- decorative object together. Sitting side calls reacted to within the group ing or cjuilting. have become part of around a frame or working individu- as a means cjf coordination as well as our national cultural inventory of ally on squares, all participants bring individualization— for the dancers symbolic forms. Nothing more clearly their materials and equipment to the find themselves on their own and captures the essence of the folksense encounter, and the occasion becomes away from home, but with a learned of community than cjuilting, though one of involveiTient in a common en- sense of where and how they are going we don't give much thought as to why. terprise. Perhaps more important is and approximately where they will all

Certainly a large part of the answer the quilt itself, for its form is so per- end up. would lie in the social organization by fectly symbolic of the well-ordered: This squared-world- wit hin-t he-

which quilts were and are made—at pieces carefully fitted together in circle is not just an ideal image we hi'i's or in quilting clubs—in coopera- sc]uares, all add up to a giant (not- brought with us from the Old World;

([uite) square. it also provided the basic models for The point could be made in atiy of what the farm and the plantation Rogcr 1). Aliiahams h cuncnth the Prcudnil »/ re- till' AmiriKW Folklore Soeiety. At the University of those numbers of ways in which the should look like. It is a vision that 'I'exm. Au.slin. he is Chairman of the Engliih De- good life lived in common in com- mains tied to the land, to farming and Imrtmenl and on thejacully the Anthropology of miuiities is immediately suggested related occupations, and to the pas- Department. He has senvd on the Smitlisonian through the circled square images sage of the seasons as experienced by C.ouneil and eurrently senses on the Smithsonian's — Folkli/e Adi'isory Council. of the small towns found throughout gardening peoples. The plantation, the fellowship and the turnpike, the highway and The folksense of community is captured by of fugitives produced that an- Festival visitors and participants joining of the road and—from the squared- now the skyway remind us the life well- together in dance. up social world's point of view—all too other enduring image of Phnlu by Sam Swrrzyjar ihe Smilksotnnn. often the community of the damned. lived endures. This one emphasizes To be sure we are a nation of farmers the individual rather than the group, whether in its New England or south- in first of ourselves, to be sure, but the lure of the hobo and ern form, was the Utopian attempt to our conception to the idea of the candler, as well as the railroad- construct the perfect community on but farmers already tied folks man, the trucker and the airline at- the model of the enclosed garden. producing surplus crops foi- the in the city. Thus, even in the most suc- tendant reminds us that these, too, are Both forms looked for a hill in which a communities, groups who share the view could be found that commanded cessful of the Utopian farming enter- go-betweens, conditions of being on the move all of the surrounding area. In New Eng- prises, there had to be traders factors, and with them the time. land, the meeting house and the the and the drifters and wharf-rats that inevit- commons would be put on this spot, It is this special blend of the straight of surrounded by the houses of the faith- ably accompany the movement and the square, the individual on the and people. ful. By facing on the place of meeting goods move and the community always and on the common ground, they In our sentimental wish to recap- ready to make welcome that seems might run their own affairs by con- tme our agrarian ideals through a re- most characteristic of the American gregation within the family. The turn to the country and to harmonize Experience. Community, then, is the southern plantation, too, was based on ourselves through the rhythm of the gathering of the like-minded, but al- similar square principles, with its seasons, we forget this other commu- ways leaves the choice of moving on to great house at the center, the works nity that has been as important a the next gathering. If technological it possible to surrounding it, then the fields, and in source of our national iconography as developments have made the distance (nevertheless usually visi- the farm and the small town. The lore move on more regularly and to keep ble from the verandah), the wilder- which grew out of the crossroads, the on the go even while maintaining ness out of which this new garden had harbor roads, the rivers and canals, one's sense of a need for rootedness, been rescued. and the tmnpikes remains with us in our ideals of community remain the But from the inception of this Uto- the figures of the cowboy, the railroad same. Communities continue to pian adventure, another community, engineer, the trucker and the outlaw spring up all over the country, in another sense of the virtuous life, was bikers (motorcyclists). Just as the marinas and country clubs and mobile projected — that of the pilgrim- square forms reflect the rhythms and home parks, always guided by the stranger, cast onto the road of life to engagement with the earth in all its same desires and lodged in some ver- seek his way to the city. This gathering seasons, the straight forms of the road sion of the same basic images. In and Out of Time: Festivals, Liminality and Communitas

Victor Turner

Victor Turner, internationally known anthropologist and University of radeship. We are presented, in rites of Chicago faculty member, has long studied rituals, carnivals, pilgrimages, and transition, with a "moment in and out celebrations. Some of his major contributions to contemporary thought of time," and in and out of secular derive from his analysis of these kinds of events. Although festivals have been celebrated throughout history to fulfill lumian needs, anthropologists have only recently begun to analyze their Communitas is a fact of functions in contemporary societies. Dr. Turner's work ranks in the forefront everyone's experience . . . of this movement.

Briefly, Turner sees these occasions and events like them as existing both in and out of the regular structure of society. In our daily lives, we fill certain social structure, which reveals, how- social roles (husband, father, employee, etc.) and live according to social ever fieetingly, some recognition (in norms that structure our daily activities: how we eat, how we dress, etc. symbol if not always in language) of a Festivals, carnivals, and other large social celebrations provide an arena in generalized social bond that has which we do not subscribe to our regular social roles. We meet with people ceased to be and has simultaneously we may not ordinarily meet with, and deal with others differently from the yet to be fragmented into a multiplic- way we normally would. For instance, if you met your boss at a New Year's ity of structural ties. It is as though Eve party, you would talk to him much less formally than you would at work. there are here two major "models" for human interrelatedness. The first is Turner calls this phenomenon "anti-structure" or, to use his more popular of society as a structured, differ- term, "communitas." When people are "outside" their regular social roles, entiated, and often hierarchical sys- w hile at a festival, or between roles during a rite of transition (e.g. a man tem of politico-legal-economic posi- dining his wedding ceremony is neither "single" nor "married"). Dr. Turner tions with types of evaluation, " many characterizes them as "liminal," that is, "betwixt and between their regular separating men in terms of "more" or social roles. Communitas most often occurs when there is a congregation of "less." The second, which emerges liminal people, and conversely, liminality is a primary condition for this recognizably in the liminal period, is generation of the feelings of oneness and fiow that characterize of society as an unstructured or "communitas" or community. rudimentarily structured and rela- Folklife is in a sense an example of The 1978 Festival of American tively undifferentiated comitatus, liminality, a gathering together of many, often disparate, communities for community, or even commimion of enjoying themselves apart from their the pinpose of meeting together and equal individuals who submit together usual social roles. to the general authority of the ritual —Jack Santino, Staff Folklorist elders.

Spontaneous communitas

is a phase, a moment, not Liminality As such, their ambiguous and inde- Liminal people or "threshold terminate attributes are expressed by a permanent condition. people" are neither here nor there; a rich variety of symbols in the many they are betwixt and between the societies that ritualize social and cul- Liminality implies that the high positions assigned and arrayed by law, tural transitions. Thus, liminality is could not be high unless the low custom, convention, and ceremonial. frequently likened to death, to being existed, and he who is high must ex- in the womb, to invisibility, to dark- perience what it is like to be low. No ness, to bisexuality, to the wilderness, doubt something of this thinking, a iii Snrtli- X'ictor I iiriuM luis idiiductfd fn'lthnnk and to an eclipse of the sun or moon. irn Rh(i(li\!ii llnmigh the Rhitdei-Ln'mg^lonr Iii.sth few years ago, lay behind Prince

title far Smiiil Research. He ii presently a member Communitas Philip's decision to send his son, the the acuity a/the Committee for Social Thought of j What is interesting about liminal heir apparent to the British throne, to at the University of Chicago and a Fellow at the phenomena for our present purposes a bush school in Australia for a time, Institute for Adi'anced Studies at the Lhiiversily of Virginia. He has written over 50 .scholarly booh is the blend they offer of lowliness and where he could learn how "to rough and articles. sacredness, of homogeneity and com- it." " —

Spontaneous communitas may arise evidently man. This is not to say that emotional flooding which does not f)r wise iinpredklably at any lime between spontaneous comnnuiitas is merely encourage either rational re- human beings who are institutionally "nature." Spontaneous communitas is flection. But in ritual liminalits they outside reckoned or defined as members of nature in dialogue with structure, are placed, so to speak, the is married to total system and its conflicts; tran- any or all kinds of social groupings, or married to it as a woman one sieiitK. thev become men apart and oi none. Just as in preliterate society a man. Together they make up — it is surprising how often the term "sa- the social and individual develop- stream of life, the one affluent supply- be translated as "set apart" mental cycles are punctuated by more ing power, the other alluvial fertility. cred" may or "on one side" in various societies. If or less prolonged instants of ritually guarded and stimulated liniinality, getting a living and struggling to get it,

people . . . are in and despite of a social structure, be each with its core of potential com- Liminal called "bread" then man does not live munitas, so the phase structure of so- neither here nor there; "bv bread alone. cial life in complex societies is also

. . . the punctuated, but without insti- they are between Communitas is, existentially speaking and in its origins, purely spon- tutionalized provocations and safe- positions assigned and guards, by innumerable instants of taneous and self-generating. The law, custom, spontaneous communitas. arrayed by "wind" of existential communitas "bloweth where it listeth." It is essen- But there is no specific social form convention, and tially opposed to structure, as antimat- that is held to express spontaneous ceremony. ter is hypothetically opposed to mat- communitas. Rather is it expected best ter Thus, even when communitas be- to arise in the intervals between in- ex- cumbencies of social positions and comes normative its religious Communitas is a fact of everyone's closely hedged statuses, in what used to be known as pressions become experience, yet it has almost never rules interdictions "the interstices of the social struc- about by and been regarded as a reputable or co- of ture." In complex industrialized which act like the lead container a herent object of study by social scien- dangerous radioactive isotope. Vet societies, we still find traces in the tists. It is, however, central to religion, exposure to or immersion in com- liturgies of churches and other reli- literature, drama, and art, and its to an indispensable gious organizations of institutional- inunitas seems be traces may be found deeply engraven social requirement. People ized attempts to prepare for the com- human in law, ethics, kinship, and even eco- real and "need" is not for ing of spontaneous communitas. This have a need, nomics. It becomes visible in tribal doff the masks, modality of relationship, however, me a dirty word, to rites of passage, in millenarian move- cloaks, apparel, and insignia of status appears to flourish best in spontane- ments, in monasteries, in the from time to time even if only to don ously liminal situations— phases be- counter-culture, and on countless in- liberating masks of liminal mas- twixt and between states where the formal occasions. (luerade. But they do this freely. social-structural role-playing is domi- Major liminal situations are occa- nant, and especially between status sions on which a society takes cogni- equals. zance of itself, or rather where, in an Liminality implies that the incumbency of interval between their high could not be high specific fixed positions, members of . . . there is no specific that society may obtain an approxima- unless the low existed, and social form that is held to tion, however limited, to a global view he who is high must and his express spontaneous of man's place in the cosinos relations with other classes of visible experience what it is like communitas. and invisible entities. Also, impor- to be low. tantly, in myth and ritual an individual undergoing passage may learn the

communitas is a total pattern of social relations in- Spontaneous In The Ritual Process, I suggested not a permanent volved in his transition and how it phase, a moment, that history itself seems to have its dis- a digging changes. He may, therefore, learn condition. The moment cernible liminal periods, which share a colt broken about social structure in communitas. stick is set in the earth, certain distinctive features, between defended against, Now men who are heavily involved in, a pack of wolves relatively stabilized configurations of enemy set by his heels, we in juial-political, overt, and conscious or a human social relations and cultural values. structure. sti ucture are not free to meditate and have the germs of a social Ours may well be one of them. speculate on the combinations and This is not merely the set of chains in thought; they are which men everywhere are, but the oppositions of BIBL10GR.\PHY themselves too crucially involved in very cultural means that preserve the This article was excerpted from several of Dr. and oppositions of read- dignity and liberty, as well as the bod- the combinations Turner's articles. Readers interested m further social and political structure and ing are directed to the following works of Dr. ily existence, of every man, woman, are in the heat of Tu nier and child. There may be manifold stratification. They Turner, Victor^ Dramas. Fields and Metaphors. imperfections in the structural means the battle, in the "arena," competing Ithaca, N.Y.: Cornell University Press. 1974. for office, participating in feuds, fac- employed and the ways in which they Ithaca. N.Y.: . The Forest of Symbols. coalitions. This involve- are used, but, since the beginnings of tions, and Cornell University Press. 1967. affects as anxiety, Ithaca. N.Y.: prehistory, the evidence suggests that ment entails such . The Ritual Process. 1969. such means are what makes man most aggression, envy, fear, exultation, an Cornell University Press,

8 Wm^'^ /Jr"^

The Festival as Community Susan Kalcik

When the Smithsonian FolkUfe individuals nationwide who shared re- Slicing apples for an apple butter boil is Program staff decided to use "com- lated traditions but may never have a Festival event that lends itself by nature munity" as the theme of the 1978 met before, such as French speakers to a sense of community. presentation, they were not grafting and musicians from Cajun Louisiana Photo by James Pickerett for the Smithsuiiian. an idea onto the Festival, but featur- and French-Canadian New England. brought to the attention of their ing an aspect of the Festival that has As Olivia Cadaval, Mexican cultural communities as artists and artisans been present throughout its history. liaison for the 1976 Festival, pointed worthy of the attention of the Smith- "Community" has been involved in out after visiting many of the Mexican sonian, and the question immediately the past 1 1 festivals in many ways. participants a year later, the didactic arose, then why weren't they also en- Each participant comes from and nature of the Festival means that joying such prominence here? It was represents a community—the com- people hear themselves discussed good for both the participants and the munity he or she lives in, or a commu- through their traditions and commu- communities." nity of people who are associated with nity, and their community role is high- The Festival audience also consists of each other because of shared tradi- lighted for them as well as for the au- community members, in the sense tional culture. Many Festival pres- dience. Some see this role affirmed; that all Americans share a kind of entations have been community others realize it for the first time. community and come from particular events: apple-butter making, quilting Their community might also be af- places and cultures. Festival-goers bees, or a Yemenite wedding. fected by the presentation of in- have often found that presentations Other Festival events have involved dividuals and groups at the Festival. broaden their knowledge of their own Roger Welsch, folklorist and pre- community; some learn about the rich senter, said of his experience with variety of our plural culture. Others Susan Kalcik has worked unlh the Smithsonian in- German-American participants in learn more about their particular stitution's Folktije Program since 1975. She is a 1975 and 1976: "In many cases, per- community: for example, many doctoral candidate in folklore and anthropology at otherwise Hungarian-Americans were sur- the University of Texas, Austin, specializing in formers and craftsmen who American ethnicity. have been ignored suddenly were prised and pleased to learn at the 1 976 Festival that there was a viable colony o{ Hungarians in Louisiana. The Festival, however, not only presents or reflects American communities; it creates a sense of community—both temporary and long-lasting—on the part of the staff, audience, and participants it brings together. Sometimes people who meet at the Festival become lifelong friends. But even when people only briefly interact, the emotional experience of sharing some aspect of culture with others often creates a warm sense of commonality between people who have danced a kolo together or tried in EN T- GO V E vain to make a sound come from a A tcmporai-y hut often intense sense of shofar. This kind of community, real community is created at the Festival when though temporary, might be termed participants and Festival-goers interact "spontaneous communitas" after Vic- ICENTENNI/ as this railroader and his youngfriends tor Turner's usage. are doing, or when Festival participants Why is it that communities, both from different communities get together as traditional and temporary, are tied so OCOMOTIVI are doing i)i this ses- they informal jam closely with festivals? The answer lies sion of Virginia musicians. in the nature of festival itself. Festivals Photos b\Jami:s Pickerrll and Richard Hofmeister are complex events, so much so that CAB for the Smithsonian. every individual will experience them differently. The Festival juxtaposes characteristics that are opposites: the planned with the spontaneous, the serious and the playful, order and disorder. The variety of experiences possible at a festival contributes to the sense that the Festival is very different from everyday life, and that anything can happen. One may choose to stroll through as an observer, or play a tam- huritza and go home, or one may be caught up in intense interactions with people one has never before or might not ordinarily associate with. A common comment about the Festival is that it brings together factions within and between communities. This kind of interaction is possible because the

Festival is neutral territory. "Real life" is suspended and many of its boimd- aries may be crossed safely.

Festival is special too because it is a time set aside for celebration and for a coming together of people, whether it

10 A special kind of closeness often groivs up is an organic festival growing out of ing a festival, we also celebrate the among the I'arious people who work on the customs and needs of a commu- present, the fact and joy of our being the Festival. Here a participant in the nity like a parish patron saint's day, or together, and from this create a new Dunham School program in 1977 gets an organized Festival such as the sense of our community. plenty of advice from staff and other par- Smithsonian's. ticipants as he takes snapshots oj his new Victor Turner, in his exploration of BIBLIOGRAPHY friends during Sunday dinner at the ritual, points out that two senses of C:ada\'al, Olivia. Futlilife Impad on Mexitaii Par- luipanti. 1978. Unpublished manuscript. dormitory. community come together in ritual. Hawes, Bess Lomax and Susan Kalcik. In Cele- Pliolo by Nictuilas Boiiwr © 1 978. One is "structure" and the other bration of Ellnucity. Exchange, Vol. XII, "communitas." His insights help us No. 1, 1976, pp. 9-14. see that in the social ritual of festival Spicer, Dorothy Gladys. Folli Fi:',lival.\ and the we celebrate ourselves, the commu- Fomi^n Cvmmunily. New York: The Wonians Press. 1923. nity that exists. We explore its past and Vogt, Evon Z. A Study of the Soulliwrstern Fwsta the future linked to that past. But be- Boat building by a group of Native System as Exemplified by the Lagiina Fiesta. Americans at the 1976 Festival. cause "commimitas," especially "spon- American Anthropologist 57, 1955,

Plinlii t)\ Paul Frame) for llie Smilhsonian. taneous communitas," is possible dur- pp. 820-839.

II In Celebr Mexico Today Ralph Rinzler

The Festival of American Folklife is pleased to present several groups of Mexican singers and dancers from the states of Puebla, Michoacan, Guerrero and Veracruz. Their performances form part of a larger United States celebration and exploration of Mexican culture en- titled "Mexico Today." Several combine with Smithsonian museums are partici- those of ancient pating in this nationwide sym- Indian cultures posium, the largest and most com- to create continually prehensive presentation of contem- developing art forms. ._ porary Mexico ever to be organized The Folklife Festival welcomes in the United States. In the Car- the Mexican performers and the michael Auditorium of the National opportunity to participate in a sym- Museum of History and Technology posium devoted to increasing the from Oct. 1 to Nov. 5 there is a intellectual and artistic dialogue Mexican Film Festival. And in the among citizens of both countries. Renwick Gallery from Sept. 30 to Feb. 10, 1979, there is a presentation of Mexican Masks and Clay ,^ Figures, including (Sept. 30 to Oct. 7) demonstrations by Mexican artisans. Organized in cooperation with the Government of Mexico and sponsored by the National Endow- ment for the Humanities and the National Endowment for the Arts, the "Mexico Today" symposium encompasses activities in many other Washington museums and cultural institutions and in those of other cities including Atlanta, De- troit, Los Angeles, New York, Oak- land, San Antonio, San Diego and ^n San Francisco. Mexican folklife grows out of creative tensions present in Mexi- can society. Mexican folk arts de- fnt c?^i: rive energy from the weight of spiritual themes pulling against the levity of a rural sense of humor. Distinctive regional forms in music and crafts exist in counterpoise ':> with growing national identities. & And Spanish aesthetic values

Ralph Riiizler o Director of tlw Smil/fiijiiinu Fulklt/i- Program. I a^:-::^

^ '/ I i i d t

li V ^ Traditional Music of the Mexican Mestizos Daniel E. Sheehy

Mexico is a land of many musical sphere of influence of the commercial traditions. Each of its many Indian media have encroached considerably groups has its own musical systems, on the native "breeding grounds" of occasions, and repertories. Among many traditions. As a result, some of large-city dwellers there are many the local traditions have been shouted "communities of taste," ranging from out of existence by media-imposed preferences for Western classical music. On the other hand, a few have music to international popular and not only survived in the wake of rapid protest music. The rural mestizos (a social change, but have even achieved mixtine of Spanish and Amerindian a certain degree of international populations and cultures) also main- popularity, resulting in the simulta- tain a variety of musical traditions. neous existence of rural, urban, and Mestizo music, along with related trad- international commercialized ver-

itions among Mexican-Americans, is sions of a single tradition. included in the 1978 Festival of Amer- Many full-time professional musi- ican Folklife. cians have left their former work as The music of Mexican mestizos has small-scale ranchers and farmers, many common roots. Language, po- fishermen, carpenters, charcoal mak- etic structures, most musical instru- ers, rural milkmen, and the like. ments, and many musical forms Other musicians have continued in derive from Spanish prototypes im- nonmusical professions and perform ported during colonial times. Most music for personal enjoyment or to other traditional song and dance augment their incomes. The most ur- forms stem from early original mestizo ban, professional, and commercial

developments (such as the music- Mexican folk ensemble is the mariachi. dance forms called son and jarabc, first Native to Jalisco in western Mexico, appearing in the late 18th century) or the mariachi has become popular from 19th-century musical importa- throughout Mexico and the south- tions from Europe (the waltz, polka, western U.S. Its contemporary form and schottische, for example). The crystallized in the 1930s, when trum- music's base in rural Mexican life pets were added to the basic ensemble creates common musical themes, oc- of violins, regional guitars, called vi- casions, contexts, and attitudes. hitela, guitarra de golpe, giutarron, and, In spite of these common roots and in some areas, a large harp. socioeconomic situations, longstand- Closely related historically to the

ing geographic, economic, and social mariachi is the conjunto arpa grande isolation has given rise to many ("big harp" ensemble) frcMii the tierra

Sefwr Pedro Ayala Sr. oj Donna, Tex., is imii|ue regional musical traditions. In caliente ("hot land") of neighboring known throughout the Rio Grande Valley many cases, each region is distin- Michoacan. The conjiinto's instrumen- as the "Monarch of the Accordion." His guished by its own instrumentation, tation closely resembles that of the father' played and composed tunes, as he musical style, and repertory of com- mariachi, but without trumpets. Un- does, and his sons also /olloic in the mitM- positions. Unfortunately, widespread like the mariachi, however, it has not cal tradition oJ the family. urbanization and the expanding been adopted by the commercial Photo by Alicia Gonzalez Jar ihe Striiltisonian. media, and remains essentially a rural tradition. Danii'l E. Slicchv n a dodmal landidali in

I'lttnommtcology at the University of Calijonna, Los One step fiuther south is the tieira Angeles, and « currently a staff member oj the Na- caliente of the state of Guerrero, home tional Endowment for the Arts m Wastiingtnn, D.C. of the conjunto tamborita. Mainly com- He lias carried out field research in Mexico, Chile, prised of string instruments—violins, and the Soutlnvest United States, and has l)er/ormed jarocho and inariachi music professionally /or ten guitars, and a guitarrtm —the group is years. distinguished by an additional in-

14 BIBLIOGRAPHY

Gei/erslam, Claei aj. Popular Music in Mexico. Albuquerque: University ofNeio Mexico Press, 1976. DISCOGRAPHY

Mexicu. Inslituto Nacional de Antropologia e His- toria. Serie discos. An excellent series of over 20 recordings of Mexican traditional music, including music from Michoacan. Jalisco, Guerrero, Chiapas, Veracruz, and the Huasteca. For information, write to the Instituto Nacional de An- tropologia e Historia. Cordoba 45, Mexico 7, D.F., Mexico. Manachi Vargas de Tpcalitldn. Sones de Jalisco. New York: Arcana Records #DKLl-3023. Rohb.J. D.. recordings and notes. Spanish and Mexican Folk Music of New Mexico. New York: Ethnic Folkways Libraiy #-i-426. Texas-Mexican Border Musk, four volumes. Berkeley: Arhoolie Records #9003 through ' 9006.

A conjunto jarochoyrow Los Angeles in performance at the 1 975 Festival. Photo hy James Pickerell for the Smttlisoman.

Musica Azteca, a chirimia and drum group, participated in the 1976 Bicen- tennial Festival of American Folklife.

strument, the tamborita, a small drum. the main traditional musical genre is The conjunto tamborita has not fared the son, although among the Huaste- well in the competition with commer- cans it is more commonly referred to cial music and today may be included as the huapango. Finally, another among the many endangered species trademark of musica huasteca is the of folk traditions. frecjuent use of falsetto in vocal On the coastal plain of the eastern melodies. state of Veracruz, most traditional The Mexican presentation at the musical life centers around the con- 1978 Festival will include dancers, junto jarocho, or "jarocho ensemble." musicians, and singers from the Mexi- Jarocho refers to the people native to can states of Puebla, Michoacan, the area. A harp and regional guitars Guerrero, and Veracruz. All the called jarana and rcquinto form the groups come from the central area of core of the group. The son jarocho, Mexico where the largest concentra- practically the only traditional music tion of colonial population settled and

from the area, is recognizable by its thus one can see a heavy, but not ex- fast rhythm, witty texts, and a gen- (lusive, Spanish influence in their erous amount of improvisation. The music. Instruments derive from colo- son may accompany the zapateado, a nial Spanish prototypes, although the type of dancing involving fast, com- drum used by the Puebla group is a plex footwork. modern variant of the ancient Aztec The Huasteca region to the north- hiirhiictl. Melodies derive from west is the home of the trio huasteco, Spanish and other European sources, comprised of one violin and two but show the distinct Mexicanization guitars, the guilarra quinta and the of these musical traditions. Like so jarana. The trio's music is similar to much of Mexico's traditional culture, that of the conjunto jarocho in that the music presented here is the

there is a tendency to improvise both unic|ue product of its rich historical instrumental melodies and texts. Also, .nid regional origins.

15 ' :

raft Sales at the Festival

Ralph Rinzler

Festival fts of Mexico are A In 1967 when the of Amer- ican Folklife was established, it was based on the premises that

Ih' ' the public would better understand the museum collections if visitors could meet some of the people who still employ traditional techniques to make objects like those inside the museums;

' the cultural backgrounds of the craftsworkers would be more meaningful if they could be supplemented at the Festival by related traditional foods, music, dance and narrations; and

' that information learned at Mall events would be reinforced if books, recordings, and craftwork could be made available for sale at the Festival—items which would become part of home libraries and home life-styles.

With these goals in mind, we have m^». brought together, for eleven years, gifted artists and craftsworkers from around the world. Each year we have prepared a program book to provide background in- Meieper IMyCandleholders^ihesefan-' formation with bibliographies and ' ':' • • '' d 5" teno ' discographies for further reading

:>if in Ml > and listening related to the Mall

/-. •/! presentations. We have gathered ob- the craftspeople who '" ' jects made by - - .^ - .. their art at the Festival, uaigf of designs, shapes and \i demonstrated injinitc. or by others from the same traditional background. The cultural and educational intent of crafts sales at the Festival complements the pur- pose of the event itself and the basic responsibility of the Smithsonian: "the increase and diffusion of knowledge among men."

Ralph Rinzler h Director of the Smttkmnian Folklife Program.

The Mexican crafts are made available through a generous gift from Coca Cola de Mexico with the cooperation of Aid to Artisans, Inc. Mexican American Crafts The Ethnic and Household Arts Community Susan Kalcik and Alicia Gonzalez

When we think of American folkhfe, The Mexican-American crafts and the tanner or tanero. Finally, other our thoughts quite rightly turn first foodways presentations will explore parts of the saddle, such as the stir- to the wisdom, lore and lifestyles of some traditions transplanted from rups, are added. the many ethnic groups whose Mexico and some that were developed Sr. Ruben Delgado, a silversmith or members came and developed or adapted in the United States by a platero. makes various silver orna- American culture and society. This richh creative culture. Both in Mexico ments used by Mexican and western year the Festival celebrates the cul- and the United States, traditions vary saddlemakers and buyers. He often tural heritage of Mexican- widely; thus the crafts and household works with Sr. Peha on the design and Americans, whose hand-wrought ob- arts described here represent only production of saddles. He learned his jects and craft skills will be presented part of the Mexican-American folk silvercraft (plateria) in Guadalajara, in several exhibits on the Mall and culture. Jalisco. \\\ his engraving is done by within Smithsonian museums. An- Talabarteria is Spanish for hand, working on a small anvil. other aspect of ethnic heritage is to "saddlery" and Sr. Emiliano Peiia of Mrs. Julia Lopez of Los Angeles is a be found at the Ellis Island presenta- Rosemead, Cal., is a talabartero or needlecraft artist who does much of tion in the Museum of History and saddle maker. He has worked with the traditional work known in central Technology's Nation of Nations ex- leather since his youth when he Mexico. She does deshilado or open- hibit, where members of several learned to make miners' shoes in his work stitchery in which threads are ethnic groups recount tales of a home town of Cananea, Sonora. In pulled from cotton or linen and then quintessential ethnic experience: northern Sonora the western saddle is reworked to create various patterns. immigration. common and this is the type Sr. Pena This is delicate and detailed work makes. His first step is to select and which resembles lace and filigree. It is measure the leather needed and to cut rarely done today because of the eye-

it into the various proportions for the strain it causes. The deshilado is used different parts of the saddle. If the on evervthing from tablecloths to

saddle is to be ornamented, he will baby's clothing. In Jalisco, tablecloths select a design from his repertoire and are often made by a group of people,

trace it onto the leather. Or he may as quilts might be made in a quilting place a previously engraved piece of bee. Mrs. Lopez is also noted for her leather, design side down, on the new- cross-stitch (cruzeta), crochet, and filet

piece and hammer it with a mallet to lace or encaje made on a flat, tin ring.

leave the outline he wants. Then he She is an artist in paper too, making will engrave or tool the leather, using pinatas and paper flowers. hammers and special knives or blades. Tallado a mono, woodcarving by is later Next the leather dyed and hand, is the craft of Sr. Alejandro molded onto the rawhide and wooden Gomez of Tucson, Ariz., a craft he has seat prepared bv the carpenter and passed on to his children. He makes religious figures, santos, carved en- Susan Kakik ha.s worked icith the SmilliMiiiiaii hi- tirely of wood; and bultos. whose faces itilutidii Fiilklije Priigram since 1975. Slw « a or busts, arms, and legs are sculpted doctural candidate in folklore and anthropology at from wood but whose bodies are the University of Texas. Austin, specializing in .imerican ethnicity. shaped with sticks and fabric. The carved head is then cut in half and Alicia Gonzalez is a doctoral candidate at the hollowed out so that eyes of University of Texas at Austin and a consultant for made the Smithsonian Institution. glass beads can be set into the sockets. The sculpted pieces are then covered Espafia. thin ges.so that Crochet work is only one offnany needle- with Blanco de a u'ork traditions from Jalisco and central provides a base for later painting. Mexico. Mrs. Julia Lopez of Los Angeles, Mrs. Rosa Estanislada de Haro is a is a mix- Cal. continues the tradition, passing it on sculptor too, but her mediimi to her children. ture of glucose, unflavored gelatin, Pholo by .ilicia Gonzalezfor the Smithsonian. egg white, and powdered sugar. This

17 sugar paste is called pastillaje or til- f'nitpte, and her traft is that of tlie dul(eria. Her sweets aie made in the

shape (>{ toys, houses, dolls, and symbols of various holidays and celebrations. These are painted with a fine brush and thitk food coloring. The crafts and household arts of our Mexican American neighbors demonstrate how creativity and the desire for beauty pervade the everyday activities of home and work as well as the special events of holidays and celebrations.

Mrs. Rosa dc Haro holds a doll made of candy, an example of the dulceria tradition which is the making if dolls, houses, jurniture. and other miniatures from sugar paste and marzipan. the Smitluonmn. Carving religious figures, santos and Pluilu l?y Alum Gonzalez for bultos, is a typical folk craft of the Mexi- can American culture in our Southwest. BIBLIOGRAPHY Alejandro Gomez, senior, also carves Sr. Atilbum, RiclmrdE. Saints and Brothers. wood panels and doors. His son has Americas. 22:9 (September. 1970). 6-13. (See ofSmitlnonian holdings adapted some of the designs from ii'ood for bnefdisfux\iiin of Hispanic ethnogiaphic objects especially religious carving to the decorations on leather art.) boots. Bourhe.John G. The Folk-Foods of the Rio Photo by Alicia Gonzulezjur llir Siiiilhsuman. Grande Vallev and of Northern Mexico. journal of American Folklore 8 (1895). 41-71. Heislew Michael. .\n .\nnotated Bibliography of Chicano Folklore from the Southwestern United States. Los Angeles: Centerfor the Study of Comparative Folklore and Mythology, 1977. Shalkop. Robert. The Folk Art of a New Mexi- can Village. Colorado Springs, Colorado: Taylor Mmeum of the Colorado Springs Fine Arts Center, 1969. Toor, Frances. A Treasury of Mexican Folk- ways. New York: Crown Publishers, 1947.

18 Ellis Island and American Immigration Margaret Yocom

Along one wall of the Nation of Na- brides, and displaced persons and or- tions exhibit at the National Museum T\ I phans. After World War II ended, of History and Technology rests a thousands fled Communist takeovers narrow, straight-backed bench, a in Czechoslovakia (1948), Hungary seemingly too plain and common item (1956), and Cuba (1960). Another for a museum to preserve. However, it battle, this time against poverty, is not the bench itself that the Smith- brought Puerto Ricans, already Amer- sonian seeks to celebrate, but rather ican citizens, to the mainland begin- the masses of people who, from 1892 ning in 1945. to 1954, took refuge on it and others In 1965, new immigration legisla- like it as they waited to hear if the) tion initiated by John F. Kennedy and would be allowed to enter the United enacted by Lyndon B. Johnson, States through the major port for im- changed the nature of immigration to migration: New York City's Ellis Is- the United States. Since 1924, immi- land. There, under the shadow of the In the Museum uf Hislon and Technolo- gration had been based on an annual Statue of Liberty, passed Austrians, gy's Nation of Nations exhibit, 1977 quota system; only 2% of the number Italians, Russians, Chinese, Japanese, Festival-goers listen to former immigrants of foreign-born persons from a given Canadians, West Indians, Africans, from Ellis Island talk about their experi- country living in the United States as and Australians: people from all the ences of passing through that immigra- of 1920 were allowed to enter. Be- continents of the world. As immi- tion port at the turn of the century. cause the American population in grants at Ellis Island, however, they Photo by Xuholas Borher © 1 978. 1920 was predominantly from north- were only some of the 27,572,583 ern Europe, the 1924 statute severely people who streamed through immi- Irish, and the involuntary immigra- limited immigration from other parts gration centers across the United tion of Africans, the colonies grew. of the world. Thus, while 65,361 States from 1881 to 1930, five decades The post-revolutionary years of Britons could immigrate annually, often referred to as the third wave of 1815-60 saw the second great wave only 308 Greeks could. American immigration. They came as of immigration. Overpopulation in The 1965 Act offered a system factory workers, railroad laborers, many countries like Norway and based on hemispheric ceilings. The masons, stonecutters, and ditchdig- China, potato famine in Ireland, and Eastern Hemisphere received an an- gers, and were quickly absorbed by a crop failures in Germany and Hol- nual ceiling of 170,000 immigrants country undergoing industrial expan- land pushed farmers and artisans first with a limit of 22,000 persons per sion. toward the sailing ships, then to the independent country, while the West- Two previous waves of immigration steamships that headed toward the ern Hemisphere received a 120,000 had already changed the face of the United States. Political refugees ceiling without quotas for independ- land that had long been in the care of swelled the tide as revolution swept ent nations. The Act also established a the descendants of those men and through Europe. Many university- set of occupational preferences and women who crossed the Bering Sea to educated men and women fied to freed close relatives of United States North America. The first immigrants, America from Poland in 1830 and citizens from the quota system al- French and Spanish, English, Dutch, Germany in 1848 in hopes of safety. together. and Swedish settlers, left their names Immigration continues to be an im- The majority of post- 1965 immi- early on the land as LaSalle, St. Au- portant part of American history. In grants come from North and South gustine, Jamestown, Hudson, and 1978, 24 years after Ellis Island closed America and Asia, with the largest Swedesford prospered. With the help its gates, approximately 400,000 number from Mexico, the Philippines of Polish and Italian craftsmen, the people will immigrate to the United and Korea. Because of the occu- multiple talents of the Germans, States. Who are the new immigrants, pational preference provisions, the Swiss, French Huguenots, Scotch, and why have they come? total number of immigrants classified The rise of Aciolf Hitler and the as "professional, technical, and worldwide struggle that erupted in kindred workers" increased signifi- Margaret Yocom ij, an assistant professor of Eng- 1939 set in motion many events that cantly in the 1970s. lish and Folklore at the George Mason University and serves as a eomultant to the Smithsonian Insti- resulted in the immigration of groups Along with engineers, scientists, tvtwn Fiilklife Program. of Jewish refugees, foreign-born war and businessmen come the victims of

19 Vladimir Ohrican, shoum here with pha- Through businesses like the Carlos Gurdel Restaurant and Metaxia togiaphs of his family, some of whom are Argentinian Dousikos' Apollo Greek Food still in C.wchoslovakia. came to the and Fatios United States in 1947 to study for a Jew Store, immigrants to the United Slates their old coun- years. But he made friends in America serve both their new and and married a Slovakian-.iyneriran tries. They teach their felloif Americans woman. I'he separation from his Czecho- about world food customs, and they pro- slovak famih has not been easy: he flies to vide a bit of home for their compatriots. h'tii}to\ l)\ Maigati'l Yucom Jar the Europe each Christmas to see them. Smiilisonian. Phiilo li\ Margaret Yocom/ur llu SmilliMiriian.

unemployment, overpopulation, and theirjourney to the United States, and war. The mechanization of farms their years as Ainericans, visitors will brought Colombians to the United hear the personal histories of people States and the end of the revolution in who contrbute not to a "melting pot,"' Iraq brought Kurds as well. In 1975, but to a nation of nations. Their nar- after more than ten years of American ratives will remind us—whether our involvement in Vietnam, the collapse ancestors walked across the Bering of Saigon propelled hundieds ot Sea land bridge, sailed on the May- thousands of homeless Vietnamese, flower, survived in steerage or in the Laotians, and Cambodians toward bellies of slave ships, or flew across America. And today, over 100,000 an ocean—that all of us belong to a small-boat refugees from Southeast community of immigrants. Asia wait in Thailand for a new coun- BIBLKXIRAPHV Immigiatiim try. Annual Report. Washington, DC.: and Nalurahuitwn Sennce, 1967. It is easy to learn from facts and Bnri-LnPdrli'. Rny S. and Delores Mortimer, ed. figures where the new immigrants to t;anbbean Immigration to the United it is as easy to America came from; not States. Washington. D.C.: Smithsonian linlilii- The murals that brighten the buildings discover why they came, what per- lion. Research Institute on Immigration and Rd.'and 18th St.. N.W., sonal factors pushed them away from FJhnif Stiidii's. 1976. near Columbia nndSh'phen R. Couch, ed. Exploratory Hispanic- the only country and culture they were executed not only by Fielduork on Latino Migrants and Indo- and pulled them toward the Americans, but also by Giorgio DiPietri, knew tliiiiese Retugees. Waslungton. D.C.: Smitho- an Italian immigrant from Florence who, United States. But during the Festival niiin Institution. Research Institute on Immigra- like his father and his grandfather before of American Folklife's daily work- tion and Ethnic Studies, 1976. Daniel P. Moynilum. Beyond to open spaces our shops on immigration, visitors will be Chzer. Satlian and him, brings color the of the Melting Pot. 2nd ed. Cambridge. M.i: able to listen to and speak with Festival cities. 1 MIT Press, 970. Photo by Margaret Yocomjor tlic participants who came to the United Immigration Meadows. Paul and others. Recent Smithsonian. States after 1945 from Czechoslo- to the United States: The Literature of the vakia, Greece, Hungary, Mexico, the Social Sciences. Washington. DC: Smitlno- Institution. Research Institute on Immigiii- Middle East, and Vietnam. As these nian tion and Ethnic Studies. 1976. participants sit on that narrow, Poggie,JolinJ..Jr.. Between Two Cultures: straight-backed bench in the museum The Life of an American-Mexican. Tiuson: and talk about life in their homeland, University oj .Arizona Press. 1973.

20 Seven Centuries of Tradition: the Pueblo of San Juan Maria LaVigna

In 1598, DonJuandeOnateand his built more modern houses farther This symbol which is used i?t the San Juan expedition arrived at the junction of away from the village center on reser- Pueblo exhibit at the 1978 Festival of the Chaina and the Rio Grande Rivers vation lands that span over 12,000 American Folklife is taken from a contem-

in what is now central New Mexico. acres. porary San Juan pottery dish. Typical

There he found an Indian pueblo Because it is located near two rivers, motifs are arranged in a scattered fashion. which he renamed San Juan de los San Juan has easy access to water for The background is the tan color of the clay Caballeros. Since then the pueblo has its irrigation ditches. For centuries, and the decorations are painted in ivhite kept its official Spanish name, but in this has made agriculture possible for and brown.

the it has always been the inhabitants t)f the pueblo, and has Tewa language Examples of the older style (f San Juan referred to as Oke. pro\ided corn for their staple food. pottety with its monotone coloring and in- San Juan, located on a high semi- Beans, scpiash, and, more recently, cised patterns can be seen on exhibit in the arid plateau, is the largest and north- wheat, alfalfa, chili and fruit have Museum of Natural History's Hall of ernmost of six Tewa-speaking villages supplemented the corn. Meat was North .American Indians, in the upper Rio Grande Valley just provided by the formerly abundant north of Santa Fe. The population game in the region. But even in this people and the Winter people. This during the early 1920s was about 500. fertile valley, corn could not grow and division is inherited through one's but now boasts well over 1 700. game would not roam without the father. In an area inhabited for nearly 700 blessing of rain so vitallv needed in The religious leaders of the Sum- years the houses in the center of San this semi-arid region. mer and Winter people are called the Juan are constructed of adobe. In re- Despite changes that Pueblo society Summer Cacicjue ancl Winter Cacique, cent years, however, members have and cultine have undergone, the tra- These cereinonial village chiefs alter- ditional core of Pueblo life continues; nate semi-annually in taking charge of for instance, its unique principle of the whole pueblo. The cacique holds Maria LaVigna is a doctoral candidate in social division into his office for life, and is considered ethnommicology at the University of California, Los the Summer Angeles. Shr has done field photogiapln of Native the primary avuhority in all matters, A plaza ofthe San Juan Pueblo as it looked American groups from several states, and Ims written sacred or secular. on thr Turtle Dance tradition of Tewa Indians of the in 1879. Besides this indigenous system of San Juan Ptwbln, among whom she currently resides. Photo by John K. Hitler for the Smitlnonian. village chiefs and their assistants, an additional government structure was imposed on San Juan (as well as other Pueblo communities) by the Spanish. Adapted from the Spanish provincial government system, the village position consists of the governor and his five assistants. These civil officials are elected to office annually and are essential in dealing with secular matters and the world outside the pueblo. Although some cultinal activities have been abandoned under pressure of modernization, a traditional ag- Id ricultural activity still important in

San Juan is the annual cleaning of the irrigation ditches. Since some village members still eiagage in farming as did their ancestors, cleaning the

ditches is crucial, for it insures proper flow t)f newly melted winter snows. In earlv spring, rows of men line up along the ditches, digging, clearing and burning the overgrowth of ac-

21 community. Thus, both Summer and Winter people partic ipate in all ceremonial daiKcs. From the native ceremonial calendar, certain dances involve a very unique communal activity. Some songs performed during the winter season require new music as well as new song texts each year. Weeks before their performance, the community's corps of composers will gather together to create new songs for the Turtle Dance, Basket and/or Cloud Dance. These men as a group contribute to each other's songs to insure that the proper words and melodies are appropriate for the ceremony. Communal coinposing in San Juan is age-old, and may be a custom unique to the Pueblo culture of the South- west. From the Spanish-Catholic calendar comes one of the most important occasions celebrated by San Juan, oc- curring t)n Jime 24 in honor of St. The summer home of Governor Trujillo in tional ceremonial costumes, along John, the pueblo's namesake. At no 1899. with woven blankets and belts, are other time is the village humming with Pholu by Adam dark I'romaii Jor the Smithsonian. some of the finest objects produced by so much activity. Homes are swept, the San Juan women. painted, or replastered weeks ahead cumulated shrubs and weeds. Regard- Ceremonies, whether from the na- of time. A few days before the Feast less of one's occupation in or outside tive ceremonial calendar or from the Day, women may be seen baking oven- of the pueblo, every able-bodied male adopted Spanish-Catholic system, in- loads of biead in \.\\e'\Y panles, bee-hive is required to participate in this an- volve the entire population. Unlike shaped adobe ovens. The men have nual communal activity. other Pueblo villages where rituals already gathered and chopped cords Traditional arts and crafts continue and dances are presented by smaller of cotton and jimiper wood to fire the to flourish through the Oke Oweenge community groups, the preparation pantes as well as the still much-used (San Juan) Arts and Crafts Coopeia- and performance of ceremonies in wood stoves. As families begin to pre- tive that is operated by community San Juan are sponsored by the whole pare their extensive menus, some women. Each individual offers her members may be at the kiva, or reli- time and talents in continuing arts San woman preparing bread to be Juan gious sanctuary, attending dance re- that are uni(|ue to San Juan. Women baked in an adobe pante, /he Pueblo ver- hearsals for performances during this may be seen at the (k)operative deco- sion the bee-hive brick oven Jound of important celebration. On June 24 rating the traditional red or brown around the world. families welcome their relatives and pottery. Delicate embroidery on tradi- Pholu l)y Edward S. Curtis © 19U5. neighbors and also open their homes to the many visitors and friends who have come for the Feast of St. John. Some of these special festival foods and dances will be presented at the 1978 FAF bv participants from the San Juan Pueblo, and audiences will be able to enjoy firsthand some of the traditional customs that play such an important part in the life of this communitv.

B1BLIOGR.APHV Dozier. Edward P. The Pueblo Indians of North America. New York: Holt, Rinehart 6f Winston Inc., 1970. Ortiz. Alfonso. The Tewa World: Space, Time, Being and Becoming in a Pueblo Society. Chicago: Univer'i!t\ of Chicago Press, 1969. Underhill, Ruth M. Indians of the Southwest. Nnc York: Garden City, Doubteday, 1966. Santa Clara and San Juan Pottery. Denver Art Museum, Indian Leaflet Series 35 (193); 1-4.

22 Family Good Stories from Hard Times

Folklore Steven Zeitlin

The Family Folklore program Anyone who reads the comic strips died aboutfive years ago but we still

helps visitors discover and recognize on Sunday morning, takes a child for a carry it on. On my brother's birthday and their own particular traditions, the walk on a Sunday afternoon, tells a on my birthday, the family always has

home-based folkways that decorate family story at dinner or a fairy tale dinner together. And Dad used to .sit life and make it meaningful. At the before bedtime, may soon find that down with a drink and recount the day of Nation of Nations exhibit in the Na- these events become family traditions. our birth: what happened, how he felt,

tional Museum of History and Traditions may be as commonplace as how my mother felt, ivhat ivas going on

Technology, a group of folklorists the evening meal with its ceremony of that day. And he did it every year. You

will interview Festival-goers about carving and serving, tossing the salad, knoiv, he'd .say, 'Oh 18 years ago at this their own family customs, sayings or they may be as ritualized and time, or 21 years ago at this time,' or and stories, and also about the sanctified as a wedding, funeral, or whatever. My brother and I have kind of memories sparked by the exhibit on Christmas celebration. carried that on." Listen sug- American history. to In some instances, these traditions As this account suggests, storytell- gestions for collecting your own fam- are ethnic in origin. However, this ing is a particular sort of tradition, and ily folklore at workshops in the next tradition is practiced in families is often part of the larger tradition of museum. Ideas for printing or with different ethnic backgroimds: the evening meal or, in this case, the mounting a family history, including "We had a tradition just in our imme- birthday dinner. free guides and discussion ot inter- diate famih that I really liked. My father viewing technicjues, will be pre- The dinner is often a time of reunion sented. Steven Zeitlin ii a dixtiirat nmdidalc mjolklure when old customs are observed, old values and /olkliff at the Universily Pennsylvania and The following essay discusses a of are horiored, and old stories are retold. At is on the sla/J of the Smithsonian Inslilulion's fimction of storytelling in family life, the head of this table sits the patriarch of Fulktije Program. He teaches graduate and under- the daughters and invites you to remember some of graduate courses in folklore at The George Wash- family, flanked by sons and your own family stories. ington University. and their children. Famil) members seem aware (ji this function for their storytelling. After a particularly harrowing or traumatic

experience the remark is often heard,

"at least it will make a good story." Or, "we'll look back on this and laugh."

Clearly, the story form makes it possible for people to laugh o\er incidents that weie anvthing but funny at the lime. This laugfitei, which so often accompanies storytelling, can not be

overlooked. It signals that the trauma of the original incident has been incorporated into the daih roinid of famih life. The most decisive break in the routines and day-to-day traditions of

famih life is the death of a family member. One man talked about the death of his father and the role of storytelling in the mourning process. During the seven days of "sitting Shiva" as the formal Jewish grieving is called, the stories went Theja)iul\ meal is nut only a javorite oc- Depression meal ol vegetable soup period through several stages. First, a period casion for storytelling, but is often one of and a salami. Uncle Bill, a yoimg boy of speechless grief gave w^ay to stories the most common topics offamily lore. In at the time, was throwing a dirty ball of his father as a saint; later they a sense, the meal is an affirmation oj the against the wall when he was not toss- changed to stories of his father as an family as a unit. ing it to the dog. King. On a misthrow, ordinary man; by the end, stories were Photo from thr Library of Confess. the ball splashed into the vegetable soup. The grandmother was so en- told of his father as a trickster, a In American families the evening raged that she threw the hunk of shrewd and funii)- man, good and bad turns. last the perma- meal seems to be the most common salami at the boy. King leaped up, by These were nent family stories that still serve to setting for storytelling. Perhaps it is caught it in his teeth and ran outside maintain his father's spirit as a force in not coincidental that the emotional to savor it. The Depression meal was satisfaction one enjoys by telling ruined. the life of his family. In the familv, as in every stories is accompanied by the physical This story does more than treat the commu- certain satisfaction one enjoys by eating a topic of food in a humorous way. It nity, members gather on occa- meal. In fact, families often have din- represents a break in the storytelling sions to share in their leisure. The ner traditions which limit storytelling roiuine in a literal fashion; if any emotional investment of the members to the latter part of the meal, after the stories were to be told around the often serves to transform recurring tradi- initial mge to eat has been tiuelled a table that night thev certainly activities into a set of binding tions. is particularly little, and relaxation becomes both wouldn't after the dog ran off with the Storvtelling a physically and psychologically appro- meal. Family stories do not refer to the meaningful tradition in the family as it priate. day-to-da\ roiuine, but to specific in- is in all commiuiities. It serves not only In some families storytelling is cidents and dramatic occasions that to bring the past to bear upon the permitted only over dessert. In others disrupt that routine—ruined meals, present, but to make the disruptive, disturbing and tragic breaks in the it begins at the table and then moves burnt turkeys, not the usual fare. into the more comfortable areas of the Transformed into story form, the routines part of the smooth, ongoing house. Sometimes a particular family incident of the dog and the salami was life of the commimity. member, generally an elder such as a repeated as part of ordinary dinner

grandfather or an aunt, begins the conversation. It became part of the BIBLKK.RAPHV tale-telling activity, often with a recurring meal activities, part of the Batdu'in. Karen. "Down On Bugger Run; Family chuckle or a twinkle in the eye. Some- very routine it disrupted. Through Group and the Social Ba.\e Of Folklore." I'npub- times children begin the storytelling storytelling, the faux pas, the cooking lisheit dorloral dissertation. University of Penn- cjuestions: what was it like in the by asking disasters, the Depression traumas, sylvania, Department of Folklore and Folklife, the old days, Daddy? Civil War cowards and all the other 1975. The evening meal is not only the misfortunes celebrated in family Bossard, James H. S. and Eleanor .S. Boll. Ritual in Family Living; A Contemporary Study. most common occasion for storytell- stories became institutionalized; they University 0/ Pennsylvani/i Press. Philadelphia, is the most coming, but food among become part and parcel of holiday cel- 1950.

mon topics for the stories. Cooking ebrations, of long rides in the car, t)rof Cutting-Baker, Holly et. at. Famil) Folklore. disasters, for instance, are a staple in the evening meal. Family stories serve Smithsonian Institution, Folklife Programs, 1916. the repertoire of the family tale-teller. as a way of making the unexpected, Familv Heritage Magazine, P.O. Box 1809, Stories are also told about feeding the imforeseen. and the disastrous .\eu'York.\'.Y. 10001. Depression. families during the Great part of the smooth and routine func- Kotkin, .imy. "Family Photogiaphy .4s A Form O] In one, a grandmother prepared a tioning of the family. Folklore." E.xposure, /6;/, 1978, pp. 4-9.

24 — —

La El Festival El Festival Comunidad Folklorico Folklorico en la El Tema del En Busca de la Alameda Festival Comunidad Nacional Ralph Rinzler 5. Dillon Ripley William J. Whelan

Desde los principios en 1967, El Festival iQue nos une en las coinunidades? El Festival de la Vida Folklorica Ameri- de la Vida Folklorica Americana se ha di- ;Comida? ;Peligro? ^;E1 metodo scien- cana se ha vuelto en una tradicion impor- rigido hacia la investigacion y presenta- tifico? iEmpleos? jCanciones? ^Cuentos? tante en el "National Mall" (La Alameda cion de la cultura tradicional atraves de rEdad? ^Idioma? jSexo? jColor? jAmor? Nacional). Miles de Americanos aguardan tres perspectivas. Estas son: la perspectiva iGeografia? ;Por que la biisqueda por la la oportunidad de volver a visitar este pro- de estilo enfocando sobre la manera en comunidad v la necesidad de raices y iden- grama emocionante: mientras todavia que cada aiticulo tradicional es hecho o tidades multiples? Esta es una invitacion a otros mas tambien encontraran su pri- presentado y que inarca a esa pieza como Ud. para participar con nosotros otra vez mera visita de gran valor y signiflcado. una creacion dentro de una tradicion par- en el "Mall" (Alameda) y en los salones del La celebracion de este ano se centra al- ticular; la perspectiva de identidad, que Smithsonian— para encontrar algunas rededor del tema de la vida en la com- saca a relucir el contenido ideacional de respuestas a estas preguntas fascinantes unidad. Participantes de un ntimero de una presentacion que expresa una etica que afectan a todas nuestras vidas per- tradiciones quienes han hecho a nuestro particular o acceso a la vida del grupo; y la sonales. Con el Festival de la Vida pais en una fuerte comunidad nacional perspectiva de comunidad, examinando Folklorica Americana 1978, el Smithso- nos ofrecen a todos un entendimiento mas las relaciones entre gente que mantienen y nian inicia un ciclo de cinco anos de vari- profundo de nuestras raices culturales. En son expresadas por las presentaciones de aciones sobre el tema de la "comunidad". el "Mall" (Alameda) encontrara Ud. al vida folklorica. Hemos seleccionado la ul- Nuestros hombres de letras e invitados campesino, al mercader del pueblo, al tima de estas, comunidad, para el enfasis presentaran el folklore como expresion de achichinque del molino, al poeta, al particular en el Festival de este aiio y en los la vida de la comunidad, y el placer y dig- artista—para mencionar algunos de los cuatro Festivales anuales que seguiran. nidad que se encuentra en ese proceso. que han formado el tejido de una co- La comunidad que exploramos y cele- La manera en que una persona de una munidad nacional linica. bramos tiene muchas formas. Es la com- comunidad ostionera toma el cuchillo para EI Servicio Nacional de Parques es una unidad cohesiva, bien unida, geogra- abrir un ostion o modela un senuelo de la agenda al servicio del pueblo. El concepto ficamente discreta, de los grupos etnicos y madera son talentos intangibles que pro- de la comunidad se refleja en la obra de la de los pueblos. Es la comunidad de traba- ducen artefactos que dan continuidad organizacion atraves de su historia. Noso- jadores que se junta en un sitio particular tangible a las comunidades como las que se tros creemos que nuestros parques ocho horas al dia. Es la coinunidad cuyos encuentran en la Isla Tangier en la Bahia nacioiiales ejercen un pa pel principal en miembros pueden estar separados por del Chesapeake, una region cercana linica ofrecer oportunidades superlativas para oceanos y nunca llegar a conocerse pero celebrada en el libro de William Warner, recreacion al aire libre, experiencia educa- cuyos sentimientos comunales son Beautiful Swimmers (Nadadores Hermosos) cional sobre conservacion para los jovenes evocados cuando una herencia linguistica y el de James Michener, Chesapeake. del pais, y al mismo tiempo recordandonos y cultural compartida es realizada. Es la Igualmente, el moler del maiz en el Pueblo de la historia de nuestro pais y nuestra comunidad de companeros de la misma San Juan y en los estados de Mexico sim- deuda a la tierra de nuestros padres. edad que se juntan para aprender y jugar. boliza los lazos de la comunidad que atra- Nuestra participacion en programascomo Y finalmente, es la comunidad de la viesan fronteras internacionales. Nifios de el festival que sirven a la comunidad en- familia que comparte su sustento diario. habla espanola aqui en la Capital de la tera, es tipica de nuestra dedicacion. Nosotros exploramos los contornos y Nacion, dependiendo del maiz en caja del El armonia y deleite que el festival significados de estas comunidades. Las supermercado, contaran cuentos y juga- folklorico produce nos liga a todos en una celebramos y le pedimos a Ud. que nos ran juegos que reflejan motives culturales comunidad nacional. Estamos orgullosos acompaiie a tomar parte y a apreciar su del sur de la frontera asi como los liltimos del festival y lo que significa a America. valor. anuncios de la TV. No hay un antidoto Bienvenidos y diviertanse. seguro a la estandarizacion de la cultura de las masas, pero festivales como los nuestros ayudan a mantener nuestro sistema de pluralismo cultural y los deleites de la diversidad. La cultura del pantalon de mezclilla tal vez sea ahora universal. Con ella, la variedad perdura bajo la mezclilla. Musica Artesanias y Tradicional de Artes Caseras los Mestizos Mexicanas Mexicanos Americanas

Mexico es una tierra de muchas ternacionalmente comercializadas de una Las presentaciones de artesanias y co- tradiciones mexicanas. Cada uno de sus sola tradicion. midas Mexicanas Americanas exploraran muchos grupos indigenas tiene sus pro- La presentacion mexicana en el Festival algunas tradiciones transplantadas de pios sislemas musicales, ocasiones y reper- de la Vida Folklorica Americana 1978 in- Mexico y otras que se desarrollaron o se tories. Entre los de las tiudades grandes cluira bailadores, miisicos y cantantes de adaptaron en los Estados Unidos por una hay muchas "comunidades de buen gusto" los estados mexicanos de Puebla, cultura rica y creadora. Tanto en Mexico abarcando desde preferencias por la Michoacan, Guerrero y Veracruz. Todos como en los Estados Unidos, las miisica clasica occidental a la musica popu- los grupos vienen de la zona central de tradiciones varian mucho dentro y entre lar internacional y de protesta. El mestizo Mexico donde la mayor concentracion de los mismos estados, de modo que las ar- rural (una mezcla de populaciones y cul- la poblacion colonial se establecio y por tesanias y artes caseras descritas aqui solo turas espaiiolas y Amerindias) tambien eso se puede ver una fuerte aunque no representan parte de la cultura folklorica mantiene una variedad de tradiciones exclusiva influencia espariola en su Mexicana Americana. musicales. La miisica mestiza, igual que musica. Los instrumentos son derivados El Sr. Emiliano Pena de Rosemead, (^al., otras tradiciones relacionadas con los de prototipos esparioles coloniales, aun- es un talabartero. Ha trabajado con cuero Mexicanos Americanos, sera incluida en el que el tambor usado por el grupt) de Pue- desde su juventud cuando aprendio a Festival de la Vida Folklorica Americana bla es un variante moderno del huehuetl hacer zapatos de mineros en Cananea, 1978. antiguo Azteca. Las melodias se derivan de Sonora, su pueblo natal. En el none de La musica de los mestizos Mexicanos fuentes espanolas y europeas pero mues- Sonora la silla ranchera es comiin y esta es tiene muchas raices comunes. Idioma, es- tran una definitiva mexicanizacion de el tipo que el Sr. Pena hace. El primer paso tructuras poeticas, la mayoria de los ins- estas tradiciones musicales. Como tanta de en su trabajo esta en seleccionar y medir el Irumentos musicales, y varias formas la cultura tradicional mexicana la musica cuero necesario y cortarlo en las varias musicales se derivan de prototipos es- presentada aqui es un producto linico de proporciones para las diferentes partes de panoles importados durante los liempos sus ricos origenes historicos. la silla. Si el cuero va a ser ornamentado, el coloniales. La mayoria de las otras formas seleccionara un diseiio de su repertorio y tradicionales de cancion y baile se derivan lo calcara sobre el cuero. Luego grabara el o de desarrollos de hace mucho tiempo, cuero, usando martillos y cuchillos o originalmente mestizos (como las formas navajas especiales. Luego el cuero es de miisica-danza llamadas son y jarabe, teiiido y mas tarde moldeado sobre la silla que aparecieron primero a finales del siglo de cuero y madera preparada por el car- 18) o de las importaciones musicales del pintero y el tanero; luego se anaden otras siglo 19 de Europa (el vals, la polka, y el partes de la silla, como los estribos. schottische, por ejemplo). La base de la El Sr. Ruben Delgado, un platero, hace miisica en la vida rural mexicano crea varios ornamentos de plata usados por los temas musicales coinunes, ocasiones, con- talabarteros y compradores mexicanos del textos, y actitudes. Oeste. El trabaja con IVecuencia con el Sr. A pesar de estas raices comunes y Peria en el diserio y produccion de sillas. situaciones economicas, aislamiento geo- Aprendio plateriaen Guadalajara, Jalisco. grafico, economico y social ha resultado en La Sra. Julia Lopez de Los Angeles es muchas tradiciones regionales musicales una artista de bordado que conoce mucho linicas. En muchos casos, cada region es del trabajo tradicional hecho en la zona distinguida poi su propia instrumen- central de Mexico. Hace deshilado donde tacion, eslilo musical y repertorio de com- los hilos son jalados del algodon o lino y posiciones. Desgiaciadamente, extensa retejidos para crear varios diseiios. La Sra. urbanizacion y la zona creciente de in- Lopez es tambien conocida por su cruzeta Huencia del medio de comunicaciones y encaje hecho en un aro de lata piano. comercial ha invadido considerablemente Tambien es una artista con el papel, los campos de cria indigenas de muchas haciendo piiiatas y flores. tradiciones. Como resultado, algunas de El tallado a mano es la artesania del Sr. las tradiciones locales han sido lanzadas Alejandro Gomez de Tucson, Ariz., una fuera de existencia por la miisica (|ue las artesania que el ha heredado a sus hijos. emisorasimponen. Porotra parte, algunas Talla figuras religiosas, santos y bultos, no solo han sobrevivido en la estela de un figuras cuyas caras o bustos, brazos y pier- cambio social rapido, sino que han llegado nas son esculpidas de madera y cuyos a cierto grado de popularidad interna- cuei pos estan formados con palos y tela. cional, resultando en la existencia simul- La cabeza tallada se corta a la mitad y se tanea de versiones rurales, urbanas, e in- ahueca para que se puedan insertar en las Mexico

cuencas de los ojos uiias bolitas de vidrio. El Festival tiene el gusto de presentar Today" (Mexico Ahora) abarca actividades La Sra. Rosa Estanislada de Haio es es- varios grupos de miisicos y bailadores de en muchos de los otros museos e insti- cultora tambien pero su medio es una los estados de Puebia, Michoacan, Gue- tuciones culturales de Washington, igual mezcla de glucosa, gelatina sin sabor, rrero y Veracruz. Su presentacion forma que en otras ciudades incluyendo Atlanta, clai as de huevo, y aziicar pulverizada. Esta parte de una mayor celebracion de Es- Detroit, Los Angeles, Nueva York, Oak- pasta de aziicar se llama pastillaje o al- tados Unidos y exploracion de la cultura land, San Antonio, San Diego y San Fran- t'enique, siendo su artesania la dulceiia. mexicana titulada "Mexico Today" cisco. Sus dulces toman la forma de juguetes, (Mexico Ahora). Otros museos del Smith- La vida folklorica mexicana nace de las casas, munecas, y simbolos de varios dias sonian tambien participaran en este tensiones creadoras presentes en la f estivos V celebraciones. Estos son pintados simposio nacional, la mas grande y mas sociedad mexicana. Las artes folkloricas con un pinte! fino vunespesocolorantede comprensiva presentacion del Mexico mexicanas derivan energia del peso de comida. contemporaneo jamas organizada en los temas espirituales en contrapeso con la Las artesanias y artes caseras de nues- Estados Unidos. En el Auditorio Car- levedad del sentido del humor rural. Dis- tros vecinos Mexicanos Americanos de- michael del Museo de Historia y Tec- tintivas formas regionales de miisica y ar- muestran como la creati\idad y el deseo nologia del 1° de octubre al 5 de tesania existen en contrapeso con las cre- por la belleza se difunde atraves de las noviembre habra un Festival de la Pelicula cientes identificaciones nacionales. Y los actividades diarias de la casa y el trabajo mexicana. Y en la Galeria Renwick del 30 valores espanoles esteticos se combinan tanto como en las ocasiones especiales de de septiembre al 10 de febrero habra una con aquellos de culturas antiguas indi- dias de fiesta v celebraciones. presentacion de Mascaras Mexicanas y genas para crear formas de arte con- figuras de barro incluyendo (30 de sep- tinuamente en desarrollo. El Festival tiembre al 7 de octubre) demostraciones Folklorico recibe con gusto a los partici- por los artesanos mexicanos. Organizado pantes mexicanos y a la oportunidad de con la cooperacion del Gobierno de participar en un simposio dedicado a au-

Mexico y patrozinado por el Fondo Na- mentar el dialogo intelectual y artistico cional de las Humanidades y el Fondo Na- entre ciudadanos de ambos paises. cional de las Artes, el simposio "Mexico

[3] Siete Siglos de La Bahia Tradicion: El Chesapeake: La La Comunidad Pueblo de San Region y la Etnica Juan Comunidad

Cuando pensamos de la vida folklorica En 1598 Don Juan deOtiatellego con su Hace mucho tiempo que la Bahia ameiicana, nuestros pcnsamientos correc- expedicion cerca del sitio donde el Rio Chesapeake se ha apreciado como una tamente viran primero liatia la sabidun'a, Chama desemboca en el Rio (irande en la joya de la naturaleza en el area central de regifin tanto folklore y estilos dc vida de los muchos zona central de Nuevo Mexico. Alii encon- la costa atlantica —una linda grupos etiiicos cuyos miembros vinieion y tro un pueblo indio que renombro San para el turista como abundante para las desarollaron la cultina y sociedad ameii- Juan de los Caballeros. Desde entonces el redes de los pcscadores. La bahia ha ,ser- cana. tste ano el Festival celebra la heren- Pueblo de San Juan ha seguido con su vido para definir la identidad geografica e cia cultural Mexicana Americana, cuya nombre oficial espariol, pero en el idioma historica de la region— de donde miisica, baile, objetos hechos a mano y Tewa se le es referido como Oke. San Juan tradicionalmente se han diseminado las habilidades en artesania seran pre- es el mas grande y el mas norteiio de los lineas de cultura. sentados en varias exhibiciones en el seis pueblos de habla Tewa en la parte De los estados que limitan sus aguas, la "Mall" (Alameda) y en los museos del superior del valle del Rio Grande. El pue- Bahia Chesapeake ocupa un lugar especial Smithsonian. blo esta a las orillas del rio, como 50 en el orden economico y bioldgico, siendo Otro aspecto de su herencia etnica se kilometros al norte de Santa Fe. uno de los sitios mas diversos y fructuosos puede encontrar en la presentacion de la A pesar de cambios que han sufrido la para la pesca en todos los Estados Unidos. Isla Ellis en la Exhibicion del "Nation of sociedad y cultura del Pueblo, el niicleo El pescador es la figura central en este Nations" (Nacion de Naciones) donde tradicional de la vida del Pueblo condniia. orden—el elemento humano que genera miembros de varios grupos etnicos relatan Las Artes y artesanias continuan a florecer la complejidad del sistema y que lo hace cuentos de una experiencia de quintesen- atraves de la Cooperativa de Artes y ar- incomprensible. Aiin cuando la ciencia cia etnica: imigracion. Masas de gente, es- tesania Oke Oweenga (San Juan) que es moderna no puede atraer la jaiba a la red, pecialmente de Europa Central, entraron operada por las mujeres de la comunidad. los Pescadores atrapan la engaiiosa jaiba, a los EEUU por la Isla Ellis de la Ciudad de Cada una ofrece su tiempo y talentos en las siendo un topico de mucha sabiduria Nueva York, a la vista de la Estatua de la artes vivientes linicas en San Juan; Se popidar y legendaria. Las historias que los Libertad, durante las cinco decadas de pueden ver las mujeres en la Cooperativa Pescadores cuentan acerca de su trabajo, el 1881 a 1930 que son comunmente re- decorandfi la alfareria roja o cafe tradi- mal tiempo, grandes capitanes y buenas feridas como la tercera ola de imigracion cional. El bordado delicado de su tradi- pescas, sirven para describir el grupo que se establecio en America. Pero muchos cional atuendo ceremonial, con sus cobijas humano tradicional y definir el modo de imigrantes vinieron de otras partes del y cinturones tejidos, son algunos de los vida que los pescadores comparten y en el cual la comunicacion entre mundo y entraron por otros lugares en los objetos mas finos producidos por las mu- mantienen EEUU. Los talleres de imigracion de este jeres de San Juan. compaiieros y afuerinos. ano incluiran imigrantes Griegos, Es- En las ceremonias de San Juan pardcipa Afuerinos no acostumbran a pensar de lovakos. HiJngaros, Mexicanos, Viet- la comunidad entera. Ciertos bailes impli- la gente de la Bahia de Chesapeake como linica. Algunas iniembros de comunidad cerrada, en namitas y Kurdos, y explorara en primer can una actividad comunal una lugar las experiencias de gente que ha de- de las canciones cantadas durante el in- parte porque el folklore de los pescadores existente entre jado su patria, viajando a los EEUU y se ha vierno requieren miisica nueva asi como tiende a enfocar la relacion ajustado a un pais nuevo desde los 1930s. versos nuevos cada ario. Semanas antes de individuos y el mundo natural en el cual la presentacion el cuerpo de compositores trabajan. La dependencia que ata a estas de la comunidad se junta para crear personas juntas es sutil, pero modela dra- nuevas canciones para El Baile de la Tor- maticamente el estilo de vida que viven y tuga, El Baile de la Canasta o El Baile de la las recompensas de vivirla. Las ciudades Nube. Como grupo, los hombres contri- junto a la bahia estan formadas tanto como buyen a las canciones de cada uno para por dependencia mutua. como por auto- asegurarse de que las palabras y melodias suficiencia, asi el pescador requiere los correctas sean propias para la cereinonia. servicios del carpintero de navio, herrero La composicion comunal en San Juan maritimo, tejedor de redes, mecanico y tiene antecedentes muy antiguos y tal vez proveedor de combustible para subsistir. sea un razgo linico de la cultura del pueblo La bahia esta cambiando, como toda en el Sudoeste. persona y comunidades cambian, pero la Algunas de las comidas y bailes es- identidad de la region permanece fuerte peciales para dias festivos seran pre- dentro de aquellos que viven entre sus sentados en el Festival y el piiblico podra fronteras. La bahia es vital para la for- ver de primera mano algunas de las cos- macion de las vidas y desuno de aquellas tumbres tradicionales que toman un lugar personas que alii viven, tal como la jaiba tan importante en la vida de esta co- desafia al pescador a buscarla bajo sus munidad. terminos.

[4] Folklore de Lugar de Los La Escuela Familia Ninos Dunham

El programa de folklore de familia El Lugar de los Ninos, abierto cada dia No hay nada extraordinario en el aula ayuda a los visitantes a descubrir y reco- de las 10 a las 4, tendra talleres or- que se encuentra tras la pared de vidrio en nocer sus propias tradiciones, sus modes ganizados para los ninos, demostrando y la exhibicion del "Nation of Nations" (Na- familiares caseros que decoran la vida y le ensenando tales aspectos de su folklore cion de Naciones) en el Museo de Historia dan su sentido. En la exhibition del "Na- como aplaudiendo, porras, adivinanzas, y Tecnologia del Smithsonian. La Escuela aiio el tion of Nations" (Nacion de Naciones) en rimas y cuentos de espanto. Este Dunham, Salon 20 1 , se parece a cualquier el Museo de Historia y Tecnologia, un enfasis es sobre juegos en espanol jugados otra aula de su tiempo, por eso de 1915. grupo de folkloristas entrevistaran vi- por nifios de familias originarias de paises —Esa es mi escuela— visitantes exclaman sitantes al festival sobre sus propias cos- Latino Americanos. Ademas de los talleres al asomarse al salon. —Asi es exactamente subraya tumbres familiares, dichos y cuentos y de ninos, un taller de juegos Porto- como lo recuerdo.— Esta reaccion tambien sobre sus recuerdos instigados rriquenos sera dirigido por Marta Mon- el significado de la exhibicion, pues lo que por la exhibicion de historia americana. tanez de ARTS, Inc. de la ciudad de Nueva atrae a los visitantes no es su singularidad Coleccione su propio folklore familiar en York. sino su familiaridad. Para presentar las los talleres en la sala de recepcion del Una tienda de artesania sera el sitio para tradiciones compartidas de la experiencia museo el sabado, domingo y lunes. Ideas los talleres de munequeria de cosecha americana de la escuela publica, el Festival para imprimir o montar una historia de usando nueces, maiz, calabazas, semillas y de 1978 ha invitado ex-alumnos del familia, incluyendo guias gratis y una dis- paja y una exhibicion de arte folklorica de Dunham y 5 alumnos y profesores locales. cusion sobre tecnicas de entrevista, seran nines exhibiendo una seleccion de dibujos Durante los talleres diarios discutiran sus presentadas. de su tiempo libre y monigotes sometidos experiencias, por ejemplo, como es aten- por estudiantes de primaria y prepara- der a una escuela de un solo salon, y toria de Wash., D.C. Ninos y sus profesores animaran a los visitantes a hablar de sus pueden tomar papel, lapices, tableros y propios dias escolares. Especiales ac- cintas cassette (si traen su propia graba- tividades en la tarde seran la ensenanza de festival entre- dora) para documentar el y lecciones en el aula y presentaciones de vistar participantes. Estos documentos folklore de ninos. formaran parte de material valioso para para los tableros y para composiciones cuando los ninos regresen al colegio. El Lugar de los Ninos ha sido realizado gracias al obsequio del restaurante familiar, McDonald's Washington Area Family Restaurants.

[5] La Comunidad La Energia y La del Trabajo Comunidad

La vida folklorita dt-l tiabajaclor Este ano, para el segundo festival con- sienipic ha sido una parte iiupoi tame del secutivo, el Departamento de Energia pa- festival. Es un aspeclo de la vida folkUJi ica trocina la presentacion de un tema re- en la que la mayoi ia de los Americanos lacionado con la energia en la vida participan: experiencias con relacion al folklorica americana. Organizadores del trabajo, valores y normas c]ue uno com- festival enfocaran sobre dos tipos de pro- parte con otros de la misma vocacion y su duccicin de energia que ultimamente han expresion el idioma, en cuentos, chistes y estado al frente de las noticias — carbon y otros generos relacionados con su oficio. petroleo. Consistente con la tradicional Miembros de una comunidad de trabajo preocupacion del festival con la vida tienen estas tradiciones en comiin, y a folklorica del trabajador, la seccion de menudo el grado a cjue uno pertenece esta energia de este aiio presenta folklore, es- juzgado por la habilidad de ejercitar tanto tilos de vida y miisica de las comunidades y su aptitud como el folklore de una ocupa- familias mineras y petroleras. El Depar- cion particular. Por ejempio, un ferro- tamento de Energia v el Festival Folklorico viario con experiencia no solo sabe las re- le invita a Ud. a conocer algunos de los que circunvalen la costa del Golfo. Traba- glas y procedimientos ferrocarrileros; estilos de vida de la gente que sustrae estos jadores petroleros compartiran con Ud. tambien sabe hablar el idioma ferrocarri- importantes recursos de energia de la sus conocimientos especializados, sus ta- iero. El Festival celebra y explora esta tierra. lentos, cuentos contemporaneos re- forma de la vida folklorica Americana, y Mineros v sus familiares de West Vir- lacionados con el trabajo y los aiios pros- esta feliz ver el interes de creciente en el ginia (Virginia del Oeste) compartiran con peros a principios de este siglo, y folklore del trabajo, por parte de ambos Ud. su miisica y cuentos del trabajo en las tradiciones del pueblo de varios grupos trabajadores y hombres de letras. minas y la vida en las comunidades etnicos cuyos miembros trabajan en el pe- Nadie exemplifica mejor la idea del mineras. Mineros subterraneos demostra- troleo del Triangulo Dorado. grupo de trabajadores como comunidad ran algunos talentos necesarios en su que los canteros que han estado tra- trabajo y algunos tipos de equipo que bajando en Washington en la Catedral Na- manejan en la extraccion de carbon cional. Practican un arte, una artestania bituminoso de las montanas. Hombres y centenaria en la misma manera tradicional mujeres trabajando en las minas forman que era practicada hace cinco un grupo muy unido; dependen de sus generaciones por sus familias. En el pro- diferentes talentos entre si mismos, pres- yecto de Folklore en su Comunidad en el tando atencion a la seguridad v soporte "Mall" (Alameda) los canteros de D.C. moral. La mina es potencialmente peli- demostraran este arte y compartiran cuen- grosa, y los lazos fuertes dentro de la co- tos con el publico sobre sus habilidades y munidad ayudan a preservar, mantener y secretos, su historia y sus trabajos. mejorar la vida del minero. Algunos de los otros participantes que Los "Roughnecks" (Los Rudos) que vie- participaran en los foros en el proyecto de nen al festival de la region del Triangulo Folklore en su Comunidad son choferes de Oro producente de petroleo de la Costa de taxis, marchantes del mercado, pre- del Golfo de Texas-Louisiana son, en ver- goneros de la calle, y miisicos, todos de esta dad, personas relativamente gentiles y su zona. Dentro del Museo de Historia Tec- apodo es mas bien una clasificacion ocupa- nologia, trabajadores que construyen 6r- cional. "Roughnecks ' (Los Rudos) son ganos segiin metodos artesanos gente que trabaja en el piso de ima tone de tradicionales demostraran sus habili- laladrar. Historicamente, en los dias pros- dades; y en la exhibicion de "Nation of peros del descubrimiento del petroleo, Nations" (Nacion de Naciones) miembros cuando un pozo exploratorio anunciaba del "Brotherhood of Sleeping Car su fertilidad con un chisguete del geiser de Porters" (Hermandad de Atendientes petroleo, cuando los pueblos de tiendas sin Ferroviarios), un sindicato negro historico piso y edificios desvencijados surgieron que recientemente deja de existir, relata- para albergar el influjo rapido de trabaja- ran cuentos sobre los dias pasados y de sus dores, "roughneck" (Rudo) podria tam- vidas con el ferrocarril. bien haber significado un estilo de vida caracteristico. Pero ahora los trabajadores petroleros viven igual que su contraparte en otras industrias, en las comunidades

[6] Festival Staff

Participant Coordinator: Diana Parker Museum of Natural History International Visitors' Information Assistants: Anne Mercer, Susan Berry Department of Anthropology Service Hoiuing Assistant: Nan Costales Department of Invertebrate Zoology Richard T. Feller, Washington Cathedral Cultural Liaison: Olivia Cadaval- Office of Exhibits Bess Lomax Hawes Bosserman Free Film Program Guadalupe Saavedra, National Council of La Raza Technical Manager: Peter Reiniger Building Managers Office Anthropological Archives Manuel Melendez Grounds Crezv: Linda Breathitt, Jaime National Immigration and Nguyen Ngoc Bich, Vietnamese Cruz, Van Evans, Luis Gonzales, Research Institute on Community Center Stephen Green, Al McKinney, Kerry Ethnic Studies Dr. Tibor Murphy, Tom Nelson, Fred Price Ham Internal Office Support Dr. Othman Baban Supply Coordinator: Dorothy Neumann Accounting Independent Petroleum Association of Documentation Coordinator: Nathan Supply Services America Williams Pearson OPLANTS United Mine Workers Sound Technicians: John Berquist, Grants & Insurance Jon Bednerick Camille Connolly, Nick Hawes, Division of Performing Arts Carl Fleischauer E. Mike Korn, Greg Miles Herter, Photographic Services Herb Foster Paulette Peca, Keith Lamping, National A|Ssociates Program Maria LaVigna Secola, Barr Weissman Resident Associates Program Dr. Irene Vasquez Valle Video Director: Welby Smith Anthropological Film Center David Moore Video Crew: Joe Goulait, Dane Penland, Telecommunications Alphonso Ortiz Betsy Seamans, Seamans Joe Security & Protection Good Humor Photographers: E. Clark, Frederic Roy Travel Services Tourmobile Herter, Richard Hofmeister Exhibits Central Acme Markets Volunteer Coordinator: Irene Holloway Elementary & Secondary Education Jim Holt, St. Michael's Maritime Children's Area Coordinator: Kate Rinzler Horticulture Museum Assistant Coordinator: Phyllis Ward Membership & Development Schlitz Area Supeniisors: Marta Schley, Dorothy Congressional & Public Information William Miller Stroman Women's Committee Ricardo Rocha Jim Griffith Energy Exhibit Coordinator: Gary Floyd Grants & Fellowship Wilson International Center Carina Grosse Ramirez Clerk/Typist: Susan Barrow Woodrow For Scholars Lewis Holscher Fieldworkers/ Presenters Contracts Liz Chavira Hector Aguiniga, Holly Baker, Karen Archie Green Baldwin, Charles Camp, Susan G. Davis, Doug Lindsay Hazel Dickens, Jason Dotson, Ben Evans, FoxFire Alicia Gonzalez, Richard Haefer, Delores Phillips Charlotte Heth, Marjorie Hunt, Amy Jose Sueiro Acknowledgements Conference Kotkin, Maria LaVigna, Phyllis May, Pat Vu Khac Thu, U.S. Catholic Mullen, Salvador Ortega, Keith Walter Morris Rollinson, Daniel Sheehy, Nick Spitzer, C. B. Fisk Organ Co. Father Joaquin Bazan Peggy Yocom, Jean Alexander, Kate St. Mary's County Oyster Festival National Coal Association Rinzler, George McDaniels Aunt Em's Restaurant William Schmidt Captains' Gallery Restaurant Nelson Smith Renwick Gallery W. Curtis Draper Tobacconists Mr. &: Mrs. Marion C. Marshall Office of the Director Embassy Trimmings of New York George Reynolds Free Film Program Forster Manufacturing Co. of Wilton, Michael Cook Maine Eliot Wiggington Museum of History & Technology Ernest Ford Department of Cultural History Dean Sayre Division of Musical Instruments Gene Molina Department of Transportation Ernesto Portillo Office of Exhibits Georgia Marquez Department of History of Technology John West Free Film Program Javier Guarena Building Managers Office Arnold Ramirez Sr.

[7] ^k To: Renwick Galley, / 7th and Pennsvlvania Avenue. N.W. 14 15 /

Outdoor 55 Presentations National Museum of History and Technology 8 11 9 10 5 m

Madison Drive

Gieneral Information

Outdoor Presentations Festival hours Telephones on the Mall Festival opening ceremonies will be held Public telephones are located at both en- 14lh and Cunstitutioyi Ave., NW on the Mall Site at 11:00 a.m., Wednesday, trances to the Museum of History and October 4. Thereafter Festival hours will Technology, and at each of the museums, 1. Coal Miners & Oil Workers be from 10:00 a.m. to 5:00 p.m. daily. and on the Washington Monument 2. Children's Folklife grounds. 3. D.C. Folklore 4. Mexican & Mexican American Food Sales Traditions Mexican food will be sold on the Mall Site Lost and Found and Chesapeake Bay Seafood will be for Lost items may be turned in or retrieved sale on the grounds of the Museum of from the Administration tent located on Museum of History & Natural History. 15th Street near Madison Drive. Technology 12lh and Cvnstihilinti Ave.. NW Craft Sales Lost Children and Parents

Nation nj Nalions Mexican and Mexican American crafts, Lost family members may be found at the 5. Family Folklore books and records relating to Festival pro- Administration tent on 15th Street near 6. Dunham & School Lore grams will be available at the sales tent on Madison Drive. the Mall 7. Ellis Island & Immigrant Tales Site from 10:00-5:00 daily. 8. Wheelwright Bicycle Racks 9. Sleeping Car Porters Press Racks for bicycles are located at the en- Visiting members of the press are invited trances to each of the museums and on the Hall of MiLskal Instruments to register at the Festival Press Tent on Washington Monument grounds. 10. Organ Builders 15th Street near Madison Drive. Everyday in the American Past Life Metro Stations 11. Sharecroppers First Aid Metro trains will be running every day of The Health Unit at the South Bus Rampof the Festival with the exception of Sunday, Museum of Natural History the Museum of History and Technology is October 8. The Festival is served by two lOth anil Conslilulion Ave.. A'W open from 10:00 a.m. to 5:00 p.m. An Metro stations. Federal Triangle and the American Red Cross Mobile Unit will be Smithsonian station. West Parkhig Lot on the Mall Site. 12. San Juan Pueblo Culture Film Program Hall Sea Life of Rest Rooms Ethnographic films relating to Festival 13. Chesapeake Bay Traditions Rest rooms and comfortable lounges are programs will be shown daily, free of located throughout the Museums. There charge, in the Baird auditorium in the Renwick Gallery are limited public facilities on the Mall Museum of Natural History and Car- 17th and Penmylvania Ave., NW Site. michael Auditorium in the Museum of History and Technology. 14. Mexican Masks & Ceramics 15. Musical Instruments

[8] —

Constitution Avenue

0) Lr u 55 National Museum of Natural History

13 12

( ^

Informacion General

Presentaciones al aire libre en Horas del Festival Banos el "Mall" (Alameda) La ceremonia de la inauguracion del Fes- Banos y salas de descanso estan colocados en partes en los museos. ser- Catle // V Avenina de la Conslitucion, N.O. tival tendra lugar en el Mall a las 11 de la todas Hay manana del d'la miercoles 4 de agosto. De vicios pi'iblicos limitados en el Mall. 1. Mineros Petroleros y alii en adelante. Las horas del Festival 2. La Vida Folklorica de los Ninos seran diariamente de las 10 de la manana Telefonos 3. Folklore de la area de Washington hasta las 5 de la tarde. Telefonos pijblicos estan colocados en las 4. Tradiciones Mexicanas y Mexicano Americanas dos entradas del Museo de Historia y Tec- Venta de Comida nologia, en cada uno de los museos y cerca Comida mexicana se vendera en el Mall del Monumento de Washington. Museo de Historia y y mariscos de la Bahia Chesapeake en el Tecnologia Museo de Historia Natural. Oficina de Objetos Perdidos Calle 12 y Avenida de la Constitution, N.O. Objetos perdidos se podran entregar o La Nacion de Naeiones Venta de Artesania recoger en la carpa de la administracion 5. Folklore de Familia Habra artesania mexicana y mexico- (Administration Tent), ubicada en la Calle 6. El Folklore y la Escuela df Dunham americana. libros y discos relacionados a 15 cerca de la esquina con Madison Drive. 7. La Isla Ellis y Relates de Imigrantes los programas del Festival en la carpa de 8. Carretero ventas del Mall diariamente de las 10 a las Parqueo de Bicicletas 9. Empleados Ferroviarios 5 horas. Acomodacion para el parqueo de bicic- Salon de Instrumentos Musicales letas se encuentra por las entradas de cada 10. Organeros Prensa museo y cerca del Monumento de Wash- Miembros de la prensa que nos visitan ington. La Vida Diaria en el Pasado Amerirano estan invitados para inscribirse en la Carpa 11. Arrendatarios de Prensa del Festival (Festival Press Tent) Estaciones del Metro la esquina con en la Calle 15 cerca de Los trenes del metro funcionaran cada dia Museo de Historia Natural MadLson Drive. del Festival con la excepcion del domingo Calle 10 y Avenida de la Conslitucion, N.O. 8 de octubre. Hay dos estaciones cerca del Eslacio7iamiento Oeste Casa de Primeros Auxilios sitio del Festival, Federal Triangle y Smith- 12. La Cultura del Pueblo de San Juan La casa de primeros auxilios se encuentra sonian. a la entrada de buses al sur del Museo de Salon de Vida Maritima Historia Tecnologia permanecera 13. Tradiciones de la Bahia del y y Programa Filmico abierta de las 10 a 5 horas. Habra una Chepeake Diariamente, se presentaran gratis peli- la Cruz Roja en el Mall. unidad movil de culas etnograficas relacionadas con los Galeria Renwick programas del Festival en el Auditorio Baird del Museo de Historia Natural y en CalU 17 y Avenida Pennsylvania, N.O. el Auditorio Carmichael del Museo de 14. Mascaras y Ceramicas Mexicanas Historia y Tecnologia. 15. Instrumentos Musicales

[9] thejealuri'd cummuuitii'.s, Ethnographic Fihns ^,/.„,«,«» , often with fmjlirifianlijrom will/allow eachfilm showing.

Museum ofNutural History K = K.c<>l<>gy 1 htaiii, B == Baii(l. ground floor Museum of History, ami Technology OCaimichael, ground floor D.C. Folklore Mall Site Museum of History and

Daily Technology

Daily Museum of Natural History Renwick Gallery

Daily Participants

Coal DC Folklore Martin Anburgey: coal worker—Robinette, WV Nick Arvanis: taxi cab driver —Washington, DC Willie Anderson: coal u'orker— Holden. WV Ruby Burnside: taxi cab driver—Washington. DC Donald Bryant; coal worker— Harts, WV Chris Calomiris: market vendor—Silver Spring. MD Ed Burke: coal worker—Charleston. WV Bob Chapman: taxi cab driver—Washington, DC James Dillard: coal u'orfor—Beckley, WV Paul Diggs: hawker—Baltimore. MD Denny Rose: coat worker—Drybranch, WV Merle Dutrow: market vendor—Damascus, MD Birnes Scott: coal worker—Beckley, WV Archie Edwards: miLUcmn —Washington. DC Howard Southern: coal worker—Eeckky. WV Moe Gershenson: taxi cab driver—Mt. Ranier. MD Reginald Udy: coal worker—Sophia. WV Frank Granati: taxi cab driver—Greenbelt. MD Leslie Wellman: coal worker—Dingess. WV William Hines: musician —Washington, DC Walter Kelly: hawker—Baltimore, MD Tim Lewis: musician —Washington, DC Oil Ella Lovett: market vendor—Washington, DC Casey Jones: oil worker—Beaumont. TX Alton Machen: hawker—Elizabethton, TN Sullivan: oil Beaumont. Willard worker— TX Al Mangialardo: market vendor—Washington, DC R. Scott Thomas: oil worker—Beaumont. TX Joe Mangialardo: market vendor—Washington. DC Flora Molton: musician —Washington. DC Roger Morigi: stone canter— Hyattsville. MD Children's Area Ed Morris: musician —Alexandria. VA Herminia Enrique: children's games and nursery folklore—San Diego, CA Vincenzo Palumbo: stone carver— Hillcrest Heights. MD Dr William Faulkner: Br'er Rabbit stones —Wildwood. NJ Daniel Redmond: hawker—Washington. DC Marta Montanez: Puerto Rican children's games—New York, NY Lincoln Rorie: market vender—Oxon Hill. MD Edna Fey Young: com husk doll making—Westminster, MD Charlie Sayles: musician —Washington. DC Esther May Scott: musician —Washington. DC Constantine Set'erlis: stone carver—Garrett Park, MD Children's Folklore Workshops Greg Taylor: market vendor—Washington, DC

Participating Sclwoh C5f Groups John Thomas: market vendor—Temple Hills, MD Adams School Vgo: musician —Washington. DC Anne Beers School Jerry Williams: /ini(ifo'r—Onancock. VA Brightvvood School Larry Wise: musician —Washington, DC Clark School Frank Zic: stone carver—Holliswood, NY Edmonds/ Peabody School Harrison School Mexico K.C. Lewis School Alberto Hernandez Carmona: musician —Veracruz, Mexico Mt. Ranier School Carlos Cervantes Mora: musician —Michoacan, Mexico Oyster School Fortino Hoz Chavez: musician —Veracruz, Mexico Parkland Junior High School Ramon Hoz Chavez: musician —Veracruz, Mexico Stevens School Zacarias Salmeron Daza: musician —Guerrero. Mexico Watkins School Salomon Echeverria de la Paz: musician —Guerrero, Mexico Girl Scouts of America Raul Vazquez Diaz: dancer—Veracruz. Mexico Leonardo Reyes Dominquez: musician —Veracruz. Mexico Damian Rivera Gomez: musician —Veracruz, Mexico Children's Folkart Exhibit Aureliano Orta Juarez: musician —Veracruz, Mexico Participating Schoob Francisca Orta Juarez: dancer—Veracruz, Mexico Adams School Martin Ruiz Luciano: musician —Guerrero. Mexico Clark School Ruben Cuerias Maldonado: musuian—Michoacan. Mexico Deal School Jesus Espinoza Mendoza: musician —Michoacan. Mexico C.arnet-Patterson Junior High School Evaristo Dilva Reyes: musician —Veracruz, Mexico Ck)rdon Junior High School Nicolas G. Salmeron: musician —Guerrero. Mexico Hart Junior High School Juan Taviera Simon: musician —Guerrero. Mexico Langley Junior High School Jose Aguirre Vera: musician —Veracruz, Mexico Rabaut Junior High School Ricardo Gutierrez Villa: musician —Michoacan, Mexico Tail Junior School Ovaldo Rios Yanez: musician —Michoacan, Mexico Watkins School

Mexican Americans Pedro Avala: musician —Donna, TX Maria Chavez: cook—Washington, D.C. Lorenzo Cruz: musician — Houston, TX Rosa Estanislada de Haro: candymaker—El Paso. TX Ruben Delgado: silversmith —Los Angeles. CA Herminia Enrique: singer, storyteller—San Diego. CA Alejandro Gomez: woodcanvr—Tucson. AZ Agustin Gonzalez: musician, singer— Houston. TX Maria Gonzalez: musicmn. singer—Houston, TX Marilu Gonzalez; singer—Houston, TX Raul Gonzalez: musician — Houston, TX Rene Gonzalez: musician — Houston, TX Ricardo Gonzalez: musician —Houston, TX Robert Gonzalez: musician, singer— Houston. TX )ulia Lopez; lacemaker, weaver—Los Angeles. CA Elrim R. Michi: musician — Houston. TX Emiliano Pena: saddlemaker—Rosemead. CA Gerald Sanchez: musician — Houston. TX

[15] Wheelwrights Vivian Crawford: wheelwright assistant — Franklin, NC John l.ce rip[x-t: wheelwright — Franklin, NC

Sharecroppers Rachel Diggs: house panelist— Rison, MD William Diggs: house panelist — Indian Head, MD Clem Dyson: house panelist —Bushwood, MD Edward James Harley: Imuse panelist — Mitchellville, MD Vivian M. Harley: house panel Lst — Mitchellville, MD Helen Turner James: house panelist —Lanham, MD Richard James: house panelist — Lanham, MD Elizabeth Johnson: house panelist —Glenarden, MD George Henry Johnson: house panelist—Glenn Dale, MD Elizabeth P. Merrill: house panelist —Seat Pleasant, MD Amanda Nelson: house panelist — Maddox, MD Mary Parker: house panelist —Oxon Hill. MD Dunham School Oclavia Proctor: house panelist —Seat Pleasant, MD Ronald Brown: student —Cleveland Heights, OH James Scriber: house paiielist — Hollywood, MD Luther Stuckey: house panelist Flossie Fiirr: teacher— Purcellville, VA —Pisgah, MD Evelyn Herbert: teacher—Dickerson. MD Eleanor McAuliffe: teacher—Silver Spring, MD Eliza George Myers: teacher—Lovettsville, VA Organbuilders Katherine Scrivener: teacher—Silver Spring, MD John Brombaugh: organbuilder—Eugene, OR Si Fisk: organbuilder—Eugene, OR David Gibson: organbuilder—N. Deerfield, NH Ellis Island David Moore: organbuilder—N. Pomfret, VT Faraidon Bustani: Immigrant from Iracj (Kurdistan)—Fairfax, VA George Taylor: organbuilder—Middletown, OH Minli Van Dang: Immigrant from Viet Nam—Fairfax, VA Helen Fliakas: Immigrant from Greece—Arlington, VA Uona Maria Gyorik: Immigrant from Hungary—Washington, DC San Juan Pueblo Vladimir Fedor Obrcian: Immigrant from Czechoslovakia —Reston, VA Bernice Abeyta: dancer, cook—San Juan Pueblo, NM Helen Samartzopoulos; Immigrantfrom Greece—Alexandria, VA Johnnie Aguino: singer, dancer—San Juan Pueblo, NM Sanndra Summers: Immigrant from Greece—Alexandria, VA Juan B. Aguino: painter, canier—San Juan Pueblo, NM Martina Aguino: cook —San Juan Pueblo, NM Patrick Aguino: singer, dancer—San Juan Pueblo, NM Sleeping Car Porters Petrolina Aguino: dancer, cook—San Juan Pueblo, NM Lawrence Davis: Brotherhood of Sleeping Car Porters—Washington, DC Nettie T. Cata: dancer, cook —San Juan Pueblo, NM Ernest Ford: Brotherhood of Sleeping Car Porters—Washington, DC Felicita Cruz: dancer, cook —San Juan Pueblo, NM Green Glenn: Brotherhood of Sleeping Car Porters—Washington, DC Vincent Cruz: singer, dancer—San Juan Pueblo, NM C. E. Hylton: Brotherhood of Sleeping Car Porters—Washington, DC John Mark Cruz: singer, dancer—San Juan Pueblo, NM William Miller; Brotherhood of Sleeping Car Porters—Washington, DC Juanita Garcia: cook—San Juan Pueblo, NM L. C. Richie: Brotherhood of Sleeping Car Porters—Washington, DC Margaret Garcia: cook—San Juan Pueblo, NM D. Shaw: of Porters Washington, DC J. Brotherhood Sleeping Car — Reycita Garcia: cook —San Juan Pueblo, NM Peter Garcia: singer, dancer—San Juan Pueblo, NM Tomasita Garcia: cook—San Juan Pueblo, NM Wilfred Garcia: singer, dancer—San Juan Pueblo, NM Ernestina Gibson: embroiderer—San Juan Pueblo, NM Reycita Keevama: dancer, cook—San Juan Pueblo, NM Julia A. Martinez: dancer, cook —San Juan Pueblo, NM Artie Ortiz: singer, dancer—San Juan Pueblo, NM Max P. Ortiz: singer, dancer—San Juan Pueblo, NM Peter Povijua: singer, basket maker—San Juan Pueblo, NM Arnold Tapia: singer, dancer, —San Juan Pueblo, NM Gregorita Trujillo: potters maker—San Juan Pueblo, NM Steven Trujillo: singer, basket maker—San Juan Pueblo, NM

Chesapeake Bay Henry Brown: sailmaker—Wenona, MD Frank Daniels: boat builder—Chincoteague, VA Ben Evans: storyteller—Baltimore, MD Jennings Evans: waterman —Smith Island, MD Alex Kellman: storyteller—Crisfield, MD Ernest Kitching: waterman —Smith Island, MD Frances Kitching: seafood cook—Smith Island, MD Morris Goodwin Marsh: crab scape maker—Smith Island, MD Paul Nock: bird painter—Salisbury, MD Corbet Reed: decoy canier—Chincoteague, VA Herman Stine: model boat builder—Wenona, MD David Lee Swift: blacksmith —Crisfield, MD Harrison Tyler: net maker—Crisfield, MD Corp. Fred Sherbcrt: Nat. Resources Police— Annapolis. MD Renwick ;\nthony Dukepoo: Hopi rattle maker—^Tempe. AZ Ricardo Pimentel: guitar maker—Albuquerque, NM

[16] }AU^ ^_L_

Children's Boys and Ball Games

Folklore Kate Rinzler

If you have ever tried to ask a Children have always imitated The Ball Game in Children's Art group of children what they are adults in their play, enacting scenes of Sports events are often the subject doing only to have them rim away, work and recreation. For generations, of highly prized children's drawings. yon have encoimtered the commu- ball games have been a major com- drawings may be collected and nity of children. A teacher who tmns munity recreation. Highlighted by the The to a bedroom wall or given to to write a lesson on the chalk board mass media, ball games draw families taped friends. While they often repiesent to the accompaniment of giggles and together to talk excitedly about their the expression of an individual, it was tlying airplanes is dealing with the favorite teams and players. Whether to find that some drawings community of children. played by adults or enjoyed by fami- a surprise represent the shared reminiscences of Best friends, blood-bonded clubs, lies as a spectator sport, ball games friends. pla) groups and organizations as provide images of status and success elaborate as the S.E. Washington that motivate children's play. They Kevin Boyd, master artist, and Boys" Football League, are all mani- preoccupv the thoughts of many a Rodney Day, his friend and artist- testations of children bonding to- would-be athlete in the classroom, apprentice, explained a basketball gether to explore the imknown, to elicit hours of exhausting practice, drawing they had done together. share information, to organize their pro\ ide themes of children's folk-art "This was the All-Star Game on TV play and to feel some security and and give rise to feats of community between the East and the West. They privacy from the demanding world organizing. had chosen players to go against each ot adults. The content of their ac- other. This is where #22, John Drew, tivities is made rich with children's shoots a jump shot over Darnell Hill- K.itc Riii/k-i i\ II sf}i(iali\l in Chililri'ti's Folklore dreams, curiosities and challenges, man and Kareem Abdid-Jabbar. and u'cii the program moriliniUor for the Chiltireii'i faced These two men are trying to get the as they are with the prospect Area at the Bicentennial Festival of Ameriran ot growing up one day themselves. Folkli/e. rebound. And #20 for the West side is

25 trying to block the shot. Julius Erving, with great imagination and devotion trated by a fragment of sportscasting #6, from the East side, is trying to upon the theme of a football season. from one team member who volun- block #20 so he won't block the shot. At first they had only a play group. teered to announce for a game that And #36 for the West fouls #44, Then Thomas signed up a neighbor- was videotaped. for George Gervin, the East side. And hood sports hero as their coach. Soon "Thomas Hicks is bringing his team 45." the East is leading 55 to the boys decided that they needed into a huddle again. He has a good Kevin and Rodney spoke ani- other teams to compete with, so arm and a good ability to throw the matedly, pleased that their classmates Thomas sought out other play groups ball when his team is down in the hole. crowded around to hear about their and helped them to get coaches. The Now they are having a little discussion private world of sports: during bas- teams thus created played their season on the field. They seem to be getting ketball season; they told us, they met on different turfs every Saturday eve- themselves together. They are break- at Kevin's lie house to on the living ning of a summer, culminating their ing out of the huddle and the ball is room floor and draw as they talked competition with a super bowl. Over snapped. The ball is picked up by about games from memory. When the years, teams waxed and waned; Thomas Hicks. He's waiting for his they had thus drawn and dramatized coaches, managers and coordinators blocking—decides to go around the the actions of their favorite players came and went; but the Boys' Football end. Look at how smart the quarter- reviewed and the highlights of the League carried on. back is! When the play is broken he game, they wrote the score at the top The boys enlisted the help of their just gets his legs together and runs it in of the page. Kevin had a list of players" girlfriends, cousins, and families. The no time. And that's the game! Thomas names and numbers copied from the girls collected, choreographed and Hicks has just scored the last sports page. performed more than 30 cheers and touchdown for the Jets. But the Jets This kind of drawing activity (the put on bake sales to buy football have still lost to their opponents. And detailed picturing of specific players, equipment. The mothers catered a that's all for the day, ladies and gen- the recollecting of a particular game grand football banquet at the end of tlemen!" as it is being drawn, the writing of a each season. And the boys contributed At the Festival we will be examining final score at the top of the page, and 50 cents a week to buy trophies for children's community organization the apprenticeship of one friend to themselves, to be presented at the and games, and \ou will have the op- another) exists as a tradition among banquet by their coach. portunity to share personally in their black boys in Washington, D.C. Thomas became team historian, col- activities. lecting statistics on each player and The Ball in Game Children's each game which, after 6 years, he Community Organizing typed up as the History uj the Southeast BIBLIOGR.APHV

In addition to works of art, ball Skins. It included articles on players' Avedon, Elliott M. and Brian Sutton-Smith. The games stimulate feats of children's strengths and how they acquired Study of Games. New York: John Wilerand Sons. Int., 1971. community organizing. For example, nicknames, and photographs of play- Hfrron, R. E. and Brian SuUun-Smilh. Child's Thomas Hicks, graduate of Hine ers and cheerleaders. Plav. New York: John Wiler and Sons, Inc.. Junior High, has been using his social The over-arching fantasy of being 1971. skills since he was 9 years old to organ- football stars infused their dreams. Kinh)'nl)latt-Gimblett, Barbara, ed. Speech Play. ize football seasons in Southeast Wash- One boy said he dreamed strategy Philadelphia: University of Pennsylvania Press, 1976. ington, D.C. Each summer he and his while another said he dreamed that he Opie, lona and Peter The Lore and Language friends reconstitute the Boys' Football was playing for the Redskins. Their of Schoolchildren. New York: Oxford Univer- League of Southeast D.C, elaborating vision of themselves as stars is illus- sity Press, 1959.

26 —

The Dunham School Exhibit Margaret Yocom

Mrs. Kay Geraci, teacher at the Dunham Schoolfrom 1926 to 1932, reminds students to sit u'ith their feet flat on the floor, their backs straight, and their heads tip as theyfolloiv through the paces of a pen- manship lesson inside the Dunham classroom during the 1977 Festival of American Folklife. Photo by At Harrellfor the Smithsonian.

the street stood League Park, home of the Cleveland baseball team, and a place where heroes such as the great Babe Ruth might be seen.

Dunham School continued to grow during the 1950s until in 1960, 2241 students filed into its schoolrooms. Then, in June 1975, when only 291 came, a much-changed neighborhood watched Dunham close its doors for the last time. The children had been drawn to a larger, consolidated There is nothing extraordinary Dunham School recalls the shifting school. But before the wrecking ball about the schoolroom that stands be- fortunes of other neighborhood tore down Dunham, the Smithsonian hind a glass wail in the Nation of Na- schools. As the 1800s began, school had asked for one of the rooms. tions exhibit. It has no specially carved officials of Cleveland, Ohio, realized In 1977, the Festival of American woodwork, no unusual blackboard that the area around 66th and Folklife invited a former Dunham art. Actually, Dunham School, Room Lexington had enough children for a teacher and four former students to 201, looks just like any other neighborhood school of its own. In talk with Festival visitors about schoolroom of its time with its tall, September 1 883, a brick building with Dunham school days. What they said narrow windows above the radiator, eight classrooms and grades opened sounded very familiar to those of us the American flag displayed in the its doors to the sons and daughters of who listened. Although we didn't at- corner, the wooden desks nailed to the the whites and the few blacks, the tend the same school or labor under floor, the teacher's desk, the recitation long-time citizens and the newly ar- the same teachers, our stories and ex- bench, and, presiding over all, the pic- rived immigrants. Both the school and periences have much in common ture of George Washington. "That's the neighborhood prospered and in favorite or eccentric teachers, the oc- my school," visitors exclaim as they 1894, eight more classrooms were casional prank, recess play. peer into the room. "That's exactly the added. By 1920, 955 students learned To continue to present the shared way I remember it." In this reaction reading, writing, and arithmetic traditions of the American public lies the significance of Dunham, for there. school, the 1978 Festival of American what draws visitors to the exhibit is not The neighborhood was a great Folklife has invited another former its imiqueness, but its commonality. place for kids then. On the way to Dunham pupil, Ronald Brown and

And it is this commonality, the educa- school, they could sinell the fresh- five teachers and students from the tional experience in American public baked bread of the Lexington Avenue Washington, D.C. area, one of whom schools, that the exhibit explores. bakery as they stopped to talk to the is Mrs. Flossie Furr, who attended and In many ways, the historv of druggist and the Italian shoemaker. If taught in a one-room schoolhouse in they had an extra penny, they picked rural Virginia. During daily one-hour out a handful of brightly wrapped workshops, they will share their Margaret Yocom is an assistant professor of Eng- treats at the candy store. But one spe- school experiences with the audience lish and Folklore at George Mason University and sen'cs as cnnsullanl to the Smithsonian Institution's cial part of the area made a Dunham and encourage visitors to talk about Folklije Program. child's dream come true: right across their own school days. Special after-

27 4'

r^m^^ ^

%im.SS^^'-

xw^, V^)^>^\^v^>cA> o^r^oo \ U^.^^\^ys^ O

Included in this typical classroom photo- BIBLIOGRAPHY graph is Ronald Brown, who attended Johnson. Clifton. Old-Time Schools and School-Books. / 90-1 rpt: New York: Dover. Dimha III School 1906-14. Ptiulii rdiiilrsf Ronald Brnwn. 1963. Opie, lona and Peter. The Lore and Language of Schoolchildren. New York: Oxford Univ. Preys. 1959. noon activities will feature lessons in Spradle\.Jame.s and David H'. McCiirdy. The the museum's Dmiham schoolroom, Cultural Experience: Ethnography in Com- plex Society. Chicago: SRA, 1972. presentations of children's folklore, Oral histories of oceupatwm, communities, families, various lessons taught by Festival and and individuals often contain infoniialion about participants. pupils and teachers. See, for example: Terkel, Although the worlds of Diuiham Studs. Working. Nexv York: Pantheon. 1972 and Bhthe. Ronald. Akenfield. Neie York: School in Cleveland, and a one-room Pantheon. 1969. schoolhouse in Virginia might at first seem imrelated, both Mr. Brown and Mrs. Furr show, through their narratives, that certain things were common to both: a real concern for the welfare of their entire community, and a closeness between families and teacher. The .school served as one of the focal pc^ints of the community. Last year as the audience and the School photographs are a shared experi- Festival participants swapped their ence. What did yon wearfor the occa- memories, a passer-by looked at the sion? Did yoiir teacher fix your collar or stage area and remarked, "What's comb your hair? Who did you give your going on here? I can't tell the Festival pictures to? Shown above are Norman participants from the audience." At and Cjladys Yocom from the Monacacy the Dunham School exhibit, that's the School near Douglas.'iville, Pa. lesson: there is no difference. Photos courtesy .S'orman Yocom and Clailys Yocom Whether we attended the city schools .Metka of Cleveland or Washington, D.C., or the rural schools near Purcellville, Va., Mrs. Flinsie Furr, u'ho attended and we are all members of the community later taught in one-room schoolhouses in of Atiierican school children, and we rural Virginia, stands at the entrance of have many of the same kinds of stories the Carter School in Purcellville, I'a., to tell. Come to Dunham and shate where she taught 1946-68. yours. Photo by Margaret Yocom for the Smithsonian.

28 The Occupational Community

Occupational folklife has always been an important part of the Festi- TELEPHONE

val. It is an aspect of folklife in which most Americans participate: work- related experiences, values and norms that one shares with others in his or her vocation and their expression in work-related language, tales, joking and rituals. Members of an occupational community hold these traditions in common, and often the

degree of one's membership is judged by one's ability to perform both the skills and the lore of a particular occupation. For example, a

"rail" (that is, an experienced railroader) not only knows the rules and procedures of railroading; he also knows how to speak railroaders" language. The Festival celebrates and explores this form of American

folklife and is happy to see a growing interest in occupational lore, on the part of both workers and scholars.

The Community that Works Together Jack Santino

The sizzle and smell of deep fried hilarious incidents. They share a lot, The local store is the center of the Smith foods fills the large room. Everywhere these men. On the second Tuesday of Islandfishing community. Here watermen are groups of men, sitting at tables each month they meet to do business, sivap stories about their daily activities on playing poker, standing in circles ges- to cook, and share food, to play cards the Chesapeake Ba\\ ticulating animatedly, gathering by with each other, and to engage in Plioto by Janet Siratlon for the Smithsonian. the food table with paper plates in storytelling. They do all of these to- hand, anticipating the oysters that will gether because they work together. Today, as then, each craft and each soon be ready. Everywhere are groups They work for the telephone com- occupation carries with it its own set of men, talking. Always, they are talk- pany, but their situation is not unique. of challenges that require specialized ing, joking, swapping stories. They For centuries now, people have found skills and knowledge on the part of the take great pleasiue in each other's both personal identity and a sense of workers, and this is true of all jobs. company, in telling dramatic tales and community in and through their oc- The sense of community is derived, cupation. One identified himself as a ultimately, from those skills, and also miller, a baker, or a window maker (a from knowledge, ability, and sharing:

Jack .Santinn (,s injnlklore a doclunil landidali' fenstermacher!), and members of the knou'ledge of the esoteric skills, of how and /(ilklije at the University of Petunyhama and same occupations joined together in to do the work well and efficiently; i.s on the sluJJ of the Smithsonian Folklife Program. He teaches graduate and undergraduate courses in guilds for their own protection and ability to carry out the demands of the folklore at The George Washington University. for that of their crafts. job, to use the tools and machines; and

29 —

the sharing of the common experiences with co-workers. At the same time, community is derived from knowledgi' of the special language, the technical jargon, the hand signals, and the "in jokes" that arise out of the job; ability to use and understand these terms, to telljokes and stories relevant to the job and also the ability to understand them; and the sharing of these stories, this occupational folklore, with fellow co-workers. Knowledge of these stories, the ability to tell them, and, perhaps even more importantly,

the ability to understand them, is a kind of badge, a symbol of an "in

group" identity. The joke "when is a plasterer like a bird dog? When he is pointing," is only funny to the layman when he knows that "pointing" is a plasterer's word that means smooth- ing out and putting the finishing touches on a job.

Often a novice is initiated into a work group by means of traditional pranks. How many young men have been sent off to get a "bucket of steam" or a "duberator" when they first began work in a factory or a ga- rage? And there is the story of the new airline flight attendant who was told by her fellow workers that the fust class section of the plane was going to be filled with monkeys and she was sent off to get bananas for them. She did her best to get the bananas from the catering truck, but the caterer re- fused to take her seriously. Finally, frustrated and desperate, she screamed, "I'm having all these monkeys in first class; they aren't giving

my any bananas, what am I going to do?" Overhearing, a passenger re- Telephone workers need specialized skills paticjnal life-style; occupational plied, "Excuse me. but I'm one of and knoxvledge to carry out the challenges folklore derives out of that life-style,

those monkeys and I don't want a oj their job. comments on it. and helps foster the banana!" Photo l>y Sam Sweezyjui thr Smilluunmn. sense of community that participation These stories document the fact in the occupation brings. that everyone goes through a period three-piece suit. The customs, the cos- When members of an occupation of hazing and initiation while being tumes, the initiation rituals—all these can share so much, express so much of incorporated into the group. As part comprise an occupational folklife of a themselves and their concerns, enjoy of the group, the individual partakes group. Workers often share similar and understand each other so much, of the special customs that group demands, pressures, job tasks, bosses, there is community. Their folklore

practices. The office workers' lunch- dangers, and deadlines, and they defines their communitv. and gives it time whist game is one example; the translate their day-in, day-out experi- life. Washington Cathedral stone carvers' ences into a kind of verbal art. Thev practice of inscribing the names of the add artistic dimensions to their lives BIBLIOGRAPHY work crew on the label of a cham- by creating and sharing stories that Beck, Horace. Folklore and the Sea. Middleloum. Conn.: Wesle\an Unh'ersily Press, pagne bottle every New Year's Day is derive from the job and capture its 1973. another. essence. These stories, along with Cherry, Mike. On High Steel: The Education of A member of an occupational jokes, jargon, talk of the old days, of an Ironworker. New York, 1974. community may be known by his or accidents, of notorious bosses and Green, .-irchie. Only a Miner: Studies in Re- her "costume"—the specialized cloth- clever workers who outsmart them corded f>)al Mining Songs. L'rbana, Illinois: University of Illinois Press. 1972. ing worn on the jol>—from the bus these comprise the occupational folklore Smithsonian Institution. Ring Like Silver. Shine driver's uniform to the construction of the job. Occupational i\>\klife en- Like Gold: Folklore in the Labor Press. worker's hardhat to the lawyer's compasses the entire imique occu- Washington, D.C., 1967.

30 Organ Building John Fesperman

Making a pipe organ involves a striking variety of skills. A feeling of community inevitably develops among organ shop workers because each depends upon the work ot the others, and each knows that no two completed instruments will ever be exactly alike. In some instances, the signatures of all who worked on an instrument will be found inside the organ, indicating the flesh-and-blood involvement of each person from start to finish.

It all begins at the chief organ builder's drawing board, where the location of every pipe must be pre- cisely shown, and each moving part described. It continues with the cabinetmaker who constructs the windsheets and the paneled case; with the pipemakers who cast molten metal into sheets to be planed, hammered and formed around mandrels to make the pipes; with the keyboardmaker; and with the carver whose work is then gold-leafed to decorate the front of the case. In addition, hundreds of intricate mechanical connections between the keyboards and the pipes must be made, all by hand, and the bellows, which holds a large reserve of wind, must be constructed. It is only

when the instrument is assembled for testing that all those craftsmen can see the total result of their many months of labor, as woodworking, engineer- ing, metalworking, and the trained ear of the "voicer"—who regulates each pipe—come together. Despite the complexity of the final product, many organ shops are (]uite small, employing perhaps only a dozen workers. Working in close quarters, always under the direction of the chief organ builder, each craftsman becomes a part of the whole, cooperating with his peers and sharing tricks of the trade. The result

John Kespernian is Curator of the Division oj Musical Instruments of the Smithsonian Institution. —

New Life for the Ancient Craft of Organ Building Barbara Owen

For more than a thousand years, a help keep unruly church singers on colorful procession of both saints and the straight and narrow path. sinners have labored at the unique Once inside the church, the organ craft of organ building. The saints underwent a transformation, becom- have included learned monks and at ing at first bigger, louder, and more least one reformation-age martyr, and imwieldv, and then more complex. By the sinners have engaged in almost the 15th century it assumed a form every known sin. easily recognizable today. By the 17th Many of the gifted craftsmen who and 18th centuries the organ had labored to rear the musical mon- reached a zenith as both a musical uments which still grace many of medium and art form, coinciding Europe's cathedrals were anonymous. (probably not by accident) with a simi- Yet the names of the great master lar pinnacle in the writing and per- builders of the organ's golden age forming of church music by men such affectionately called the "Old as Johann Sebastian Bach, George Guys"—are known and revered Frideric Handel, and Girolamo Fres- among those who still practice their cobaldi. trade: Arp Schnitger, the 17th- B\ the late 18th century, however, century North German master whose as the cultural and political center of bones lie beneath the church floor civilization was shifting away from the where one of his instrimients is still Steve Boody transfers pipe measurements Church, music followed to the secular played: Alexandre and Francois- with proportional dividers. In the fore- world of the opera stage and the con- Henry Cliquot of 18th-century Paris, cert hall. were regarded as a ground art' conical /ei't of pipes; cylindri- Organs Saxon Gottfried Silberman, contem- cal parts are pipe bodies. relic of the past. The 1 9th century saw porary and friend of J. S. Bach; 17th- a brief resurgence of the organ as a century Italian organist-builder Gos- grant who built organs in America be- musical instrument greatly compli- tanzo Antegnati; "Father" Henry technical innovations. By the fore it became a nation; and Elias and cated by Willis, who in the 1 9th century created "improvements" George Hook, who latei' proved that 20th century these the English concert organ; David Americans could build organs equal had become so extensive that the ma- Tannenberg. the Moravian immi- to those of Europe. chinery, not the esthetic value of the The earliest known organs were organ, was of paramoimt importance, and musically the organ sank to a new Barbara Owen i.\ a wftl-known hutorum uj organ small, crude, and loud, and their uses huildwg in thi' United Stales whose definilive book were secular. Some claim that Nero low as an instrument of electrically

organ building in Neii' England /-^ being puh- of played one, rather than a fiddle, while produced background music. liibed try the Sunbury Press. Rome burned. These primitive or- During the past 200 years most of Photos by Tom Byersfor the Smithsonian. gans could produce only a single the old baroque organs of Europe Line drawings from The Organ Builder /n' Fran- melody line, and in the 9th or 10th have been rebuilt, mutilated or de- (OM Bedos de Celles, published in France between too-often 1766-78, fmbtished in 1978 in translation by The centiuy AD some perceptive cleric stroyed, despite the un- Sunbury Press. saw the advantages of using them to heeded outcries of visionaires such as

32 Jill Faulds skims the ladle. As the hot metal chills, the oxides which form on the

top must be skimmed off. When the metal gets to the right temperature the pipe

makers pour it into the trough and "run the sheet".

Jill Faulds and Lou Dolive are "running

the sheet". The trough is filled u'ith hot metal and run down the table, a granite slab covered with cloth. The metal runs out of a slit at the bottom to form a sheet. This chills quickly and is rolled up fir storage. Various alloys oj lead and tin are usedfor organ pipes, from almost pure lead to about 90% tin. Most organ people agree that the type of alloy has some effect on the sound. Though this point is some-

times hotly debated, it is almost never ignored.

33 mass-prodiK tioii-oriented lactory to the smallest workshop, the tin and

lead alloy is still melted in an iron poX and run out in slfeets on a Hat, cloth-

surfaced, stone table. The nietal is still cut, formed, and soldered by hand, and the finished pipes are voiced with the same tools used since time im- memorial. The melting-pot and sol- dering irons are now heated b\ gas or electricity instead of charcoal, but

little else has changed. And while it is now possible to obtain tin and lead

free of impurities, it tinnsout that the old impure metal made better pipes, and thus modern pipemakers must add calculated amounts of copper, antimony, and bismuth to their mix- ture to insme the desired results. Today, the people who pay the greatest respect to the Old Guys are often young guys. Most of them are intelligent, highly skilled, and well- Albert Schweitzer. Also, two world educated craftsmen who could prob- wars did not help; a Gothic organ ably make much more money design- played by the composer Buxtehiide in ing missiles or TV sets if it were not for the 17th centmy virtually stood imal- their general disillusionment with tered until the bombing of Lubeck in mass-produced consumer cidture, 1942. and their great satisfaction from mak- By mid-20th century some young ing something beautiful with their organists and organ builders of both own tw^o hands. While thev would not, Europe and America paused to look as a few cynical critics intimate, wish to back over the long history of their in- go back to gaslight and the horse and strument and realized that something buggy, they do combine the practical- ity tools with pride in their had been lost: they set out to find it of power again. mastery of hand tools, and will from Lou Dolive hammers organ pipe metal What they found was the Old Guys time to time step aside from their crea- with a modern pneumatic hammer. and their accumulated wisdom. tion of a new organ to restore an old Slowly, sometimes mistakenly, and characteristic of all the best old or- one. Although most of these younger often painfully, they began to retrace, gans is their singing, unforced pipe builders have plenty of work, they to find out what organs were all about speech, possible onlv when the organ probably won't leave their heirs much back when people revered them and is properly controlled, properly money when they die; they just possi- wrote transcendent music for them. winded, and stands free in the bly may leave something of far greater They found the organs that the Old room—as organs always did until re- value—even as the Old Guvs did. Guys had built—those that had been cently. The pipes of the old organs bypassed by "progress"—and studied speak in eloquent detail of the voicing BIBLIOGRAPHY scaling techniques used to achieve and restored them. More recently, and Armstrong. William H. Organs for .America. much attention has been given the this warm and natural sound if one Philiulrlphia. Viiiversil^ of Penmylvania Press, long-neglected "how-to-play-it" books has the patience to put aside precon- 1967. Organ Design. of 17th and 18th centuries, and the ceived notions and pav attention to Fesperman.John. Two Essays on Rah'igh: Sunhury Press, 1975. sometimes astonishing bits of infor- the accimiulated wisdom of the Old Ochse. brpha. Ihe History of the Organ in the mation that they present to musicians Guys in studying them. Even the United States. Bloomington: Indiana Univer- accustomed to modern playing tech- materials turn out to be critical to the sity Press. 1 975. niques. sound of the pipes; tin for the silvery Owen, Barbara. The Organ in New England Siinbury Pre.'.s. 1978. Now we are picking up again where quality of the 18th century French before 1900. Raleigh: Williams. Peter. The European Organ. 1450- left off with help and South organs; lead for the Old Guys much German 1850. Braintree, Mass.: Organ Literature from the Old Guys themselves, now the sturdier, more fundamental qual- Foundation, 1967. held in great affection after centuries ity of the northern European and Re- of neglect. The art of building a sensi- naissance instruments—and the lead DISCOGRAPHY tive and responsive mechanical play- must be hammered to produce the .'Ml records in the following series (all available ing action, lost for over half a century, best quality of soinid. in the U.S.) "Die Alte Orgel" (Telefunken) is being restudied and practiced by a Curiously, there is one aspect of "L'encyclopedie de lOrgue" (Erato) building that has changed little growing number of modern organ organ "Historic Organs of Europe" (Oryx) builders. since medieval times: the making of Organ Historical Society convention record- We have learned that the coinmon metal pipes. From the largest, most ings.

34 The Brotherhood of Sleeping Car Porters Jack Santino

The Brotherhood of Sleeping Car ture of the job has changed, and in Porters was the first black union in 1978 the Brotherhood of Sleeping America. It was begun in 1924, when Car Porters merged with the the times were not gentle if you were Brotherhood of Railroad and Airline black. Clerks. In effect, this major black imion ceased to exist. "Originally they would only hire blacks as To mark the passing of this historic porters, and the only other railroad occu- union, the Festival of American pation that blacks did ivas fireman, Folklife is featuring a group of sleep- shoveling coal, because it ivas so hard. ing car porters at the Nation of Na- Then it got more mechanized and 'Ne- tions Exhibit in the National Museinn groes' were run out. We couldn't demand of History and Technology. Featured or insist on our salary since we had no participants include Mr. William Mil- union. We got paid a lot less." ler, former president of the union, —Ernest Ford. and Mr. Ernest Ford, former The union helped change these secretary-treasurer. Other members conditions, helped make life and work of the Brotherhood who will attend

on the railroad better for the black are Mr. J. D. Shaw and Mr. L. C. man. Although the union was power- Ritchie. These men have stories to tell, ful during the I930's, 1940's, and experiences to unfold, skills to de- 1950's, in more recent times the na- scribe, and history to unveil. They are more than a unique part of labor his-

Jack Santino « ii doctoral candidaU- vi folklore tory. They are national resources who andfolklife al the University of Pemisylvania and carry with them an experience of IS on the staff of the Smithsonian Folkltfe Program. black struggle in America. He teachts graduate and undergraduate courses in folklore al Tlu- George Washington Vnwersity.

Sleeping car porters took meticulous care of their passengers in the old Pullman cars—tlieir professional pride made travel on transcontinental trains a liLxurious experience. A porter transfo)-ms a Pullman seat into a berth as his passengers fn-epare for the night.

Behind the .scenes, sleeping car porters prepare linen for the Pullman berths. Photos from the Smithsonian rnllecliom.

35 Folklore in your Community: The Stone Carvers of Washington's National Cathedral Marjorie Hunt

No one exemplifies the idea of occupational group as community better than the stone carvers who have been working in Washington at the National Cathedral. They practice an art, a skill, a centuries-old craft in much the traditional way that it was practiced five generations ago in their families. Vicenzt) Palumbo, Roger Morigi, Frank Zic, and Con- stantine Seferlis will be demonstrating this art at the 1978 Festival of American Folklife, and will share stories with the public about their skills and secrets, their history and their jobs. Many of the traditional stone carvers are retired now, and it is said that Unless it is to be a free-hand caniing, the their unique art is dying, for there step in the carving process is the de- are no young apprentices training to first signing a clay model by sculptor. The The "family" stone carvers in take their places. Photo documenta- of a of their clay is then cast into a plaster molding workshop at Washington tion of some of the processes that go Cathedral. Mas- and given to the carver, who translates ter carver Morigi remembers, "There used into the stone carver's art is on these the image into stone. Vincenzo Palumbo, to be seven cancers in this workshop. It pages. Come to the National Mall Frank Zic, and Roger Morigi disciuss a zvas like a family. We used to have Oct. 4-9, 1978, to meet and see these good model that will be given to Vincenzo to times then, everyone enjoying themselves. gifted artists who live and work in came. That was the beauty it." our nation's capital. of Photo by Marjorie Hunt for the Smitlisnnian. Photo by Morton Broffman © 1978. Some of the other participants who will be featured in panels at the Folklore in Your Community project are taxi drivers, open market ven- dors, street hawkers, and local storytellers, all from this area. Join us and celebrate with us the rich and vital folklore and folklife in and around Washington, D.C.

Marjorie Hunt is a dm lornt lanilidali- in folklore andjulkUjf nl the University uf Pennsylvania. She has condurted fu'ldwork in Pennsylvania and Ire- land, and uHirked on the Festival's Folklore in Your Community piogram.

"When you work a model you've got to White-gloved stone carvers Frank Zic, pay attention to the form and get the form Vincenzo Palumbo. and Roger Morigi like the model—you have to put in not and members of the building crew care- your idea, but the idea of the sculptor. I fully hoist t/ie completed stone carving of try to understand and reproduce what is Adam to its rightful niche outside the Ca- there." With a close eye to the plaster thedral's West Front. Photo by Morton Broffman ©1978. model behind him, Morigi u.ses a pneumatic hammer to rough out the image of Adam in stone —a process that took over two years to complete!

37 "

Constantine Seferlis uses the pointing machini' to check the accuracy of his ii'ork

as it progresses. Before the pointing machine leas invented, carvers used calipers

™ ^^^ o^i^bi lajms^

Frank Zit uses the stone carvers' pointing machine to translate exact measurements from the sculptor's plaster model to his Master carver Morigi stands back to in- lasting reproduction in stone. spect the totality of his workmanship. PImlo by Jam- Doyle ©1978. "The carver gives life to dead, cold stone. When you carve you have to haveform in mind—the whole piece. And thefonn

must he flowing—it must have the feeling

that it floats. Pliulo by Morton Broffman © 1978. High up on a scaffold, Palumbo uses the pneumatic hammer to speed up some of the rough cutting on an ornamental piece. Except for this electric hammer, the tools and methods (f carving and embel- lishing stone have changed very little over the centuries. Photo by Mnrjont' Hiaitjor the .Smithsiitimn.

Vincenzo Palumbo uses the traditional mallet and chisel to put the finishing touches on the leaves of an ornamental

boss. "It is the small details that give a

carving life. The most difficult thing to

carve is a rose. It is the color that makes the rose beautiful and when you carve you must realize this. The ability of the good carver is to gii'e the optical illusion of color by muking use of contrast, tex- ture, and exaggeration." Photo by Morion Brofjman © 1978.

Each carving at the Cathedral carries

with it a bit of the man who carved it. Each cannng tells the story of an occupational community —of what is important and meaningful to a group oj craftsmen who share so many experiences in common. The golfer's grip gargoyle is an example. It has special in-group meaning, for all the stone caniers are avid golfers. Photo by Marjorie Html jar thf Sinilhsoiiian.

The stone earners at the Cathedral are indeed a community of workers, a family of men who share not only the same traditional skills, knoii'ledge, and abilities, but the same day-in and day-out experieyices —the same customs and traditions, frus- trations and good times. Photo l)y Morion Broffman © 1978.

39 Sharecroppers George W. McDaniel

The majority of nineteenth and early twentieth century Southern farmers were landless. Sharecrop- pers, tenants and wage hands, all had an important place in American history. For this reason the Smithsonian's Museiuii of History and Technology has brought into its Hall of Everyday Life in the American Past a sharecropper's house where a special exhibit on sharecroppers will be part of the Festival of American Folklife. Former sharecroppers will be there who can answer from personal experience such questions as what were the daily activities of men and women on farms? What did the children do? How were the rooms furnished? What did they cook with? What did they eat? What crops did they raise, and how The reconstructed sharecropper's house The sharecropper's house just before it did they divide them with the land- attracts a lot of attention from visitors to u'as dismantled in 1968. owner? the Hall of Everyday Life in the Ameri- Photo by George Watson for the SmitliMintan. can Past. This aiuhentic sharecropper house planted and harvested, and vegetable dismantled Photo by George McDaniel jor the Smithsonian. was and moved from the kilns and cabbage beds dug for winter Mulliken-Spragins farm near Bowie, in one room and the girls in the other. storage of garden produce. in 1968. Md. People who lived in a The larger room downstairs was the The house was part of a farm coin- house such as this left no wills, deeds, principal room for family life where munity and one of several tenant diaries, tax records or collections of food was cooked, meals eaten, vegeta- houses clustered together. Down the letters that would help to its us date bles canned, butter churned, bodies farm lane stood the landowner's large construction, identify its furnishings, bathed, music played, and stories house. Nearby was the community or describe the lives of its occupants. swapped. Babies were born in the chinch with the school in front of it Structiual details, however, indicate house. George Johnson, one of the and the cemetery behind. that it was built shortly before 1900. It Festival participants, was born in this Feel fiee to ask these participants is therefore not an old house, nor is it house in 1929 and rocked to sleep in a about their home. Not all of them typical of the housesof most Southern cradle in the side room bv his mother, were associated with this house; some sharecroppers at that time; most were Elizabeth Johnson, also a participant. are from St. Mary's and Charles smaller and more crudely finished. People died in the house too, as Oc- Counties, Md., and one is from Tide- But the sharecroppers' hc^uses were tavia Parker Proctor, another partici- water, S.C. But they all have memories home. Throughout history, two- pant, remembers; as a young girl she in common and they all have much to parent households lived in them. Most lived next door and was brought here pass on. Their experiences are evi- families included many ihildren to view a deceased daughter of the dence of the "hard times" black crowded in two rooms down and two Wilson family, who resembled a "tiny sharecroppers li\ed through, and of up. The parents and infants tradi- doll" laid out on a cooling board be- the reasons that thousands left the tionally used the smaller side as room tween two chairs in the front room. country and moved to the cities in one their bedroom (which also served as Outside the house, clothes were of the great migrations of American the more formal sitting room), and washed and dried, water carried from history. Its effects still shape your life, the children slept upstairs the bt)vs — the spring, stove wood chopped and whether you live in the coimtry, sub- stacked, chickens fed and housed, and urbs, or city. Some ways of life have George W. McDaniel, ah historical comuHant a path worn to the outside toilet. Be- been left behind, others have been and phnlngraphi'r. ri'ienily resmrchni this sharecropper's hniLv [or the Smithsonian Institution's yond the house and vegetable garden, modified by new circumstances, while Department oj Cultural History. fields of tobacco and corn were still others remain intact.

40 Energy & Community

Peter Seitel

This year, for the second consecu- tive Festival, the Department of En- ergy is sponsoring a presentation of an energy-related theme in American folklife. Festival planners are highlighting two kinds of energy production that lately have been much in the news—coal and oil. Consistent with the Festival's traditional concern for occupational folklife, this year's energy component presents lore, lifestyles, and music from communities and families of coal and oil workers. The Department of Energy and the Festival of American Folklife invite you to experience some commimity folkways of the people who extract these important energy resources from the earth. Coal miners and their kin from West Virginia share with you their music and their tales about working in the mines and living in "mine patch" commimities. Underground miners demonstrate some skills needed in K their work and some kinds of equipment that they handle to extract bituminous coal from the mountains. They will help you try on miners' safety equipment and demonstrate the difference between "high coal" and "low coal." Men and women working in the mines form a close-knit group: they depend upon each other's skills, attention to safety, and moral support. The mine is potentially dangerous, and strong commimitv ties help to preserve, maintain, and better the miner's life. The "roughnecks" who come to the Festival from the Golden Triangle oil-producing region of the Texas- Louisiana Gulf Coast are, in fact, relatively gentle people whose nickname is really an occupational classification. "Roughnecks" are people who work on the floor of an oil-drilling derrick. Historically, in the boom-and-bust

Peter .Seitel m the Senior Slnfj Fnlklnrist in the Folklije Program oj the Smithsonian Institution. days of oil discovery, when an exploi- dinated or ill-informed movements atory well signaled its friiitfuliiess with mean injiuies. a spewing gevser of Oil. when towns of Nature introduces complications in floorless tents and larnshat kle l^iiild- work procedures. Rain brings mud to ings sprang up to house the rapid in- the oil-drilling worksite, a slippery flux of workers, "roughneck" may situation to work with, but unavoid- have also signified a characteristic able. While they are virtually unaf- life-style. But today oil workers live as fe( ted by direct rain or sunshine, un- do their counterparts in other indus- derground coal miners must cope tries, in the communities that ring the with geologic hazards such as gas, ir- Gulf shore. Oil workers will share with regular rock formations and under- you their specialized knowledge, ground water. skills, work-related tales of today and The intensified force of community of the boom years earlier in this in the mine and on the oil drilling rig is century, and folk traditions from sev- expressed in many cultural forms. At eral ethnic groups whose members the basis of all of them is a set of work in Golden Triangle oil. shared understandings that enable The forces that shape coal miners' one to predict and depend on the ac- and oil drillers' occupational folklives tions of co-workers. The occupational are similar to those that shape the oc- community's shared understandings cupational folklives of other workers include not only norms of behavior in outdoor extractive ov construction (predictable actions) but also values. industries such as lumber, hard-rock In mining and oil drilling as in other mining, and high steel. One of these dangerous occupations, values weigh forces is physical danger, which re- the relative balance between safety on quires careful cooperation among the one side and production speed on work-crew members. The workers the other. are, in a sense, dependent upon one Occupational cultural expression another for their safety and continued includes both verbal and "practical" productivity; this mutual interdepen- joking, which, among other things, dence is expressed in a \ariety of cul- seems to be aimed at keeping fellow tural forms. workers loose in their job roles, flexi- A principal factor that makes these ble and adaptable to unexpected pos- A derruk or "monkey" »>u>i works high worksites dangerous is that they are sibilities. Narratives contain informa- above the drilling plalfurm. nonpermanent. Unlike workers in a recurrent the Pholu by David Moody © 1978. tion about both the and factory, processing plant or office, ex- unusual situations that occur on the tractive workers practice their skills in Roughnecks at work. job. Songs, especially among coal a continually changing workplace. Oil Ph.itn hy Ddvid Moody © 1978. miners, express shared feelings. And drillers inove from site to site explor- elements of personal style, like a coal ing or augmenting existing wells. A miner's distinctive round "dinner miner's workplace moves deeper and pail" contribute to a strong statement deeper into the earth as coal is ex- of identity. tracted. The temporary nature of the work sites makes permanent safety in- BIBLIOGRAPHY stallation and structures impractical Boalright. A/ix/y and William Owen. Tales from and uneconomical. Safety thus de- the Derrick Floor Diiubleday: Garden Cily. N.Y., 1970. pends more upon procedures than on Green, Archie, Only a Miner University of Illinois structures. This increases mutual re- Press: Urbana, 1972. liance among members of the work Korson, George, Black Rock: Mining Folklore of crew; an oversight by any one can the Pennsylvania Dutch Johns Hopkins Press: Baltimore, 1960. bring danger for all. . Minstrels of the Mine Patch use of large The heavy equipment Folklore .issociates: Hatboro, Pa., 3rd printing. in very small spaces also increases 1964. danger and the need for cooperative -. Songs and Ballads of the .Anthra- action. Oil drilling requires coordi- cite Miner Frederick H. Hitchcock: New York, 1927. nated movements among a crane operator, who hoists lengths of drill- DISCOGRAPHY ing pipe: the "monkeyman" who takes Come All \m\ Coal Miners. Protest Songs from the .-{ppalachian Coalfields, edited by Gu\ Cara- out and stores away the pipe on a ican. Rounder 400?. raised platform; and the "roughneck " Songs and Ballads of the Anthracite Miners, who either receives lengths of pipe Recorded and edited lr\ George Korson, .Archive that the craneman has lowered and of American Folk Song .Album #/.-76. Library of attaches them to the drilling shaft, or Congress. Songs and Ballads ot the Bitunnnous Miners, removes lengths of pipe and rigs thein Recorded and edited by George Korson, .Archive so the craneman can lift them to the of .American Folk Song .Album #L-60, Library of higher platform for storage. Uncoor- Co•ngress.

42 .

7 Ih'i'l iij skipjacks, used in the Chesapeake Bay for oyster dredgingfrom November until April. The skipjack with its high, gtaceful how IS the last fleet of working sail in America, and is a symbol of the romance of the Bay. Photo fry Rntpli Rwzterfor the Smithsotuan.

Region and Community: The Chesapeake Bay Charles Camp

The Chesapeake Bay has long been biological and economic system that is the heroics—real and fictive—exist appreciated as one of the Middle At- made all the more compelling by its chiefly in the stories told outside work. lantic's prizes of nature—an area both many human participants. The These stories, of bad weather, good beautiful to the tourist's eye and boun- waterman is the central figiue in this captains, and great catches, serve to tiful to the waterman's nets. The Bay order—the hiunan link that both gen- define the way of life the watermen has served to define the geographical erates the system's complexity and share, and maintain the line between and historical identity of the re- makes it comprehensible. The insiders and outsiders which describes gion—a place from which the lines of watermen catch the wily crab, itself the folk group. cultine have traditionally been drawn. the subject of considerable folk wis- In part because the folklore of the The Bay occupies a special place in dom, and all of modern science and watermen tends to focus upon the re- the minds of Marylanders, who have economics cannot draw the crab un- lationship between individuals and come to define themselves, their willingly into the pot. the natural world in which they work, foodways, and their ambivalence to- In the states that border the Bay, outsiders are not accustomed to think- ward modern times in terms of the the waterman has achieved the status ing of the people of the Chesapeake Bay and its people. The fluctuating of a folk hero, an individual believed Bay region as members of tightly-knit price of crabmeat is not a simple indi- to possess an understanding of his coiTimunities. There are exceptions cator of nationwide economic trends; world which surpasses that of his —the more isolated islands of the it is the expression of a complex fellow-men, and powers of will and lower Eastern Shore, including Tilgh- strength that enable him to perform man. Smith, and Deal, have long heroic feats. Unlike most folk heroes, been considered places where older Chaile.s Cianip is the Stiitr Folklvri.st at the Man- works values, including a strong sense of land .-{rti Council and has been a folklore consull- however, the waterman alone nnl to the Smithsonian Institution since 1971 in a world where silence prevails, and coinmunity, continue to prevail. But

43 with these exceptions, the Bay region and the lower F.astern Shore in pai- ticiilar aie seldom viewed as a network of towns and liamlets whitli by their interdependence constitute a very special sort of economic- and social commimity. Most of the towns that encircle the Bay at first appear to be simply places where people live and work. The towns seem more the productsof expediency than planning or the thoughtfid decision of families to settle together in one place. Like many other aspects of the Bay, these initial impressions are inislead- ing. The dependence that Bay area communii) members place upon each other is subtle, yet it dramatically shapes the way life is lived and the rewards of living it. Like the waterman, who requires the services of a shipwright, marine blacksmith, net gearer, mechanic, and fuel supplier to inake his living. Bay towns are formed as much by mutual re- liance as self-sufficiency. The eco- The life cycle of the Allaiitic blue crab is Checking the crabjloals ts an eveiy-day nomic chain that extends from the punctuated by a series oj moults, or shell job for the waterman. He must get the soft Chesapeake waters to the Middle At- shedding. Like fingernails, their shells crabs out before their shells turn hard. lantic markets is dependent not only consist of a substance called chitin which Floats are placed in creeks carefully cho- upon individual watermen, but also has no groivth cells. The popular soft sen for their strong tidal flow and an- upon the Bay communities for the de- shell crab w not a separate species as is chored cro.sswise to insure maximum cir- livery of oysters, crabs, and clams to sometimes thought, but an Atlantic blue culation. The waterman must constajitly waiting consumers. Recent changes in crab in a .specific stage of moult. After watch and overhaul his floats, cull un- this chain, and the increase of large- shedding, if left in the ivater, a crab's neiv healthy specimens and check the progress scale commercial Fishing in the Bay shell becomes a "paper shell" or slightly of the crabs daily as they approach the

have not altered the principles of stiff in 12 hours, and crinkly hard in 24 moment oj moult. independence and mutual support hours. Seventy-two hours after shedding,

which, despite their superficial in- the crab's new shell is as hard as his old compatibilitv, form the foundation of commimity life. The Bay is changing, as all people and their communities change, but Henry Brown, sailmaker, carries on his the identity of the region in the minds family's three-generation tradition of of those who live within its bounds making sails for skipjacks. He takes pride remains strong. Like the crab that in doing the handwork that most neiver challenges the waterman to seek him sailmakers do by machine. Smitlisonmn. in his home and on his terms, the Bay Photo by Janet Strattonjor the

is a vital, yet ever elusive force, shap- ing those who live upon its fortimes.

BIBLIOGRAPHY

DiiutLs iif hddh and arlirlrs have btvrt written

about the Chcsapmke Bay, iti manne lijr, history, waterrraft. and fnlklorf. Among the works nmfnlty

in print, tin' follnwing provide the best introduction

to llw Bay and lis culture.

Carey, George G. A Faraway Time and Place: Lore of the Eastern Sliore. New York: Robert B.LufeCo., 1971. Lipp.wn, Alire Jane, editor and illustrator. The Chesapeake Bay in Maryland: An Atlas of Natural Resources. Baltivwre and London: The Johns Hopkins University Pre.^s, 1973. Warner. William W. Beautiful .Swimmers: Waiermen, Crabs, and the Chesapeake Bay. Baltivwre arui London: Penguin Books. 1976.

44 An increasingly used modification of the crab float is a stationary extension of the crab shanty. Besides making it far more convenient for the watermen to work the floats, this arrangement insures constant water circulation b\ means of pumping tidal waters through the holding tanks.

Watermen in a crab shanty talk about the day's catch luith Ben Evans (right), a Fes-

" ' tivalfield worker, and Alex Kellam {left). ii iu ipM inp ^>pppfp|t ; H|iPf Alex Kellam is a storyteller and retired watermanfrom Smith Island, whose con- versations are well laced with the stories, poems and songs of the Tangier Sound.

Soft crabs Jrom Smith Island are cleaned, packed and preparedfor market, first going to Crisfield, the commercial center for Tangier Sound watermen, and crab capital of the world. Shipping point of the

world's largest annual catch of crabs, it exports 125-175 million pounds of crabs, worth approximately $40 million.

P/idtns h\ /a)ii'l Strallitn fur ihr Smilhsnnmyi.

^WBrTC-?!^T^^.'^:

45 Smith Island from ''Beautiful Swimmers'' William W. Warner

Smith Island's population is divided among the separate villages of Ewell, Tylerton and Rhodes Point. The population of the whole island presently does not exceed 650. The village of Ewell, Smith Island's

largest commimity, is divided into two roughly equal parts called "Over the

Hill" and "Down the Field". It is periodically flooded by storm tides during which graves have been dis- lodged and coffins known to float away. But the islanders have learned to live with these floods, and some even consider the island's vulnerabil- ity an advantage of sorts. A group of older men in Filmore B rimer's general store once took great care to explain why this is so.

"We got it nice some ways," one said. "'Water passes right over the island.

People think we fare bad, but the is-

land's low and it's got plenty of outlets. If it weren't for that, we'd be sunk for rain and tide!" "Oh, my heavens, yes," a second agreed. "Now you takedrisfleld. High Low land notwithstanding, Ewell The shady tree-lined main street oJ Ewell tides and a southwest storm, the water gives the visitor a remarkably secure on Smith Island with its crisp white clap- pushes right up into town and stays feeling. In spite of its name the Big hoard houses reflects the islanders' strong

there. In it Hinricane Hazel went Thorofare is narrow and well pro- .ien.w of the traditional American com- clear up to the stoplight and they was tected, or what cruising guides like to munity. Cozy, simple, but well kept, the crab floats all over Main Street. call a snuggery. The wind may be busy village offers refuge from the vagaries of Course, it's true Hazel come over us, above, bending the pines and cedars, nature. too, and all them coffins went adrift. but down on the water there are only Photo by Janet Siratton /or the Smith.sonian. You rememlicr that, Stanley? But the wavelets and cat's paws. Ewell's main Tylerton offers similar pleasures, people put their boots on and fetched street— it has no formal name— is although keel boats may come to grief the coffins back all right, they did. similarly snug. The neatly painted in getting down shallow Tyler Ditch. And you know the water didn't stay houses, white clapboard with green or Quiet and isolated, Tylerton has a very long." red shutters, retain ornamental picket reputation of being very conservative. "That's right," the first speaker fences or are sufficiently separated "Ewell, that's too noisy for us," Tyler- concluded. "Also you gt)t t(j think we not to require any. In summer there is tonians protest. "Cars, all those lights! don't get squalls like they do over to always shade. On nearly every front Might as well be city folks." Rhodes the western shore. Sunnybank and lawn there are fig trees and elaborate Point, the Rogues Point of yore, is the places like that. Get more waterspouts birdhouse hotels for purple martins. smallest of Smith Island's three towns. there." Out back are nicely kept shacks, also Smith Island may not be to every- white clapboard, where the men put- one's liking, but for those who want to

William W. Warner is a former AssislanI Secre- ter with their gear, and round brick see the water trades at their traditional tary oj the Smitksonian Institution and recipient of pump houses with conical slate roofs best. Smith will never disappoint. iLs Exceptional Sennce Award. This article ts ex- that somehow remind you of Wil- Smith Island's greatest fascination lies cerpted from his Pulitwr Prize winning book, liamsburg. For the weary sailor, Ewell with the memory of its older citizens, Bfautifiil Swimmers, © 1976, by permission nf Little, Brown and Co. is a delight. who enjoy telling how it was only

46 thirty years ago living without electric- little, move your bags around and you sail, sailed downwind running the ity and working the water mainly by made out all right. But come squalls, lines—you couldn't reach, that made sail. With the exception of Deal Is- you could capsize easy enough! Thing the line too shaky for the crabs—and land, there is no better place on the to do was head for the shallers, where then you tacked back up and did it all Bay to learn of forgotten craft and the you could get your feet on the bottom, over again. Tide down anci slick pretty skills required to take crabs and oys- unstep the mast and right your boat. ca'm, we poled and dipped for peel- ters imder a full press of canvas. The Then step her up, set your spreet pole ers, standing right on the bow. Some- older watermen like to talk most about and off you go again!" times we took along a sharp-ended the sporty— little Smith Island crab "That's right," laughs Omar Evans, gunning skiff, also good for poling." skiffs "dinkies" they were called the proprietor of Smith Island's lone Evans is an expert on the larger locally—that went in flotillas to spend crab house. "Capsizing, it made you so boats used in crab scraping. There the week trotlining or dipping for mad you scooped out like half of the were the Jenkins Creek catboats, peelers up around Bloodsworth or water and then drank the balance for "one-sail bateaux," he calls them, and South Marsh. Not much more than cussedness." the bigger jib-headed sloops, out of eighteen feet in length, the dinkies Both men remember how bad the which the skipjacks probably evolved, had a single large sprit-sail and car- bugs were when they spent the week that could pull three crab scrapes in ried one hundred pound sandbags as in little shanties on the uninhabited good breeze. "We built them good movable ballast, the dexterous place- islands up north. "You walked in the here," he says with pride. Both recall ment of which was essential to main- high grass," Evans recalls. "And the that it was hard work hauling in the taining an upright position. "Breeze green flies carried you off." (They still scrapes. "No winches, like they got la- up strong and didn't we go!" says do.) Sneade's memory of trotlining ter," Sneade reminds you. "You William Wilson Sneade, seventy- techniques is especially clear. "Tide slacked off on the sail a bit and just three, who now occupies himself mak- up and a smart breeze, we put out our pulled in your scrapes through main ing fine buster floats of cedar and lines," he explains. "You set them fair strength and awkwardness." spruce. "Just wicker [luff] the sail a with the wind, hoisted a little pink of "Couldn't do that no more," he adds. "I'm all stove in. Ailing more this

year than the last ten. Age is coming to me, that's the thing." Age is coming. To the islands as a whole, many observers believe. Whether Smith can in fact hold out is a

question that is now sometimes raised. "Oh, no. the islands will never fail," an experienced picking plant owner in CrisField recently reassured me. "Not as long as there are crabs in the Bay." He went on to explain very patiently that nobody in the Bay country caught more crabs, knew more about them,

or went at it harder than the island people. "Why, they study crabs," he finished in tones of awe. "And the

thing is they pass on all what they know to the young ones."

77if' double-ended skiff which traditionally luas used in the shallow waters for dipping crabs from buster floats has nou' been replaced by a flat-barked boat which

iL'ill accommodate an outboard motor. Photo by Janet Strattotijor the Sinithsonum.

47 ' ! ' 1

in K.ili ik Contributing . / ( F I 1 1 M Sponsors

Ki. li.nH Department of Energy

( lli

Mint

( >I.IV

( imi. r\iuh,i. 1 ,,/ ir.ii. Hc.ii Smithsonian Institution National Park Service

I x'lK hiciihiii

KoIhtI Poiiti

lull ( ajiiliil McDonald's* Washington Area Family Restaurants

I >,'/lllt\ l)l'

' II , N »1 in .1 M I J I

()liiiiii(ir\: AI Boxlcy. i

( .i|>liii, I oiii Diclil. (iciald

I I 1 IK 1 , Ii w in I ulir/niL I ((I

"/ I h 1 1 1 it't ,» (

( liailii- Kcrii-

' Folklife Advisoi ^ I

' ' Will "- ,

Miisit Ki( tiard Aliilx)! n I'l-rlormance Riihard Doisnn Iriisl I'liiuls William Fii/lniv;li

i- , Wiihard SoreiiM'ii Mexico Today Symposium Office of American and Folklife Ciovcrnnient <»f Mexi<«» Studies Inter- American Foundation Folklife Pr*>graim: National Endowment for the ')> 1,1. Ralph Riri/ler HunianilieN '::'r-,-,:'l.':',.T(>ifn~rr: Betty Beiu k National F.ndowmeni for the Art« feltvi'v LaRu In

'• S:-. ii- ! Coca Cola de Mexico

I Siitcl

!>»;is\'('tiniini I Air! to Artisans. In«

^IS?"*