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SMITHSONIAN Folklifc Festival zuu8

Bhutan: Land of the Thunder Dragon NASA: Fifty Years and Beyond Texas: A Celebration of Music, Food, and Wine 9.

The 2008 Smithsonian Folklife Festival

Bhutan; Land or the inunder Dragon

NASA: Fifty Years and Beyond Texas: A Celebration of Music, Food, and Wine

(Left) Dubbed the "Dancing Cowboy" by his devoted fans, conjunto accordionist Mingo

Saldivar is known for his vigorous performance style. Photo courtesy Texas Folklife Resources

(Right) Educator astronaut candidates Dottie Metcalf-Lindenburger, Ricky Arnold,

and Joe Acaba (with microphone) answer questions about their training in a webcast

at NASA headquarters in Washington, D.C. Photo courtesy nasa (Left) Astronaut Heidemarie Stefanyshyn-Piper waves to the camera while participating in extravehicular activity (EVA) as construction continues on the International Space Station in September 2005. Photo courtesy nasa

(Right) The annual community religious festivals (tsechus) celebrate the life of

Guru Rinpoche and the arrival of Buddhism in Bhutan. Photo by Andrew Connors The annual Smithsonian Folklife Festival brings together exemplary practitioners of diverse traditions from communities across the United

States and around the world. The goal of the

Festival is to encourage the vitality of these traditions by presenting them on the National

Mall so that tradition-bearers and the public can learn from one another and understand cultural differences in a respectful way.

Smithsonian Institution

Center for FolkUfe and Cultural Heritage 600 Maryland Avenue SW, Suite 2001 Washington, D.C. 20024-2520 www.folklife.si.edu

© 2008 Smithsonian Institution ISSN 1056-6805

Editor: Mary Sebold Art Director: Krystyn MacGregor Confair Production Manager: Joan Erdesky Graphic Designer: Zaki Ghul

Design Intern: Chloe Steinhofi-Smith

Printing: Gray Graphics, Maryland Smithsonian Foll

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

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

General support for this year's Festival comes from the Latino Initiatives Pool, administered by the Smithsonian Latino Center and the Music Performance Fund, with in-kind support provided through Motorola, Sprmt, WAMU-SS.s FM. Whole Foods Market, and WashingtonPost.com.

The 2008 Smithsonian Folklite Festival has been made possible through the generosity and support ot the following cionors and partners:

BHUTAN: LAND OF THE THUNDER DRAGON

This program is produced in partnership with the Royal Government of Bhutan.

Major Donors to the program are the Bhutan Department of Tourism and the Dancing Star Foundation. Donors include the Bhutan Foundation and an anonymous donor. Contributors to the program are the Frank W. Hoch Trust, the Shelley & Donald Rubin Foundation, Lawrence Small, and the Summit Fund

of Washington. Additional support is provided by the Himalayan Youth Foundation,

Eva and Yoel Haller, Friends of the Royal Textile Academy of Bhutan, the

Sager Family Foundation, Butterfield &: Robinson, E.xclusive Resorts,

Francis and Kathleen McNamara, New Tourism & The Harmonv Project,

The Universitv ot Texas at El Paso, and Aman Resorts.

NASA: FIFTY YEARS AND BEYOND

This program is produced in partnership with the National Aeronautics and

Space Administration (NASA). Jacobs Technology Inc. is a Donor to the program. Contributors to the program are Lockheed Martin, Boeing, Northrop Grumman, and United Space Alliance.

TEXAS: A CELEBRATION OF MUSIC, FOOD, AND WINE

This program is produced in ibw partnership with the Texas Office of the Governor, Economic Development and Tourism. The Major Donor to the program is the

Texas Commission on the Arts. Contributors to the program include the

Texas Department ot Agriculture, the City ot El Paso, Houston Endowment Inc., the San Antonio Convention & Visitors Bureau, and the City of San Antonio

Office of Cultural Aftairs. Additional support for this program is provided by the

Music Performance Fund, and Southwest Airlines is the Exclusive Airline of the program. Table of Contents

the Castle 8 The Festival: A View from

from Many Voices 10 Lessons Learned

2008 Festival 11 Welcome to the

Rinzler Memorial Concert: 12 2008 Annual Ralph Ralph Rinzler The Conjunto of Rene Lopez and

Thunder Dragon 14 Bhutan: Land of the

The Thunder Dragon Comes to Washington Treasures of the Thunder Dragon A Meditation m Dance Three Marks of Faith Arts and Crafts Zorig Chusum: Bhutan's Living Bhutan Reinforcing Culture: Tourism in

Beyond 34 NASA: Fifty Years and

NASA's Origins Human Spaceflight Space Exploration Earth Science Aeronautics NASA's Organizational Culture A Diverse Workforce Whither NASA?

Music, Food, and Wine 54 Texas: A Celebration of

Texas Music: A Living Legacy From Cattle Drives to Winery Trails: State Food and Wine Traditions in the Lone Star

74 Staff

Thanks 78 Sponsors and Special

80 Festival Participants

106 Festival Schedule

Information 126 General Festival

127 Related Events

130 Site Map

Castle The Festival: A View from the

for History. Art. and Culture. Richard Kurin, Acting Under Secretary Smithsonian Institution

look.ng been outdoors on the National Mall, For the past three decades, I've the Snnthson.an Folkhte Castle, whUe we prepare for up at the Smuhson,an leadership, ve transmons in the S.nnthsonian's 1 Festival Th.s year, due to window m the Castle. What do I make watched the preparations through a this annual gath- How do I understand of the Festival from that perspective? planet to share across the country and the ering of people who come from human beings? their traditions with other funded by a nineteenth-century When you work in a building that saw that stores his bones and one En.lishnian-s bequest, a building and weather map. the card catalog system, the development of the first history Lincoln, you immediately think ot Civil War-era visits by Abraham mineralogist, lett his Snmhson. a chemist and and look for antecedents. James an institu- order to establish m Washington fortune to the United States in men. He and diffusion of knowledge among tion dedicated to "the increase knowledge after visiting a display ot became interested m sharing cultural Henry, the first traditions m London. Joseph ancient and modern Mexican understanding the documentation and secretary of the Smithsonian, made Institutions ways a central part of the of American Indian origins and life Spencer Baird, who became the second research mission. Henry's assistant, becoming Smithsonian down the path toward secretary and really started the Mall the bring American Indians to the m the nation's museum, wanted to cultures-a proposal re,ected by Congress. 187OS to demonstrate their with support trom The Smithsonian Folkhfe Festival started in 1967, famously declared, "take the instruments Secretary S. Dillon Ripley, who For Ripley and Festival founder Jim out of their cases and let them sing." up the museum. For the Festivals Morris the Festival was a way of livening the value of diverse it was a way of showing first director, Ralph R.nzler. s most giving them standing in the nation cultural traditions and literally equivalent Mall.The Festival was the cultural important space-the National King, led by the Rev. Martin Luther Jr. of the political March on Washington, heard in the heart of the voices of the people to be It was a way of allowing

the country's democracy. has U.S. Bicentennial in 1976 and The Festival was a feature of the grassroots for the representation of since emerged as a major vehicle of have been programs on the folkways cultures. Enormously popular Michigan, and New York), nations and states (Hawaii, Iowa. Louisiana, Mali, Mexico, Northern Ireland, regions of the world (Haiti, India, Lama), Africa, and Tibet with the Dalai Scotland, the Silk Road. Soutli even building arts, trial lawyers, and and occupations (masters of the ^^ positive effects "back home, Smithsonian workers).They have produced that have won Web sites, and recordings such as new publications, films, awards.The Festival has generated Academy, Emmy, GRAMMY, and Webby documentation for scholars and educators. huge archives of research and UNESCO's 2003 practice, it greatly mfluenced As a model of cultural Safeguarding of the Intangible Cultural International Convention on the ratified by ninety-four countries. Heritage, which has now been

Festival 8 Smithsonian Folklife Many books and articles have been written about the Festival, including a special issue of the Journal ofAmerican Folklore this year. In its pages, former fellows and colleagues examnie the Festival and particular programs and practices in laudatory and critical ways. At a time when many academic treatments in the social sciences and humanities seem intent on emphasizing the dystopian aspects of institutions, the Utopian visions of the Smithsonian and the Festival shme through. The Festival embodies the Smithsonian ideal that knowledge can be a force for individual and social betterment. It stubbornly, against all bureaucratic odds, pursues the idea that sharing cultural knowledge, wisdom, skill, and artistry can contribute to understanding, tolerance, and a greater appreciation of human diversity. That's a big purpose worthy of a great institution, and while we at the Festival and the Smithsonian might not get it right all the time, imperfection should not keep us from pursuing its realization. Our efforts are evident every day in our museums and every moment of the Festival.

Smithsonian Folklife Festival Lessons Learned from Many Voices

Richard Kennedy, Acting Director, Center for Folklife and Cultural Heritage

A recent special issue o( the Journal ofAmerican Folklore, "Constructing Folklife and Negotiating the Nation(al):The Smithsonian Folklife Festival," provides an opportunity for Festival staff, participants, and visitors to view the Festival through the academic lenses of six scholars. Looking at three American and three international programs, these writers shed light on the complex process of organizing the Festival and, in several cases, also describe the responses ot participants and audiences. The

Festival visitor would do well to read these analyses to gain a better appreciation not only ot the complexity behind Festival organization. but also of the many voices in that organization. For more information about the journal, go to www.afsnet.org/publications/jaf.cfm.

The Festival has always been particularly proud to provide a place for cultural practitioners to discuss the joys and challenges of nurturing their arts in an ever-widening world, as well as to demonstrate them to the public. However, a quick glance at the back section of this program book will show that hundreds of people have actually been involved in what may appear to be the simple task of providing a stage for the participants. The

Smithsonian Folklife Festival is not only a place for Festival visitors to see, listen to, and engage traditional artists, but it also, in effect, represents a process that has involved the input ot Smithsonian curators, community leaders, government officials. National Park Service regulators, university scholars, program funders, and others. The Festival you witness on the Mall is due to the efforts of myriad people, and what ties them together is a commitment to provide the most appropriate context for you, the visitor, to meet extraordinary traditional artists.

A community leader may place the health of his community before that of the individual; the government official may have the good of the whole nation rather than that of the local community m mind when agreeing to cosponsor a program; the scholar may fear that, in spite of its best intentions, the Festival depoliticizes culture or participates in wider global movements that cominercialize and undermine traditional arts; corporate funders may represent products that displace traditional crafts: and the Park Service is always concerned about the aesthetics of the Mall. Each of these voices may compete for a place in the program. But in my experience, all the people

I have worked with in the organization of a Festival program recognize and support the crucial role that traditional arts play in the health of a community.

That's why they're involved.

Smithsonian staff members are negotiators of these voices. The program curator works closely with his or her counterparts in the cosponsoring organization. Ot'ten these counterparts take a role in participant selection and even program design. But it is the curator's job to ensure that, whenever possible, everyone is heard in the development of the program. Articles like those in the Journal ofAmerican Folklore provide us with the voice of academic analysts, and annual sin^veys give us the responses of visitors. We welcome your opinions, and hope that, together, all voices will strengthen the Festival.

Smithsonian Folklife Festival Welcome to the 2008 Festival

Diana Parker, Festival Director

The Festival is always wondrous, and this year is no exception. You will meet winemakers from Texas, Bhutanese silk weavers, and robotic engineers from NASA. All are masters ot their trades, who can share deep knowledge of their arts and occupational skills with you. What makes the Festival truly extraordinary, however, is that the juxtaposition of programs creates an event that IS greater than the sum ot its tascinating parts.

We are otten asked how we put together each year's combination of programs. The answer is we don't. It takes several years to produce programs, and the mix ot programs is based on tuning rather than planning. Selecting a program tor the Festival is a very democratic process. Anyone can recommend one; curators, audience members, ambassadors, state department officials, and friends have suggested recent programs. We answer four questions about an exhibit betore we proceed:

Is there an interesting story that will work as a Festival program?

-*• Are there specialists who can help us research and shape the story?

*- Are there overriding issues that might make it impossible to produce the program?

< Are we confident that we can fund it?

When we are satisfied with the answers to these questions, we schedule a program in the next available vear. As you might imagine, this process creates some surprising combinations.

As we slotted this year's three programs into the schedule, we inspired some especially puzzled looks. But once we decided to produce the programs, the fun began. While the Bhutan, NASA, and Texas programs were conceived, documented, tunded, and organized separatelv, their statfs still found surprising overlap.

To begin with, Texas is home to the Johnson Space Center, NASA's center for human spaceflight activities. We learned that the campus of

The University of Texas at El Paso is filled with Bhutanese-style buildings, thanks to a dean's wite who fell in love with photographs published in

!\'aticiial Geographic magazine in the early 1900s. And Bhutan, for years, has commemorated the U.S. space program with postage stamps.

At the Festival, we explore some even more interesting intersections.

This year, you can hear an astrologer from Bhutan and an astronaut from

NASA discuss the heav'ens and a Texas singer-songwriter smg "Have You

Ever Seen Dallas from a DC-9 at Night?" The next day, you can ask a specialist from NASA's food lab and a chuckwagon cook from Texas about preparing food for remote locations. And I guarantee that before the Festival is over, traditional Bhutanese will dance to time-honored

Texas dance tunes, and Texas musicians will learn dances from Bhutanese.

All of us face similar situations in our lives. Nowhere but here at the Festival can you enjoy such a rich variety of interpretations of our common circumstances.

Smithsonian Folklife Festival 2008 Annual Ralph Rinzler Memorial Concert: The Conjunto of Rene Lopez and Ralph Rinzler

James Early

Ralph Rinzler, tbunding director of the Smithsonian especially those of New York City, and his

Folklife Festival, worked with countless gifted musi- exceptional connection to Cuban musicians and cians, folklorists, and producers to conduct fieldwork, ethnomusicologists in Cuba were central to the create publications and recordings, present concerts evolution of Ralph Rinzler's musical taste, Cuban and public programs, and implement new cultural ties. Festival productions, and Folkways recordings. policies that led to diversity in the Smithsonian's They met in 1975 when the Center for Puerto workforce and programming. He was a strategic and Rican Studies at New York's Hunter College invited outspoken promoter of collaboration with communi- Rene to join them in a meeting with Ralph at his ty-based artisans, musicians, academics, and cultural Washington, D.C., home to discuss presenting Latino activists with whom he diligently worked to facilitate musicians at the Folklife Festival. Although they the Smithsonian's acquisitions and employment of came from difterent cultural and class backgrounds, professional staff to represent communities that were, Rene and Ralph bonded because of their dedication in the polite parlance ot the time, "underrepresented" to collaborating with musicians who identified with at the Institution. The Ralph Rinzler Memorial their communities as much as with their artistry.

Concert celebrates Ralph's mind and spirit, his Both were keen on research, documentation, and untiring and wide-ranging cultural work, his all- respectful presentation of musicians and their genres encompassing humanity, his commitment to tradi- and on the importance of disseminating grassroots arts tional musicians and artisans, and his never-ending and traditions to diverse audiences across the world. will to increase and diffuse knowledge in support Their collegiality led to years of Smithsonian of cultural democracy. performances, archival documentation, recordings, The 200S concert honors New York City's and public programs. In New York City, Ralph

Rene Lopez, a grassroots cultural activist, lay scholar, made yet unpublished field recordings ot Arsenio educator, collector, and music producer. Rene was Rodriguez, whom Rene called "the founder of among Ralph Rinzler's special friends and colleagues modern salsa inusic and most important spokesperson in many groundbreaking field research projects and of the time tor the underlying religious and social musical endeavors. worldview of Afro-Cuban music." At the 1969

Rene exemplifies the principles of recognition Folklife Festival, Ralph recognized Arsenio as a and respect for creative and expressive agency and "folklore treasure, not just a popular musician." Rene profound community-based knowledge that Ralph recalls that Ralph was captivated by the harmonica

Rinzler fostered in fountiing the Folklife Festival player Francisco Tan of the group Montanez y Sus and in building the Smithsonian's Center for Folklife Pleneros de la Ciento Diez (iioth Street). and Cultural Heritage. Self-taught through direct Born in 1939 in the Bronx, New York, Rene, observation and lifelong conversations and formal in the midst of a vibrant musical and dance culture interviews with musicians and through fraternal ties of the 1940s and 1950s, encountered great musicians with artists, their families, and their communities, like Tito Puente, Machito, Marcelino Guerra, and

Rene is deeply loved by local, national, and globally the renowned Cuban band Sonora Mantancera—to acclaimed musicians. Music writer Alan Lockwood whom he later introduced Ralph—in well-attended describes Rene as "one ot Latin music's great offstage clubs like New York's Palladium, where his LJncle presences as lay scholar and producer ot Rocketeller Catalino Roloii booked talent. His socially grounded

Foundation and Smithsonian recordings." music taste set him 011 a lifelong course to friendships

As an associate and advisor to Smithsonian with legendary musicians like Arsenio Rodriguez, Folklife and Folkways projects, Rene Lopez almost Alfredo "Chocolate" Armentero, Johnny Pacheco, certainly has a longer and broader relationship than Eddie Palmien, Ray Barreto, Manny Orquendo, and anyone at the Smithsonian with Atro-Caribbean Tito Puente. His encyclopedic knowledge of Afro- traditional music and musicians. His grounding Cuban and Afro-Caribbean musical traditions in the in Latino music and community celebrations, Caribbean and New York City attracted the interest

Smithsonian Folklife Festival —

of young musicians like the Gonzalez Brothers (Andy

and Jerry), Nelson Gonzalez, Oscar Hernandez,

Milton Cardona, and others who would emerge as leaders in various genres of Latino music. Legendary

Afro-Canbbean jazz pianist Eddie I'almien insisted that younger band members "spend time with Rene Lopez." Bassist Andy Gonzalez, considered one of the foremost music authorities, told me that Rene

became a mentor to him, "responsible tor my educa-

tion, sharing everything I needed to hear when I

was studying and applying jazz scholarship to learn, because there were no books— only history from Rene and his collection —when we were up and coming young musicians."

In 1974, Ralph, his wife Kate, my wife Miriam, Rene Lopez, Mario Bauza ("ttie Father of Latin Jazz"), Israel "Cachao"

Jim Rooney (a specialist on bluegrass music), Lopez (one of tfie creators of tfie mambo), and Giaovanni Hidalgo (one of Latin music's greatest percussionists) gather in New York City and I visited Rene and his family in their Bron.x in 1982. Photo courtesy Harry Sepulveda apartment, where the soon-to-become-celebrated

Grupo Folklorico y Experimental Nuevayorquino

was rehearsing their first double-album Concepts In Ortiz consulted in his groundbreaking work on Vnily, which drew upon traditional Afro-Caribbean Cuban African-descended music and culture) and

styles such as rumba, son, bolero, bomha y plena, the recently deceased Patato Valdez, once popularly and the poetics ot traditional, community-based described as the "world's greatest conga player."

storytelling and social singing to create a powerfully These musicians joined other tradition bearers

contemporary music. Their style called attention to such as Los Pleneros de la 21; Israel "Cachao" Lopez,

New York-based Afro-Caribbean tradition bearers, the "inventor ot mambo"; Jesus "Chucho" Valdes, attracted audiences in Cuba (the musical source the extraordinary Atro-Cuban jazz pianist—and a and religious inspiration for so many of their broad, younger generation of Latino musicians, including

distinctive musical talents), and synthesized Afro- Andy and Jerry Gonzalez, Papo Vasquez, and Manny

Caribbean and "Nuevayorquino" musical traditions. Orquenc^o, all ot whom, through direct connections

Grupo Folklorico, comprised ot many members to Rene Lopez, performed at the Smithsonian and

with roots in the South Bron.x. became legendary enriched its archival and recording collections.

for experimental recordings that brought together The historical friendship and collaboration some of the most gifted, often little-noticed elder between Ralph Rinzler and Rene Lopez continue

composer-musicians (with deep connections to to bear fruit, most recently m the 2007 Smithsonian Puerto Rican and other Caribbean and Latin Folkways recording Tio Tom produced by Rene. American communities and audiences) with some

of the brightest young musicians, who would go James Counts Early is the director of Cultural Heritage

on to master traditional musical genres, become Policy at the Smithsonian Center for Folklife and Cultural

major innovators in various Latino and other Heritage. He served as deputy assistant secretary when

musical genres, and continue to explicitly identify Ralph Rinsler was assistant secretary for Public Service

themselves and their art as grounded in traditional, at the Smithsonian, and he is a close friend and longtime

community-based music and participation. colleague of Rene Lopez. He works on the development of

Among the original Grupo Folklorico guest cultural heritage policy and is an activist for cultural diversity

musicians were the celebrated Julito Collazo (with and equity issues in national and international inslilutions. whom renowned Cuban anthropologist Fernando

Smithsonian Folklife Festival 13 Bhutan

Preston T. Scott

The Thunder Dragon Comes To Washington (Far left) Bhutan's geography is punauated by elegant architertural forms unique to the remote eastern Himalayan kingdom. Photo by John Benhoid

(Second from left) The deep respect for cultural traditions still found in Bhutan is refleaed in clothing styles, as well as in reverence for rituals incorporating important artistic skills praaiced for generations. Photo by luiia Brennan (Third from left) Painting is one of the thirteen traditional arts of Bhutan, known as zorig chusum, celebrated at the 2008 Smithsonian Folklife Festival. Photo by Preston Scott (Right) With more than half of its population under the age of twenty-five, Bhutan looks toward a new future in the twenty-first century that will necessarily bring change but will build on the country's rich and independent cultural foundation. Photo copyright Michael Tobias

More than a thousand years ago. the great Indian to understand win this ma\' be the onK' reasonable teacher Padmasambhava came to the remote part explanation of how he got there. of the eastern Himalayas now known as Bhutan. Bhutan's landing on the National Mall tor the

Although Padmasambhava (or ""Guru Rmpoche." Smithsonian's tbrtv-second annual Folklite Festival may as he is known \n Bhutan) was not the tlrst Buddhist be understood as another Hight of the tigress. And the teacher to come to this part of the Himalayan region, "tigress'" arrives just when Bhutan's Gross National his presence proved to be a defining and lasting Happiness (CJNH) measure of de\elopinent is inspiring influence on the lite and culture of Bhutan. important thought and discussion about what makes

Guru Rinpoche was an important historical a good society. GNH, which is not unlike Thomas figure, highly respected for his compassion and JetTerson's "pursuit of happiness" in the U.S. Declaration wisdom in India and Tibet before he ever traveled of Indepencience. will be celebrated during the Festival. to Bhutan. He tlrst arrived in central Bhutan before The Sinithsoniaii is verv happy to host Bhutan moving west to the Paro Valley sometime in the at the 200S Folklife Festival, the ceremonial heart eighth century. According to tradition, he reached a of the capital city of the United States. The event high clitY-side cave 2,000 feet above the Paro Valley provides a very special opportunity for American and floor atop a tlying tigress. For anyone who has been international audiences to experience tnsthand the lucky enough to see the site today (the location of the remarkable lite and culture of the place traditionally great Taktsang, or Tiger's Nest, monastery), it is easy known as DrukYul (Land of the Thunder i^ragon). Bhutan is a small country, about the size of pharmacopoeia that draws from the country's rich

West Virginia, with a population of fewer than biodiversit\'. Bhutan is one of the most treasured

a million people. Although bordered by only biodiversity hot spots in the world.

India and China (the world's two most populous The history of Bhutan is closely associated with

countries), its geographically isolated location, the development of Buddhist culture throughout the

high up in the rugged eastern Himalayas, has Himalayas, and it is one of the last places on Earth

kept it unknown to most of the world. where theVajrayana form of Mahayana Buddhism is

Few places on Earth have such great natural practiced. It is the home of the Drukpa (People of the

beauty or have such a rich cultural heritage as Bhutan. Thunder Dragon), who have lived in its isolated high

Its vertical landscape rises abruptly from the steamy valleys without occupation or colonization for more

lowland plains of Assam in northeastern India to than a thousand years. Its geography has protected and

some of the world's highest peaks along Bhutan's defined its cultural heritage and traditions. Indeed, the

northern border with the Tibetan region of China. first road to the outside world (India) was constructed

Its diverse ecosystems—representing most of the only in the early 1960s. The total number of tourists climatic zones found on the planet—provide refuge has averaged below 20,000 annually. to thousands of species of birds, plants, insects, and The Bhutanese have worked very closely with

mammals. Pristine habitats support a dazzling variety their colleagues at the Smithsonian to showcase as

of orchids and rare plants, including the legendary many of their traditions as possible. Because Bhutan

blue poppy. There are rare birds and mammals such is so remote, the 200cS Smithsonian Folklife Festival

as yak, takin, snow leopards, blue sheep, red pandas, offers what may be a once-in-a-lifetime opportunity

and black-necked cranes in the highlands, as well as for most people to experience the rich cultural life

elephants, tigers, rhinos, and golden monkeys in the of the Bhutanese people. It will provide visitors the

southern lowland jungles. Sometimes called the "Land chance to witness or participate in Bhutan's many

of Medicinal Plants," Bhutan also has a rich traditional music and dance traditions, which are very rarely

performed outside of the kingdom. In fact, some of Bhutan's highly symbolic, mystical masked dances

will be performed for the very first time m the

United States. Audiences will learn from the dancers

themselves about the meaning of their elaborate

costumes, complex steps, rhythmic chants, and music.

They will see in one place all of Bhutan's

thirteen traditional arts (zorig chusiim). Bhutan has

taken steps to ensure that the arts o( zorig chiisum

continue to be taught and practiced throughout the

kingdom, and many ot Bhutan's finest artists and

craftspeople will be on the Mall to share their artistic

skills and insights. Examples of their work will be

displayed throughout the Festival site to show how

Bhutanese traditional arts are incorporated into the

daily lives ot Bhutanese people.

Visitors will also encounter examples of

Bhutan's architectural heritage and have the chance

to meet some of its finest builders. Representatives

Bhutanese masked dances reflect highly sophisticated symbolic

understandings of life in a complex universe. Photo courtesy Bhutan

Depaftment of Tourism

16 Bhutan: Land of tfie Thunder Dragon —

from Bhutan's religious communities will share a unique, ten-day cycle of Bhutanese ritual life, while practitioners ot Bhutan's traditional medicine and some ot its most celebrated cooks will explain how contemporary Bhutanese continue to rely on the land for much of their daily sustenance, health, and well- being. Elsewhere on-site archers will demonstrate the national sport, which colortuUy punctuates virtually every village celebration m Bhutan.

A popular Bhutanese tale—one that is portrayed throughout the kingdom m homes as well as in sacred and public places— is the story ot "The Four

Friends." The characters include a peacock, a rabbit, and a monkey who stand on an elephant beneath a high tree abundant with fruit. According to the story, the peacock finds and plants a seed, which is watered by the rabbit and fertilized by the monkey.

Atter the seed sprouts and the voting plant starts to grow into a tree, the elephant protects it. Once the tree matures, however, its truit is so high that it cannot be reached by any ot the tour animals.

However, by standing on top ot each other and combining their strengths, they are all able to reach the truit and enjoy the reward ot their cooperation.

In much the same way that the "Four Friends" work to achieve something that none of them Most Bhutanese people have two could alone, the 2008 Smithsonian Folklife Festival's proper names— a first and a celebration ot the lite anti culture ot the people of

Bhutan represents the truit ot cooperation among second — although the "second" is many people—participants, friends, and supporters not a "family" name as it is in many from opposite sides of the planet. For two weeks, the other cultures. In addition, most people of Bhutan will share their life and culture Bhutanese names are interchangeable with the people of the United States and the world. and not gender specific. Accordingly, It will be an intellectually and spiritually exciting Bhutanese names are presented and experience that will surely spark a sense of discovery, used at the Festival and in Festival- adventure, and renewal. related publications as they are ^{uS^'q^'ojin^ known in Bhutan, while the names of others are presented alphabetically

7i!-\7;i (Icick! (Good wishes!) by "last" name.

Preston Scott is on the ciinitoridl loniiiiittcc of the 2008

Folklife Festiviil piv{;miii Blmtau: Lanii of tlieThunder

Dragon. He has served as an advisor to the Royal (Upper) Pictures of "The Four Friends" —the peacock, rabbit, monjcey, and elephant—decorate homes and important public buildings throughout Government of Bfnitan on several environmental and Bhutan. They capture the ideal of harmony with nature and the importance cultural conservation projects and has traveled frequently of cooperation to social well-being. Photo by Preston Scott to the eastern Himalayas. As a lethal advisor and consultant (Lower) The Bhutanese people's approach to the concept of Gross National to many international ori;anisations, he has participated Happiness is rooted in a deep, abiding respect for the country's important in environmental conflict resolution initiatives in more resources and traditions, as well as in caring for the needs of present and than twenty-five countries. future generations in a sustainable way. Photo copyiight Michael tobias

Bhutan: Land of the Thunder Dragon 17 Treasures of the

CJ ^/^^ht^cT^^

Dorji Wangmo Wangchuck Her Majesty the Queen of Bhutan, Ashi Its e

t, Its extraordinary architecture

piritual culture, and i' ' '

-,-,- -^ nnvernance, which n.v.^.., .J u . countr, ^ iss and development not by Gross Domestic Product but by Gross National

Happiness, is the stuff of which legends are made.

For more than forty years, the Smithsonian Institutions

annual Folklife Festival has afforded peoples around the world the opportunity to share their living cultures and traditions m the most open, interactive, and personal

ways possible. Coming from one of the world's smallest

and least known countries, we Bhutanese especially

look forward to presenting many aspects of our life in the eastern Himalayas to people from the United

States and other nations at this summers Festival on the

National Mall in Washington, D.C.We are veiy happy

to be a living part of this wonderful, yearly tradition

and are mindful of the great stage the Festival provides.

We know that the outside world's reactions to Bhutan

tend to swing between two extremes. It is perceived

either as a paradise on earth or as a country completely

isolated from the rest of the world and trapped in a time

warp. Neither image is true. But it ;V true that Bhutan is

like no other place in the world. Its spectacular natural

beauty and pristine environment, its extraordinary

architecture and living spiritual culture, and its monarchs' approach to governance, which measures the country's progress and development not by Gross Domestic Product but by Gross National Happiness,

is the stuff of which letjends are made.

Bhutan is one of the world's smallest, most remote, and least known

countries, but is also one of its most environmentally pristine and r A>- culturally ricfl. Photo by Julia Brennan

Bhutan: Land of the Thunder Dragon 19 M» For centuries until the 196OS when roads made the country accessible to the outside world, Bhutan

was known as a forbidden land. Its isolation was

not a deliberate political or historical choice but

a consequence of its geography. Compared to its

neighbors, Bhutan's population density is quite low- about sixteen persons per square kilometer. Bhutan

is still a predominantly agrarian country, with yy percent of the population dependent on agriculture

for its livelihood and all Bhutanese owning their

own land. However, because of geography, only

about 8 percent ot the land is arable. Forest covers

approximately 72 percent ot Bhutan's territory, and perpetual snows cover nearly 20 percent.

Bhutan's topography has to a large extent fertile tarmland, and a relatively high population

shaped the history and way of life of the density (at least by Bhutanese standards). Bhutanese people. The country can conveniently The centra! temperate zone—cut oft from the be divided horizontally into three geographic foothills by the high ranges of the Inner Himalayas-

areas. The foothills of the south, which rise has a succession of valleys at altitudes ranging from

from the Indian plains to an altitude of i,soo 1,500 to 3,500 meters. The hillsides are thickly

meters, have thick broadleaf evergreen forests. forested with blue pine and other conifers, oak. ^^ -^

20 Bhutan: Land of the Thunder Dragon magnolia, maple, birch, and rhododendron. Farmers which is done almost exclusively by women, is grow rice, millet, wheat, buckwheat, and maize, highly developed; an elaborate ^'ira can take a whole as well as cash crops like asparagus, mushrooms, year to weave. A kim is wrapped around the body potatoes, strawberries, apples, peaches, mandarm and secured at the shoulders by a pair of silver oranges, and cardamom. The capital Thimphu clasps called koiiui and at the waist by a tight belt, and most of Bhutan's major towns and monastic a keyra. A wonjn (an inner blouse with long sleeves) communities are located in this zone. and a tycko (an outer jacket) complete a woman's Abov-e the temperate zone—at elevations outfit. Unlike most Asian women, most Bhutanese ranging from 3,500 to 5,500 meters—there are have short-cropped hair cut in a fringe across the subalpine and alpine highlands that are ringed by the foreheati (although some young women in Bhutan's towering snow-clad peaks of the Greater Himalayas, emerging urban centers prefer longer hairstyles). which include C'homolhan (7,300 meters) and The man's ^'/jD is a one-piece costume rather

Bhutan's highest peak Gangkar Puensum (7,541 like a kimono with broad white cuffs. The ^^//c' is meters). They are Bhutan's sacred mountains and pulled up to knee length and fastened at the waist most have never been climbed. In the summer with a tight-fitting belt that forms a deep pouch months, the pastures are dotted with hercis ot vak across the chest. This pouch is like a huge pocket and the distinctive black tents of the yak herders. and is used to carry all sorts ot things—money,

Several elements of Bhutan's culture bring important papers, a wooden bowl for cirinking tea, together its diverse, sometimes-isolated peoples. some hard cubes of dried cheese for snacking, and

Bhutan's official language is Dzonkha, which is perhaps a little round box tor carrying doina (betel spoken mainly in western Bhutan. However, in nut, wrapped in a paan leaf smeared with lime paste). addition to English, there are two other major languages—Sharchopkha (spoken mainly in eastern Bhutan) and Nepali (spoken mostly in southern

Bhutan). There are also up to nineteen major dialects, which have survived in isolated valleys and villages cut off from neighboring areas by high mountains.

Most Bhutanese continue to wear the traditional national dress—the kira for women and the glio for men. The kira is a rectangular piece of cloth about the size of a single bed sheet. The art of weaving,

(Above left) In Bhutan's agrarian society, people live very close to the land that sustains them. Photo courtesy Bhutan Department of Tourism

(Below left) Wedged between two of the world's largest countries

(China and India) in the isolation of the eastern Himalayas, Bhutan's geography has allowed its people to live independently for more than a thousand years and has provided protected habitat for a dazzling diversity of rare plants and animals. Map courtesy National Geographic

fe-'M^ - iw i i H , i ^)^ (Right) The traditional <;/ras worn by Bhutanese women feature complex designs and take many months to weave by hand.

Photo courtesy Bhutan Department of Tourism •^'iii-

Bhutan: Land of the Thunder Dragon A Meditation in Dance

by Lopen Lugtaen Gyatso

The most iniportant events in the Bhutanese The drametse ngacham is a dance form that originated in calendar are reHgioiis festivals. The major ones, Bhutan five centuries ago. Today, the Institute of Language which attract enormous crowds, are the domclwe!. and Cultural Studies is documenting the dance. The following and tsechiii, held annually at the big monasteries and is a rare insight into the tantric Buddhist teachings of this dzoiigs (enormous fortresses) all over the country. meditation in dance.

The dates vary from year to year, but most tsechiis are "If you know the purpose of the dance and what the dancers held in autumn, which is a leisure period for farmers are visualizing, it is a very powerful experience," said a teacher (although the very famous tsechti in the Paro Valley in at the Institute of Language and Cultural Studies. "Even the hair western Bhutan is held m the spring). The highlight on my arm stands up as the trumpets, music, and intensity of of a tsecliu is the religious dances performed by monks the dance increase." and laymen in fabulous costumes and masks. Clowns known as atsaras,—often carrying large wooden The drametse ngacham, one of Bhutan's best-known masked phalluses—entertain the crowds with their slapstick dances, was conceived in a powerful moment of intensive routines in between the dances. Many individual meditation. During a retreat, the dance came as a vision to households hold their own private annual prayers, a grandson of one of Bhutan's revered saints, Pema Lingpa. or choku, followed by a feast for the whole village. In his vision, Khedup Kuenga Gyaltshen saw three beautiful, Archery, or dlu:. is undoubtedly Bhutan's most celestial women {dakinis) dressed in silken gowns and adorned popular sport. It is traditionally played with bamboo with garlands of precious stones. The celestial beings guided bows and arrows and two small targets placed him to the abode of Guru Rinpoche, where the deities per- approximately 145 meters apart at opposite ends of a formed a dance. Guru Rinpoche, the eighth-century spiritual field. (In international archery competition, the target teacher who brought Buddhism to Bhutan, later instructed is at a distance of only fift)' meters.) Every village has Khedup Kuenga Gyaltshen to introduce the dance to the an archery ground, and at important matches, the two human world for the benefit of all living beings. Khedup competing teams are supported by lively groups of Kuenga Gyaltshen noted the choreography of the dance women "cheerleaders." On holidays, several archery and taught it at the Thegchog Ogyen Namdroel Choeling matches can be underway at once. More and more Monastery in Drametse in eastern Bhutan. common are expensive imported bows with pulleys that increase the speed and force of the arrows. They Sixteen people perform and ten others provide musical are coveted status symbols among Bhutanese archers, accompaniment in the drametse ngacham, making it the although traditional archers continue to use bamboo perfect example of Bhutanese masked dance. Refined artistic bows and arrows with great skill. Khimt, or darts, is skills and a flawless balance between dancers and instrumen-

another favorite sport played outdoors with the target talists result in fluid, uniform, and complex movements.

placed at a distance of twenty meters. Drametse ngacham has twenty-one parts and lasts more

than two and a half hours. The dancers wear spectacular,

colorful costumes and masks representing real animals and

mythical beings. All the masks symbolize the wrathful and

peaceful deities of the pure lands of celestial beings. The

dancers become manifestations of these deities.

Time and space are instrumental in creating different versions

of ngacham. For many years, the dance was performed in

relative isolation in the Talo, Trongsa, and Gangteng

Archery, Bhutan's national sport, provides frequent opportunities

for communities to gather for festive competitions. The holes found

in bread box-sized targets, shot at a distance of 145 meters

(approximately 475 feet), reflect the staggering accuracy of

Bhutanese archers. Photo courtesy Bhutan Department of Touiism The drametse ngacham is a sacred masked dance that originated in central Bhutan more than 500 years ago. Inspired, according to Bhutanese Buddhists, by celestial performances in honor of Padmasambhava (Guru RInpoche), the dance is revered throughout Bhutan and has come to signify the nation. By witnessing the dance and listening attentively to the sound of the drums, believers may acquire some spiritual enlightenment. UNESCO recognized the dance as a masterpiece of Intangible cultural heritage In 2005. Photo courtesy Bhutan Department of Tourism

monasteries in central and western Bhutan. Today, drametse destroy all evils and natural calamities to establish peace ngacham is widely performed in Bhutan; its choreography and and harmony. Dancers cultivate a pure vision that reflects the meaning differ slightly from place to place. Buddhist concept of direct liberation from samsara (world of

suffering). The dance exudes a spiritual energy that permeates Visualization is critical to drametse ngacham. The dancers the whole atmosphere. picture the physical world, imagining it as the Buddha's land of magnificent glory, where all sentient beings are peaceful or The drametse ngacham is evidence of a unique living cultural wrathful deities with intrinsically pure, Buddha-like qualities. expression. Its strong impact on society is articulated through

They visualize endless numbers of each deity, which slowly enter its popularity in the whole of Bhutan and its dominance at most them and all things mortal to transform all ordinary beings into religious and secular ceremonies. The Bhutanese believe that this extraordinary deities. Finally, the beings and the deities become dance has the power to cleanse all defilements and negative one. All visions are seen as manifestations of deities, all sounds mental actions of the dancers and the audience. as divine speech beyond human understanding, and whatever Bhutanese find the drametse ngacham spiritually empowering. appears in the mind as the great realization of ultimate reality. They believe that a person has to see the dance at least once The dancers establish spiritual contact with the audience through in life in order to be able to recognize the deities in the bardo— this powerful visualization, which serves to transmit the awakening the intermediate state between life and death, where all the state of mind to all who are watching. The drametse ngacham is deities that appear in the ngacham are present to lead the truly a meditative art form. deceased person to higher realms. The sacred texts state that,

The dancers must undergo rigorous training to achieve the right just by watching this dance, people can be liberated from rebirth state of mind for the dance. This explains why the dancers and the or avoid rebirths in lower realms. ritual master have to complete a course in ngondro (preliminary Lopen Lugtaen Gyatso is the director of the Institute of meditation practice) and, if possible, a class in losum chogsurn Language and Cultural Studies (ILCS). Under his stewardship, (a three-year and three-month meditation retreat). The physical the ILCS has produced research on drametse ngacham (the dance itself requires years of training in order to attain perfect Drum Dance from Drametse), which was designated by synchrony among dancers. UNESCO in 2005 as a masterpiece of intangible cultural

Unlike other dances, the drametse ngacham transcends the heritage. Lopen Lugtaen Gyatso, a scholar and monk, physical performance to become a means of enlightenment. obtained a master's degree in Sanskrit from the University

It is a didactic way to impart the sacred Mahayana tantric in Varanasi before joining the civil service of Bhutan. teachings that epitomize the path to liberation and victory over negative and evil forces. The drametse ngacham is believed to Btiutan: Land ot the Thunder Dragon 23 Bhutancse call their country Driik Yul (Land ot

the Thunder Dragon). According to legend, nearly a

thousand years ago, a Tibetan monk heard thunder

during the consecration of a monastery. He believed it was the voice ofa druk (dragon), loudly proclainimg the

Butldha's teachings.

Little is known about the early history of Druk

Yul, although archeological evidence suggests that

Bhutan was inhabited as early as 2000 B.C.E. Oral

tradition indicates that at the beginning of the first millennium, the country was inhabited by semi-

nomadic herdsmen who moved with their hvestock

from foothills to grazing grounds in higher valleys

in the summer. Like other inhabitants of the

Himalayan region, they were animists, many of

whom followed the Bon religion, which held

sacred trees, lakes, and mountains. By the eighth century C.E., with the advent of

Buddhism in the eastern Himalayas, Bhutan's history

became closely entwined with religious figures and

the myths and legends associated with them. In the

early seventh century, the Tibetan Buddhist king

Songtsen Gampo built the first temples in Bhutan. But

another century passed before Buddhism actually took In the eighth century C.E., the Indian Buddhist Padmasambhava

(popularly known as Guru Rinpoche) traveled to many places in hold in Bhutan, hi 747, the Indian saint and teacher Bhutan while teaching Buddhism. He later meditated in a cave high Guru Padmasambhava first came to Bhutan. Legend above Paro Valley, arriving (it is said) on the back of a flying tigress. says that he manifested himself riding a flying tigress The magnificent Taktsang, or Tiger's Nest, monastery, which clings stayed in a in a cliff and meditation cave in the Paro to the rock face thousands of feet above the valley floor, now

Valley in western Bhutan (now the site ot the famous memorializes the site of the cave. Photo by Preston Scott

monastery of Taktsang, or Tiger's Nest).

Guru Padmasambhava—or Guru Rinpoche, as

he is more commonly known in Bhutan—was a

historical figure, one still highly revered in Bhutan. culture remains both deeply spiritual and robustly

He was born in Uddiyana in the present-day Swat earthly, owing much to the reUgious traditions that have

Valley of Pakistan and became a renowned sage in India influenced the country for more than a thousand years.

and Tibet. He visited many parts of Bhutan during Today, more than 2,000 temples and monasteries

his lifetime, performing miraculous feats and winning throughout Bhutan and the ubiquitous presence of

people over to Buddhism. During this period, many red-robed monks indicate the important role that

local deities became assimilated into the Bhutanese Buddhism continues to play in almost every aspect

Buddhist pantheon (usually as the protecting deities of Bhutanese life. Every district in the country has

of a particular village or vaDey). Many Bon practices, a dziVif}. which houses the official local monastic

particularly those that hold nature sacreci in its many community, and several temples. And every village

manifestations, have been integrated into the Mahayana has a temple, around which the life of the community

Buddhism practiced in Bhutan. But there are still some revolves. People of Nepali origin, who live mainly m

isolated pockets in the country where the Bon rehgion, southern Bhutan, follow Hinduism, the other major

with its shamanistic practices, lives on. Bhutanese religion in the country.

24 Bhutan: Land of the Thunder Dragon Three Marks of Faith

by Karma Ura

Bhutan is a deeply spiritual country, where religious customs There are about 2,000 temples in Bhutan, which means that strongly influence people's values. Three marks of faith shape people are never too far away from their objects of venera- the Bhutanese personality. tion. Serene statues are the centerpieces of temples. These

statues contain scriptural teachings of the Buddha and body The first is prayer Prayer includes short, daily individual acts and relics of eminent Buddhist masters. Thus, temples signify the liturgies led by monks or lay priests that continue for days. The presence and representations of the Buddha and help to purpose and duration of prayers vary greatly. Typically, prayers project Buddhist insights. concern w/hat people desire in this life, but they may stretch into the next life. Rituals and petitioning prayers are conducted Stupas (Buddhist memorials that usually house holy relics) freguently to solicit gracious and compassionate actions from remind Buddhists to open their minds to understanding the protector deities. Prayers may consist of mantras or sutras (the interdependence of everything, as explained by the teaching

Buddha's teachings). They may be profoundly lyrical and non- of Interdependent Origination. They should realize that every represent sectarian or philosophical. Prayers may narrow person can contribute to others' happiness and well-being and interests. But traditionally, most feature soul-lifting wishes for that each person needs contributions from others to achieve justice and the well-being of all life-forms the path that will — happiness. Happiness depends on sustaining a pattern of giving lead them to happiness. As teachings, prayers should stimulate in meaningful relationships. reflection and practice of the central values of Buddhism,

The third shared trait, or mark of faith, is the strong Bhutanese such as compassion. Their function is ultimately to shake off

belief in the wrongness of killing any life-form, including livestock the believer's convoluted and cloudy conscience, which so

and wildlife. In the ideal Buddhist world, even flies or rats, which easily relapses into individualistic self-centeredness. At a more

can spread disease, should not be killed. Poultry, swine, fish, and sophisticated level, prayers help believers discover what Buddhist

beef cattle should In philosophers have described as the "wisdom mind," which can not be raised to feed human beings. the real

world, however, Bhutanese increasing of distinguish between the ultimate reality of things and the mental consume an amount meat

as rises. they feel morally if constructions people take to be real. income But seem to more comfortable

the meat is imported or if others slaughter the animals. The future

Another mark of faith, or shared trait among the Bhutanese, is demands of an urban society may well clash with the very strong the spirit of volunteerism in the construction of community temples belief in not taking life, one of the virtues taught by the Buddha. and the installation of spiritual offerings in temples. A 2004 national survey confirmed that no infrastructure activity required Human behavior is a delicate, dynamic balance between the ideal more communal labor than that required for construction and and the pragmatic, between individual pursuits of happiness and maintenance of temples. The annual labor contribution of each social justice. Lay Buddhist ethics include constraints on individual household to large and complex temples surpassed the voluntary behavior and demands for social action. Together, they can shape labor spent in building community schools and suspension bridges the basic relationship not only between individuals (as a respect and safeguarding sources of drinking water And it explains the for human rights does), but also between individuals and other profusion of temples all over the country. sentient beings (which human rights do not guarantee).

Dasho Karma Ura is the director of the Centre for Bhutan Studies,

a prolific writer, and an aficionado of fine art. Karma Ura studied

at Magdalen College, Oxford, and the University of Edinburgh

where he earned a master's degree in economics.

A silk scarf (lotali) is worn as a sign of respect while polishing a statue

of Guru Rinpoche in Gangtey Monastery. Guru Rinpoche is depicted

holding a dorje (thunderbolt), which symbolizes the energy and strength

required to defeat ignorance. Photo by John Betihoid

Bhutan: Lana of tfie Thunder Dragon 25 While iinuh of the history of BhucnTs im-diowil would be guided, as well as measured, not by its Gross

period has been lost, because many historical records Domestic Product but by its Gross National Happiness

were destroyed in a series of fires and eartht]uakes, (GNH). It was a revolutionary concept and one that economists enough is known to provide an outhne ot major initially invited much skepticism from

events. For most of the medieval period, Bhutan had and other development experts. GNH was a nice

no dominant authority figure. A number ot local catchphrase, many of them said, but on what index

chieftains ruled the different valleys, and there was do you measure happiness? Today, the success of his

a great deal of conflict. Gross National Happiness theory is widely recognized

in the early seventeenth century, Zhabdrung and has become a model for economists and planners Ngawang Nanigyel, an important Tibetan lama, the world over.

unified the country for the first time. He exercised Put very simply, GNH is based on the conviction

his authority through a series of (/cost's he built across that m.iterial wealth alone does not bring happiness

the country, established a code of laws, and helped or ensure the contentment and well-being of the

institutionalize many cultural and religious traditions people; economic growth and "modernization"

that helped shape Bhutan's identity. He is widely should not be at the expense of the people's quality

regarded as the founder of modern Bhutan, hi 1907, of life or traditional values. To promote GNH, the

an assembly of people's representatives, high officials, Bhutanese government has given priority to several and important lamas unanimously elected Ugyen policy areas—equitable socio-economic development

Waiigchuck the first hereditary king of Bhutan, and in which prosperity is shared by every region of the

he was given the title Druk Gyalpo. His coronation country and every segment of society; conservation

day (December 17) is now Bhutan's National Day. and protection of the environment and the country's

His great grandson came to the throne in 1972. pristine natural resources; the preservation and

The young Fourth King's coronation two years later promotion of Bhutan's unique cultural heritage; and focused the world's attention on Bhutan, k brought the providing good, responsive governance in which the

international media to the country for the first time. people participate.

Photographs and articles published in international The highest priority has been given to rural

journals projected Bhutan as a fairy-tale kingdom ruled development by making health care and education

by a dazzUngly handsome young king. Soon after his accessible to all, including those living in the most coronation, King Jigme Singye Wangchuck announced remote villages; building roads and telecommunica-

his philosophy for the future development of his tions networks; launching livestock and agricultural

country. He declared that Bhutan's growth and progress development plans and their associated industries;

26 Bhutan: Land of the Thunder Dragon —

and promoting tnuiitional handicrafts. All ot these endeavors aim to improve rural livelihoods and create new job opportunities.

When Bhutan created its environmental protec- tion program, it kept in mind mistakes made by other countries in the neighborhood. Laws ensure that forest cover in Bhutan never drops below 60 percent and that industrial and commercial activities do not cause environmental tieterioration or threaten wikllife. All of

Bhutan's hydroelectric projects are run-ot-the-river no large dams cause ecological damage or submerge habitats. Such stringent eco-sensitive measures have not affected the profitabiUty of Bhutan's power projects.

Instead, they now provide more than 40 percent ot the country's revenue and help ensure Bhutan's continuing economic prosperity and independence. Environmental and cultural concerns have also resulted in the decision to discourage unlimited mass tourism and to prevent e.xploitation of many of the country's rich natural resources (such as copper), which would destroy human and natural habitats.

Laws preserve the cultural traditions that give

Bhutan its distinct identity. They encourage all

Bhutanese to wear traditional dress in public (which helps keep alive important weaving traditions) and strictly regulate the preservation and practice ot Bhutan's superb architecture and traditions. Regular government and monastic patronage and large projects for the restoration and renovation ot dzoiiqs, monasteries, and other historic structures guarantee that traditional artists and craftspeople maintain the highest standards.

GNH is based on the conviction that material wealth alone does not bring happiness or ensure the contentment and well-being of the people; economic growth and "modernization" should not be at the expense of the people's quality of life or traditional values.

(Left) Paro Dzong, which was built in the 1640s, houses a monastic community and serves as the administrative seat of the Pare district in western Bhutan. The seventeenth-century dzong, a few miles from the national airport, is surrounded by the natural splendor of the Eastern

Himalayas. Some scenes from the 1 995 film tittle Buddha by Bernardo Bertolucci were filmed here. Photo courtesy Bhutan Department of Tourism

(Upper right) Bhutan's Fourth King His Majesty Jigme Singye Wangchuck speaks with a young boy. The king was the world's youngest monarch when he ascended to the throne in 1972 at age sixteen. He is credited with setting Bhutan on the path to democracy before voluntarily retiring in December 2006. Photo courtesy Bhutan Department of Tourism

(Lower right) The Bhutanese people developed their own cultural identity when Buddhism came to the region more than a thousand years ago. They also incorporated important cultural traditions from Tibet, Nepal, and India (as reflected by this Nepali-style stupa in central Bhutan).

Photo courtesy Bhutan Department of Tourism

Bhutan: Land of the Thunder Dragon 27 Bhutan's spiritual cultuiv permeates every aspect the villages. Then, in 1998, he divested himself of his

a council of life, including the government. Even in the twenty- executive powers and transferred them to

first century, about 3,000 privately supported monks of ministers. To protect the future well-being of the

and other religious teachers continue to play an country, he also advanced a new law that gave the

essential role in the life of the community by presiding National Assembly the power to call for a vote ot

over festivals and rites of passage and by providing confidence in the king. In 2001, he called for a new

guidance, advice, and solace. Bhutan also has lay monks, constitution that would give Bhutan a two (or more)-

or qomchetis, who live with their families but have party democratic electoral system, with an independent acquired the religious knowledge that allows them judiciary and other important safeguards. In late

to conduct prayers and other religious ceremonies. 200s, the king began visiting the districts to hear the

They play a particularly important role in eastern people's opinions about the new draft constitution,

Bhutan, where they travel from village to village to allay their doubts, and personally explain to them why

provide services. Because monks are highly educated, he believed the new constitution would give them

greatly respected in Bhutanese society, and influential greater control over their own lives and destinies tor

in shaping opinion, they now play an important new the benefit of the country.

role in national life: they are very effective agents of Despite the initial skepticism that GNH first

social change in family planning,AIDS awareness and drew from economists and other development experts

prevention, and other fields of public health. (perhaps not unlike some of the reactions that Thomas

For twenty-five years, providing responsive JetTerson must have received when he inserted the

and participatory governance has been a priority ot words "pursuit of happiness" into the U.S. Declaration

Bhutan's Fourth King. For example, in 1981 he began of Independence), there is now concrete evidence

the process of decentralization and democratization of its relevance in Bhutan. From 1985 to 2007, life

by giving each dzoiigkluig (district) in the country the expectancy rose from forty-seven to sixty-six years.

power to determine its own development priorities. Literacy increased from 23 to 59.5 percent, and schools reached percent. In 1991 , he extended this decision-making power to enrollment m primary 90 There are now thirty hospitals m the country and

176 basic health units. Bhutan has been named one

of the ten most important biodiversity hot spots in

the world and has been recognized for its exemplary

management ot natural resources.

In 2008, the country will complete its transition

to democratic governance under the new constitution

and will celebrate 100 years of the monarchy with

the coronation of Bhutan's Fifth King (and first

constitutional monarch). Bhutan does not want to

keep the outside world or the twenty-first century

Bhutan's many monastic communities remain vital centers of learning

and cultural life and provide important links between Bhutan's past,

present, and future. Photo by Presion Scott

28 Bhutan: Land of the Thunder Dragon at bay. Like people every-where, the Bhutanese also The 2008 coronation of His Majesty King Jigme Khesar Namgyel

Wangchuck, the Fifth Druk Gyalpo, will complete the transition to want prosperity, but not at the expense ot cherished democratic governance under Bhutan's new constitution and mark traditions and culture. Bhutan wants to introduce 1 00 years of the monarchy. Photo courtesy Kuensel Corporation modern technology at its own pace and according to its own needs. This is why Bhutan waited until 19S3 to build an airport and start regular air services to Bhutan, whv It gradually increased the number ot foreign His M.ijesty Jigme Singye Wangchuck, the Father tourists from only 200 in 1974 to over 17,000 in 2006, of Bhutan's Democracy, retired in December 2006, and whv television was not introduced until 1999. entrusting his responsibilities to his beloved son

People often wonder how long, in this age of and able heir. His Majesty Jigme Khesar Namgyel information technology and an increasingly globalized Wangchuck. His Majesty the Fifth King, will guide economy, Bhutan can retain its distinct identity and the nation toward greater peace and prosperirv' and deeply spiritual culture. One only has to see how into a new era in Bhutanese history. adeptly a Bhutanese monk uses the computer to prepare a scroll of 100,000 prayers to put inside a Her Majesty ihc Qiiccil cf BhnliW,Ashi Dorji Wani^iuo prayer wheel to reaUze that Bhutanese society is both Wangchuck, was born in 1955 //( Nobgang, western Bhutan, vibrant and deeply rooted in tradition—that it has an and ii>as educated in the Darjeeling district of West Bengal, extraordinary capacity to appreciate, absorb, and adapt India. She heads thcTarayana Foundation, which proi'ides new ideas and effortlessly make them a part of the tncdical, educational, and social support to people and

Bhutanese way of life. couuiumitics lii'iug in the most remote areas oj Bhutan.

Since Bhutan's Fourth King came to the throne as the worlds youngest monarch at the age of sixteen This essay was adapted from Her Majesty's book. in 1972, Bhutan has enjoyed unprecedented progress. Treasures of the Thunder Dragon: A Portrait of Bhutan.

Bhutan: Land of tfie Tfiunder Dragon 29 Zorig Chusum: Bhutan's Living Arts and Crafts

by Dorjee Tshering and Thinley Wangchuk

The artistic traditions of Bhutan have been kepX alive, promoted,

and further developed because they are useful, ennobling, and

inspirational. In fact, Bhutanese life and culture remain robust and

richly colorful due in large part to the continued teaching and

practice of zorig chusum (thirteen traditional arts).

Zorig chusum include the follow/ing arts: yigzo (calligraphy), Ihazo

(painting), jimzo (sculpture), lugzo (metal casting), troezo (gold- The art of carving in Bhutan dates back many centuries. Artists engrave and silversmithing), shingzo (carpentry), tshemzo (tailoring and wood or slate with images and texts to help communicate the Buddha's

tapestry), rsharzo (bamboo and container work), shagzo (wood teachings. Photo by Pteston Scott

turning and lacquering), thagzo (weaving), dzazo (pottery),

chakzo (blacksmithing), and dozo (masonry). Shagzo (paper monastic studies. Bhutan's fourth des/ (secular ruler) established

making) and poezo (incense-stick making) are closely tied to a school of arts and crafts in the seventeenth century that

and often practiced with the traditional arts of zorig chusum. institutionalized zorig chusum. Since then, the visual arts have

been carefully cultivated as the primary means for expression Many Bhutanese arts and crafts have been practiced for centuries of Buddhist teachings, even in secular daily life. and, since the seventeenth century, have been fostered by great

builders of dzongs (fortresses). Historian Lam Nado wrote that In contrast to many artistic traditions elsewhere, the visual arts

the great unifier of Bhutan, the Zhabdrung, invited artists from of Bhutan were never considered merely decorative. While beauty

neighboring countries to refine the arts of clay sculpturing, is clearly cultivated and appreciated, the fundamental purpose of

painting, and calligraphy; build the Punakha,Trashichodzong, the arts in Bhutanese society is to express Buddhism and convey

and Wangduphodrang dzongs; and set a formal curriculum for genuine life experiences.

Bhutanese textiles are some of the most coveted in the world. Each region of Bhutan has its own specialties, passed down through generations.

Weavers still obtain dyes from locally available vegetables and minerals. Pieces include complex symbols and may take more than six months to weave.

Photo courtesy Bhutan Department of Tourism

30 Bhutan: Land of the Thunder Dragon Throughout Bhutan today, you can see houses, temples, monaster- incorporated into all aspects of Bhutanese society. In order to ies, government, and other public buildings that include elements preserve and promote the thirteen arts and crafts, the Royal of zor/g chusum. Buildings typically require masonry, carpentry, and Government of Bhutan established the Institute for Zorig Chusum

carving expertise. They feature stone foundations, rammed-earth in Thimphu in 1 971 . Another campus was subsequently opened walls, and elaborately carved wooden structures, windows, doors, in far eastern Bhutan in Trashiyangtse. The campuses create pediments, and stylized architectural embellishments. Because meaningful job opportunities for a new cadre of highly trained most Bhutanese buildings are wooden, they are easily painted Bhutanese artisans and craftspeople. with designs that symbolize harmony and good fortune. Important Thanks to the students who have received formal training in religious and government buildings usually feature murals, wall zorig chusum, Bhutan's rich cultural heritage enhances the lives paintings, and sculptures that portray major religious and political of new generations of Bhutanese, as well as the experiences of figures from Bhutanese history and Buddhism. They often display people who visit the kingdom. Some artists are beginning to complex mandalas, richly designed compositions, and designs that explore other forms of artistic expression not traditionally practiced represent understandings of the cosmos, life, and death. in Bhutan. These include filmmaking and other recently introduced

All around Bhutan, one can see zorig chusum in the colorful, visual arts. Bhutanese appreciate the artistic gifts and traditions intricate weaving of garments—women's kiras and men's ghos. of their visionary leaders and work to keep the arts alive and

The threads and dyes that color them are produced by hand from healthy for the benefit of all. local and prized remote sources. Because most cloth in Bhutan Dorjee Tshering became the director of the Department of Culture was traditionally made by hand and woven (or stitched) thread- under the Ministry of Home and Cultural Affairs for the Royal by-thread, textiles and related products have always been highly Government of Bhutan after working for many institutions of valued. Like the building arts, they have an important role in ritual higher education in Bhutan and directing the National Library life. For example, huge embroidered religious tapestries are hung He is on the curatorial team for the Festival's Bhutan program. outside on the final morning of the annual masked dance festivals Thinley Wangchuk is the director of the National Institute for in the country's many valleys. Zorig Chusum. He has extensive knowledge of Bhutanese crafts

While many, if not most, zorig chusum have their origins in the and trained in sword smithery in Germany. He is helping curate monastic communities of Bhutan, they have been thoroughly the arts and crafts component of the Bhutan program.

(Left) Thangkas are traditional Bhutanese paintings on cloth that are displayed during important ceremonies. They also occupy places of honor in homes, temples, monasteries, and even contemporary offices. The artist initially draws a complex grid of geometric lines on the cloth to organize the overall composition. Tliangka geometry is taught according to very strict artistic principles from which there is little deviation. For centuries, the visual arts have played an important role in teaching basic Buddhist traditions in Bhutan. Photo by Preston Scott

(Center and right) Bhutan's zorig chusum (thirteen traditional arts), which include clay sculpting (jimzo), still decorate major public structures, such as fortresses (dzongs) and temples, as well as houses. Photo (center) by Sean Riley, Photo (tight) by Preston Scott

Bhutan: Land of the Thunder L. Reinforcing Culture: Tourism in Bhutan

by Siok Sian Pek-Dorji

From explorers to mountaineers, from environmental specialists

to trekkers, from culture-hungry adventurers to seven-star

jetsetters— Bhutan's tourism continues to evolve. Today, tourism

planners want to ensure that the kingdom's $18.5 million

industry benefits not only the tour operators, but also the people.

In 2007, just over 20,000 tourists visited Bhutan—a record.

But Bhutan looks beyond numbers. Tourism is more than a

source of hard currency. It is part of Bhutan's journey toward

development, change, and the enlightened goal of Gross

National Happiness. "We see tourism as a means by which

we can strengthen our values and our identity," said Lhatu Bhutan's National Museum is housed in the historic Ta Dzong

Wangchuk, director general of tourism. "We've become more (watchtower), which is nestled in the hills above Paro Dzong. Its rounded,

shell-shaped walls are an impressive accomplishment of seventeenth- aware of the value of our own culture and our uniqueness century Bhutanese architects and builders. Phoio copyright Michael Tobias because of the positive feedback from tourists."

Based on evaluations from tourists and the experience of the Feedback from tourists has inspired the department to issue

past four decades, the tourism department plans to involve the guidelines for the development of infrastructure, facilities,

people, especially those from remote communities. In the past, campsites, and viewpoints. They will be built with traditional

cultural enthusiasts and trekkers came into contact only with aesthetics in mind, use local materials and skills, and offer mod-

tour operators. The average Bhutanese citizen, apart from the ern comforts. "The challenge is getting greater," said Thuji Nadik,

operators and a few handicraft manufacturers, benefited little a tourism planner. "Today, we have close to 250 tour operators,

from the industry Lhatu Wangchuk talks about "community- and many more people are building tourism infrastructure with

based tourism." Even though tour operators have started taking very little understanding of what is required." Progressive plan-

tourists to smaller rural tsechus, because travelers complain that ning, training, and education are essential to the new tourism

the larger festivals have become too "touristy," the department policy. The Hotel Management and Tourism Training School,

plans to do more. In a promising initiative, it has started to de- which will open in 2008, and several other government initia-

velop new trekking routes and areas in remote Zhemgang and tives will guarantee high-quality service and promote Bhutan's

Kheng. Staff are training local people to manage campsites, magical aura. The Tourism Act will protect the country's age-old

guide, and cook for trekkers. The communities will also provide spiritual, environmental, and cultural heritage.

cultural entertainment for tourists and sell local handicrafts. "We will not try to be someone or something

The department is marketing Nabji Korphu, a pristine portion else," said Lhatu Wangchuk. "If we lose

of the Jigme Singye Wangchuck National Park. The trail passes our culture, our identity, our uniqueness, through small mountain villages (like Monpa) and broadleaf forests what do we have?" that are home to endangered wildlife, including the golden langur

and Rufous-necked hornbill.With clear conservation regulations Tourism is not just a business. It is a part of the kingdom's

that restrain forestry activities, tourism is an environmentally journey on the middle path to progress. Tourists are guests of

sensitive, ideal source of income for the people. "Our people have the Bhutanese people. They are asked to come to share, as well

always depended on the forest for their livelihood," said a village as to preserve what Bhutan has to offer.

elder from Jangbi village. "With the area declared a national park, Siok Sian Pek-Dorji is a journalist who works independently

many of the inhabitants have to look for new ways to survive. I on media and communication projects in Bhutan and is a hope that tourism will give the people additional income to support member of the board of directors of the Bhutan Broadcasting their daily life." Camping fees and other revenue will support a Service Corporation. "community development fund" that will finance local irrigation

channels, renovation of monasteries, and organization of tsechus.

The fund will spread the earnings in a meaningful way.

32 Bhutan: Land of the Thunder Dragon Further Reading

Bhutan: The Thunder Dragon Comes To Washington Zorig Chusum: Bhutan's Living Arts And Crafts

BERTHOLD, JOHN. 2005. Bliiiraii: Ldiid of the lliuiidci D/,i(,'c>»). An Introduction to Traditional Architecture of Bhutan. 1993. SoinerviUe; Wisdom Publications. Thimphu: Royal Government of Bhutan.

Moiiogniph on Medicinal Plants oj Bhutan. 2006. Thimphu: BEAN, SUSAN AND DIANA MYERS.1994. From the Land of the histitiitL' ofTr.iditional Medicine Services. Thunder Dragon :Textile .Arts ol Bhutan. London:

POMMARET, FRANCOISE AND CHRISTIAN SCHICKLGRUBER, EDS. 1997. Serindia Publications.

Bhutan: MoHinaiu Fortress of the Csods. New Delhi: KUNZANG DORJI. 2003. Icons ofAwakened Energy:

Bookwise (India) Fvt. Ltd. An Introduction to Bhutanese Iconography. Thimphu:

SONAM KINGA. 2005. Si>ealiin\; Statues. F/)'/)i,i> Rocks :lVritii{^s Department ot Tourism. on Bhutanese History, .Myths, and Cuhure. Thimphu: DSB Reinforcing Culture: Tourism In Bhutan Publication.

KUNZANG CHODEN. 2008. Chilli and Cheese: Food and Society Treasures Of The Thunder Dragon in Bhutan. Bangkok: White Lotus Press.

ARIS, MICHAEL. 1994. The Raven Crow\i:The Orii;ins POMMARET, FRANgOISE. 2006. Bhutan: Himalayan Mountain of Buddhist Monarchy in Bhutan. London: Serindia Kingdom. Sheung Wan: Odyssey.

Publications. ZEPPA, JAMIE. 2000. Beyond the Sky and the Larlh: A Journey

ASHI DORJIWANGMOWANGCHUCK.1998. Of Rainbon-s and into Bhutan. New York: Riverhead Books.

Clouds: The Life of Yah Vi^yeit Dorji as Told to His Daughter. London: Serindia Publications. RECOMMENDED RECORDINGS

.2006. Treasures of the TImnder Dragon :.-{ Portrait JIGME DRUKPA. 1 998. B((//cjs Songs from Bhutan. Grappa ('/ Bhutan. New York: Penguin Global. Musikkforlag. HCD 7143. Immortal Lines: Speeches of the 4th Druh Gyalpo Jigme VARIOUS ARTISTS. 1978. .Music of Bhutan. Smithsonian Singye ]]angchuck. 2007. Thimphu: Bhutan Times Ltd. Folkways Recordings. FW 04030.

A Meditation In Dance VARIOUS ARTISTS. 2007. Zey Pi Karsel Daiva [Musical

tribute to 100 years ot monarchy in Bhutan]. Youth DA5H0 SITHEL DORJI. 2001. The Origin and Description of Development Fund (Thimphu), www.ydt.org.bt. Bhutanese .Masked Di)/;f«. Thimphu: KMT Press.

Three Marks Of Faith SUGGESTED FILMS

BARTHOLOMEW, TERESE TSE AND JOHN JOHNSTON, EDS. 2008. The Bhutan: Land of the Thunder Dragon. 2007. DVD-Video.

Dragon's Ciift:'rhe Sacred .Arts of Bhutan. Chicago: Thimphu: Bhutan Department ot Tourism. 15 irun.

Serindia Publications. Bhutan :'Iiiking the .Middle Path to Happiness. 2007.

KUNZANGCHODEN. 2005. The Circle of Karma. New Delhi: 35 mm. Maui:Verdetti Productions, LLC. 57 min.

I'enguin 'Zubaan. The Living Edens: Bhutan. 1997. Video. Arlington, VA:

NATIONAL MUSEUM. 2001. The Living Religious & Cultural PBS Home Video, Arlington. 60 min.

Traditions ol 6/(((f

Culture, Government of Inciia. Zeitgeist Films Ltd. /Prayer Flag Pictures. loS min.

TULKU MYNAK, KARMA URA, AND YOSHIRO IMAEDA, EDS. 2002. L'estival and Faith at Nyimalung.Tokyo: Hirakawa Shuppan Inc.

WEHRHEIM, JOHN. 2008. Bhutan: Hidden Lands of Happiness. Chicago: Serindia Publications.

Bhutan: Land of the Thunder Dragon 33 NASA

Steven J. Die Jett Hamilton was born m iys>S —the same year that the National Aeronautics and Space Admmistration (NASA) was created—and grew

up on a small farm outside Himtsville. Alabama.

Fifteen miles away vvas NASA's Marshall Space

Flight Center, where engines tor the Saturn V

rocket were bemg tested. When these tests took

place, Hamilton recalled, "The ground would

shake, the house would shake, the windows

would rattle. 1 would run out into the yard,

and you could teel it as a rumbling, you could

feel It as a lovv-frec]uency thump in your chest,

and you could see the smoke billowing up

on the ht)rizon.That was real cool, tor a kid

growing up on a chicken farm." Listening

to the thundering roar of those rockets in

the mid-1960s, Hamilton dreamed that one

day he might get to work on those engines

himselt. He studied electrical engineering at

- y ' the University ofAlabama in Huntsville and

joined the University's Cooperative Education

Program in 1979. That allowed him to take

classes one semester and work the tollow-

ing semester for NASA's Marshall Center. As

luck (or tate) would have it, Hamilton's very

first assignment was to work 111 the exact same place where the Saturn V engines had roared.

"By then they had convertecl it tor testing the

Space Shuttle's external tiiel tank," Hamilton

explained. "But there I was, climbing around

on the very same test stand that had called me

to NASA as a young boy."Thirty years alter he

started, Hamilton is still with NASA, having

worked primarily as an aerospace engineer, but

also in areas ot administration and manatiement.

The Saturn V rockets were the most powerful launch vehicles ever

used by NASA and first saw service on November 9, 1967, when

the unmanned Apollo 4 lifted off from the Kennedy Space Center

All images in this article courtesy NASA, unless otherwise indicated. The 200S Smithsonian FolkUfc Festival program kin)wledge. and codes of behavior that not only distin-

NASA: Fifty Years and Beyond presents these and guish it from other occupational groups, but also meet

other occupational traditions from the National its needs as a community. Aeronautics and Space Adnnnistration, an organiza- The engineers, scientists, and administrators who

tion now celebrating its first fifty years. Approximately work at NASA may be surprised to find themselves

100 participants are on the National Mall to share regarded as bearers of tradition and thus the subject of

their skills, experiences, and traditions with members study by folklorists. After all, NASA generally perceives

of the public. They include administrators, aeronauti- itself as a paragon of progressive science, continu-

cal engineers, analysts, archaeologists, astrobiologists, ally breaking new ground rather than conserving

astronauts, astronomers, astrophysicists, atmospheric its culture. But another way of looking at occupa-

scientists, and avionics technicians—not to mention tional culture is to see it as distinctive to a particular the occupational groups from the remaining twenty- agency, company, or organization. As sociologist James

five letters of the alphabet. Q.Wilson has observed, "Every organization has a

;V/1S/1: Fifty Years and Beyond builds upon previous culture, that is, a persistent, patterned way of thinking

Folklife Festival programs that have examined occupa- about the central tasks of and human relationships

tional traditions, such as American Trial LAVi'yers in 1986, within an organization. Culture is to an organiza-

U'liitc House Workers in 1992, IVorkitu; ./f ilic Smiilisoiiiiiii tion what personality is to an individual. Like human

in 1996, Masters of the Building Arts in 2001, and culture generally, it is passed on from one generation

Forest Service, Culture, and Community in 2005. Every to the next. It changes slowly, if at all." The fiftieth occupational group—including actuaries, biologists, anniversary of NASA in 2008 provides a wonderful

cowboys, dishwashers, engineers, firefighters, gafters, opportunity' for understanding and appreciating its

and haberdashers—has its own set of skills, specialized organizational and occupational cultures.

(Upper) The first Space Shuttle external fuel tank rolled off the

assembly line on September 9, 1977, at the Michoud Assembly

Facility in New Orleans, Louisiana. The tanks for the first two Shuttle

missions were painted white but were thereafter left unpainted,

reducing the weight by approximately 600 pounds.

(Lower) Onboard the Space Shuttle fndeai/ourin September 1992,

crew members representing NASA's diverse occupational culture pose

for their traditional portrait in space. Pictured front row, left to right,

are Payload Commander Mark Lee and Payload Specialist Mamoru

Mohri (from Japan's National Space Development Agency); middle row

are mission specialists Jan Davis, Jerome Apt, and Mae Jemison; and

back row are Commander Robert Gibson and Pilot Curtis Brown.

36 NASA: Fifty Years and Beyond NASA's Origins

Undoubtedly. NASA is one of the U.S. government agencies with the highest name recognition. Not many Americans know much about the General

Services Administration or the Otlice ot Government

Ethics, but they are likely to know of and have strong opinions about the Internal Revenue Service, the Social Security Administration, and the National ^!£^ Aeronautics and Space Administration. What the public may know about NASA is that its astronauts

have circled the world, walked on the moon, piloted

the first winged spacecraft, and constructed the

International Space Station. Less well known is

that NASA's robotic spacecraft have studied the

Earths climate, oceans and land masses, visited

all the planets (e.xcept for the dwarf planet Pluto, which will be visited by the New Horizons mission

in 201 j), captured images of the universe at many wavelengths, and peered back to the beginnings

ot time. Its scramjet aircraft have reached the

aeronautical frontier, traveling 7,000 miles per hour,

ten times the speed ot sound to set a world record.

Few people might have predicted all these

achievements when NASA was first created. On

July 29, I9_sfi, President Dwight D. Eisenhower

signed the National Aeronautics and Space Act to

support research into the problems ot flight, both

within the Earth's atmosphere and in space. The

act created NASA, which became operational on

October i, 1958. NASA's birth was directly related

to the pressures of international political and

military competition and in particular to the Soviet

Union's launch of Sputnik. After World War II, the

United States and the Soviet Union were engaged

in the Cold War, a broad contest over the ideolo-

gies and allegiances of nonaligned nations. During

this period, space exploration emerged as a major (Upper) On the evening of October 4, 1957, a 183-pound beach

disputed area anti became known as the "space race." ball-sized aluminum sphere, known as Sputnik, was launched from

Soviet rocket site near Tyuratam, Kazakhstan. NASA began b\' absorbing the earlier National the Union's test

Advisory Committee tor Aeronautics (NACA), includ- (Center) Test pilot Lawrence A. dousing climbs into his Lockheed

P-80 aircraft for flight the Ames Aeronautical Laboratory, ing its 8,000 employees, an annual budget of $100 a test at Moffett Field, California. million, and three major research laboratories—Langley Aeronautical Laboratory (Hampton, Virginia), Ames (Lower) Technicians at the Kennedy Space Center prepare the Pioneer !0 spacecraft for operation prior to liftoff in March 1972. Aeronautical Laboratory (Moffett Field, California), In December 1973, it became the first spacecraft to fly by Jupiter. and Lewis Flight Propulsion Laboratory (Cleveland, Although researchers hoped for seven years of service, the Pioneer JO Ohio). These three facilities are as now known continued to send signals back to Earth for twenty-four years as it

the Langley, Ames, and Glenn research centers. became the first human-built object to leave the solar system.

NASA: Fifty Years and Beyond 37 (Left) With its twin solid rocl

churning at 7 million pounds of thrust, the Space Shuttle Atlantis

thunders skyward from the Kennedy Space Center on March 24, 1992.

(Right) On its way to the moon in April 1970, the Apollo 13

spacecraft was crippled by an explosion in one of its oxygen tanks.

Shortly before that occurred, Astronaut Fred W. Haise Jr. (shown on

the screen) spoke with the Mission Operations Control Room in

Houston, Texas.

Today, NASA is run by personnel at its head- and handle inherently governmental tasks, while the

quarters in Washington, D.C., and has ten major field contractors manufacture new hardware, perform

centers spread around the country. Headquarters operational tasks, and carry out a variety of other

personnel broadly oversee the direction of NASA's support functions. In addition, this workforce is backed

programs at the field centers, where employees up by the broad-based national aerospace industry.

actually perform specific engineering tasks and Some of NASA's facilities—such as the Kennedy

conduct scientific research. In addition, NASA Space Center (KSC) near Cape Canaveral, Florida,

headquarters personnel liaise with other govern- and the Johnson Space C'enter (JSC) in Houston—are

ment personnel in Washington, such as White House weU known, due to their very visible roles in human

and Congressional staff'. NASA is an independent, spaceflight. Many Americans are aware that astro-

civilian agency whose top official, the administra- nauts and rockets are launched into space from

tor, reports directly to the president. While NASA Florida's KSC and that astronauts talk direcdy to

cooperates closely with the various military services, Mission Control at the JSC—as in "Houston, we've

it was set up as and remains a civilian agency. had a problem." Astronauts are clearly the figura-

Over i8,000 civil servants and more than 43,000 tive and literal faces of NASA, which is the only U.S.

on-site contractors work at headquarters, the ten government organization able to send people into

field centers, and other smaller facilities. In general, space. The United States is one of only three nations

civil servants oversee research, coordinate programs. able to do this; the others are Russia and China.

38 NASA: Fifty Years and Beyond Another NASA facilin,' is the Marshal] Space Mementos in Time: Crew Patclies Help

Fhght Center m HuntsviUe, Alabama. When it opened Piece Together NASA's Spaceflight History in iy6o,Wernher von Braun (who had developed by Catherine E. Borsche and Brad Thomas theV-2 rocket for Germany during World War II) became its first director. Von Brauns "German rocket The most highly identifiable symbol for each NASA mission team" was instrumental m developing the large Saturn is the crew patch, which adorns the crew's flight suits and rockets used in the Apollo missions to the moon. personalizes the mission. Because each patch is designed by Engineers at Marshall have continued developing crew members themselves, it "tells a story about the mission launch technologies such as the Space Shuttle main and is often a peek into the personalities of the people engine and its solid rocket boosters. In neighboring onboard," according to Steve Robinson. Robinson should Mississippi, the Stennis Space Center is where engi- know because he designed the patch for STS-1 14, on neers test rocket engines on gigantic stationary stands. which he served as mission specialist in luly-August 2005. Stennis employees also engage in other research such STS-1 14 was the first Space Shuttle mission to fly after the as Earth science (See page 46). tragic Columbia accident in February 2003.

Robinson personally crafted the initial elements. "The initial

concept took shape over two days in my home studio. I

roughed out three to four different concepts using pencil,

colored felt pens, and watercolor," he recalls. "I worked for

years as a graphic designer as a side job, and I always

wondered what it would be like to design a mission patch."

Once the crew members formulate a concept, they bring it,

sometimes as a sketch, to a NASA graphic artist. Before

the switch to computers, it took a graphic artist up to 300

hours to create a patch. Now that time has decreased to

no more than twenty hours. The results become an indelible

part of NASA history.

Five rocket pioneers pose in 1956 with models of missiles they

created. Clockwise from center are Hermann Oberth, a German-born

physicist who first used the term "space station" to describe a

wheel-like facility for space travel; Ernst Stuhlinger, a German-born

electrical scientist who designed a solar-powered spacecraft; Major

General Holger Toftoy, who recommended that German scientists be

sent to the United States to work in the rocket program after World

War II; Wernher von Braun, one of Oberth's students in Germany

and the first director of the Marshall Space Flight Center; and Robert

Lusser, a German-born aircraft designer and engineer.

NASA: Fifty Years and Beyond 39 Human Spaceflight

More NASA personnel work on human spaceflight

efforts—such as the Space Shuttle, International Space Station, and the planned Constellation program—than

on robotic spacecraft missions, such as the well-known

Mars Rovers and Earth science satellites. By its nature,

human spaceflight is more risky and complex than

sending robotic craft into space. While some space

scientists decry the greater funding given Innnan

spaceflight, there is no doubt that human spaceflight

captivates the public's attention and imagination and

that without this intangible support, NASA would

likely not even e.xist. As a result, human spaceflight

dominates the agency's organizational culture.

NASA's human spaceflight initiatives began

with project Mercury, a single astronaut program

(flights diu"ing 1961 — 1963) to ascertain it a human

could survive in space. Project Gemini (flights

during 1965— 1966) proceeded with two astronauts

to practice space operations, especially docking of

spacecraft and extravehicular activity (or spacewalks).

These early missions culminated in project Apollo a worldwide audience on Earth. On July 20, 1969,

(flights during 1968— 1972) to explore the moon. the Apollo 1 1 mission fulfilled Kennedy's challenge

Apollo became a NASA priority on May 25, 1961, by successfully landing Neil Armstrong and Edwin

when President John F. Kennedy announced the goal E."Buzz'" Aklrin Jr. on the lunar landscape known

of landing a man on the moon and returning him as the Sea ofTranquiliry. Five more successful lunar-

safely to Earth by the end of the decade. Despite landing missions followed, leading to a total of twelve

a deadly fire in 1967, which took the lives of three Apollo astronauts conducting brief (up to three days)

astronauts, the Apollo program recovered and on exploratory missions on the lunar surface. The final

a memorable Christmas Eve in 1968, the Apollo 8 three missions (Apollo 15, 16, and 17) undertook

crew went into orbit around the moon and broad- more extensive activities, aided by lunar rovers that

cast live images of the moon's forbidding surface to could travel at speeds up to eight miles an hour.

(Upper) Alan Shepard was the first American and the second

human (after Yuri Gagarin) to fly in space. Here he is bemg

inserted into the tight confines of the Mercury capsule for a

flight simulation test in early 1961.

(Left) The imprint of Buzz Aldrin's boot—left when he and

Neil Armstrong became the first humans to walk on the moon

in July 1 959—has become one of the iconic images of human

' 1-V4 exploration in space.

40 NASA: Fifty Years and Beyond On June 3, 1965,

Edward H.White II became the first American to step outside his spacecraft and let go, effectively setting himself adrift in the zero gravity of space—^though attached to the spacecraft by a 25-foot umbilical line and a

23-foot tether line. The Apollo program continued in a different form tragedy struck again on February i, 2003, with the

with the Skylab "orbital workshop" missions (1973- loss of the orbiter Columbia and its seven astronauts

1974). As an indicator of or perhaps a contributing during reentry. Three Shuttle orbiters remain in factor to the superpower detente of the time, NASA NASA's fleet: Atlantis, Discovery, and Endeavour. worked with Soviet counterparts on the Apollo- In 1984, Congress approved President Ronald

SoyuzTest Project of lyys. with its famous handshake Reagan's proposal for NASA to build a space station

in space between astronauts and cosmonauts. as a base for further exploration of space. After many

After a break of six years, NASA returned to revised plans, the International Space Station finally

human spaceflight in 1981 with the advent of the emerged. Permanent habitation of the ISS began

Space Shuttle program. The Shuttles first mission, when the Expedition One crew arrived in 2000.

which was launched on April 12, 19S1, demon- In 2004, President George W. Bush announced

strated that it could take off vertically and ghde to a Vision for Space Exploration that entailed sending

an unpowered airplane-like landing. During its early humans back to the moon and on to Mars by retiring

missions, the Shuttle proved useful for placing com- the Shuttle in 2010 and developing the Constellation

munications and other satellites in Earth orbit, tor program. The latter includes a new, multipurpose launching robotic missions toward their planetary Orion crew exploration vehicle, as weO as new

targets, and for conducting microgravity research. crew and cargo launchers, known as Ares I and

On January 2cS, 1986, however, a leak in the joints AresV. Robotic scientific exploration and technology

of one of two solid rocket boosters attached to the development were also integrated into the Vision,

Shutde orbiter Challenger caused the main hquid as was the completion of the ISS in 2010.

fuel tank to explode seventy-three seconds after

launch, killing all seven crew members. In 1988, the This fish-eye view of the Space Shuttle Atlantis was taken from the

Shuttle successfully returned to flight, and NASA Russian M/r Space Station in 1995. The M/r station was operational then flew eighty-seven successful missions before from 1986 to 2001.

42 NASA: Fifty Years and Beyond (Upper) Astronauts Leiand Melvin (left) and Stanley Love, both in space for the first time, float from the Space Shuttle Atlantis to the

International Space Station in February 2008.

(Center right) Continuously inhabited since November 2000, the

International Space Station orbits the Earth every ninety-one minutes at an altitude of 250 miles.

(Center left) This conceptual image shovus the Ares I crew launch

vehicle during ascent. The Ares I will carry crews of up to six astronauts in the Orion capsule (seen here with flag decal) into

Earth orbit. Photo courtesy NASA Marshall Space Flight Centet

Jennifer Heldmann:

In the Footsteps of Galileo by Ruth Dasso Marlaire

In 1609, Galileo Galilei made his first major discovery with the telescope when he observed that the moon was

mountainous and pitted, much like the Earth. Almost four

hundred years later, the same discovery was made by ten-

year-old Jennifer Heldmann. important precursor mission to humans returning to the

moon. The LCROSS mission objective is to search for water "I had a small telescope at home," recalls Heldmann. "One on the moon to prepare for a future lunar outpost. In early

night, my mom and I pointed it at the moon, and I couldn't 2009, LCROSS will crash two vehicles on the moon's surface

believe I could see craters and mountains! Right there, so to kick up a plume of dust. A sensing satellite will then pass close to us, was a whole other world." through the plume, trying to detect water. Heldmann enjoys

Today, Heldmann is a research scientist at NASA's Ames "studying the world and universe because there are so many

Research Center, where she works on the Lunar Crater mysteries to unravel. It helps us understand our context in

Observation and Sensing Satellite (LCROSS) project, an the grand scheme of the cosmos."

NASA: Fifty Years and Beyond 43 —

Space Exploration

The robotic exploration of space has also long been

a significant part of NASA's mission, particularly with

scientific probes that explored the moon, the planets,

and other areas of Earth's solar system. The 1970s, in

particular, heralded the advent of a new generation

of scientific spacecraft. For example. Pioneer 10 and

Pioneer VI were launched in 1972 and 1973 to study

the composition of interplanetary space and thus

became the first human-built objects to leave the solar

system. Several years later. Voyager I and Voyager 2

began to explore the outer reaches of the solar system

and beyond; they are both still providing scientific data and have established new records for distance from

Earth. In 1976, NASA landed two Viking spacecraft

on Mars where they searched for evidence of life, but

neither mission found convincing evidence tor past

or present biological activity. However, shortly after

the Spirit and Opportunity rovers landed separately on

different parts of Mars in January 2004, they analyzed

rocks and were able to demonstrate, to much scien-

tific and popular acclaim, that liquid water had existed

on Mars. Other NASA missions—such as Magellan, Galileo, and Cassini—have sent robots to explore

Venus, Jupiter, and Saturn, respectively. The Goddard Space Flight Center in Greenbelt,

Maryland, is the nexus for much of NASA's robotic space work. In concert with personnel in Baltimore,

Goddard scientists and technicians control the Hubble

Space Telescope and also operate Earth science and

remote sensing sateOites such as Landsat. Delivered into

Earth orbit in 1990, the Hubble Space Telescope has

provided a wealth of scientific data, made possible by

four shuttle servicing missions. Hubble is the first ot NASA's "Great Observatories" (or powerful telescopes

based in space) and operates m the optical portion

of the spectrum, i.e., that which can be seen by the

human eye. It was followed by the Compton Ganmia Ray Observatory (launched in i99i),the Chandra

X-ray Observatory (1999), and the Spitzer Space

(infrared) Telescope (2003).

Holding even more promise is the James Webb

Space Telescope (JWST), which is scheduled to This composite image—taken by two of Hubble's telescopes launch in 2013. Like the Spitzer telescope, the JWST shows pillar-like structures that are actually columns of cool interstellar will in the infrared portion ot the make observations hydrogen gas and dust, which serve as incubators for new stars.

spectrum, utilizing a mirror that is 21.3 feet in diameter Photo courtesy NASA, European Space Agency, Space Telescope Science Institute,

(by comparison, Hubble's mirror is only 7.8 feet in and Arizona State University

44 NASA: Fifty Years and Beyond Dave Redding: Telescope Optical System Designer

by Franklin O'Donnell

You might call Dave Redding the Jet Propulsion Laboratory's

optician to the stars, literally. When NASA's Hubble Space

Telescope proved to have a defective mirror after its launch

in 1990, Redding was part of the JPL team brought in to

create a fix. The optics they devised for Hubble were

successful, enabling the space telescope to make a comeback

and proceed to a mission that dazzled the world with scores

of magazine cover images.

Since then, Redding has gone on to shape and deploy ever

more sophisticated technologies for optical systems, both

in space and on Earth. He was one of the original architects

of the optical system for NASA's planned James Webb Space

Telescope, which will launch in 2013 to study star-forming

regions in the distant universe.

What excites Redding today are futuristic space telescopes

using precision-made composite mirrors that actively control

the surface to adapt to observing conditions. "These can be

made quickly and relatively inexpensively and can be

assembled in segments to create a telescope on orbit that

(Upper) Taken by NASA's Exploration Rover Spirit on Mars, this wouldn't fit in a launch vehicle," he notes.

photograph shows its robotic arm extended to the rock called

Adirondack in January 2004, with a spectrometer used for identifying Redding not only has his eyes on the stars but, clearly, on

possible minerals. Phmo counesy NASA Jet Propulsion Laboratory new ways of seeing them.

(Lower) Astronaut F. Story Musgrave, anchored on the end of the

Space Shuttle Endeavour's mechanical arm, Is about to install

protective covers on the Hubble Space Telescope's magnetometers

as part of the first servicing mission In December 1 993.

diameter). The J WST will resale in an orbit roughly one million miles from Earth (versus the Hubbies

position only 366 miles away). NASA scientists are hoping that the JWST will be able to locate the very

first galaxies that formed in the Universe, thereby

connecting the Big Bang to our own Milky Way.

The Jet Propulsion Laboratory (JPL) in Pasadena.

California, is a unique NASA Field Center because it

is operated by the California Institute of Technology.

Before it was part of NASA, JPL personnel contrib-

uted to the first successful launch of a U.S. orbital

spacecraft. Explorer /, which discovered the Earth's

Van Allen radiation belts. JPL is widely recognized

tor its key roles on major roliotic scientific spacecraft

that go beyond Earth orbit, such as the Vikmg, Spirit,

and Opportunitrs' missions to Mars.

NASA: Fifty Years and Beyond 45 Earth Science

Not all of NASA's ventures arc out of this world. For

example, in the lyyos, NASA's Landsat program liter-

ally changed the way humans looked at our own planet.

Landsat data became used in a variety of practical

commercial applications, including crop management

and fault line detection. They were also helpful in

tracking many kinds of weather .uul phenonR-na such

as droughts, forest fires, and ice floes. Since then, NASA

has engaged in a variety of other Earth science efforts, NASA's Terra satellite captured this image of the Arctic Sea in notably the Earth Observing System (EOS) of space- September 2007. It shows the Northwest Passage free of ice yielded craft and data processing that have nnportant for the first time since satellite records began in 1979.

scientific results in such areas as tropical deforestation,

global warming, and climate change.

Over the coming years, NASA and its research years (from lyCu to 1999), and is expected to reach

p.irtners will be analyzing EOS data to better under- 7 billion by 201 1, it is vital that Earth scientists—at

stand the complex, dynamic system that is our Earth. NASA and elsewhere—help us understand whether

As far as we know. Earth is the only planet that is the Earth can continue to sustain this type of growth

capable of sustaining lite. C^iven that the world's popu- in the future, as well as what effect a changing climate

lation doubled trom } to d billion in |ust thirty-eight mav have on the inhabitants and surface of the Earth.

Antarctica is Earth's Isabella Velicogna: From Italy to Ice Sheets

largest reservoir by Franklin O'Donnell of fresh water.

Understanding When Isabella Velicogna was growing up in northern Italy,

the behavior of physics didn't sound like a promising career to her mother.

the ice sheets "She tried to get me to do something else," Velicogna recalls has important of the time her interest in math and physics was blossoming

in high school. "She didn't think I could get a job." societal and

economic Fortunately, her mother's fears proved to be unfounded.

impacts." Several college degrees later, including a doctorate in applied

geophysics from the University of Trieste, Velicogna has

recently joined NASA's Jet Propulsion Laboratory and has

plenty of work. Her specialty: studying the loss of ice in polar

regions as Earth's climate warms, with the aid of the Gravity

Recovery and Climate Experiment, or GRACE—two satellites

that make extremely accurate measurements of Earth's gravity

as they circle the planet.

In the future, Velicogna—who paints abstract art in her spare time—hopes to combine data from more satellites

and ground studies to create a more complete portrait of

ice around the planet, or Earth's cryosphere.

46 NASA: Fifty Years and Beyond 1 —

Aeronautics

Altliough NASA niav now be knuwii pnnianly as glide to a safe unpowered landing, for the later X-33 a "space agency," the first "A" in NASA stands for project, and for a crew return-\ehicle prototype for aeronautics. Indeed, the agency's roots go back to 1915, the International Space Station. In 2004. the X-43A when its predecessor the National Advisory Committee airplane used innovative scramjet technology to fly at for Aeronautics (NACA) was formed. Moreover, during ten times the speed of sound, setting a world record for

NASA's earhest years, most ot its engineers anci scien- air-breathing aircraft (i.e., those that ret;[uire the intake tists had only aeronautics training because astronautics of air for fuel combustion). had not yet been established as a discipline. NASA's aeronautical research heritage continues

Building on these roots, NASA has contmually at some of its lesser-known facilities. For instance, the conducted research on aerodynamics, wincl shear, Langley Research Center (uji.s) in Hampton, Virginia, and other important topics usmg wind tunnels, is the original "mother center." Its stat}"is not only still flight testing, and computer simulations. In the a leader in aeronautical wind tunnel research, but also

1960s, NASA's X-15 program involved flying a includes scientists in atmospheric science research and rocket-powered airplane above the atmosphere and engineers who tackle other problems of spaceflight. gliding it back unpowered to Earth. The X-15 pilots Another early NASA center for aeronautics was helped researchers gain useful information about what is known today as the Dryden Flight Research supersonic aeronautics, and the program provided Center in California's Mojave Desert. The center traces data tor development ot the Space Shuttle. its origins to 1946, when NACA researchers came to NASA has also conducted significant research the Muroc Army Air Base, now the Edwards Air Force on high-speed aircraft flight maneuverability that Base, to test the first supersonic flights by the X- was otten applicable to lower-speed airplanes. NASA rocket plane. The facility was ideally suited for this type scientist Richard Whitcomb invented the "super- ot research because it contains the Rogers Dry Lake critical wing," which was specially shaped to delay at torty-four square miles, the largest dry lakebed in and lessen the impact of shock waves on transonic the world. Here, the test pilots demonstrated that they military aircraft and had a significant impact on civil had "the right stuff," what Tom Wolfe described in his aircraft design. From 1963 to 197.S, NASA conducted a best-selling book by that title. As he observed, the world research program on "lifting bodies" (aircraft without of the test pilots "was divided into those who had it and wings). This paved the way for the Space Shuttle to those who did not."

(Left) Future astronaut Neil Armstrong stands next to the X- 1 5 rocket-powered aircraft, which set unofficial records for speed and altitude.

Before entering astronaut service, Armstrong worked as a test pilot at what later became the Dryden Flight Research Center.

(Right) The Dryden Flight Research Center has served as the testing grounds for a variety of innovative aircraft. The smallest aircraft at center is the radio-controlled Mothership; from there clockwise are the X-36, X-31, F-15, SR-71, F-106, F-16XL, and X-38.

NASA: Fifty Years and Beyond 47 Today, Dryden s flight engineers continue to enjoy

the sunny, clear weather and vast expanses of dry lakcbed

there to test fly unusual and high-speed aircraft.

Several hundred miles further north, on the south

end of San Francisco Bay, employees at NASA's Ames

Research Center are also involved in aeronautics and

space efi^orts. Building on pioneering aerodynamic

work in the lysos, researchers at Ames developed the

blunt body shape for the Mercury, Gemini, and Apollo

capsules. More recently, they have tackled such diverse

space research areas as advanced spacesuit development

and astrobiology, the search tor lite beyond Earth, hi

addition to cutting-edge work on air traffic control,

aircraft simulators, and tiltrotor aircraft (i.e., those with

propellers that tilt for both Hft and propulsion), Ames

personnel also take advantage ot their location in

Silicon Valley to cooperate with computer companies

and "push the envelope" in supercomputmg.

Engineers and scientists at the Glenn Research

Center outside Cleveland also conduct aeronautics

and space research. Experts at its unique Icing Research

Tunnel analyze the historically persistent and poten-

(Upper) A refrigerated wind tunnel at NASA's Glenn Research Center tially catastrophic problem of airline travel in cold creates realistic icing conditions for models and airfoils on the ground. weather. Scientists at Glenn also conduct research in Photo couftesy NASA Glenn Research Center the behavior of materials and fire in the micrograv- (Lower) NASA's Future Flight Central, the world's first full-scale virtual ity of space. Glenn engineers are also known tor airport control tower, opened in December 1999 at the Ames Research their work on spacecraft and launch vehicle propul- Center in California. The facility is designed to test ways to solve

sion, especially for testing and developing propulsion potential air and ground traffic problems at commercial airports under

systems using liquid hydrogen and liquid oxygen. realistic airport conditions.

Kim Hambuchen: A Passion for Robotics

by Amiko Nevills

Robots like R2D2 of Star Wars and the obedient female replicas of The

Stepford Wives have long intrigued us. Fascination in these non-human but

intelligent forms brought Kim Hambuchen to the Johnson Space Center,

where robots are born, or rather built, to help us in space.

Hambuchen first came to NASA by way of a research fellowship award to

work with Robonaut, the humanoid designed at the Johnson Space Center

to demonstrate a robotic system that could function as a spacewalker.

"I chose NASA because there is literally no other place on Earth where works I could be doing what I do now," Hambuchen explains. Today, she

for the Robotics Systems and Technologies branch in Engineering, where

as a robotics engineer, she develops software in the area of Human-Robot

Interaction. Robots are created to do one of two jobs: jobs that a robot could

do better than a human or jobs that a human could do better than a robot,

but are too dangerous. Working side by side with humans or going where

the risks are too great for people, the robots Hambuchen helps develop will

expand our ability to explore in space.

48 — —

NASA's Organizational Culture

While many people think correctly of NASA as a tech- without technical backgrounds do work for NASA

nical organization, its organizational culture is primarily as budget analysts, educators, historians, legislative

one ot engmeers. although scientists have important affairs liaisons, procurement specialists, public atfiiirs

roles at the agency, hi general, engineers are practical- officers, and in many other administrative and profes-

minded people who develop tools and technologies to sional pursuits. Moreover, because NASA employs so build specific structures and to solve specific technical many engineers, many of them work as administrators problems. Scientists, on the other hand, tend to focus rather than in their fields. Some NASA administra- on gaining fundamental knowledge to help them under- tors, like the current agency head Michael Griffin, stand how the natural universe works and how specific have had technical backgrounds and some, like James systems within it are structured. Webb (administrator during the Apollo effort) have

Because NASA's culture has been dominated had non-technical, policy backgrounds. In other by human spaceflight, more engineers than scientists have been needed to design and oversee construction of safe, reliable, "human-rated" rockets and spacecraft.

Accordingly, many observers point out that NASA's best-known human spaceflight programs, such as ApoUo, the Space Shuttle, and the ISS. h.ive been engineering, rather than scientific, achievements.

Thus, although the job title of "rocket scientist" has entered the popular lexicon—as in "you don't need to be a rocket scientist" to understand such-and-such the term is really a misnomer. NASA does not employ any "rocket scientists" per se. NASA engineers design rockets; technicians build them; and scientists learn about our uni\-erse from the spacecraft that rockets launch into space.

NASA engineers and scientists have been responsible for cutting-edge research achievements Technician Pat Klose leans over an edge in order to repair one of the

protective thermal tiles on its in virtually every major technical discipline; some of the Space Shuttle Columbia, prior to fourth launch in 1982. them seem only peripherally related to space. Going beyond fields such as astrophysics, rocket propulsion, and words, you don't need to be an engineer to work at aerodynamics, NASA personnel have had a significant NASA, but having had some kind of technical back- hand in such wide-ranging fields as archaeology, biology, ground will help open doors to employment. chemistry, computer science, information technology', Even though NASA is otl:en regarded as a large materials science, physics, and planetary geology. There bureaucratic and hierarchical organization, it has an are at least two reasons for this success: NASA attracts intellectually nimble and flexible workforce. Several exceptional scientists and engineers, and like some other factors may explain this. One is that NASA's civil government agencies, such as the National Science servants and contractors tend to be highly educated.

Foundation, it does a good job of planting research seeds Moreover, because NASA cooperates on space and by providing grants and contracts to leading scientists aeronautics projects with many other nations and inter- and engineers around the country and the world. national organizations, its staft'is exposed to difterent

Engineers make up by far the largest single profes- ways ot doing research. Likewise, NASA's cooperation sional cadre at NASA, with approximately ten times with many other U.S. government agencies, as well as more engineers than scientists working as NASA civil with for-profit companies, nonprofit organizations, and servants and about twice as many engineers as people academic institutions—all with very different goals with business backgrounds. Nevertheless, many people fosters creative prtiblem-solving bv NASA personnel.

NASA: Pitty Years and Beyond 49 Michele Perchonok: Why Isn't Pizza Served on the Space Shuttle?

Food is essential to today's astronauts, providing them with

both nutrition and a comfort from home. It's important also

to Michele Perchonok. As the shuttle food system manager,

she is responsible for making space food taste good and be

good for the crews.

Seven months prior to spaceflight, Perchonok works

with NASA astronauts to develop personalized food menus.

She conducts taste tests with shuttle crews in the Space

Food Systems Laboratory, located at the Johnson Space

Center in Houston.

While in space, astronauts eat many of the same foods they

enjoy on Earth, with a few exceptions—such as pizza. "Pizza

is difficult," Perchonok explains. "Foods in space have to be

stored at room temperature. It's difficult when you have too

many components, like a pizza—where you have the crust "Each person is different, so we really don't have a lot of and sauce and the cheese. Each component requires favorites," she observes. To add variety, NASA food scientists different processing conditions." develop two to three new products each year. Some of the

Perchonok said some of the more common items astronauts newest space foods are chocolate pudding cake and apricot

choose are shrimp cocktail and barbecued beef brisket. cobbler with pieces of crust.

Tracy Drain: Since joining NASA's Jet Propulsion Laboratory in 2000,

The Play-by-Play Voice of Mars Exploration Tracy Drain has worn many hats in the Mars Reconnaissance

Orbiter project, from building command sequences to by Franklin O'Donnel supporting readiness tests to serving as the voice of mission

control for major spacecraft events. During the spacecraft's

insertion into orbit around the red planet. Drain appeared

on television screens as the mission's spokesperson,

explaining the orbiter's play-by-play maneuvers to the

viewing public. Many mission events later, the orbiter has

now settled into routine science operations, and Drain

likewise has shifted hats. She has joined an on-the-job

training program for systems engineers that will pair her

with senior mentors such as Viking veteran Gentry Lee.

Which of her roles has been the most memorable? "The one

with the most immediate cool factor was serving as an 'ace'

because I got to actually send commands to the spacecraft,"

she observes. "It's an important function, and it taught me a

lot about the Deep Space Network (NASA's tracking network

for planetary spacecraft). But a lot of people don't like to do

it because it involves strange hours. It's the kind of job you

either hate or you love."

50 NASA: Fifty Years and Beyond A Diverse Workforce

NASA's efforts to increase the diversity of its work- sent 5.9 percent of NASA's workforce, compared force started as early as 1961 under Administrator to the national 3.7 percent. The percentage of

James Webb. Indeed. Webb fought to enable African Hispanics is 5.4 percent, well below the 12.5 percent Americans to work at the Marshall Space Flight recorded in the 2000 census. And the percentage of

Center m the 1960s at a time when racial tensions Native Americans at NASA is 0.8 percent, which were high. In 1983, Sally Ride became the first is just below the census count of 0.9 percent.

U.S. woman and Cnuon Bluford became the first When asked to assess NASA's efforts at achiev-

African American astronaut to fly into space. Since ing greater diversity, Julian M. Earls, the grandson that tmie NASA has made considerable strides in of a sharecropper and former director of the Glenn achieving diversity, especially in its upper-level man- Research Center, observed,"! think we've made

agement; by 1993, women and minorities made up considerable progress. . . . Put it this way: We're half the incoming class ot NASA Senior Executive making progress; we have a long way to go, but

Service leaders. Overall, NASA now employs about the intent is there, and people are not being

12,000 men and 6,500 women as civil servants, promoted because they are [people] of color [or] and at headquarters, the ratio is roughly even. Of because they are female. Everyone that has been those 18,500 civil servants, approximately 14,000 chosen tor those positions has paid his or her dues are white; 2,100 are African American; 1,000 are and is extremely competent."

Hispanics; 1,100 are Asian or Pacific Islanders; and NASA's diversity also extends to geography.

150 are Native Americans. The percentage of African Its ten field centers draw employees from all fifty

Americans at NASA is 11. 4 percent, compared to states and the District of Columbia. In virtually

12.3 percent of the U.S. population (according to every congressional district of the country, there the 2000 census). Asian/Pacific Islanders repre- are aerospace workers at NASA-contracted firms.

(Left) In 1 983, astronaut Sally K. Ride became the first American woman to reacfi outer space. As a mission specialist on the Space Shuttle

Challengef, she monitored control panels from the pilot's chair on the flight deck. Floating in front of her is a flight procedures notebook.

(Right) In space, there is no up or down and there is no gravity. As a result, astronauts are weightless and can sleep in any orientation. Seen sleeping here on Challenger's mid-deck in September 1983 are astronauts Guion Bluford (left) and Richard Truly.

r>JASA: Fifty Years and Beyond Whither NASA?

American popular culture is wry much fascinated

with technology' and in particular with NASA, w hich

has a strong reputation as a high-tech organization.

However, some critics have observed that NASA

engineers have a predilection for overly complex

technologies, rather than scientific goals. For example, Molds for prosthetic devices were formerly made from plaster, whicfi

the Space Shuttle, while relatively graceful, is a very was heavy and fragile. However, the foam insulation used by NASA to

protect fuel tanks from excessive heat has proven to be an excellent complicated means of transportation. The fact that

material for molding prostheses; it is lighter, less expensive, and it does not fly very often reilects its complexity and stronger at high temperatures. delicacy (or its creators' unrealistic expectations). The

Russian/Soviet approach to space was generally more

rugged and utilitarian, as well as somewhat less elegant. organization that attracts talented individuals trom a

Hundreds ot technologies developed by wide range ot professional backgrounds. Indeed, it may NASA have already benefited U.S. industry and become even more diverse professionally, especially

society. Among the technology spin-offs from the across the broad spectrum of scientific and engineer-

Space Shuttle alone are a miniaturized heart pump ing fields. For example, NASA may well hire more

(based on the shuttle's fuel pumps), .1 handheld biologists as the hunt for extraterrestrial life intensifies.

infrared camera used to find forest fires (based on In addition, NASA will need the skills of psychologists

the camera that observes the blazing plumes from and other "human factors" specialists as it develops

the shuttle), and a new material for making pros- plans for the difficult, long human flight to Mars.

theses (derived trom the toam insulation used Should NASA continue to explore the outer

to protect the shuttles external fuel tank). limits ot aeronautics and the furthest reaches ot outer

As NASA leads the United States, if not the space? Admittedly, there are many reasons not to

world, into the future of space and aeronautics, explore, and the vast scope of NASA's work inevita-

its workforce will continue to serve a world-class bly raises questions about motivation, sustamability.

Jen Keyes: Planning for Humans on the Moon and Mars

by Rachel Samples

More than fifty years separate their ages, but fifty-year NASA employee Bill Scallion

and Jen Keyes have one thing in common—they like to solve problems.

Scallion worked with each of the original Mercury 7 astronauts on simulations and

practice runs before the first U.S. trips into space. "We simulated a four-orbit mission in

real time. It takes four and a half hours to do that," recalls Scallion. "It's like producing

a television show. You have to write scripts and send them out."

Keyes, an aerospace leader working at NASA's Langley Research Center, is building upon

the achievements of Scallion and his colleagues. One assignment is to explore upcoming opportunities for human spaceflight,

including what to do on the moon once humans return there. " It will be great to see someone land on the moon again, even if it

cannot be me right away," Keyes notes. She has also worked on the objectives that address the goal of preparing for long-term,

sustained human exploration of Mars. Keyes and Scallion both agree that although the past is important, it is more useful to

prepare for the future. Keyes is a good example of what young minds and ingenuity are bringing to NASA.

52 NASA: Fifty Years and Beyond in a is and financial costs world fraught with many Steven J. Dick the chief historian for NASA. He problems. Americans tend to think of space as a "new worked as an astronomer and historian of science at the

frontier," but whether the Space Age will actuaOy usher U.S. Naval Observatory in Washington, D.C, for tiventy-

in a new Age ot Exploration remains to be seen. foiir years before coming to NAS.-i headquarters in 200J.

Perhaps the question should be seen in its larger Among his books are Plurality of Worlds: The Origins

historical context, rather than in that of passing of the Extraterrestrial Life Debate from Democritus

politics or cultural whims. If so, we should remember to Kant (1982), The Biological Universe: The Twentieth

what the British writer H.G.Wells said many years Century Extraterrestrial Lite I.^ebate and the Limits

ago, "Human history becomes more and more a of Science (1996), Life on Other Worlds (199S), and race between education and catastrophe." We are The Living Universe: NASA and the Development

still in that race today. And space exploration may ofAstrobiology (2004).

loftiest express one ot humanitvs aspirations. Stephen J. Garbcr also works in the NAS.-i History Division. He has written on a wide variety of aerospace

topics, including President Kennedy's Apollo decision,

the Congressional cancellation of NASA's Search for

Extraterrestrial Intelligence Program, the design of the

Space Shuttle, and the Soviet Buran Space Shuttle.

James I. Deutsch is the curator of the 2008 Folklife

Festival program NASA: Fifty Years and Beyond. He

previously curalcd the National World Wir II Reunion

in 2004 and Festival programs on the Forest Service in 2005

and (as co-curator) the Mekong River in 2007. He is also an

adjuuci laculty member in George Washington University's

American Studies Departmcm.

Hoping to send humans back to the moon by 2020, NASA is also

designing concepts for a permanent base for scientific research at

one of the lunar poles. Photo courtesy NASA Glenn Research Center

Further Reading

BILSTEIN, ROGER. 2003. I'esting .iircraft. E.xploriug Space: . 1997. Space and the .American Imagination.

An Illustrated History of NACA and NASA. Baltimore: Washington: Smithsonian Institution Press.

Johns Hopkins University Press. STARBUCK, WILLIAM H. AND MOSHE FARJOUN. 2005.

BROMBERG, JOAN. 1999. N.ASA and the Space Industry. Organization at the Limit: Lessons from the Columbia

Baltimore: [ohiis Hopkins Universirs' Press. Disaster. Maiden, MA: Blackwell Publishers.

DICK, STEVEN J. AND ROGER D. LAUNIUS, EDS. 2007. Societal Impact VAU6HAN, DIANE. 1996. The Challenger LiUinch Decision:

ti/'S/)>ift'/?i;s>/i(. Washington, D.C: NASA History Otiice, Risky lechiuTlogy, Culture, and Deviance at NASA.

NASASP-2007-4801. Chicago: University of Chicago Press.

DICK, STEVEN J., ROBERT JACOBS, CONSTANCE MOORE, ANTHONY M. RECOMMENDED WEB SITES

SPRINGER, AND BERTRAM ULRICH. 2007. .-imerica in Space: www.nasa.gov N.-iSA's First Fifty Years. New York: Abrams. history.nasa.gov

MCCURDY, HOWARD E. 1993. Inside NASA: High Technology www.nasa.gov/50th/home/index.html

and Organizational Change in the U.S. Space Program. wwAv.centennialofflight.gov

Baltimore:Johns Hopkins University Press.

NASA: Fifty Years and Beyond 53 Texas

Pat Jasper and Dawn Orsak

A Celebration of Music, Food, and Wine (Far left) Polka dances are standard at Texas Czech, German, and Polish community events. This costumed duo probably performed in a song or dance troupe earlier in the day. Photo by ton Na]var (Second from left) Narciso Martinez (on right), considered the founder of the contemporary con|unto style, made the genre's first truly popular recording with "La Chicharronera" in 1935 on the Bluebird label. Photo by AiRendon (Third from left) An employee at the hugely popular Guero s Taco Bar on South Congress Avenue in Austin makes fresh tortillas throughout the day. Tortillas (made from either ground corn or flour) are a traditional accompaniment to almost every Mexican-American meal. Photo courtesy Texas Tounsm (Right) At Flat Creek Estate near Marble Falls in the Texas

Hill Country, volunteers, friends, and family hand pick the grapes that will be pressed for the winery's award-winning vintages. Photo courtesy Fiat Creek Estate

This program celebrates the niusic. food, and wine livestock and canning displays and present jain-packed of every region ofTexas.The National Mall will host lineups of musicians. When the Texas Czech ensemble, demonstrations, performances, and famous Texas talk theVrazels Polka Band, celebrated their fiftieth about the Lone Star State's proud history and its anniversary in 2003, women m the small surrounding contemporary traditions. Visitors will hear Texas blues, communities cooked for days to feed the hundreds swing, conjunto, country and western, gospel, and and hundreds of people who turned out for the special Tejano (Texas Mexican) music; see demonstrations dance the band hosted. ot wine making; and enjoy diverse culinary Texas wine is a newer part ot the ec]uatioii, but its traditions—old and new—from barbecue to tamales, roots run deep into agricultural traditions brought to from chicken-tried steak to Vietnamese specialties. the state by Spanish. Italian, Czech, and other European

Food and music have a special relationship to each immigrants. In contemporary Texas, a full-fledged, other in the Lone Star State. Most Texans consider statewide industry relies on skill and the states lerwir thcni the two most important mt^redients in successful (climate, soil, and unique characteristics) to create some community celebrations and traditional family events. of the country's finest wines. These days in the Lone

In fact. It would be unthinkable to have a crawfish Star State, you can find yourself enjoying the ultimate boil without a band playing m the background or a combo: a big glass of red, a plate of barbecue, anci a watermelon festival without live music. Rodeos feature blues band. Yep, that's Texas. That's heaven! Texas Music: A Living Legacy

Pat Jasper

"You can't hoar Amcricin nuisic witlimit hearing other state in the country—yet boasts a significant Texas."That"s the ofHcial motto of the governor's rural population—and you know music styles will be

Texas Music Office, and it is a starthngly true state- bountiful. There are blues in Dallas, corrida traditions in

ment. This simple truism speaks to the diversity of small towns along the Texas-Mexico border, and fiddle

Texas music, to its reach into the American musical bands at ranch dances in West Texas and the Panhandle.

landscape, and to its tremendous influence on blues, But Texas is not just about largeness and largesse.

jazz, rock and roll, and country and western—music While weTexans enjoy feeling as if we are a separate

considered quintessentially American. Texas has a nation, the cultural and geographic reality ofTexas

breathtaking sonic landscape: m part this is due to its is anything but self-contained, it is. in fact, a region

unparalleled size among the forty-eight contiguous of regions—a place where the arid Southwest, the

states, to the diversity of its early and newly arrived spacious Central Plains, the verdant Upper and Deep

communities, to its shared 1,200-mile border with South, the wetlands of the Gulf Coast, and the spare

Mexico, and to its unique history as a republic. All landscapes ot Northern Mexico come together. In

of these elements contribute to the contemporary Texas, these different landscapes are home to distinct

musical traditions of the Lone Star State. cultural communities and local industries. Early waves

With close to 25 million inhabitants, it is common of immigration to the state, especially from Central

sense that plenty of music making goes on throughout

the small and large towns. Add to this the fact that Historic dancehalls are sprinlded all over the Lone Star State. Many

Texas is home to more true urban centers than any are still in use. Photo by Knsta Whitson

56 Texas: A Celebration of IVIusic, Food, and Wine —

Creole fiddler and accordionist Ed Poullard crafts accordions in his home workshop. Pholo by James Ftaher

and Eastern Europe, have made for a heady ethnic mix. In Southern Anglo, African American, Tejano, German, Pohsh, and Czech communities, people still follow or adhere to traditional occupations and religious beliefs that inform the music Texans enjoy.

Without doubt. East Texas shares a Southern agricultural legacy built by Anglo landowners and

African American slaves and laborers. South Texas defined by the legendary Rio Grande River, which Accordions According to Texas flows from Southern Colorado through El Paso and into the Gulf of Mexico at Brownsville—has a history When it comes to naming the Texas state musical in Greater Mexico. As you move into the vast stretches

instrument be it guitar, fiddle, harmonica or of arid land across West Texas, the Southwest's ranching — mandolin you should never take sides. But facts culture is noticeable in all aspects of life. Dallas is —

are facts; it is the accordion that dominates music often characterized as a business town in contrast to performed by and for communities that draw from its western neighbor Fort Worth, which champions distinctive and frequently non-English-language its ongoing connection to ct:)wboy culture and cattle repertoires, including Czech and German polka music, drives. The culture and geography of the Gulf Coast, Tejano, conjunto, Cajun, zydeco, and Creole music. In where piney woods meet wetlands, extend west of smaller and often more rural communities where Houston well into Louisiana and Mississippi. resources are limited, a full band isn't on hand, or the Thus, Texas's music defies stereotypes. In fact, the

piano is poorly tuned, the accordion offers a versatile, closer you listen to the earliest Texas country', blues, available, and loud alternative. or Tejano music, the more vou hear the harmonies of the state's different cultural and ethnic communities.

The cross-pollination continues in contemporary

Texas music in which conjunto artists play and sing classic country tunes in Spanish, country artists hit unexpected blues notes, rock and rollers cop the vibrancy of ethnic accordion licks to rev up their sound, and Texas singer-song\vriters draw on it all to enliven their lyrics. This is the history ofTexas music.

This is the current state of Texas music. And this is exactly why people talk with presumptuous casualness about "Texas Music" in a way that no one speaks about the music of other states.

Pieces played from sheet music provided a popular diversion for family and friends in early Texas. Songs about Texas were always a favorite.

Phoio courtesy Texas Music Museum

57 o )A^^o Y Sou fi. Kn

As such, a stroll througli the musical landscape ot the Even in small communities throughout Texas, it

Lone Star State turns out to be anything but. In fact, a is not uncommon to find multiple musical and dance stroll in Texas usually becomes a waltz, a schotlisclie, or a venues, each hosting a specific ethnic clientele and their two-step when music is involved. This is telling because preferred genre of music. On a Saturday night, in a town most Texas music incorporates dance, which sets it apart of 5,000, there could well be a zydeco dance at the from other traditions. In the Lone Star State, social dance church hall, a country and western dance at a local club,

(where men and women dance together and usually a Czech polka dance at a fraternal lodge, and a popular touch) was historically far more common than it was in conjunto cranking out aimbias and redowas for a swirling the American South. Most Texas music, with the exception crowd ot hundreds in a salon or cantina. These dancehalls ot sacred music, was, and continues to be, spawned as dance and juke joints allow Texas musical traditions to influence music in informal locales, like ranches and church halls, or each other;Texas musicians often say that their love of in entrepreneurial ones, like salones dc baile and juke joints. music flowered at an early age in these places. Frequendy,

Whether country, Tejano, polka, or the blues dancing and when a club or venue was restricted through custom, — ( dancehalls complete the Texas musical etjuation. prejudice, overt segregation, or the cost ot admittance. '8. young niusicians-in-the-niaking strained to listen ranches, bunkhouses, and open-air trail drives, outside a window or a backstage door. Through these the tunes, songs, and traditional melodies that

cross-cultural and cross-generational sneak attacks, the entertained an isolated family or a handful of cowboys

many musical communities of Texas absorbed each became a country music legacy. Some of the earliest,

other's repertoires, rhythms, and voices. most familiar expressions are cowboy songs originally

The musical story of Texas is multi-layered collected by John Lomax in his youth and published

and many-faceted, and where you end up is usually years after during his stint at Harvard. Cowboy songs

determined by where you start. But let's be bold and say a lot about Texas's musical roots because they

begin with the type ofTexas music best known to combine the British tradition of balladry with the

most—country and western. Country music in Texas is occupational traditions and lingo ot ranchers and

very much an outgrowth ot the early musical traditions cowboys. But as Lomax himself noted, some of the

brought to the state by Anglo migrants from the Upper finest singers he encountered were Black cowboys,

^ South, many of whom landed temporarily on the trek who added a dash of blues shouting to the style,

westward or permanently in East. North, and West Texas. especiallv when they needed to move stubborn herds

In tlic lonesome settings ot single farmhouses, small of cattle along dusty trails.

Ranch dances brought together neighbors from miles around to

enjoy a little two-stepping to music provided by local musicians.

Photo courlesy Southwest Collection/Special Collections Library, Texas Tech University

Texas: A Celebration of Music, Food, and Wine 59

Co )A/ 30Y

or a the tunes, songs, traditional melodies that small communities throughoutTexas.it outside a window backstage door. Through these and landscape of the Even m such, a stroll through the musical As dance family or a handful of cowboys to find multiple musical and cross-cultural and cross-generational sneak attacks, the entertained an isolated a IS not uncommon Sur State turns out to be anything but. hi fact, Lone clientele and their musical comniiniities of Texas absorbed each a country music legacy. Some of the earliest, hosting a specific ethnic many became or a venues, each usually becomes a waltz, a scholtische, stroll in Texas town songs originally music. On a Saturday night, in a other's repertoires, rhythms, and voices. most familiar expressions are cowboy because preferred genre of music is involved. This is telling two-step when his and published well be a zydeco dance at the The musical story ot Texas is multi-layered collected by John Lomax in youth apart of 5.000, there could most Texas music incorporates dance, which sets it western dance at a local club, and many-faceted, and where you end up is usually years after during his stint at Harvard. Cowboy songs dance church hall, a country and from other traditions. In the Lone Star State, social fraternal lodge, and a popular determined by where you start. But let's be bold and say a lot about Texas's musical roots because they a Czech polka dance at a (where men and women dance together and usually British tradition of balladry with the cranking out cumlnas and n-dowa^ for a swirling begin with the type ofTexas music best known to combine the it was in conjunto touch) was historically far more common than dancehalls traditions ani.1 lingo ot ranchers and a salon or cantina. These most—country and western. Country music in Texas is occupational the exception crowd of hundreds in the American South. MostTe.xas music, with traditions to influence an outgrowth of the early musical traditions cowboys. But as Lomax himself noted, some of the and juke joints allow Texas musical very much music, was. and continues to be. spawned as dance of sacred were Black cowboys, musicians often say that their love ot brought to the state by Anglo migrants from the Upper fi lest singers he encountered church halls, or each other;Texas music in informal locales, like ranches and blues shouting to the style, age in these places. Frequently, .South, many of whom landed temporarily on the trek who added a dash of juke joints. music flowered at an early in entrepreneurial ones, like saloncs de baile and through custom, westward or permanendy in East. North, and West Texas. especially when they needed to move stubborn herds when a club or venue was restricted ^S* Whether country, Tejano. polka, or the blues—dancing and admittance. farmhouses, small of cattle along dusty trails. prejudice, overt segregation, or the cost ot I^i the lonesome settings of single dancehalls complete the Texas musical equation.

Ranch dances brought together neighbors from miles around to

enjoy a little two-stepping to music provided by local musicians.

Photo courtesy Southwest Collection/Special Collections Library, Texas Tech University

of Music, Food, and Wine 59 Fiddle music was also pare ot the miisical frontier

in Texas. As Bill C. Malone notes in Coutilry Music,

U.S.A., the fiddle was "...most favored by rural folk,

for a long time the fiddle [was] virtually the defining

instrument in country music." In the early days,

fiddlers, like the casual cowboy singers, performed

for family, friends, and small gatherings. The fiddle

was central to the ranch dances so prevalent in West

Texas, where there were few nonchurch-related social

and musical enjoyments. Out of this fiddle tradition

comes Texan Eck Robertson, who is generally

credited with the first commercial country music

recording, a version of "Sally Gooden" released by

the Victor Talking Machine Company in 1922. Over

time, the hddle became the centerpiece of early Texas country—from the romping and wide-ranging repertoire of the Light Crust Doughboys to the

adventuresome Western swing of Bob Wills and the

Texas Playboys, and Milton Brown and the Musical

Brownies. Masters like Wills would sometimes pack

the band with fiddlers, and the "twin fiddle" sound

was de rigueur. The instrument's presence in Texas

country music still flourishes today in contest fiddling,

swing, honky-tonk, or straight-ahead country. As the

song (ironically by the non-Texan group Alabama)

says, "if you're gonna play in Texas, you gotta have a

fiddle in the band."

As a result of the world wars of the twentieth

century, country music, like much of life in the state,

began to change. People moved about, and tamilies

broke up due to the demands of military service and

the concomitant shifts in the economy. Rural life gave

way to jobs in cities and industries that offered greater

financial promise. In a sense, modern life caught

up with Texas country music. Towns like Houston,

Dallas, and Fort Worth became hubs ofTexas life and

introduced an urban edge to the music, an edge that

spoke, not to the nostalgia ot the home place or the

(Above) An important bridge between the western swing and honky-

tonic traditions, Hank Thompson's music spanned decades and

produced dozens of country hits. Photo courtesy Hank Thompson

(Below) Willie Nelson is the wizard of Texas music— a staggeringly

talented songwriter, an artist of unparalleled depth and breadth, and

a performer whose music is rooted in tradition yet beloved by mass

audiences. For many, he is the personification of the Texas sound.

Photo courtesy Texas Tourism

60 Texas: A Celebration of Music, Food, and Wine Whose/Who's Country?

Some say that Texas put the "western" in "country and western

music." And while much of early country music in Texas has roots

lonesome life of the heartsick covvpoke, but to the in the Southern United States, such as a shared repertoire of

crushing realities of separation, working on some- British folk songs and an affeaion for Anglo fiddling, there are

one else's clock, and partymg hard after the clock important differences. In fact, Texas's contributions to country

stopped. As early as 1936, East Texan Al Dexter had often go unrecognized. For example, cowboy songs, swing fiddle,

a hit with "Honky-Tonk Blues," the first song to use and early honky-tonk styles were developed in the Lone Star

the term "honky-tonk" to describe hard living, hard State and have had an impact on country music across the board.

drinking, and hard loving in a tough, modern world. And more than any other place, the Lone Star State borrows from

This is not to say that western swing didn't its diverse ethnic communities to create a new sound. Mexican

address its share of contemporary and primal issues. songs were turned into popular Anglo fiddle tunes; African

Both styles shared the stage for a good period; American blues styles became ready parts of jazzy Western

the western swing repertoire was fluid enough to swing; and European polkas were regularly translated into

include pop and blues tunes just as readily as western country music dance standards.

ones. But the advent of honky-tonk really marked

the shift to contemporary music. It also elevated

individual artists who sang songs (often of their "For the Sake of the Song" own composition) that came straight from then- own experiences. The cheating, truck-driving, drinking "For the Sake of the Song" comes from a song byTownes Van songs that characterize this style originate in cowboy Zandt, one of Texas's finest songwriters. While many think the con- ditties and murder ballads, but their power lies in temporary singer-songwriter phenomenon is a product of popular substituting the timelessness c:)f the latter for the music, a different case can be made for songwriting in the Texas immediacy and urgency of the so-called "honky- tradition. From early cowboy singers to contemporary guitar-toting tonk life." From such heyday greats as Lefty Frizzell, troubadours, music in Texas has largely been defined by its lyrics. Floyd Tillman, and George Jones to today's Dale To reflect conditions of life on the range, ranch workers recast Watson and [unior Brown—honkv-tonk lives in ancient tunes and familiar stories in new language to mirror their Texas country. experience. With hindsight, we understand that the hard-drinking,

And this is due to the simple fact thatTe.xas's heart-breaking, and truck-driving songs of Al Dexter, Lefty Frizzell, hetty country music history is one of innovation and Floyd Tillman, Ted Daffan, and Cindy Walker chronicled the lives of reno\ation. Since the 1970s, movements as variously Texans as the state's population increasingly moved from rural to described as "progressive country," "cosmic cowboy," urban settings and from agricultural to nerve-wracking industrial "outlaw" or "renegade," and "alternative country" jobs. Like Van Zandt in his time, today's Texas tunesmiths trans- have attracted veteran artists and young upstarts, who form life-driven stories, old and new, into song. have embraced, expanded, retained, and reinvented the representative genres. Examples include Willie

Nelson's sampling of traditional tblk songs, Asleep at Austin: Are There No Limits? the Wheel's update of western swing, George Jones's return to hard-core honky-tonk, the Dixie Chicks' In the popular imagination Austin is, without a doubt, the center of acoustic offerings, and The Little Willies' swinging contemporary Texas music. The city doesn't hesitate to spread this renditions of classic country. idea with a Texas-size boast, calling itself the "Live Music Capital

of the World." While other cities in the Lone Star State may legiti-

mately debate the claim, there's no denying that a town that gave

birth to the "Cosmic Cowboy" scene of the mid-1970s and hosted

the Austin City Limits television show for over thirty years has

plenty of ammo for making such an assertion. The perception was

cemented in folks' minds with the institution in 1987 of South By

Southwest, the single most successful music conference in the

country. It attracts egual numbers of industry personnel and avid

fans but always acknowledges its roots by including Texas talent

and expertise in all of its showcases and presentations. Of equal weight in Texas music is the blues found many important sponsors and promoters over

tradition, which African American slaves and laborers the course of his career, contemporary music audiences

brought to the state from the American South. Based on tend to know him better.

work songs, shouts, and hollers, blues expanded over the A second generation ofTexas blues artists included

decades from a rural to an urban, from an acoustic to an Lightnin' Hopkins and Mance Lipscomb, whose very

electric, and from a guitar- to a piano-based tradition. To different careers embodied the diverse directions a

make a living, blues artists—sharecroppers and migrant musical tradition can take. Houston-based Lightnin' workers among them—moved with their music from Hopkins was clearly a fan ofJefferson's style. He community' to community. As the "race record" industry recorded prolifically and played for years on the so-

developed, the Texas blues tradition spread throughout called chitUn' circuit of Black clubs and juke joints,

the state and the nation, and Houston artists heard which were standard venues for early blues artists.

those in Dallas on the radio and the phonograph. Many Hopkins started on acoustic guitar but switched to

blues artists and African American songsters shared their electric to reflect his own and his audience's change

music in person through minstrel and tent shows that in taste. Until Whites became interested in the blues,

traveled the state, the South, and the Southwest. his audience was largely a Black one, and he had a

This is especially notable because Texas was the substantial following. Mance Lipscomb of Navasota,

birthplace or longtime residence of an awesome, Texas, on the other hand, played music in strictly

perhaps unparalleled lineup of the most prestigious informal settings for most of his life; only later was he

blues players and performers. One of the earliest and "discovered" by blues aficionados. Though Lipscomb

easily one of the most celebrated performers (then did not have a "professional" career in the blues until

as now), was Bhnd Lemon Jeflerson, who started by well into his sixties, his repertoire was no less wide-

playing on street corners and in brothels. He recorded ranging and impressive. He performed mainly before

extensively during the late 1920s and may have been White audiences who discovered the blues through the

the most popular blues artist ot the time. He mfluenced festival and folk club circuits.

country and urban blues performers alike; his repertoire Jefferson also had an enormous impact on T-Bone

contained both sacred and very, very profane material. Walker. He encountered the younger musician when

In a sense, his career presaged the diversity ofTexas T-Bone was growing up in the Oak CHff area of Dallas.

blues styles. Occasionally, he pert'ormed with Huddie At one time. Jefferson enlisted T-Bone to lead him to

Ledbetter (better known as Lead Belly) in the Deep the street corners where the older artist plied his trade

EUum district ot L^aUas. Lead BeUy drew on Jefferson's for spare coins. Walker cleverly combined what he

acoustic range and rural tradition. However, because learned from Jefferson's aggressive guitar strumming

Lead Belly was a younger artist who lived longer and with amplification techniques he learned from his

onetime partner, the legendary jazz musician Charlie

Christian (also a Texan). It proved a mighty recipe for

popularizing the electric guitar in blues circles. Walker

became one of the founders of urban electric blues

and spread the sound through his successful recording

career and his move fromTe.xas to the West Coast. His

innovations inspired a generation of remarkable Texas

blues guitarists such as Pee Wee Crayton, Clarence

"Gatemouth" Brown, Z.Z. Hill, Albert Collins, Freddie King, and Johnny Clyde Copeland—aU nationally known musicians. But almost every town in Texas

In cities like Houston, Texas, there are still local clubs that serve

up live blues for largely Black audiences. Photo by James Fraher

62 Texas: A Celebration of Music, Food, and Wine in the 1940s, Texas native T-Bone Walker revolutionized blues guitar

playing by amplifying the instrument. Phoio by Amy van smgei. counesy

BluEsoterica Archives

with a sizeable African American community' had one

or more local Black guitar heroes, who held do\\Ti gigs

111 popular Black venues and often backed big acts wheti

they came through town. Today, such artists include I.J.

Gosey of" Houston. W.C. Clark of Austin, and left-handed

Barbara Lynn of Beaumont. Texas.

Texas is home not only to a blues guitar tradition, but

also to a formidable crew of blues pianists based in cities

such as Austin. Houston, and Dallas. For a while, there was

e\en an itinerant tradition known as "the Santa Fe circuit."

Artists like barrelhouse piano player Robert Shaw jumped

trains to play gigs in towns along the Santa Fe Railroad.

Shaw had sts'listic followers, such as Lavada "Dr. Hep

Cat" Durst and fellow rail rider The Grey Ghost. These

artists played in local settings and had limited recording

careers, while pianists such as Sippie Wallace of Houston

and Charles Brown, originally from Texas Cit\", carried

Texas piano blues to national audiences. Wallace turned

lier church-bred licks into a straight-ahead shouting st^'le which was heard nationwide on recordings, and Brown

forwarded a smooth R&B-type sound. Like T-Bone

Wilker, Brown was a Texas artist who performed on the

West Coast tor much c^f his career.

Blue Dallas Houston's House of Hits: Sugarhill Recording Studios by Alan Govenar by Andy Bradley

The blues came to Dallas in the 1890s, brought by itinerant The oldest continuously operating recording studio in Texas is

African American musicians fleeing the blighted cotton fields nestled in a southeast Houston neighborhood that has over time of East Texas. Of these musicians, the most seminal guitarist been home to legendary producers, record labels, and artists, with and vocalist was Blind Lemon Jefferson, born in 1893 in staggeringly important releases. To kick things off in 1946, musician rural East Texas and discovered on a Dallas street corner. Harry Choates and producer Bill Quinn laid tracks for the Cajun

Considered one of the first folk blues singers on record, classic "Jole Blon" for Gold Star Records. Blues icon Lightnin'

Jefferson made eighty recordings between 1926 and 1929 Hopkins recorded with the label soon thereafter. For Pappy Dailey's and was a profound influence on the blues musicians who D label, George Jones cut "Why Baby Why?" in 1955; in 1958, the followed him. From Lead Belly and Aaron "T-Bone" Walker Big Bopper recorded "Chantilly Lace." Willie Nelson, Bobby Bland, to Stevie Ray Vaughan and Anson Funderburgh, Dallas has and Arnett Cobb have all used the studio. In 1 965, the Sir Douglas offered a hotbed of blues activity. Barrelhouse blues pianist Quintet made the classic "She's About A Mover." In the mid-1960s,

Alex Moore, who made his first recordings in 1929, received Clifton Chenier recorded his first album there, and in the mid-1970s, a National Heritage Fellowship in 1987. Today, the House of Crazy Cajun producer Huey P. Meaux introduced Freddy Fender to

Blues brings nationally known acts to the city while R.L. the studio. Since the 1980s, Sugarhill has hosted Tejano artist

Griffin's Blues Palace in South Dallas still nurtures the blues Little Joe, country greats Johnny Bush and Ray Price, and urban

in the African American community. powerhouse Beyonce.

Alan Govenar is the author of the forthcoming Andy Bradley is a co-ow/ner and company historian at

Texas Blues: The Rise of a Contemporary Sound Sugarhill Recording Studios.

(Texas A&M University Press, 2008). relationship of the blues IDespite the longstanding debate about the conmiunit>'. many Texas to gospel music within the African American African American gospel tradition artists performed both. And the Texas Blind Lemon Jefterson, certainly had its share of soloists, including Bhnd WiUie Sippie Wallace, and the lesser known but electrifying has always been Johnson. However, the state's Black gospel scene early vocal quartets often more noted for its quartet sound. The preferred a feisty performed a cappella, while later ensembles the Holy Spirit in vocal st>le and relied on amphfication to spark and 1950s, the church, concert, and record audiences. In the 1940s the early Soul center of Texas Black gospel was Houston, where this era, even the Stirrers and The Pilgrim Travelers sang. During of Austin-based Paramount Singers and the still-active Bells Joy label, which traveled to Houston to record on the Duke-Peacock entrepreneur, Don Robey was owned by the first Black recording gospel sound alive, Personal and family connections kept the Texas early Texas groups and even in places like California, where many perform. The Los Angeles individual artists moved and continued to Austins Junior based Mighty Clouds ofJoy were cofounded by of the Paramount Franklin, whose father was one of the founders

Singers, who now reside in Oakland, Cahfornia. tradition also The stoned and still vibrant Texas Mexican State from distinguishes the musical riches of the Lone Star

those of other parts of the South and urban America. A descent has large, long-resident population of Mexican

influenced every- aspect of Texas culture, including conido music. After all, the story-song style of the ballad. And is not that different from the cowboy

don't the twin fiddles of western swing evoke

and in some ways echo the big violin sound of mariachi music? Isn't a polka still a polka, in even if its lyrics are in Spanish and not Czech or Polish? Somehow, however, the Tejano musical traditions have remained

outside the mainstream and have been

less appreciated than African American genres by the commercial recording

industrv". Clearly, this is largely the

result of discrimination and linguistic

carpas, Spanish Lydia Mendoza performed for years with her family in popular, language traveling shows. When records and radio became

her fame flourished. Photo courtesy Arhoolie Ptoduclions, Inc.

64 Texas; A Celebration of Music, Food, and Wine difference. Still, whether you speak of the corpus of

caiicioiies and corridor; the styles oi orquesta and conjunto; Border Ballads: the more contemporary, straight-out Tejano sound; or The Corrido Tradition

the politically oriented music ot the //u'ri/H/'c/ifc, Tejano

music both expresses and maintains a coherent cultural The ballad is a story-song that puts poetry to music.

identity and community. Ballads exist in many cultural and linguistic traditions,

Tejano music comes from the banks of the Rio but the Texas Mexican corrido is one with a special

Grande, which torms the "border" between Texas and history in the Lone Star State. The publication of With

Mexico. Now so often thought of as a dividing line, l^is Pistol In His Hand: A Border Ballad and Its Hero, by

it was, in fact, a meeting place for the Texas Mexican Tejano scholar Americo Paredes, recognizes the comdo

community. Women vocahsts and instrumentalists as a vibrant musical tradition that offers an alternative

played a large part in developing the repertoire from history and perspective on the struggles of the Texas

the 1920s through the 1950s. Lydia Mendoza, for Mexican community. Whether it is the story of an

example, was known for accompanying herself on unjustly accused ranch hand seeking vindication, the

twelve-string guitar. Artists, such as Lydia Mendoza, exaggerated exploits of border smugglers, or the brags

Chelo Silva, and Carmen y Laura popularized border of a winning South Texas football team, the corrido

music through pertormances, radio appearances, and carries news to the community.

recordings. Tejanas still follow in the footsteps of their

female forebears: singers and songwriters such as Shaelly

Loves andTish Hinojosa keep alive this vocal tradition.

Men (often with women as vocalists) dominate

conjunto and orqiicsla. which were born and bred in

Te.xas and the Southwest, respectively. Conjunto 's

beginnings are generally associated with the 1936 recording of "La Chicharronera" by accordionist

Narciso Martinez. The style combines two-row button

accordion with the hiijo scxh^ (a twelve-string guitar), an

instrument that provides the rhythmic accompani-ment

unique to conjunto and replaces the bottom-sounding

bass keys ot the accordion. The conjunto repertoire

is made up of an extraordinarily wide range of song

styles and rhythms—including rancheras, polkas, waltzes,

rcdowas. hiiapangos, scliottisches, and noi;/)ms.They reflect

the Mexican and Central European traditions blended

by Tejano accordionists from South Texas. Conjunto is

always called la miisica de la gente (the people's music);

its roots in rural life and farmwork are understood.

Yet even the early style had an urban version, which

was pioneered by artists such as San Antonian Santiago

Jimenez Sr. Like so many other forms of Texas music,

conjunto is dance music. Every Friday and Saturday

night, there are dozens of conjunto dances in towns For manyTejanos, mariachi music expresses the essence of Mexican all over the Lone Star State. They feature artists identity. School-based instructional programs and ensembles, like this such as Don Jimenez's sons, Flaco and Santiago Jr., group of young musicians from Roma High School in the Rio Grande Mmgo Saldivar, Eva Ybarra, Joel Guzman, and Sonny Valley, have especially fueled the genre's prevalence in the state.

Sauceda—to name just a few. Photo by Scott Newton

Texas: A Celebration of Music, Food, and Wine 65 OrquesUi. like conjunto, is dance music, but it requires, as its Spanish name indicates, a larger ensemble, driven by strings, reeds, and horns. It weds Mexican- and Latm American-inspired rhythms, such as the rumba, bolero, and cha-cha, with mainstream

American dance-band styles, such as the foxtrot and boogie-woogie. The great masters ot the genre Beto

Villa and Isidro Lopez, bandleaders in the "big band" sense of the word, understood that orquestas appeal lay equally in conventional American musical culture and the Tejano conimunitv'"s rauchera roots. And while orqiiestii was considered a more sophisticated, or jaiwti (high tone) musical tradition than conjunto, it remained a very important vehicle for Texas Mexican identity, even as the genre became less elitist with the advent of straight-out. politically aware Tejano groups like Little Joe y La Familia. and Ruben Ramos and the Texas Revolution. This second and third generation of musicians combined big-band orquesta with consciousness of the Chicano movement. Consider

Little Joes treatment of the traditional Mexican song

"Las Nubes." which is about a desperate young man who gazes at the approaching clouds and hopes for rain—and a new day. This well-worn song became an anthem ot cultural empowerment for the Texas

Mexican communit)-. Tejano music, like allTe.xas music, renews itself while holding close its beloved heritage. Perhaps more important than claims of

"influences." "firsts." and "innovations" of Texas music is a far subtler point: Texas music has always served to bridge the complex cultural identities of the region's From Cattle Drives to Winery Trails: Food and Wine Traditions in the Lone Star State

Dawn Orsak

I was born in the months preceding the 1968 I ate whatever Texas bounty my mociern hunter-

Smithsonian Folklife Festival, which featured my gatherer family brought home, including the deer, quail,

home state ot Texas. Raised in the Houston area, dove, duck, blue crabs, and flounder my father hunted

I'm a fifth-generation Texan with a Czech and or fished and the cucumbers, squash, tomatoes, beets,

Polish background, who grew up eating kolaches loquats, mustang grapes, dewberries, and persimmons (sweet pastries), strudels, sausage, and noodles my mother and grandmothers canned, pickled, or made

at family reunions, church picnics, anci holiday into jams and jellies. I served as executive director

gatherings. I also spent countless weekends during of one of the state's oldest and largest wine and food junior high and high school at cook-offs where festivals, which gave me a first-class education on the

my dad's cooking team won awards for everything Te.xas wine industry. And, ot course, we go through

trom barbecued brisket, chicken, and sausage to more tortillas at my house than loaves of bread because

pots ot chili, beans, and sauce. My parents were Tex-Mex is so delicious, accessible, and integrated into

adventurous eaters and took my siblings and me Texas cuisine that it feels like comfort food even to

to Kim Son and other Vietnamese restaurants Texans with absolutely no Mexican heritage.

ov\ned by hardy, determined people who rode a I give this glimpse of my very fortunate personal

wave ot immigration to the Texas Gulf Coast in culinary history to illuminate the diversity of foods

the 1970s. The very first Landry's Seafood House enjoyed every day in communities all over the Lone

(now a national chain) opened on the edge of my Star State. My experience reflects what many Texans

suburban Katy neigliborhood when I was thirteen. eat. The question, "What is traditional Texas food?"

It introduced me to the joys of boiled crawfish and has become more complex and interesting in 2008

Ihuidin (a spicy Cajun sausage) and reminded me just than it was in 1968, due to cultural and demographic

how close we were to Louisiana. changes in the last forty years.

Texas: A Celebration of Music, Food, and Wine 67 In 1968, tlie Festival focust-d 011 Texas barbecue,

chili, tacos, and German horseshoe sausage. They

well represented Texas's long, intertwined history with Mexico; the culture of the sizable German

conuiiunities in C^entral Texas: and the state's

dominance ni cattle production. But the Festival only touched the surface of what Texans eat today. This

huge state encompasses high plains, desert, gulf coast, mountains, and blackland prairies and produces foods

as varied as grapefruit, shrimp, wheat, onions, pecans,

oysters, rice, grapes, corn, and beef Significant

Mexican, African American, German, Cajun, Itali.in,

Asian, East European, and Middle Eastern populations

contribute to the flavors of Texas. The ranching, Members of the extended Morkovsky family gather annually to make

up to 1 ,000 pounds of Czech pork sausage. Photo by Valentino Mauricic shrimping, fishing, wine, and technology industries

likewise influence the Texas table. a pit loaded with hickory at an African American Aficionados know Texas is blessed with many family reunion in East Texas; pork, beet, and venison variations of barbecue, but they all rec]uire meat, sausages in Central Texas Czech and German meat smoke, and heat. Beef brisket may still be king, markets; barbacOii (cow head smoked in a pit dug into but plenty of other meats are barbecued. There are the ground) in South Texas; or beef ribs cooked on also differences in rubs, woods used for smoking, open pits on a West Texas ranch. Even traditional types of cooking pits, and kinds of sauces (it any) sides of pinto beans, potato salad, coleslaw, bread, served. A visitor might find pulled pork cooked in tortillas, and sauce reflect regional and personal tastes.

All barbecue styles can be sampled at the state's hundreds of annual cook-offs. Texans also compete

for the best gumbo, steak, piiii dc lampo (or "cowboy

bread." the official bread of Texas), chicken noodle

soup, A.'i'/iu7;es, and, especially, chili. Part cooking

contest, part fundraiser, and part performance, cook-

offs cross ethnic, regional, and gender boundaries.

Ill the late 1960s, "Bowl of Red" became another

nickname for the dish because of the color chili powder imparts to the stewed beef Some of the

best-known names in chili, such as chili-seasoning manufacturer Wick Fowler and columnist and chili promoter Frank X. Tolbert, were associated with

the Original Terliiigua International Championship Chill Cookoff The championship, the "granddaddy"

of cook-offs, started in 1967. The Chili Appreciation Society International sanctions more than 500

statewide cook-offs every year.

Pit manager Roy Perez slices barbecued brisket at the historic

Kreuz Market, which was established in 1900 in Lockhart, Texas.

Photo by Valentino Mauficio

68 Texas: A Celebration of Music, Food, and Wine Venison Black Bean Chili with Goat Cheese Crema and Slang Jang

^rom iiepnan Pyies s cookdook New Tastes from Texas

CHILI GOAT CHEESE CREMA

4 tablespoons olive oil 1 cup heavy cream

1 pound venison leg, well trimmed of fat and 6 ounces fresh goat cheese, crumbled

finely chopped 2 tablespoons roasted garlic puree

6 garlic cloves, finely chopped Heat the cream in a small saucepan until just boiling. 1 onion, chopped Place in a blender and slowly add the goat cheese and 1 jalapeno, seeded and chopped garlic, blending 2 to 3 minutes or until smooth. Serve 4 tablespoons ancho puree at room temperature. 2 chipotles in adobo, chopped

4 medium tomatoes, blanched, peeled, seeded SLANG JANG and chopped

2 teaspoons ground cumin 1 ear of corn, in husk

1 quart chicken stock or vegetable stock, or more as 2 ripe tomatoes, seeded and diced into 'A-inch pieces

needed to cover in cooking process 1 medium-size green bell pepper, seeded and

1 12-ounce bottle dark beer, such as Shiner Bock diced into 'A-inch pieces

1 cup black beans, soaked overnight and drained 1 small onion, minced

1 teaspoon epazote 2 stalks celery, peeled and diced into 'A-inch pieces

1 tablespoon masa harina 1 jalaperio, seeded and minced

1 tablespoon chopped fresh cilantro 2 teaspoons sugar

salt and freshly ground black pepper to taste V2 cup cider vinegar

2 tablespoons olive oil Heat the oil in a heavy stockpot or casserole until lightly salt and freshly ground black pepper to taste smoking. Add the venison, garlic, onion, and jalapeno;

cook over medium heat until the meat has browned, Preheat the oven to 325°F.

about 15 minutes. Add the ancho puree, chipotles, Roast the ear of corn in its husk for 20 minutes. Let cool tomatoes, and cumin; cook for 10 minutes longer. to room temperature and cut the kernels off the cob.

Add the stock and beer; bring to a boil. Add the black Combine corn and the remaining ingredients in a beans and epazote. Reduce the heat and let simmer for medium bowl; chill for 2 to 3 hours before serving. 1 V2 to 2 hours or until the meat and beans are perfealy Serve chilled or at room temperature. tender, stirring occasionally. Add more stock throughout

the cooking process, if necessary, to keep meat and

beans covered. Whisk in the masa harina and cilantro.

Season with salt and pepper to taste and garnish with

Goat Cheese Crema and Slang Jang.

Yields 4 to 6 servings.

At hundreds of chili cook-offs all over the state, proud cooks offer passersby samples of their concoctions. Photo by Andy Reisbetg

Texas: A Celebration of Music, Food, and Wine 69 This one-dish meal was popularized in San 2004 article, "Once upon a time, we were part of Antonio— the veritable heart and soul ot Tex- Mexico, and if you look at what we like to eat, you Mex cooking—in the late nineteenth and early would think we still are." twentieth centuries, when Mexican women, In contrast to the seminal influence ot Mexican

its effect dubbed "chili queens," sold it at their street stands. cooking, Vietnamese cuisine is recent in Houston food writer and cookbook author Robb on the Texas table. After the fall of Saigon in

Walsh calls Tex-Mex "America's oldest regional 1975, a wave of refugees escaped to Texas, with cuisine." By including meats and other ingredients another following in the late 1970s. Some found

more available in Texas and by catering to non- work in urban centers like Austin, Dallas, and, Mexican patrons of restaurants that started opening especially, Houston. Others settled in coastal

in the early 1900s, Mexican Americans shaped a areas, where the shrimping industry was similar to

unique, informal, and nourishing fare. It is now that of their homeland. Through ethnic shopping

the state's most influential cuisine; even dishes centers, restaurants, and celebrations of holidays

generally assumed to be Mexican, such as fajitas and ceremonies, these communities maintain their and nachos, are actually Tex-Mex creations. From traditional foods and heritage. Fresh vegetables and simple breakfast tacos of scrambled eggs and chorizo herbs, noodle soups, stir-fry dishes, and soy and tish

sausage made by a grandmother for her family in sauces epitomize Vietnamese cuisine. Restaurants

Refugio to fried oyster nachos served at Nuevo like Kim Son and Mai's in Houston, frequented by Tex-Mex restaurants in Austin or Dallas, Tex-Mex's non-Vietnamese diners, have fused traditional dishes prevalence cannot be overstated. Patricia Sharpe, with popular "Texan" items to create specialties like

food editor of Texas Monthly, wrote in a December Vietnamese fajitas and fish tacos. From the 1960s through the 1980s, many Cajuns (descendants of French-speakers who were Pedernales River Chili expelled from Nova Scotia in the late 1700s) left

southern Louisiana to take oil industry jobs on From Mrs. Lyndon B. "Lady Bird" Johnson the upper Texas coast, especially in the "Golden

4 pounds chili meat (coarsely ground round steak or Triangle" area of Beaumont-Port Arthur-Orange.

well-trimmed chuck) Cajun cooking consists largely of stewed meats,

1 large onion, chopped seafood, and gravies combined with rice. Sharing

2 garlic cloves a coastline, state line, and love of fresh seafood,

1 teaspoon ground oregano Texans embraced Cajun specialties like crawfish

1 teaspoon ground cumin etouffee, blackened snapper, and seafood gumbo.

6 teaspoons chili powder (more, if needed) The online dining guide b4-U-eat.com lists

Vh cups canned whole tomatoes and their liquid more than seventy Cajun restaurants in the

2 to 6 generous dashes liquid hot sauce Houston area alone. Hurricane Katrina recently

2 cups hot water blurred the boundary between the two states

salt to taste even more—thousands of Louisiana refugees relocated to Texas and reinvigorated Cajun Place the meat, onion, and garlic in a large, heavy culture in the Lone Star State. pan or Dutch oven. Cook over medium-high heat until

light in color. Add the oregano, cumin, chili powder,

tomatoes, hot sauce, and 2 cups hot water. Bring to a

boil, lower the heat, and simmer for about 1 hour.

Skim off the fat during cooking. Salt to taste.

70 Texas: A Celebration of Music, Food, and Wine .

Deb's Hot Rod Chili

From Debbie Ashman

2007 Terlingua International Chili Champion

2 pounds coarsely ground beef

8-ounce can tomato sauce

5-ounce can of beef broth

Mix the following spices for Step 1

1 teaspoon onion powder

2 teaspoons garlic powder

2 teaspoons beef crystals

1 teaspoon chicken crystals

1 tablespoon paprika

1 tablespoon Mexene Chili Powder

Vi teaspoon cayenne

'A teaspoon black pepper

1 package Sazon Goya

Mix the following spices for Step 2

1 tablespoon Mexene Chili Powder

1 tablespoon Hatch Mild Chili Powder

2 tablespoons light chili powder

1 tablespoon dark chili powder

'/4 teaspoon white pepper

Mix the following spices for Step 3

1 teaspoon onion powder

1 teaspoon garlic salt (Upper) The Vietnamese-owned Donut Palace in Port Aransas Vi teaspoon cayenne caters to the multicultural community of the Texas Gulf Coast by % tablespoon Mexene Chili Powder offering Czech kolaches, (pastries), Mexican American brealcfast tacos, southern donuts, and croissants, which reflect the French 1 tablespoon cumin influence on traditional Vietnamese cuisine. Photo by steve Orsak "Original" Louisiana Brand Hot Sauce to taste

(Lower) In Dripping Springs in the Texas Hill Country, the Reyes Cooking the chili: family gathers a week or two before Christmas to make dozens of tamales for their Christmas Eve dinner. In the past, the family 1 Cook the meat over medium-high heat until light made pork tamales only, but as tastes changed, they added corn, in color and drain the grease. cheese, and rajas (poblano peppers) tamales for vegetarian 2. Slow boil the meat in the beef broth and one equal relatives. Pholo by Ella Gam, courtesy Texas Folklife

can of distilled water for 10 minutes.

3. Add Step 1 and medium boil for 60 minutes.

4. Add Step 2 and medium boil for 45 minutes.

5. Add Step 3 and medium boil for 1 5 minutes.

In last five minutes, taste for spiciness and adjust as required.

Texas: A Celebration of Music, Food, and Wine Although the modern Texas wine industry

emerged in the last forty years, the state has a rich and colorful wine heritage that goes back 300 years.

In the late seventeenth century, one hundred years before Californians or Virginians, Spanish missionar-

ies planted grape vmes near present-day El Paso to

produce sacramental wines. Texas is perhaps the

oldest wine-producnig state in the Union.

European settlers from countries with well-

established wine-making traditions brought their own

grapevine rootstock in the 1800s. For many years,

their small vineyards produced wine solely tor home

or local use. Later, under their influence and that ot

Texan T.V. Munson, a world-renowned horticulturist and authority on grapevines, grape culture expanded

into a fledgling industry. By the early lyoos, the state boasted more than twenty commercial wineries.

The enactment of Prohibition in 1919 forced all

but one winery to close, effectively wiping out the Fort Stockton were centers of viticulture. Grapes

industry until the repeal of the Eighteenth Amend- were grown throughout the state by the early 19S0S;

ment in 1935. The lone holdout, Val Verde Winery in wineries naturally followed. Fueled by a long tradi-

Del Rio, IS now the oldest Texas winery. Established tion of viticulture and experimentation, the Texas

in 1883 by Italian immigrant Frank Qualia and still Agricultural Experiment Station and the University

family-owned and operated, Val Verde is stronger of Texas identified appropriate varietals and regions

than ever. But the state wine industry has continued most conducive to growing grapes.

to feel the effects of Prohibition; many of Texas's 254 The worldwide interest in wines inspired some

counties still enforce dry laws that inhibit the ability Texans to change careers in the late 1960s and early

of growers to sell their wine or set up tasting rooms. 1970s. Susan and Ed Auler became the first to plant The revival of the Texas wine industry began in vines in the Hill Country west of Austin and San the 1970s with the founding of the Llano Estacado Antonio, where they converted their cattle ranch and Pheasant Ridge wineries in the High Plains, into a vineyard after an eye-opening trip to the where farmers turned from cotton to grapes be- Bordeaux region of France. Initially, grape growers

cause they required less water and yielded more. By felt compelled to emulate France and California

1975, Lubbock, Fredericksburg, Fort Worth, and by importing vines and producing commercially accepted wines, such as Chardonnay and Burgundy. But much of Texas was not suited to the popular French and California wine varieties. By trial

and error, Texas wine growers gradually began

(Upper) Brennan Vineyards in Comanciie, Texas, grows Cabernet,

Syrah and Viognier grapes, among others, for their award-winning

wines. Photo by Bob Daemmrich, courtesy Texas Department of Agriculture

(Lower) Second- and third-generation owners of Val Verde Winery,

Louis and Tommy Qualia, pose in the winery's cellar in the 1 970s.

Frank Qualia founded Val Verde in 1 883. It is the oldest winery in

Texas and is still family-owned. Ptioto courtesy Val Verde winery

72 Texas: A Celebration of Music, Food, and Wine Texas wines reflect "wide open places, a love of tradition, independence, and the joy that comes from being larger than life." to make the most of the state's unique terrain and elements, government regulations, and consumer weather conditions. They focused m some areas on tastes. They judge their success by sales, national

Mediterranean-style varietals similar to those of Italy, attention to the industry, satisfaction with their Spain, and southern France. own product, and the awards that Texas wines

Today, the state has eight federally approved increasingly garner. Texas is now the fifth-leading wine grape—growing regions, or "appellations," from wine-producing state in the nation; the industry the Panhandle to the Gulf Coast. The Hill Country employs about S.ooo people and contributes more has become America's second-largest viticulture than $1 billion aniniallv to the state's economy. area, while the High Plains and Far West regions With their tasting rooms and picturesque atmospheres, have proved most productive. (Other areas have wineries have become tourist ciestinations. Along battlecl Pierce's disease, black rot, and severe weather with new immigrant communities, they are changing conditions.) Each region has its own icrroir (climate, the culinary landscape of the state. They add a new soil, and unique characteristics), enabling Texas, as dimension to the Te.xas dinner table and help expand a whole, to produce an unusually diverse group of the perception of Texas cuisine. varietals with unique flavors and vintages. Joshua

Coffee of Llano Estacado Winery iii Lubbock says Ddii'ii OiHik has ijtciu the last jiftccu years workim; in the

Texas wines reflect "wide open places, a love of areas of food and culture, first for Texas Folklife Resources tradition, independence, and the joy that comes and most recently as executive director of the Texas Hill from being larger than life." Country Wine & Food Festival. She has curated over

Though many come from wine-making families, fifty joodu'ays presentations and has been a presenter at the

Texas grape growers and winemakers are generally Stnithsonian Folklife Festival and the Louisiana Folklife considered mavericks, who stubbornlv confront the Festiwd, amoii'^ other events.

Further Reading

TEXAS MUSIC: A LIVING LEGACY FROM CATTLE DRIVES TO WINERY TRAILS: FOOD AND WINE

TRADITIONS IN THE LONE STAR STATE BARKLEY, ROY, ETAL. The Handbook of Texas Music. 2003.

Austin: Texas State Historical Association. BERNSTEIN, JOEL AND TOM BRYANT. 1995. .^ Taste of Texas

CORCORAN, MICHAEL. 2005. All Over the Map:Trne Heroes Ranchint;: Cooks and Cowboys. Lubbock: Texas Tech

of Texas .\/i/,mV. Austin: Universitv of Texas Press. University Press.

KOSTER, RICK. 1998. Texas .Music. New York: St. Martin's ENGLISH, SARA JANE. 2002. The Wines of Texas: A Guide

Press. and a History. Waco: Eakin Press.

LOMAX , JOHN A. AND ALAN LOMAX. 1986. Cowboy Soit^is and GUERRA, MELISSA. 2006. Dishes from the Wild Horse Desert:

Other Frontier Ballads. New York: MacMillan Publishing. Norteho Cooking from South Texas. Hoboken:John

MALONE, BILL C. 1991. Country .Music, U.S.A. Austin: Wiley & Sons.

University of Texas Press. MARQUEZ, SANDRA AND CANDY WAGNER. 1993. Cooking Texas

PAREDES, AK4CRIC0. 1990. With His Pistol in His Hand: Style (loth Anniver.uuy Edition). Austin: University

A Border Ballad and Its Hero. Austin: University of of Texas Press.

Texas Press. MARSHALL, WES. 2007. The Wine Roads of Texas:

PATOSKI, JOE NICK. 2002. "What Is This Thing Called Texas An Essential Guide to Texas Wines and Wineries.

Music?" Journal of Country Music 22, (2), 6-10. San Antomo: Maverick Publishing Company.

PENA, MANUEL. 1990. Texas Mexican Conjunto: History of a WALSH, ROBB. 2002. The Legends of Texas Barbecue.

Working Class Music. Austin: Universitv' ofTexas Press. San Francisco: Chronicle Books.

. 2004. The Tex-Mex Cookbook. New York: Broadway Books. staff

Advisory Council SMITHSONIAN INSTITUTION Smithsonian Folkways Recordings Smithsonian Folkways Michael Asch (chair), Patricia G. Wayne Clough, Sccrctaiy of the Daniel Sheehy, Curator and Director Shehan Campbell, Hal Cannon, Smitlisoiiiati Institution Anthony Seeger, Curator and Don DeVito, Ella Jenkins, Cristian Samper, Acting Secretary Director (emeritus) Director Anthony Seeger, Fred Silber of the Smithsonian Institution D. A. Sonneborn, Assistant Richard Kurin, Acting; Under Betty Derbyshire, Financial Ralph Rinzler Folklife Archives Seaetar)' for Histor)', Art, and Culttire Operations Manager and Collections Richard James Burgess, CENTER FOR FOLKLIFE AND Jeffrey Place, Archivist Director of Marketing and Sales CULTURAL HERITAGE Stephanie Smith, Assistant Archivist Pete Reiniger, Sound Blair, Director Elizabeth Almlie, Laura Richard Kennedy, Aciini: Production Supervisor Garrett Girmus, Amanda Kevin Blackerby. Dcvchpmeiii Mary Monseur, Production Manager Holgate, Marissa Jensen, Officer Margot Nassau, Royahics and Emilia Assisiivti Katherine Kosin, Rebecca Smerhng Marcus, Licensing Manager Mahaffey, Amulya Mandav, to the Center Director/Special Evetits John Smith, Marketing and Jack Manischewitz, Stephanie Sales Specialist Center for Folklife and Cultural Massaro, Penelope Morgan, Assisiain Advisory Council Henri Goodson, Financial Heritage Enid Ode, Britt Powell, Nicole Mark Gustafson, Marketing Specialist Kurt Dewhurst (chair),}. Scott Schneidman, Laraine Weschler, Laura Dion, Marketing Raecker (vice chair), Michael Interns and Sales SpeciaUst Asch (ex officio), Mounir Helen Lindsay, Lead Customer Cultural Heritage Policy Bouchenaki, Anthony Gittens, Service Representative Mickey Hart, John Herzog James Counts Early, Director Ronnie Simpkins, (ex officio), Debora Kodish. Audio Recording Specialist Cultural Research and Education Richard Kurin (ex officio), Keisha Martin, Manufacturing/ Chair Enrique Lamadrid, Ellen Olivia Cadaval, Iiwentory Manager McCulloch-Lovell, Libby Thomas Vennum Jr.. Senior Norman van der Sluys, Customer (emeritus) O'Connell, Cristian Samper Ethnoimisicologist Service Representative BettyJ. Belanus, James Deutsch, (ex officio), Robert Santelli, Kathy Wasik, Sales Specialist Hunt, Diana Baird Cathy Sulzberger Marjorie David Horgan, N'Diaye, Peter Seitel (emeritus).

Administration E-Marketing Specialist Curators, Folklorists, Education Lynch, Customer Service Barbara Strickland. Associate lulian and Ctdtural Specialists Representative Director, Finance and Administration Cnstina Diaz-Carrera, Latino William Chase, Matthew Dayton, Marquinta Bell, Program Specialist Eileen Dorfman, Gwendolyn Admitiistrative Speciahsl Robert Albro, Geri Benoit, Carla Grootenboer, Zachary Hall, Eddie Mendoza, Festival Borden, Irene Chagall, Andrew Micah Hendler, Joselyn Jang, Services Manager Cruz, Patrick Delatour, Roland Maria Lopez Forero, Ellen Mark Reedy, Accountant Freeman, Nancy Groce, Frank Lueck, Hayley McCamey, Pamela Rogers, Injormation Proschan. Sita Reddy, Sam-Ang Francisco Orozco, Doug Peach, Technologies Specialist Sam, Jesijs "Chucho" Valdes, Corey Shinko, Zorawar Shukla, Claudia Telliho, Administrative Patrick Vilaire, Research Associates Interns SpeciaUst Omotayo Jolaosho, Fellow Dowdal. Renny Smith. Eleana Diaz, Noam Eisner, Hannah Ramona Smithsonian Global Sound Cecily Hart. Vanessa I olunteers Garfinkle. Toby Dodds, Technology Manager Herrera, Gabriel Cnstover Perez, Schriefer, Program Coordinator Amy Alexandra Papagno, Shawna Kathryn Gilchrest, Jessica Keyes, Pies, Sarah Searcy. Laura Naomi Setchell, Interns Service, Katie Wynn, Interns

74 Staff SMITHSONIAN FOLKLIFE FESTIVAL Dave Lanning, Trucking Education and Program Support Diana Parker, Dinrroi Stephen Fisher, Sound and Arlene Reiniger, Intern Coordhiator Stephen Kidd, Produiuoii Stage Supervisor Manager Kevin Blackerby, Accessibility Alana Pryor Ackerman. Assistant Nate Lannon, Sound Coordinator to the Festival Director Equipment Manager Candace Barnes, Jean Bergy, Jackie Linda Benner, Kim Buchanan, Assistant to Jeanette Buck, Bruce, Martin Hiraga, Kimberly David Administration Clements, Rachel Veney, Hank Young, American Gus Stickel, Assistant to Cross, Michael Doucet, Licia Sign Language Interpreters Administration Galinsky, Sissy Lang, Brandon Becky Haberacker, Amy Kehs, Kimberly Seibel, Prendergast, Sarah Pilzer, Financial Assistant Dawn Public Affairs Emily Maistrellis, Intern Welsh, Stage Managers Jennifer Endick, Public Affairs Intern Colleen Americh, Saul Broudy, Michelle DeCesare, Supply Participant Support Harry Cimermanis, Paul Cogan, Coordinator Jennifer Neely, Participant Dennis Cook, Henry Cross, Whitney Brown, Supply Assistant Coordinator Ken Derr, Steven Edwards, Sam Baker, Supply Intern Naheed Ahmed, Spencer Ford, Jeff Garrettson, Alison Beverly Simons, Foodways Karma Yonten, Participant Goessling, Chris Kozlowski, Coordinator Assistants Gregg Lamping, Dean Amy Garrett, I olunteer Coordinator Eileen Groell, Housing Coordinator Languell, Pat McGee, Michael Gwynneth Anderson, Assistant Dana Caffee-Glen, Social Manoukian, Charlie Pilzer. I 'olunteer Coordinator Coordinator James Welsh, Sound Engineers Joseph Kowaleski, Karlie Leung, Katey Blumenthal. Transportation Edmund Dovvnie, Intern I olunlccr Interns Coordinator Publications Katie Aiken, Assistant Marketplace Transportation Mary Sebold. Editor Coordinator Jennifer Hale, Craft Sales Coordinator Sally Dijkerman, Brooks Hays, A.C. Stickel, Operations Manager Design and Production Interns Stephanie Vann, Craft Sales Assistant Krystyn MacGregor Confair, Violeta Duncan, Amanda Technical Support Art Director Rodichok, Interns Rob Schneider, Technical Director Joan Erdesky, Production Manager Anthony Milby. Assistant Zaki Ghul. Graphic Designer Technical Director Chloe Steinhoff-Smith. Intern

Rebecca Berlin, Assistant Documentation to the Technical Director Charlie Marcus, Eric Nance, Charlie Weber, Video

Electriciaits Documentation Coordinator Place, Ray Reed, Pipe Fitter Jeffrey Audio Joshua Herndon, Carpenter Documentation Coordinator John Bullock, Terry Meniefield, Stephanie Smith, Photo Documentation Elisa Miller, Alaric Strickland, Coordinator Crew Leaders Noah DeBonis, Michael Headley, Tim Bergstrom, Ralph Derbyshire. Interns Anton Kavetski, Chris Martin,

Jesse Shaw, Katharine Shiffler, Rebecca Sullesta, Exhibit Workers

Staff 75 Fifty and Beyond Bhutan: Land of the Singye Wangmo, Communication NASA: Years Thunder Dragon Services, Ministry of Agriculture James Deutsch, Program Curator His Royal Highness Prince Jigyel Sonam Choden, Nature Conservation Dorey Butter, Program Coordinator Ugycn Wangchuck, Head of the Divisioti, Department of Forests Kim Stryker, Family Activities Bhutan Delegation Thinley Gyamtsho, Former Principal, Coordinator Dorjee Tshering, Richard Kennedy, Royal Academy of Performing Arts Gale Allen, Beth Beck, Claudette Preston Scott, Curatorial Team Thinley Wangchuk, Principal. Beggs, Luis Berrios, Rosalie Damcho Rinzin, Arlene Reiniger, National Institute for Zorig Chusum Betrue, Sallie Bilbo, Dawn Program Coordinators Carly Amster, Katlyn Burns, Brooks, Stacey Brooks, Beth Katey Blunienthal. Dorji, Assistants Khenden Dorjee, Michael Myer, Brown, Fred Brown, Joshua Ari Palawi, Zorawar Shukla, Buck, Todd C-annon, Tara Bhutan Curatorial/ Interns Clopper, Carmel Conaty, Leslee Production Committee Chnne Paden Wangdi, Choeki Cork, Anita Davis, David Tshering, Director, Dorjee Wangzom, Deki Wangmo, Defelice, Steve Dick, Wanda Department of Culture Gem Dorji, Goen Tshering, Dockery, Kristen Enckson, Damcho Rinzin, Research Officer, Karma Lhentiup, Karma Michelle Ferebee, Debbie Bhutan Tourism Council Phuntsho, Karma T. Wangchuk, Callaway, Steve Garber, Elaine Folk Dorji Wangchuk, Director, Kmley Dorji, Kunzang Choden, Cause, Ed Goldstein, Mary Heritage Museum Kuenzang Dorji Thinley, Ann Harness, Robert Hopkins, Dorji Wangchuk, Director, National Kuenzang Thinley, Paljor Jim Hull, Winnie Humberson, Medicine Institute for Traditional Dorji, Phuntsok Tashi. Sangay Cheryl Johnson, Michelle Jones, Yangki, Architect, Dorji Chief Wangchug, Sonam Choki, Dave Lavery, Laura Lewis, Department Culture of Sonam Dorji, Thinley Namgyel, Steve Lighthill, Rocky Lind, Lopen Gyeltshen, Chief Thinley Wangchuk, Tshewang Dan Lockney, Bonnie McClain, Administrative Officer, Dendup, Ugen Choden, Linda Matthews-Schmidt, Bryon Central Monastic Body Presenters Maynard, Cheri Miller, Ruth Yezer, Former Jigme Cholen Chhimmy Pem, Kesang Wangdi, Netting, Nora Normandy, Louis National Institute Principal, Kinley Dorji, Kunzang Choden Parker, Tom Powers, Debbie for Zorig Chusum Namgyel, Mmjur Dorji, Penden Rivera, Carla Rosenberg, Dukpa, Director, Karma Wangchuk, Phuntsho, Sonam Karen Rugg, Bette Siegel, Mary Department Forests of Tobgay, Resource People Sladek, Tony Springer, Pam Phuntsok Tashi, Director, Her Majesty Ashi Dorji Wangmo Steel, Jim Stofan, Ann Marie National Museum Bhutan of Wangchuck (Honorary C^hair), Trotta, Janelle Turner, Bert Phurba Dorji, Officiating Krista Amason, Dr. Bruce W. Ulrich, Erika Vick. Katie Veal Principal, Royal Academy Bunting, Walter Cronkite, Wallace, Derek Wang, Joey of Performing Arts Ambassador Daw Penjo, Williams, Dan Woodard, NASA Former Secretary, Sangay Wangchug, Michael Doucet, Eva Haller, Coordination Team Department CuUure of Mickey Hart, Steven Hoch, Isabel Aha, Julia Bernstein, Nick Singye Dorji, Head, Yo-Yo Ma, Dr. Diana Natalicio, Bocchino, Samantha Borzi, Textile Museum Donald Rubm, Victoria P. Saiit, Abigail Evans, Sara Gromley, Dr. Michael Tobias, Leadership Rebecca Hinkle, Mariah Smith,

Connnittee William Smith II, Talia Weisz,

Interns

76 Staff Texas: A Celebration of SMITHSONIAN SUPPORT Office of System Modernization Music, Food, and Wine FOR THE FESTIVAL Office of the Chief Financial Pat Jasper, Curator Officer Office of the Secretary Dawn Orsak, Foodways and Wine Office of the Comptroller Office of External Affairs Curatorial Comuhant Office of Contracting Office of Development Amanda Pike. Program Coordinator Travel Services Office Office of Sponsored Projects Stacey Martin, Emily Troll, Office of the Treasurer Office of the General Counsel Katie Wynn, Interns Office of Risk Management

Office of the Undersecretary Office of Planning and Budgeting Ralph Rinzler Memorial Concert for Administration Office of Financial Systems James Counts Early. Rene Lopez. Facilities Engineering and Integration Curatorial Adfiiors Operations Rebecca Smerling Marcus, Office of the Under Secretary Office of Engineering, Design. of History, Art, and Culture Coordinator and Construction Joan Lopez. James Counts Early, National Museum of the Office of Facilities Management Presenters American Indian Horticulture Smithsonian Center for NATIONAL PARK SERVICE Transportation Latino Initiatives Office of Facilities Reliability Dirk Kempthorne. National Programs Office of Facilities Planning Secretary of tite Interior The Smithsonian Associates and Resources Mary Bomar, Director, Smithsonian Affiliations Office of Architectural History National Park Service Smithsonian Institution and Historic Preservation Daniel N. Wenk, Deputy Director. Traveling Exhibition Service Office of Project Management National Park Service Smithsonian Center for Office of Protection Services Joseph M. Lawler, Regional Director, Education and Museum Studies Office of Safety and National Park Service Freer Gallery of Art Environmental Management Dwight E. Pettiford, Deputy Chief, Office of Government Relations Office of the Under Secretary United States Park Police Office of Communications for Science Margaret O'Dell, Superintendent, Office of Public Affairs Office of International Relations National Mall and Memorial Parks Visitor Information and National Air and Space Museum Rick Merryman, Chief, Division Associates' Reception Center Smithsonian Astrophysical of Park Programs Accessibility Program Observatory Leonard Lee, Permit Specialist, Office of Human Resources National Museum of Division of Park Programs Office of Special Events Natural History Richard Durett. Public Health and Protocol Consultant Smithsonian Business Ventures Office of the Chief Steve LaBel, Deputy Associate Information Officer Snnthsonian Matrazme Regional Manager Office of Imaging and Alice McLarty, Park Landscape Photographic Services Architect OtTice of IT Operations Karen Cucurullo, Special Assistant

for Partnerships, National Mall and Memorial Parks Robert Karotko, Chief Division of

Visitor Services, National Mall and Memorial Parks

Jorge Alvarez, Acting Chief, Division of Maintenance, National Mall and Memorial Parks Employees of the National Park Service and the United States Park Police

Staff 77 Sponsors and Special Thanks

SMITHSONIAN FOLKLIFE FESTIVAL Special Thanks Kay Sawyer, Ann Shaftel, Cynthia SPONSORS Sharpe, Sherub Gyaltshen, Raja Indiviiiualf The Smithsonian Folkhfe Siddiqi, Kevin D. Simmons, Minister Y. Thinley, Sithey, Festival is supported by federally Prime Jigmi Siok Sian Pek-Dorji, appropriated funds; Smithsonian Her Majesty Ashi Dorji Wangmo Lawrence Small, Robin Smilie,

trust funds; contributions Wangchuck, Marcia Aaron, Tom Sonam Dorjee, Sonam Dorji, from governments, businesses, Abraham, Marlene Adler, Warren Mark Spaulding, Nevzer Stacey, foundations, and individuals; Amason, Francine Berkowitz, Rozann M. Stayden, Larry in-kind assistance; and food, John Berthold, David Bidwell, Stuebing, Lee Talbot, Marty recordmg, and craft sales. General Angel Braestrup, Julia Brennan, Talbot, Marilyn Tam, Tandin support for this year's Festival Bruce W. Bunting, Allen Carroll, Namgyel, Tashi Zangmo, comes from the Latino Initiatives Jonathan Coddington, Andrew Tenzing Namgyal Namda, Pool, administered by the Connors, Brian Corbett, Carina Thinley Wangchuk, Tobgay Smithsonian Latino Center, and Courtnght, Daphne Hoch Sonam Namgyal, Michael Tobias, the Music Performance Fund, Cunningham, Dawa Sherpa, Tsering Dem, Tshering Wangmo, with in-kind support provided Ambassador Daw Penjo, Deki Tshewang Dendup, Lyonpo Ugyen through Motorola, Sprint, Wangmo, Karine Dinev, Dorjee Tshering, Ugyen Tshewang, WAMU-88.5 FM, Whole Foods Tshering, Dorji Gyeltshen, Dorji K. Vinod, Adrienne Vittadini. Market, and WashingtonPost.com. Wangchuk, Pamela Ebsworth, Rebecca Winsor, Steve Evans, Michael Faulkner, Sandra S. Wright, Yeshey THE BHUTAN: LAND OF Shaun Faulkner, William Fischer, Norbu, and Bradford Zak THUNDER DRAGON Patrizia Franceschinis, Robert Orgiinizations This program is produced in Freling, Eva Haller, Yoel Haller, Association of partnership with the Royal Jane Hancock, Brad Handler, Aman Resorts, Government of Bhutan. Major Danielle Harsip, Mark Hassenberg, Bhutanese Tour Operators, Bhutan Tourism, Bhutan Donors to the program are the Janet Herman, Leonard Hirsch, Department of Bhutan Tourism Bhutan Department of Tourism Lisina Hoch, Roland Hoch, Post Corporation, and the Dancing Star Foundation. Steven Hoch, Linda Howard, Council, Butterfield & Robinson, Donors include the Bhutan David Inouye, Jigme Yezer, Peter Choki Traditional Art School, Foundation and an anonymous Kaestner, Karma Letho, Karma Dancing Star Foundation, Druk Heritage donor. Contributors to the Ura, Kesang Wangdi, Phil Kline, Air Corporation, Folk program are the Frank W. Hoch Richard Kunn, Alix Laager, Museum, National Geographic, Trust, the Shelley & Donald Harriet Lankford, Tom Lankford, Permanent Mission of the United Rubin Foundation, Lawrence Caryl Levine, Ambassador Lhatu Kingdom of Bhutan to the Construction, Small, and the Summit Fund of Wangchuk, Hans Li, Joseph Lo, Nations, Rand Washington. Additional support Lopen Lungten Gyatso, Michael Royal Bhutan Army, Royal Body is provided by the Himalayan Mars, Glenda Martin, Jim Bhutan Police, Royal Youth Foundation, Eva and Yoel McClelland, Kathleen McNamara, Guards, Royal Bhutanese Embassy Delhi, Royal Textiles Haller, Friends of the Royal Bill McNulty, Hemanta Mishra, in New Museum of Art, Textile Academy of Bhutan, Jane Morrison, Diana Myers, Museum, Rubin Blue Exclusive Resorts, Francis and Nangze Dorji, Diana Natalicio, The Art League School, The Spice House, Kathleen McNamara, New Daniel Nestel, Nyingtob Pema Poppy Nursery, The Tourism & The Harmony Project, Norbu, Mark Ormond, Bruce United Nations Development States Embassy the Sager Family Foundation, Payne, Penden Wangchuk, Paula Program, United Delhi, University Butterfield & Robinson, The Perils, Mansir Petrie, Courtney in New ot University of Texas at El Paso, Petrov, Francoise Pommaret, of Maryland Department of Maryland and Aman Resorts. Leslie Prosterman, Anita Randall, Biology, University Plant Science Sean Riley, Walter Roder, Donald Department of Rubin, Shelley Rubin, Michael and Landscape Architecture, Rutland, Bobby Sager, Lyonpo and the World Foundation for Environment and Development Sangay Ngedup, Victoria F^. Sant,

78 Sponsors and Special Thanks NASA: FIFTY YEARS AND BEYOND Other Smithsonian Units Clay Shorkey, Brad Smyth, Emily This program is produced in National Air and Space Museum Todd, Lance Webb, John Wheat, partnership with the National National Museum of Scott White, Laura Wiegand, Jo Aeronautics and Space Natural History Ann Williams, and Roger Wood Administration (NASA). Jacobs Smithsonian Astrophysical Organizations Technology Inc. is a Donor Observatory to the program. Contributors Automobile License Plate TEXAS: A CELEBRATION OF are Lockheed Martin, Boeing, Collector's Association, Sharp's at MUSIC, FOOD, AND WINE Northrop Grumman, and Waterford Farm, Tarara Winery, This program is United Space AlHance. produced in Trilogy Glass & Packaging partnership with the Texas Office Special Thanks of the Governor, Economic GENERAL FESTIVAL IN-KIND CONTRIBUTIONS Ames Research Center, Dryden Development and Tourism. The

Flight Research Center, Goddard Major Donor to the program is AAA Tree Service, Arlington Space Flight Center, Glenn the Texas Commission on the Costco. Austin Grill, Bob Baer, Research Center, Jet Propulsion Arts. Contributors to the program The Bagelry, Bob's Red Mill Laboratory, Johnson Space Center, include the Texas Department of Natural Foods, The Behnke Kennedy Space Center, Langley Agriculture, the City of El Paso, Nurseries Company, Counter Research Center, Marshall Space Houston Endowment Inc., the Culture Coffee, Donald B. Rice Flight Center, Stennis Space San Antonio Convention & Tire Company, Dunkin' Donuts, Center; Aeronautics Research Visitors Bureau, and the City of Einstein Bros. Bagels, First Shot Mission Directorate, Exploration San Antonio Office of Cultural Photo &• Carriage and Horse Systems Mission Directorate, Affairs. Additional support for &: Buggy Days of Texas, Carol

Science Mission Directorate, this program is provided by the Hatcher, The Jel Sert Company, Space Operations Mission Music Performance Fund, with Jernigan's Taxidermy, Johnson's Directorate; NASA Office major in-kmd support provided Florist & Garden Centers, G.I. of the Administrator, Office by Southwest Airlines. Milligan and Ike's Accordions. of Education, Office Knspy Kreme Doughnuts. Special Thanks of Communications Planning, Nellie's Sports Bar, Newington- Office of Legislative Springfield Costco, Subway, and Illdii'idiiiils Intergovernmental Affairs, Target of Bowie. Target of Special thanks to Yolanda Office of Public Affairs, Office Silver Spring, Tim's Plate Store, Alameda, Ray Benson, Andy of the General Counsel; Coalition Vintage Nurseries, and Weed Bradley, Julie Chase, Areon S. for Space Exploration, Delaware Badger Division Demerson, Harold Dodd, Alfonse North Companies Parks &: Dotson, Farhat Elmohtaseb, Resorts, Harvard-Smithsonian Deb Fleming, Dick and Marilyn Center for Astrophysics, Gimble, Alan Govenar, Rayna Innovative Partnership Program, Green, Ann Hamilton. Rick Kansas Cosmosphere and Space Hernandez, Matt Hubbard, Nancy Center, NASA Edge, NASA Fly, Jim and Karen Johnson, TV, National Federation of the Carl Lindahl, Yolanda Lopez. Blind, U.S. Astronaut Hall of Adair Margo, Bill Martin, Kent Fame, U.S. Space & Rocket Martin. Davis McLarty,Jim Bob Center; Kira Blackwell, Jacobs McMillan. Rick Mitchell, Casey Technology; Kate Kronmiller, Monahan, Steve Orsak, Felix United Space Alliance; Padron, Lisa Pollard. Manuel Pena. Jacqueline Leggett, Strategy Betsy Peterson, Rose Reyes, Peter Bridge International; Tim Schwarz, Billy Proctor Shaw, McElyea, Media Fusion; Carmina Mortillaro, and Space Center Houston

Sponsors and Special Thanks 79 Festival Participants

Bhutan: Land of the Thunder Dragon

RELIGIOUS TRADITIONS Shckcy, Punakha District, Pema Waiigdi, Dagana District, masked dancer musician Zhung Dratsang (Monastic Body)

Taiidiii Pcnpa. Paro District, Penjor, Paro District, masked dancer I cnerahk Tshericy Lopen Tihcwang, Tliimphu District, dhung (long horn) player Liiam. Punakha District. ritual chief Phuh Tashi Wangchuk, Thimphu District, dancer

Riiiziii, IVan^dnc Pliodmtig District, jahng (wind instrument) player W'augdi, Mongar District, chant master Riinhen Tshering Dorji, Tliimphu District, dancer

Gyeltshen, chief leader Sangay Wangmo. Trashi Yangtsc Waiigdne Pliotlrciiif; District, choepen (shnne person) Tshcwang Rigzin. Haa District. District, dancer masked dancer Dorji. Trashi Yangtse District, Kinzaiig Tshcring, Chukha District, Siuiah dhiwg (long horn) player masked dancer MUSIC AND DANCE TRADITIONS

Namgay Wangchuk. Punakha Sonain Chogyel, Zhemgang District, Royal Academy of masked dancer District, mandala maker Performing Arts (RAPA)

Apa Dodo, IVangduc Pliodrang Tashi Liuwio, Paro District, dancer Tazi. Chukha District, District, masked dancer torina (ritual cake) maker Tashi PInintslio. Pema Gatshel Dcngo, Trongsa District, dancer musician Yangka, Paro District, astrologer District,

Dorji Dakpa, Samdrupjongkhar Thinley Pemo, Trashigang District, Chiitii, Wangdtie Phodrang District, District, dancer masked dancer dancer

Dorji Norbu, Sanidrup Jongkhar Tshering Dorjee, Haa District, Kado, Punakha District, District, masked dancer dancer jaUtig (wind instrument) player masked

Kcnciio ll'angdi, Paro District, Tshering W'atigdi, Trashigang District, Keiuho, Thimphu District, dancer nga {drum)/kaiigdung (horn)/ masked dancer dhungka (conch) player Khandu. Paro District, masked Vgyen Tshewaug, Pema Gatshel dancer masked dancer Kinky Pcnjor, District, Wangdue Phodrang District, Trongsa District, KiiiU-y Pcnjor, Wangdue Phodrang nga {druim) /kangdung (horn)/ Wangchuk, dancer dhungka (conch) player District, dancer

Lhadcu. Bumthaug District, dancer Wangchuk, Irasliigang District, Kinky Penjor, Punakha District. masked dancer masked dancer Nun Dcm, Paro District, dancer

Zhemgang District, Pema Dorji, Thimphu District. Waiigcliukia, Pema Lhamo. Bumthang District. dancer musician dancer

Yeshi Wangchuk, Paro District, Pema Tenzin, Mongar District, masked dancer dancer

Bhutan Participants ZORIG CHUSUM Riiiziii Waiignio, BuDithaiig District, FOODWAYS (THIRTEEN TRADITIONAL ARTS) weaver Phiirpa Lhatno, Trashigang District Chiini Pelino. Ihiiiiphu Disnict. incense maker Saiigay Tenzin, W'angditc Phodrang Tashi Dorji, Mongar District District, painter

Gyeltsheii. Moii'^cir District, Dawa Tandin, Mongar District wood carver Scldoii, Lhniitse District, weaver

PEOPLE AND ENVIRONMENT Dawa Penjor, Wangdue Phodran^ Sitigay Karmo, Punakha District,

District, incense maker embroiderer Kaiiiia U'angdi. Punaklia District

Debii Zangmo, Mongar District, Taslii, Tliiuiplnt District, silversmith Kcncho Zam, I'himphn District, bamboo weaver Layap farmer

Tenzin Tliinley, Trashi Mingtse

Deki, Trashi Yaiigtsc District, weaver District, wood carver Singyc Wangmo, Punakha District

Duiiii Dorji, Biiintlidiig District, Thinlcy, Paro District, pamter Soiu^in Chodcn, Tluniphu District calligrapher

Thinley Dorji. Haa District, Tshering, Gasa District, Lavap Kiiniui Soiiaiii Midcii, Moiigar slate carver farmer District, wood carver

Tslicring Dorji, Trashi Yangtsc TRADITIONAL MEDICINE Kiiizatig IVaitgdi, Trasliigaiig District, District, wood turner painter Dorji Udell, Buiiithang District, doctor ARCHITECTURE Kinzaiig llaiigitto, Buinthaiig

District, potter Karma IVaiigchnk, Troiigsa District, Sonam Dorjee. Troiigsa District building engineer

Kwnbii. Waiigduc Phodrang District, Sonam Tohgay, Mongar District, painter Karma. Pu}htklia District doctor

Namgyel Dona, Trashigaiig District, Khandn. I'linakha District weaver Lhcndup, Punakha District

Nim Dorji, Paro District, clay sculptor Namgay Tsliering, Punakha District

Peldeii Dorji, Trashi Yangtsc District, \'im Dorji, Waiigdiie Phodrang wood turner District

Pliajo, Paro District, blacksmith Pan 'I'shcring. LIuintsc District

Ponyahi, Mongar District, bamboo Phiirpa Tshering, Punakha District weaver Tshcirang Dorji,

Rada, ll'angduc Phodrang District. H'aiigduc Pliodiaiig District embroiderer Zeko, Punakha District

Riiichen, Punakha District, gold- and silversmith

Participants Bhutan 81 Festival Participants

NASA: Fifty Years and Beyond

AERONAUTICS Thomas Burns, Langk)' Research Luci Crittenden, Langley Research

Tom Benson, Cilciiii liaciinli Center, Hampton, Virginia Center, Hampton, I 'irginia Center, Cleveland, Ohio Thomas works as the section head Luci, a senior flight operations

Tom is a senior research engineer, in the Fabrication Technology engineer, knew from childhood who for thirty-five years has built, Development Branch where he is that she wanted to be involved tested, verified, and appHed large responsible for the development in aviation. She is an expert on computer programs that model of test-article prototypes using guiding scientists from ideas the How ot gases through high- rapid prototyping, materials to proof of concept in flight speed airplane engine components. casting, composite materials, tests and has conducted flight

He is also the author of The and laser ablation technologies. operations in many states. She Beginner's Guide to Aeronautics, He is a recipient of the NASA also has a background in flight

an educational Web site that Exceptional Service Medal. simulation, aging aircraft, and describes the math and science runway friction studies. associated with airplanes, turbine Lawrence Cooper, Langley Research

engines, model rockets, and kites. Center, Hampton, Virginia Johnny Ellis, Langley Research

Larry is a quality assurance Center. Hampton, Virginia

Glenn Brelun, Lan^ley Research specialist and certified metallurgist Johnny is a technical team Center, Hampton, Virginia who inspects materials for aircraft, lead with more than twenty- Glenn has thirty-four years spacecraft, and wind tunnel five years of experience in

ot experience as an aerospace models. These materials have hypersonic aerothermodynamics, technician operating and been used on Earth- and Mars- wind tunnel operations, data maintaining subsonic, transonic, observing satellites, a rocket- acquisition, and model setup. and hypersonic wind tunnels and powered aircraft designed to fly He is a recipient of the NASA a cryogenic tunnel, Exceptional Service aero-acoustic facilities. He has on Mars, wind Medal. will tested models ot aircratt. Space and models of Orion, which Shuttles, hypersonic propulsion return humans to the moon. Robert Everett, Glenn Research engines, reentry vehicles, and Center, Cleveland, Ohio aircraft noise—reduction concepts. Rich Coppenbarger, Ames Research Bob, a senior mechanical Center, Moffett Field, California engineering technician, has He supported tests of a hypersonic

scramjet engine that flew at Rich has been with NASA twenty-eight years of extensive since variety Mach ID and set a Guinness 19S8 and has undertaken experience using a of World Record. a pivotal role in transt'erring aerospace materials to help design critical technologies—developed and manutacture prototype under NASA's Airspace Systems and spaceflight hardware. He Program—to the Federal has a broad background Aviation Administration for working with industry, near-term deployment. Rich has aerospace manutacturers, and

a BS in aerospace engineering academia. Bob is otten consulted from the University ot Arizona tor his expertise in electro- and an MS in aeronautical discharge machining processes. and astronautical engineering from Stanford University.

82 NASA Participants Greg Giitlin, Lciii'^lcY Research Herbert Lawrence, Glenn Research Ron Reisman, Ames Research

Center, Hampton, Virginia Center, Cleveland, Ohio Center, Mojfett Field, California As an aerospace engineer at Herb began his NASA career in Ron joined NASA in 1988 as Langley, Greg has conducted 1979 in the Wood Model Shop, one of the original members of wind-tunnel investigations on designing and building research the Center Tracon Automation various aircraft for twenty-five hardware for aeronautics and System development team. Since years. These investigations have space research projects. Since the late 1990s, he has worked included advanced fighters, the then. Herb has used carbon- on traffic flow management National Aero-Space Plane, fiber materials to support jet- and the Next Generation Air and subsonic transports. He engine development projects Traffic System research and has examined the effects of and various new technologies development. He has a BA in engine power, high-lift systems, for aeronautics research projects. philosophy and classical Greek

control surface deflections, and He is a three-time recipient and an MS in computer science. variations in configurations, of the NASA Glenn Research with results often leading to Center Craftsmanship Award. Jim Sokolik, Dryden Flight improvements in vehicle designs. Research Center, Edwards, California Greg Poteat, Drydcn Fhgiit Research Jim has worked with high-altitude

Frank Jones, Langley Research Center, Edwards, California life-support equipment for the last

Colter. Hampton, I'irgiiiia Greg works in the Strategic twenty-five years and is considered

Frank is an aerospace engineer Communications Office, where he one of the top people in his field. who manages flight and simulator serves as the lead in the Innovative Born and raised on a dairy farm in services, which support lunar Partnerships Office. In this role, Wisconsin, Jim spent eight years in flight and science missions to he is responsible for coordinating the U.S. Air Force before joining study how atmospheric pollution the efforts of Dryden's technology the NASA ER-2 program in 1987. contributes to climate change. transfer program, which includes

Frank has helped develop identifying emerging new NASA Robert D. i\'i}idhorst. Allies Research technologies that reduce aviation technologies and submitting Center, Mojjelt Field, California accidents and protect today's air them for patent protection. Robert serves as chief of the travelers. He also worked on Aerospace Operations Modeling an early configuration of the Thomas Prevot, Ames Research Branch, a position he has held for International Space Station. Center, Mojfett Field, California two years. He directs research on

For the past fifteen years, Tom concepts for managing air traffic. Parimal Kopardekar. Ames Researcli has been engaged in research on He received his BS in mechanical Center, Mojfett Field, CaUjornia future air transportation concepts, engineering trom the University Parimal works as a principal especially on air traffic controller of California-Davis and his PhD investigator for the Ne.xtGen and flight-crew interaction from Santa Clara University. Airspace Systems Project. He with advanced air and ground previously conducted research and automation. He received his development activities in the area doctorate in aerospace engineering ot air traffic management for the from the Munich University of Federal Aviation Administration. the German Armed Forces. He holds MS and Phi) degrees in industrial engineering and a Bachelor ot Engineering in production engineering.

Participants NASA 83 EARTH SCIENCE Education as a public outreach Katherine Lorentz, Langley

Bwckc Center, Gcddard Space specialist. She has a BA in Research Center, Hampton, I 'irginia

Flight Center, Greeiibelt, Maryland political science and will finish Katherine is the lead science

Brooke is a science education her MA in international studies writer for the Science Directorate

specialist with a background ui and professional communications at Langley. She coordinates structural geology and science in December 2008. coverage of the directorate's education. She currently works research activities and field on the education and public Roberta DiPasqnatc, Langley campaigns for internal NASA outreach teams of several NASA Research Center, Hampton, Virginia media and the public. missions, including the Lunar Roberta works as a scientist to Reconnaissance Orbiter and create practical applications of Louis Nguyen, Langley Research Aura. In her spare time, atmospheric science research Center, Hampton, Virginia Brooke likes to hike, bicycle, and data products. She has spent As a satellite expert and research rock climb, and camp. six years crossing the "Valley computer engineer, Louis is of Death" (the time between considered a pioneer in satellite

Lin Chambers, Langley Research research and commercial calibration. He works with Center, Hampton, Virginia application) and is currently operational weather and research

As a physical scientist in the focused on climate change satellites to derive real-time Climate Science Branch. issues, urban communities, and cloud properties for weather Lin works on understanding sustainable architectural design. applications and climate studies. clouds and climate, practical He also develops interactive, applications of NASA scientific Sleuen Graham, Goddard Space scientific. Web-based applications research, and ways to involve Flight Center, Greenbclt, Maryland and conducts research on

K-I2 students in what NASA is Steve is a senior outreach aircraft icing and contrails. doing in Earth system science. coordinator in the Earth Observing System Project Science Claire Parkinson, Goddard Space

Jennifer Callings, Langley Research Office. He previously served as Flight Center, Greenbclt, Maryland Center, Hampton, Virginia the outreach coordinator and Claire, a scientist who has traveled

As a science writer at Langley, webcast moderator for a historic to Antarctica and the North Pole, Jennifer specializes in expedition to the North Pole uses satellite data to determine communicating the research and the Aqua mission. He has changes in the Arctic and

of atmospheric scientists presented at numerous Earth Antarctic sea ice covers and relates to the public. She writes science education workshops and them to climate change. She is feature stories highlighting meetings around the country. the project scientist for the Earth- recent accomplishments and observing Aqua satellite and has

discoveries and assists in Irene Ladd, Langley Research written several books, including organizing community events Center, Hampton, Virginia one on the history of science. and outreach activities. Irene is a retired teacher who joined the Surface Ozone Margaret Pippin, Langley Research

Rory Collins, Langley Research Measurements for GLOBE (Global Center, Hampton, Virginia Center, Hampton, Virginia Learning and Observations to Margaret is an atmospheric

Currently a science writer for Benefit the Environment) team scientist interested in the analysis the Science Directorate, Rory to develop the GLOBE protocol of observational data sets to previously worked for the Office and field-test instruments used for better understand the chemistry of Strategic Communications and measuring surface ozone. She has of the atmosphere, particularly developed educational materials the biogenic hydrocarbons and training for the program. and their ozone-production potential. She has been active in science education tor over twenty years and enjoys working

with students of all ages.

84 NASA Participants Steve Phuiiick, Goddard Space who make important decisions Hashinia Hasan, NASA Flight Center, Greenbelt, Maryland about building design, renewable Headquarters, Washington, D.C.

Steve's current scientific energy, and agro-climatology. He Hashima is currently the lead research inclucies theoretical and analyzes, validates, and develops for the Explorer Program and experimental studies ot satellite, ways to improve the accuracy astrophysics education and public aircraft, and ground-based cloud of the meteorological dataset. outreach. She has worked in

remote sensing. His previous the fields ot nuclear physics,

experience has included work Darrel l\'illi

Branch in the Laboratory for Darrel serves as project scientist for telescope scientist responsible Atmospheres, the Joint Center tor the Landsat missions currently in tor keeping the Hubble Space

Earth Systems Technology, the orbit. He has researched enhanced Telescope in tbcus during its

Ames Research Center, Hewlett- remote-sensing techniques first year ot operation. Hashima

Packard Company, and North tor assessing forest ecosystems holds a doctorate in theoretical Carolina A&T State University. worldwide. He has received NASA physics trom Oxford University. medals for Outstanding Leadership John Skelly, I'einnyh'aiiia (1997) and Exceptional Service Maurice Henderson, Goddard Space State University, University (2000), as well as an Outstanding Flight Center, Greenbelt, Maryland Park, Pennsylvania Alumni Award (2006) from the Since he retired from the

John IS professor emeritus of plant School of Forest Resources at telecommunications industry five pathology at Penn State. His Pennsylvania State University. years ago, Maurice has worked expertise is in forest pathology in a variety of education and GREAT OBSERVATORIES and air pollution's effects on public outreach capacities. He was torest trees and native plants in Mindy Deyarmin, Goddard Space instrumental in getting the i\'eu' Flight Center, Greenbelt, northern temperate regions. He is Maryland Views of the Universe: Hubble Space a consultant on the use of ozone- In seventeen years with the Hubble Telescope exhibition added to the sensitive plants as bioindicators. Space Telescope Program, Mindy Goddard Visitor Center and into has supported all four servicing the traveling exhibit program. Stephanie Stockman, Goddard Space missions and now provides He also introduced the Science

Flig}tt Center, Greenbelt, Maryland employees and the public with up- on a Sphere system at Goddard.

Stephanie is a senior education to-date information on the Hubble and outreach specialist, who mission. She has received the Mark Hubbard, Goddard Space serves as the lead for the Lunar Customer Service Excellence Flight Center, Greenbelt, Maryland Reconnaissance Orbiter, Goddard Award and the coveted After ten years with Westinghouse, Center tor Astrobiology. and Silver Snoopy Award. Mark joined NASA's Hubble the MESSENGER mission to team as an aerospace engineer in

Mercury. She has more than Charles Diaz, Goddard Space Flight 1991. The son of a career Navy fifteen years of experience Center, Greenbelt, Maryland urologist, Mark graduated from in geoscience education As the James Webb Space the U.S. Naval Academy in and research—developing Telescope integration and test 1976 and served five years as a curriculum materials, designing manager, Charles is responsible for surface warfare officer. He enjoys and conducting teacher the integration of the telescope's playing the guitar and singing. workshops, and teaching three primary elements—the geology and chemistry at the optical telescope, the integrated community college level. science instrument module, and the spacecraft element. Charles

David W'estherg, Langley Research formerly worked on the Hubble Center, Hampton, Virginia Space Telescope and has been

David is part of a team of scientists at NASA for sixteen years. who maintain a twenty-three- year solar and meteorological dataset, which is accessible to those

Participants NASA 85 —

expert on the FOOD LAB Anita Krislitiamurtbi. Goddard Space ten years, a leading effects on materials Brogan, Johnson Flight Center, Greenbelt, Maryland environmental JenniferJ. in space. has also supported Space Center, Houston. Texas Anita is the lead for education He satellites and as a food scientist and public outreach in the numerous other Jennifer works providing food Astrophysics Division. An International Space Station charged with recipient onboard the astrophysicist by training, she missions. He is the for the astronauts several NASA awards. International Space Station. She is deeply interested in public of University understanding of science. For the has a degree from the Goddard Space Illinois in food science and past ten years, she has worked Marion Riley. of Maryland her spare on designing and implementing Flight Center, Greenbelt, human nutrition. In Marion running and education and outreach programs As a young Star Trek fan, time, Jennifer enjoys diversity ot the charitable organizations, for diverse audiences. was inspired by the helping crew and knew that one day she such as the End Hunger Network. same type Renee Leek, NASA wanted to work in the Today- Klocris, Johnson Space Headquarters, Washington, D.C. of inclusive environment. I 'iikie manages engineers who build Center, Houston, Texas Renee is a program analyst who she equipment manager tor the has spent most of the past seven and test much of the As subsystem Space Space Station and years supporting the Astrophysics installed during a Hubble International She systems, Vickie's Division, including the Hubble Telescope servicing mission. Shuttle food perform include menu Space Telescope, James Webb also trains astronauts to responsibilities crewmembers, Space Telescope, and Astrophysics on-orbit equipment replacement. planning for of flight-tood ship- Navigator Program. She is lead provision development ot program analyst for the team that Nzinga Tull, Goddard Space ments, and the Maryland for the Space Station. integrates budgets for the entire Flight Center, Greenbeh, new foods the Hubble suite of astrophysics missions. Nzinga joined mission operations team in Kinibcrly Glaus Ldlc. Johnson electrical power Space Center. Houston, Texas Jim Perry, Goddard Spaa- Flight 1998 as an and served leads the team in the Center, Greenbeh, Maryland subsystem engineer Kimberly as planning-shift lead during Space Food Systems Laboratory Jim is a professional planner/ mission, which producing the scheduler for the design and the last servicing at lohnson by production of spacecraft and was critical for power systems American portion ot the flight power International currently serves as manager ot because the solar arrays and food for the planning and scheduling for the control unit were replaced. She Space Station. She has several tood James Webb Space Telescope. currently supports Hubble systems years of experience in the and including product He has lived around the world, management for operations industry, response manager development and production twice in Antarctica—the first as is an anomaly Mission 4. wine; rice side dishes; and a "winter-over" and the second for Servicing of dehydrated, treeze-dned, and to provide camp support for the Space food products. successful recovery of a C-130 Russell U'crneth, Goddard thermostabilized Grcenhelt. Maryland aircraft from an Antarctic plateau. Flight Center. Russ has worked on all tour Benjamin Reed, Goddard Space of NASA's Hubble Space missions. Flight Center, Greenbeh, Maryland Telescope servicing include As lead materials engineer for His areas of expertise the Hubble Space Telescope, the development of unique of Den has become, over the last astronaut tools and training astronauts—including underwater neutral buoyancy training for successful Hubble Space Telescope space-walk missions.

86 NASA Participants Sylt'iii Lai, Jolnison Space FUTURE MISSIONS Brian Day, Ames Research Center, Houston, Texas Mitzl Adams, Marshall Space Flight Center, MoJJett Field, California Sylvia is employed by Lockheed Center, Huntsville, Alabama Brian is the education and public Martin as senior research scientist A solar scientist. Mitzi researches outreach lead for the Lunar supporting NASA's Advanced the magnetic fields associated Crater Observation and Sensing

Food Technology group. She with sunspots resulting in Satellite, NASA's next mission to is an innovative research and coronal mass ejections—gigantic the surface of the moon. As the development professional and explosions of material that can lead for the Education Technology has assisted in the creation of travel through interplanetary Team, Brian's projects combine numerous new food products. Her space and affect the Earth through his experience as an astronomer, research investigates the effect of aurorae, loss of communication educator, and software developer. nutrients in mitigating bone loss. with satellites, and power-grid disruptions. Her earliest memories Rajiv Doreswamy, Marshall Space Thomas Oziomek, Johnson of astronomy are marveling at Flight Center, Huntsville, Alabama Space Center, Houston, Texas the night sky while in the back As deputy manager for program works as a packaging Tom of the family's 1955 Chevrolet. planning and control for the Ares engineer in the Space Food Launch Vehicle Project. Rajiv Systems Laboratory, where he Bob Armstrong, Marshall Space is responsible for its budgeting, manages the packaging materials Flight Center, Huntsville. Alabama planning, and scheduling. He used onboard the Shuttle and Bob is an aerospace engineer also serves as the project's chief International Space Station. He who works as the education and operating officer, handling is also researching which new outreach lead in the Ares Projects communications, outreach, packaging structures can be used Office. In an aerospace career project integration, and project future on long-duration lunar and spanning more than thirty years, reporting. Rajiv has twenty Mars missions. In his spare time, Bob has worked on numerous years of experience on many Tom enjoys riding his motorcycle projects, including the Space NASA programs, including and working with computers. Shuttle, Space Station, X-34, the Hubble Space Telescope, X-37, and Orbital Space Plane. International Space Station, Michele Perchonok, Johnson The son of a Navy pilot. Bob and Constellation Program. Space Center, Houston, Texas became interested as a child As manager of the Advanced Food in aeronautics and space. Jennifer Heldmann, Ames Research Technology Project, Michele Center, Mofjett Field, California works with food scientists and Stephan Davis, Marshall Space Jennifer is a planetary scientist officials in academia, industry, Flight Center, Huntsville, Alabama in the Space Sciences and and government to coordinate Steve IS currently deputy manager Astrobiology Division. Her projects that will contribute to tor the Flight Test Vehicle in the research focuses on studies of the manned missions to the moon and Ares I-X Mission Management moon. Mars, and Earth through Mars. She also manages the Shuttle Office. He has worked on and tieldwork, spacecraft data, and Food System and is an Institute led many aerospace projects, numerical modeling. She earned ot Food Technologists Fellow. including the Strategic Defense a BA from Colgate University Initiative, Gravity Probe B, in astrogeophysics, an MS in scientific instruments for the Mir space studies from the University space station, the International of North Dakota, and a PhD Space Station propulsion module, in planetary science from the the Space Launch Initiative, Universitv of Colorado at Boulder. and the Orbital Space Plane.

Participants NASA 87 Space HUMAN SPACEFLIGHT Robert Howard, Johnson Space Danielle Moran, Marshall Huntsville, Alabama Center, Houston, Texas Tl{^hl Center, John Allen, NASA A former co-op and NASA Danielle works in communica- Headquarters, VVashini^ton, D.C. public out- program executive scholar, Robert was hired in tions, education, and John serves as Lunar Precursor and safety and 2002 to work in Mission Control reach for NASA's for crew health In this capacity, to the chief medical for the International Space Robotic Program. as a liaison the public for twenty- Station's Motion Control Systems she informs and engages officer. He served Force Group before transferring to in the robotic missions that will six years in the U.S. Air moon. audiologist, research the Habitability and Human lead the way back to the as a clinical biomedical specialist, Factors Branch. There, he scientist, and Marshall Space on hearing and has led habitability studies Keith Robinson. with an emphasis Hnntsville. Alabama disorders, before retiring for NASA's lunar spacecraft, Flight Center, balance 2006. including the Orion Crew Keith has worked with NASA at the rank of colonel in Exploration Vehicle, Altair for twenty-one years and is Lunar Lander, Small Pressurized currently working on projects Lynn Cline, NASA Rover, and Lunar Outpost. that will prepare facilities for Headquarters, Washington. D.C. developing, testing, and As deputy associate administrator Lynn Aiiihoiiy Lavoic, Marsliall Space integrating components of for Space Operations, variety of F%/if Center, Hnntsville, Alabama the Ares launch vehicles. A oversees a broad engineering space Tony has held significant graduate m industrial capabilities across the NASA including the leadership positions in science and from Auburn University, Keith operations programs, Space human-related flight programs has been involved with a variety Space Shuttle, International conducted communications during his twenty-five years at of research programs Station, space NASA. He currently manages on Space Lab and the and navigation, launch services missions, and crew the Lunar Precursor Robotic International Space Station. for NASA safety. She works Program, which is responsible health and Marshall Space the Executive for the sophisticated robotic Kimberly Robinson. closely with NASA's spacecraft that will pave the Flight Center, Hnntsville. Alabama Branch and with integration partner agencies. way for humankind's return Kimberly is project international where to the moon. As a high school manager for Ares I-X, freshman, Tony decided to pursue she assists with the mission's Pamela Covinf;ton, NASA management and Headquarters. iVashington, D.C. a NASA career; he has been an overall includes External avid space advocate ever since. development. Her work As manager of the developing and maintaining Affairs and Education Office, the overall mission schedule, Pam supervises and manages risk assessment and mitigation programs, processes, policies, plans, and configuration and data and issues that affect education management. Previously, she and public affairs. She previously had management and systems directed the Equal Opportunity engineering roles supporting the and Diversity Management Office

Space Transportation Programs/ at NASA Headquarters, where Projects Office, the Marshall she advised management on all Space Flight Center director, equal opportunity matters. and Science Directorate.

NASA Participants Richard DeLomhard, Glenn David Haakenson, Langley William Hill. NASA Research Center, Cleveland, Ohio Research Center, Hampton, I'irginia Headquarters, Washington, D.C.

Richard is an internationally As a senior software engineer, Bill is assistant associate recognized expert in David is currently managing the administrator for the Space Shuttle microgravity measurement environmental control and life Program and has led critical and interpretation and has support software development for activities to prepare and deliver demonstrated microgravity and Orion, the nation's next crewed the Space Shuttle to safe flight orbital mechanics to educators spacecraft. He has also worked following the loss of the Columbia and students for over fifteen years. on the extravehicular activity crew and vehicle. He is currently He has measured and analyzed infrared camera that examines focused on how to transition microgravity conditions in support the Space Shuttle after launch. the Shuttle into retirement of science investigations on over and help initiate the effort to twenty Space Shuttle missions, Naticy Rabcl Hall, Glenn return to the moon and Mars. Russia's Mir space station, and Research Center, Cleueland, Ohio the International Space Station. Nancy is a research scientist CarolJacobs, Marshall Space in the Space Processes and Flight Center, Huntsville, Alabama Dai'c Edwards, Marshall Space Experiments Division. Her A mechanical engineer, Carol

Flii^ht Center, Huntsville, Alabama main area of research is fluid serves as the project engineer

Dave is an internationally physics and how fluids behave in for the Space Shuttle Main recognized expert in space reduced-gravity environments. Engine preburners, main environmental effects on She is currently technical lead injector, combustion chamber, materials. He has designed, for several projects to develop and nozzle. Since joining NASA assembled, and operated multipk- environmental control and life- in 1983, Carol has worked on space environment test facilities support system technologies. She the design, development, and and worked with numerous also demonstrates the reduced- testing of liquid rocket-engine NASA spacecraft programs gravity environment to educators, combustion devices hardware. to assess spacecraft materials students, and the public. performance in mission- Thomas Jones, NASA defined space environments. Michael Hauvs. NASA Astronaut, Retired

Presently, he leads the Natural Headquarters, Washington, D.C. Tom is a scientist, author, pilot, Environments Branch at NASA's As deputy associate administrator and former astronaut. He holds

Marshall Space Flight Center. for program integration in Space a doctorate in planetary sciences

Operations, Mike is responsible and flew on four Space Shuttle ll'illiam Gcrsteninaier, NASA for the transition and disposition missions. On his last flight, Tom

Headquarters, Washington , D.C. of Space Shuttle assets in led three spacewalks to install the As the associate administrator preparation for retirement of the American Destiny laboratory on for Space Operations, Bill directs Shuttle in 2010. He previously the International Space Station. NASA's human exploration served as the deputy associate He spent fifty-three days living of space, with programmatic administrator for the International and working in space. His most oversight of the International Space Station, directing the Space recent book is Sky Walking: An Space Station, Space Shuttle, Station budget, establishing and Astronaut's Memoir (2006). space communications, and space implementing Station policy, launch vehicles. He has received and coordinating external numerous awards, including communications and liaison the Presidential Rank Award activities with Congress, for Meritorious Executives. He industry, and the Station's previously worked at the Glenn international partners. Research Center, Johnson Space Center, and Star City in Russia.

Participants NASA 89 INTERNATIONAL SPACE STATION Hwnberto Snnchcz, Johnson Debbie Ramos Trainor, Johnson Texas Bu::drd. Johnson Spiur Center, Houston, Texas Space Center, Houston, I'iilrick at NASA, Texas Humberto currently works in the In her twenty-plus years Space Center, Houston, training working for Mission Operations Directorate Debbie has held various After living and Russia to support and will soon transition to positions in the spaceflight seven years in including International Space the Constellation Program's training program, NASA's Patrick Operations Integration Office. a one-year tour as the NASA Station (ISS) Program, in Russia United States. He has broad experience in Space training coordinator returned to the for strategic outreach Shuttle and International Space and the training manager As the ISS onboard the partnerships specialist, Station (ISS) flight operations the first crew to fly and Space Station. She duties include enhancing integration and is responsible for International his specialist communications within integrating many ot the Space is currently the training internal promoting Shuttle and ISS program elements in the Astronaut Office. the ISS Program, and with mission requirements. and supporting educational Mark Uhran, NASA outreach efforts, and facilitating Washington, D.C. of collaborative Timcth)' R)'

a rich background and a desire to experience new things.

90 NASA Participants KIDS' SPACE Sally Davis, Johnson Space LUNAR OUTPOST Center, Houston, Bill Aiidmoii. NASA Texas Durlean Leslie Bradford, Sally recently Hcaiiqiidrtcrs, l\\isliiin;!oii. D.C. became Marshall Space Flight Center, Bill manages all NASA Shuttle safety manager with Huntsville, Alabama education projects, the Space Shuttle Program including Durlean is an educational specialist Office. Previously, Sally higher education opportunities, worked for WILL Technology Inc. in for elementary and secondary twenty-eight years in Mission the Academic Affairs Office. Operations, school projects, and informal including twelve Since September 2001, she has years as a education experiences. A former NASA flight director been the project manager for the schoolteacher from Memphis, Bill who helped assemble and operate NASA Great Moonbuggy Race the International has thirty-two years of experience Space Station. and coordinator for the Student developing and presenting NASA Volunteer Service Program. She Tnan Manh Doan, Kennedy Space education programs, products, is a retired educator from the and services to educators Center, Brevard County, Florida Huntsville City School system. and students at all levels. Tuan has worked at NASA for

twenty is years and currently with Barbara Cohen, Marshall Space the Launch Services Gregg Buckinglhiiii. Kcinicdy Spmr Program. Flight Center, Huntsville, Alabama Center, He supports communications Brevard County, Florida Barbara is a planetary scientist and Gregg serves as the chief. telemetry for Expendable who studies meteorites from the Launch Vehicles, Education Programs and including moon, Mars, and asteroids and the University Research Division Delta, Atlas, and Pegasus has been to Antarctica twice at Cape Canaveral of External Relations, where Air Force to hunt for them. Barbara also he works to utilize NASA Station, Florida, and Vandenberg works on the Mars Exploration Air Force Base, mission-related content in science, California. Rovers Spirit and Opportunity technology, engineering, and and is working to plan new George mathematics education to attract Haddad, Kennedy Space missions to the moon. She even Center, Brevard and retain more students in these County, Florida has an asteroid named after her. disciplines. He also serves as a As an aerospace engineer, George has supported history point of contact and has the integration Joy Dukcniineer, Marshall Space and launch worked on several history projects of many of NASA's Flight Center, Huntsville, Alabama with space center personnel. scientific and planetary missions, Joy is the counselor at the as the such Solar and Heliospheric Huntsville Center for LAUNCH AND MISSION CONTROL Observatory, the GOES weather Technology, a career technical Christine Cliiodo, Johnson Space satellites, the Cassini mission, the training center for students in Center, Houston, Texas Gravity Probe B mission, and, Huntsville city schools. In her Christine has worked for more recently, the STEREO mission. school career, which spans more than eighteen years as a flight IS principal He investigator for than thirty years, she has worked controller and crew trainer. She several research projects and is as a classroom teacher, middle helped establish NASA at the developing the Constellation school counselor, and in her Russian mission control center Program's ground systems. present position. Joy is a team during Shuttle-Mir and now member in the NASA Great manages the Training Integration Tiffany Nail, Kennedy Space Moonbuggy Race. Branch, which is responsible for Center, Brevard County, Florida

integrating and implementing Tiffany is a specialist for NASA's crew-training plans for NASA Launch Services Program. She and its international partners from IS frequently in front of the Europe, Japan, Russia, and Canada. camera as the host of NASA's webcast ot prelaunch coverage and behind the camera as an award-winning producer of expendable launch vehicle videos.

Participants NASA 91 Sabrina Pearson, A/iiis/ki// Space Karen Whitley, Langley Research Sharon Miller, Glenn Research

Flight Center, Htwtsi'illc, Alabama Center, Hampton, Virginia Center, Cleveland, Ohio

Sabrina is an educational As an aerospace engineer, Karen is As a research engineer for twenty- project coordinator for WILL the lead for Expandable Structures seven years, Sharon has focused on Technology Inc. in the Academic and helps develop technology environmental durability testing Affairs Office, which she to design and build inflatable of power system materials for the joined in September 2003 as structures for the lunar surface. low-Earth orbit environment. an administrative assistant. In Karen researches the durability She has also been involved in December 2006, she became of nonmetallic materials under the development of coatings and technical coordinator of the extreme environments and has surface modification techniques NASA Great Moonbuggy Race. worked on aircraft morphing, to make materials more durable A native of Huntsville, she earned the Space Shuttle external tank, and/or to enhance properties her BS in computer information in-space propulsion, and high- such as heat transfer and optical systems trom Faulkner University. speed civil transport aircraft. performance for Earth- and space-based applications. NASA-DERIVED TECHNOLOGIES Robert Singlcterry, Laiiglcy PROPULSION Bruce Banks, Alp^haport, Research Center, Hampton, I 'iri^inid Inc., Hebert, Stennis Space Center, Robert is a national expert in Cleveland, Ohio Bartt space radiation engineering. He Currently a consultant to Hancock County, Adississippi works to mitigate the great risks Alphaport, Bruce holds more Bartt serves as chief engineer at from radiation faced by astronauts patents than any other researcher Stennis and has more than twenty and sensitive instruments during in Glenn Research Center years of experience in the design, spaceflight. Robert's research helps history. During his forty-one construction, activation, and large-scale rocket- reduce radiation exposure and is years with NASA, he conducted operations of vital for the health of human space research activities in electric engine test facilities, including

explorers, as well as the reliable propulsion technology, thin the Space Shuttle Main Engine. operation of in-space instruments. film coatings, surface texturing He received a BS in mechanical processes, and space environment engineering from the University

'Ilm White, Huntsville CenterJor durability. He has authored of Louisiana at Lafayette. Technology, Hnnlsrille, Alabatna 184 technical publications and For the past several years, Tim has received 147 invention and Casey Kirchner, Stennis Space and his classes have been active meritorious performance awards. Center, Hancock County, Mississippi participants in the NASA Great Casey first joined NASA at the Moonbuggy Race. His teams Peter Homer, Johnson Space Center, where

have won two consecutive first- Southwest Harbor, Maine she discovered that she enjoyed

piace titles, two consecutive Peter is the developer of an work related to rocket propulsion. Engineer Design Awards, and innovative new space suit glove While at the Stennis Space second- and third-place finishes design that is strong, easy on Center, Casey has worked as in the 2008 race. Tim was hired the hands, and gives the operator rocket engine test conductor and by the Huntsville City School a high degree of dexterity. propulsion and piping design System in 1987 as a precision Working alone at his dining engineer. She received a BS machining instructor. room table, Peter designed in aerospace engineering from and then manufactured the Purdue University and an MS in best-performing glove within engineering management from competition parameters to the University of New Orleans. win NASA's 2007 Astronaut Glove Challenge. Bryon Maynard, Stennis Space Center, Hancock County, Mississippi

Bryon is a rocket propulsion test

system engineer and a recognized expert on the thrust measurement

92 NASA Participants of space propulsion systems. Ben Powell, Stennis Space Center, Bill Wivbel, NASA

He is currently working on the Hancock County, Mississippi Headquarters, Washington, D.C. development and construction As operations manager for the As assistant associate administrator of a new facility to test future B-Test Complex, Ben manages a for launch services, Bill oversees space vehicle propulsion systems multi-million-dollar test facility the administration, management, at altitude. Earlier in his career, and support systems in support of and direction of the acquisition he prepared flight hardware for commercial and NASA propulsion and certification of expendable missions on the Space Shuttle. test projects. His engineering launch vehicles within NASA. experience includes working on In addition, he manages the Bradley Alesser, Steiinis Space developmental propulsion test overall policy definition, Center, Hancock County, Mississippi programs, especially Test Facility strategic planning, direction,

Brad is currently chief, Systems Control Systems, Instrumentation, and administration of the Rocket Engineering and Integration and Mechanical Engineering, and Propulsion Test Program. Division, responsible for managing supporting the Rocket Propulsion ROBOTICS systems engineering on a number Test Management Board. of propulsion ground test Ken Fernandez, Marshall Space programs, including the )2-X. He Christine Powell, Stennis Space Flight Center, Huntsville, Alabama served as a senior project engineer Center, Hancock County, Mississippi Since joining NASA in 1968, Ken for the Space Shuttle Program, As branch lead for Systems has worked on many programs,

E.xternal Tank Project Office at Engineering and Test Integration, including the Apollo lunar roving Marshall Space Flight Center's Christine represents the Stennis and robotic systems used in Michoud Assembly Facility during Space Center within NASA's manufacturing the Space Shuttle. its Return to Flight effort. Systems Engineering Working He currently serves as project Group and runs a team of systems manager for the Surface Mobility Elizabeth Mcsscr, Steiinis Space engineers supporting Propulsion Systems project, which, in Center, Hancock Couiiiy, Mississippi Test Facility and Infrastructure collaboration with the U.S. Army,

Elizabeth is currently a process efforts to test theJ-2X Engine. is examining the technology integration engineer, responsible For many years, she has worked needed to integrate and for designing and managing on developmental propulsion coordinate humans and robots. the Center's Design and Data test programs as an engineer.

Management System. She leads a ]]'cndy Holforty, Ames Research team in developing and improving Steve Taylor, Stennis Space Center, Center, Mo(fett Field, California test and test support processes. Hancock County, Mississippi Wendy is an aerospace engineer Previously, Ms. Messer served as As deputy chief. Systems who develops procedures to test conductor for the E-1 Test Engineering and Integration facilitate air traffic control.

Stand and as facility lead/test Division, Steve is responsible She also serves as team project engineer at the B-2 Test Stand. for systems engineering on a manager for an all-girls robotics number ot propulsion ground test team, the Space Cookies, Rosa Obreeion, Stennis Space Center, programs, including the J-2X. He and offers technical advice Hancock County, Mississippi previously served as test director on building robots for the

Rosa is the lead mechanical in the E-Complex on a number FIRST Robotics Competition. engineer for the E-1 Test Stand of propulsion test development She became interested in and has been a test conductor for programs. He received a BS in aircraft and spaceflight while a hybrid rocket test prograin and mechanical engineering from working as a police officer. the Return-to-Flight E.xternal Mississippi State University and Tank Ice Frost Formation an MS in industrial and systems test program, which resulted engineering from the University in her recognition by Latina of Alabama-Huntsville.

Magazine as one of its "Top lo Women of the Year" in 2005.

Participants NASA 93 University SPACE SCIENCE Hark)' Thronson. Goddard Space degree from Ohio several positions in Arthur Aikin, Coddard Space Flight Flight Cciiicr, Crecnhcli. Maryland and has held industrial design Greenheh, Maryland As associate director for advanced graphics and Center, area. retired from concepts and planning, Harley in the Greater Cleveland A scientist who in 2002, Arthur spent is responsible for identification, NASA York the assessment, and advocacy Nicky Enright, New York, New many years researching artist and solar-terrestrial area, particularly for advanced human/robotic Nicky is a multimedia Murals. ionosphere. has programs in coordination founder of Big Hands the lower He on with other NASA centers, His work has been exhibited been a guest investigator executed mission industry, and the scientific nationally, and he has the Solar Maximum for sounding community. Previously, at NASA numerous commissions and has led many Headquarters, he was responsible clients such as NASA, NBC rocket expeditions, including for Transit, campaigns to launch for selecting and developing News, MTA Arts two National advanced technologies to enhance and the Cooper-Hewitt rockets into solar eclipses. has future science missions. He Design Museum. His work reviewed in Propulsion has published more than one been published and Shadan Ardalan,Jct hundred research papers and several publications, including Laboratory, Pasadena, California Public is senior member of has co-edited twelve books. the New York Times and An Shadan a Review. For more information, the navigation team for the

SPACE ART visit www.Big-Hands.com. Cassini-Huygens mission to Chakaia Booker, Saturn. He began his career as a New York, New York Mary Edna Eraser, co-op student working for the

Chakaia is best known for using Charleston, South Carolina Aerospace Corporation and since recycled rubber tires to create Working in the ancient textile then has worked as an attitude highly expressive sculptures that medium of batik, Mary Edna control engineer and navigator address universal themes and merges modern dye technology on such historic programs as the environmental issues. She has on silk with aerial and satellite Galileo mission orbiting Jupiter, been commissioned by notable photography, maps, and charts. Mars Odyssey (in support of the institutions and organizations, Her pioneering art and large-scale Mars rovers), and Deep Impact. including the NASA Art batiks have been collected and Program, to create such works exhibited worldwide, including Shari Aspluiu1,Jet Propulsion

as Remembering Columbia (2006), at the Duke University Museum Laboratory, Pasadena, California which pays tribute to the lost of Art, National Academy of Shari manages education and Space Shuttle Columbia using Sciences, NASA, National public outreach efforts for NASA's

tire remnants preserved from Geographic Society, Smithsonian Discovery and New Frontiers Columbia's previous missions. National Air and Space Museum, programs of pioneering space and other institutions. science investigations. She shares Les Bossinas, Cleveland, Ohio the excitement and meaning of

Les is an artist and designer who Pal Rowlings, Houston, Texas NASA's discoveries with students, worked with NASA's Glenn Pat creates images with scientihc educators, and the public by Research Center illustrating and technical themes that appeal developing and writing Web

air and spacecraft concepts and to rocket scientists and regular site content, newsletters, and drawing technical illustrations folks. After consulting with engaging educational materials. before retiring in 20GI. He numerous space experts, he uses holds a Bachelor of Fine Arts hand-built and computer models, topographical maps, and space and family vacation photos to mentally create his worlds. His desire to travel in space and time has motivated him to make as accurate scenes as possible.

94 NASA Participants Todd Barber, Jci Propulsicii Max Bernstein, NASA Beth Brown, Goddard Space Flight Laboratory, Pasadena, California Headquarters, Washington, D.C. Center, Greenbelt, Maryland Todd k a senior propulsion After studying chemistry at As a NASA astrophysicist, Beth engmeer, now workmg as lead McGill and Cornell universi- uses physics to study things like propulsion engineer on the Cassini ties, Max entered space science stars, supernovae, galaxies, and mission to Saturn following and never looked back. He has other objects in space. Most part-time work on the Mars been the principal investigator recently, she was engaged in Exploration Rover and Deep on numerous NASA grants and the NASA Administrator's Impact missions. He also worked has published more than twenty- Fellowship Program, where she as the lead mipactor propulsion five first-author peer reviewed was able to teach astronomy engineer on Deep Impact, which research papers on topics rang- to college students, conduct successfully crashed into Comet ing from the chemistry of the research on black holes, and Tempel-1 on Independence Day interstellar medium, star-tbrming become closely involved in 200S at 23.000 miles per hour. regions, and planetary nebulae NASA education projects. to astrobiology, including the

Ron Basticii, Jacobs Eng^ineering origins of and search for life. Ginger Butcher, \ASA and Science Contract Croup/Johnson Headquarters, Washington, D.C.

Space Center, Houston, Texas Jacob Bleacher, Goddard Space Ginger started working at the Ron is a team member of the Flight Center, Greenbelt, Maryland Goddard Space Flight Center in

Stardust, Cosmic Dust, and Jacob is a volcanologist who 1997 by developing Web sites and Space-Exposed Hardware characterizes planetary volcanic other educational products. Her

collections tor the Astiomatenals provinces through a combination Echo the Web site was launched Research and E.xploration of terrestrial field studies and in 1998 and helped students from Science department. He serves spacecraft data analysis. His fifth to eighth grade learn about as a sample extractor and current research combines the electromagnetic spectrum and

documentation specialist for these geomorphology, basaltic false-color satellite imagery. She collections and has more than volcanology, planetary geology, also created an interactive Web twenty-five years of experience fieldwork, remote sensing, and site for younger students based on working with extraterrestrial GIS-based data analysis. a story about Amelia the Pigeon. sample collections at NASA.

Lora Bleacher, Goddard Space Flight .-{Han Chcuvront, Lockheed Dominic Benford, Goddard Space Center, Greenbelt, Maryland Martin, Denver, Colorado Flight Center, Greenbelt, Maryland Lora works as an outreach Allan Cheuvront has worked

Dominic is deputy principal in- specialist on the education and with Lockheed Martin since vestigator ot the Destiny mission public outreach teams for several 1980 and has participated in concept study to measure dark NASA missions, including the three deep-space missions since energy. His astronomical interests Lunar Reconnaissance Orbiter, 1988. He currently works as the focus on the infrared properties the MESSENGER mission flight system program manager of galaxies and their evolution. to Mercury, and the Mars for the Stardust-NExT mission. He has pursued research in Science Laboratory rover. Her continuum detectors tor ground- primary interest is working with based submillimeter observations, informal learning institutions, near-Terahertz heterodyne such as museums and science receiver technology, cryogenic centers, to increase public systems for space observatories, understanding of science. and the development of instru- mentation using ultrasensitive bolometers for tar-infrared and submillimeter astronomy.

Participants NASA 95 Troy Clinc, Goddard Space F/it,'/;/ Tlierese Errigo, Goddard Space Bretida Franklin, Jet Propulsion Center, Greenhch, Maryland Flight Center, Greenhelt, Maryhind Laboratory, Pasadena California

Troy is the educational tech- Therese was the lead contami- As a planetary geologist, nologist for NASA's Sun-Earth nation engineer for the SOHO, Brenda has been mapping Connection Education Forum STEREO, and IMAGE (dedicated Mars from orbital images for team. Before joining NASA, he to imaging the Earth's magneto- more than twenty years. Now

was a high school mathematics sphere) missions and a consul- an invited collaborator with teacher and educational technol- tant and instrument engineer for the Athena Science Team on ogy coordinator at an alterna- Hinode, a project to study the Mars Exploration Rovers, tive high school in Virginia. He sun, led by the Japanese Aerospace she contributes to decisions

previously taught in a Bureau of Exploration Agency. She is cur- about which surface features Indian Affairs boarding school and rently working on the Sample to visit and study, why they in the Peace Corps in Chad as an Analysis on Mars. are important, and how this algebra and geometry teacher. information can be used to build

Don Fairfield, Goddard Space the geologic history of Mars.

John Cooper, Goddard Space Flii;lit Flight Center, Greenhelt. Maryland Center, Greenhelt, Maryland While working at NASA Daniel Garrison, Jacobs Engineering

John is an expert on space for the past forty-two years, and Science Contract Group/Johnson radiation environments in the Don has conducted research Space Center, Houston, Texas

Solar System. He has participated on many aspects of the solar Dan is chief scientist for

in the Pioneer 11, Voyager 2, wind interaction with Earth's Astromaterials Research and Galileo, and Cassini missions magnetosphere. His particular Exploration Science under the

to, respectively, Saturn, Uranus, interests are the Earth's magnetic Engineering and Science Contract

Jupiter, and again Saturn. He tail and its relationship to Group for basic and applied

is working with other space aurora and magnetic storms. research in the field of planetary scientists to plan future missions For the past fifteen years, he has science, astromaterials curation, to these planetary systems. been NASA's project scientist and exploration science. Dan for the Geotail spacecraft. spent twenty years conducting Emilie Drohncs, Goddard Space noble gas cosmochemistry

Flight Center, Greenbeh, Maryland Lisa Fletcher, Jacobs Engineering research on meteorites, Martian As the education and public and Science Contract Group/Johnson meteorites, and lunar samples outreach lead tor the Solar Space Center, Houston, Texas to determine chronology,

Dynamics Observatory, Emilie Lisa is the facility engineer cosmic-ray exposure history,

is responsible for the development within the Astromaterials and planetary atmospheres. and unplementation of the Research and Exploration

NASA Family Science Night, Science Directorate, where she is Kci'in Grazier. Jet Propulsion the Sunday E.xperiment, and responsible for the facility projects Laboratory, Pasadena, California

other programs. Her main goal associated with the various Kevin holds dual titles ot

is to excite students, teachers, and astromaterials sample collections investigation scientist and science families about science —ultimately and research facilities. She grew planning engineer for the Cassini/ changing their perceptions ot what up in Richmond, Virginia, and Huvgens mission to Saturn and

science is and who scientists are. received her BS m industrial Titan. He has written mission engineering trom Virginia Tech planning and analysis software and her professional engineering that has won numerous awards license in the state of Texas. and continues research involving computer simulations of solar system dynamics, evolution, and chaos. He teaches classes in stellar astronomy, planetary science, cosmology, and the

search for extraterrestrial lite

at several universities.

96 NASA Participants Roger Harrington, Johnson Steele Hill, Goddard Space Flight Lin dley Johnson , NA SA Space Center, Houston, Texas Center, Greenbelt, Maryland Headquarters, Washington, D.C.

Roger is a sample collections Steele is the media specialist Lindley is program scientist for processor in the Lunar and for the SOHO and STEREO NASA's Planetary Astronomy the Meteorite laboratories. solar study missions. For and Near Earth Object He processes samples in both more than eleven years, he Observation programs. He was laboratories for allocation has produced CDs, posters, also the program executive for to scientists, museums, and illustrations, video clips, litho the Deep Impact mission to

educational institutions around sets, cards, and more to support Comet Tempel 1. Lindley joined the world. Roger has also worked educators and outreach events. NASA shortly after retirement

for a geotechnical engineering He responds to media requests from twenty-three years of Air firm and has taught geology and and consults with museums and Force active duty, during which

oceanography at the college level. media production companies he worked on a variety of to get them the images and national security space systems

Jeffrey Hayes, NASA information resources they need. and obtained the rank ot Headquarters, IVashinglon, D.C. lieutenant colonel.

Jeffrey is a heliophysics discipline Dai'id Hurd, Edinhoro University of scientist, who has also served as Pennsylvania, Edinboro, Pennsylvania Anne Kascak, Johnson Space

program executive for various David is professor of geosciences Center, Houston, Texas astrophysics missions, including and director of the planetarium Anne has worked for eight years

the Hubble Space Telescope, at Edinboro University of for the Astromaterials Curation

Spitzer Space Telescope, GALEX, Pennsylvania. His goat is to make Facility. As a business specialist, and FUSE. Prior to NASA, he the physical sciences visible to she performs property control was team lead on the NPOESS students who are visually impaired administration for Lunar,

satellite software group with or blind. Trained as an astronomer Antarctic Meteorites, Cosmic

Raytheon, faculty member at and atmospheric scientist, David Dust, Stardust, and Genesis

New Mexico State University, has developed techniques for samples. She is also a point of and resident astronomer for the representing the stars and universe contact for researchers and public

Sloan Digital Sky Survey. in a very tactile way. institutions worldwide. She is

a resource on extraterrestrial Paul Hen:, NASA Terry Hurjord, Goddard Space materials and curation for the Headquarters, Washington, D.C. Flight Center, Greenbelt, Maryland data and publications library.

Paul is a senior scientist in the Terry studies geophysics, plan- Science Mission Directorate and etary tectonics, and deformations Michael Kelley, NASA

serves as senior advisor to the and stress. Much of his research Headquarters, Washington, D.C.

associate administrator of science. focuses on Europa, a moon of Mike is the new program scientist He has been program scientist Jupiter. He received a BS in for the Planetary Geology and for several projects, including the astronomy and physics and a Geophysics Program and the Structure and Evolution of the PhD in planetary science, both Planetary Data System. He also Universe Program, the Explorer from the University of Arizona. serves as program scientist for Program, the Chandra X-ray the EPOXI and Stardust-NExT Observatory, and the Discovery Daniel Hurley, Jet Propulsion Discovery Spacecraft missions. He

Program. He has authored or Laboratory, Pasadena, California is a long-time visiting astronomer

co-authored more than one Daniel Hurley is a team chief on at the NASA Infrared Telescope hundred scientihc papers. the Mars Exploration Rover and Facility and served as chair of the has worked for twenty-five years Planetary Geology Division of with missions studying Mars, the Geological Society of America

Venus, Earth, and the infrared sky. and its award committees. His jobs have included mission control, integration and testing, software tool development, and systems engineering.

Participants NASA 97 Terry Kiiccra, Goddard Space Flight Lou Mayo, Goddard Space Flight as a system engineer with the Center, Greeiibelt, Maryland Center, Greenbelt, Maryland Flight Engineering Group. He

As a solar physicist working on Lou is a planetary astronomer and pertbrmed classified work for the the STEREO and SOHO an education outreach specialist. Navy in missile defense while missions, Terry studies different He has cieveloped a network of earning a master's degree from aspects of the sun's atmosphere over one hundred atter-school Old Dominion University. using data from telescopes m space astronomy clubs and has worked and on the ground. Originally extensively with other NASA Atidrca B. Mosie, Johnson from the Chicago area, Terry centers and the Girl Scouts Space Center, Houston, Texas

received a BA from Carleton USA by training scout leaders Andrea is lab manager for the College and a PhD from the on heliophysics materials. Lunar Curation Laboratories,

University ot Colorado at Boulder. which is part ot Astromaterials

Ai)nee Meyer, Jet Propulsion Research and E.xploration Elaine Lewis, Goddard Space Flight Laboratory, Pasadena, Calitornia Science. She began her career in Center, Greenbelt, Maryland Aimee leads the Education 1975 by working in the Lunar

Elaine is a science educator and Public Outreach efforts Sample Laboratory, where the and curriculum developer who of NASA's Genesis and majority of samples returned has coordinated the GLOBE Stardust Sample Return from the moon are stored program, the JASON Project, missions in addition to the and prepared tor allocation and Sun-Earth Day. Together New Exploration ot Tempel-1 to lunar scientists. She enjoys with spacecraft mission personnel, (NExT) mission currently en giving talks and demonstrations she made near real-time NASA route to rendezvous with Comet at schools, educational space weather data accessible Tempel-l in February 2011. conferences, and seminars. for inquiry-based learning. She also coordinates distance- Michael Meyer. NASA Keiko Nakamura-Messenger, learning training opportunities. Headquarters, Washington, D.C. Jacobs Engineering and Science

Michael is the lead scientist for Contract Group /Johnson Space

Colette Lohr, Jet Propulsion the Mars Exploration Program Center, Houston, Texas Laboratory, Pasadena, California and program scientist tor the Mars Keiko specializes in studies

Colette is a senior software Science Laboratory rover mission, of meteorites, comets, and systems engineer who has been to be launched in 2009. He also cosmic dust. Her major working on the Mars E.xploration served as program scientist for the research accomplishments Rover Project since 2001 and in 2001 Mars Odyssey. His interests include discovering interstellar mission systems support tor the are in microorganisms living in organic matter in meteorites

Constellation Program since 2006. extreme environments, and he has and a proposed new mineral She joined the Laboratory in 1999 conducted held research in the in interplanetary dust. She after receiving her BS in computer Gobi and Negev deserts, Siberia, has played a key role in the science from the University Canadian Arctic, and Antarctica. extraction and preparation of

of Colorado at Boulder. cometary dust samples from

David Mohr, Jet Propulsion the NASA Stardust mission. Laboratory, Pasadena, California David has been part ot the Cassini-Huygens mission to Saturn and Titan for the past seven years. He led the integration and set]uencing ot the Cassini mission science operations

plan and is currently working

98 NASA Participants 1

Carolyn Ng, Gcddard Space Fli<^lit Alexei Pei'tsov, NASA Thomas See, Jacobs Engineering Center, Greeiibell, Maryland Headquarters, IVashington, D.C. and Science Contract Group/Johnson Carolyn has a background in Alexei serves as solar physics Space Center, Houstoji, Texas earth science and works with discipline scientist for the Tom specializes in impact the space science education Heliophysics Division and is cratering and related processes communities to distribute also program scientist for several as they apply to planetary and education and outreach heliophysics missions. In addition geologic materials. He has been materials. Her most recent to his NASA responsibilities, he a member of the Astromaterials project (in partnership with the is an associate astronomer at the Research and Exploration Exploratorium in San Francisco) National Solar Observatory, where Sciences group for nearly thirty has taken her to the westernmost he studies topology and evolution years, where he has worked on the part of China to prepare for of solar magnetic fields and their Long Duration Exposure Facility, a live webcast of a total solar role in solar activity. He is the the Orbital Debris Collector, and eclipse on August i, 2008. author and co-author of more the Stardust mission. than ninety scientific papers.

Tarn Nguyen, Jet Propulsion Jim Thieman, Goddard Space Flight Laboratory, Pasadena, California Cecilia Satterwlnte, Johnson Center, Greenbelt, Maryland

Tam is a member of the technical Space Center, Houston, Texas Jim is a planetary radio astronomer staff of the Robotic Software Cecilia is lab manager for the and manager of information Systems Group, Mobility and Antarctic Meteorite Laboratory, systems for the National Space

Robotic Systems Section. where her primary task is to Science Data Center. He also He has worked on various process and curate samples for handles education and outreach spaceflight missions, such as the classification and to supply for NASA, especially in the flight experiments onboard the samples to scientists worldwide area of heliophysics. Jim is Space Shuttle, the 1996 Mars for their research. Cecilia started coleader of the Sun-Earth Pathfinder, and the 2003 Mars her career working in the Lunar Connection Education Forum, Exploration Rover. He has also Sample Laboratory. Her academic an award-winning education participated in numerous robotic background includes geology and group that promotes the use wheeled—vehicle research projects. a Texas Lifetime Certification in ot heliophysics science results elementary education, specializing in education nationwide. Sten Odenwald, Goddard Space in physical and earth sciences.

Flight Center, Greenhelt, Maryland Jack Warren, Jacobs E)igi}icering Sten is an astronomer, writer, and Carol Schwarz, Johnson Space and Science Contract Group/Johnson education and public outreach Center, Houston, Texas Space Center, Houston, Texas member of several heliophysics Carol has worked for more than Jack started working for NASA spacecraft missions. He has spoken thirty years in the Astromaterials in June 1967 and had the honor on a number of radio talk shows, Curation Facility, including the of opening the first "Rock Box" including National Public Radio Pristine and Returned Lunar from the moon and the Apollo 1 programs and Let's Talk Stars, as Sample labs, the Antarctic mission. As part of his work with well as on NASA TV programs, Meteorite Lab, and the Genesis extraterrestrial samples. Jack is an such as CONNECT, Destination: Lab. Currently, she is contractor expert in designing cleanrooms. Tomorrow, and The SciFiles. project manager for Astromaterials He received the NASA Public Curation, which includes the Service Medal at the Johnson Lunar, Meteorite, Cosmic Dust, Space Center in September 2002. Genesis, and Stardust collections. She also works in the various labs processing and curating samples.

Participants NASA 99 Heatlier Weir, Goddard Space Flight SPACE SHUTTLE Dai'id Rainer, Kennedy Space County, Florida Center, Greetibelt, MaryLuid Dennis Chambcrland, Kcnticdy Space Center, Brei'ard director in the A former classroom teacher, Center, Brevard County, Florida As a NASA test Shuttle Processing Directorate, Heacher is a science education As technical representative for the is responsible for overseeing specialist who uses her experience Life Sciences Contract, Dennis David in formal education to help oversees the advanced life-support NASA-managed activities for implement the education and systems under consideration for Space Shuttle launch countdown operations. public outreach programs of moon and Mars bases, as well as and landing He several NASA missions, including medical operations, human subject works in association with Shuttle to improve the New Horizons mission to research, and environmental launch management Pluto, the MESSENGER mission monitoring. Dennis previously prelaunch processes and enhance launch and landing activities. to Mercury, and the Lunar worked as a NASA aquanaut, Reconnaissance Orbiter mission. directing twelve underwater Sovik, Stennis Space Center, missions, including the tirst to Sathan Mississippi Randii R. Wessen.Jet Propulsion plant and harvest an agricultural Hancock County, serves as the university Laboratory, Pasadena, California crop on the ocean floor. Nathan affairs otTicer and has expertise in Randii is a program system environmental policy modeling engineer who has worked on Joseph Lavelle, Ames Research analysis, geographic Voyager, Galileo, Cassini, Center, Moffett Field, California and information systems and remote Mars Global Survey, 2001 Mars As a senior research engineer, software design, and Odyssey, and Mars Exploration Joe manages the 3D vision sensing, current Rovers and has helped look research laboratory, where he systems integration. His research interests include the for Earth-like planets around has worked for the last twenty- of other stars. He has lectured three years. His laboratory has development Web-based internationally, co-authored produced 3D vision systems geospatial applications and information two books, written numerous for critical NASA applications, management space exploration papers, and has including inspection and systems. He has taught and research in Europe, an asteroid named after him. evaluation of Space Shuttle tiles, carried out health monitoring of spacecraft, Africa, and the United States. Michael Zolensky, Johnson Space planetary rover guidance, and Wallace, Stennis Space Center, Houston, Texas terrain mapping. He received Katie Veal Center, Hancock County, Mississippi Mike is an internationally the NASA Exceptional engineer recognized scientist known tor Achievement Medal in 2007. Katie is an electrical his expertise in the mineralogy ot who has worked in propulsion testing and remote sensing at comets and asteroids and is on the Maria Lott, Steniiis Space Center, extensive science teams for NASA's Stardust Hancock County, Mississippi Stennis. She has done instrumentation, control sample return mission to Comet Maria has been director of Astro work in systems, and data collection Wild 2 and the joint Japan-USA- Camp since 1995 and is the lead all Stennis test stands. She Australia Hayabusa mission. teacher for Hancock County tor is currently the elementary Mike is an authority on the Schools in Mississippi. She has education lead, analysis of small extraterrestrial twenty-five years of teaching and secondary excitement samples and has led or participated experience, specializing in math helping to bring the school-age children. in meteorite collection and science. She strives to engage of NASA to expeditions to six continents, students in hands-on learning including Antarctica. activities and inspire the next

generations with a love tor lifelong learning.

100 NASA Participants Festival Participants

Texas: A Celebration of Music, Food, and Wine

MUSIC Guy Clark. Xashville. Tennessee on the squeezebox ranges from Asleep At tlic U'licel, Ausiiii, Tc.wis Guy C^^lark rocked-up and straight-ahead Ray Benson Verlon Thompson conjunto to more nuanced and Jim Finney Though he currently resides in romantic Mexican roots music. Elizabeth McQueen the so-called Music City, Texas

David Miller lays fierce claim to songwriter Fiddlin' Frenchic Burke. Lytle, Texas Jason Roberts Guy Clark, and Clark himself Frenchie Burke Under the able leadership of Ray- never forsakes his roots in the Jeffery Barosh Benson. Asleep at the Wheel has Lone Star State. Part of the Born in Louisiana, Burke received

enjoyed close to forty years of songwriting cabal of the 1960s his first music lessons from his making Western swing music for and lyyos, which included grandfather. After his family audiences ot all ages. Keeping Lyle Lovett, Townes van Zandt, moved to San Antonio, he joined alive the jazzy, up-tempo dance and Billy Joe Shaver, Clark the Air Force. His apprenticeship favorites of the genre has been a continues to tour with many in the Texas honky-tonk scene crusade for this ensemble, which ot his Texas cohorts and play included work with the likes of has met with much success and throughout the state. Ray Price and Johnny Bush. In

many, many GRAMMYs. the early 1970s, he perfected a Conjunto Los Angeles del Sur, blend of the Texas and Louisiana A/iHrw Ball. Austin, Texas La Feria, Texas fiddle repertoires and wrapped

Marcia Ball Joe Cantu it in flamboyant showmanship. Don Bennett Arturo Galvcin

Corey Keller Joe Sanchez The Gillette Brothers, Crockett, Texas Johnny Medina Joe Sanchez Jr. Guy Gillette Andrew Nafziger Lorenzo Sanchez Pip Gillette Thad Scott Joe Sanchez, accordionist, vocalist, In 19S3, the Gillette brothers Pianist and smger/songwriter and founder in 1978 of Los took over their grandfather's Marcia Ball is an East Te.xas Angeles del Sur. traces his musical ranch outside of Crockett,

phenom. Learning from various heritage to the 1930s, when his Texas. It was a fortuitous turn of

family members, she began playint grandfather organized dances in events because, at the same time, piano at age five. Her piano La Feria, a small community in the they found themselves part of style mi.xes equal parts boogie- Rio Grande Valley of Texas. His a growing network of cowboy woogie, zydeco, and swamp father joined the conjunto to play singers and poets who were rock. Most of the songs on her bajo sexto. Joe's son, Joey, plays revitalizing folks" appreciation for

albums are her own creations, drums. They are joined by Arturo Western music and musical lore. so songwriting has always been Galvan on bass and Joe Cantu on a part of her job description. harmony vocals. Mark Halata and Texavia, Houston, Texas CJ Cheiiler, Houston, Texas Joe Ely, Austin, Texas and Mark Halata CJ Chenier Joel Gu;nian, Kyle. Texas Bruce Brosch Timothy Betts Amarillo native Joe Ely got his JeffBrosch Daniel Cllenn Griffin start with the legendary Lubbock Mike Gest

Michael Morris ensemble The Flatlanders. Since Texavia is a Czech polka band Michael Vowell then, his music has sampled led by accordion player Mark CJ Chenier is the son of zydeco everything from Western to Halata, who grew up attending pioneer Clifton Chenier. CJ pays honky-tonk stomps and rockabilly, Czech family and community tribute to his father's musical to Woody Guthrie ballads and events where polka music was prowess but has expanded his Mexican-influenced corridor. a mainstay. Usually singing in legacy with formidable, original This formidable writer and Czech, Texavia plays waltzes and contributions. As a Houston interpreter of classic Texas songs polkas that have been popular in native, he is living proof that is joined by Texas accordion king the Texas Czech community for zydeco music is Texas music. Joel Guzman, whose prowess well over seventy-five years.

Participants Texas 101 James Hand, Tokio, Texas group, which includes five Little Joe y la Familia, James Hand daughters, two sons, a grandson, Temple, Texas Will Indian and a son-in-law. While the Joe Hernandez John McC.lothlin group travels nationwide, they can Gracie Acosta Speedy Sparks usually be found every Sunday Frank Cagigal Born in Waco, Texas, rodeos ministering musically to a small Manuel Castaneda and country music surrounded Pentecostal congregation led Thomas Cruz James from an early age. The by Bishop Jones in their rural Jesus Gaitan classic strains of Lefty Frizzell, home base, Markham, Texas. Sam Jones Hank Williams, and Ernest Tubb Jesse Lopez made their mark on him, but a Tutu Jones and Soul Crew, John Ontiveros more substantial influence on Dallas, Texas In the 1960s, this ensemble, his performing and songwriting Tutu Jones led by Little Joe Hernandez,

was life itself Though largely Tyson Grimes pioneered the Tejano sound. An a hidden treasure, James has Kevin Ross innovative combination ot many

been a true Texas honky- Wayne Ross musical elements, including tonk player for forty years. The son of Dallas-based guitarist inventive approaches to Latino Johnny B.Jones, Tutu Jones music, Tejano gives voice to the

Terri Hcndrix, San Marcos, Texas, is truly a product ot his early Chicano political movement.

and Lloyd Maines, Austin, Texas environment, which included Little Joe y la Familia may be best Drawing on an early affection for regular houseguests like Freddie known tor recording the anthem country, blues, and other roots King, Little Joe Blue, and Ernie ot the Mexican American civil

music, Terri Hendnx falls squarely Johnson. Obviously, his own rights struggle, "Las Nubes." in the long songwriting tradition future as a bluesman was never

of the state. She has joined forces in doubt. You could say he Los Texmaniacs,

with legendary steel player and exemplifies the sound of South San A)itonio, Texas producer Lloyd Maines. Member Dallas, where blues and soul meet Max Baca

of the second-generation of The to create a special Texas mix. David Farias Maines Brothers Band and father Lorenzo Martinez

ot one ot country music's feistiest Les Amis Creole, Beaunioiil. Texas Israel Villanueva female vocalists, his roots in Texas Ed Poullard A contemporary-sounding music are almost unparalleled. James Adams conjunto ensemble, Los Lawrence Ardoin Texmaniacs combine traditional The Jones Family Singers, Led by veteran tiddler and instrumentation and repertoire, Markham, Texas accordionist Ed Poullard, this with blues, rock, R&B, and a

Fred Allen Jones Sr. trio draws its inspiration tVom dash of country. Leader Max

Velma Davis old-style French songs of the Baca is a much-in-demand bajo Ernestine Jones upper Gulf Coast. They expertly sexto player whose music echoes

Fred Allen Jones Jr. play and preserve a traditional that of his many genre-bending Sarah M.Jones repertoire of waltzes, ballads, San Antonio mentors—legendary Theresa Patrelle Jones and two-steps. Featuring the musicians like Doug Sahm, Augie Alexis Jones-Roberts acoustic interplay of diatonic Meyers, and Flaco Jimenez. Ian Wade accordion, fiddle, guitar, and

Sabrina Renee Wade voice, their music is homemade, Mariaclii Los Arrieros, El Paso, Texas The Jones Family Singers with an Afro-French twist. Manny Andrade

is entirely comprised of Joseph Baca

family. Bishop Fred A. Jones Sr. Antonio Luis Bordonada leads this quartet-style gospel Doug Edward Brown Rene Eduardo Castafieda Juan Alberto Contreras Leopoldo Gomez

102 Texas Participants Angel Hernandez the nation, but their special ahead conjunto with country

Eduardo Alfonso Hernandez stomping ground is West and western standards and by- Omar Daniel Lopez Texas, where swing fans translating original English lyrics

Albert Gil Martinez Jr. are avid and demand a into Spanish and the plaintive Jose Montesjr. driving, danceable sound. sound of country into bright Gabriel Prado and danceable conjunto sound.

Manuel Talamantes III Tlir Original Soul Invaders,

Javier Villarreal Jr. Industry, Texas Texas Johnny Brown, Houston, Texas Since 1996, this fit'teen-niember Roy Green Texas Johnny Brown ensemble has pertorined for El Danny Davis Larry Evans

Pasoans. Arrieiv is the Spanish Demontreal Edmond Giovanni Godley word for "drover." the person David Scott William Hollis

who drives livestock to its Chadwick Turner Blues guitarist and session man, destinations. Los Arrieros Chris Washington songwriter and bandleader, Te.xas have lived up to their moniker The Original Soul Invaders Johnny Brown has a storied yet by educating young people draw on the amplitied quartet little known musical history. As about the mariachi tradition. tradition popular w^ith African studio guitarist for Houston's They now share their music American gospel groups m groundbreaking Black label, with audiences nationwide. Te.xas. Founder and leader Roy Duke/Peacock Records, Brown Green, who pastors the Mars Hill toured, played, and recorded with

Augie Meyers, Sail Aiiioiiio, Texas Deliverance Tabernacle Church many ot the greatest blues, gospel, Augie Meyers in Fayetteville, Texas, started and R&B artists of the day. He Joe Forlini the group in the late 1970s. now leads his own ensemble. Growing up m San Antonio, Texas, Augie Meyers absorbed The Quebe Sisters Band. Charles Thibodeaux and the

all the styles of music that were Burk'son, Texas Austin Cajun Aces, Austin, Texas

popular in his childhood. As Grace Quebe Charles Thibodeaux

a founding member of the Sir Hulda Quebe Steve Doerr Douglas Quintet and the Texas Sophia Quebe Peter Schwarz Tornadoes, he put this knowledge Joey McKenzie Although recently formed and to use. Meyers, a Texas musical Drew Phelps from a Texas town not known

icon, continues to be at home with Among the Quebe sisters, for its Cajun roots, the Austin

styles as diverse as polka, conjunto, stunning sibling vocals are Cajun Aces is steeped in Texas

Cajun, country, and rock and roll. matched by triple-threat sister Cajun tradition. Fronted by Cajun fiddling. Their mentor, master accordionist Charles Thibodeaux, Jody Nix and The Texas Cowboys, musician Joey McKenzie, and whose musical mentor and

Bii; Spriiii;, Texas upright bass player Drew Phelps hero is the great Texas Cajun Jody Nix join them. Their repertoire accordionist Andrew Cormier, Johnny Cox includes Western swing, the Aces play the music Charles Dixie Hankins cowboy tunes, and traditional grew up with in dancehalls, Larry Nix Texas-style fiddling. community centers, and clubs Robert Weeks throughout Southeast Texas. A second-generation Western Mini^o Sahiivar, San Antonio, Texas swing musician, Jody Nix Accordionist Mingo Saldivar

inherited the leadership ot the is known for his distinctive Texas Cowboys from his tather, twist on the conjunto tradition. the early and important Western He has built a loyal following swing fiddler Hoyle Nix. To in dancehalls across South this day, the Texas Cowboys Texas by blending straight- play dancehalls, rodeos, and community events throughout

Participants Texas 103 TEXAS FOOD Gefie Marie Bohuslav and Betty and Stere Orsak. Katy, Texas

Hoover Alexander, Austin, Texas Rene Manila, Koinensky, Texas Taught by family members in South Central Texas, husband and Hoover Alexander is a fifth- Texas Czechs Gene Marie generation African American and her daughter Rene were wife Steve and Betty Orsak have Texan. He grew up loving his born and raised in the tiny canned, pickled, and preserved mother Dorothy's Southern home community of Komensky in foods together since the early cooking and spent summers Lavaca County. Gene Marie still 1970s. Their Czech heritage on the Utley farm where she lives on the land she grew up on influences their choice of recipes was raised. Intluenced by the and farmed with her husband. and produce. Steve was a foodways multicultural community in Czech was her first language, participant at the 1996 Festival. Austin, he honed his cooking skills and she's spent a lifetime making in the legendary Night Hawk traditional Texas Czech dishes Tom Pcrini, Buffalo Gap, Texas Restaurant in Austin, where he for her family and community. Tom Perini grew up and worked opened his own restaurant in 1998. on his family's cattle ranch in Tom Nail, Burnet, Texas Buffalo Gap in West Texas. Later

Bill Avila. El Paso, Texas Born and raised on his family's in life, when his father's death

Bill Avila is a fourth-generation ranch, Tom Nail has worked brought him back to the ranch El Pasoan who grew up in his as a cowboy and wagon boss he loved, he combined his two family's Mexican restaurant, at ranches in Texas, Arizona, passions—ranch life and cooking. Leo's. He worked his way up from Colorado, and New Mexico. In 1983, Tom opened the Perini dishwasher to cook to owner and He had already participated in Ranch Steakhouse on his property. opened his own restaurant, Avila's, chili cook-offs around the state in 1970. The menu's recipes came when he met and eventually Wendy Power, San Antonio, Texas straight from family—father, great went to work for the Fowler Growing up in a Polish Texan aunts, and grandmothers. The family, the well-known chili spice family in a majority Mexican

restaurant closed onlv last vear. company owners. Tom's unofficial American Texas city, Wendy

title is "chili ambassador." Power ate and cooked sausage. Her grandfather started the

Lyly N^^uyen, Corpus Christi, Texas Kiolbassa Provision Company, Lyly immigrated to the United which makes Polish-style States from Vietnam in the late sausage and Mexican chorizo. 1970s and lived in several states Wendy, well versed in recipes before settling in Rockport, that draw on both traditions, Texas, where her father worked now works for the sausage

in the shrimping industry. company her family still owns. Along the Gulf Coast, Lyly and six family members own Vietnamese restaurants where they serve dishes influenced by their family's traditional cooking.

104 Texas Participants TEXAS WINE wine. Gary is winemaker; Kathy Kim McPherson. Lubbock, Texas Ed Atilcr, Tow, Texas runs the tasting room; and their Kim McPherson's father founded Texas businessman and rancher son Dale manages the vineyard. Llano Estacado Winery in Ed Auler, started Fall Creek Gary is well-known among Lubbock in 1976. Kim returned Vineyards with his wife, Susan, his peers for his innovations. to the winery as winemaker in 1975 after a trip to France after completing the enology convinced them that their ranch Raymond and Gladys Haak, and viticulture program at and parts of the French wine Santa Fe, Texas the University of California country were remarkably similar Raymond and Gladys Haak at Davis. He created the in soil, terrain, and microclimate. were born and raised in South McPherson Cellars label in 2000 Hugely successful, the Aulers Texas. They began growing and will open his own winery have grapes been tireless spokespersons in 1969 as a hobby, 111 Lubbock this summer. for the mdustry ever since. experimenting with numerous

varietals to determine which Gi()' Stout, Houston, Texas Jason Englert, Fredericksburg, Texas would survive the Texas Gulf Guy Stout knows the Texas wine Jason Englert earned his Coast climate. More than degree in twenty- business—growing grapes (in his biology from Te.xas Tech before five years later, they turned their Central Texas vineyard), wine apprenticing at the Llano Estacado wine- and grape-growing passion distribution, and the fine art of Winery in into a Lubbock. After the commercial operation. wine tasting. He is the state's only original owner/winemaker Master Somnielier, a designation died in 2005, Englert became Jim and Karen Johnson, Bend, Texas given by the international Court winemaker at Grape Creek The Johnsons run the only Texas of Master Sommeliers only after Vineyards. Jason makes wines winery dedicated exclusively someone studies for years. only from grapes of the highest to warm-climate varietals. Jim, quality. He follows modern and the winemaker, graduated from Caris Turpcn, Fort Worth, Texas traditional the University wine-making practices. of California at Caris Turpen is the owner and Davis in enology and returned winemaker of LightCatcher to his Gary and Katliy Gilslrap, home state to work at Winery. Though her first career Johnson City, Texas several well-known wineries was in film, she began making The Gilstraps before have a family- opening his own Alamosa wine as a hobby. Deciding on a run operation, Texas Hills Wine Cellars in 1999. His wife, second career in wine making, she Vineyard, which champions Karen, serves as harvest-crew went back to school and got her environmentally sensitive ways boss every summer. degree in enology and viticulture. of growing grapes and producing She opened LightCatcher in 2001 and has won numerous awards and acclaim for her wines.

Festival Participants

Rinzler Concert

Grupo Folklorico Experimental y mostly from the South Bronx in New York, went Nuevayorquino, Bronx, New York on to establish new frontiers in various genres of Thirty years ago, Ralph Rinzler and a group of Latin and American music, making their mark Smithsonian colleagues traveled to the Bronx to throughout the world. Grupo Folklorico became observe rehearsals that led to Grupo Folklorico y legendary for experimental recordings that brought Experimental Nuevayorquino's first double-album together some of the most gitted. often little-noticed recording. Concepts in Unity. Their next recording elder musicians, deeply rooted in Puerto Rican and was Lo Dice Todo, conceptualized, organized, and other Caribbean and Latin American communities produced by Rene Lopez. This groundbreaking and popular with audiences. group of composers, instrumentalists, and singers.

Participants Rinzler Concert 105 Wednesday June 25

BHUTAN NASA

Bhutan Four Friends Tsechu Kitchen Narrative Stage Stage June 25 Wednesday TEXAS t Dancehall Lone Star Kitchen Opry House Texas Talk

11:00 Thursday June 26

BHUTAN NASA

Bhutan Four Friends Kitchen Narrative Stage June 26 Thursday TEXAS ^ Dancehall Lone Star Kitchen Opry House Texas Talk NASA Kids' Space

Visit the Kids' Space tent to pick up your 11:00 Mission Guide booklet, which is filled with fun activities, such as designing The space vehicles and making craters. You'll Southern Jones Family earn a NASA reward to take home for African -American Singers San Antonio finding solutions to challenges in the Cooking Terri Hendrix Sounds NASA program tents. There will also be and opporl^mities to meet NASA scientists and 12:00 Llovd Maines ^ engineers, see exciting science demonstra- tions, and participate in some awesome The events. Check the Kids" Space schedule

Gillette Brothers Ethnic sign daily.

Restaurants in Polish Texan The Bhutan Cooking Texas Kids' Activities lones Family 1:00 Visit the Treasure Hunt tent to pick up Singers your "Treasures of Bhutanese Culture" activity sheet, which will help you dis- Les cover the eight lucky signs, learn some Amis Creole Dzongkha (the national language of Family Bands Bhutan), and find new ways to explore Los Cowboy ^ the Bhutan program. Elsewhere on-site, Tcxmaniacs with 2:00 Cooking you can color your own Bhutanese post- Mini^o Saldivar age stamp and mail it. make traditional The Bhutanese biscuits, learn some Bhutanese dance steps, try on a kim or gho, draw and Gillette Brothers Remembering the paint in the Bhutanese style, use a block

Jody Nix Duke Peacock print to make a prayer flag, and more. Vietnamese and the Record Label 3:00 Cooking Texas Cowboys Los Texmaniacs EVENING CONCERTS with Becoming a Ausie Meyers Texas San Antonio Winemaker Texas Johnny Tex-Mex 4:00 Brown Cooking Dancehall 6:00 PM

Sounds of San Antonio Jody Nix Texas; Los Texmaniacs with Mingo Saldivar. and the French Style Augie Meyers, and Texas Cowboys Little Joe y Cowboy Fiddlm' Frenchie Burke 5:00 la Familia Cooking

Ongoing Texas Activities

In the Te.xas Wine Making tent, representatives from nine of Texas's most famous wineries will demonstrate the science of wine production, from vine to bottle. Visitors wiU go on a virtual tour of a vineyard and a winery to learn about the grape harvest, grape crushing, fermentation, wine aging, and bottUng.They will be invited to smell ingredients that give wines their flavor and aroma, and young visitors will be able to participate in a daily grape stomp.

^ indicates American Sign Language—interpreted program. Programs are subject to change.

Schedule Thursday June 26 109 Friday June 27

BHUTAN NASA

Bhutan Four Friends Tsechu Exploration Food Galaxy Kitchen Narrative Stage Stage Stage Lab Stage

11:00 TEXAS

11:00

12:00

1:00

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3:00

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5:00 Saturday June 28

BHUTAN NASA

Bhutan Four Friends Kitchen Narrative Stage TEXAS

11:00

12;00

1:00

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3:00

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5:00 Sunday June 29 BHUTAN 0-

Bhutan Four Friends Tsechu Kitchen Narrative Stage Stage TEXAS

11:00

12:00

1:00

2:00

3:00

4:00

5:00 Wednesday July 2

BHUTAN NASA

Bhutan Four Friends Exploration Food Galaxy Kitchen Narrative Stage Stage Lab Stage

11:00 TEXAS

11:00

12:00

1:00

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5:00 Thursday July 3

BHUTAN NASA

Bhutan Four Friends Exploration Food Galaxy Kitchen Narrative Stage Stage Lab Stage

11:00 TEXAS

11:00

12:00

1:00

2:00

3:00

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5:00 Friday July 4

BHUTAN NASA

Bhutan Four Friends Tsechu Exploration Food Galaxy Kitchen Narrative Stage Stage Stage Lab Stage

11:00 July 4 Friday TEXAS ^ Dancehall Lone Star Kitchen Opry House Texas Talk

11:00 Saturday July 5

BHUTAN NASA

Bhutan Four Friends Kitchen Narrative Stage July 5 Saturday TEXAS ^ Dancehall Lone Star Kitchen Opry House Texas Talk NASA Kids' Space

Visit the Kids' Spjce tent to pick up your 11:00 Mission Guide booklet, which is filled with fun activities, such as designing Conjunto space vehicles and making craters. You'll Los Angeles Cowboy earn a NASA reward to take home for Saturday Night del Sur Cooking finding solutions to challenges in the and NASA program tents. There will also be Sunday Morning Limes Hand opportumties to meet NASA scientists and 12:00 engineers, see exciting science demonstra- Charles tions, and participate in some awesome Thibodeaux events. Check the Kids' Space schedule and the sign daily. Austin From Cajun Aces Soil to The West Texas Sommelier Bhutan Kids' Activities Barbecue i/)riginal Soul 1:00 Visit the Treasure Hunt tent to pick up Invaders *9 your "Treasures of Bhutanese Culture" Tutu Jones activity sheet, which will help you dis- and the cover the eight lucky signs, learn some

Soul Crew Texas Music in Dzongkha (the national language of Bhutan), and find new ways to explore Conjunto El Paso Translation the Bhutan program. Elsewhere on-site, Los Angeles Mexican 2:00 you can color your own Bhutanese post- del Sur Cooking age stamp and mail it, make traditional The Bhutanese biscuits, learn some Bhutanese Quebe Sisters dance steps, try on a kira or gho, draw and Band Living off paint in the Bhutanese style, use a block

Tutu Jones the Land print to make a prayer flag, and more. Czech Texan and the 3:00 Cooking Soul Crew

Guv Clark EVENING CONCERTS Wine-makmg Charles Tradition and Texas Thibodeaux West Texas Innovation and the 4:00 Barbecue Austin Cajun Aces Dancehall 6:00 PM

Lone Star Dance Party Mark Halata Guy Clark Texas Kinds and Marcia Ball of Country Mariachi Los Texavia Home Canning 5:00 Arrieros

Ongoing Texas Activities

In the Texas Wine Making tent, representatives from nine of Texas's most famous wineries will demonstrate the science of wine production, firom vine to bottle.

Visitors will go on a virtual tour of a vineyard and a winery to learn about the grape harvest, grape crushing, fermentation, wine aging, and bottling. They will be invited to smell ingredients that give wines their flavor and aroma, and young visitors will be able to participate in a daily grape stomp.

^ indicates American Sign Language—interpreted program. Programs are subject to change.

Schedule Saturday July S 123 Sunday July 6

BHUTAN

11:00

12:00

1:00

2:00

3:00

4:00

5:00 July 6 Sunday TEXAS £-

Dancehall Lone Star Kitchen Opry House Texas Talk

11:00 General Festival Information

FESTIVAL HOURS visiting hours. Public telephones for reservations. Other modes of available on-site opposite interpretation may be provided The Opening Ceremony of the are — and inside the American History if a request is made two weeks in Festival will take place on the and Natural History museums. advance by calling 202.633.4353 Texas Dancehall at ii:oo a.m., (TTY) or 202.633.2921 (voice), Thereafter, Wednesday, June 25. LOST AND FOUND/LOST PEOPLE or by contacting [email protected]. Festival hours will be 11 a.m. to Lost Items or family members 5:30 p.m., with special evening THUNDERSTORMS should be brought to or picked events. See the daily schedules up from the Volunteer tent In case of a severe rainstorm, on pages 106-125 for details. located near the Smithsonian visitors should go inside a museum

FESTIVAL SALES Metro stop on the Mall at during visiting hours. Summer Jefferson Drive and 12th Street. rainstorms are usually briet, Visitors may purchase program- and often the Festival resumes and related lunches, snacks, METRO STATIONS operations within an hour or two. dinners from Festival food Metro trains will run every In the event ot a thunderstorm. concessions. Food is also available day of the Festival. The the Festival must close. Do not inside the museums and at GSI Festival site is easily acces- remain under a tent or a tree! kiosks on the Mall. A variety sible from the Smithsonian and of objects produced by Festival ESPECIALLY FOR Federal Triangle stations on artisans and a selection of relevant CHILDREN AND FAMILIES the Blue and Orange lines. books and recordings are available Because many ot the activities at the Festival Marketplace, which SERVICES FOR VISITORS in the Bhutan program will take is next to the Freer Gallery of WITH DISABILITIES place for the first time ever in the Art. Smithsonian Folkways Large-print and CD versions United States, the 2008 Festival recordings are available there and of the daily schedule and a CD will offer families an especially through www.folkways.si.edu. version of the program book rare opportunity to learn about are available at the Festival PRESS one of the world's least known Information kiosks and the countries. Young visitors will be Visiting members of the press Volunteer tent. The program able to join Bhutanese participants should register at the Press tent book is available in other formats in traditional dances, the thirteen located near the Smithsonian upon request. A limited num- traditional arts {zprif; chusiiin), Metro station on the Mall at ber of wheelchairs are available and festive games. In the NASA Jefferson Drive and 12 th Street. for loan at the Volunteer tent. program's Kids' Space, young

FIRST AID Audio loops are installed at the people will have the chance to

music stages. Service animals interact directly with Festival A first aid station is located are welcome. American Sign participants through a variety near the Smithsonian Metro Language interpreters are avail- of hands-on activities and learn stop on the Mall at Jefferson able on-site and can be requested about through Drive and 12th Street. more NASA at the Volunteer tent; the Festival the Mission Guide booklet. RESTROOMS AND TELEPHONES schedule indicates which per-

There are outdoor tacilities for formances and presentations are members of the public, includ- interpreted. The Smithsonian

ing visitors with disabilities, will offer a verbal description located near each of the program and tactile tour of the Festival on

areas on the Mall. Additional Thursday, June 26, at ii;oo a.m. have restroom facilities are available for visitors who are blind or

in the museum buildings during low vision; contact [email protected]

126 General Information Related Events

BHUTAN Recent Films from Bhutan environments. Television and the

Meyer Auditorium, Internet only became available Lecture on Bhutanese Traditions: The Freer Gallery of Art Kunzang Choden there in 1999, and in March of Meyer Auditorium, Travellers and Magicians this year, Bhutan held its first June 26, 2 p.m. and July 2, p.m. The Freer Gallery of Art 7 democratic popular election for

June 25, 7 p.m. This is a cinematic fable by parliament. In this illustrated seminar, officials and experts A leadmg authority on Bhutanese Khyentse Norbu. Bhutan's from Bhutan introduce travelers culture shares her personal most famous director and one of Himalayan Buddhism's most to their fascinating country. experiences from growing up in revered For more information, visit the Himalayas. Kunzang Choden's lamas. "To watch this movie," wrote Desson Thomson www.residentassociates.org. books include Folktales of Bhutan in the Washington Post, "is to be and Bliiilaii Talcs of the Yetl. Her The Dragon's Gift: moved not only by an affecting, 2005 novel Circle of Kaniia /bllows The Sacred Arts of Bhutan warmly spirited yarn, but also by a feisty young girl who leaves Rubin Museum of Art, the wisdom that seems to waft her family and travels far from New York City to us directly from those snow- home, much as the author did on September ig, 200S—January 'i, 20og capped peaks." 2003. 108 inin. in horseback at age twelve. Kunzang In an historic gesture, the Roval reads Dzongkha with English subtitles. Choden from her books and Government of Bhutan is releasing Special guests: Tshewang Dendup, offers life insights into Bhutanese the masterpieces of its kingdom the film's star, and Sonam Dorji, and society, including its unusual for exhibition in The Dragon's performer on the film's soundtrack matriarchal system. Gift: The Sacred Arts of Bhutan. 2 and July July 3 Organized by the Honolulu Bhutanese IVlusic and IVIasked Dances Recent Bhutanese films will Lecture-Demonstrations be Academy of Arts, The Dragon's

screened throughout the afternoon. is Arthur M. Sackler Gallery Pavilion Gift a groundbreaking display Musicfrom Bluiian of national treasures, highlighting Smithsonian Associates June June 2S, July ?, the religious arts of Bhutan 2 J, All-Day Seminar andJuly 6. 12 p.m. and exploring the historical, S. Dillon Ripley Center philosophical, spiritual, and Join Bhutanese singers and Bhutan—Exploring the Last instrumentalists to learn about Himalayan Kingdom artistic perspectives of its culture. music from the Land of the July 12, 10 a.m.— .^.}o p.m. For more information, visit www.rmanyc.org. Thunder Dragon. Discover how- Largely isolated from the outside

traditional music plays a role in world until three decades ago, the Kennedy Center daily life in Bhutan. spectacularly beautiful Kingdom Millennium Stage

Masked Dances of Bhutan of Bhutan is tucked in the massive Participants in the Bhutan program June 2j, June 28, July 3, mountains and subtropical forests will perform on the Kennedy and p.m. July 6. j between China and India. This Center Millennium Stage on

tiny nation is striving Learn more about the symbolic Buddhist Saturday, July 5, from 6 to 7 p.m.

elements of Bhutanese masked to retain the best of its traditional For more information, visit dances, expressed by the values amidst rapidly changing vvww.kennedy-center.org/ dancers, their costumes, and internal and e.xternal programs/millennium.

their instruments. This is a

rare opportunity for close-up interactions with monks and

other traditional dancers from the remote Himalayan mountain kingdom.

Related Events 127 J

NASA Space Symphony Orchestra National Museum of the fe ^ Smithsonian Folkways Films at Baird Auditorium, American Indian National Museum of Natural History The National Museum of Wednesday, June 2_s, 6 p.m.

Natural History will present the The Space Symphony Orchestra

following feature-length films, under Emil de Cou will perform

from 5 to 7:30 p.m. a free concert of space-related

Friday, June 27 music while projections of NASA In the Shadow oflhc Moon images enliven the Potomac NEW RELEASES atrium of the National Museum StUiirdiiy, June 28 Michael Doucet From Now Or\ of the American Indian. Apollo I SFWCD-40177

From Now On is a Cajun tour de Sniidiiy, June jg force of distilled Micfioei Doucet, the 2001: Odyssey A SiMcc TEXAS mucfi-admired leader of the GRAMMY- winning group BeauSoleil. Nineteen Exhibitions at the National Kennedy Center tracks of wide-ranging repertoire Air and Space Museum Millennium Stage and pared-down instrumentation of solo fiddle, fiddle-plus-one, and solo The National Air and Space Participants in the Texas program accordion showcase Doucet's stylistic will perform on the Kennedy Center Museum has several exhibitions nnastery, eclectic musical grounding, on display that relate to the NASA Millennium Stage on the following and creative spirit. evenings, from 6 to p.m. For more program. Spiuc: A Journey to Our 7 Classic Piano Blues from Future highlights current projects information, visit www.kennedy- Smithsonian Folkways

in space exploration and some center.org/programs/millennium. SFW-CD-40196

possibilities for future human lVed)iesddy, June 25 Born of ragtime and hard times, the

piano blues migrated with its play- space travel. NASA Art: Fifty Years Jody Nix and the Texas Cowboys ers from the deep South to the urban of Exploration presents works of art Sunday, June 2g North. Classic Piano Blues revisits that capture the wonder of raucous boogie-woogie and blues Los Texmaniacs legends Memphis Slim, Willie Dixon, NASA's endeavors. How Things Fly Wednesday, July 2 Champion Jack Dupree, Speckled teaches the principles of flight. Red, Meade "Lux" Lewis, Lead Belly, The Quebe Sisters Band Visit www.nasm.si.edu/exhibitions Little Brother Montgomery, Roosevelt

Sykes, James P. Johnson, and more, for more information about Thursday, July ? in twenty tracks drawn from the well these and other exhibitions on Tutu Jones and the Soul Crew of the Folkways Collections. aeronautics and space. Friday. July 4 Mark Halata and Texavia

Sunday, July 6 James Hand

128 Related Events — — —

ERVING, AND DISSEMINATING SOUND FOR 60 YEARS

i ».v YEARS

NEW RELEASES

Tony DeMarco The Sligo Indians SFW-CD-40545

The Sligo Indians is a long-awaited solo debut for one of

America's finest folk fiddlers. A Brooklyn native of mixed Irisfi

and Italian descent, New Yorker Tony DeMarco is a master of tfie intricate ornamentation, swinging rhythm, and adven- turous melodic improvisation that mark the famed County Sligo fiddle style. Mentored by the late Sligo master fiddler Paddy Reynolds, Tony has for decades been a pillar of the Irish session scene in New York City.

jAyombe! The Heart of Colombia's Musica Vallenata SFW-CD-40546

Since the late twentieth century, the music of the Vallenalos people of a small valley region of the Caribbean coast "has best portrayed the true way of being and feeling of the Colombian people." jAyombe! The Heart of Colombia's Musica Vallenata features two dozen seasoned vallenato per- formers from three generations, playing polished renditions of the music they know best paseos. merengues, sones, and puyos of their homeland.

Nati Gang's Mariachi Los Camperos

Musica Ranchera: Amor, Dolor v Ldgrimas SFW-CD-40518

Amor, Dolor y ldgrimas (Love, Pain, and Tears) flow from

the heart of the Mexican mariachi when it plays musica ranchera, Mexico's soulful "country music." Riding the wave of mass media beginning in the 1930s, musica ranchera became the single most popular vein of Mexican music

by the 1 950s. GRAMMY-winning Mariachi Los Camperos

de Nati Cano breathes new life into classic, soul-baring

rancheras and boleros in this back-to-the-future recording.

TonyTrischka Territory SFW.CD-40169

With fearless musical curiosity as the guiding force, Tony Trischka's Territory roams widely through the banjo's creative terrain. Twelve all-Trischka solo tracks explore a panorama of tunings, banjo sounds, and traditions. Nine selections partner Tony with fellow banjoists Pete Seeger,

Mike Seeger, Bill Evans, Bill Keith, Bruce Molsky, and other guest artists to tap the creative potential of America's signature musical instrument.

CDs and Digital Downloads Available at www.folkways.si.edu Enter Code FestivalOS and Save 10% Through August 31, 2008 (discount on CDs only) 888. FOLKWAYS 202.633.6450 [email protected] The 2008 Smithsonian Folklife Festival

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