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I*T€Rco N I a N I N S T I T>^§^ I O N Ou the Rover: Aiuistasio Leon, an Itinerant Craftsmnu

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I*T€Rco N I a N I N S T I T>^§^ I O N Ou the Rover: Aiuistasio Leon, an Itinerant Craftsmnu I*T€rCo N I A N I N S T I T>^§^ I O N Ou the rover: Aiuistasio Leon, an itinerant craftsmnu. finishes the edge on a frame containing the holy image of San Xavier, a patron saint of the Arizona-Sonora borderlands region. Don Anastasio learned this craft, luhich combines reverse-painting on glass luith tin frame-making, from- his father. He usually sells his frames with a variety of holy images at the Fiesta de San Xavier in Magdalena, Sonora. Photo by Doctor Felippe deJesus Valenzuela SMITHSONIAN INSTITUTION 1993 Festival of American Folklife July 1 -July 5 Co-sponsored by the National Park Service Festival of American Folklife © 1993 by the Smithsonian Institution ISSN 1056-6805 Editor: Peter Seitel Style Editor: Arlene Reiniger Designer: ]oan Wolbier Assistant Designers: Rebecca Lepkowski, Carmina .'\ngulo Typesetter: Harlowe Typograph)' Printer: Schneidereith & Sons Typeface: New Baskerville Paper: LOE Dull Insert: Cross Pointe Genesis Milkweed Contents America's Reunion on the Mall, Bill isf Hillary Clinton, Al & Tipper Gore 4 The 1993 Festival, Robert McC. Adams 6 Cultural Conversation on the Mall, Bruce Babbitt 8 Culture on the 1990s Agenda, Richard Kiirin 9 The Festival of American Folklife; Doing More with Less, Diana Parker 15 U.S. - MEXICO BORDERLANDS United States - Mexico Borderlands/ La Frontera, Olivia Cadaval 1 7 Living on the Border: A Wound That Will Not Heal, Norma E. Cantil 26 Cultiual Identities on the Mexico- United States ^ordei, Jose Manuel Valenzuela Arce 30 The Problem of Identity in a Changing Cultine: Popular Expressions of Culture Conflict Along the Lower Rio Grande Border, Americo Paredes 33 The Arizona-Sonora Border: Line, Region, Magnet, and Filter, fames S. Griffith 37 The Epic Tradition of the Foiuiding of Nuevo Laredo, Manuel Ceballos-Ramirez 42 Border, Culture, and Maquiladoras: Testimonies of Women Workers, Maria Eugenia de la O 44 The Mixteco Presence in Tijuana, FranciscoJavier Moreno B. 47 Mixteco Women on the Migration Route, Laura Velasco Ortiz 49 The Texas-Mexican (jonjiuito, Manuel Pefia 53 La Onda Bajita: Lowriding in the Borderlands, Michael C. Stone 56 Mortars and Metates, Alice Fay Lozano as told to Ian Hancock 59 The Chinese in Baja California, Maricela Gonzcilez Felix 61 AMERICAN SOCIAL DANCE Sharing Common Groimd: Social Dancing in the U.S.A, Vivien Chen luith Magaly E.Jan ad & Chan Moly Sam 63 Generations of African American Social Dance in Washington, D.C.: Hand Dancing, Hip-Hop, and Go-Go, LeeEllen Friedland 69 Hip-Hop Dance, Anthony Hovington 73 Iroquois Social Dances: The Life of Dance in the Dance of Life, Linley Logan 74 "Circle Lip Four on the Old Dance Floor": Old-Time Dancing in Chilhowie, Virginia, Susan Eike Spalding 77 METRO MUSIC Music in Metropolitan Washington, Phyllis M. May-Machunda 80 The Music Performance Trust Fimds 82 KIDS' STUFF Kids' Stuff: Children's Traditions of Play and Performance in Metropolitan D.C., Diana Baird NDiaye 84 City Play, Amanda Dargan Csf Steven Zeitlin 86 FESTIVAL RESEARCH REPORT The Jerusalem Festival Project, Amy Horoiuitz 90 Reprinted from the program book for America's Reunion on the Mall, held for the Presidential Inaugural, fanuary 17-18, 1993. America's Reunion on the Mall Bill Cjf Hillary Clinton Al Csf Tipper Gore From Kamuela, Hawai'i, and Ketchikan, forge ideals of tolerance, mutual respect, and Alaska; from Ponce, Puerto Rico, and Rangeley, human dignity. We are still engaged in the pur- Maine; from the rural heartland of Kansas, Mis- suit of these ideals, yet, America stands as a bea- souri, and Tennessee; from our major cities of con of hope. Here, cultural difference can be a Los Angeles, New York, and Chicago, they have somxe of strength not weakness, hope not come to our Nation's capital. From the glam- despair, joy not sorrow. orous world of popular entertainment and from A nation comprised of a diversity of people, the neighborhoods of local communities they communities, and cultiual groups is a flexible have come to the Nation's front lawn. Craftspeo- and adaptable one. Ideas, inventions, songs, arts, ple representing the long-lived arts of America's even foods developed by some can be enjoyed by cultural past have come, along with new immi- all. Never before in the histoiy of humankind grants whose artistic and cultural traditions will have so many different people from so many dif- make their place in the history now being writ- ferent places joined together in one nation. And ten. Cooks and stoiytellers, musicians, dancers, never before has a nation accomplished so much and artisans have come to this Festival on the politically, economically, socially, and culturally Mall to tell, to sing, and to weave the stoiy of as ours. Ovu^ form of democracy, our freedom of America. Their artistiy, skill, and talent, as expression, our concern for hiunan rights and immense as it is, is but a sample of the cultural for the rights of the minority grow from our diversity that exists throughout our land. That recognition of a diversity of origins, perspectives, this diversity can be imited, together, in the sym- and interests. The diversity of American lives has bolic center of our nation, tells us much about enriched our souls, oiu' minds, our institutions, who we are and what we dream. and even oiu" senses. The enlightened founders of this counti7 We Americans are proud of wlio we are. We conceived of a new nation in which the many take pride in our own regional, ethnic, religious, could be united. We have always thrived as a and family identities, for these give us a sense of nation of nations. This has not been easy to .self. But we are all Americans first. Being Ameri- achieve. We have overcome manv travails to can means bridging differences, not stamping them out. It means learning from each other. It It is fitting that we rededicate ourselves to means including everyone as "us," rather than joining together at this time and in this place. excluding some as "them." It means we can sing The Mall is the place where Americans talk to our own song, enjoy the singing of others, sing each other. It is where we celebrate and enshrine together, and even make up new songs. Some of our national understandings. It is the place the distinctly American forms ofjazz, blues, where soine 30 years ago the Reverend Martin gospel, and rock-and-roll heard at the Festival Liuher King, Jr., informed the nation of his arose from just such a creative combination of dream — of a nation in which children of differ- cultural styles. Just as our recognition of the ent backgrounds, races, and creeds could walk uniqueness of each and every individual does not hand in hand. Wlrere the differences that divide detract from our sense of a common humanity, could one day be used to unite. It is thus fitting so, too, the recognition of our diversity need not that in the same place on this Day, and on Mar- stand in opposition to national unit}- and identi- tin Luther King Day, for the inaugural and for ty. Indeed, just as the creativity, genius, and gen- the first public event celebrating a new adminis- erosity of individuals enlarge our sense of tration, the American people gather here, to humanity, so, too, can an appreciation of our reunite with each other, to reunite with an diversity increase our sense of national accom- Ainerican ideal, and to reunite with a national plishment. dream that all of us can help realize. The 1993 Festival Robert McC. Adams Secretary, Smithsonian Institution This is, in a sense, the second Festival on the respectful setting. Indeed, the Festival has Mall this year, the first having taken place some proved to be a forum where the confluences and six months ago for the Presidential hiaugural. divergences of culture can be engaged in a The America's Reunion on the Mall brought peaceful and sometimes even enlightening way. together performing musicians, artists, craftspeo- At the Festival, the interaction of visitors, partici- ple, and cooks from all across the country in a pants, and Smithsonian staff has often resulted celebration of our nation's strength in diversity. in new cultiual awareness and in syntheses of The inaugmal festival was wonderfully successful. new ideas and cultural forms. "We were happy to play a role in celebrating our This summer, the Festival includes programs democracy, and all the more so because that on U.S. - Mexico borderlands, American social event reinforced what the Smith.sonian's Festival dance, music in the Washington Metropolitan has been doing and saying about American cul- area, and urban children's culture. All point to ture for the past 26 years. how people creatively use the resources of com- Through the Festival of American Folklife munity culture to shape life experiences in ways we have learned that to represent truly the cul- that celebrate and affirm social values. ture of our nation, one must represent the diver- The Festival's featured program, U.S. - Mexi- sity of its people, its commimities, its regions, co Borderlands, is the latest in a series developed and its genres of cultural expression. We have for the Columbus Quincentenan' which has learned that such representations — whether in sought to expand public knowledge about the the form of cultiual performances, skill demcjn- cultural histoi"y of our heiuisphere and to fortify strations, expository talks, or museum exhibits — the Smithsonian's engagement of colleagues and must result from intimate collaboration with communities in Latin America and the those being represented; they too have roles to Caribbean. These programs, including Creoliza- play as researchers, curators, presenters, and tion in the Caribbean, Land and Power in Native artists.
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