Smithsonian olklife Festival

\ Food Culture USA -. * ...

Forest Service, t-; Culture, and Community

Nuestra Música:

Music in Latino Culture

Oman: Desert, Oasis, and Sea VfeL3?3

..-«** :"*

39th ANNUAL

SMITHSONIAN FOLKLIFE FESTIVAL

Food Culture USA

Forest Service, Culture, and Community

Nuestra Música: Music in Latino Culture

Oman: Desert, Oasis, and Sea

JUNE 2 3 -July 4, 2005

WASHINGTON, D.C. The annual Smithsonian Folklite Festival brings together exemplary practitioners ot diverse traditions, both old and new, trom communities across the

United States and around the world. The goal of the

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

Smithsonian Institution

Center tor Folklite and Cultural Heritage

750 9th Street NW

Suite 4100 Washington, DC 20560-0053

www.folklite.si.edu

© 2005 by the Smithsonian Institution

ISSN [056-6805

Editor: Carla Borden

Associate Editors: Frank Proschan, Peter Seitel

An Director: Denise Arnot

Production Manager: [oan Erdesky

Graphic Designer: ECrystyn MacGregor Confair

Design Intern. Ann Blewazka

Printing Stephenson Printing Inc., Alexandria, Virginia SMITHSONIAN FOLKLIFE FESTIVAL

The Festival is supported by federally appropriated funds; Smithsonian trust funds; contributions from governments, businesses, foundations, and individuals; 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 programs comes from the Music Performance Fund, with in-kind support provided by Motorola, NEXTEL,

WAMU 88. s FM.WashingtonPost.com, Pegasus Radio Corp., and Icom America. The 2005 Smithsonian

Folklite Festival has been made possible through the generosity of the following donors.

Lead Support

Ministries of Heritage and Culture, Tourism, Information, and Foreign Affairs of Oman

USDA Forest Service

Whole Foods Market

Founding Support

Wallace Genetic Foundation National Endowment for the Arts

Silk Soy Honda

National Forest Foundation Horizon Organic Dairy

United States Department of Agriculture

Major Support

NEXTEL V.mns Spices

Chipotle Mexican Grill Farm Aid

Guest Services. Inc. Joyce Foundation Honest Tea IBM

Jean-Louis Palladin Foundation The Rodale Institute

The American Chestnut Foundation Smithsonian Latino Initiatives Fund

Univision

Major In-kind Support

KitchenAid

Zola/Star Restaurant Group

Collaborative Support

Washington, DC Convention and Tourism Corporation

Culinary Institute of America Marriott International

Middle East Institute/Washington, D.C. Radio Bilingüe

Ministry of External Relations of Mexico Public Authority for Crafts Industries of Oman

SMITHSONIAN FOLKLIFE FESTIVAL

—

CONTENTS

The Festival's Timely Appeal 7

LAWRENCE M. SMALL

Commerce for Culture: From the Festival and

Folkways to Smithsonian Global Sound 9 RICHARD KURIN

Welcome to the 200s Smithsonian Folkhte Festival 15 DIANA PARKER

Food Culture USA: Celebrating a Culinary Revolution 17 JOAN NATHAN

Forest Service, Culture, and Community 31

TERESA HAUGH AND JAMES I DEUTSCH

Nuestra Música: Music in Latino Culture—Building Community 48 DANIEL SHEEHY

Nuestra Música: Music in Latino Culture Construyendo comunidad 54

DANIEL SHEEHY

Oman: Desert. Oasis, and Sea 61 RICHARD KENNEDY

Craft Traditions of the Desert, Oasis, and Sea 66

MARCIA STEGATH DORR AND NEIL RICHARDSON

An Omani Folktale 74 ASYAH AL-BUALY

SMITHSONIAN FOLKLIFE FESTIVAL Music and Dance in Oman 77 OMAN CENTRE FOR TRADITIONAL MUSIC KHALFAN AL-BARWANI, DIRECTOR

General Festival Information 81

Festival Schedule 84

Evening Concerts 94

Related Events 95

Festival Participants 97

Staff 121

Sponsors and Special Thanks 124

Site Map 130-131

SMITHSONIAN FOLKLIFE FESTIVAL —

THE FESTIVAL'S TIMELY APPEAL

LAWRENCE M. SMALL, SECRETARY, SMITHSONIAN INSTITUTION

Folklife Festival! This year we feature [ 7 Welcome to the 2005 Smithsonian I four programs Oman: Desert, Oasis, and Sea; Forest Service, Culture,

and Community; Food Culture USA; and Nuestra Música: Music in

Latino Culture. Now in its 39th year, the Festival once again presents

a sample of the diverse cultural heritage of America and the world to large public audiences in an educational, respectful, and profoundly democratic way on the

National Mall of the United States. True to form, the Festival illustrates the living, vital aspect of cultural heritage and provides a forum for discussion on matters of contemporary concern.

For the first time, the Festival features an Arab nation, Oman. Oman is at the edge of the Arabian Peninsula, both geographically and historically situated between East

Africa and the Indian Ocean. Trade routes, frankincense, silverwork, Islam, a strategic location, and oil have connected it to the cultures of the Middle East, Africa, Asia, the

Mediterranean region, and beyond. Contemporary Omanis live poised between a long and rich past and a future they are in the midst of defining. New roads, hospitals, schools, businesses, high-tech occupations, and opportunities for women are developing along- side traditionally valued religion, family life, artistry, and architecture. Omanis are well aware of the challenges of safeguarding their cultural heritage in an era ot globalization.

The Festival program provides a wonderful illustration of the approaches they have taken and enables American visitors and Omanis to engage in open, two-way interchange.

During the Festival, the U.S. Department of Agriculture Forest Service celebrates its 100th anniversary. Programs in previous years have illustrated the traditions of White

House workers and of Smithsonian workers. This Festival examines the occupational

culture of Forest Service rangers, smokejumpers, scientists, tree doctors, and many

others devoted to the health and preservation of our nation's forests. They are joined

by artists and workers from communities that depend upon the forests for their liveli-

hood or sustenance. The Festival offers a wonderful opportunity tor an active discus-

sion of the significance of our national forests and rangelands to the American people.

Food Culture USA examines the evolution of our nation's palate over the past

generation. New produce, new foods, new cooking techniques, and even new culi-

nary communities have developed as a result of immigrant groups taking their place

in our society, the rise of organic agriculture, and the growing celebrity ot ethnic and

regional chefs on a national stage. A diversity ot growers, food inspectors, gardeners,

educators, home cooks and prominent chefs share their knowledge and creativity as

they demonstrate the continuity and innovation in America's culinary culture.

SMITHSONIAN FOLKLIFE FESTIVAL We also continue our program in Latino music this year with a series of evening concerts.

Last year's program drew many Latinos Co the National Mall, helping the Smithsonian reach

out to a major segment of the American population. Audiences were thrilled by the perfor-

mances, as were the musicians who presented their own cultural expressions and thus helped

educate their fellow citizens of the nation and the world. Smithsonian Folkways released

recordings ot three of the groups, and one later went on to be nominated for a Grammy

award. This year, Smithsonian Folkways will hopefully continue that tradition with additional

talented musicians from New York, Washington, D.C., Chicago, Puerto Rico, and Mexico.

The Festival has provided an amazingly successful means of presenting living cultural tradi-

tions and has been used as a model for other states and nations. It has also inspired other major

national celebrations. Last year, the Festival's producer— the Center for Folklife and Cultural

Heritage —organized two major benchmark events. Tribute to ¡i Generation: The National World

llin // Reunion drew more than 100.000 veterans and members of the "greatest generation" to

the Mall to celebrate the dedication of a new national memorial. Through discussions, perfor-

mances, interviews, oral histories, and the posting of messages on bulletin boards, members of

that generation shared their stories with some 200,000 younger Americans. It was a stirring and memorable occasion. Months later, the Center organized the Native Nations Procession and

First Americans Festival tor the grand opening of the National Museum of the American Indian

This constituted perhaps the largest and most diverse gathering of Native people in history, as hunts from Alaska and Canada marched down the Mall along with Suyas from the Amazon rainforest, Cheyennes marched with Hawaiians, Navajos with Hopis, to claim their respected place in the hemisphere's long cultural history. Over the course of the six-day celebration, some 000,000 attended concerts, artistic demonstrations, dances, and other activities and learned a great deal about the living cultural heritage of America's first inhabitants.

The Festival and the other national events inspired by it help represent the cultural tradi- tions ot diverse peoples of this nation and the world to a broad public. The Festival is a unique experience, both educational and inspiring, and one 111 which you, as a visitor, are wholeheartedly welcome to participate. Enjoy it!

SMITHSONIAN FOLKLIFE FESTIVAL COMMERCE FOR CULTURE

From the Festival and Folkways to Smithsonian Global Sound

RICHARD KURIN, DIRECTOR,

SMITHSONIAN CENTER FOR FOLKLIFE AND CULTURAL HERITAGE

of the amis of the Festival is to promote the continuity of diverse [9] Onegrassroots, community-based traditions of Americans and people of other countries. To do this, the Festival relies upon several methods

that demonstrate the value ot such cultural traditions. First, the

Smithsonian invites members ot regional, ethnic, and occupational communities to illustrate their artistry, skill, and knowledge at the Festival on the

National Mall. The symbolic value ot the setting and the invitation by the national museum help convey the prestige accorded to the tradi- tion and its practitioners.

Second, we place Festival participants in the positions of teachers, demonstrators, and exemplars of the tradition.

Providing a stage for partici- pants to address their fellow countrymen or citizens ot the world m a dignified way on the salient issues bearing on their cultural survival not only helps visitors learn directly about the culture but also engenders a profound respect for it. Additionally, the officials, crowds, and publicity attending the Festival signal that the Craftspeople and artisans sell their goods at the Haitian Market prestige and respect are wide- at the 2004 Festival, bringing much-needed income back home. spread and important. Finally, commerce too plays a role. It Festival visitors buy food, music, crafts, and books it shows that they value the culture produced by participants and members ot their communities. Commerce has always been part ot the Festival and part ot our larger strategy to encourage the continuity of diverse cultural traditions.

SMITHSONIAN FOLKLIFE FESTIVAL Culture and Commerce to the importance of commerce in cultural

Commerce has been intimately connected to production. As Food Culture USA illustrates, the

culture for tens of thousands of years. Long phenomenon of commercial cultural exchange

before the invention of nations and money, is not just a thing of the past. American culinary

and even before humans had settled in villages culture has been immeasurably enriched by

and cultivated crops, communities traded and immigrants arriving over the last four decades.

exchanged foodstuffs, stone tools, and valuable Their presence has resulted in new foods, new

minerals. Since then, no single people, country, fusions, and new adaptations, as well as the growth

or community has bv itself invented anew all of small businesses Family-owned restaurants 10] of its cultural products. Rather, cultures every- become centers of continuing cultural exprés

where have depended upon an infusion of foods, sion, extending culinary traditions while at the

material goods, songs and stones, inventions same time helping promulgate new "tastes" for

and ideas from others. So main 1 of the things customers and neighbors. Similarly, Latino music

we associate with particular cultures— tomatoes has found vitality in contemporary America,

with Italians, paper with Europeans, chilis with not only within its home community but also

Indians, automobiles with fapanese, freedom within a larger market. That market has ensured

new audiences and a and democracy with Americans—are actu- new generation of musi-

ally results of intercultural exchange. Much of cians gaming broad recognition and attendant

economic benefits. The cultural traditions it has been of a commercial nature—whether evident in and surrounding forests also by barter or sale, borrowing or theft, done our are

up with relationships I fairly or through exploitation. Of course not bound economic oggers,

foresters, scientists, conservationists, artists, and all commercial exchange is tor the good.

others are engaged in efforts to both exploit the Sometimes commerce has led to the commodi-

forests as well as preserve fication of things that should not be assigned commercially them

Commerce is not only inherent in cultural monetary or exchange value, eg . people, as

traditions featured at the Festival but also is part has been the case with slavery and human traf-

of its very structure. It has been so since the ficking. Other items subject to commercial

beginning. Ralph Rmzler, the Festival's founding exi hinge—arms and drugs, for example—may director, came to the Smithsonian from the have terrible, deleterious effects. Still, while Newport Folk Festival, where he encouraged there may be main' reasons to create and musicians and artisans to find new audiences and produce goods and services— utility, tradition, sources of income tor their art. Rmzler recog- prestige, and pleasure among them —exchange nized that musicians had to make a living. In the value certainly provides an incentive to do so. n;oos he produced several albums for Folkways

Commerce in and at the Festival Records and managed traditional music icons

The link between culture and commerce Doc Watson and Dill Monroe. He thought that

is amply illustrated at the Festival tins year. their skill and repertoire deserved attention and

Many Omani traditions arise from an active merited commercial reward and appreciation

economy that connects the desert, oasis, and Fhe same impulse led him to team up with

sea, and also connects C 'man to eastern Africa, potter N.mcN Sweezy and Scottish weaver

India, the Middle East, and the Mediterranean. Norman Kennedy to start Country Roads m

Frankincense, silver, jewelry, and the amazing Cambridge, Massachusetts. This enterprise sold

boats— the dhows—that transported them, point the weavings, woodcarvings, baskets, ,\nd other

SMITHSONIAN FOLKLIFE FESTIVAL [ii]

The food concession for the Mela at the 1985 Festival increased the popularity of Indian cuisine in the Washington, DC, metropolitan area and led to many restaurants, among them Bombay Bistro and Indique, which are directly operated by personnel associated with the 1985 program.

crafts oftradition.il artisans and also aided many Developing Commerce for Culture

Southern potteries, like Jugtown, to gam renewed The role of commerce m safeguarding diverse

and expanded commercial viability. As Festival cultural traditions is increasingly recog-

director, Rmzler would rent a truck, pick up nized around the world, particularly given

crafts from Appalachia, sell them on the Mall, and the ascent ofwhat might be termed the

return money and respect to regional craftspeople. "cultural economy." UNESCO, the United

We continue this practice at the Festival, Nations Educational. Scientific, and Cultural

selling participants' crafts in our Marketplace at Organization, is currently developing a new

a very low mark-up. The idea is to encourage international treaty on the topic tor consider-

craftsmanship by having audiences recognize ation by its General Assembly in October 200s.

it as financially valuable. It is also why we The draft convention addresses the issue of

encourage musicians to sell their recordings, cultural survival in the face of globalization

cooks to sell their cookbooks, and so on. And it It recognizes the immense commercial value of

is why we select restaurateurs or caterers from cultural products of varied types—from songs

the communities featured at the Festival to to books, from fashion motifs to films. Among

operate food concessions and serve a culturally the many positive provisions to encourage

appropriate menu. We are fostering exposure a diversity of cultural activity, it would also

and knowledge for an important aspect of allow nations to make policies to restrict the

culture, and also supporting the continuity of ln-flow of cultural goods and services that

practice for those who carry these traditions. might jeopardize their own threatened or

SMITHSONIAN FOLKLIFE FESTIVAL endangered cultural traditions. The treaty offers ot cultural products between societies, or

.1 means oí gaming an exception from free invest the responsibility for cultural creation m

trade policies, thus increasing the commer- government agencies, it seems quite sensible

cial benefits to homegrown cultural products to marshal resources, invest in local cultural

while restricting cultural imports. For some, capacity building, encourage the develop-

this particular provision is a legitimate way to ment ot cultural industries, and support a

protect the diversity of national culture from more robust, diversified world cultural market.

massive globalization. For others, it is a means Examples ot contemporary homegrown

ot limiting the tree flow of goods, services, cultural industries abound. The Indian film 1-1 and ideas through misguided protectionism. industry, Bollywood, which at first imitated

The motivation for the draft conven- Hollywood, has developed its own styles and

tion is understandable, as local and regional widespread c ommercial success. Worldwide,

Chinese restaurants, societies find themselves overrun \\ nli initiated and staffed

products created and distributed by a global. by diasporic communities, tar outnumber

commercially produced, mass culture to the the corporately created McDonald's.

perceived detriment ot their own. To some, the Alternative Models: Folkways multinational corporations are the bad guys and Smithsonian Global Sound whose appetite tor greater market penetration Like the Festival, Smithsonian Folkways must be stopped by national governments. To recordings provide a model of how local others, those governments are the problem, cultural traditions can be enhanced through as a tree market, albeit one dominated by commercial means. The Colombian joropo multinational corporations, is more hkcb to musicians appearing at last year's Festival

promote freedom ot choice and a better life. recorded the album Si, Soy Llanero for Between restrictive protectionism and Smithsonian Folkways and won a Grammy

laissez-faire tree market economics is perhaps nomination as a result. This stirred folks on the a third way, more akin to the approach histori- Orinoco plains ot Colombia and Venezuela cally enacted at and through the Festival. This and brought these musicians deserved recog- locates agency in people and communities nition, respect, and income from sales. who themselves have the power to act, < reate, I hat pattern o.in be seen again and again produce and consume. Why not encourage with Smithsonian Folkways artists as our

local-level creativity? Wh\ not develop local primary mission — helping the voices of diverse and regional-level cultural industries around people to be widely heard— has been real- tile world, nations m economically rich and ized. Earning monev has helped musicians

pool As a number ot the fellows participating continue to plav as musicians. Royalties from in our Rockefeller Foundation-supported recordings and music licensing, and income humanities "1 residency projec t heorizing from ticket sales to concerts may provide Cultural Heritage" have found, varied commu- income needed to maintain a tradition.

nities the world oxer assert ownership or It is thus a pleasure to announce at

stewardship ot their own traditions auA are the Festival this year our public launch ot quite capable ot using, exploiting, and safe- the Smithsonian Global Sound Web site

guarding (hem lor their own benefit Rather at w w vv.sinithsoni.mglobalsound.org.

than restrict the stimulating and useful How Smithsonian Global Sound is a virtual encyclo-

SMITHSONIAN F0LKLIFE FESTIVAL o Miiitbioni.in dotal Sound

L04.A 1 Slflti Uo among others, to continue to develop the located in the museum world, the cultural

Web site's content. Shortly, other archives and heritage they represent is not something dead, institutions will be united to participate. or frozen, or stored away for the voyeuristic

Importantly, the fact that artists benefit gaze ot tourists or the idiosyncratic interest from Smithsonian Global Sound is not lost ot scholars. Rather, we regard that heritage as on users. "I like the tact that artists get their something living, vital, and connected to the due." offered one. This is an exciting moment identity and spirit ot contemporary peoples, wherein we tan help artists the world over all trying to make their way in a complicated share their know ledge and artistry with others, world today. Making that way takes mam things, contribute to ongoing cultural appreciation including money. To the extent that we can use and understanding, and secure needed income. commerce as a means tor people to continue to

Even though the Festival, Smithsonian turn their experience into cultural expression.

Folkways, and Smithsonian Global Sound are and benefit from it, the better ott we all will be.

SMITHSONIAN FOLKLIFE FESTIVAL WELCOME TO THE 2005 FOLKLIFE FESTIVAL

DIANA PARKER, DIRECTOR, SMITHSONIAN FOLKLIFE FESTIVAL

his summer marks the 39th time we have had the honor of bringing together people from

communities across the United States and around the world. The Festival has been called

a magical event, because when we bring together so many exemplary practitioners ot

1 cultural and occupational traditions, amazing things can happen. In order to make your |

experience a memorable one, let me suggest some things we have learned over the years.

Talk to the participants. The Festival is quite different from other Smithsonian exhibitions 111 that

the artists are here for you to meet. Whether they are Omani embroiderers, bomba and plena musicians, smokejumpers or chefs, they are all accomplished artists. And you will probably not get a chance to learn from their like, face to face, ever again. They are the best in the world at what they do. and they have

agreed to come to share their knowledge with you. Don't let this opportunity pass you by.

Read the signs and the program book. They can provide insights into the cultures you are experiencing and the people you are meeting and help you ask questions. You will also rind schedules

and site maps that can help vou plan your visit. Finally, the program book lists related activities, books,

and recordings that can expand your experience and knowledge.

Pick up a family activities guide to help younger visitors participate in the Festival. Each

program has activities to help kids gam more from their Festival visit. A fun reward is available in each area to encourage young ones and help them take the experience home, where the learning can continue.

Take your time. Listen and ask questions at the narrative stages. Join in a dance or a game. Take note

of a recipe from a cuisine that is new to you.

Be aware of Festival visitors around you. Spaces near the front of music stages and food demon-

stration areas have been reserved for the use of visitors in wheelchairs, and those reading sign-language

interpreters. Please help us keep the spaces open for these visitors.

Visit the Marketplace. The Festival is free, and the Marketplace helps support it as well as the work

of traditional artists. Having traditional artists' work in your home can extend part ot the Festival

experience year round. And be sure to visit the Smithsonian Global Sound tent too.

Wear sunscreen and drink plenty of water. Washington summers can be brutal. Don't get so

engrossed in the experience that you forget to take care of yourself. And it dn electrical storm arrives,

leave the Mall immediately. Before 5:30 p.m., go into an adjacent museum; after that time, go down

into the Metro entrance. The Mall is a dangerous place in a lightning storm.

Eat at Festival concessions. The food reflects the cultures presented at the Festival, and can expand

your culinary horizons. You may discover something you really love.

Visit us in the off season. Go to our Web site, www.folklife.si.edu. Photographs, recipes, and activities

from this year's Festival will be available. And please let us know what you think ot the Festival. We are

constantly striving to improve it, and your opinion matters to us. Thank youfor coming, and enjoy your visit.

SMITHSONIAN FOLKLIFE FESTIVAL

FOOD CULTURE USA

Celebrating a Culinary Revolution

JOAN NATHAN

[17]

a Folklife Chef Janos Wilder the summer of 2001, when I was beginning to think about gathers a bounty of Festival program devoted to food, the Smithsonian's National Museum oí radishes at a farm alongside some InAmerican History added Julia Child's kitchen to its exhibits, near his Tucson Edison's light bulb and the first Teddy of the country's icons such as Thomas restaurant. Like an bear. At the opening reception for the exhibit, guests were served not the increasing number

French dishes that Julia introduced to the United States, but a stunning menu of of American chefs, Wilder works closely American food including seared bison filet with pepper relish and pappadam, purple with growers to Cherokee tomato tartlet with goat cheese and herbs, and a local organic sweet ensure that he has tomato tart with basil and ncotta gelato.This meal was a patchwork of healthy, the freshest, best- cultures that Americans have embraced natural, spicy foods from different we tasting ingredients.

in the forty years since Julia published her first

book. While, in one sense, Julia Child's kitchen

represented the popular American introduction

to French cooking, the reception menu showed

that its counters, appliances, and utensils had also

come to symbolize a series of broader trends—an

increased interest in the craft of food in general

and in foods that could be considered American. The decades following the publication ot Julia

Child's Mastering the Art of French Cooking in 1961

and the debut of her television show were a time

of momentous change in American tood. During

those years, the introduction of ethnic and regional

dishes to the American palate had opened our

mouths and minds to a broader array ot tastes; a

grassroots movement for sustainability had returned

many to the world of fresh, seasonal produce

known to their ancestors; and chefs and cooks had become explorers and teachers of diverse traditions

in food. This period has been called the American

Food Revolution. Whatever it is, this is the best

time in history for American food. For those who

This article is adapted fromJoan Nathan'sforthcoming The New American Cooking (Alfred A. Knopf). Workers harvest artichokes at Ocean Mist Farms in California American agriculture depends on the skills of migrant laborers, who continue to struggle for economic rights and adequate working conditions take the time to cook at home or to dine out American food today — the growing power in ethnic and independent restaurants, the food ot fast food chains and agribusiness, people is thought out and delicious. We have artisanal not eatmg together as a family, food that c heese makers, local organic farmers, even more is denatured, whole processed microwave great grocery and ethnic stores than most of us meals, and the TV couch potato syndrome.

ever dreamed of. The world is at our fingertips, 1 have instead focused on the positive. In and it is a pleasure to cook. The very nature of preparation tor my forthcoming book. The New

America has become global, and this is reflected Amanan Cooking, and the Festival 1 have criss- in our food. Chef Daniel Boulud calls today's crossed this country from California to Alaska cooking "world" cuisine. He is not very far off and Hawai'i to New England and have entered

T his revolution has come at a time when kitchens, farms, processing plants, and restau- much ot the news about food is less encour- rants, seeking out the recipes and the people aging. During a visit to the Missouri coun- who have made American food what it is today. tryside, 1 stopped m at a mega-supermarket 1 have tried to show a fair selection ot what in a small town surrounded by farmland. To 1 have seen, interviewing people in 40 states

surprise, my m the midst of fields of fresh throughout our great country. 1 have broken strawberries and fish streams overflowing with bread in the homes of new immigrants such trout, I found that everything in the market as Hmongs of Minnesota and Ecuadoreans in was plastic and processed. 1 thought about New [ersey. 1 have noticed how, at Thanksgiving, the author Barbara Kingsolver's comment, the turkey Atid stuffings have been enhanced

"Many adults. I'm convinced, believe by the diverse flavors now available in this that food comes from grocery stores." country. Accompanying the very American

In a similar vein, my son 1 )avid, when turkey or very American Tofurky will be spring discussing the "American" book on which rolls, stuffed grape leaves, or oysters, all holiday this is Festival program based, s.nd that 1 have foods from an assortment of foreign lands. to include Cheese Whiz and McDonald's.

No, I don't. We know about the downside of That is American food today.

SMITHSONIAN FOLKLIFE FESTIVAL DIVERSITY varieties of cilantro, peppers, yams, epazote, and

honey melon; and cramped aisles with chestnut More than at any other time in our history, and ginger honeys as well as brisket cut for stir- America's food has become a constantly changing fry, fajitas, and Korean hot pots. In Newark's blend of native and foreign ingredients and tech- Iron District, once home to Portuguese immi- niques coupled with the most amazing ingredi- grants, the demographics are changing. During ents of all—American ingenuity and energy. The Lent, I visited the 75-year-old Popular Fish Civil Rights Movement spurred Americans to Market. Brazilian immigrants had their pick ot explore their rich African-American and Native eel. clams, corvina, frozen sardines, lobsters, and American traditions. In 196$ a new Immigration baccalhau (dried cod) piled in wooden crates [19] Act lifted the quotas on immigration trom main with a sharp chopper at the end. so that shop- non-European countries, contributing to an pers could cut off the fish tails. At the food increase in immigrants trom Latin American, concession at the University of California at African, and Asian countries. People trom San Diego students can choose among Peking India, Thailand, Afghanistan, and Lebanon duck, barbecued pork, and Mexican wraps. brought their culture in the way of food. In New York one can see pedestrians noshing This unprecedented wave ot immigration on vegetarian soul food, Chinese Mexican made the United States more multicultural than food, and Vietnamese and Puerto Rican bagels. ever before. The figures tell the story: in 1970, Brighton Beach, Brooklyn, has turned into a of the percent of foreign-born Americans, 4 Little Russia with Cyrillic writing in shops half came from European countries. Between and restaurants. Chinatown in New York City 1990 and 2000, over 6.5 million new immi- is rapidly swallowing up what used to be Little grants came to this country, resulting 111 32 Italy. This kaleidoscope is a portrait of America percent of the growth in the total U.S. popula- today—ever changing, spicier, and more diverse. tion over the same period. At 11 percent, the This diversity has led to interesting juxta- proportion of immigrants in the United States positions. The Asian lettuce wraps I ate at a population is the highest it has been in seven lunch break with Cambodian refugee farm decades. Of these, half are from Latin America, workers in Massachusetts I've also seen at and almost all the rest are from countries not Chill's and Cheesecake Factories. In Lajolla, even mentioned in the 1970 U.S. Census, California, Mexican workers eat Chinese such as Vietnam, Thailand. Afghanistan, and food while making Japanese furniture. Home

Lebanon. As Calvin Trillin aptly wrote in the cooks frequently integrate dishes from diverse

NewYorker, "I have to say that some serious traditions into their menus, making personal eaters think of the Immigration Act of [965 as modifications and adding their own unique their very own Emancipation Proclamation." personality to traditional dishes. One result

This increased cultural and ethnic diversity is that an Indian mango cheesecake is now as can be found across the country. An hour's drive American as Southern pecan pie. In the West, from that Missouri supermarket and its packaged, hummus is now often made with black beans. processed goods, on St. Louis's loop alongside a For my own family, I make pasta with

Starbucks café and beer and pizza joints, were pesto and string beans one day, Moroccan

Ethiopian, Japanese, Lebanese, Persian, and chicken with olives and lemon another, and

Thai restaurants. This street, in the heartland of Mexican fajitas still another. My family's

America, could have been 111 Washington, D.C.; "ethnic" dishes might have less bite than they

Berkeley, California; or Boston, Massachusetts. would in the Mexican or Thai community,

The De Kalb Market in Atlanta and the West but our meals are a far cry from those ot my

Side Market in Cleveland are tilled with endless childhood, when each day of the week was

FOOD CULTURE USA —

assigned a particular dish —meat loaf, lamb chops, fish, roast

chicken, spaghetti and meatballs, roast beef, and tuna casserole.

Italian-American Jimmy Andruzzi, a New York fireman who

survived the World Trade Center tragedy, is the one who cooks America's food all the meals in his firehouse at 13th Street and Fourth Avenue. Unlike his mother's totally Italian recipes, his are more Italian- has become American and just American. He cooks in between calls for fires

and bakes his mother's meatballs rather than frying them. An a constantly Indian woman married to a Korean man living in Washington changing blend Heights, New York, is a vegetarian. She makes a not-so-tradi- oí native and tional grilled cheese sandwich with chickpeas, tomatoes, and the Indian spice combination, garam másala. Because there is not foreign ingredi- much cheese 111 India and that used is not so tasty, the "sandwich" ents and tech- as it existed in India contained no cheese. Since immigrating to America, she has added cheddar cheese to her recipe. niques coupled These diverse traditions haw also changed the way Americans with the most eat on the run. Quesadillas, dosas, and empanadas are eaten quickly by busy people. With mass production, thev have become everyday amazing ingre- food m this country." These were foods that took time, individu-

ally made, and are ironically harder to prepare at home but easier dients oí all in mass production," said Bob Rosenberg, a food consultant and

American inge- former CEO of Dunkin' Donuts. for example, California-born nuity and energy. Gary MacGurn of the East Hampton Chutney Company spent 12 years in .\n ashram in India before opening a small carryout in East

Hampton, New York Gary's paper-thin white lentil and rice-based

dosas, which he loved while living 111 India, are tilled with such

"cross-cultural- American" ingredi-

ents as barbecued chicken, arugula,

roasted asparagus, ami teta cheese

At the same time, traditions persist. Delicious authentic [amaican rum

cakes, perfected bv a woman ami her daughter who have not changed

then [amaican blend tor American

tastes, have more "kick" than those

frequently eaten in this country.

While many people bring traditional

recipes out tor special occasions, this

woman features her [amaican ruin

cake at her restaurant 111 Brooklyn.

Sally Chow cooks a steak, string bean,

and tofu stir-fry in

Mississippi

SMITHSONIAN FOLKLIFE FESTIVAL GRASSROOTS SUSTAINABILITY

Supplying the creative cooks, urban markets,

and rows of ethnic restaurants are an expanding

group of innovative growers. Over the last

four decades, farmers such as Ohio's Lee Jones

and his Chef's Garden have pioneered new-

models for agriculture. During that period,

for cultural, culinary, environmental, health,

and economic reasons many diets, environ- [21 mentalists, and growers became advocates

for locally grown, seasonal, sustainable, and

organic food. Today, these models ot agricul-

ture have entered the mainstream through

grocery stores, farmers markets, and restau-

rants, altering the American food landscape.

The backdrop for this shift in growing

methods is the consolidation ot American agricul-

ture from family farms to a corporate, chemically

based commodity model. During the middle

of the 20th century, the American family farm

fell into steep decline under pressure from .\n

expanding national food market. Chemical fertil-

izers, mechanization, and hybrid seeds engineered

to resist disease and increase vields allowed farmers

to produce more food. Highway transportation

made it easier to ship food great distances within Four Season Farm in Harborside, Maine. the United States. Combined, these factors tilted

We all know that Americans did not always American agriculture to a commodity produc- have such broad tastes. As one person told me, "1 tion model that favored uniformity, transport- was so glad that there was intermarriage into my ability, and high yield. This model developed at

New England family, because the food had to the expense of crop diversity and small-scale local get better." No longer can a sociologist write as production—more common modes ot agricul-

Paul Fussell did in his 1983 book Class:A Cuide ture throughout the 1 Nth and [9th centuries. through the American Status System, "Spicy effects Over time, the commodity model shifted return near the bottom of the status ladder, control from farmer to processor. With a large where 'ethnic' items begin to appear: 1'ohsh number of tanners producing the same crops sausage, hot pickles and the like. This is the across the country, processors—companies that main reason the middle class abjures such tastes, turn corn into corn chips, tor example—had believing them associated with low people, main suppliers from which to choose. As non-Anglo-Saxon foreigners, recent immigrants farmers achieved higher and higher yields, prices and such riff-raff, who can almost always be sank. This spurred a continual consolidation identified by their fondness tor unambiguous of farms as family farms went bankrupt under and un-genteel flavors." Today, Americans like the strain of higher equipment costs and falling it hot (in varying degrees), and Asian stir-try commodity prices. Larger corporate farms vegetables and rice are as American as grilled could sustain greater levels of capital investment steak, baked potatoes, and corn on the cob. 111 machinery and survive on high volume.

FOOD CULTURE USA I--I

Pot Pie Farm manager Elizabeth Beggins sells organic Hmong farmers are thriving, selling their

vegetables, garlic, onions, herbs, and cut flowers at fresh produce at the Minneapolis and

the St. Michaels FreshFarm Market in Maryland. St Paul farmers markets.

Critics argued that while these large and other herbs. In Maryland, West African

corporate farms raising single commodities tanners grow chilis. With the number ot Asian

might have been good at supplying single immigrants rising sharply 111 Massachusetts, the

crops to faraway producers, they undermined University ot Massachusetts^ extension service

rural ways of life, environmental quality, and has w uiked with tanners to ensure that vegeta-

food diversity. Over the course of the second bles traditional to Cambodian. Chinese, and Thai

half of the 20th century, more and more diets are available through local fanners markets.

Americans have agreed. They have become 1 he organic farming movement is another

increasingly interested in a more diverse food trend that has played a major role. The roots

supply and are more engaged in questioning ot modern organic tanning are 111 a holistic

what is retened to as their food chain —the view ot agriculture inspired by British agrono-

path their food travels from farm to table. mist Albert Howard, whose An Agricultural

Several trends have supported a return to Testament conceived ot soil as a system that

diversity and sustainability.The wave of recent needed to be built over time. Nutritional and

immigrants from countries around the world good-tastmg food would come from healthy

has brought their food-growing traditions to si>il I loward's ideas were popularized in the

the United States. Small-scale growers have United States in the middle of the 20th century

sought new models of agriculture in order to by J.I. Rodale and his son Robert Rodale

remain economically viable and to promote through their magazines and organic gardening

the crop diversity on which the diverse diets guides. In the [960s, the counterculture read

outlined above depend. The increased diversity Rodale and saw organic tanning as a way to

of American food can be seen in crops that are organize society in harmony with nature and

planted in home gardens and on farms. In San 111 rebellion against industrial capitalism.

1 )iego, ( 'alifornia, Vietnamese gardens cover At the same time, the Peace Corps and

front lawns with banana trees, lemonerass, the declining cost ot travel abroad "ave many

SMITHSONIAN FOLKLIFE FESTIVAL Americans a window onto cultures and foodways in taraway Today American countries, leading them to question the distant relationship between themselves and the growing ot their food. Like Julia cheese is being Child, others had become fascinated with French cooking when made in boutique living in Paris. While Julia strove to demystify academic French cheese-making cooking for an American audience, Montessori-teacher-turned- chef Alice Waters brought French provincial traditions of buying places all over fresh ingredients locally and sitting down for leisurely meals the country—on back to the United States. On her return from France, where she spent a year traveling, she opened the northern California the farms where .23. restaurant Chez Panisse. It became the center ot a move- animals are milked ment to serve only locally grown, seasonal, sustainable food.

By featuring new ingredients such as baby artichokes and by hand—in cultivated wild mushrooms such as portabellos and shiitakes small batches on cooking shows, in cookbooks, and in restaurants, chefs have and by tradi- brought them to the attention of the public. When people taste them, they want to know how they can cook them and tional methods. where they can find them. This new demand helps to support more farms.

Today, Ocean Mist and Phillips

Mushrooms, tor example, catering to customers' requests, have offered these products to the retail market.

At the same time, local craft production began to flourish as arti- sans returned to traditional methods and consumers became increasingly enamored of the tastes that result.

In France you get French cheese. In

England you get English cheese. In

Holland you get Dutch cheese. Today

American cheese is being made in boutique cheese-making places all over the country—on the farms where animals are milked by hand—in small batches and by traditional methods.

Similarly, with boutique olive oil makers sprouting up all over

California, Americans no longer have to go to Italy for estate- Andy and Mateo Kehler, bottled extra-virgin olive oil. Although we have always had cheese makers in Greensboro, Vermont, have approximately Spanish olive oil, now we have American olive oil from Italian

1 50 head of cattle from which olives raised in California. Pomegranates, plump and red. and they make their highly sought- mangoes, in so many guises, once brought in from abroad for after cheeses. Mateo traveled ethnic populations, are now being grown in California and through England, France, Florida. And artisanal chocolate maker John Scharffenberger and Spain learning to make is giving European chocolates a run for their money. cheese from cheese masters.

FOOD CULTURE USA Sustainable farmers such as Eliot Coleman are proving that locally grown food is viable in all climates. Here, Coleman harvests lettuce at his Four Season Farm in Harborside, Maine

The host of companies specializing in craft tune college dropout named |ohn Mackev. and sustainable production keeps expanding. Steve who opened the Safer Way, then one ot 25

I )emos, founder oí Silk Soy, started out making health food stores m Austin, Texas. Today, soy milk at a local fanners market in Boulder, while most ot those other 24 health food

< ni. irado. Michael Cohen started peddling tempeli stores are defunct, Sater W.iv has grown into for Lite Lite, a brand now owned by ConAgra. Hen the largest chain ot grocery stores with an

Cohen and [erry Greenfield propelled then peace organic slant in the country. Whole Foods, and love ice cream to the mainstream. Stonyfield with [65 stores coast to coast, are in main

Farm yogurt, Annie's Homegrown pasta, and plaees where there is rarely a hippie in sight.

( alitornia's Earthbound Farms all sell through The retailer is now the leading outlet for national chains. ( lone are the days of unappe- a growing number of national brands that tizing macrobiotics, brown nee, and totu. A whole share the store's commitment to health and industry has arisen making veggie burgers and sustainability. Whole Foods has also spurred meatless sausage and salami, Tofurkys tor vegetarian other supermarkets to stock their shelves

Thanksgh ing dinners, and "not dogs" and "phony with a growing number ot organic products. baloncv" all out or soy. While 25 years ago health This combination ot environmental stew- consciousness was the domain of the countercul- ardship, flavor, and health is quietly building ture, and vegetarianism and food coops were a sign up around the country in schools, neighbor- ot pacifism, today they have become mainstream. hoods, and cities. As globalism increases in

An increasing number ot companies and our kitchens and supermarkets, there is a retailers have pioneered nationwide markets. countervailing trend of people who want to

1 he health-food mass movement was started see what can be produced in their area ot the in 1974 by a 25-year-old hippie and six- country. Most people realize, ot course, that

SMITHSONIAN FOLKLIFE FESTIVAL coffee and chocolate need warmer climates beet from totally or partially grass-fed cows. than America otters, but an increasing number And we are starting to ask questions about of them are looking regionally rather than the way these animals were raised. Do they nationally for food to eat. Farmers markets, come from a family farm? Are they fed schools, and chefs have been at the fore- organically? What does "natural" mean' front of this movement. Eliot Coleman, for But the move to sustainable growing goes example, a farmer in Maine, has come up with further, bridging community, environmental an enclosed, natural environment in which responsibility, and taste. As grower Lee Jones he can raise foods all year long. Following said at a recent summit on the American food his lead, restaurants like Stone Barns in revolution, "The best farmers are looking at

Pocantico Hills, New York, are using the a way to go beyond chemical-free agricul- system. Many college food services, spurred ture, they are looking at adding flavor and by Alice Waters and others, serve local apples at improving the nutrient content. They are in the tall, labeling the varieties. College going back to farming as it was five genera- food service administrators are increasingly tions ago. It's truly a renaissance—there is now visiting farms and farmers so that they can a chance tor small family farms to survive as make connections. The American University part of this new relationship with chefs." in Washington, D.C., for example, not only serves local cheeses, but its administrators FOOD AS EDUCATION: visit the farms from which the cheeses come. PASSING IT ON American consumers are demanding a greater variety of food, and they want to When my mother started to cook, she used know where their food comes from and the Joy of Cooking and the Settlement Cookbook, how it was produced. Today we can get period. Since increased diversity, sustainability,

and craft production have brought enthusiasm Eliza Maclean raises heritage Ossibaw pigs outside and energy to American food, there has been an of Chapel Hill, North Carolina. She is just one of an explosion of information about food. According increasing number of growers who are helping to to the Library of Congress, in the past years preserve the biodiversity of American food. 30 there have been over 3,000 "American" cook-

books published, more than in the 200 previous

years. At the same time, the number of cooking

shows has ballooned. In the early 19x0s, between

television and the discovery of chefs in newspa-

pers and cookbooks, something was happening.

The firefighters at one of Chicago's tirehouses

and shrimp fishermen in the bayous of Louisiana

wouldn't miss [ulia Child's show for anything,

except maybe a tire. It was only after she

brought American chets onto PBS that the Food

Network took oft with a series ot chefs who would become household names—Wolfgang Puck, Emeril Lagasse, and Paul Prudhonime.

Now, Americans tune in, buy their cookbooks,

and then seek out their restaurants. Chefs have

clearly become both major celebrities and major

influences in the way many Americans cook.

FOOD CULTURE USA The number However, Americans are learning about food traditions in other ways. Founded in Italy in [986, Slow Food was organized in response to the

of programs sense that the industrial values of tast tood were overwhelming food tradi- designed tions around the globe. As restaurants like McDonald's entered markets, they torced producers into their system of production and standards. This

for children reduced biodiversity, promoted commodity agriculture, and undermined has swelled hospitality. Slow Food, in contrast, would document traditions and biodi- versity and work toward protecting and supporting them. The International

in the past Slow Food movement now has over 83,000 members organized into

national organizations and local "convivía" that celebrate the diversity and "I decade alone. culture of their local foods. Slow Food USA has recently partnered with a number ot other organizations—American Livestock Breeds Conservancy,

Center tor Sustainable Environments at Northern o Arizona

• University, Chefs Collaborative, Cultural Conservancy,

I Native Seeds/SEARCH, and Seed Savers Exchange—in

a program called Renewing America's Food Traditions

e (RAFT). RAFT aims to document traditions, produce.

w and animal breeds, and then help their growers to develop

new markets so that they become economically viable.

Farmers markets and produce stands give

consumers direct contact with tanners, allowing them

to ask questions and learn about what is in season.

Personal relationships help to create a community

bond between growers and eaters There are also

opportunities tor people to become more directl)

invoked 111 the growing ot their tood. Local farms

called CSAs (community supported agriculture)

that are supported by subscribers who pay money

tor .1 portion ot the farm's produce and who also

work periodically planting, weeding, and harvesting

help people learn about the source ot their tood.

rhe number ot programs designed tor children has

swelled in the past decade alone. Probably the best-

known program is Alice Waters's The Edible Schoolyard

111 Berkeley, California. Begun 111 1994. the program

is designed to bring the community and experien-

tial ethos of the locally grown-sustainable movement

to middle school students. Seeing tood as central to

Students harvest kale at building individual health, fulfilling social relationships, and community

The Edible Schoolyard in lite, The Edible Schoolyard teaches children to plan a garden, prepare Berkeley, California, and soil, plant, grow and harvest crops, cook, serve, and eat— in its phrasing, (opposite) the Washington food "from seed to table.'' Students collaborate in decision-making on all Youth Garden at the aspects ot the garden. Working closely with the Center for Ecoliteracy, U.S. National Arboretum

in Washington, DC. The Edible Schoolyard teachers have been on the forefront ot designing

a curriculum that can place food at the center ot academic subjects

such as math, reading, and history in order to "rethink school lunch."

SMITHSONIAN FOLKLIFE FESTIVAL a

27

Similarly, the Culinary Vegetable Institute scape dominated by pre-packaged goods— in Huron, Ohio, has launched Veggie U to closer association with processes such as soil educate food professionals and the general preparation, harvesting, and cooking that public about vegetable growing and cooking. previous generations took for granted. And it is

Recently, it has developed a curriculum for an awareness oí what a meal is, and how meal- schools that will soon be m Texas systems. time is a time to slow down, to listen, and to

The Center for Ecoliteracy has developed a savor food. Perhaps most importantly, it is about detailed "how-to" guide for school systems sharing these things —or passing them on. programs. to follow in creating their own This sharing and understanding take Across America, sponsored by the Spoons time that today's busy schedules frequently American Institute of Food and Wine and don't allow. However, many are realizing the |ames Beard Foundation, sponsors Days that the richness of shared experiences ofTaste in schools across the country. Local involving food is too precious to give up. programs also abound. In Washington, D.C., Thev think about the taste of a fresh carrot Brainfood teaches children about life skills pulled from a garden on a summer atternoon through food activities after school and during or a meal savored with family and friends. the summer. The Washington Youth Garden The food revolution that we celebrate gives children from the Washington, D.C., looks both backward and forward: back- public schools hands-on experience gardening ward to long-held community traditions in and then cooking their harvest. Programs growing, marketing, cooking, and eating; like these are growing across the country. forward to innovations for making these Then, of course, there is the time- traditions sustainable and passing them on to honored way of passing traditions on in family future generations. It depends on nurturing kitchens and on family farms. Hopefully, many a physical environment that supports diver- of these more formal programs remind cooks sustaining the know ledge needed to and growers to explore their own family tradi- sity; cultivate that biodiversity; and passing on tions and the foodways of those around them. traditions of preparing and eating. Together,

traditions are the foundation ot This food revolution is about growing and these

cooking traditions and their adaptation to new much of our shared human experience.

not cat together? circumstances. It is about finding—amid a land- Everyone has to eat; why

FOOD CULTURE USA .

SALAD GREENS WITH GOAT CHEESE, PEARS, AND WALNUTS

This recipe comes from Joan Nathan's The New American Cooking,

to be published in October 2005 by Alfred A. Knopf.

One of the most appealing recipes to come out of Alice Waters's Chez Panisse Restaurant

in Berkeley, California, is a salad of tiny mache topped with goat cheese. How revo-

lutionary this salad seemed to Americans in the 1 970s! How normal today.

Alice got her cheese from Laura Chenel, a Sebastopol, California, native who was trying to live [28] off the grid, raising goats for milk. The same year Chez Panisse really caught on, Laura went to

France to learn how to make authentic goat cheese. When she came back, she practiced what

she had learned, and it wasn't long before a friend tasted her cheese and introduced her to

Alice. "All of a sudden the demand was so great," Laura told me, "that I had to borrow milk

from others." Beginning with its introduction at Alice's restaurant at the right moment in 1979,

the goat cheese produced at Laura Chenel's Chevre, Inc., became a signature ingredient in the

newly emerging California Cuisine. Today, artisanal cheese (made by hand in small batches

with traditional methods) and farmstead cheese (made on the farm where it is milked) make

up one of the largest food movements in the United States. Chevre, Inc., has become synony-

mous with American chévre, and Laura still tends her beloved herd of 500 goats herself.

Vi cup walnuts 1 Preheat the oven to 350 4. Spread some of the goat

degrees. Spread the of 1 teaspoon Dijon mustard out cheese on the rounds

walnuts in a small baking French bread and top with 2 tablespoons balsamic vinegar pan and toast them in the a pear round. Then spread Vt teaspoon sugar oven until lightly browned, some more cheese on top 2 tablespoons walnut oil 5 to 7 minutes. Take the of the pear. Bake in the 2 canola tablespoons walnuts out of the oven, oven a few minutes, until or vegetable oil but leave the oven on. the cheese has melted. Salt and freshly ground 2. Mix the mustard with the pepper to taste 5. While the cheese is baking, vinegar and Vi teaspoon of 2 ripe Bosc pears add the salad greens to sugar in a large salad bowl. the salad bowl with the 5 ounces goat cheese Slowly whisk in the walnut thin pear slices and toss 6 slices French bread, and canola or vegetable gently to mix. Divide the cut in thin rounds oil. Season with salt and salad among 6 to 8 plates. 8 cups small salad greens pepper to taste. Set aside.

6. Place the hot pear-cheese

3. Cut 1 pear into thin rounds on top of the rounds. Peel and core greens, scattering the

the second pear, slice it walnuts around and serve. in half lengthwise, and Yield: 6-8 servings cut into thin strips.

SMITHSONIAN FOLKLIFE FESTIVAL SUGGESTED READING Schneider, Elizabeth. 1998. Uncommon

Fruits & Vegetables: A Commonsense Guide. York: William Morrow. Belasco, Warren. 1989. Appetitefor Change: New

How the Counterculture Took over the Food Industry,

. 2001 . I egetables from Amaranth 1966-1988. New York: Pantheon Books. to Zucchini:The Essential Reference. New York: Morrow Cookbooks. Brenner, Leslie. 1999. American Appetite:The

Coming ofAge of a Cuisine. New York: Avon Bard. Trager, James. 1995. The Food Chronology: A Food

Lover's Compendium oj Events and Anecdotes from Fitch, Noel Riley. 1997. Appetite for Life:

Prehistory to the Present. New York: Henry Holt. [29] Tlie Biography oj Julia Child. New York: Doubleday.

JOAN N AT HAN, guest curator of Food Culture Franey, Pierre. 1994. A Chef's Tale: USA, is the author ot numerous cookbooks, A Memoir of Food, France, ami America. including Jewish Cooking in America, which won New York: Alfred A. Knopf. both the James Beard Award and the IACP/Julia

Gabaccia, Donna R. 1998. We Are Wliat We Child Cookbook of the Year Award. She has been

Eat: Ethnic Food and the Making oj Americans. involved with the Smithsonian Folklife Festival as

Cambridge, Mass.: Harvard University Press. a presenter, participant, and researcher for over 25

years. The Food Culture USA program is inspired Halweil. Brian. 2004. Eat Here: Reclaiming by the research she conducted for her cookbook, Homegrown Pleasures in a Global Tlie New American Cooking (Alfred A. Knopf, Supermarket. New York: WW. Norton. October 2005).

Hess, John L., and Karen Hess. 1997. TheTaste All photographs courtesy ofJoan Nathan of America. New York: Grossman Publishers. unless noted otherwise.

Lappé, Francis Moore. 1971. Diet for a Small

\ I Planet. New York: Ballantine Books.

Oldenberg, Ray. 1989. The Great Good 'PW^ Place: Cafés, Coffee Shops, Community

Centers, Beauty Parlors, General Stores, Bars,

Hangouts, and How They Get Yon Through the Day. New York: Paragon House.

Pollan, Michael. 2001. The Botany of Desire: A Plant's Eye I lew of the

World. New York: Random House.

Reardon.Joan. 1994. M.F.K. Fisher, Julia

Child, and Alice Waters: Celebrating the Pleasures of thcTable. New York: Harmony Books.

Schlosser, Eric. 2001. Fast Food Nation:

The Dark Side of the Ail-American Meal.

New York: Houehton Mifflin.

FOOD CULTURE USA w

. A> wm:

~ FOREST SERVICE, CULTURE, AND COMMUNITY

TERESA HAUGH AND JAMES I. DEUTSCH

Lezlie Murray was in the fifth grade, [3i Whenshe took a class outing to the nearby Gifíbrd Pinchot National Forest in

southwestern Washington State. "My best

friend's father was a ranger, and he took our class out into the forest and talked to us about the trees and everything that was a part of that environment. It really stuck with me." Now an interpretive naturalist and director ot the Begich, Boggs Visitor Center at Portage Glacier m Alaska's Chugach National Forest, Murray has always cherished that early turning point in her life. "Every day I pinch nvyselt when

in the I get up," she explains. "I'm in the most beautiful place

world. I've done a lot of traveling, so

I can say that and really mean it."

In many ways, Murray's story is

not unusual for those who live and

work in the forests, whether public

or private, m the United States.

Growing up near a forest, or having

a relative who has worked outdoors

with natural resources, seems to

influence one's choice of career path.

Take, for example, Kirby Matthew,

a fourth-generation Montanan who grew up near the Trout Creek Ranger

Station in Montana's Kootenai

National Forest. His father worked

as a logger and then with the Forest

Service, so it was natural tor Kirby

himself to enter the Forest Service,

where he has "a history." He now

works for the Forest Service's

Historic Building Preservation

Team in Missoula, Montana.

Lezlie Murray leads a group of

visitors on a trail to Rainbow Falls in Alaska's Tongass National Forest. —

OCCUPATIONAL CULTURE Kennebec River in central Maine; pranks and

jokes, which are often directed at the newest The 2005 Smithsonian Folklife Festival program rookie; stones and personal remembrances Forest Service, Culture, and Community pres- nt work incidents or characters; and a wide ents occupational traditions from the USDA assortment ot customs and superstitions. What Forest Service, an organization celebrating tolklonsts at the Smithsonian try to under- its centennial, as well as other forest-depen- stand, as they identify and ask questions about dent traditions from the cultural communi- different occupational traditions, are the skills, ties it serves. Approximately too participants specialized knowledge, and codes of behavior are on the National Mall to share their skills, that distinguish a particular occupational 3 3] experiences, and traditions with members group and meet its needs as a community. of" the public; they include tree patholo- Another way ot looking at occupational gists, wildlife biologists, landscape architects, culture is to see it as a part ot a particular historic horticulturalists, botanists, bird banders, company, agency, or organization. As [ames archaeologists, environmental engineers, fire- Q. Wilson observes, "Every organization has fighters, smokejumpers. recreation specialists, a culture, that is, a persistent, patterned way backcountrv rangers, wooden vers, basket of thinking about the central tasks of and makers, quilters, instrument makers, musi- human relationships within an organization. cians, poets, storytellers, and camp cooks. Culture is to an organization what person- Forest Service, Culture, and Community builds ality is to an individual. Like human culture upon previous Folklife Festival programs that generally, it is passed on from one genera- have examined occupational traditions, such tion to the next. It changes slowly, if at all." as American Trial Lawyers in [986, Wliite House The tooth anniversary of the USDA Forest Workers in 1992, Working ¡11 the Smithsonian in Service in 2005 provides a splendid oppor- [996, and Masters oj the Building Arts in 2001. tunity for understanding and appreciating its Every occupational group including cowboys, organizational and occupational cultures. factor) workers, farmers, firefighters, loggers,

miners, oil workers, railroaders, security offi- The occupational culture of the cers, even students and teachers — has its own USDA Fotest Service is represented

traditions, which may have a variety of forms. by a diverse group of workers.

One such form is the use oí a special-

ized vocabulary. For instance, city doctors

may refer to malingering hospital patients

as gomers, perhaps an acronym for "(let Out

ot My Emergency Room"; loggers in the

Northwest refer to blackberry ¡am as beat sign

and hotcakes as saddle blankets; and academics

refer to then' doctoral degree as their union card,

and books as tools of the trade, as if to suggest

that their ivory-tower realm has the same rigor

and robust organization as the factory floor.

In other cases, occupational traditions take

the form of specialized tools, gear, and clothing

worn by members ot the occupational group;

ballads and folk songs, such as "The [am on

Gerry's Rock," which tells oi a tragic accident

that occurred when floating logs jammed on the

SMITHSONIAN FOLKLIFE FESTIVAL FOREST SERVICE HISTORY

The origins of the Forest Service go back to the mid- to late 19th century, when natural resources were in high demand throughout the country.

Homesteaders wanted land, miners wanted minerals, and everyone wanted timber. People often took what they wanted with little regard for the impact on the environment or for the future state of our natural resources. However, in

3 3 1891, realizing the need tor greater control over our forests, the U.S. Congress passed the Forest

Reserve Act, which authorized the President to establish forested public lands in reserves that would be managed by the General Land Office According to Gifford Pinchot, first Chief of the (GLO) in the Department of the Interior. Forest Service, "Our responsibility to the Nation is One of the first employees of the GLO was to be more than careful stewards of the land; we

Gifford Pinchot (1865— 194.6), a Yale graduate must be constant catalysts for positive change." who not only had studied forestry in France and Germany but was also a personal friend of that amendment, forest reserves were renamed

President Theodore Roosevelt. (Pinchot was to national forests, leaving no doubt that forests become the namesake for the national forest that were meant to be used and not preserved. naturalist Lezlie Murray visited in the [960s.) While most of the new national forests

Believing that professional foresters in the were in the West, the passage of the Weeks Act

Department of Agriculture and the forests they 111 1911 allowed for the acquisition of lands in cared for should both be part of the same federal the East to protect the headwaters of navigable agency, Pinchot convinced Roosevelt in 1905 to streams. With that, the National Forest system approve the transfer of the forest reserves from became more environmentally diverse. Because the Department of the Interior's GLO to the Pinchot was convinced that the people who had

Department of Agriculture's Bureau of Forestry. decision-making powers over forests should live

As a result of this Transfer Act, 63 million acres near the lands they managed, the Forest Service of land and 500 employees moved to the USDA, set up district offices 111 California, Colorado, and a corps of trained foresters was assigned Montana, New Mexico, Oregon, and Utah. the work of conserving America's forests, with Forest supervisors and rangers were given a

Gifford Pinchot as the first Forest Service Chief. degree of flexibility with their finances, and they

On July 1, [905, the Bureau of Forestry was became the voice of the Forest Service in the renamed the Forest Service, because Pinchot local communities. Later, districts were added tor believed the new title better reflected the Alaska, Arkansas, Florida, and the Eastern states. mission of the agency as being one of service. Today, in 2005, the National Forest system

From 1905 to 1907, in spite of opposi- includes isS national forests and 20 national tion from local governments and the timber grasslands, and it encompasses 193 million acres industry, Pinchot and Roosevelt added millions of land m 42 states, the U.S. Virgin Islands, and of acres to the forest reserves. Congress reacted Puerto Rico. This total acreage (roughly 300,000 in 1907 by passing an amendment to the square miles) is larger than the entire state of agricultural appropriations bill, taking away Texas, and comparable in size to the states of from the President the power to create forest New York, Pennsylvania, Ohio. Indiana, Illinois, reserves and giving it instead to Congress. In and Wisconsin combined. With nearly 38,000

FOREST SERVICE, CULTURE, AND COMMUNITY employees, the USDA Forest Service

is larger than any other land-manage-

ment agency, including the Bureau of Land Management (roughly 11,000

employees), National Park Service

(roughly 20,000 employees), and Fish and Wildlife Service (roughly 9,000

employees), all oí which are part of

the Department of the Interior.

THE STATUS OF THE NATIONAL FOREST SYSTEM TODAY

For the past 100 years, the mission

of the Forest Service has often been

described in Pinchot's words as conser-

vation foi the greatest good oj the greatest

numbei 111 the long run. However, the

idea oí what is the greatest good can

change. Accordingly, the Forest Service

has had to deal with many strongly

held opinions about how national

forests should be managed and used.

Employing a concept of multiple use,

and thus differentiating itself from

other land management agencies, the

Forest Service has tried over the years

to accommodate a wide variety of

uses for the forests and grasslands it

manages: timber, grazing, recreation,

wildlife, and watershed protection.

The relative value of extracting

resources from national forests often

changes with current national events.

For instance, after World War IF the

demand tor wood surged as American

GIs returning from the war needed

new housing for their families and

as the United States was helping to

rebuild [apan.As a result, the Forest

Service was pressured to exchange

older, slow -growing timber stands

tor younger, taster-growing trees.

Golden Aspen trees in Idaho's

Sawtooth National Forest.

SMITHSONIAN FOLKLIFE FESTIVAL [35]

A forest ranger in 1910 poses while carrying his In 1919 Helen Dowe was one of the early heavy equipment load. After passing a written fire lookouts in Colorado's Pike National examination, rangers had to endure hardships and Forest, scanning the landscape for smoke perform labor under trying conditions. and signs of fire below

Wood and other forest products are still ORIGINAL FOREST RANGERS in demand, and the Forest Service must ON THE JOB search for the best ways to balance social, economic, and ecological demands. As the multiple-use mission ot the agency

The forests have additional value as evolved, so did the Forest Service workforce. homes to countless species of fish, birds, In the newly minted Forest Service ot 1905. other wildlife, and plants, some ot which are all employees were men. Rangers were custo- threatened or endangered. Forest Service dians of the land and proudly donned new employees must look tor ways to protect uniforms with Forest Service shields, rode habitat while providing places for the public on horses, carried guns, and wore hats. They to view plants and wildlife with minimal envi- were paid $60 per month and had to furnish ronmental impact. Fresh water from national their own equipment and pack animals. forests and grasslands teeds into hundreds To be hired as .1 forest ranger, a man had ot municipal watersheds across the country, to have both scientific knowledge and practical thereby providing clean drinking water to skills. He had to know about forestry, ranching. nearly do million people. And as the nation livestock, lumbering, mapping, and cabin building. becomes increasingly urban, people look to In addition, he had to demonstrate that he could their national forests as places tor fun and saddle and ride a horse, pack a mule, use a compass, recreation. They want somewhere they can and shoot a rifle. Some applicants were even camp and hike, breathe fresh air, sit under asked to cook a meal. In 1905, all Forest Service the shade ot trees, and listen to birds sine. regulations could be contained 111 a single 142-

FOREST SERVICE, CULTURE, AND COMMUNITY page book, which could fit in the rangers shirt wildlife biologists, fishery biologists, hydrologists,

pocket. By contrast, todays Forest Service manuals mineral experts, engineers, researchers, ecolo-

till many bookshelves and computer disks. gies, forest planners, computer programmers,

In the early days, forest rangers and then entomologists, firefighters, and other specialists

families lived in isolated places. They went where they were assigned, often on short FORESTRY — GROWING TREES

notice. Their wives cooked, kept watch in fire Unlike some other natural resources that are lookout towers, and took care of any visitors used once and then lost, forests are entities who showed up at the doorstep (the ranger's that live and breathe, and can be renewed. house was usually the last one at the end of a [3 6] Forest ecosystems can be maintained through very long road). Families learned to be self- good management, making the best use of sufficient, manage without electricity, and enjo) scientific research, such as ensuring natural the adventure of living close to the land. Many regeneration or planting seedlings to replace children grew up believing this way of life was the trees that have burned or have been cut. the norm, and learned to love and appreciate the Professional foresters use mam tools in outdoors. The forest ranger by necessity became maintaining forest health. For example, they part of the community where he lived. The take core samples and count annual rings ranger developed working relationships with to help them understand how old a tree is, the local ranchers, loggers, hunters, and fish- and to get a glimpse of the tree's life cycle. ermen. He was responsible for enforcing rules, Foresters study how crowded trees are. how issuing permits, and maintaining boundaries. much undergrowth is present, and what kind The roles played by these early forest rangers of wildlife is dependent on the local habitat. As foreshadowed the organizational culture and Saul Irvin.a ranger with the florida Division structure of the agency we see today. In the 2 1st ot Forestry, explains, "We plant trees, we mark century, regional foresters, forest supervisors, and trees, we control burn [intentionally setting district rangers are vences of authority in local a fire for prescribed purposes], we do every- communities, and are supported by a diverse thing it takes to keep the forest growing." workforce ot men and women that includes

CONTROLLING FIRES

After a fire in 1936 in Montana's Lolo National At the beginning of the 20th century, many

Forest, workers re-planted Ponderosa Pine professional foresters were trained 111 Europe,

trees in an effort to rehabilitate the forest. winch did not prepare them for the monu-

mental tires that used to sweep the North

American continent. Early settlers tended

to let large fires burn to clear the land for

grazing, but. as populations increased, people

started looking at the threat of fire in a

different way, and the control of tires became

a major part of the Forest Service's work.

After a million-acre tire in Washington

and Oregon claimed 38 lives 111 1902. the Forest Service became more systematic m

its approach. It stationed people in lookout

towers, hired firefighters, and after World War I

hired Army pilots to spot fires from the air.

I he Civilian Conservation Corps was enlisted

SMITHSONIAN FOLKLIFE FESTIVAL [3 7]

Fully suited, these smokejumpers in 1952 practice parachute-steering maneuvers while also strengthening their arm and shoulder muscles.

during the 1930s to tight fires throughout consecutive seasons on lookout tower duty. the West. In 1940, Rufus Robinson and Earl Ashworth doesn't feel alone when she is sitting

Cooley became the world's first smokejumpers, m the lookout tower, however, because she is parachuting into Idaho's Nez Perce National connected to others via radio. She describes her

Forest. Today, airplanes and helicopters drop not job poetically:"! never get tired of it. It's always only firefighters and equipment on tire lines beauty. It's always the drama in the sky but also water and tire-retardant chemicals. I live m the air. I can see 60, So. 100 miles."

Forest Service researchers are very proac- Ot course, lookouts are only one tive in studying fire and how it affects forests part of the fire workforce. Others, such m the long run. They consider whether it is as smokejumpers and firefighters, experi- better to stop fires or let them burn and how ence fire from a very different perspective. fire might actually improve wildlife habitat As Kelly Esterbrook, a former smokejumper and encourage the growth ot new trees. Fire from Oregon, observes, "You definitely researchers manage torests to make them more have to like to be physical. You just don't resilient to wildfire by removing underbrush get through the training program if you and excess trees that literally add fuel to the tire. don't enjov it. You have to like adventure.

Sometimes they even use tire as a prescription It's probably the best job I've ever had." to restore health to a forest that is overgrown Firefighters enjoy the challenge and the or has the potential to burn out ot control. camaraderie of the work. Linda Wadleigh. .1

The history ot fire prevention in the fire ecologist from Flagstaff, Arizona, began

Forest Service is as old as the agency. For as a forester but ended up as a firefighter. many employees, their first job was keeping Wadleigh recalls, "Here I was a forestry major,

o a 360 vigil from a tire lookout tower, often and I decided I had a real love for fire. I was spending their days m solitude. While lookouts raised a forester, but I was baptized in tire." do have contact with the outside world, they She describes firefighting as compelling.

have had to find ways to fill their time. They "Being called on a fire is one ot the strangest

is might be found playing the guitar, writing experiences. . . . [The love ot tiretightmg]

a novel, or even riding an exercise bike. a genetic disorder. . . . Once you smell the

Donna Ashworth of Arizona has spent 26 smoke, it brines out the flaw in your DNA."

FOREST SERVICE, CULTURE, AND COMMUNITY ká.

!

i

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mKP HI

A backpacker sets up camp at Buck Creek Pass in the Glacier Peak Wilderness of Washington's Okanogan

National Forest There are more than 450 trails here, and most are not completely snow free until mid-August.

MANAGING RANGELANDS raphers, birdwatchers, and Sunday drivers.

Wildlife enthusiasts visit to catch a glimpse In addition to protecting forests and righting of vvhitetail deer, prairie dogs, prairie tires, the Forest Service also oversees the chickens, grouse, and butterflies. management ofrangelands and grasslands. Managers have long realized that the well- Ranchers depend on Forest Service grazing being of forests and grasslands depends largely penults to provide forage for then cattle on the health of the soil and the presence and livestock. The Forest Service works to of water. To grow plants and trees, they look meet the needs of the ram hers, while at the tor vvavs to maintain healthy soil, match the same time insuring that rangelands remain right species to the soil, and prevent erosion. healthy and available to future generations. Especially in more arid areas of the West, the Ranchers are not the only ones who enjo) amount of rainfall is vital. Chuck Milner. a

what national grasslands provide. Visitors range specialist m Oklahoma's Black Kettle come tor hiking, hiking, hunting, camping, Ranger 1 )istrict, notes how "w hen it rams,

fishing, and canoeing. The scenic beauty of everybody looks smart; when it doesn't

national grasslands is an inspiration to photog ram, then you can't do anything right."

SMITHSONIAN FOLKLIFE FESTIVAL PROTECTING WILDLIFE HABITATS

Forest Service wildlife k>iologists are concerned with careful manage-

ment and conservation practices, and their efforts have brought

species like whitetail deer and wild turkeys back from the brink of

extinction. Wildlife biologists also deal with the concept of multiple 'The beauty of

use, trying to balance public demand tor hunting opportunities with the job is not the desires of others who prefer to watch or photograph animals in their natural environment. becoming too Wildlife biologists consider it imperative to look at an ecosystem focused and as a whole. Jame Agyagos from the Red Rock Ranger District in 3 9J Sedona, Arizona, avoids over-specialization. "The beauty of the honed in on job is not becoming too focused and honed in on one species, one species, but learning a little bit about everything around you."The impor-

tant aspects of her work are '"recognizing when there's a break but learning a

in the link somewhere, how our activities might be affecting the little bit about workings of the system, and how we can change our manage-

ment to bring those workings back to their proper condition." everything

Wildlife biologists work to increase their knowledge of wetland around you." habitats, of the different species that depend on dead and dying trees,

of the effects of fire on wildlife habitat, and of the crucial role played Janie Agyagos

by old-growth trees. Biologists use tree thinning and tree planting as

ways to increase the food supply for

wildlife. They study questions such as

how owls depend on old-growth tree

species and how migrating salmon arc

affected by sediment and tempera-

ture in streams. Their work is vital

because national forests and grasslands

provide 80 percent of the habitat for

elk, bighorn sheep, and mountain

goats 111 the continental 4s states, as

well as 12 million acres of waterfowl

habitat, 2.S million acres of wild turkey

habitat, and habutat for 250 species

of Neotropical migratory birds.

The Nootropics are the region of

the New World that stretches south- ward from the Tropic of Cancer

Forest Service researchers work to

maintain healthy habitats for both plant and animal species.

FOREST SERVICE, CULTURE, AND COMMUNITY --^i'liunterw eight jih

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AAAAAAAAAAAAAAÁÁAAAAAAyWVWWX,

[40]

The leafy tops of tall trees in an old-growth forest form a canopy, a nurturing shelter for the life below Canopy

cranes allow scientists to research this hard-to-reach environment. There are currently 10 canopy cranes around

the world, but the Wind River Canopy Crane in Washington State is the tallest at 282 feet, and covers six acres

under its swing. Illustration by Bob Van Pelt, courtesy Wind River Canopy Crane Research Facility

TREE DOCTORS photosynthesis occurs. Scientists study the effect

ot lichens and fungi, and measure the effects Many Forest Service scientists arc ac tivcb of pollutants on trees. For Meinzer, the canopy involved in research to promote the health oí crane provides an opportunity for understanding trees and other plants, covering the fields of how plants work. "A lot ot people tend to regard botany, chemistry, ecology, silviculture, plant plants as inert objects, and they're surprised and animal interactions, vegetation dynamics, they have a physiology. But when you really invasive plants, insect population, and molecular get into it. it's amazing how complex and how genetics These researchers often act as tree integrated plants are. That's what fascinates me." doctors, tackling threats to plants and trees in

national forests and grasslands, and employing DEVELOPING FOREST PRODUCTS a variety of tools. |ust as your personal physi-

( 1 .1 1 1 has to look at your entire body and life- Scientific research often contributes to the

style to understand your health problems, tree development ot new forest products. The

doctors need to look at the forest as a whole. forest product that most often comes to

For example, the Pacific Northwest mind is lumber, but there are a number ot

Research Station and GifFord Pinchot National non-timber forest products as well, winch are

I orest work 111 partnership with the University used by the residents ot forest communities.

of Washington to conduct research at the Wind Examples include foods such as mushrooms;

River Canopy Crane. From the gondola of a medicinal plants such as ginseng and ginkgo:

250-toot (25-story) crane, employees such as floral products that include moss, vines, ferns,

Kick Meinzer and David Shaw conduct experi- and evergreens; and the wood used in decora-

ments 111 the canopies ot trees as tall as 220 feet. tions and crafts. In some places, non-timber

They look at the place where the forest is open forest products provide more employment

to the sky, because that's where trees bud and tor a local community than timber cutting.

SMITHSONIAN FOLKLIFE FESTIVAL Overgrown, a dense forest can burn like ENFORCING THE LAW matchsticks in a wildfire, but it can be thinned, The Forest Service Law Enforcement and and the thinned materials can be used for Investigations (LEI) staff has the overall job of a winery ot products. The Forest Products upholding the laws and regulations that protect Laboratory, established in iyio in Madison, natural resources. Law enforcement personnel Wisconsin, is the nation's leading wood protect natural resources, people, and property, research institute, studying various aspects of often working in partnership with local, state, paper making, wood preservation, and recy- and other federal law enforcement offices. cling. Their research has helped increase the As Berneice Anderson, a Regional Patrol average lumber yield per log from 25 percent Commander based in Milwaukee. Wisconsin, to 60 percent, extended the life of railroad ties, explains, "A lot ot people think that everyone and developed protocols for the U.S. Postal who visits the forest is out to have a very good Service to make no-lick stamps recyclable. afternoon or weekend, enjoying the natural

resources and the scenery. And that's what we PRESERVING OUR HERITAGE hope tor, but we also know that at any given

time we have to be prepared tor the things While many Forest Service researchers are that are negative." As a result, LEI officers may looking to the future, another section ot the be called upon to investigate crimes such as agency's workforce is actively involved in timber theft, arson, or the illegal cultivation of preserving the past and connecting people's marijuana on national forest lands. They also history to the land. As described by the Forest protect archaeological sites, investigate vehicle Service's National Heritage Strategy, "Waiting accidents, provide first aid, educate the public, silently in the mountains, canyons, and river and assist in search and rescue operations. valleys of our national forests and grasslands The duties of LEI officers can be life are the remnants of past cultures that confront threatening. For this reason, Andy Coriell, us and remind us of the centuries-old rela- Patrol Captain on Oregon's Mount tionship between people and the land. These Hood heritage resources hold clues to past ecosys- tems, add richness and depth to our landscapes, provide links to living traditions, and help transform a beautiful walk 111 the woods into an unforgettable encounter with history."

Empowered by the National Historic

Preservation Act ot 1996, archaeologists and other heritage specialists locate artifacts and historical sites in order to preserve and protect them from road construction, prescribed burning, and vandalism. Artifacts that are located and protected include pottery, baskets, ancient tools, rock paintings and petroglvphs, and, in some cases, prehistoric dinosaur bones.

Jeff Bryden and Flash, a Chesapeake Bay Retriever,

make a great law enforcement team. Flash is the first dog in the Forest Service trained to detect

contraband fish and wildlife, instead of drugs.

Flash can also track lost visitors.

FOREST SERVICE, CULTURE, AND COMMUNITY —

"The essential National Forest, is glad to have what he desenlies as supe- rior equipment on the cutting edge of technology. "I don't piece is to capture go to work ever without a bullet-proof vest on. We carry

people's interest semi-automatic weapons, handcuffs, pepper spray, baton, radio,

and pretty much else stick m stories and art, anything you can on a belt." Jefi Bryden, the lead law enforcement officer on Alaska's the cultural expres- Chugach National Forest, finds one- of his greatest assets to be

sions that come his canine (K-9) partner. Flash, a Chesapeake Bav Retriever that from the heart has completed rigorous training and wears its own Forest Service 4- badge. Like main' employees, Bryden dreamed of working for the and the heads Forest Service from a young age.'Tretty much, I'm doing what I

of the people." planned on doing my entire life. When I was knee high to a gopher,

1 planned on working 111 natural Rita Cantti resource law enforcement."

< ¿•'«TOflanBj SEEKING INSPIRATION FROM THE FORESTS

For centuries, artists have been captivated

by the beauty of the mountains, lakes,

streams, woods, and wildlife found 111 our

forests and grasslands Clifford Pinchot,

the first Chief of the Forest Service,

was inspired to the conservation cause through the 19th-century paintings of

the Hudson River School that showed

scarred mountains 111 the Northeast

devastated by logging and farming.

Jim Denney, District Facilities Manager

at the McKenzie River Ranger Station

in Oregon's Willamette National Forest,

is a contemporary artist who shares the

same spirit as the Hudson River School

painters in depicting the changes that

have taken place 111 the landscape. One Rita Cantu works for the interesting historical coincidence, according to I )ennev, is that

Forest Service as an interpreter "111 the mid- 19th century, there was a merchant 111 New York who and environmental educator, collected works by the Hudson River painters. Cine painting called but she is also a storyteller, Huma Mountain by Sanford Clifford depicted a clear-cut with a little songwriter, and singer who

cahm in the middle it. plays more than a dozen of The merchant who bought the painting instruments was James Pinchot, and he named Ins son after that painter

Clifford Pinchot, who became the father of the Forest Service."

Traditional artists and crafters have long had a close relationship

to forests and the materials that they provide. Forest Service archae-

ologists have discovered baskets made from spruce roots that are as

old as the earliest civilizations on the North American continent.

Weavers today still make baskets out of roots, vines, and branches.

SMITHSONIAN FOLKLIFE FESTIVAL 4.1

>

Working for the Forest Service since 1966, Jim Hammer uses pack animals to haul his equipment as he constructs and preserves trails in Washington's Okanogan and Wenatchee National Forests.

Other crafters collect wood, antlers, beeswax, piece is to capture people's interest in stones quills, acorns, flowers, twigs, bark, moss, and and art, the cultural expressions that come pine resin to create their arts, crafts, and house- from the heart and the heads of the people." hold objects. Woodworkers use forest products for a variety of items that run the gamut from COOKING AND CAMPING intricately carved figurines to musical instru- ments and canoes. For instance, Nathan Jackson, Some art is edible, such as pies, jams, and a Tlingit woodcarver from Ketchikan, Alaska, medicine that have been made from wild has received the prestigious National Heritage foods and herbs. From the earliest days of tent

Fellowship from the National Endowment for camping, cooks have enjoyed making meals the Arts for his totem poles, clan crests, masks, on open fires. The love for camp cooking has canoes, and carved doors, all made within not disappeared, and the National Museum the traditions of the Tlingit people. When he of Forest Service History recently published a carves something, it is intended ro be used, not cookbook with traditional Dutch oven recipes left on display. For example, "A canoe is just that have been used in the field by rangers and a boat." he explains, "but it gets you to think fire tower lookouts (see Suggested Reading). about what our people used to do, and how Jim Hammer, Trails Coordinator on the they put good material to good use. Then this Methow Ranger District in Washington State, canoe becomes an extension of our culture." recalls the typical breakfasts (with distinctive

Forest Service employee Rita Cantú from names) that might be eaten by the crew. "If you

Arizona works with the Conservation and were with an old packer, like old Bill Imes, you'd the Arts program to connect communities have spotted dog [i.e., oatmeal] along with what- to nature through the arts. The program uses ever else you had. And with a couple of the old artists, dancers, writers, musicians, storytellers, packers, the only variety you'd ever have from and poets to tell the story of the growth of bacon, eggs, and hotcakes was eggs, bacon, and conservation policy in the United States. "It's hotcakes. It all the animals were in and breakfast not enough just to manage our resources was ready, we'd have one old boy that'd holler wherever they might be, separate from the out, 'The dog's gut a spotl'That meant breakfast communities," Cantu maintains. "The essential was ready and you'd better be getting up."

FOREST SERVICE, CULTURE, AND COMMUNITY DUTCH OVEN ONE-POT MEAL

Thomas M. Collins of North Ogden,

Utah, retired Forest Service employee

Ingredients

1 Vi to 2 pounds of small to medium

red potatoes, washed and unpeeled

2 medium heads of cabbage,

cut in wedges ] I 44 3 onions, quartered

8 ears of sweet corn on the cob,

cleaned and broken in half

2 pounds of smoked kielbasa or other

smoked ring sausage, cut into quarters Rock climbing, hiking, and rappelling are just a few methods 1 quart water for bringing people closer to nature in the national forests

Place the potatoes on the bottom of PROMOTING RECREATION a 12-inch Dutch oven and layer as

follows: cabbage, onion, corn, and Recreation takes many tonus. In communities around the sausage. Add water and cover tightly to nation, families can join in Forest Service programs that keep in moisture. Cook for about one teach them not only how to fish, but also how to protect hour, with 10 to 12 charcoal briquettes fish on the bottom, replacing charcoal as habitats, protect water quality, operate a boat safely,

needed. The smoky juice from the and practice the principles of catch and release. Enthusiasts

sausage drips down through the other can go hiking, biking, bird watching, horseback riding,

food and gives it a good flavor. Serve hunting, skiing, sledding, ice skating, snow shoeing, snow- from the Dutch oven, or transfer some boarding, rock climbing, canoeing, surfing, diving, swim- of the top layers to other containers ming, or camping— to name a tew. The Forest Service for easier access to the potatoes on the maintains trails that range short nature hikes for bottom. Season to taste. Serves 6 to 8. from

photographers to rugged backcountry trails for backpackers.

r Thomas Collins explains: I got this recipe Man\ trails are accessible to people with disabilities.

from a horse packer in Montana. It is Main' people have long recognized the need to probably derived from the old cream-can leave parts of America undisturbed by humans. The first dinners that were used by early settlers wilderness areas in the United States were established in New England and the Midwest when by the Forest Service in 1920; since then, close to 100 feeding large numbers of workers at grain-threshing bees and other work million acres of wilderness have been added to the system.

parties. The food was layered in several The United States has far more acres of wilderness set

five-gallon cream cans With the lids on, aside than any other country in the world, and in 2004 they were put on the coals of a wood celebrated the 40th anniversary of the Wilderness Act. fire to cook. When serving, the food was In wilderness areas, visitors are united to come, but generally separated. The cook took the not to remain. Programs such as Leave No Trace teach meat out (different kinds of smoked meat to their trash, use could be used), cut it up, and served it so wilderness visitors pack out lightweight

everyone received some meat. This one- stoves instead of making fires, stay on designated trails,

pot meal was a natural for Dutch ovens. control horses, and leave cultural and historical sites alone.

1 he forest Service has a cadre of employees whose job Reprinted with permission from Camp is to talk about the ot forests, wildlands, and nature. Cooking. WO Years by the National value Museum of Forest Service History. Interpretive naturalists and backcountry rangers are found

SMITHSONIAN FOLKLIFE FESTIVAL in state-of-the-art visitor centers as well as on remote backcountry trails. The Forest They share scientific knowledge m ways that people can understand. Service has Francisco Valenzuela, a recreation planner for the Rocky Mountain Region in Colorado, expresses one of the pleasures of the job: "It's really nice to see an ongoing people enjoy themselves, going out in nature and getting close to it, appreci- mission to ating it, moving to help support it—and not necessarily doing damage to it. It's

really great to be part of the Forest Service team and help create these things, educate

to on the land for many centuries to come." because I think they're going be teachers and

FUTURE children, FACING CHALLENGES FOR THE 45

As the current Forest Service Chief Dale Bosworth makes clear, the job ot taring connecting

(see But as the Forest Service future challenges is an enormous one page 46). people to the

begins its second century, the participants in Forest Service, Culture, and Community land through demonstrate at the 2005 Smithsonian Folklife Festival that there is already a long tradition of caring for the land, serving the public, and meeting these challenges. conservation For instance, the Forest Service has an ongoing mission to educate teachers education. and children, connecting people to the land through conservation education. Such education increases public awareness and understanding

of the interrelationships in natural systems. Natural resource

professionals teach in classrooms or lead field trips. Similarly, - Smokey Bear and Woodsy Owl have become national symbols t

111 fire-prevention and conservation campaigns.

As this essay has indicated, the men and women who work

111 our forests and rangelands have very special connections to

the land and its natural resources. They understand the science,

the history, the technology, the art, and the traditions of forest

service, culture, and community. They also recognize the values

inherent in the work they do. As environmental psychologist

Herbert Schroeder explains. "A tree is a living organism. You

can see it grow, and it grows slowly over a period ot years.

You can develop a bond, a sense of connection over that long

period of time. . . . If there's a tree on a person's property, they

have contact on a continuing basis. If the tree happens to be

one of those planted by your ancestors, that provides a connec-

tion with your family. And you also have a connection with the

future. You can think about how that tree will be appreciated by your grandchildren or great-grandchildren."

"Our national forests will be here one hundred years

from today,'" adds Joe Meade, supervisor of Alaska's Chugach Smokey Bear has

National Forest. "And as we move into this new century, our national forests been an important of wildfire are going to be incredibly important. ... In the Lower 48 [states], because ot symbol prevention since 1944. population growth, the national forests are becoming the place to escape, to

recreate, and to get away. The more and more our population grows, with more

and more green space lost, the more valued our public lands will be and will

continue to be for all time." Following the example set by Gifford Pinchot 100

years ago. these men and women are still seeking to provide "the greatest good

of the greatest number in the long run."

FOREST SERVICE, CULTURE, AND COMMUNITY —

FUTURE CONCERNS FOR PUBLIC LANDS

In January 2005, a Forest Service Centennial Congress was held in Washington, D.C., to

commemorate 100 years of conservation and to open a dialogue with others about the

challenges and opportunities that will face the Forest Service in the next 100 years. At that

congress, Chief Dale Bosworth outlined some of the current challenges to conservation:

" Dealing with a growing population. In the last 100 years, the United States more than

tripled its population to 275 million. By the turn of the next century, the U.S. population

may reach 571 million.

™ Expressing the changing face of America. Although conservation belongs to all citizens,

the face of conservation has traditionally been rural and white. As the U.S. population

becomes ever more urban and more ethnically diverse, the Forest Service needs to give

Americans from every background more opportunities to participate in conservation.

w Supporting our land ethic with a rational consumption ethic. The United

States is the largest wood-consuming nation on earth, and consumption keeps

expanding. At the same time, most Americans don't want any changes in the land-

scape or any commercial operations on public land. If Americans truly believe in

a land ethic, they must also reduce their consumption of natural resources.

A Restoring our fire-adapted forests to something more resembling their condition

at the time of European settlement. Many of the Forest Service's most pressing

problems are related to fire and fuels in forested landscapes that, by their very nature,

are dynamic. The goal therefore is not to keep landscapes unchanged for all time

which is impossible—but to restore (or at least to account for) the dynamic ecological

processes (including fire) through which our forested landscapes evolved.

Responding to the realities of a global economy in a culturally diverse world. One

of those realities is that invasive species are moving around the world with growing ease.

This is a huge threat, not only to native ecosystems, but also to our financial resources.

* Better managing outdoor recreation. We are in growing danger of loving our public lands

to death. In 2001, there were over 214 million visits to national forests and grasslands. By

the end of the 2 1 st century, that number is expected to double. The Forest Service must find

a way for visitors to get the high-quality experiences they want without compromising the

health of the land or the ability of future visitors to get those same high-quality experiences.

* Restoring the health of many watersheds and repairing a deteriorating infrastructure.

There is a large backlog of watershed restoration projects on national forest lands, as well as

thousands of deteriorating culverts to replace, roads to restore, abandoned mines to reclaim,

vegetation to treat, and many deferred projects for maintenance and ecological restoration.

Understanding and coping with long-term and large-scale climate changes. Climate

change at various scales is undeniable, and it has momentous social, economic, and

ecological implications. For example, the West is much drier now than 30 years ago.

r Working better together across boundaries on a landscape scale. Partnerships

and collaboration are absolutely crucial for the Forest Service, particularly for

better engaging its various publics in managing national forest land.

SMITHSONIAN FOLKLIFE FESTIVAL 47

WORKS CITED AND Williams, Gerald W. 2000. The USDA SUGGESTED READING Forest Service:The First Century. Washington: USDA Forest Service, Report FS-650.

Byington, Robert H.,ed. 1978. Working Wilson, James Q. 1989. Bureaucracy: Americans: Contemporary Approaches to Occupational What Government Agencies Do and Why Folklife. Smithsonian Folklife Studies 3 . Los They Do It. New York: Basic Books. Angeles: California Folklore Society.

King, R.T. 1991. The Free Life oj a Ranger: Archie TERESA HAUGH is editor of the Forest Murchie in the U.S. Forest Service, 1929-1965. Reno: Service's regional newsletter in Alaska University of Nevada Oral History Program. and interviewed prospective participants McCarl, Robert. [986. "Occupational Folklore." for this year's Folklife Festival. Before In Folk Groups and Folklore Genres.An

Introduction, edited by Elliott Oring. moving to Alaska she worked in the

Logan: Utah State University Press. medical field in Georgia and Alabama.

Miller, Char, and Rebecca Staebler. 2004.

The Greatest Good: woYears of Forestry in America. JAMES I. DEUTSCH is the curator of the 2nd ed. Bethesda: Society of American Foresters. 200s Festival program Forest Service, Culture, ami National Museum of Forest Service History. 2004. Community. He served as program curator for C,i/»;i Cooking, ¡ooYears, 1905-2005. Salt Lake City: the National World Wai II Reunion 111 May 2004, Gibbs Smith. and has taught courses on American folklore Steen, Harold K. 1976. The I IS. Forest Sanee: in Armenia, Bulgaria, Germany, Kyrgyzstan. A History. Seattle: University of Washington Press. Norway, Poland, and the United States. U.S. Department of Agriculture. 2005. tooYears oj

Conservation... for the Greatest Good. Washington:

courtesy oj the I 'SDA USDA Forest Service, Report FS-8l9, www.fs.fed. All photographs us/centennial/products/documents/ 100-booklet.pdf Forest Service unless noted otherwise

FOREST SERVICE, CULTURE, AND COMMUNITY NUESTRA MÚSICA: MUSIC IN LATINO CULTURE

Building Community

DANIEL SHEEHY

[48] is the meaning of music? One person's music might Whatbe another person's noise, devoid of significance. On the cither hand, a simple melody might tap into a deep vein

ot emotion, eall up a cherished memory, deepen spiri-

tual devotion, make the body move, or spur social action.

When people endow music with meanings, associations, and values, they lend

it power—power to communicate, to move us, to transform our frame of mind and our emotions. A common musical grounding can be used to

strengthen social connectedness, to bring people together in common

cause, or to create symbols ot identity tor public representation.

What, then, is ot — the—meaning música latina Latino music? The title of the Nuestra Música "Our Music" —program conveys two meanings. One is the feeling ot closeness that Latinos who share lite experiences, values, ami

perhaps language teel when they sav. "This is out music "The other meaning,

underscored by the symbol-charged setting of the National Mall in the nation's

capital around the Independence I >av holiday, is that niíisiñi latina is a

defining piece ot our nation's living cultural heritage. The story-

line of the 200s Nuestra Música program is "Music Builds

Community" — how 1 atinos have used music to persevere

as mexicanos, Chícanos, puertorriqueños, NewYoricans,

cubanos, salvadoreños, centroamericanos, dominicanos, colom-

bianos, Latinos, or another self-proclaimed label, in the

mass-media-driven, multicultural society ot the United

States. In elaborating this theme, our greater purposes

over the tour years of this project (2004-2007)

are to spotlight grassroots música latina's beauty,

texture, and centrality to our nation's cultural core

and to explore the main shades of meaning that

Latinos give music. Our special focus 111 the 200s

program is how Latinos use music and the values it carries

For Nellie Tanco, veteran member of Los Pleneros

de la 2 1 , the performance of Afro-Puerto Rican

bomba and plena in New York City builds a

strong sense of Puerto Rican identity.

SMITHSONIAN POLK LIFE FESTIVAL to build a coherent, positive sense of community jíbaro groups such as Ecos de Borinquen, led among people ot specific cultural backgrounds by Miguel Santiago Diaz, have continued the and among the Latino population as a whole. jíbaro legacy of creating music that speaks to

Why is music important to the well-being grassroots tradition and community solidarity. of Latino culture? How do Latinos use music When fellow Puerto Rican musician Juan to build community? We can find part ot the Gutiérrez relocated from the island to New York answer in the success story of how centuries- City to work as a percussionist in Broadway old Puerto Rican musical traditions were put theater orchestras, he found the antidote for to use to strengthen contemporary Puerto his feelings ot urban alienation 111 the music ot

Rican identity and community cohesion. Afro-Puerto Rican musicians in the New York 49 1 When Puerto Rican jíbaro people from the barrio. He brought together some ot the best rural island hinterlands flocked to the mate- "street corner" percussionists and founded the rial mecca of New York City in the middle group Los Pleneros de la 21, creating a sound decades of the 20th century seeking a brighter that interwove traditional African-derived bomba economic future, they abandoned more than and plena music with contemporary sounds their bohíos (traditional country houses). They that appealed to New Yoricans. Los Pleneros de left their music to languish at the margins ot la 21 became one of the most influential and modernity. Their sung poetry and home-grown celebrated touchstones of Puerto Rican identity stringed instruments were at the core ot their and sparked an explosion ot similar bomba and

Spanish heritage, introduced to the island begin-

ning m the first decades of the [6th century. These centuries-old traditions were thought

to be music of yesterday, not of tomorrow.

Countercurrents to this trend, however,

gathered momentum to form a riptide that

would pull Puerto Ricans back to their musical

roots. The empty materialism and social alien-

ation of city life left a cultural vacuum m

which music that connected people to the

familiar sounds of their past was welcome. Into

this vacuum strode "innovative traditionalists"

such as Estanislao Martínez, known as "Ladi,"

who helped set the standard tor the modern

conjunto jíbaro "jíbaro ensemble," creating the

sound ot two cuatros playing in harmony,

six-stringed guitar, güiro (a gourd rasp), and

bongos. Ladi's upscale jíbaro sound played

well to Puerto Ricans both in the United

States and at home on the island, and other

Juan "Juango" Gutiérrez listens attentively

to his fellow musicians as he lays down

the beat on his barriles drum for Los

Pleneros de la 2 1 's Smithsonian Folkways recording, Para Todos Ustedes.

NUESTRA MÚSICA MUSIC IN LATINO CULTURE plena groups throughout the Northeast and

beyond. In addition to bringing a refreshed

sound ot deep tradition to urban listeners, the

group created new compositions that brought

Puerto Ricans together around current social

issues. One example is the piece "Isla Nena"

with its retrain "Isla nena, perla cautiva; tu

pueblo te liberó de /./ marina" (Little girl island,

pearl in captivity; your people liberated you

¡o] from the navy) that celebrates the successful protests leading the U.S. Navy to abandon use

of the island ot Vieques as a tiring range.

A fundamental cornerstone of community is

the family. Family, in turn, is otten fundamental The author interviews Los Camperos de Valles

to passing on musical traditions, and music in Ciudad Valles, San Luis Potosí, Mexico, for the context-providing liner notes as vital to the making can be an important way ot keeping record-making process as the music itself family ties strong .\nd music a lively, integrated,

and relevant part ot community lite. In the cattle they were first inspired and trained by their

country ot the northeastern Mexican state of family, the "conservatory ot traditional music."

San Luis Potosí, tor example, the members of It it were not tor their strong family ties, this

the trio Los Camperos de Valles, all acclaimed masterful group ot traditional musicians would

representatives ot the Mexican son huasteco likely not exist. In the Huastecan region, the

musical tradition, recall the importance ot family son huasteco not only communicates a sense ot

connections to having taken up their music. identity with the region's shared lifeways but,

Violinist loci Monroy's grandfather Mateo was lor the musicians, carries strong associations

a violinist, and an uncle ot his mother's played with family and with the "extended family"

guitar, especially at velorios, wakes. At the age of ofprofession.il Huastecan-style musicians.

twelve, Monroy started following his relatives Another example ot how music builds

and their musician friends around to parties at community is found in El Salvador's moun-

neighboring ranches and towns, learning bits and tainous, agricultural Oriente (eastern) region.

pieces ot how to play the traditional Huastecan There, where small villages dot the rugged

instruments, the jarana and huapanguera (small landscape, the centerpiece ot main town and

and large rhythm guitars). Similarly, his colleague family fiestas is the music ot a spirited, uniquely

Gregorio "Goyo" Solano started learning jarana Salvadoran musical ensemble called chanchona.

from his father at the age often. He followed Chanchona literally means big sow, the local

his violinist lather to local community tiestas. name given to the large stringed bass that

birthday parties, and baptism celebrations, where provides the harmonic foundation tor the group.

he was hired to play in Huastecan trios. "I got The chanchona emerged in the latter halt of the

invoked m the musical scene, just listening at 20th century, borrowing repertoire from popular

first. My father showed me little by little the music from Mexico and other countries m

finger positions, and 1 became part ot the trio Ventral America. Over time a standard instru-

after having learned a little," he recalls. Likewise, mentation ot six or more members emerged,

group leader Marcos Hernandez started playing including chanchona, two violins, guitar, tumba

the huapanguera professionally wath his uncle (conga drum), and other percussion. Its grass-

Fortmo at the age ot fifteen. None of these roots sound focuses on the popular cumbia dance

outstanding musicians had formal training: rhythm, fast-paced canción ranchera "country

SMITHSONIAN FOLKLIFE FESTIVAL song," and slower, romantic bolero. When the chanchona strikes up When people its dance rhythms and the singers launch into lyrics laced catchy endow music with local sentiment, it pulls people out of their normal routine and marks an emotional sense of special occasion. In the rest of El with meanings, Salvador, the chanchona marks the Oriente region as a distinct place, associations, and with its associations of country life and rural poverty. As millions values, they lend of Salvadorans migrated to the United States during and after the civil strife of the 1970s and 1980s—today about one out of four it power—power the came to take on Salvadorans lives outside El Salvador— music to communi- added meaning. Just as Salvadorans uprooted from their homeland [51] cate, to move lost their self-grounding sense of place as they relocated to U.S. cities such as Miami, New York, Los Angeles, Houston, and Washington, us, to transform

in their newly adopted homes music took on a more intense D.C., our frame ol sense of "home." Indeed, for many Salvadorans, especially those from

Oriente, only a few seconds of the chanchona's music evoke a feeling mind and our of "being home" nearly as well as taking a several-thousand-mile emotions. plane ride back to El Salvador. In Washington, D.C., home to over a hundred thousand Salvadorans mainly from Oriente, the chan- chona has emerged as a prominent symbol ot Salvadoran presence.

The group Elíseo y su Chanchona Melódica Oriental has performed

every Friday and Saturday night

since 2001 at Judy's Restaurant

in Washington, D.C.The group's

leader. Elíseo Gutiérrez, took up

the music of the chanchona in his

hometown of San Alejo, La Unión,

El Salvador, learning mamly from

his father and brothers. At Judy's,

his seven-member group performs

a range of music that appeals to

clientele from El Salvador, Honduras, Guatemala, Mexico, and other Latin American countries. When they

play for local Salvadoran weddings,

birthday parties, and other celebra-

tions, focus is on the cumbia and Karol Aurora de Jesús canción ranchera repertoire favored among Salvadorans. Reyes sings with her While in many Latino communities music is a magnet that pulls mentor Miguel Santiago ideas shared values and experi- people together around familiar of Diaz during a recording

ences, it is also used to construct new, forward-looking ideas ot session for the Grammy-

community and mutuality of purpose. In Chicago, the group Sones nominated Jibaro Hasta el Hueso: Mountain de México takes threads from many distinctive regional styles ot Music of Puerto Rico by Mexican music, weaves them into contemporary sounds and fresh Ecos de Bonnquen. compositions, and creates a new musical fabric that is at once tradi-

NUESTRA MÚSICA MUSIC IN LATINO CULTURE NUESTRA MÚSICA LAUNCHES NEW SERIES

In 2002, the Smithsonian's Center for Folklife and Cultural Heritage

conceived the Nuestra Música: Music in Latino Culture project, a multi-year

effort to document and to make accessible grassroots musical expressions

of the living cultural heritage of Latino communities in the United States.

Smithsonian Folkways Recordings, the national museum's nonprofit record

label, sparked Nuestra Música by launching a series of 25 new recordings of

Latino music reflecting the diversity of Latino cultures and their generations-

old musical creations These CDs in the series have been released to date:

Capoeira Angola 2 ¡Llegaron Los Camperos'

Brincando na Roda Concert Favorites of Nati Cano's SFW CD 40488 Mariachi Los Camperos SFW CD 40517 El ave de mi soñar:

Mexican Sones Huastecos by Luiz Bonfá: Solo in Rio 1959 Los Camperos de Valles SFW CD 40483 SFW CD 40512 Matanzas Cuba, ca. 1957:

Havana, Cuba, ca. 1957: Afro-Cuban Sacred Music Rhythms and Songs of the Orishas from the Countryside SFW CD 40489 SFW CD 40490

Havana & Matanzas, Cuba, Quisqueya en el Hudson Jíbaro Hasta el Hueso [cos de Bonnquen Mountain Music of Puerto flico by ca. 1957; Bata, Bembé, Dominican Music in New York City and Palo Songs SFW CD 40495 SFW CD 40434 Raices Latinas: Smithsonian

Heroes & Horses: Corridos from Folkways Latino Roots Collection the Arizona-Sonora Borderlands SFW CD 40470 SFW CD 40465 Sí, Soy Llanero: Joropo Music from

Jibaro Hasta el Hueso: the Orinoco Plains of Colombia Mountain Music of Puerto SFW CD 40515 Rico by Ecos de Borinquen Viento de Agua Unplugged: SFW CD 40506 Materia Prima La Bamba: Sones Jarochos SFW CD 40513 from Veracruz. Featuring José ¡Viva el Mariachi!: Nati Cano's Gutiérrez 3 Los Hermanos Ochoa Mariachi Los Camperos SFW CD 40505 SFW CD 40459

Latin Jazz: La Combinación Perfecta SFW 40802 CD For more information

and other selections, visit

www.folkways.si.edu.

BATA, BEMBÉ - PALO NG

NATI CANO'S MARIACHI LOS CAMPEROS fir a* V*'¿4

SMITHSONIAN FOLKLIFE FESTIVAL tional and contemporary, rural and urban, old and other popular styles. This meeting place and new. In Chicago, recent immigrants from ot rhythms is also a pan-Latmo commons that many regions ot Mexico live alongside young builds a sense of shared cultural and social life. and old Mexican Americans trom families Through these and other musical "windows rooted in Chicago tor the past hundred years. on culture" that the Nuestra Música: Music in

The enthusiastic reception of Sones de Mexico's Latino Culture program presents and explores, music in Chicago reflects their success at both we can find the fullest meaning ot music. This capturing the essence of Chicagoan Mexican meaning goes far beyond mere sounds; it goes to identity and painting a positive musical picture the heart of personal and social identity, to issues ot how the contributions ot mexicanos trom of survival for immigrant communities adjusting

[ 5 3 I different backgrounds and age groups are all to alien social environments, to constructing a valuable and mutually supporting cultural assets. new spirit ot community m an ever-evolving

Folk-rooted, popular dance music plays world. Music carries knowledge, meaning, affect. a special role in forging a pan-Latino sense and spirit because people have endowed it with of community. When nation-specific differ- these assets, because they consider it essential to ences in heritage—Mexican, Puerto Rican, envisioning and living a normal lite in which Salvadoran, Colombian, and so forth —soften they are genuinely themselves. Creative musi- as new generations ot Latinos emerge and find cians and communities constantly construct common ground in American society, labels new meanings tor music, meaning that serves a like "Latino" take on greater relevance. Music social purpose as well as an aesthetic one. Nuestra stores advertise recordings ot música latina, Música otters visitors to this "living exhibition" and nightclubs offer dance music appealing on the National Mall the opportunity to meet to many Latino backgrounds and interests. the musicians and to learn more about the

Especially in cities such as Washington, D.C., world ot meaning behind the sounds, as well where people ot many Latino nationalities as to sing the songs, to dance to the rhythms, share similar social footing, dance promoters, and to experience the panorama ot diverse club owners, and dance bands provide dance expressions we call música lamia. The 200s music that appeals to a range of Latinos. installment ot Nuestra Música presents a series

While the members ot Washington's [CJ Band of evening concerts showcasing a variety of specialize m Dominican merengue, for example, Latino musical styles and cultures and exploring they might also play salsa, cambia, reggaetón, the theme "Music Builds Community."

SUGGESTED READING DANIEL SHEEHY is an ethnomusicologist,

curator, musician, and director of Smithsonian

Olsen, Dale A., and Daniel Edward Sheehy, eds. Folkways Recordings, the national museum's

2000. Tlic Garland Handbook ot Latin American nonprofit record label. He has authored Music. New York: Garland Publishing. and edited numerous publications on Latin

American music, as well as produced concerts, Schechter, John M. 1999. Music in Latin American tours, and recordings ot musicians from Culture: Regional Traditions. New York: Schirmer Books Latin America and the United States.

Sheehy, Daniel. 2006. Mariachi Musii in

America: Experiencing Music, Expressing Culture. All photos courtesy of Daniel Sheehy

New York: Oxford University Press. unless indicated otherwise.

NUESTRA MÚSICA MUSIC IN LATINO CULTURE NUESTRA MÚSICA: MUSIC IN LATINO CULTURE

Construyendo comunidad

DANIEL SHEEHY TRADUCIDO POR CAROLINA SANTAMARÍA

[5 4] a ^~ ~^| uál es el significado de la música? Lo que es música para una ¿m persona, para otra puede ser un ruido desprovisto de sentido. A Por otro lado, una simple melodía puede calar en lo profundo ^"^ ~ alean/ando una vena emocional, evocar una memoria querida,

intensificar la devoción espiritual, provocar el movimiento del cuerpo o estimular la

acción social. Al otorgarle a la música ciertos significados, asociaciones y valores, las

personas le confieren poder—poder para comunicar, para conmovernos, para transformar

nuestro estado mental y nuestras emociones. Una base musical en común puede ser

utilizada para fortalecer las conexiones sociales, para congregar a las personas en torno a

una causa compartida, para crear símbolos de identidad en las representaciones publicas.

¿Cuál CS el ¿Cuál es entonces el significado de música latina? El titulo del programa Nuestra

significado Música tiene dos significados. FJ primero se refiere a esa afinidad que los latinos, que

comparten experiencias de vida, valores y quizas el lenguaje, sienten cuando dicen "esta de la música: es nuestra música". El otro sentido, que resalta el simbólicamente cargado escenario de

Lo que es la Explanada Nacional en la capital de la nación alrededor de la conmemoración del música para Día de la Independencia, es que la música latina es una pieza que define la herencia cultural de nuestra nación. El argumento central del programa Nuestra Música del .iño una persona, 2005 es "I a musua construye comunidad", y se refiere a la manera como los latinos

para otra en los Estados Unidos lian usado la música para seguir siendo mexicanos, chícanos, puertorriqueños, nuyoricanos, cubanos, salvadoreños, centroamericanos, dominicanos, puede ser colombianos, latinos o cualquiera otra etiqueta auto-referida dentro la sociedad alta-

un ruido mente mediatizada v multicultural de los Estados Unidos. Al darnos a la tarea de elaborar desprovisto este tema, nuestros principales propósitos a lo largo de los cuatro años que cubre este provecto (2004-2007) han sido destacar la belleza, la textura y la importancia de las de sentido. raíces de la música latina en el corazón cultural de la nación, y explorar los muchos

matices de significado que los latinos dan a la música. Nuestro programa para el 200s

se ha enfocado en la manera en que los latinos usan la música y los valores que ésta

trae consigo para construir un sentido comunitario más coherente y positivo, entre

gentes con determinadas raices culturales, y entre la población latina en general.

¿Por qué es tan importante la música para el bienestar en la cultura latina" ¿Cómo usan

los latinos la música para construir comunidad? Podemos encontrar parte de las respuestas

en la historia exitosa sobre las tradiciones centenarias de Puerto Rico que sirvieron para

fortalecer la identidad v la cohesion de la comunidad puertorriqueña. Cuando los libaros

de la zona rural de la isla emigraron hacia la mitad del siglo XX a la meca material de

Nueva York en busca de un futuro económico más brillante, abandonaron mucho más que

sus bohíos. Dejaron su música languidecer en los márgenes de la modernidad. Su poesía

cantada v sus instrumentos de cuerda tradicionales estaban al centro de la herencia española

SMITHSONIAN F0LKLIFE FESTIVAL introducida a la isla en Lis primeras décadas del siglo XVI. Se pensaba que estas tradiciones

centenarias eran solo eso, música del ayer y no del mañana.

Corrientes contrarias a esta tendencia, sin embargo, cobraron velocidad para formar un

movimiento que arrastraría a los puertorriqueños otra vez hacia sus raíces musicales. El mate

rialismo sin sentido y la alienación social de la vida urbana dejaron un vacío en el cual fue

bienvenida una música que conectaba a la gente con los sonidos familiares de su pasado. Para

llenar este vacío irrumpieron "innovadores tradicionales" como Estanislao Martínez, cono-

cido como "Ladí", quien ayudó a configurar la agrupación típica para el moderno

conjunto jíbaro, con el sonido de dos cuatros tocando en armonía, la guitarra de

seis cuerdas, el güiro y los bongóes. El sonido jíbaro sofisticado de Ladí rue

aceptado por puertorriqueños tanto en los Estados Unidos como en la isla, y otros grupos jíbaros como Ecos de Bormquen, liderado por Miguel Santiago

Díaz, han continuado con ese legado jíbaro de crear música que hace refer-

encia a la tradición y en pro de la solidaridad comunal.

Cuando el músico puertorriqueño Juan Gutiérrez se trasladó

de la isla a la ciudad de Nueva York para trabajar como percu-

sionista en orquestas teatrales de Broadway, encontró el antí-

doto para sus sentimientos de alienación urbana en la música

de los músicos afropuertorriqueños del barrio neoyorquino.

Reunió a algunos de los mejores "percusionistas de esquina" y fundó el grupo Los Pleneros de la 21, creando un sonido

que entretejía las tradiciones de origen africano de la bomba y la plena con los sonidos contemporáneos que gustaban a los

nuyoricanos. Los Pleneros de la 21 se convirtieron en uno de

los más influyentes y célebres puntos de encuentro de la iden- tidad puertorriqueña, desatando una explosión de grupos similares

de bomba y plena a través del noreste e incluso más allá. Además

de entregar a los oyentes urbanos un sonido renovado venido de

lo profundo de la tradición, el grupo creó nuevas composiciones

que reúnen a los puertorriqueños alrededor de problemas sociales

contemporáneos. La pieza "Isla Nena" es un ejemplo, con su

refrán "Isla nena, perla cautiva; tu pueblo te liberó de la marina"

que celebra la exitosa protesta que llevó a la Marina Norteamericana

a abandonar el uso de la isla de Vieques como campo de tiro.

Uno de los elementos fundamentales de la comunidad es la familia

La familia es. a su vez, frecuentemente una pieza clave en el traspaso de

tradiciones musicales de una generación .1 otra. El quehacer musical puede ser una manera importante de fortalecer los lazos familiares y

formar una parte activa, integrada y relevante de la vida comunitaria.

Por ejemplo, en las tierras ganaderas del estado de San Luis Potosí, en

el noreste mexicano, los miembros del trío Los Camperos de Valles,

aclamados representantes de la tradición musical del son huasteco

de México, recuerdan el importante rol que los lazos de familia han

tenido en la conservación y continuidad de su música. Mateo, abuelo

del violinista Joel Monroy, era también violinista, mientras que su

Lorena íñiquez es miembro de Sones de México.

NUESTRA MÚSICA MUSIC IN LATINO Cl "I

Los Camperos de Valles son músicos reconocidos del son huasteco tanto en San Luis Potosí, Mexico

donde viven, como entre comunidades inmigrantes potosinas en los Estados Unidos y mundialmente.

tío abuelo materno tocaba la guitarra, espe- villoso grupo de músicos tradicionales podría

cialmente durante los velorios. A los doce no haber existido. En la región huasteca, el

años de edad Monroy comenzó a seguir a sus son huasteco no solamente comunica un

parientes v a sus amigos músicos que tocaban sentido de identidad con los estilos de vida

en las tiestas celebradas en ranchos v pueblos regionales, sino que además representa para

vecinos, aprendiendo poco a poco a tocar los los músicos una serie de tuertes asociaciones

instrumentos huastecos tradicionales, la jarana con su familia y con la "familia extensa" de

v la huapanguera (guitarras rítmicas de dife- los músicos profesionales del estilo huasteco.

rentes tamaños). Así mismo su colega Gregorio Otro ejemplo de cómo la música construye

"Goyo" Solano comenzó a aprender a tocar la comunidad se puede encontrar en las regiones

jarana con su padre cuando tenía diez años. Solía montañosas de la region de Oriente en II

seguir a su padre violinista que acudía a fiestas Salvador. Allí, en donde pequeños pueblos

locales de la comunidad, fiestas de cumpleaños v se esparcen a través del paisaje escarpado, la

bautizos donde era contratado para tocar en trios pieza central de muchas de las tiestas familiares

huastecos. "Me fui enrolando en el ambiente de v comunitarias es la música de un animoso

la música, primero oyendo. Y mi papá me decía ensamble, exclusivamente salvadoreño, llamado

poco a poco las pisadas, v me fui integrando en chanchona. Chanchona es el nombre que se

el trio después de haber aprendido un poco". le k.\.\ [ocalmente al enorme contrabajo que

De la misma manera, el líder del grupo. Marcos provee el fundamento armónico de la agru-

Hernandez, comenzó a tocar la huapanguera pación. La chanchona apareció en la segunda

de manera profesional con su tío Fortino a los mitad del siglo XX. tomando repertorio de la

quince años de edad. Ninguno de estos magní- música popular de México y de otros países

ficos músicos tuvo una educación musical de Centroamérica. Con el tiempo apareció

formal; fueron inspirados por primera vez v una instrumentación estándar de seis o más

entrenados por sus propias familias, el "conser- miembros que incline la chanchona— dos

vatorio de la música tradicional". Si no hubiera violines, una guitarra, una tumba (conga) v

sido por los tuertes lazos familiares, este mara- otros instrumentos de percusión. El origen de

SMITHSONIAN FOLKLIFE FESTIVAL —

su sonido surge del ritmo bailable de la popular para aquellos de Oriente, solo unos segundos

cumbia, del ágil compás de la canción ranchera de música de chanchona evocan el sentimiento y del más lento del bolero romántico. Cuando de "estar en casa" casi tanto como el hecho de

la chanchona empieza a tocar sus contagiosos tomar un vuelo de vanos miles de millas para

ritmos bailables y los cantantes abordan sus letras volver a estar en El Salvador. En Washington, adornadas de sentimiento local, la gente se aleja D.C., donde están radicados más de cien mil

de la rutina diaria y la música marca el comienzo salvadoreños provenientes en su mayoría del

de una ocasión especial dentro del panorama Oriente, la chanchona se está conviniendo

emocional. En el resto de El Salvador, la chan- cada día más en un prominente símbolo de la

chona identifica la región de Oriente como un presencia salvadoreña. Desde el 2001. el grupo [5 7] sitio distintivo, con sus asociaciones de la vida Elíseo y su Chanchona Melódica Oriental se ha

campesina y la pobreza rural. En la medida que presentado cada viernes y sábado en la noche

millones de salvadoreños comenzaron a nngrar en el restaurante |udy's en Washington, D.C. El

a los Estados Unidos durante y después de la jete del grupo. Elíseo Gutiérrez, empezó a tot .il-

guerra civil de los años 70 y 80 todavía hoy la música de la chanchona en su pueblo natal uno de cada cuatro salvadoreños vive fuera de de San Alejo, La Unión, El Salvador, apren-

El Salvador — la música terminó adquiriendo diendo sobre todo de su padre y sus hermanos.

nuevos significados. Justo en el mismo momento En [udy's, el grupo de siete músicos ofrece

en que los salvadoreños desraizados de su tierra una amplia variedad de música que gusta a la

natal perdían su sentido de pertenencia al clientela de El Salvador. Honduras, Guatemala,

mudarse a ciudades como Miami, Nueva York, México, y otros países latinoamericanos. Cuando

Los Angeles, Houston y Washington D.C., en sus tocan para bodas, tiestas de cumpleaños y

recién adoptados hogares la música tomó sobre otras celebraciones salvadorenas.se enfocan

sí misma un sentido más intenso de "'hogar". En en el repertorio de cumbia y de canción

efecto, para muchos salvadoreños, especialmente ranchera favorecido entre los salvadoreños.

José Arnaldo Martínez Zayas con Ecos de Músico y especialista Juan Dies proporciona

Borinquen hace la armonía del segundo cuatro, bien marcada la parte del bajo a su grupo

elemento distintivo en la música libara. Sones de México con su guitarrón.

NUESTRA MÚSICA MUSIC IN LATINO CULTURE RAICES LATINAS NUESTRA MÚSICA LANZA NUEVA SERIE

En 2002, el Centro de Tradiciones Populares y Patrimonio Cultural de la

Institución Smithsonian concibió el proyecto Nuestra Música: Music in

Latino Culture, un esfuerzo de multiples años para documentar y hacer

accesible expresiones musicales tradicionales del patrimonio cultural

de comunidades latinas en los Estados Unidos. Smithsonian Folkways

Recordings, el sello de discos sin fines de lucro del museo nacional, inició

Nuestra Música con el lanzamiento de una serie de grabaciones nuevas de Smithsonian Folkways Latino Roots Collection música latina que refleja la diversidad de culturas latinas y sus creaciones

58] musicales. Estos son los discos que se han publicado hasta la fecha.

Capoeira Angola 2: /Llegaron Los Camperos!

Brincando na Roda Concert Favorites of Nati Cano's SFW CD 40488 Mariachi Los Camperos SFW CD 40517 El ave de mi soñar:

Mexican Sones Huastecos by Luiz Bonfá: Solo in Rio 1959

Los Camperos de Valles SFW CD 40483 SFW CD 40512 Matanzas Cuba, ca. 1957:

Havana, Cuba, ca. 1957: Afro-Cuban Sacred Music Rhythms and Songs of the Orishas from the Countryside SFW CD 40489 SFW CD 40490

Havana & Matanzas, Cuba, ca. Quisqueya en el Hudson:

1957; Bata, Bembé, and Palo Songs Dominican Music in New SFW CD 40434 York City SFW CD 40495

Heroes & Horses: Corridos from the Raices Latinas: Smithsonian Arizona-Sonora Borderlands Folkways Latino Roots Collection SFW CD 40465 SFW CD 40470

Jibaro Hasta el Hueso: Si, Soy Llanero: Joropo Music from Mountain Music of Puerto Rico the Orinoco Plains of Colombia by Ecos de Bohnquen SFW CD 40515 SFW CD 40506 Viento de Agua Unplugged: La Bamba: Sones Jarochos Materia Prima from Veracruz. Featuring José SFW CD 40513 Gutiérrez & Los Hermanos Ochoa ¡Viva el Mariachi! Nati Cano's SFW CD 40505 Mariachi Los Camperos

Latin Jazz: SFW CD 40459 La Combinación Perfecta SFW CD 40802 Para más información y otras selec-

ciones, visite www.folkways.si.edu.

\\&&ABo.

O»"»*"™»!*

SMITHSONIAN FOLKLIFE FESTIVAL Mientras que en muchas comunidades por ejemplo, pueden también interpretar salsa, latinas la música funciona como un imán que cumbia, reggaetón, y otros estilos populares. Este reúne a la gente alrededor de ideas familiares de lugar de encuentro de ritmos es también un valores y experiencias compartidas, la música terreno pan-Latino común que construye un es también utilizada para construir nuevas ideas sentido compartido de vida cultural y social. de comunidad y de propósito mutuo de cara al A través de la presentación de esta y otras futuro. En Chicago, el grupo Sones de México "ventanas culturales" musicales que el programa retoma cabos de muchos estilos regionales Nuestra Música: Music in Latino Culture explora, de la música mexicana para entretejerlos con podemos encontrar un más completo signifi- sonoridades contemporáneas y composiciones cado de la música. Este significado va mucho

>'J I frescas, creando nuevos tejidos musicales que más allá de lo puramente sonoro; penetra en el son a la vez tradicionales y contemporáneos, corazón de la identidad personal y social, en la rurales y urbanos, viejos y nuevos. En Chicago, manera en que las comunidades inmigrantes inmigrantes recientes procedentes de muchas sobreviven y se adaptan a ambientes sociales reglones mexicanas viven lado a lado con méxi- diferentes, en la construcción de un nuevo coamericanos jóvenes y viejos pertenecientes espíritu de comunidad en un mundo que está a familias que han estado establecidas en la en constante evolución. La música lleva consigo ciudad desde hace por lo menos cien años. La conocimiento, significado, afecto v espíritu, recepción entusiasta de la música de Sones de porque la gente la ha colmado con todos esos

México en Chicago refleja el éxito alcanzado valores, porque considera que la música es al lanzarse a capturar la esencia de la iden- esencial para imaginar y vivir una vida normal tidad chicagomexicana, e ilustra un positivo en la que cada uno sea genuinamente quien es. panorama musical alrededor de las contribu- Las comunidades y la creatividad de sus músicos ciones que los mexicanos de diferentes orígenes constantemente producen nuevos significados y edades hacen y que constituven aportes para la música, significados que sirven propósitos culturales valiosos que se apoyan mutuamente. sociales así como estéticos. Nuestra Música ofrece

La música popular bailable basada en raíces a los visitantes de esta "exhibición en vivo" tradicionales juega un papel especial en la consoli- en la Explanada Nacional la oportunidad de dación de un sentido pan-latino de comunidad. conocer a los músicos y de aprender más acerca

Cuando diferencias nacionales específicas en su del universo de significados detrás de los sonidos, herencia — mexicana, puertorriqueña, salvadoreña, así como a cantar las canciones, a bailar los colombiana y demás— se van suavizando en la ritmos, y a experimentar el diverso panorama medida en que van surgiendo nuevas genera- de expresiones que llamamos música latina. El ciones de latinos que encuentran una base común segmento de Nuestra Música en el 2005 presenta en la sociedad norteamericana, etiquetas como al público una serie de conciertos nocturnos

"latino" adquieren una mayor relevancia. Las que ofrecen una muestra de la variedad de los tiendas de música promocionan grabaciones de estilos y las culturas musicales latinas explorando música latina y los clubes nocturnos ofrecen el tema "la música construye comunidad". música bailable que busca atraer diversos orígenes e intereses latinos. Especialmente en ciudades DANIEL SHEEHY es etnomusicólogo, como Washington D.C.en donde personas de curador, músico y director de Smithsonian diversas nacionalidades latinas comparten una base Folkways Recordings, el sello musical sin fines social similar, los promotores de baile, los dueños de lucro del museo nacional. Es autor y editor de clubes y las orquestas ofrecen música bailable de numerosas publicaciones sobre música de que atrae a un amplio rango de latinos. Mientras América Latina como también productor los miembros de la banda |CJ de Washington de conciertos, giras y álbumes de música se especializan en el merengue dominicano. de América Latina y de Estados Unidos.

NUESTRA MÚSICA: MUSIC IN LATINO CULTURE

OMAN: DESERT, OASIS, AND SEA

RICHARD KENNEDY

Sultanate of Oman lies on the east coast of the Arabian Peninsula, facing

the Arabian Sea. Living at this crossroads between Asia, Africa, and the The I "'I Mediterranean. Omanis have developed a complex culture that draws on the

country's Arab roots as well as its long-standing contacts with India, East Africa,

and the Middle East. For 5,000 years Oman has traded throughout the region.

Its ships have sailed to Asia and Africa, and its caravans have traveled overland to the shores of the Mediterranean, contributing to the country's surprisingly cosmopolitan history.

Western geographical regions often separate lands that share boundaries or whose histories are closely aligned. The Middle East and South Asia may seem worlds apart, but the flight from Muscat, the Omani capital, to Mumbai (Bombay), India, is just a little over two hours. Oman is not, as it sometimes appears, only a country on the edge of the Arabian

Peninsula, but rather a land at the center ot an ancient and modern cultural and economic exchange. Omanis are proud ot but reserved about their important role in world history.

Historically, its geography has posed both challenges and opportunities for Oman.

Omani culture has been molded by the struggle to master the desert and seacoast both for settlement and tor trade ot the rare products found there. Throughout history, Oman's copper, frankincense, dates, and petroleum have been prized outside the country, and, although often difficult to extract and trans- port, these products have reached ancient markets in the Mediterranean and India and modern markets throughout the world. Omanis have been master mariners ot the seas and skillful nomadic traders ot the desert.

In the third millennium bce, copper mines in what is now Oman, likely the ancient trading center called Magan, provided this flexible and important metal to the civiliza- tions of the Tigris and Euphrates

Rivers in the Middle East and the

(Left) Bait Al Ras, an oasis town. The map on the right shows Oman's

trade routes throughout history. Muscat, modern capital of Oman, has welcomed travelers for centuries.

Indus River on the Indian subcontinent. Africans from the south all had profound

Historical evidence suggests .1 regular trade by influences on the development ot Oman. ship and caravan. In the first millennium < 1, ( 'man entered a long period ot isolation in particularly during the Roman and Byzantine the [9th century and has only recently reopened

Empires, the aromatic resin frankincense, like its borders and reestablished its cosmopolitan silk from China, became a highly sought-after perspective. Until 1970, there were few roads, luxury. Burning frankincense also became a hospitals, or schools anywhere in the country. necessary part of pagan and. later, [ewish and Since [970, Mis Majesty Sultan Qaboos bin

Christum ritual. Boswellia trees on the hillsides Said has specifically committed his govern- ot southern ( )man produce the finest frankin- ment and its resources to education, health, cense, and an extensive trade developed across infrastructure, and the environment. He has the Arabian Peninsula and through the Red also sponsored cultural preservation projects

Sea One ot the Three Kings of the Christian that recognize the fragility ot loeal traditions birth story was carrying this valuable aromatic. 111 the tace ot globalization. Oman knows that

Early settlement by Arabs, probably coming its place in world history has created a unique from modern Yemen during the first millen- culture that deserves support. Encouragement nium ( 1. and the arrival and rapid acceptance ot traditional music and crafts coupled with ot Islam in the 7th century created a degree of laws to preserve local architecture and historic unification among the peoples ot the eastern sites have been the hallmark ot policies that end ot the Arabian Peninsula. Nevertheless, value the past and also anticipate the future. the great Hajar Mountains separated people The accession ot Sultan Qaboos bin Said on the seacoast from those in the interior, and the Omani people's firm belief in Islam and the vast expanse of uninhabitable land have united a people with broadly different across the center ot the country separated the experiences and histories. This cultural peoples ot the north and the south. As Oman diversity is reflected in Oman's three vastly expanded its trade, outside cultural influences different environments— the desert, the oasis, were added to this internal diversity. Persians and the sea. The country's complex culture from the north, Indians from the east, and reflects its people's responses to each.

SMITHSONIAN FOLKLIFE FESTIVAL DESERT goat and sheep's hair and dye them with local

minerals and plants. Their weaving designs The deserts ot the Arabian Peninsula would be are distinctive and may signal tribal identity. a hostile environment for a settled people. But They also weave containers of date palm leaves ancient traders of frankincense flourished in reinforced with leather. They make all prod- these dry lands by mastering the secrets of their ucts tor easy transport and mainly tor personal constantly changing topography, and contem- use; in the past these items were rarely sold. porary nomadic pastorahsts have retained that Bedouins have always exchanged their animals mastery. Bedouin people have lived alongside for products available at the oases—-jewelry, their animals and have learned to move them as weapons, tools, and cotton or silk thread. weather and their need for water demand. Goats, Bedouin celebrations that support the cycles sheep, camels, and horses provide meat, milk, ot nomadic lite are accompanied primarily by hide, hair, and transportation for the nomads singing and have borrowed little from oasis are the tocus of their In and economy. Oman culture. However, many nomadic people have the paths of some Bedouins also pass the coasts, become settled and have been profoundly influ- particularly in the Sharqiyah region ot east- enced by oasis and even global culture. Today the central fish their catch Oman. Here they and dry nomadic population of Oman is very small due to carry inland tor trade at oasis towns and to to the attraction of employment in the cities and provide teed for their animals. But whether they oil fields. The influence ot the oil industry, which are trading animal products or fish. Bedouins ot began in the Omani interior in the late 1960s, the Omam desert use their culture to maintain has been dramatic. But some Omani nomads mobility and responsiveness to change. Bedouins still travel with their animals, trade in the oasis make crafts that are lightweight yet sturdy. They tow 11s. and produce their crafts—now as often weave clothes, camel trappings, and tents of as not for trade to interested city dwellers.

Some Omani Bedouin families still travel by camel; however, most use trucks.

OMAN DESERT, OASIS, AND SEA OASIS

I he oases of Oman have always been centers where farmers and

merchants from the coast meet and trade with nomadic Bedouins from

the interior desert. Many oasis towns arose near passes on either side

of the Hajar Mountains in the north. Built next to the wadis, or river

valleys that seasonally bring water from the mountains, these oases were

able to support cultivation, particularly of dates. Their wealth and stra-

tegic location enabled oases to become mercantile centers that brought

together settled people, nomads, and visiting traders. These fortified 64] towns, where copper vessels, fish, dates, indigo cloth, and camels are

traded, remain centers for contact between the desert and the sea.

t 'rafts ot the oases use local and imported materials and represent influences

from throughout the region. Foreign traders brought gold, silver, and iron to oasis

towns to supplement local copper 111 the production ot jewelry, weapons, and tools.

I he\ sold silk and cotton that enabled local weavers to make finer cloth, and wood

tor more elaborate architectural construction. Ideas also transformed the oases.

Persians, tor example, brought knowledge ot irrigation that developed the elaborate

falaj system to tunnel water to settlements. Today the oasis town provides access to

the products ot the 21st century—cars, TVs, cell phones, and computers. And as 111

the past, it continues to be a place to exchange ideas

through both formal institutions like universities and

informal meetings ot individuals.

SEA

The seacoast has also been a meeting place

throughout Omani history. For millennia

Omani sailors have been famous tor their travels

throughout Asia and Africa. Whether Sindbad

ot the tool Xifilih was .\n Omani is irrelevant;

the widespread belief that he was reflects the

reality ot many Omani sailors and merchants m the Middle East and the Indian Ocean. Omani

merchants sailed to China in the Nth century,

and it was an Omani who led the Portuguese explorer Vasco da (¡ama to India

Qurayat fishermen in 1498. The Omani seas continue to provide fishermen with their livelihood, cast their net from a and. although most new ships now come from outside Oman, an effort is being traditional wooden made to revive its great shipbuilding traditions. On the shores of the city of Stir, hurí, an inshore a visitor caw see the reconstruction ot ancient dhows, and in Musandam, along fishing activity that

the Straits oí I lormuz, traditional boats still actively fish 111 the local waters. is repeated daily along much of Through this great maritime tradition, Oman has absorbed Indian,

Oman's coastline. European, and African cultural influences. Many Omani communities

have their roots in Persia, India, or Africa; Baluch, Gujarati, and Swahili

can still be heard 111 homes throughout the Sultanate. And, not surpris-

ingly, coastal music and dance are creative amalgams ot Arab, African,

and Indian traditions— vital elements ot Omani national identity.

SMITHSONIAN FOLKLIFE FESTIVAL THE FESTIVAL PROGRAM country. People rejoice with music and dance

at births and weddings, use them sometimes The 200s Smithsonian Folklife Festival program for healing, and celebrate with them at times on Oman features over ioo musicians, dancers, of victory. Men's and women's dance is accom- craftspeople, and cooks representing cultural panied by musical instruments that display the traditions trom the desert, oasis, and sea. The cultural influences ot the region—stringed date-leaf baskets and decorative wool carpets instruments trom India, wind instruments trom made tor easy transport by nomadic desert Persia, drums trom Africa, and even bagpipes peoples provide a striking contrast to the (originally from Egypt but more recently played heavy copper vessels and elaborate silverwork by British military troops in residence in Oman) produced by craftsmen in the oases, while proud [65] are all part ot the sounds of Omam music. shipbuilders demonstrate skills that have made

The program is the first to feature an Omani ships renowned throughout the Indian 2005 Arab nation at the Smithsonian Folklife Festival. Ocean. The fabled frankincense that in some Arabs ways represented to the ancient Mediterranean and Arab Americans have participated in past Festivals, but this program provides an world what oil does to modern economies is still grown in the south and used throughout Oman. opportunity to tocus on an Arab culture at a

A section ot the program features a variety of time when the Arab world is unfortunately Omam adornments including aromatics such much misunderstood here. We hope the Oman as frankincense, as well as textiles and jewelry. program will dispel some myths about the

Most Omam music accompanies dance and region and even include a tew pleasant surprises is present at celebrations ot all kinds around the tor those knowledgeable ot the region.

NOTE ON TRANSLITERATION The Journal ot Oman Studies, 1 bis. 1-12. 197S-2002. Muscat: Ministry of Heritage Arabic words that have been incorporated into English, and Culture. Sultanate of Oman. including place names found in Webster's Dictionary, are primarily written in their English form. Transliterations Ministry of Information, Sultanate of of other words from the Arabic to the Roman alphabet Oman: http://www.omanet.om are usually guided by Library ot Congress usage. In Owtram, Francis. 2004. A Modern History of Oman: most cases, transliterations are made from Modern Formation of the State since 1920. London: I.B.Tauris. Standard Arabic words, not from words in Omam Stevens, Andre, 1990. Oman: Citadels between Sand dialect(s). Diacritical marks are omitted unless they are and Sea. Winksele. Belgium: Terra Incognita. an integral part ot the language. Readers will notice the

following two marks: Wikan, Unni. 1991. Behind the I HI in Arabia: Women

in Oman. Chicago: University of Chicago Press. (') An apostrophe to indicate the break in sound

that occurs in the middle of some Arabic words RICHARD KENNEDY is the curator of (') A single, inward-facing quote to represent the the 2005 Festival program on Oman and 'ayn consonant which does not occur in English Deputy Director ot the Smithsonian Center SUGGESTED READING for Folklife and Cultural Heritage. He has co- curated Festival programs on the Silk Road.

Agius, Dionisius. 2003. Seafaring in the Arabian Tibetan culture, the Philippines, Russian music, and Oman.The People the Dhow. Gulf of Thailand, Indonesia, and Hawai'i. His Ph.D. London: Kegan Paul International. is in South and Southeast Asian Studies from Callan, Lou, and Gordon Robison. 2000. Oman & the University ot California at Berkeley.

the I 'titled Arab Emirates. Melbourne: Lonely Planet.

Hawley, Donald. 1984. Oman & Its Renaissance. All photographs courtesy oj the Omani Craft Heritage

Second edition. London: Stacey International. Documentation Project unless noted otherwise.

OMAN: DESERT, OASIS, AND SEA CRAFT TRADITIONS OF THE DESERT, OASIS, AND SEA

MARCIA STEGATH DORR AND NEIL RICHARDSON

industries have been .1 defining element of Omani cultural heri-

Crafttage more 6 61 for than s.ooo yens. In towns, villages, and desert camps

throughout the country, craftsmen and craftswomen continue to link

the cultural past with the present. Their crafts express national iden-

tity and endow Oman with an unparalleled living heritage.

Oman's craft traditions have evolved to meet utilitarian needs, but combine the most basic of these—food, water, shelter, and safety— with the innate human

desire for self-expression through personal adornment and artistry. The traditions

have been further shaped by harsh climatic conditions, particularly the scarcity of

water, which has had a strong overall influence on lifestyles, economic development,

and settlement patterns in a varied landscape that includes desert, oasis, and sea.

VOICES OF THE DESERT

< For the Bedouin tribes of Oman's desert regions, survival has depended

on adaptation to An untamed environment. The nomads' proficiency in

< . . utilizing scarce natural resources to satisfy the needs for shelter, food, and

nomadic equipment has enabled them to thrive in the and lands. < The defining characteristic of Bedouin craftsmanship is portability.

A decision to move may come suddenly, as news is received about

£ better pasturage or an important tribal event. It may also be precipi-

tated by seasonal occurrences such as the ripening of dates 111 oasis

towns or the running of sardines along the desert coast. Tools and o o equipment are tew 111 number, light in weight, resistant to breakage,

and easily packed and transported to a different location.

Men and boys, responsible tor the welfare of camel herds, work together to load them for

travel or to tit them out tor races and celebratory events. The making of camel trappings is a

group endeavor, with as main as tour men required for the braiding of a heavy loading strap.

Women and girls also work in groups, some minding children and goats, others churning

milk, and still others engaged in spinning, weaving, or embroidery. Weaving is a particularly

convivial activity. Several women may work together to spin or dye wool tor a single weaving,

their work accompanied by the hubbub inevitably associated with voting children. Visitors

come and go frequently throughout the day and may often be seen helping with the tasseling

ot a camel rug or saddlebag while drinking coffee and discussing the latest news.

Bedouin craftsmanship combines utility with a strong sense of self-expression. 1 he

intricate geometric designs o\\ rugs, bags, d\id trappings reveal patterns of daily life in the

The shop of a silver and antiques dealer in Mutrah souk (marketplace)

is a storehouse of treasures including khanjars and jewelry

SMITHSONIAN FOLKLIFE FESTIVAL

6 8

The coiled, leather-covered basket used by Young girls from a Bedouin family work

desert dwellers for milking camels is lightweight together to braid the ends of a rug and unbreakable, typifying the requirement for woven by their mother.

portability that underlies all Bedouin craftsmanship

desert and display the weavers' ingenuity in DATE PALMS AND SOUKS: depicting the world around them. Sources of OASIS TOWNS OF THE INTERIOR inspiration for designs include spindles and other

weaving tools, kohl containers, combs, goats, Oasis town settlements bring lite and au unex-

lizards, hud tracks, and the camel itself; most pected tableau of green to a landscape that

have been passed down from mother to daughter is otherwise desolate and brown. The largest

for untold centuries. Other designs, such as scis- of these towns are characterized by elaborate

sors and helicopters, are evidence of creative systems of defense that incorporate vvatchtowers,

invention by new generations of weavers and perimeter walls, fortified gates, and massive,

illustrate the dynamic nature of crafts as a vehicle multi-towered fortresses. These protect inhabit-

tor expression. ants and the sources of water vital to settlement

On the fringes of the desert are bustling and the extensive cultivation of date palms.

oasis towns where Bedouin lifestyle overlaps The date palm is, without question, the

with that of settled communities. Despite most versatile of Oman's natural resources,

their allegiance to the desert, Oman's Bedouin and tor good reason it is known throughout

communities do, of necessity, maintain strong the Arab world as the "tree of life." Beyond

links to these towns. They make periodic visits its obvious value as a provider of food,

to sell livestock, tribal rugs and trappings, desert- shelter, and fuel, it is the greatest source ot

palm basketry and other Bedouin products, and craft material in the country. It has useful

to purchase the work of market-based silver- applications in seafaring, fishing, tanning.

and coppersmiths, silk weavers, embroiderers herding, trading, and general housekeeping.

and other town-dwelling artisans, main of Virtually every part of the date palm is

whom cater specifically to a Bedouin clientele. utilized by artisans. Leaflets are plaited into

SMITHSONIAN FOLKLIFE FESTIVAL strips to make mats, baskets, and food covers. long and joined The date palm is,

Fibrous material found at the base ot fronds is plied into rope and used to cushion loads on donkeys and camels. The central ribs without question, of fronds are made into clothing fumigators or bird traps, or are the most versatile lashed together to form panels for constructing dwellings, work- shops, and livestock enclosures. Date stalks are split and made into of Oman's natural rigid containers, while the dates themselves are added to indigo resources, and for dye vats and leather tanning solutions. Sharp spines projecting from the sides of fronds are used as needles by embroiderers. Trunk good reason it is sections are hollowed out to make cattle troughs, mortars, and known throughout [69] beehives, or cut lengthwise into quarters and used as ceiling beams. Any surplus material can be used by potters for tiring pottery. the Arab world as

focus of most oasis towns is the souk (marketplace), which A ,, oí liíe. serves as a base for both the production and marketing of crafts. the "tree

Carpenters, silversmiths, coppersmiths, and blacksmiths typically have permanent workshops within the souk itself, while leather cratters set up temporary sunshades under which they work and offer leather goods for sale.

The indigo dyers of Bahla, among the last in the Arab world to use natural indigo, continue to work in traditional workshops with large dyeing vats set into earthen floors and dyed fabric drying on the roof- tops. Souk-based crafts are characterized by a high degree ot specialization and are typically learned through apprentice- ship. Those artisans who work outside the souk—potters, basket makers, weavers of camel and donkey trappings, and rose-water producers—sell their finished goods in the souk directly or through middlemen.

Artisanal communities in oasis towns depend upon and support each other. For instance, leather tanners and indigo dyers use earthenware vats made by potters.

Large copper cauldrons are used for making halwa, which is packaged in palm baskets, and also tor distilling rose water, which is collected in other copper vessels and poured from highly ornate silver sprinklers. The workshops of carpenters, silversmiths, and potters abound with palm-frond mats and hand-forged iron tools, creating webs ot exchange among craftspeople that help maintain the viability of traditional artisanry in oasis towns.

OMAN DESERT, OASIS, AND SEA COASTAL CRAFTSMANSHIP continue to lie stitched together with palm- AND GLOBAL CONNECTIONS fiber rope and decorated with goatskins and cowry shells. Boat yards in the coastal

seafaring heritage is Oman's legendary, and entrepot of Sur also remain active, with more than boat building—perhaps any other traditional boat builders receiving commis- has craft industry — had a fundamental impact sions for vessels with the elegant transoms on the course ot Omani history. The earliest favored by local fishermen. Virtually all of the written to reference the country, recorded on tools and equipment used are of extremely Akkadian tablets to pertains clay dating 2520 BCE, ancient lineage. Among the most important to maritime trade and the emergence of Oman 70] ot these are the adze and the bow-drill. (then known as "Magan") as one ot the world's Oman's port cities have a history rich in first seafaring nations. Based on the export of seafaring tradition. For centuries, dhows set sail copper from the north and frankincense from from Sur, Suhar, and Muscat fully laden with

the south, earl} trade activity was a major cata- merchandise from Oman—dried fish, dates, lyst tor advances in boat-building technology. limes, copper, frankincense, horses, skins, honey, From these early times, Oman's boat-building and pomegranates— as well as Gulf pearls and

industry grew as part a regional of development Yemeni coffee. In the [8th century, more than ot seafaring capability throughout the Gulf, the (in percent of the total Gulf trade and half

Arabian Sea, and a the Indian Ocean, develop- the produce ofYemen passed through Omani characterized ment by transfers of technology ports. In return, traders brought commodi- and trade in wood and other raw materials. ties that were 111 short supply m Oman: wood, Oman's early traditions boat-building spices, rice, precious metals, silks, textiles,

have perpetuated in been Musandam. where iron, horn, and tine porcelain ware. They the and bows ot sterns double-ended vessels also brought new ideas and technologies.

At a boat yard in Al-Ashkharah, a bow-drill is employed to fit ribs

to the planked hull of a shu'i commissioned by a local fisherman.

SMITHSONIAN FOLKLIFE FESTIVAL [7i]

A Bahía blacksmith, assisted by his sons, employs hot-forging techniques to make a steel knife blade.

Many of the materials were imported been gateways for new ideas, materials, and to supply coastal cratt industries. Bronze technologies, which have not only enriched the

and iron contributed to the development ot cratt heritage of coastal communities but also metalworking—particularly tool making and filtered inland via overland trade routes. At the weaponry production —while the gradual adop- same time, Omani artisans, employing indig-

tion of silver and gold as regional currencies enous materials, techniques, and designs, have

encouraged the development of refined decora- brought their own interpretations and customs

tive techniques tor weaponry and jewelry. Fine to the practice ot their crafts. The result is a

hardwood brought a degree of sophistication captivating synthesis, within which are discern-

to the boat-building industry and permitted a ible Arab, Asian, and East African influences.

volume of production that would have been The resulting whole is a vibrant and unique

impossible on the basis ot indigenous wood cratt culture that is resoundingly Omani.

alone. The precious value of wood encouraged The souk in the capital city and port ot

the development ot woodcarvmg into a fine Muscat has a broader role than those in the

art form that maintains its pride of place in interior. Although a center ot traditional crafts

doors, windows, and other decorative features production, the souk also gathers cratt prod-

of monumental and vernacular architecture. ucts from all over the country — Bahla pottery, Embroiderers and pit-loom weavers benefited basketry from the Batinah, Sun embroidery and

from the import ot silk and other threads that pit-loom weaving, tribal rugs and trappings, and

add color and diversity to local costume. Nizwa copper and silverwork. All find an outlet

Towns such as Suhar, Muscat, Sur, and in the capital-area marketplace. Local women sell

Salalah along Oman's coastline emerged as major incense in the heart ot the souk, their mixtures

entrepots that boast a rich mixture of people, spread before them to entice customers. Hand-

a decidedly cosmopolitan air, and a lively and embroidered qimmahs (men's caps), made in

varied collection ot cratt traditions. They have the privacy ot the home or courtyard, are also

OMAN DESERT, OASIS, AND SEA Although the old on otter, and special commissions are accepted for work to order. Contiguous with the various souks are artisanal workshops, where is making way for silver- and goldsmiths, weaponry makers, blacksmiths, leather

the new, progress is cratters, carpenters, tailors, and hahva makers may all be found hard

at work. It is evident, particularly in the gold and silver souks, that still a mantle worn mercantile prosperity and the cosmopolitan character of the capital

lightly by a society have done much to encourage the production of luxury goods.

The souks of the capital are outlets not only for consumer that retains a strong goods but also tor a broad range of imported raw materials used commitment to [72] by urban and rural artisans. Textile sellers offer fabrics from the Far tradition, culture, East, the Indian subcontinent, Africa. Europe, and the Americas, together with threads, trims, and other costume materials used by and heritage. embroiderers and pit-loom weavers. Suppliers in the alleys behind

the gold and silver souk provide jewelers and khanjar (Omani ceremonial dagger) makers

with imported metals in ingot

or nugget form, wire and sheet

metal in various gauges at highly

competitive prices, dies, tools,

scales, and crucibles from Pakistan

and India, Omani leather, Indian

teak, and a range of burnishing,

soldering, and casting compounds. For the incense makers, perfume

and spice sellers otter fragrant

ingredients from the far corners

of the world—aromatic oils,

woods, resins, rose-scented

water, fixatives, and burners.

The spice stalls also otter henna

< powder and paste as well as

2 dried limes, which are used as

1 a fixative m henna mixtures.

Although the old is making

* i way for the new, progress is o - still a mantle worn lightly by

The secrets of one of the world's a society that retains a strong commitment to tradition, culture, most ancient crafts are contained and heritage. The extent to which Omani craft products continue in a small workroom in Bahla, one to have utility in daily life is quite remarkable, as is the extent of the last corners in the Arab to which craft producers continue to equate challenge with world where Indigo dyeing is still opportunity the practice of their craft. Craft skills continue intertwined with local culture m Successive generations of Omanis to be passed down trom mother to daughter, father to son, and

continue to be captivated by the Oman remains among the few nations in the Middle East with allure of the precious dyestuff a living heritage that remains relevant to both local popula-

tions and visitors. There is every hope that the country can

continue to broaden its horizons without forfeiting its past.

SMITHSONIAN FOLKLIFE FESTIVAL THE OMANI CRAFT HERITAGE DOCUMENTATION PROJECT

Rich and diverse, the craft industries

of Oman are among the most

important cultural traditions in the

Arabian Peninsula. Until recently,

however, there had been little .73. research into this subject. When

it became apparent that the rapid

modernization of the Sultanate

would challenge the survival of the

country's craft industries, the Omani

Craft Heritage Documentation

Project was initiated in 1996 by His

Highness Seyyid Shihab bin Tariq

Al Said. Its aim has been to identify An embroiderer 15 resplendent in her own hand-stitched finery in and document the different types Bilad Sur. She uses silk and metallic threads from India and Asia,

of crafts in all parts of the country. and silk fabric woven especially for the Omani market. From Xhejirz (ceremonial small-

SUGGESTED READING bladed ax) makers of Musandam

to the potters of Dhufar, hundreds Richardson, Neil, .ind Marcia Dorr. 2003. The Craft Heritage of ( )man. of craftspeople have been Dubai: Motivate. interviewed, and their techniques

and products have been carefully MARCIA STEGATH DORR earned degrees in fine arts and documented and photographed. education from the University of Michigan. She taught art and An important result of this established an interior design firm in Ann Arbor before going project, the extraordinary two- to live mThe Gambia with her family in 19X3. While there she volume work, The Craft Heritage created a West African artisans' co-operative. In 1986 she moved to of Oman, is a tribute to Oman's the Sultanate of Oman, where her work in cultural preservation artisans and the traditions they continued with a United Nations project to revitalize traditional create. Authors Neil Richardson pottery production. Ms. Dorr is presently advisor to the government and Marcia Dorr document the adaptive historic torts castles tor the re-use ot and origins and development of the

country's craft traditions and NEIL RICHARDSON was born in London and later moved artisan communities. They provide to Australia, where he graduated from the University of a comprehensive region-by-region Western Australia with a degree in business and marketing. record of the design and production He has worked in Oman since 1989, specializing in heritage techniques of the many and varied management and the preservation of traditional cratt industries. crafts found across the Sultanate. to his the documentation of traditional In addition work on This wide-ranging catalogue of craft industries, he was a co-founder of the Omani Heritage artifacts concludes with a review of

Gallery, a not-for-profit organization linking traditional Omani the changing role of craft industries artisans with contemporary markets tor their products. in a rapidly modernizing society,

making it the most significant .-4// photographs courtesy of the Omani Craft Heritage publication on the traditional craft Documentation Project unless noted otherwise. heritage of southeast Arabia.

OMAN DESERT, OASIS, AND SEA AN OMANI FOLKTALE

ASYAH AL-BUALY

Omani folk literature reaches all social classes TALE OF FADIL OR RAMADU

and consists of different types of folk genres. It Once upon a time, there was a merchant who had includes proverbs, which summarize human life an only son named Fadil. Fadil's mother died when experiences, and folk songs, which groups of he was an infant. His father remarried a woman people sing for special occasions such as weddings, 74] who hated Fadil and always tried to get rid of birth celebrations, and Islamic festivals. In addition, him so that she could have the full attention and it includes narrative forms such as fables and other love of his father. Fadil had a horse named Insiyah folktales, stories of lunar eclipses, jinn or spirit (from ins, meaning "human beings, "a name tales, and sira, or tales that glorify a hero who often used in Omani folklore for a domesticated may or may not have been an historical figure. animal that possesses human qualities). The following is an Omani folktale that, A merchant, Fadil's father was away from although told for entertainment, also contains home from early morning till late evening. the complex dualities and recurring contradictions During his father's absence, the stepmother of human relationships. The fable is titled "Tale would abuse Fadil by starving, cursing, and of Fadil or Ramadu." Fadil is an Arabic male hitting him. When she would send Fadil to the name that means "praiseworthy," and Ramadu kuttab, the Koran (Qur'an) school where her comes from the word ramadi, meaning "gray." brother was the teacher, he would continue to

torment Fadil by hitting and humiliating him.

One day, while the stepmother and her

brother were planning to rid themselves

of Fadil for good by killing him, the horse

Insiyah listened attentively, and later gave

Fadil full details of this conspiracy.

On the following day, the stepmother, who

had always neglected Fadil, offered him a clean

plate full of food. Fadil knew that the food had

been poisoned, and so he refused and ate from

the saucepan in the kitchen, saying he wanted to

leave the good food for his stepmother.

Then he refused to wear a clean shirt offered

by his stepmother, because he knew that it too

had been treated with poison. He picked the shirt

up with a stick and burned it in the garden, saying

that his father would buy him a new shirt.

The stepmother and her brother suspected

the horse Insiyah of informing Fadil of their plans

and decided to get rid of the horse.

In her third deceitful act, the stepmother

pretended that she was seriously ill and slept all

Like the hero Fadil, many Omanis have a close relationship with their animals. Horses are especially valued.

***i. —

day. She put dry bread and dry date-palm leaves There, over the course of several episodes, under her mattress. When her husband returned Fadil was able with his horse's help to save the in the evening, she tossed and turned, producing emir and his emirate from a cruel king who sounds like broken bones as the bread and leaves intended to conquer the emirate and marry the snapped. She was trying to convince her husband emir's daughter by force. Eventually, Fadil married she was suffering with fever pain in her bones the princess and lived happily ever after. and mumbled to him that the doctor prescribed a horse's liver to cure her. Such tales share many features with folk

When the husband hesitated, she immediately literature from around the world. For example, said she understood that slaughtering the horse as much as the Omani tale represents Omani

I 75 I

Insiyah would pain his son, who was so greatly society, its structure is not unlike the tales of attached to the horse. The husband's response many other nations. But this particular fable was that she was more important than the horse, articulates profound concepts connected to which could easily be replaced with another. Omani ethics—beginning with the names

At dawn, Fadil discussed this new conspiracy of its eponymous hero, Fadil and Ramadu. with his horse Insiyah. They agreed that while Fadil These indicate the boy's embodiment of was at school, Insiyah would neigh three times bravery, self-sacrifice, and unselfishness. first when dragged from the stables, second when Fadil's departure from home at a very reaching the slaughtering area, and the third time young age reflects an Omani value on when being prepared for slaughter. adventurous, courageous behavior that faces

When Fadil heard the first neigh, he asked the unknown for the sake of achieving a lofty his teacher for permission to go home, but the goal. Fadil embodies an ideal Omani, who teacher refused. At the second neigh, Fadil asked can overcome disappointments in life such for permission to go out for a drink, but the as the cruel treatment of the stepmother and teacher refused again. But on the third neigh, her brother, the Koran teacher, who should

Fadil slipped by the teacher and ran out of the have been models of exemplary behavior. class to the slaughtering place, where his father The Omani people encourage perseverance. was preparing to kill Insiyah. This theme is confirmed by a common proverb to

The astonished father explained his intentions the effect that any action should be performed to Fadil. Fadil humbly asked his father to grant him at least three times to achieve perfection. a final farewell ride on the horse. His father agreed In other words, repetition is necessary for but asked Fadil to return as quickly as possible, success. This was expressed in our fable by because of his stepmother's suffering. key incidents being repeated three times.

Fadil jumped on Insiyah and rode away far In Omani society and many others, human from home. He wrote to his father informing him nature searches for complete happiness. of his wife's mistreatment. He then returned briefly Therefore, it is not surprising that our fable to satisfy his father's yearning for him but left again ends with a happy ending in which Fadil and and continued to write more details. The father the emir's daughter share love and marriage. revealed his knowledge to his wife only when Fadil informed him of his wife's pretended illness. ASYAH AL-BUALY is Assistant Professor in the

But it was too late. Fadil had already Department of Arabic Literature and Language, returned and left for the third time. He crossed College of Arts and Social Sciences, Sultan Qaboos several deserts and settled in a wealthy emirate, University. Born in Zanzibar, she holds a Ph.D. disguising himself as a poor servant by spreading from Cairo University and has published a number gray ashes on himself, which caused the local of scholarly and popular articles on literature people to call him Ramadu. and the arts.

OMAN: DESERT, OASIS, AND SEA

a

MUSIC AND DANCE IN OMAN

OMAN CENTRE FOR TRADITIONAL MUSIC KHALFAN AL-BARWANI, DIRECTOR

of Oman's traditional music is sustained by [77] Alloral transmission between generations, and each region has its own unique forms. Songs

and dances are performed during festivals and ceremonies throughout the country. Songs vary

from region to region, north to south, from one environment to

another. Songs of desert, oasis, and sea differ in purpose, content, and instrumentation.

Desert songs often praise the sturdiness of the camel. Al-

taghrud, sung while riding camels, encourages both animal and

rider. It is a group song with words that do not change from

place to place. Al-tariq is a Bedouin song sung either while

riding a camel or seated on the ground. Two singers perform it

in alternating verses. This song praises the she-camel and reflects

a slower pace of the camel in contrast to al-taghrud, which

mimics the camel traveling at a faster pace. Much of Bedouin

song is unaccompanied. 7l In many ways a dance of the oasis, although performed in

most areas, al-razhah is characterized by its use of the sword and its « W exchange of poetry between men. Men leap into the air, carrying a heavy sword, and must not falter upon landing. The men also

throw the sword into the air and catch it as it comes down— V show of strength and prowess. Years ago, al-razhah was used to / announce the onset of war or victory, to muster troops, or to V mediate between warring factions. Today it is used as a welcome to and celebration of His Majesty Sultan Qaboos bin Said. The £l dance has three slow rhythms, but upon a call from the drum, the men perform sword displays, the aim of which is to hit one's

opponent on the left thumb. If no side is a clear winner, then an

elder of the tribe cuts the air between them, terminating the tight.

Sea songs reflect sailors' duties during preparation of the V ship for departure, during the voyage, and upon its return. There are many types of sea songs. One, shilat al-hamul (The

Song of the Porters), is performed when loading goods onto

Dancers rehearse for an 'id al-adha

celebration in the Saham district.

OMAN DESERT, OASIS, AND SEA

y% THE OMAN CENTRE FOR TRADITIONAL MUSIC

Traditional Omani songs and

dances are woven together

with modern Omani music into

a rich tapestry of the country's

musical heritage. Recognizing

that Oman's present-day [78] cultural achievements are

rooted in a past with ancient

beginnings, His Majesty Sultan

Qaboos bin Said directed that

the country's musical heritage

be collected and documented

to ensure its preservation for

future generations. The Oman Al-tanq is performed by Bedouins who sing to each other while Centre for Traditional Music they ride camels and when they are seated on the ground.

(OCTM) was established in

1984 with this purpose. the ship and also to pray to God for sate passage during their

Since its inception, the journey. Other songs include nasa al-sharal (Raising the Sails),

Centre has documented in which each sail has its own part, differing from the others

more than 80 percent of in tempo and text. Al-hambal is a song performed by sailors

Oman's musical traditions. It on their way to the al-razhah dance. Two drummers lead the

includes more than 24,000 procession walking backward to face the marching partici- photographs, 725 audiovisual pants, encouraging them to show then bravery and courage. recordings, a large number Many dances are performed only m certain regions or at specific of sound recordings, and a celebrations. The Musandam region m the north, tor example, has digitized database of these ven distinctive songs. Al-nnvah is unique to mountain-dwelling materials. The Centre's approach Bedouins in this region and involves eight to ten drummers who is comprehensive because, move forward, backward, and then m a circle. Its verses pertain in Oman, music is part of a to different times of the day. The first, al-sirah, is performed in the traditional lifestyle in which morning; al-sadai is performed mid-morning; al-rawah at noon: healing, fishing, planting, and al-siriya m the evening. This song is heard mainly at weddings, and other kinds of work play religious festivals, and on official holidays. Wayliyah al-nisa is a prominent roles. The Centre has dance performed by women in Ibri, m the central Dhahira region. identified more than 130 different Groups of women, each placing her right hand on her neighbor's forms of traditional music in shoulders, move around in unison. Each woman shakes a silver Oman, grouping them into four

rattle, she holds in her tree hand, to the simple main types: sea shanties and which mark

fishing songs, celebration songs, rh\ thm. When the leader of a group gives her rattle a long shake,

Bedouin music, and mountain the women change places .\nd form circles. Singing and drum-

music. In 2002 the Centre was ming accompany the dancing. Al-tayminah is a traditional song of

given an award by UNESCO's the central Dakhliyah, sung as a child learns the Koran (Qur'an)

International Music Council in by heart. The children of the local school gather m a procession

recognition of its role in the behind the teacher who reads a passage from the Koran. At the

preservation of Omani music. end of each verse the children reply "Amin" (Amen) in unison.

SMITHSONIAN FOLKLIFE FESTIVAL s In the southern Dhufar region, al-bar a is his original position. A stipulation of performing performed as a celebration of youth by two al-dan is that all men must go barefoot. Anyone dancers, each holding a dagger in his right found wearing sandals is punished with a fine. hand and his shal (waist wrap) in his left hand. Raqs al-nisa (Women's Dance) is one of the

The characteristic movement ot al-bar'a is a most frequently performed dances in its home powerful one-tooted leap into the air. The region. Bedecked in gold, women move in two dancers move in a synchronized series ot pairs among the seated participants with small, steps, retreating as advancing and they make measured steps. When they have circled the area. full circles. At a particular moment, both they sit down to allow the next pair to dance. dancers bow down before the musicians to Music in Omani society plays a role at [79] allow soloists to come forward and sing. every stage ot a person's lite. From birth, to

Al-mawlid is a song ot celebration coming of age and marriage, during profes- performed on the Prophet's birthday, at sional life, and finally in death, an Omani is weddings, when moving to a new house, or accompanied by traditional arts that express joy curing the sick. This dance has a leader (klialifah), or pain or simply help with everyday work. a second in command (shawush), and a reciter

(i/iin).The klialifalt's succession is hereditary, and SUGGESTED READING/LISTENING the qari is usually a scholar. Al-dan song and dance involves two parallel rows ot participants.

El-Mallah, issani. 1998, < )mani Traditional Music. Drummers continually approach the rows, until Tutzing: H. Schneider. a dancer steps out from his row to perform a solo. Beating their drums, the drummers then The Music q) an Ancient Civilization: The Sultanate qj chase him through the dance until he returns to Oman, (CD). 1994. Muscat: Ministry of Information.

The traditional al-razhah dance displays a performer's courage, swordsmanship, and poetic skills.

Al-razhah used to announce war or victory. It also would provide a way for men to express their demands to their leaders. Today al-razah is performed at weddings, holidays, and to welcome an honored visitor.

GENERAL FESTIVAL INFORMATION

FESTIVAL HOURS LOST & FOUND/LOST PEOPLE

The Opening Ceremony tor the Festival Lost items or family members should be takes place at the Sounds ot the Forest brought to or picked up from the Volunteer tent

Music Stage at n a.m., Thursday, June 23. located near the Smithsonian Metro Station on

Thereafter, Festival hours are n a.m. to the Mall at Jefferson Drive and 12th Street.

5:30 p.m., with special evening events. See the schedule on pages 84-94 for details. METRO STATIONS [8i

Metro trains will be running every day ot the FESTIVAL SALES Festival. The Festival site is easily accessible

Visitors may purchase Middle Eastern and from the Smithsonian and Federal Triangle other program-related lunches, snacks, and Stations on the Blue and Orange Lines. dinners from Festival food concessions. A variety ot objects produced by Festival arti- SERVICES FOR VISITORS sans and a selection of related books and WITH DISABILITIES recordings will be available at the Festival

Marketplace on the Mall-side lawn ot the Large-print and audio-cassette versions of the

Freer Gallery ot Art. Smithsonian Folkways daily schedule and audio-cassette versions of recordings will also Lie available there. the program book and signs are available at the Festival Information kiosks and the Volunteer

PRESS tent. Other formats are available upon request.

Volunteers are on call to assist wheelchair users. Visiting members of the press should Audio loops to assist hard-ot-hearing visitors are register at the Press tent located near the

installed at music stages. Service animals are Smithsonian Metro Station on the Mall the welcome. Sign Language interpreters atjetterson Drive and 12th Street. American

are available on site; the Festival schedule indi-

FIRST AID cates which performances and presentations are

interpreted (»5tíP). On Thursdays and Saturdays, A first aid station is located near the programs in Food Culture l ] SA\ Beyond the Smithsonian Metro Station on the Mall Melting Pot tent will be captioned (oc). at [etterson Drive and 12th Street.

RESTROOMS & TELEPHONES THUNDERSTORMS

There are outdoor facilities tor the public and In case of a severe rainstorm visitors should tor visitors with disabilities located near all go inside a museum. It museums are closed, of the program areas on the Mall. Additional visitors should go into the Metro Station. restroom facilities are available in each of the Summer rainstorms are usually brief, and museum Laiildmgs during visiting hours. Public often the Festival resumes operations within telephones are available on the site, opposite an hour or two. In the event ot a severe the National Museums of American History thunderstorm the Festival must close. and Natural History, and inside the museums. Do not remain under a tent or a tree!

In the tradition of Omani hospitality, welcome to the Festival!

GENERAL FESTIVAL INFORMATION ecosystems, identification of plants and trees,

woodcarving, painting, basket weaving, quilting,

instrument making, paper making, law enforce-

ment methods, archaeological fieldwork, use of

traditional tools, firefighting and smokejumping

techniques, tire lookout practices, walks through

the Interactive Forest, and building homes

with modern and efficient wood products.

Oman: Desert, ( fosis, and Sea: Shipbuilding, tradi-

tional masonry, basketry, wool and silk weaving,

indigo dyeing, camel handling, pottery, silver

jewelry making, copper- and blacksmithing,

incense and perfume making. Islamic calligraphy,

traditional embroidery, and leatherworking.

MARKETPLACE EVENTS

Friday, June 24, 3-4 p.m.

Nuestra Música Performances and CD Signings

Los Camperos de Valles and Sones de Mexico

Saturday, June 25, 3-4 p.m. Dutch oven chili cook-off Nuestra Música Performances and CD Signings ONGOING FESTIVAL PRESENTATIONS Los Camperos de Valles and Ecos de Borinquen

In addition to the daily scheduled perfor- Sunday, June 26, 1-2 p.m. mances, there will be ongoing demonstra- Oman Book Signing tions in the individual program areas. Marcia Dorr and Neil Richardson

Food Culture I 'SA: Cheese making, cacao Sunday, June 26, 3-4 p.m. cultivating and chocolate making, coffee Nuestra Música Performance and CD Signing growing Mid roasting, spice sourcing, sustain- Lo>s de Borinquen able gardening and tanning, gadget and utensil 1-2 collecting, recipe exchanging, chili roasting, Saturday, July 2, p.m. cooking demonstrations, professional kitchen ( lin.in Booh Signing demonstrations, tofu making, dairy tanning, tea Marcia Dorr and Neil Richardson growing and making, winemaking and vide ul- Saturday, July 2, 3-4 p.m. ture, barrel making, youth gardening programs, Nuestra Música Performances and Signings barbecue, and community food celebrations CD Elíseo y su Chanchona Melódica

Oriental and Los Pleneros de la 2\ Forest Service, Culture, and Community: Wilderness survival skills and techniques, hiking and trail Sunday, July 3, 3-4 p.m. safety, riding all-terrain vehicles, packing and Nuestra Música Performances and CD Signings camping skills, traditional cooking methods, Los Lleneros de la 21 and [CJ Band bud identification, stream and river flow, canopy crane research, interdependence of Look loi cookbook signings too!

SMITHSONIAN FOLKLIFE FESTIVAL [8:

Visit the Oman Adornment Pavilion to learn about traditional natural cosmetics.

ESPECIALLY FOR CHILDREN California, which includes information about AND FAMILIES plant varieties, sustainable gardening, and fresh produce. Find out what chefs feed their families You can discover the mystery recipe ingre- at the Beyond the Melting Pot, Carden Kitchen, dient, become a junior forest ranger, and follow and Home Cooking tents. Meet the farmers in Sindbad the Sailor through the desert, oasis, the Tradition and Adaptation area who can tell and sea of Oman with the Family Activities you about growing our food and selling it to Guide, which encompasses all three programs. local markets, communities, and restaurants. Each program has a reward for completing their guide questions. The guide is available Forest Service, Culture, and Community: Learn tree ot charge trom every Festival Information how to cook outdoors, create a nature kiosk and at the following locations in the journal, design a nature quilt square, see how J programs: Food Culture I SA, at the Potting to build a bird box, and try your hand at Shed; Forest Service, Culture, and Community, at identifying trees and plants. Check the daily the Family Activities Tent; and ( )man: Desert, schedule the Family Activities Tent. Oasis, and Sea, in the Learning Center. m

In addition, families will enjoy the < )man: Desert, Oasis, and Sea: Play tradi- following features ot the programs: tional Omani games or beat your own rhythm on an Omani drum. Then learn

Food Culture USA: Learn about growing your how to decorate a friend's hands with own vegetables and fruits at the giant Edible henna, or try writing your name in Arabic.

Schoolyard. This garden showcases Alice Waters 's Check the schedule signs in front of the renowned food-education project in Berkeley, Al Maidan and the Adornment Pavilion.

GENERAL FESTIVAL INFORMATION FESTIVAL SCHEDULE (Programs are subject to change)

Thursday, June 23 Festival Opening Ceremony at n o'clock on the Sounds of the Forest St, W

Food Culture USA Forest Service, Culture, Oman Desert, and Community Oasis, and Sea Beyond the Melting Pot

oc12:00 Sheila I ukins Sounds of the Forest Stage Magan Stage oc 1:00 Brad Ogden i?j11:00 Opening Ceremony 12:00 Al Majd Ensemble 8 2:00 Tom Bivins with 4 | í^12:00 Rita Cantu 12:45 Qurayat Ensemble

Nova Km: and 1:00 Rulers in the Dirt 1:30 Suhar Ensemble

Les Hook 2:00 Patrick Michael Karnahan 2:30 Al Majd Ensemble oc 3:00 Charlie Palmer 3:00 ( Chuck Milner 3:30 Qurayat Ensemble oc 4:00 Auhc Bunyarataphan 4:00 I he Fiddlin' I oresters 4:30 Suhar Ensemble

Garden Kitchen Community Stage Al Maidan ¿%12:00 Marion Speai 12:00 I ogger Poetry and Song É5T12:00 Music Workshop 1:00 |immy Andruzzi 1:00 Women of the Forest 12:45 t 'main Stories

2:00 John Phillips Service 1:30 Dance Workshop 3:00 Sheila Lukins if 2:00 Fighting Forest I ires 2:15 ( hnani ( lames 4:00 Mark Federman 3:00 Inspirations from the 3:00 Calligraphy and Language and Herman Vargas Forest 3:45 ( 'main < lames

Home Cooking 4:00 I aw Enforcement in the 4:30 Desert Traditions 21st t'enturc 12:00 Mark Federman and Oasis Kitchen 5:00 Forest Service Family Herman Vargas 12:00 Omani Lunch

1:00 Najmieh Batmanglij Camp Foodways Bef 2:00 All about Halwa

2:00 Marion Spear 12:00 Wilde rafters 2:45 Food from the Desert 3:00 linunv Andruzzi 1:00 ( looking in the Field 3:45 ( offee, Dates, and 4:00 John Phillips 2:00 I >uti li < >ven I Jelights I lospitaliry

Around the Table 3:00 ( Cooking ( Catfish 4:45 Meaning of Halal

tf 4:00 Plants ¡nJ I )yes 12:00 Passing It < hi: Adornment Pavilion

Cookbook Writing 5:00 I >utch Oven I Mights 12:00 ( hii.ui {domed: Men and 1:00 Sustainability and Family Activities Tent Boys' Regional Press Marketing: Organic (.Ingoing events tor young people 12:45 Workshop Henna Standards throughout the day, including: I Vcoration

2:00 Recipes foi a Slew Land smg-alongs, storytelling, craft £9 1:30 < )man Adorned: Women demonstrations, career counseling, Immigrant Cooks and C in Is' Regh mil and nature awareness programs 3:00 Passing li On: I Iress Check the schedule board in trout FamiK Recipes 2:15 Adorning Ships of the of the FamiK Activities lent tor 4:00 Sustainable Menus í"f I desert Ships of the Sea dail) event information.

Edible Schoolyard Ramada 3:00 I Vorkshop Making Si ents Interactive Forest 12:00 Food fm Tlwuglit: Aroma as Adornment Ongoing activities throughout the Sef 3:45 Dressing the Horn* ( Children's Education day in this forest-like learning envi-

I )esert, t >asis. and Sea 1:00 Garden C Crientation ronment, |om rangers, naturalists, icf 4:30 Diversity in Omani Dress 2:00 llii Conversation and others for guided tours through Continues: Lunch [able the Interactive Forest Check the

Partic ipants schedule board outside the Forest

*>cy induati i imerican Sign I 3:00 [mpro\ ing School for d.nK e\ent information. ititi rpreted program Lunches oc denotes captioned performance

4:00 A I lay in the Kitchen

SMITHSONIAN FOLKLIFE FESTIVAL Friday, June 24 (Programs are subject to change)

Nuestra Música Evening Conceit ¡it 5; ;i> on the Sounds of the Forest Stage

Food Culture USA Forest Service, Culture, Oman: Desert,

Beyond the Melting Pot and Community Oasis, and Sea ¿xj11:00 Mara Cámara Sounds of the Forest Stage Magan Stage 12:00 Charlie Palmer 11:00 Keith Bear Í>

1:00 Karen MacNeil 12:00 Riders 111 the Dirt 12:30 Qurayat Ensemble [85] 2:00 Tom Bivins with Nova £gf 1:00 The Fiddlin' Foresters 1:30 Al Majd Ensemble Kim and Les Hook 2:00 Rita Cantú 2:30 Suhar Ensemble 3:00 Cesare Lanfranconi 3:00 Cindy Carpenter 3:30 Qurayat Ensemble 4:00 Melissa Kelly 4:00 Patrick Michael Karnahan 4:30 Al Majd Ensemble £9 5:30 Evening Concert Garden Kitchen Al Maidan 11:00 Phillips Nuestra Música: John 12:00 Oasis Traditions 12:00 John and Anthony Uglesich Music in Latino Culture 12:45 Omani Games 1:00 [immy Andruzzi The Mexican Son 1:30 Dance Workshop 2:00 Najmieh Batmanglij Community Stage 2:15 Calligraphy and Language 3:00 Karen MaeNeil Research í^11:00 Bud Watching and 3:00 Omani Stories 4:00 Manon Spear 12:00 Wildlife Encounters 3:45 Music Workshop Home Cooking 1:00 Forest Folklore 4:30 Omani Games 11:00 Mark Federman and 2:00 The Greatest Good Oasis Kitchen Herman Vargas 3:00 Threats to the Forest 12:00 All about Halwa Relations 12:00 Jimmy Andruzzi 4:00 Community 12:45 Food from the Oasis 6$ 1:00 Melissa Kelly £0 5:00 Logger Poetry and Song 1:45 Fruits and Sweets of Oman 2:00 Nahid Mohamadi Camp Foodways 2:30 Coffee. Dates, and 3:00 John Phillips 11:00 Delights Dutch Oven Hospitality 4:00 Mara ( 'amara 12:00 Wildcrafters % 3:30 Id Dinner Around the Table 1:00 Cooking in the Field Adornment Pavilion 2:00 11:00 Recipesfor o New Land: Dutch Oven Delights 12:00 Northern Omani Traditions Immigrant Cooks £gr 3:00 Cooking Catfish of Men's Dress Plants 12:00 Passing It On .-Biodiversity 4:00 and Dyes 12:45 Northern Omani Traditions and Food Traditions 5:00 Dutch Oven Delights of Women's Dress Business 1:00 Sustainable Family Activities Tent £9 1:30 Workshop: Face Masks 2:00 Crops in Traditional New Ongoing events tor young people 2:15 Oman Adorned: Soil: Immigrant Growers throughout the day, including: Dressing the Home t»f 3:00 Links in the Food Chain: sing-alongs, storytelling, craft 3:00 < hihin Adorned: Curls to Food Safety demonstrations, career counseling, Women, Boys to Men £qj 4:00 Sustainable Growing and nature awareness programs. 3:45 Workshop: Henna Check the schedule board in Edible Schoolyard Ramada front of the Family Activities Tent £qf 4:30 Treasures of Trade 11:00 Garden Orientation tor daily event information. 12:00 Foodfoi Thought: Children's Interactive Forest Education £<0 indicates American Sign Language Ongoing activities throughout the 1:00 (¡arden Orientation interpreted program day 111 this forest-like learning envi- 2:00 The Conversation Continues. ronment, loin rangers, naturalists, Lunch Table Participants and others for guided tours through 3:00 Improving School Lunches the Interactive Forest. Check the 4:00 A Day 111 the Kitchen schedule board outside the Forest Slow Roast tor daily event information. Barbecue with limTabb

FESTIVAL SCHEDULE Saturday, June 25 (Programs are subject to change)

Nuestra Música Evening Concert at s: ¡c> on the Sounds of the Forest Stage

Food Culture USA Forest Service, Culture, Oman: Desert,

Beyond the Melting Pot and Community Oasis, and Sea oc 11:00 Marion Spear Sounds of the Forest Stage Magan Stage oc 12:00 Steve Raichlen £ey11:00 ( Inu k Milner fy11:30 Qurayat Ensemble oc 1:00 Todd < ¡ray 12:00 ( 'iiulv Carpenter 8 61 12:30 Al Majd Ensemble

2:00 Kaz ( >kochi 1:00 Riders in the I >irt 1:30 Suhar Ensemble oc 3:00 Janos Wilder 2:00 Keith Bear 2:30 Qurayat Ensemble oc 4:00 loin Bivins with Nova 3:00 I he Fiddlin' I oresters 3:30 Al Majd Ensemble 4:00 Rita ( lantu Kmi .iiui 1 es 1 look 4:30 Suhar Ensemble t>qf 5:30 Evening Concert Garden Kitchen Nuestra Música: Al Maidan 11:00 John Phillips Music in Liuino Culture 12:00 ( )mani Games 12:00 Janos Wilder Music and Poetry 12:45 ( )mani Stories £><£ 1:00 Najmieh Batmanglij Community Stage 1:30 Dance Workshop 2:00 Charles I'h.m

11:00 Inspirations from the I orest 2:15 l 'mam ( ..unes 3:00 John and Anthony Uglesich 12:00 Piles from the Woods *Sf 3:00 Maritime Traditions 4:00 [odd Gm % 1:00 Why [Joined the USDA 3:45 Music Workshop

Home Cooking 1 oresl Sen ii e 4:30 Calligraphy and Language

11:00 Nongkran Daks 2:00 Music . Rhythm, and Nature Oasis Kitchen 12:00 Mark Federman and if 3:00 Forest Servic e Icons

12:00 I ood from the Sea Herman Vargas 4:00 l a\\ Enforcement in the £

2:00 t )mani l (inner % 3:00 John Phillips Camp Foodways 4:00 All about Halira £& 4:00 Mara ( amara 11:00 Dutch Oven I Mights tf 4:45 Pleads of ( 'man Around the Table 12:00 Wildcrafters Adornment Pavilion ^cf1 1:00 Passing It On Biodiversity 1:00 Cooking in the Field

2:00 I iutch Oven Delights 12:00 Dressing the I Ionic and I ood Ir.ulitions

3:00 l ( attish 12:45 Masks 12:00 Passing ll ' hi ooking Workshop: Pace Sustaining Tradition 4:00 Plants and Dyes (burquas)

1:00 Global Exchange, LocalValue! 5:00 Duti li ( )ven I ielights 1:30 Adorning C anieK and

2:00 Recipa fm a .Yen Land Family Activities Tent Horses Immigrant ( 'ooks Silver ( ingoing events for young people 2:15 Workshop: Omani

3:00 Passing li < hi throughout the day, including: and ( ¡old ( )rnaments Publishing Food sing-alongs, storytelling, craft 3:00 ' hinui Adorned:

4:00 < )rganic, Natural, and demonstrations, career c ounseling, Men's Regional l )ress Conventional: and nature awareness programs Navigating in the Oasis the Food Landscape l he. k the schedule board in 3:45 < hnan Adorned: trout of the Family Activities lent Edible Schoolyard Ramada Women's Regional Dress for daily event information. in the Oasis 11:00 Garden ( )rientation Interactive Forest Personal 12:00 Food fa Thought: 4:30 Expression Ongoing activities throughout the Children's Education through Adornment day in this forest-like learning envi- 1:00 Garden ( Indication ronment. Join rangers, naturalists, 2:00 Tlie Conversation Continues: and others for guided tours through *>cf indicates American Sign Langitagt Lunch Tabic Participants the Interactive I orest ( heck the interpreted program 3:00 Improving School Lunches schedule board outside the Forest OC denotes captioned performance

4:00 A I >a\ m the Kitchen for daily event information.

SMITHSONIAN FOLKLIFE FESTIVAL Sunday, June 26 (Programs are subject to change)

Nuestra Música Evening Concert at 5:30 on the Sounds of the Forest Stage

Food Culture USA Forest Service, Culture, Oman: Desert, and Community Oasis, and Sea Beyond the Melting Pot £^11:00 Mark Federman and Sounds of the Forest Stage Magan Stage Vargas Herman £^11:00 Cindy Carpenter <Écj 11:30 Al Majd Ensemble 12:00 LisaYockelson 12:00 Chuck Milner 12:30 Suhar Ensemble 8 7] 1:00 |osé Andrés 1:00 Rita Cantú 1:30 Qurayat Ensemble 2:00 Frank Morales 2:00 The Fiddlin' Foresters 2:30 Al Majd Ensemble 3:00 Fabio Trabocchi £$ 3:00 Patrick Michael Karnahan 3:30 Suhar Ensemble 4:00 Mara Cámara 4:00 Riders in the Dirt 4:30 Qurayat Ensemble Garden Kitchen Ssf 5:30 Evening Concert Al Maidan 11:00 Charles Phan Nuestra Música: 12:00 Desert Traditions 12:00 Plana My Trail Musk in Latino Culture 12:45 Dance Workshop £cj 1:00 Susan Belsinger Jíbaro Music LisaYockelson £gf 1:30 Omani Stories 2:00 Community Stage 3:00 Aulie Bunyarataphan 2:15 Omani Games 11:00 Wildlife Encounters 4:00 Diana My Trail 3:00 Calligraphy and Language 12:00 Community Relations 3:45 Music Workshop Home Cooking cÉcj 1:00 Accessibility in the 4:30 Omani Games 11:00 Brenda Rhodes Miller Outdoor Environment 12:00 Marion Spear 2:00 Women of the Forest Oasis Kitchen 1:00 Mark Federman and Service 12:00 Wedding Celebration Vargas Herman 3:00 Diversity in the Forest 2:00 All about Halwa 2:00 Marion Spear Sen it e £ef 2:45 Food from the Desert tef 3:00 Charles l'han 4:00 I ogger Poetry and Song 3:45 Indian Flavors 111 Oman 4:00 lose Andrés txf 5:00 The Greatest Good 4:45 Coffee, I 'ates, and Around the Table Camp Foodways Hospitality

11:00 Recipesfoi ,1 New Land: 11:00 Dutch Oven Delights Adornment Pavilion Immigrant ( \>nks 12:00 Wildcrafters 12:00 Oman Adorned. Women's 12:00 Links in the Food Chain: 1:00 ( Ooking in the Field Adornment ill Desert Food Safety 2:00 Dutch Oven Delights Communities 1:00 Global Exchange. 3:00 ( onking Cattish Local Values 12:45 1 )man Adorned Men's 4:00 Plants and Dyes 2:00 What'i In Season: Adornment in Desert 5:00 Dutch Oven Delights Farmers Markets Communities Tent 3:00 National Markets, Family Activities 1:30 Workshop: Face Masks Ongoing events for young people Sustainable Foods 2:15 Home Decor in the Desert. throughout the day, including: tcf 4:00 Local Food, Local Economy Tent Beautiful sing-alongs, storytelling, craft 3:00 Adorning Camels Edible Schoolyard Ramada demonstrations, career counseling, 11:00 Garden Orientation and nature awareness programs. 3:45 Workshop:

12:00 Food foi Thought: Check the schedule board in Omani Embroidery Children's Education front of the Family Activities Tent £& 4:30 Dress, Faith, and Identity 1:00 Garden Orientation for daily event information. m Oman 2:00 The Conversation Continues: Interactive Forest Lunch Table Participants Ongoing activities throughout the 3:00 Improving School Lunches day m this forest-like learning envi- £cf indicates American Sign Language 4:00 A Day in the Kitchen ronment. |oin rangers, naturalists, interpreted program and others for guided tours through Slow Roast the Interactive Forest. Check the 13mner on the Grounds schedule board outside the Forest for daily event information.

FESTIVAL SCHEDULE Monday, June 27

(Programs are subject to change)

Food Culture USA Forest Service, C ulture, Oman: Desert, and Community Oasis, and Sea Beyond the Melting Pot 11:00 Marion Spear Sounds of the Forest Stage Magan Stage

12:00 Food Iraditions 11:00 Patrick Michael Karnahan 11:30 Suhar Ensemble 1:00 Carole Greenwood [88] 12:00 I he Fiddhn' Foresters 12:30 Qurayat Ensemble 2:00 Mark Furstenberg £ef 1:00 Riders in the I )irt 1:30 AJ Majd Ensemble

£<3 3:00 Francis I ayrle 2:00 Keith Bear 2:30 Suhar I nsemble

t"j 4:00 I )avid Scribner 3:00 l lindy t 'arpenter 3:30 Qurayat Ensemble

Garden Kitchen 4:00 ( huck Milner 4:30 AJ Majd Ensemble 11:00 Charles Phan Community Stage Al Maidan 12:00 Mara Cámara 11:00 I ighting I orest Fires £?12:00 Calligraphy and

1:00 ( larol Reynolds 12:00 Research Matters Language

2:00 David Scribner 1:00 I. lies from the Woods 12:45 Dance Workshop

3:00 Robert Weland ( 2:00 I / ifetime in the Woods: 1:30 )mani (¡ames

4:00 C 'aróle C ¡reenwood A I ove Stor\ 2:15 ( )m.mi Stones

Home Cooking £? 3:00 l he Greatest Good 3:00 Musi, Workshop

11:00 Susan Belsinger 4:00 I i nest Service Family 3:45 t )asis I raditions 12:00 Robert Weland t"f 5:00 Heritage Matters 4:30 ( )mani Games 1:00 Charles Phan Camp Foodways Oasis Kitchen 2:00 Nils. in Lindeborg fj11:00 l )utch Oven Delights 12:00 All about Halwa 3:00 Cesare Lanfranconi 12:00 Wildcrafters 12:45 Food of the Oasis 4:00 Marion Spear 1:00 t looking in the Field Be§ 1:45 Spicing in Oman

Around the Table 2:00 Dutch Oven Delights 2:30 Got'fee, I >ates, and 3:00 Cooking Catfish Hospitality i%11:00 Traditional Crops in New

4:00 Plants and I )yes 3:30 Ramadan Meal Soil: Immigrant ( ¡rowers 5:00 Dutch Oven Delights 12:00 National Markets Adornment Pavilion

and ( ¡rowers Family Activities Tent 12:00 Head t loverings and 1:00 Sustainability: Ongoing events for young people Jewelry

Local Sourcing throughout the day, including: 12:45 Workshop: Fragrance as sing-alongs, storytelling, craft 2:00 Recipes fot a New l.aud Adornment demonstrations, career counseling, Immigrant ( looks 1:30 Women's Dress and nature awareness programs. 3:00 Passing li On Traditions of the South Check the schedule board in front Sustaining tradition 2:15 Men i Dress: of the Family Activities lent for 4:00 Global Exchange Traditions of the South daily event information Edible Schoolyard Ramada £y 3:00 Workshop: Henna Interactive Forest I hvssing Ships, t 11:00 Garden Orientation 3:45 laméis, l ingoing activities throughout .\i\i\ Horses 12:00 Foodfor Thought: the day in this forest-like £>y 4:30 Transition to Modernity: Children's Education learning environment, [oin

Omani Fashion I )esign t>ejf 1:00 Garden Orientation rangers, naturalists, and others

2:00 The < ".onversation for guided tours through the

( ^ontinni> Lunch fable Interactive Forest. Check the

£>cf mdicah • American S*;gn / Tin Kip. ints schedule hoard outside the forest interpreted preigram 3:00 Improving School for daily event information. Lunches

4:00 A I >.i\ in the Kitchen

SMITHSONIAN FOLKLIFE FESTIVAL Thursday, June 30 (Programs are subject to change)

Sounds of the Forest Evening Concert at 5:30 on the Sounds of the Forest Stage

Food Culture USA Forest Service, Culture, Oman: Desert, and Community Oasis, and Sea Beyond the Melting Pot oc 11:00 Gilroy and Sally Chow Sounds of the Forest Stage Magan Stage oc 12:00 Roberto Donna £^11:00 Keith Bear 11:30 Al Majd Ensemble oc 1:00 Emeril Lagasse 12:00 Riders in the Dirt 12:30 Qurayat Ensemble [89] 2:00 Ed LaDou 1:00 The Fiddlin' Foresters 1:30 Suhar Ensemble oc 3:00 Todd English 2:00 Cindy Carpenter 2:30 Al Majd Ensemble

oc 4:00 Food Traditions 3:00 Rita Cantó 3:30 Qurayat Ensemble Garden Kitchen 4:00 Patrick Michael Karnahan 4:30 Suhar Ensemble £$ 5:30 Evening Concert 11:00 Food Traditions Al Maidan Sounds the Forest 12:00 Sudhir Seth of £^12:00 Music Workshop £

2:00 Food Traditions 11:00 Fighting Forest Fires 1:30 Dance Workshop 3:00 Carol Reynolds 12:00 Bird Watching & Research 2:15 Omani Games 4:00 Ed LaDou £% 1:00 Cattle and Rangelands 3:00 Calligraphy and Home Cooking 2:00 Community Relations Language 11:00 Food Traditions 3:00 Forest Service Family 3:45 Omani Games 12:00 Carol Reynolds 4:00 The Greatest Good 4:30 Desert Traditions 5:00 Women ofthe Forest Service 1:00 Food Traditions £f Oasis Kitchen 2:00 Gilroy and Sally Chow Camp Foodways 12:00 Omani Lunch

taf 3:00 Sudhir Seth 11:00 Dutch Oven Delights £9 2:00 All about Halwa £<£ 4:00 Food Traditions 12:00 Wildcrafters 2:45 Food from the Desert

Around the Table 1:00 Cooking in the Field 3:45 Coffee, Dates, and 2:00 Dutch Oven Delights Hospitality £ey11:00 Recipes for a New Laud. Immigrant Cooks £y 3:00 Cooking Cattish 4:45 Meaning of Halal 4:00 Plants and Dyes 12:00 Passing li 1 >u Adornment Pavilion 5:00 Dutch Oven Delights Cookbook Writing 12:00 Oman Adorned: Men and 1:00 Sustainability and Family Activities Tent Boys' Regional Dress

Marketing: ( Jrganic Ongoing events for young people 12:45 Workshop: Standards throughout the day, including: Henna 1 decoration sing-alongs, storytelling, craft 2:00 Recipes for a New Land 1:30 Oman Adorned: Women demonstrations, career counseling, 3:00 Passing li On: Family and Girls' Regional Recipes and nature awareness programs. l )ress Check the schedule board in 4:00 Sustainable Menus 2:15 Adorning Ships of the tront of the Family Activities

I (esert ships of the Sea Edible Schoolyard Ramada Tent tor daily event information. 11:00 Carden Orientation 3:00 Workshop: Making Interactive Forest Scents Aroma as 12:00 Food for Thought: — Ongoing activities throughout Children's Education Adornment the day 111 this forest-like 1:00 Orientation £gf 3:45 Dressing the Home: Garden learning environment, [oin Desert. ( Jasis, and Sea 2:00 The Conversation rangers, naturalists, and others 4:30 Diversity in Omani Continues: Lunch Table tor guided tours through the £gf

Participants Interactive Forest. Check the I )ress

3:00 Improving School Lunches schedule board outside the Forest £<3J indicates American Sign Language 4:00 A Day in the Kitchen tor daily event information. interpreted program

OC denotes captioned performance

FESTIVAL SCHEDULE Friday, July 1 (Programs are subject to change)

Ralph Rinzler Memorial Concert at 5:30 on the Sounds of the Forest Stage

Food Culture USA Forest Service, Culture, Oman: Desert, and Community Oasis, and Sea Beyond the Melting Pot 11:00 Douglas Anderson Sounds of the Forest Stage Magan Stage 12:00 Michel Richard *y11:00 PatYork £^11:30 Suhar Ensemble 1:00 Ed 90 LaDou I | 12:00 he Fiddlin' Foresters 12:30 Qurayat Ensemble 2:00 Gilroy and Sally Chow 1:00 Rita Cantú 1:30 Al Majd Ensemble

3:00 I uii.i Bastianich 2:00 Keith Bear 2:30 Suhar Ensemble 4:00 Moron Ouattara 3:00 Patrick Michael Karnahan 3:30 Qurayat Ensemble 4:00 ( hack Milner Garden Kitchen 4:30 Al Majd Ensemble £f 5:30 Evening Concert i%11:00 AnnAmernick AI Maidan Ralph Rinzlei Memorial 12:00 Carol Reynolds 12:00 ( )asis traditions Concert: Beautiful Beyond 1:00 Suvir Saran 12:45 t hiiani (¡ames 2:00 Michel Richard Community Stage 1:30 I lam e Workshop 11:00 Inspirations from the Forest 3:00 Eric Ziebold 2:15 Calligraphy and 12:00 ( lowbo) Poetn 4:00 Carol Reynolds Language égf 1:00 Legacy of Gifford Pinchot Home Cooking 3:00 ( )mani Stones 2:00 Forest Service Icons 11:00 Food Traditions 3:45 Music Workshop t»3 3:00 Music, Rhythm, and Nature 12:00 Ann Amernick 4:30 ( )mani Games 4:00 Law Enforcement in 1:00 Steve Herrell the 2 1st Century Oasis Kitchen

2:00 < Morou Juattara 5:00 Wildlife Encounters 12:00 All about Halwa *gp 3:00 Ed LaDou Camp Foodways 12:45 Food from the Oasis £sf 4:00 Gilroy and Sail) I how 1:45 Fruits and Sweets 11:00 Dutch Oven Delights

of ( )man Around the Table 12:00 \\ ildcrafters

2:30 ( offee, Dates, 11:00 Passing It ( >n 1:00 ( ooking in the Field

and I lospitality Biodiversity and Food 2:00 I (uteri ( >ven I ielights txj 3:30 Id Traditions 3:00 ( Poking cattish Dinner

4:00 Plants and I )yes 12:00 Global Exchange, I ocal Adornment Pavilion Values t<3 5:00 Dutch Oven Delights i5^12:00 Northern ( >mani

£9 1:00 National Markets, Traditions of Men's Family Activities Tent Sustainable Foods I Iress Ongoing events tor young people

2:00 I inks in ( the Food 'ham 12:45 Northern O111.1111 throughout the day, including:

3:00 Passing It ( hi sing-alongs, storytelling, craft traditions of Women's

( ookbooks demonstrations, career counseling, I )ress

4:00 Sustainable ( ¡row ing and nature awareness programs í»3 1:30 Workshop: Face Masks

( he. k the schedule board in Edible Schoolyard Ramada 2:15 < )man Adorned: trout of the Family Activities 11:00 Garden Orientation I dressing the Home lent for daily event information. 3:00 ' 12:00 Food for Thought: hnan Adorned

( nils to Women. ( Ihildren's Educ ation Interactive Forest Boys to Men 1:00 Carden ( )nentation ( ingoing ac tivities throughout the day in this forest-like 3:45 Workshop: Henna 2:00 The < Conversation learning environment. |oin Continues. Lunch Tabic £<£ 4:30 I leisures of Trade rangers, naturalists, and others Participants for guided tours through the 3:00 Improving School Interactive Forest Check the 6$ indicates American Sign Lanpiaj/i Lunches schedule board outside the Forest interpreted program

4:00 A I Jay in the Kitchen tor d.ulv event information

SMITHSONIAN FOLKLIFE FESTIVAL Saturday, July 2 (Programs are subject to change)

Nuestra Música Evening Concert at y.30 on the Sounds of the Forest Stage

Food Culture USA Forest Service, Culture, Oman: Desert, and Community Oasis, and Sea Beyond the Melting Pot Sounds of the Forest Stage oc 11:00 Douglas Anderson Magan Stage 11:00 Chuck Milner oc 12:00 Ris Lacoste £f 11:30 Qurayat Ensemble 12:00 Patrick Michael Karnahan oc 1:00 Suvir Saran 12:30 Al Majd Ensemble .91 1:00 Keith Bear 2:00 Frank Morales 1:30 Suhar Ensemble 2:00 Cindy Carpenter oc 3:00 Paul Prudhomme 3:00 The Fiddlin' Foresters 2:30 Qurayat Ensemble oc 4:00 Patrick O'Connell 4:00 Rita Cantil 3:30 Al Majd Ensemble Garden Kitchen £af 5:30 Evening Concert 4:30 Suhar Ensemble Nuestra Música: 11:00 Maria Gooriah Al Maidan Music 111 Latino Culture 12:00 Steve Herrell 12:00 Omani Games Community 111 New 1:00 Patrick O'Connell 12:45 Omani Stories York and Washington 2:00 Hi Soo Shin Hepmst.ill 1:30 Dance Workshop Community Stage 3:00 Carol Reynolds 2:15 Omani Games ¿5^11:00 Threats to the Forest 4:00 Gilroy and Sally Chow £<3 3:00 Maritime Traditions 12:00 Cowboy Poetry 3:45 Music Workshop Home Cooking 1:00 Education in the Forests 4:30 Calligraphy and 11:00 Hi Soo Shin Hepinstall 2:00 Fighting Forest Fires Language 12:00 Gilroy and Sally Chow £•3 3:00 .-1 Lifetime in theWoods: 1:00 Ed LaDou A Love Story Oasis Kitchen 4:00 Forest Service Family 2:00 Ak.ish.i Richmond 12:00 Food from the Sea £cf 5:00 Heritage Matters 3:00 Food Traditions £9 £

3:00 Link-, in the Food Chain Family Activities Tent Face Masks (burquas) 4:00 Sustainability: ( ingoing events for young people 1:30 Adorning Camels

Organic Standards throughout the day, including: and Horses Edible Schoolyard Ramada sing-alongs, storytelling, craft 2:15 Workshop: Omani Silver demonstrations, career counseling, £cp11:00 Garden Orientation and Gold Ornaments programs and nature awareness 3:00 Oman Adorned: 12:00 Food foi Thought: Check the schedule board in Men's Regional Dress Children's Education front of the Family Activities in the Oasis 1:00 Garden Orientation lent tor daily event information. Adorned: 2:00 The Conversation 3:45 Oman Interactive Forest Regional I >rcss Continues: Women's Ongoing activities throughout Oasis Lunch Table Participants in the the day in this forest-like 4:30 Personal Expression 3:00 Improving School learning environment. Join through Adornment I mulles Lingers, naturalists, and others

£ej 4:00 A I )ay in the Kitchen tor guided tours through the £0 indicates American Sign Language Slow Roast Interactive Forest. Check the interpreted program schedule board outside the Forest Argentinean Asado lor daily event information. oc denotes captioned performance

FESTIVAL SCHEDULE Sunday, July 3 (Programs are subject to change)

Nuestra Música Evening Concert at ¡:jo on the Sounds of the Forest Stage

Food Culture USA Forest Service, Culture, Oman: Desert, and Community Oasts, and Sea Beyond the Melting Pot 11:00 HiSooShmHepinst.il] Sounds of the Forest Stage Magan Stage 12:00 Fabio Trabocchi 11:00 Patrick Michael Karnahan £

[92] 1:00 Ed I al >ou 12:00 Keith Bear 12:30 Suhar Ensemble

2:00 LisaYockelson 1:00 ( lindy Carpenter 1:30 Qurayat Ensemble

3:00 Suvir Saran 2:00 I he Fiddlin' Foresters 2:30 Al Majd Ensemble 4:00 Gilroy and Sally (how 3:00 ( hnck Milner 3:30 Suhar Ensemble 4:00 Rita Cantú Garden Kitchen 4:30 Qurayat Ensemble t"j 5:30 Evening Concert 11:00 Akasha Richmond Al Maidan Nuestra Música: 12:00 Maria ( looriah 12:00 I lesert Traditions Music in Latino Culture t"j 1:00 Paul Prudhomme 12:45 Dance Workshop I he I )ance Scene 2:00 Carol Reynolds Community Stage £<£ 1:30 Omani Stories 3:00 Ed LaDou 2:15 ( lames £^11:00 Wildlife Encounters Omani 4:00 I larol Reynolds 3:00 Calligraphy and 12:00 ( attle and Rangelands

Home Cooking 1:00 Tales from the Woods Language 11:00 Steve Herrell 2:00 Survival of the Fittest 3:45 Music Workshop 4:30 Games S><3 3:00 I liversity in Omani 12:00 I isaYockelson the 1:00 Gilroy and Sally Chow Forest Service Oasis Kitchen 4:00 Inspirations from the Forest 2:00 Hi Soo Shin Hepinstall 12:00 Wedding Celebration 5:00 \\c Miien of the Forest f=f 3:00 Food Traditions 2:00 All about Halwa Servic e 4:00 Maria Gooriah £3 2:45 food from the Desert

Around the Table Camp Foodways 3:45 Indian Flavors in Oman 11:00 Dutch Oven Delights 4:45 Dates, f>gp11:00 Traditional Crops in New Coffee, and Íy12:00 Wildcrafters Soil: Immigrant Growers I lospitality

1:00 ( booking in the Field 12:00 Passing II ( >n Adornment Pavilion 2:00 I hiu h Oven I Jelights Sustaining Traditions 12:00 < )man Adorned: Women's 3:00 Cooking ( attish

1:00 Global I «change Adornment in I )esert 4:00 Plants and Dyes 2:00 What's In Season Communities tjf 5:00 I )utch Oven Delights Farmers Markets 12:45 ' hnan Adorned: Men's 3:00 National Markets, Family Activities Tent Adornment in 1 )esert ( ingoing events tor young people Sustainable Foods Communities throughout the day, including: £•<$ 4:00 Local Food, Local Economy 1:30 Workshop: Lace Masks sing-alongs, storytelling, craft Edible Schoolyard Ramada demonstrations, career counseling, 2:15 Home Decor in the Desert. Tent Beautiful 11:00 ( larden Orientation and nature awareness programs. Check the schedule hoard in 12:00 Foodfor Thought: 3:00 Adorning ( laméis front of the Family Activities tent Children's Education 3:45 Workshop: for daily event information. 1:00 (¡arden Orientation Omani Embroidery

2:00 The Conversation Interactive Forest £qf 4:30 Dress. Faith, and Identity Ongoing activities throughout Continues: Lunch rabie m Oman the í\,\\ in this forest-like Participants learning environment. |oin 3:00 Improving School Lunches rangers, naturalists, and others £^f indiciilei American Sign Languagi 4:00 A Da) in the Kit< hen for guided tours through the ¡ah rpn tea program Slow Roast Interactive Forest. Check the schedule hoard outside the Forest Mike and Ann Mills tor dailv event information.

SMITHSONIAN FOLKLIFE FESTIVAL Monday, July 4 (Programs are subject to change)

Hootenanny at ¡ o'clock on the Sounds of the Forest Stage

Food Culture USA Forest Service, Culture, Oman: Desert,

Beyond the Melting Pot and Community Oasis, and Sea 4^11:00 Brenda Rhodes Miller Sounds of the Forest Stage Magan Stage 12:00 Jose Andrés 11:00 Cindy Carpenter 11:30 Suhar Ensemble 1:00 Paul Prudhomme 12:00 Rita Cantú 12:30 Qurayat Ensemble [93 2:00 Food Traditions 1:00 Patrick Michael 1:30 Al Majd Ensemble 3:00 Steve Herrell Karnahan 2:30 Suhar Ensemble 4:00 Ed LaDou 2:00 Chuck Milner 3:30 O urayat Ensemble Garden Kitchen 3:00 Keith Bear 4:30 Al Majd Ensemble £$ 4:00 The Fiddlin' Foresters 11:00 Nongkran Daks Al Maidan 5:00 Hootenanny 12:00 Suad Shallal í^12:00 Calligraphy .mo\ 1:00 Carol Reynolds Community Stage Language 2:00 Gilroy and Sally Chow Ícf11:00 Heritage Matters 12:45 Dance Workshop 3:00 Hepmstall Hi Soo Shin 12:00 Cowboy Poetry 1:30 C Ilium Games

4:00 Jose Andres tcj 1:00 Education in the Forests 2:15 Omani Stories Home Cooking 2:00 The Greatest Good 3:00 Music Workshop Relations Traditions 11:00 Gilroy and Sally Chow 3:00 Community 3:45 Oasis 12:00 Hi Soo Shin Hepinstall 4:00 Fighting Forest Fires 4:30 Omani Games 5:00 Forest Service Family 1:00 Ed LaDou Oasis Kitchen

2:00 Akasha Richmond Camp Foodways 12:00 All about Hahra £

4:00 Carol Reynolds 12:00 Wildcrafters t"j 1:45 Spicing in Oman Around the Table 1:00 Cooking in the Field 2:30 Coffee. Dates, and 2:00 Dutch Oven Delights Hospitality 11:00 Traditional Crops in New 6cj 3:00 Catfish 3:30 Meal Soil: Immigrant Growers Cooking Ramadan 4:00 Plants and Dyes 12:00 National Markets and Adornment Pavilion 5:00 Dutch Oven Delights C lowers 12:00 Head Coverings tgf 1:00 Sustainability: and Jewelry Family Activities Tent Local Sourcing 12:45 Workshop: Ongoing events for young people 2:00 / Hversity: Immigrant Cooks Fragrance as throughout the day. including: Adornment 3:00 Recipes for a New Land: sing-alongs, storytelling, craft 1:30 II omen 's Dress: Immigrant Cooks demonstrations, career counseling, Traditions of the South £zf 4:00 Global Exchange and nature awareness programs. 2:15 Men's Dress: schedule Edible Schoolyard Ramada Check the board in Traditions ot the South front of the Family Activities 11:00 (larden Orientation Í& 3:00 Workshop: Henna lent for daily event information. 3:45 Dressing Ships, Camels, 12:00 Foodfor Thought: and Horses Children's Education Interactive Forest 6% 4:30 Transition to Modernity: 1:00 Carden Orientation Ongoing activities throughout

Omani Fashion I )esign 2:00 The < Conversation the day in this forest-like Continua: Lunch Table learning environment. Join

Participants rangers, naturalists, and others

3:00 Improving School Lunches for guided tours through the Interactive Forest. Check the *cf indicates American Sign Languagt 4:00 A Day in the Kitchen interpn ted program schedule board outside the Forest Slow Roast for daily event information. Dinner on the Grounds

FESTIVAL SCHEDULE EVENING CONCERTS

Sounds of the Forest Stage

All concerts are sign language interpreted.

Friday, June 24, 5:30-9 p.m. Thursday, June 30, 5:30-9 p.m. Comanche Hymn Singers

The Mexican Son Sounds oj ilii' Forest Maria Nauni (Comanche)

1 os Camperos de Keith Bear Vince Redhouse (Navajo)

Valles, Mexico Rita Cantú >4] Sones de México, Chicago Riders in the Dirt Saturday, July 2, 5:30-9 p.m.

Patrick Michael Karnahan Community in New

Saturday, June 25, 5:30-9 p.m. Chuck Milner York and II 'ashington

Music and Poetry The Fiddlin' Foresters Elíseo \ su Chanchona

1 os Camperos de Cindy t larpenter Melódica Oriental,

Valles. Mexico Shawnee Forest New Washington, D.C.

Ecos de Borinquen, Century Children's Choir Los Pleneros de la

Puerto Rico 21, New York

Friday, July 1, 5:30-9 p.m.

Sunday, June 26, 5:30-7 p.m. Ralph Rmzler Sunday, July 3, 5:30-9 p.m.

[íbaro Music Memoria] Concert The Dance Scene

Ecos de Borinquen, Beautiful Beyond Los Lleneros de la

Puerto Rico Mark and Nancy Brown 21, New York

(Eastern Band Cherokee) |CJ Band, Washington, D.C

Joel Monroy Martinez of Los Camperos de Valles Patrick Karnahan

SMITHSONIAN FOLKLIFE FESTIVAL RELATED EVENTS

Food Culture USA Forest Service, Culture, Film

and Community June 24 and July 1, 12 noon Exhibition June 25-26 and July 2-4, 2 p.m. Appétit! Julia Child's Bon Concerts Baird Auditorium Smithsonian Kitchen at the The Kennedy Center's National Museum of Ongoing Millennium Stage will feature Natural History National Museum of concerts by Festival participants The 1 Greatest Good (2005), a American History on the following evenings, two-hour documentary film, 9 5 First floor west trom (1 to 7 p.m. Concerts are tells the complete history ot the free and open to the public. Films US] >A Forest Service through June interviews, archival footage, Saturday, June 25, Saturday, 25 and cinematography. Riders in the Dirt new to Sunday, July 3 Anne Alford National Gallery of Art Forest Service Open House [oanna Booser 1930s Learn more about the USDA Marcel Pagnol's Fanny |udv Haigler Service by visiting the Trilogy—consisting of Marius, Gayle Hunt Forest

Fanny, and César—presents a I 1 nest Service Information gentle portrait of the inhabit- Monday, June 27 Center inside the Sidney R. ants of the old Provencal port The Fiddlin ' Foresters Yates Building, 201 14th Street of Marseilles, including Panisse, |ane Leche SW. You can see an animatronic the warmhearted widowei and Tom McFarland Smokey Bear, explore a 19SOS- sailmaker (and. by design, the Jim Maxwell eia ranger cabin, and enjoy namesake ofAlice Waters 's famous Lynn Young a special display of historical restaurant Chez Panisse). Marius photos that highlight life in the Thursday, June 30 will be shown June 25 at 2 p.m. national forests and Grasslands. Nature ami Harmony and [une 2d at 4 p.m. Fanny The Information Center is open Shawnee Forest New will be shown July 2, and Césai 8 a.m. to s p.m. weekdays, 9 a.m. Century Children's Choir will be shown July 3. For more to 4 p.m. weekends and holidays. Cindy Carpenter information visit www.nga.gov. Forest Service Saturday, July 2 Food Culture in the City Unveiling Ceremony Musii of the West Continue your exploration ot Friday, July 1, 2 p.m. Patrick Michael Karnahan Food Culture USA throughout I he unveiling of a survey marker Chuck Milner the nation's capital with spe< 1.1I to commemorate the USDA featuring dinners, events, and talks Sunday, July 3 Forest Service's 100th anniversary top local and visiting diets Musk of tlw Earth will take place on the west side along with growers. For full Rita Cantú of the ¡amie L.Whitten Building, details, visit www. Washington, Keith Bear 1400 Independence Avenue SW. org or call (202) 789-7000.

United States Department of Agriculture Visitor's Center Located on the National Mall

(Jefferson Drive). Washington, DC. Open Monday-Friday,

9 a.m. to 3 p.m.

RELATED EVENTS RELATED EVENTS

Nuestra Música: Oman: Desert, Oasis, and Sea

Music in Latino Culture Exhibition Concerts Caravan Kingdoms: Incense Trade Thursday, June 23, 7 p.m. Yemen and the Ancient

Cultural Institute of Mexico June 25-September 18, 2005

2829 16th Street. NW Arthur M. Sackler ( .aller\ Washington, DC 20009 Smithsonian Institution [96]

A free concert features the trio For over a thousand years, from around 800 BCE to 600 Cl , the kingdoms

[os Camperos de Valles hum of Qataban, Saba (biblical Sheba), and Himyar grew fabulously wealthy

Ciudad Valles, San Luis Potosí, from their control over the caravan routes of the southern Arabian presenting the Mexican son huasteco peninsula and. in particular, from the international trade in frankin- Limited space available. For infor- cense and myrrh. Excavations at the capitals ot these ancient kingdoms mation tall (202) 728-1628 have yielded spectacular examples of architecture, distinctive stone funerary sculpture, elaborate inscriptions on stone, bronze, and wood, The Kennedy Center's and sophisticated metalwork. For the first and only tune in North Millennium Stage will feature stunning artistic heritage will be examined in a major concerts by Festival participants America, Yemen's on the following evenings, international exhibition organized by the Arthur M. Sackler Gallery.

from 6 to 7 p.m. Concerts are Drawn from the collections of the Republic ofYemen, the American tree and open to the public. Foundation for the Study of Man. the British Museum, and Dumbarton

Oaks, this exhibition of approximately 200 objects explores the unique Sunday, June 26 cultural traditions of these ancient kingdoms. It gives special emphasis Los ( lamperos de I alies to the rich artistic interaction that resulted from overland and mari-

Friday, July 1 time contacts linking the southern Arabian peninsula with the eastern

Los Plenews de la 21 Mediterranean, northeastern Africa, and south and southwest Asia.

Los Pleneros de la 21 will perform on the Kennedy Center Millennium Stage on Friday, July 1, at 6 p.m.

SMITHSONIAN FOLKLIFE FESTIVAL FESTIVAL PARTICIPANTS

Food Culture USA affinity for farming and cheese (powder, butter, chocolate) under

making is hereditary; his paternal its own management. El Ceibo

Cheese grandfather emigrated to an Iowa was also quick to recognize the

Melanie Cochran, Keswick dairy farm from Switzerland, where importance of organic farming.

Creamery, Newburg, Pennsylvania prior generations had been dairy As far back as 19X7 it converted a Cochran makes aged, Melanie farmers 111 the Alpine foothills large part of its cocoa production raw milk cheese at Keswick outside Chür. operations to organic proce-

Creamery's no-acre farm in the dures, and in [988 organically [97]

Cumberland Valley. The farm has Cesare Marocchi, certified cocoa was marketed 45 [ersey cows that rotation. illy Chevy Chase, Maryland and exported throughout the produces cheddar, graze. Keswick Cesare Marocchi was born in world for the first time. Wallaby, Dragon's Breath, feta, Castel Forte, Italy, and came to Italian herb feta. feta de Provence, Coffee the United States as an Italian tomato basil feta, and (season- Mshikamano Farmers Association, & diplomat. Instead of returning to ally) Carrock and Calverly. Mbeya Region, Tanzania Italy, he went into business with a Mshikamano Coffee Group is friend and started the Washington

Allison Hooper, .1 cooperative of approximately restaurant Vice. Marocchi was one llebsterville, Vermont 300 farmers in five villages of the first in the Washington area Allison Hooper started the in the southern highlands of to make fresh mozzarella from Vermont Butter & Cheese southwestern Tanzania, near cheese curd. He owns Marcella's Company with Bob Reese Zambia. Founded in 1995 by Restaurant in Chevy Chase. in 1984. She learned artisanal David Robinson, m partner- t heese making as a college ship with rural farming families, Maria Moreira, student studying in France Mshikamano provides coffee to Lancaster, Massachusetts in the late 1970s. Located 111 Sweet Unity Farms, an inde- Maria Moreira, whose family Websterville, their company pendent brand established by immigrated to the United buys its goats' and cows' milk Robinson. Sweet Unity Farms States from Portugal in the from a network of local farms. began selling its coffee interna- 1960s, farms and makes cheese. tionally in [999. Mshikamano Morena also teaches sustainable Rob Kanfelt, NewYork, NewYork recently received invest- pest management to Hmong As owner of Murray's Cheese ment capital from the African farmers as part of a program to Shop, the famous Greenwich Development Foundation to provide land, skills, and access Village gourmet food store, finance the expansion of its to markets in Massachusetts. Rob Kaufelt travels throughout production and enhance its inter-

Europe and America in search of national marketing activities. Wendy ll'icbe, Orange, I 'irginia new and exotic cheeses. He is .m Wendy Wiebe raises heritage Cooking Demonstrations active member of the Amerit .111 livestock on her farm in Orange. Washington, D.C. Cheese Society, and his dedica- Ann Amernick, Working the farm with Suffolk Amernick is Executive tion to cheese retail has earned Ann Punch draft horses, she raises pigs. Pastry Chef and owner of Palena him a medal from France's chickens, turkeys, sheep, cows, Before opening Guilde des Fromagers.As he says, Restaurant. vegetables, fruits, and berries. She "Remember... Cheese Rules!" Palena, she was assistant pastry uses milk from her dairy cows to chef at the White House and make cheese, butter, and yogurt. Mike Koch, FireFly Farms, pastry chef at Jean-Louis at the has been nomi- Bittinger, Maryland Chocolate Watergate. She Outstanding Pastry Chef Koch and his partner Pablo El Ceibo, Rio Beni, Bolivia nated for the Beard Society, and purchased the 130-acre farm 111 [997 El Ceibo became the world's by James has twice named to the and have spent the last five years first small farmers' coopera- she been

renovating the property and devel- tive to manufacture—and, since Ten Best Pastry Chefs in America Chocolatiei Magazine. oping a small dairy business. Koch's 1986, to export—cocoa products list by

FESTIVAL PARTICIPANTS Dónalas Anderson, Hill at Stone Barns in Pocantico the New England Culinary

Washington, D.C. Hills, which he describes as "a Institute 111 Montpelier.Vt. A

Douglas Anderson, Executive platform, an exhibit, a classroom. proponent ot sustainable agri-

Chef at Four Seasons I [otel in a conservatory, a laboratory, and culture, he also enjoys foraging

tor toods, Washington, D.C . was born in a garden" where an awareness wild which he then

Scotland and raised in northern of the agriculture process "adds incorporates into his cooking.

Illinois Anderson developed his to the pleasure of eating.''

appreciation tor a rich variety Anlie Bunyarataphan,

ot cooking styles while traveling Lidia Bastianich, Washington, D.C.

with, and serving as a cook lor, New )oih, New York Auhe Bunyarataphan owns both the T.H.A.I. restaurant the U-S. Coast Guard, From ( uba Lidia Bastianich is the host of

'' ,s in Shirlington, Virginia, and I to Canada, the customs, ingredi- the public television series Lidia's Bangkok |oe's in the Georgetown ents, and history ot the East < )oast Italian Table and Lidia's Italian neighborhood of Washington. inspire and shape his culinary style. American Kitchen. She is co-owner D.C, vi here she also serves as of three New York ( it) restau-

c bet She otters a modern take ¡osé Andrés, Washington, D.C. rants — Felidia, Becco, and Frico

on traditional I hai street food, lose Andres, whose Washington, Bar—and author ot tour cook- epitomized in her restaurant's D.C, restaurants include ( ifé books, most recently Lidia's Family stainless steel dumpling bar. Atlántico, (aleo, Zaytinya, and Table She was born 111 Pula, Italy,

Oyamel, is known tor his highly and came to NewYork in [958, Mara Cámara, Washington, D.C. imaginative Spanish and American Bom in Cambia. Cámara came to cuisine. Raised m Spain. Andres Najmieh Batmanglij, Washington. D.C, in [996, and still remembers the day bis lather II ashington, D.C. was a babysitter tor three children taught him to treat endues Raised m Iran, N.i|nneh At home in Baijd, she always with respect. Today he lues in Batmanglij moved to France 111 helped her mother cook. Cámara Washington, where he uses [979. After authoring a French is the designated cook within American ingredients to make cookbook, Batmanglij came to the ( lambían community tor the food be loved as a child America, where she has since weddings, gatherings, and birthday published Food of Life, Persian parties m the Washington area linuny Andruzzi, ( booking for ,1 Healthy Kitchen,

Staten Island, NewYork and I la it oj Pi rsia. Her self- Gilroy ami Sally ('lion; Firefighter fimmy Andruzzi cooks proclaimed goal ts to expose < .7,11 ksdale, Mississippi meals for bis Manhattan tirehouse Americans to the finer aspects Gilro) and Sally Chow live 111 in between calls. Unlike his moth- of Persian food and culture. Mississippi, where their cooking er's traditional Italian cooking. tuses Chinese and Mississippi Andruzzi's cuisine is more thor- Sustiti Belsinger, Delta traditions. Both descendants oughly Italian American —baked Brookeville, Maryland ot 19th-century immigrants from meatballs, tor example, instead Susan Belsinger is a culinary China to the Delta, they meet of tried Located at 14th Street educator, food writer, photog- once a week with family members. and Third Avenue, Andruzzi's rapher, noted herbalist, and co- A teat her by profession, Sally tirehouse was one of the first author of several award-winning also has a cake-making business. to arrive at the World Trade cookbooks Belsinger travels

Center on September 11,2001. throughout the United States Nongkran Daks, Chaniilly, I 'irginia and (.'añada giving lectures Nongkran 1 )aks is the Executive Dan Barber, and demonstrations on subjects I 'het and owner ot Thai Basil Pocantico Hills, including herbs, edible flowers, NewYork restaurant, located in Chantilly,

I Barber )an grew up farming and aromatherapy, and gardening. as well as the author ot Asian bis cooking tor family at their Noodles anil Snaths and Healthy

weekend home in the Berkshire's. lam Bivins, Burlington, I ermont I lei: and Sin -It y Dishes She has After working 111 restaurants lom Bivins, the former chef taught Thai, Vietnamese, and

from California to Paris, be at the Grafton Inn 111 Grafton, Chinese cooking in Bangkok,

returned home to New York to Vt., is presently the Executive Beijing, Honolulu, Vientiane,

open Blue Hill and later Blue Chef at the Essex Campus ot I aos. and now Virginia.

SMITHSONIAN FOLKLIFE FESTIVAL Roberto Donna, Washington, D.C. Maria Gooriali, hood memoir that brings the

Roberto Donna's mission is the Alexandria, I 'irginia full richness of Korean cuisine promotion of authentic Italian Oí Irish, English, and Indian to an American audience. After cuisine. An award-winning chef descent, Gooriah was born on the receiving a degree in English and restaurateur in Washington, island of Mauritius, off the coast from Ewha Women's University

D.C., he introduced others to ot East Africa. Before coming to in Seoul, Korea. Hepinstall the real flavors of Italy, which the United States in 1970, she spent 35 years traveling the he provides in his restaurants, studied 111 England. After working world. She is also the author oi including Galileo. Laboratorio is ,1 private cook tor families, she a best-selling Korean novel. del Galileo, and Osteria del is now a greeter for visitors at

Galileo. Donna was born in the Washington National Airport. The Steve Hcrreli,

Piedmont region of Italy, and designated cook for all events in Northampton, Massachusetts [99] arrived in Washington at age iy. the Mauritius community, this Steve Herrell is the founder of

is the first time that Gooriah Herrell's Ice Cream, a chain of

Mark Federman, will cook for the Festival. "super-premium" ice cream

New York, New York stores in Mass. that began 111

Mark Federman is the owner Todd Gray, Washington, D.C. 1980. Herrell claims that his of Russ ¿\ Daughters on New A native of Fredericksburg, original store, Steve's Ice Cream,

York's Lower East Side. Russ & Virginia, Todd Gray is chef pioneered the technique of

Daughters is among the oldest and and co-owner of Equinox in grinding up name-brand candy most renowned smoked fish stores Washington, D.C!. After serving 111 and mixing it with traditional in Nev/York City. Federman was the kitchens of Roberto Donna, flavors. Herrell grew up in a lawyer in the Brooklyn District Jean-Louis Palladin, and Robert Washington, D.C, where he made

Attorney's Office before becoming Greault, he opened Equinox, ice cream by hand in his backyard, the third generation of his family which serves Certified Humane following his father's recipes. to supply New Yorkers with caviar, meats, sustainably fished seafood, smoked tish, and their cherished and locally sourced organic Melissa Kelly, Rockland, Maine lox, bagels, and cream cheese. vegetables. He has also designed Melissa Kelly is the Executive

.1 menu for the Salamander Chef of Primo Restaurant in

Mark Furstenberg, Inn and Spa m Middleburg, Rockland. Maine, as well .is

Washington, D.C. Va.. reflecting the flavors of the chef of Primo Restaurants in

Mark Furstenberg is a busi- Virginia Piedmont region. Tucson and Orlando for the nessman-baker who brought Marriott Corporation. Her good, high-quality breads to Carole Greenwood, culinary career began in her

Washington, D.C. The founder Washington, D.C. Italian grandmother's kitchen of Marvelous Market and Bread Carole Greenwood offers up 111 Long Island and continued

Line, he also teaches bread simple American cuisine at with stints at An American Place making, writes about bread, and her most recent restaurant, and Alice Waters 's Chez Panisse, consults with bakeries throughout Buck's Fishing and Camping in where Kelly perfected her style: the United States, including the Washington, D.C. Greenwood "simplicity, seasonality, freshness." renowned French Laundry in earned a reputation for her

California. Before making a career straightforward cooking and Ris Lóeoste, Washington, D.C. of his lifelong baking hobby, he no-nonsense attitude at her Ris Lacoste, the Executive Chef

as a worked journalist, an admin- earlier restaurant. Greenwood. of 1 7.S1J m Washington. D.C, istrator for the Boston Police gained experience working in

Department, and a consultant. Hi Soo Sliin Hepinstall, Paris and is now considered one

Silver Spring, Maryland ofWashmgton's premiere chefs.

Hi Soo Shin Hepinstall is the Her restaurant uses seasonal

author ot Growing I 'p in a Korean and regional ingredients to

Kitchen, a cookbook and child- create simple, timeless cuisine.

FESTIVAL PARTICIPANTS '

Ed LiíDmi, Studio City, California to cook classic French dishes for architecture. In the evening she

Ed LaDou, known as the inventor the ambassador's table with fresh learned to cook Iranian tood

of California Pizza, helped herbs and other ingredients. He from her mother's letters. Far

create an entirely new style in has prepared over iso, 000 meals as from home, she kept trying the

1975 by adding .111 exotic array personal chef to French ambassadors recipes until they worked.

of toppings including scallops, and their guests, and the French fish roc, and zucchini flowers government has honored him with Frank Morales, Washington, D.C. to traditional dough-and-sauce the Ordre National du Mente Frank Morales graduated from the pizzas. In n;S7, LaDou used Culinary Institute of America in money earned from consulting Sheila Lukins, New York, New York [995, then went on to hone Ins with California Pizza Kitchens Sheila Lukins, chef, cooking skills at a number of New York's 100] to open his o\\ n restaurant, the teacher, and tood writer, is also finest restaurants, including Union Caioti Pizza Café in Studio City. the co-founder ot the Silver Pilate Pacific and Le Cirque. In 2003 he

111 New York City. The Silver started his own restaur. int. Zola, Etneril Lagasse, Palate started out as a tiny shop on in Washington, 1 >.( '.., immedi- New Orleans, Louisiana Columbus Avenue where Sheila and ately receiving high praise tot his Born and raised in the Portuguese her partner Julie Rossi produced straightforward American cuisine. community of Fall River. a line ot cooking products and

Massachusetts. I agasse opened then the best-selling Silvei Palate Diana My Iran. Washington, D.C. Ins first 1cst.1u1.1nt 111 1990. He Cookbook. Since then Sheila has After coining to America from is now the chef-proprietor of written lour other cookbooks and Vietnam in 1975, Diana M5 Fran nine restaurants—three 111 New is Lood Editor ot Parade Magazine. first gamed renown as a successful Orleans, two 111 Las Vegas, two

I >.C. dressmaker and designer. In m Orlando, one in Atlanta, .\\\d Karen MacNeil, The I ietnamese Cookbook, 'Fran one in Miami. He is the host of Sopo I alley, California offers simplified versions ot tradi- both The Essence oj Emeril and Wine expert Karen MacNeil is the tional Vietnamese dishes that can / 'merit Live television shows and 2004 winner ot the Outstanding be made with ingredients avail- author of eight cookbooks. Wine and Spirits Professional award able at American supermarkets. from the James Beard Foundation ( besare Lanjranconi, She is the author of the award- Patrick O'Connell, Washington, D.C. Washington, D.C. winning TheWine Bible and host Lor the past two decades Patrick Cesare 1 anfranconi began his of the television show. Wine, lood ( )'( onnell has been the chef at the career at age is by helping his i- Friends, with Karen MacNeil. Inn at Little Washington, w Inch the grandmother prepare food for

I ravel Channel ranked as one of the her restaurant in the Lake Como Brenda Rhodes Milla, World's Best Millionaire Hangouts. region of Italy Alter working at a

Silver Spring, Maryland I lis work there has inspired such number of well-known restaurants Prenda Rhodes Miller, the director cookbooks as The Inn ,11 Little in Italy and England, Lanfranconi ot the DC Campaign to Prevent Washington Cookbook and Patrick came to the United States and

leen Pregnancy, is the wife ot ,1 O'Connell's American Cuisine worked with Roberto Donna, Refined minister. An avid home cook, she because he believed it would be is author ot The Church Ladies Kaz Okochi, Washington, D.C. more conducive to his creative Celestial Suppers and Sensible Born and raised in Nagoya, |apan, approach to Italian cuisme. He Advice andThc Church Lady's Okochi first came to the United is now the Executive Chef at

Divine Desserts, both of which Slates 111 1980 lie returned to Tosca m Washington. 1 ).C celebrate the lives and looking |ap.m m [983 to attend thcTsuji

ot America's church ladles Francis Layrle, Washington, D.C. Culinary Institute, then came to Washington. in to pursue As the chef at the French Embassy DC, [988 Nahid Mohamad!, Washington, DC. his career in the United States. in Washington, D.C, Francis I ayrle

Nahid Mohamadi came to the After launching a successful line is the i ulinary representative of his States Country. In his 27 wars in America. United from lehcran 111 [968 ot supermarket carry-out sushi at

he has been influenced by nouvelle as .1 young bride with her husband fresh Fields (now Whole Foods),

cuisine and the American culi- Mohamed, who was a medical Okochi pursued his dream and student. States, 11 .11 \ revolution, but he continues In the United opened his own restaurant, Kaz

she studied interior design and Sushi Bistro, 111 Washington, D.C

SMITHSONIAN FOLKLIFE FESTIVAL Moron Ouattara, Washington, D.C. parties with friends. Now retired, Michel Richard, Washington, D.C.

After coming to the United Phillips divides his time between Michel Richard was born in

States from Ivory Coast to study selling real estate and cooking. France, apprenticed as a baker. computer science, Morou Ouattara and moved to America in [974 worked nights as a dishwasher in Nora Pouillon, Washington, D.C. After opening many sui 1 essful a Washington. D.C, restaurant. Chef and owner of Restaurant restaurants on the West Coast, Starting from the bottom, he Nora and Asia Nora, Nora Pouillon Richard opened Citronelle in the worked his way up to become chef was .1 pioneer 111 introducing Latham Hotel Georgetown in at the D.C. restaurant Signatures. organic dining to the Washington Washington, D.C, in 1994 In early as well as a cook for the nation- area over 22 years ago. In April 1998, Richard moved from Los wide Head Start Program. 1999, Restaurant Nora became the Angeles to Washington, DC, to

1 o 1 [ first certified organic restaurant cook full time at Citronelle. He

Charlie Palmer, Washington, D.C. in the nation. She is the author is the author of Michel Richard's

Charlie Palmer has received of Cooking with Nora, a seasonal Home Cooking with a French Accent. critical acclaim for his signature cookbook teaturing organic

"Progressive American" cuisine, menus for the home cook. Akasha Richmond, a style that reinterprets classic Los Angeles, California

European cooking using American Pan! Prudhomme, Akasha Richmond is a health food artisanal products and small farm New Orleans, Louisiana caterer for such Hollywood stars producers. Palmer is chef-owner Paul Prudhomme won instant as Pierce Brosnan and Billy Bob ot many restaurants, including recognition when he opened Thornton. She is also a health Aureole and Charlie Palmer's Steak K-Paul's Louisiana Kitchen in food consultant and author of The

House in Washington. D.C. He is 1979 with his late wife K. Since Art ofTqfu, as well as the soon-to- the author of Gnat Ameritan Food, then, he has lectured interna- be-published Healthy Hollywood.

Charlie Palmer's Casual Cooking, and tionally, authored eight cook-

The Art of Aureole. Palmer was born books, created Magic Seasoning Snvir Saran, New York, NewYork and raised in upstate New York, Blends— his own line of spices and When Suvir Saran came from New and currently lives in Manhattan sauces— and appeared on count- Delhi to NewYork 111 1993, he was with his wife and tour sons less television and radio shows drawn not by his love of cooking

but his love of art. After working

Charles Phan, Steven Raiehlen, at both the Metropolitan Museum

San Francisco, California Coconut Grove, Florida of Art and Bergdorf Goodman in

Charles Phan is the chef and owner Steven Raiehlen is an award- Manhattan, Saran began teaching

of San Francisco's Slanted Door, winning author, journalist, cooking cooking at NYU and running a

an Asian-American restaurant teacher, and TV host. His best- small catering business. I he business

that mixes simple Vietnamese selling Barbecue Bible cookbook is was so successful that in 1997. Saran

dishes with European wines and one of his 25 published cookbooks was asked to cook the first Indian

desserts. After Ins family fled In 2003, his TV show. Barbéate meal ever served at Carnegie Hall.

Vietnam by boat in 1977. Phan ( 'niversity with Steven Raiehlen,

worked as a busboy and studied debuted on public television, David Scribner, Washington, D.C.

architecture at Berkeley before David Scribner is the chef at

opening the Slanted Poor in 1994. Carol Reynolds, Smith Point, a restaurant in the

Greensboro Bend, I ertnont Georgetown neighborhood of

takes its Jo/111 Phillips, New York, New York Carol Reynolds is not only a Washington. D.C, that John Phillips, an architect who teacher but also a gitted home name and culinary inspiration from

worked as a city planner for the cook. The wife of a tanner. Nantucket Island. Before opening

City of New York, is a "passionate Reynolds uses the syrup that Smith Point. Scribner was the amateur home cook." A co-founder her husband harvests from Executive Chef at Felix in DCs

of the Ninth Avenue International local trees to create a variety Adams Morgan neighborhood; later

Festival 111 Manhattan, he has of innovative dishes, such as a he worked with D.C'. chef Carole

always loved testing recipes, reading version of anadama bread that Greenwood, who taught him how

cookbooks, and is the designated uses grade 13, dark amber maple to use fresh, seasonal ingredients

cook at all office functions and syrup 111 place of molasses to let food speak for itselt.

FESTIVAL PARTICIPANTS Sudhir Seth, Bethesda, Maryland Anthony and Joint Uglesich, Lisa Yockelson, Washington, D.C.

A graduate of Hotel Management Nat' Orleans, Louisiana Lisa Yockelson is a baking journalist

from Delhi, India. Seth worked Anthony Uglesich, a Croatian with a concentration in both classic

as a chef in India and then American, owns the New Orleans and contemporary American and

was commissioned to open institution Uglesich's Restaurant- European regional specialties. Her

Bukhara in New York City and open since 1924—which serves most recent work. Baking by Flavor,

in Chicago. He served as execu- cuisine made with local produce is a comprehensive technique- and

tive chef at the Bombay ( Hub in and hand-ground spices Uglesich recipe-oriented cookbook based

Washington. D.C., and then has appeared on TV with Enieril 011 more than a decade of research

opened Heritage India DC He I agasse and Martha Stewart in exploring and developing flavor

is now owner and chef at Passage His son |ohn is author of m baked goods. Yockelson is the ,02 I to India in Bethesda, Maryland. / glesich's Restaurant Cookbook. author of 1 i baking cookbooks.

Suad Shallal, Washington, D.C. Herman I argas, Eric Ziebold, Washington, D.C.

When Suad Shallal came from New }'ork. New York Eric Ziebold. a native of Iowa and

Iraq to Falls Church. Virginia. 111 A native ot the Dominican a 1004 graduate ot the Culinary

[966, she telt as it she had landed Republic, where he was raised Institute ot America, is chef at ( its

on another planet. She spoke no on a farm, Vargas came to the /en After beginning his career at

English, didn't drive, and only United States when he was 14 Washington's Vidalia, he worked

looked Iraqi food hulas. Shallal and worked at Russ <.\ Daughters at Wolfgang Puck's Spago in Los

continues to cook Iraqi food at put tune. While there he Angeles and I liornas Keller's The

home, while her sons run Minn's became attached to the family French Laundry. He was named

American Bistro and the I una values ot this family-owned one ot Food &Wine Magazine's

drill, both of which serve Middle appetizing store He has worked Best New ( bets 111 200s.

Eastern food made from locally there ever since, even speaking

grown, organic ingredients. Yiddish with a Spanish accent. Dairy

Horizon Organic, Boulder, Colorado Spear, Million Fox, Arkansas Robert Weland, Washington, DC. Horizon ( Jrganic began selling

A native of California, Marion Robert Weland recently came to organic yogurt in 1992. A year

Spear moved to Arkansas, where Washington from Manhattan's later, the company began selling

she is a musician, herbalist, and ( uastavuio's. taking over as head organic milk. Horizon now owns

cook at the Ozark folk Center i hef at I'oste Weland is a firm two dairy farms, one in Idaho and

in Mountain View. She also believer that naturally raised food one in Maryland. Approximately

brews beer and grows |apanese tastes better Weland came to two-thirds ot its milk comes vegetables in her backyard Washington with his wife, who from family and independent

garden to season her"top-of- works tor the Secretary ot State certified-organic dairy tanners

the-stove," scratch cooking At I'oste he brings tree-range across the United States, chickens from Ainish country

Fabio Trabocchi, McLean, Virginia mic\ wild salmon from Alaska The Edible Schoolyard

labio Erabocchi, a native ot Italy's Chelsea Chapman,

Marche Region, moved to the /,1111's Wilder, Tuscon, Arizona Berkeley, California

Washington. D.C .area to open |anos Wilder runs both |anos l Chelsea ( Chapman is Program

Maestro at The Ritz-l arlton, and Bar in Tucson. native ot ( Coordinator at I he Edible I A

in Berkeley. Raised Ivsons Corner, in McLean in April Palo Alto, 1 California, he believes Schoolyard

in Alaska, she graduated with a 2001 . Atter three years ot operation. 111 the marriage ot French and

Maestro has acquired the coveted Southwestern cuisine. Wilder, who B.A. 111 anthropology from Reed

AAA Five Diamond Award partners Ins restaurant with Ins ( College. Atter working at Alice Waters's wife Rebecca, specializes 111 serving Café Fanny, she moved

dishes made from the crops the to I he Edible Schoolyard, where Pima and Maricopa Indians have she handles administrative duties teaches been growing 111 the area tor sears and an after-school

cooking class in the spring.

SMITHSONIAN FOLKLIFE FESTIVAL Eliot Coleman, Harborside, Maine Marsha Guerrero, Kelsey Siegel, Berkeley, California

Eliot Coleman is co-owner, Berkeley, California Kelsev Siegel received a bachelor's with Barbara Damrosch, of Four Marsha Guerrero is Director ot degree in environmental studies,

Season Farm. He is author of The the School Lunch Initiative at with an emphasis on sustainable New Organic Croan, Four Season The Edible Schoolyard. A native agriculture, from Oberlin College. Harvest, and the Winter Harvest of northern California, she has He has worked as a teacher and a .Manual. He served for two years worked with Sally Schmitt and professional chef; these combined as the Executive Director ot the for the Metropol Bakery in interests led him to serve as an International Federation of Organic Eugene, Oregon. She has also Amencorps member in The Edible

Agriculture Movements and was managed such restaurants as Prego, Schoolyard garden during the an advisor to the U.S. Department MacArthur Park, and Guaymas. [998-99 school year. His abilities on the Report and of Agriculture as a teacher, mentor, and gardener 10; I Organic Farming. Recommendations on Jenny Guillaume, Washington, D.C. have led to his current position Jenny Guillaume has been the as Garden Teacher and Manager. Cooper, Ann Program Coordinator tor the East Hampton, New York Washington Youth Garden at Josh I 'iertel, Anne Cooper works to transform the U.S. National Arboretum New Haven, Connecticut cafeterias into culinary class- since the fall of 2003. Prior to [osh Vierte! is Associate Director ot rooms tor students—one school moving to DO, she graduated the Yale Sustainable Food Project. lunch at a time. A graduate of the from Bates College and was the His interest in fresh produce Culinary Institute of America, Garden Coordinator tor Hilltop and sustainable growing began she was Executive Chef at the Community Garden in Lewiston. as an undergraduate at Harvard Putney Inn in Vermont. She Mame. As for her favorite vegetable, University, where he convinced now works as a consultant for it's okra and she likes it tried, the school to allow him to plant schools that seek to transform true to her Southern roots. crops in the Biology greenhouses. their school lunch programs. At Yale, he works to source

Davia Nelson and Nikki Silva, locally grown, seasonal produce Barbara Damrosch, San Francisco, California for the university's dining halls. Harborside, Maine Known as The Kitchen Sisters, Barbara Damrosch is co-owner, Davia Nelson and Nikki Silva have Alice Waters, Berkeley, California with Eliot Coleman, of Four Season been producing radio programs In 1971 Alice Waters, a kindergarten Farm. She is the author of Tlie together since 1979. They are the teacher, opened Chez Panisse 111 Garden Primer, Theme Gardens, and creators (with Jay Allison) ot the Berkeley, serving a single tixed- the Page-A-Day Gardener's Calendar, Peabody Award-winning price menu that changed daily. In which has been published every [999 series "Lost & Found Sound." the io')''. she created the Chez Panisse year since 1992. In addition to 2002 Peabody Award-winning Foundation to help underwrite writing and consulting extensively, series "The Sonic Memorial cultural and educational programs she appeared as a correspondent Project," and "Hidden Kitchens," sui h as The Edible Schoolyard that on the PBS series The Victory demonstrate the transformative Garden and was co-host, with her which aired on National Public the Fall power ot growing, cooking, and husband Eliot Coleman, ot tin- Radio during of 2004. sharing food. Waters is author and television series Gardening Naturally. Kimberly Rush, Washington, D.C. co-author of eight books, including Kimberly Rush has been involved Fanny al Che: Panisse, a storybook Benjamin Goff, Berkeley, California with the Washington Youth Garden and cookbook tor children. Benjamin Goff is the Program at the U.S. National Arboretum ( Coordinator for the LeConte Food Safety and Quality Elementary School Farm and for over five years and has directed The United States Department the program for the last three. Garden in Berkeley. Over the Previously, she was the Assistant ofAgriculture (USDA) past five years he has developed Services, Inc. Director for Garden Harvest, a Guest a garden-based nutrition/healthy farm Baltimore that donates National Restaurant Association lifestyles curriculum for grades m Restaurant Association of K-5. He previously worked tor organic produce to emergency Metropolitan Washington theWillard Greening Project food agencies. She graduated from St. Mary's College of Maryland District Columbia as an Americorp member and of graduated from the Evergreen 111 1998 with a B.A. 111 biology. Department of Health

State College, where he studied sustainable agriculture.

FESTIVAL PARTICIPANTS Honey Ann Brody, Washington, D.C. Erika Lesser, NewYork, NewYork

Beehive Beeproducts, Ann Brody is executive director Enka Lesser earned an M.A.

New York, New York of the Jean-Louis Palladin in Food Studies from New

By promoting the work of arti- Foundation, an organization that York University, then took ,\\i

s.m.il beekeepers (specifically honors the spirit of its namesake internship with Slow Food

harvesting varietal honeys), it is by identifying talented young USA, and has been with Slow

Beehive's hope that honey will chefs and funding internships Food ever since. She spent a

take its place as the unusual. to further their education. year living in lira. Italy, where

complex food that it is. Every she worked for the new

honey is as unique as its floral Steve Danos, Boulder, Colorado University of Gastronomic

source— it can be compared to In 1977 Steve Pernos founded Sciences. Returning to New I0 4J wine, tea, and eottee m its variety White Wave, which has since York, she became Executive

and complexity. As both distinc- grown to be a nationwide soy Director of Slow Food LISA

tion and quality are becoming a lood phenomenon. Demos came

rarity in our culture, Beehive's up with the idea of founding a Bill Niman,

goal is to make high-quality, vari- ti 'In company during an eight- Marin County, California

etal honeys more readily avail- week meditation retreat he Bill Niman began farming in

able to consumers everywhere. attended in California following California during the 1960s. Now

three years of travel 111 India his farm has expanded into Niman Narrative Sessions and the East. White Wave is best Ranch, one of the best-known Bruce Aidell, known tor Silk Soymilk, the producers of gourmet meats in Situ Francisco, California nation's best-selling soy beverage restaurants across the country. Known to many as The Sausage There are a tew simple funda- King, Bruce Aidell founded Store Jenkins, NewYork, New York mentals that Bill Niman lives by: Aidell's Sausage Bruce Company Author of the The Cheese Prime humane treatment of the animals, in [983 after working as a and member of France's elite natural feed, no growth hormones chef at the Berkeley restaurant Guilde de St. Uguzon, Steve or therapeutic antibiotics, and a

Poulet. Aidell is the author |enkins has been described sense of stewardship that values

1 if 1 Dumber of t ookbooks In the Vcir Yoik 1 imes as both the land as a sustainable resource. including Bruce Aidell's Complete "the enfant terrible of the Hook and Aidell's Sausage Bruce fancy food business" and "the Cus Schumacher, Washington, D.C. Complete Book Pork: A Guide of eminence grise of America Raised in a Massachussetts 10 Buying, Storing, and Cooking ( heese Mongers." [bday farm family. Cms Schumacher the World's Favorite Moot Jenkins is the cheese expert at went on to become the Under

New York's Fairway Market Secretary tor farm and Foreign Michael and Ariane Batterberry, Agricultural Services at the U.S. York, .Veir York New Judith Jones, New York, NewYork Department ol Agriculture. In this Michael and Ariane Batterberry ludith |ones is Senior Editor capacity he was responsible for ir founders of two of the mil Vice-President at Alfred A the USDA's domestic commodi- nation's most prominent food Knopf, Inc. In her time there, she ties policy and its international

magazines, Food Arts and has not only edited translations of trade and development programs.

Food I- 1 1 'ine. also They are Sartre and Camus, but also devel-

authors of a host of books oped a list of first-rate cookbook Howard Shapiro, including Mirror, Minor and writers such as [ulia Child and San Juan Pueblo, New Mexico Fashion:Thc Mirror oj History. lames Beard. She created the In 1989, Howard Shapiro was

iS-book KnopJ Cooks American one of the founding members

series and co-authored three of Seeds of Change, a group

books with her late husband, dedicated to preserving biodi-

including The Book oj Broad and versity and promoting sustain-

Knead It. Punch It. Bake It' able, organic agriculture. He is

also the co-author ol Gardening

foi the Finnic of tin Earth

SMITHSONIAN FOLkLIFE FESTIVAL — A

Slow Roast including soymilk, soy yogurt, totu, Slow Food USA

Mike Mills and tenipeh, and seitan —more than Slow Food USA is an educa-

Amy Mills Tuniclijfi yo percent of which are certified tional organization dedicated to

Mike Milk is .1 champion pitmaster organic. Its commitment to sustain- promoting stewardship of the

with six barbecue restaurants in abihty stretches to its energy policy. land and ecologically sound food

southern Illinois and Las Vegas. All power that is used to produce its production; reviving the kitchen

He became the only three-time soy products is generated by wind. and the table as the centers of plea-

Grand World Champion pitmaster sure, culture, and community; invig- Spices at Memphis in May. He is also a orating and proliferating regional,

I 'arms Spices, Baltimore, Maryland partner m Blue Smoke restaurant seasonal culinary traditions; creating "Hands down.Vanns is the best m New York City. Amy Mills a collaborative, ecologically spice company in the U.S.A.." Tunicliffe is a writer and co- oriented, and virtuous globaliza- [105] says Jesse Sartain, Nutritional author with her father, Mike, tion; ,\\ic\ living a slower and more Director of Chefs in America of Peace, ¡.on', and Barbecue. harmonious rhythm ot lite. and Chairman of the American

Tasting Institute in San Francisco. Tradition and Adaptation El Patio, Rockville, Maryland California. Founded by Ann Wilder Erika Allen, Chicago, Illinois Opened in 2001, El Patio otters

in Baltimore in niNi.Vanns was Erika Allen is Projects Manager homemade Argentinean cuisine. the product of a frustrated hobby for Growing Power. Will Aliens 1 he family-owned café also cook who loved Indian cuisine daughter, she has a small farm specializes in hosting asados, but could not readily find the agricultural background and or festive masts. During the high-quality spice blend needed experience. She spent her forma- asado, a cow will be barbecued

to make tandoon. So, she created tive years involved all aspects throughout the day while guests m

it. In the process, she discovered of farm management from trans- enjoy sharing .1 male (a hot tea

the best spice growers 111 the world planting seedlings to managing made from the leaves and shoots and developed a thriving business. farm stands and farmers markets ot Ilex paraguensis), playing truco

(a traditional card game), and Tea Hill Allen, Milwaukee, Wisconsin listening to Argentinean tolk music Honest Tea, Bethesda, Maryland Will Allen is the Director of Honest lea was founded in 1997 by Growing Power, a national Jim Tabb, Tryon, North Carolina not- Seth Goldman and Barry Nalebuff, Founder of the Blue Ridge for-profit organization supporting one ot Goldman's business school the development Barbecue Festival and acclaimed of community professors. Honest Tea has applied food Allen, a Wisconsin barbecue cook, Jim Tabb has systems. its passion for social responsibility tanner and community food traveled around the world as to initiatives in the environ- systems educator and trainer, is a barbecue judge and cook ment and to creating partnerships dedicated to supporting small He is the organizer of the with the growers, cultures, and family farmers bringing healthy North Carolina State Barbecue and communities behind the teas. Championship held m Tryon. affordable food to urban areas.

Tools of the Trade Soy Elizabeth Beggins and Ann Yonkers, Culinary Historians of While Wave, Boulder, Colorado Pot Pie Farm, Whitman, Maryland Washington, D.C. White Wave was founded in 1977 Elizabeth Beggms and Ann Yonkers Culinary Historians ofWashington, by Steve Demos after he returned grow fruits, vegetables, and poultry D.C. was founded 111 [996 for from an inspiring trip traveling on this 9-acre organic waterfront the study ot foodstuffs, cuisines, through India and other parts farm on the Chesapeake Bay and culinary customs from all ot Asia tor three years. From its near St. Michaels. Maryland. parts of the world. Membership earliest days, «hen Demos made crusader for farmers markets, Ann is open to scholars, cooks, food tofu in a bucket and delivered it is the president and co-director writers, nutritionists, collectors, to local stores. White Wave has of FreshFarin Markets, which students, and anyone interested supplied more than 30 percent ot runs six farmers markets 111 the 111 learning about foodways. the U.S. tofu market. The company Chesapeake Bay area, l'ot Pie Farm also boasts over 40 soy products sells seasonal vegetables, garlic,

onions, herbs, and cut flowers at the

St. Michaels FreshFarin Market.

FESTIVAL PARTICIPANTS Don Bustos, L agasse and the late Julia starch and low in sugar, before

Española, New Mexico Child. The |amisons came into those three boats ever arrived

I >on Bustos is president of farming accidentally, bin nig a in Plymouth. The Indians used

the Santa Fe Farmer's Market centuries-old farmhouse that it as barter with the traders."

Institute and an active farmer lust happened to come with 65 Harry takes painstaking care ot

.is well. On less than tour acres acres of land. They raised lamb his seed stock so that it remains

of Luid, Bustos grows over 20 as a hobby until the late [ean- "pure and retains its distinc-

different varieties of peppers. He Louis I'alladin tasted some at a tive flavor, different from any

also uses innovative solar heating Pittsburgh fundraiser and began other corn >>n the market."

to get the most from his land, recommending it to his friends.

producing crops throughout Joel Salatin, Swoope, Virginia

1 "'' I New Mexico's mild winters. Nova Kim ami Les Hook, Joel Salatin is the acknowledged

Bustos lives on his farm with his Albany, I ertnont expert in both pastured poultry

wife Blanca, his children Amilio Nova Kim and Les Hook are and multi-species grazing, 111

and Anna, and his grandson wildcrafters in the Northeast w bu h chickens and cows harmo-

Angelo. He writes a monthly Kingdom ofVermont.They make niously share pasture space 111

newsletter and lectures widely. their living selling wild foods anticipation of the space the\ will

to restaurants throughout upper harmoniously share in the stom-

Mote ami Jim Crawford, New England. Specializing m wild al lis ot satisfied gourmands. He is

Hustontown, Pennsylvania mushrooms, they regularly supply als, 1 the author ot, among other

Moie and |im Crawford run <"> varieties to their customers, books. Pastured Poultry ProfitS and

New Morning harm 111 rural Salad Hiii lieef. Salatin grew up on

Pennsylvania. Jim Crawford began Tzaxe and Ying Lee, a Virginia farm that his father, an

farming on rented land over 30 Fresno, California accountant, ran in his spare time. years ago, and has today expanded Tzaxe and Ying Lee farm approxi-

to a 95-acre farm that grows over mately 130 acres ol specialty Teresa Slioiea,

40 different crops. They have vegetables and 230 acres ot Window Rock, Arizona

always marketed their produce in grapes at ( hcrta Farm in Fresno Teresa Showa is a corn farmer

Washington, D.C.,a wonderful Both Hmong immigrants from from Arizona, where she is a

opportunity, the\ saw to not only t ambodia. they have been 111 project coordinator conducting

sell m a more lucrative market but business tor over 20 years, and research to develop a marketing

also to enjoy the city's cultural life. nc now the largest Hmong strategy tor Navajo traditional

growers in the United States corn She is working with corn

Leslie Harper, pollen, young ears ot kneel-

Cass Lake, Minnesota Mike Pappas, Lanham, Maryland down bread, and neeshjizhi,a

Leslie Harper is a Chippewa Since 1995, Flo Farms has been form ol dried, steamed corn

wild rice harvester. Her mother providing fresh, organically grown kernel. I he goal ot the project

Judy Harper, a cook with vegetables, herbs, and flowers to is to develop a strategy that

Head Start, introduced wild the high-end restaurant trade 111 will support growers and the

rice into the school lunch the Washington metropolitan area. cultural practices that depend

program. The Harpers live in Eco Farms is rapidly becoming a on traditional Navajo corn

northern Minnesota, home of premier supplier ot fresh, organi-

the true wild rice, the seed of a cally grow n vegetables, herbs. Wine

grass. wild For the Chippewa, and flowers in the metropolitan I he wane section ot the Food

harvesting wild rice is part Washington area year round! Culture I N.I program has been

ot the cycle of their year. i oordinated by WmeAinei ica.

Harry Records, Ass. u latum of Maryland Wineries,

John ami Sukey Jamison, Exeter, Rhode Island Pennsylvania Wineries Association.

Latrobe, Pennsylvania I Lui\ Records grows authentic New York Wine and Grape

John and Sukey Jamison ruse Rhode Island Hint corn at his Foundation, Missouri Grape

some of the finest lambs in the Harry Here farm. He explains, "I and Wine Program, North

country, at least according to combine the old with the new. Carolina Grape Council, and

such gourmet chefs as Emeril huh. ins grew Hint corn, high 111 Virginia Wineries Association

SMITHSONIAN FOLKLIFE FESTIVAL Forest Service, Culture, National Forest (Illinois). She together and create lasting, living and Community has also served on the Regional memorials to the victims of Multicultural Team as the coor- terrorism and their families.

dinator for the African American Susan Adams, Special Emphasis Program. Phyllis Ashmead, Mi-Wuk Village, Oxford, Mississippi; Protecting California; Interactive Forest Forests and Wildlife Habitats Kimherly Anderson, Phyllis Ashmead is an interpreter Susan Adams knew from early Milwaukee, Wisconsin; Water, at the Stanislaus National Forest, childhood that she wanted to he Woods, and Mountains and a recipient of the 2004 a biologist. In 2000, her dream As Regional Partnership Gifford Pinchot Excellence 111 was fulfilled when she took a Coordinator for the Forest Interpretation and Conservation job as a research fisheries biolo- [ 107] Service's Eastern Region, Education Award. As an inter- gist at the Southern Research Kimberly Anderson works to preter, Ashmead aims to instill Station, Center for Bottomland identity corporate and nonprofit respect for heritage and national Hardwood Research. Adams partners for Forest Service resources. Examples ot her proj- wades, snorkels, and uses boats projects involving tish. wildlife, ects include On Fire!, a play about in studying the behavior and recreation, timber, and other the iyio wildfires that changed ecology of tish, crayfish, and resources. One of Anderson's national fire management policy, amphibians in streams and rivers recent accomplishments was and a program about Nancy in the Southeast and Montana. a partnership agreement with Kelsey. the first woman to cross

the American Council of the Sierra Nevada Mountains. Jante Agyagos, Snowmobile Associations, which Cormnllc, Arizona; Protecting will result in the planting ot 7.S00 Donna Ashworth, Flagstaff Forests and Wildlife Habitats trees throughout Wisconsin. Arizona; Fire Lookout Tower As a district wildlife biologist, Donna Ashworth has spent Janie Agyagos is responsible tor John Anhold, Flagstaff Arizona; the past 21 years working as a tracking and protecting over Camp Foodways/Tree Doctors fire tower lookout at Woody 50 rare species including birds, Working as a forest entomolo- Mountain Fire Lookout in the mammals, reptiles, amphibians, gist, John Anhold travels around Coconino National Forest. invertebrates, fish, and plants. Arizona assessing the state's five Over the course of her career. Additionally, she is responsible for national forests. He is particu- Ashworth has become an expert managing the habitat ot various larly concerned with the threats at distinguishing forms of smoke game species, building and main- that insects, noxious weeds, and at quickly pinpointing taining wildlife structures, and and invasive species pose to the the location of wildfires. Now identifying and preventing the forests' health and well-being. she can easily tell whether a spread ot invasive plants. Skills Anhold's father, a retired Forest distant plume means trouble required in her job include snake Service employee, taught his sons or is just the westbound diesel handling, nighttime navigation, the art of Dutch oven cooking, tram leaving Flagstaff. kayaking, rappellmg, horseback which Anhold and his wife Linda riding, and fence building. Wadleigh, also a Forest Service Barbara Balen, Hathaway Pines,

employee, continue to practice. California; Forest Landscapes Berneice Anderson, Milwaukee, Barbara Balen is the district Wisconsin; Law Enforcement Matt Amn, New York, heritage specialist and interpre- Berneice Anderson is Patrol New York; Forest Landscapes tive program manager on the Commander for the Forest Matt Aran describes himself as Calaveras Ranger District in Service's Eastern Region, the luckiest person 111 the world. the Stanislaus National Forest. which covers 20 states. She He is a landscape architect and She works closely with local holds degrees in criminal justice the coordinator of the Forest Native American communities and sociology, and previously- Service's Living Memorials on the protection, traditional use. worked as a Law Enforcement Project in New York City. This and interpretation ot botanical officer in the Wayne National project uses the power of trees and archaeological resources Forest (Ohio) and Shawnee and green space to bring people

FESTIVAL PARTICIPANTS Ian Barlow, White Bird, Keith Bear, Drags Wolf Angie Bullets, Fredonia,

Idaho; Woodlands Heritage I Wage, North Dakota; Arts & Arizona; Arts & Crafts

A recent recipient of the Forest Crafts/Sounds of the Forest Angle Bullets serves as the

Service Chief's Award, Ian Keith Bear is a storyteller, singer, Technical Service Branch Leader

Barlow work-, .is .1 wilderness dancer, flute player, and flute of the K.ubab Ranger District of

ranger and animal packer at maker from the Mandan-Hidatsa the K.ubab National Forest. As

the Nez Perce National Forest tribes of the northwest plains of a member of the K.ubab Band

Barlow is an expert m the use of North Dakota. A self-taught flute of Paiute American Indians.

many kinds of traditional tools, player. Bear has been performing Bullets is honored to manage

including crosscut saws and axes since i<;S(i. Over the past 20 and care tor her ancestral lands

His familiarity with rigging years, he has given numerous in her professional career. At the ° I ' methods for moving large or concerts and has produced several Festival, Bullets demonstrates

heavy objects is invaluable 111 albums. At the Festival. Bear the making ot cradle boards, one

areas of the forest where motor- demonstrates the craft ot making of the many traditional Paiute

ized equipment is prohibited Hutes out of red cedar, pine, crafts inspired by the natural

spruce, and various hardwoods resources of the K.ubab plateau. Joy Barney,

Pinecrest, California; Protecting Karen Bennett, Rita Cantú, Prescott, Arizona;

Forests ami Wildlife Habitan Philomath, Oregon; Protecting Sounds of the Forest

|oy Barney works as part ot .111 Forests ami Wildlife Habitáis Rita Cantú works with the

interpretive team on the Stanislaus Karen Bennett is the Forest Soils Conservation and the Arts

National Forest. She especially and Hydrolog) program manager program, which uses artists,

enjoys presenting programs at the Siuslaw National Forest. dancers, writers, musicians,

about wildlife and ecosystems She has been recognized nation- storytellers, and poets to tell the

to younger visitors, and makes ally and internationally tor her story of the growth ot conserva-

liberal use ot music and story- role in coordinating restoration tion policy 111 the United States.

telling to get her messages across. work in the Siuslaw River Basin, Throughout her career. Cantú has

Her interactive program topics where efforts to restore habitat also maintained a separate business

include the water cycle, tire tor endangered aquatic species as a storyteller, songwriter, and

cycle, and resource protection have been extreméis successful. performer. Cantú received the

Bennett also helped develop Forest Service Southwest Region's

Dan Baiter, Washington, the river box. a teaching tool ( lutstandmg Interpreter ot the

D.C.; Community Stage that simulates a river system Year Award 111 1097 and 2000.

Pan Bauer serves as the ( luct 10 demonstrate how soils and

ot the Border Security and water interact with farms, dams, Cindy Carpenter,

Plug Coordination Branch and other human activities. Brevard, North Carolina;

111 the Office ot the Secretary, Sounds of lite Forest

Department ot the Interior. Jeff Bryden, Moose Pass, Nunc [992, Cindy Carpenter

Formerly, he served as the Alaska; Law Enforcement has been the Education and

forest Service's National I >rug Since |ett Bryden was "knee high Interpretation Program Manager,

Program t Coordinator and Acting to a gopher." as he puts it. he responsible for field trips, public

Assistant Director tor Homeland has wanted to work in natural programs, and special events,

Security. His career with the resource law enforcement. Foday, at the Cradle ot Forestry in

Forest Service began m [976 as he is a Lead Law Enforcement America Historic Site, located

a firefighter in Montana, before Officer in the Chugach National in North Carolina's Pisgah

lie slutted to law enforcement forest Chosen as Officer of the National Forest. She has played

Year. Bryden modestly attri- the guitar for 35 sears and sings

butes the credit tor his success traditional music that comes

to his canine partner. Flash. from the southern Appalachians

a ( Chesapeake Bay Retriever

flash is the first dog employed

by the forest Service to detect

fish -and -came smugglers.

SMITHSONIAN FOLKLIFE FESTIVAL G.W. Chapman, ,4/ Conic//, tough wildfires. In [986, she Alamogordo, New Mexico; Fire Sedona, Arizona; Call of the Wild became a smokejumper and for

Camp/Forest Service History Al Cornell is a member of Friends ten years enjoyed the camaraderie

G.W. Chapman served tor many ot the forest, a volunteer group and adventure ot parachuting years as a Forest Service firefighter dedicated to preserving the Red out ot airplanes to fight wildfires. on the Lincoln National Forest. Rock District of the Coconino After retiring from smokejumping,

After a catastrophic wildfire in National Forest by building and Esterbrook began working in the Capitán Mountains in 1950, repairing trails, cleaning up litter, the Willamette National Forest's

Chapman rescued a badly burned and patrolling the forest. Cornell's tire management office. bear cub who soon became one repertoire ot skills includes exper- of America's most recognizable tise 111 fire making, cordage making, The Fiddlin' Foresters; symbols. After efforts to rein- tool making, paint making, land Sounds of the Forest [109] tegrate the cub into its native navigation, and survival techniques. The Fiddhn' Foresters are the habitat were unsuccessful, the "official old-time string band of the

Forest Service chose to augment Jim Dcnney, McKenzie Bridge, USDA Forest Service." Consisting

the animated version of Smokey Oregon; Arts & Crafts ni I oresl Sen 11 e employee , from

Bear with this living symbol. Jim Denney has worked for the the Rocky Mountain Region, the

Forest Service for decades, first as group has been playing together

Kevin Cooper, Santa Maria, a firefighter during summers, now since 1994. The Foresters dress 111

California; Protecting Forests as a District Facilities Manager vintage 1907 uniforms, and sing and Wildlife Habitats of the McKenzie River Ranger about the importance of resource

Kevin Cooper, a wildlife biolo- Station 111 Oregon. Dennev is an * onservation and public land gist on the Los Padres National accomplished artist who gathers stewardship. Their programs feature

Forest, comes from a Forest Service inspiration from the vivid visual traditional songs from the southern family. His father was a wood imagery ot the land's transforma- Appalachians and the American technologist, and his sister is an tion at the hands ot humankind West. The Fiddlin' Foresters have an haeologist. Cooper special- over the past several decades. played at events such as the 2002 izes in birds and can mimic 111.11 1\ Olympic Games and the National bird calls and owl hoots—skills Tim Eldridge, Missoula, Western Stock Show. The group he uses to inventory bird popula- Montana; Smokejumper Base recently received the Forest Service tions by calling tor them and Until a knee injury ended his Chiefs Award for its interpretive listening tor their responses. active jumping career, Tim musical program. Its members

Eldridge served the Forest Service include lane Leche (guitar), Tom

,-liiiiy Coriell, Sandy, Oregon; .is a smokejumper at the Missoula McFarland (guitar), Jim Maxwell

Law Enforcement base. Eldridge now manages the (banjo), and Lynn Young (fiddle).

Andv Coriell met his wife. Smokejumper Visitor Center,

Forest Service archaeologist which receives approximately Bill Glass, Wilmington,

Kristen Martine (also a Festival 20,000 visitors each summer. Illinois; Forest Landscapes participant), at a conference on In addition to arranging tours Bill Glass is an ecologist at the the Archaeological Resource for schools, tour groups, and new Midewin National Tallgrass

Protection Act. As a Forest Service Congressional and foreign delega- Prairie. The tallgrass prairie is one

Law Enforcement Officer, Coriell tions, Eldridge is also responsible of the rarest natural ecosystems has a particular interest in archaeo- tor the Center's displays, exhibits, in the United States, and home logy al sites because a large part and commercial operations. to several nationally endangered of his job is knowing where these plants. The challenge ot restoring sites are in order to protect them Kelly Esterbrook, the Prairie to its original condi- from vandalism and looting. Bend, Oregon; Smokejumper Base tion is difficult because the local

In [980, Kelly Esterbrook \\.is ecosystem has been drastically

one ot the first six women lined altered, fust by pioneers who

to the Prospect Ranger District's converted the native prairie to

hotshot crew—a group of highly farmland, and later by the presence skilled firefighters who tackle of a U.S. Army munitions plant.

FESTIVAL PARTICIPANTS 1

Gordon Grant, Jim Hammer, Winthrop, Jack Holcomb, Lawrenceville,

Corvallis, Oregon; Protecting Washington; Call of the Wild ( Georgia; Arts & Crafts

Forests and Wildlife Habitats |un Hammer has spent his entire Jack Holcomb "s professional

Gordon Gout has always been 40-year Forest Service carvel career is with the Forest Service, interested m how rivers work on the Methow Valle) Ranger but Ins passion is constructing

and the role watersheds play in I 'istnet 111 the < )kanogan and guitars by hand, spending at people's lives. He spent 12 years Wenatchee National Forests, least 250 hours on each guitar. working as a white-water river where he now serves as Wilderness Holcomb has worked with guide before returning to si In nil and Frails Coordinator. Before the Forest Service tor 26 years tor his doctorate m hydrology mining mto an office position. and is currently the Regional and fluvial geomorphology. Hammer was an expert animal Hydrologist for the Forest Servil e

As a Research Hydrologist, he packer who built, maintained, and Southern Region 111 Atlanta At studies the effects of land use, upgraded trails in the wilderness the Festival, Holcomb displays dams, geology, and floods on one of Ins classical guitars and river pint esses. At the Festival, Elizabeth Hawke, Milford, gives an in-depth presentation

(rant uses an experimental river, Pennsylvania; Interactive Forest on the methods and materials complete with live vegetation Elizabeth Hawke began her career he uses to craft his guitars. and floods, to give visitors a at Grey Towers National Historic dynamic display ol river processes. Sue as a summer intern. Now, Saul Irvin, Seville, Florida;

as the horticulturist of Gifford Camp Foodways/Fire Camp lid dross, Brookings, Oregon; Pinchot's ancestral home, Hawke Saul Irvin has been winking with

Interactive Forest nurtures the historic gardens the Florida Division of Forestry

Until retiring from the Forest and landscape, a moat, and the for 2s years, serving as a combi-

Service in [997, Ed Gross worked Fingerbowl, the Pinchots' distinc - nation firefighter and ranger, or as a soil scientist at the Siskiyou tive outdoor dining table. She "hanger" (in Ins own words). As a

National Forest. When the Forest also takes care of the grounds child lie learned to hunt, fish, and

Service developed the Siskiyou of the 102-acre estate, including find his wax. around the woods,

Forest Plan 111 the lciNos. Gross the trees that were planted by and now lie applies those early realized the important role played Gittord and his wale Cornelia, lessons to Ins work as a forest by dead organic matter 111 a forest's large sloping lawns, forests, ranger. He also has become ,in regenerative cycle. It was because trails, paths, and roadwav s experienced cook, particularly oi Ins efforts that the eventual for several varieties of cattish.

Forest Plan included recom- Charles Hillary, Madison, mendations to leave "large woody Wisconsin; Forest Products Dórica Jackson, material" on the forest floor Charles Hillary is a Physical Ketchikan, Alaska; Arts & Crafts

Science leclinici.ui at the Forest Dórica [ackson began her profes-

Tony Guinn, Products Laboratory. In his posi- sional weaving career 111 the early

Mountain I iew, Arkansas; tion. Hillary implements new 1970s, combining her training

Water, Woods, and Mountains technology and computers for the in textile design with her newly

lonv Guinn is the Visitor Lab. He also conducts resean h in acquired knowledge and respect

Information Specialist at the the pulp and paper division for the for Northwest Coast Indian Art.

Blanchard Springs Caverns, one Postal Service recycling project, Her Chilkat weaving can now of the few caves 111 the I orest working on ways to remove be seen 111 various museums

Service system that offer tours inks, toners and glues from paper around the globe In addi-

to the public. Guinn arranges ti 1 t onform to standards for tion, she shares her knowledge tours for the Caverns' yi 1,1 11 11 Postal Service suppliers. At the by teaching apprentices and annual visitors. She is also respon- Festival, Hillary demonstrates students at the Totem Heritage sible for producing educational simple ways for children and Center m Ketchikan, Alaska. programs about the caves, then adults to make their own paper. history, and the bats and endan- gered species that live there

SMITHSONIAN FOLKLIFE FESTIVAL Nathan Jackson, Nova Kim and Leslie Hook, history, and his guard station

Ketchikan, Alaska; Arts & Crafts Albany, I ennont; Camp Foodways is furnished with an extensive Nathan Jackson was born into Nova Kim and Leslie Hook collection of memorabilia, the Sockeye Clan on the Raven are self-described wildcratters, including uniforms, badges, and side of the Chilkoot-Tlingit which they define as "accepting correspondence between Gifford tribe, and specializes in wood- from the woods or field what is Pinchot and William Kreutzer, the carving, jewelry, and design. offered, and utilizing it." Kim and Forest Service's first Chief and

Many museums exhibit his work, Hook cultivate wild edibles like first forest ranger, respectively. including a 20-foot cedar totem mushrooms, which they then sell McRae, Forsyth, pole at the National Museum ot to restaurants and stores. Then- Wally Montana; Community Stage the American Indian. In 199s, he previous business ventures have a cattle [III] received the prestigious National included a successful ginseng tea Wally McRae manages

Heritage Fellowship from the business and wildcrafting nursery ranch in eastern Montana, where

National Endowment for the plants from national forests. his family has lived since [885. Intrigued traditional Arts. At the Festival, Jackson by the demonstrates his elaborate tech- Beth King, Layton, Utah; poetry of working cowboys and ranchers, has written niques of carving a totem pole. Camp Foodways McRae Beth King works in the more than 100 poems and tour

Patrick Michael Karnahan, Sonora, I liter mountain Region's books ot poetry, and was the first

California; Sounds of the Forest Engineering Cartographies cowboy poet to be awarded the

During his [5-year tenure with I )epartment, and is also the care- National Heritage Fellowship the Forest Service, Patrick taker of the Forest Service History from the National Endowment

Michael Karnahan worked in six Archives at Weber State University. for the Arts. From 1996 to 1998,

California forests, including the Recently, King's archival work has he served as a member of the

Stanislaus National Forest, where focused on chronicling the history National Council on the Arts. he still volunteers. Karnahan is of outdoor cooking in the Forest Nanette Fall River, a skilled painter; several ot his Service, resulting in a cookbook. Madden, canvases have appeared on the Camp Cooking: tooYears, 1905- California; Fire Camp

( 'ne ot the first fire- cover of Wildfire Magazine, and 2005, published by the National female one of his paintings was selected Museum of Forest Service History. fighters to work for the USDA Forest Service, Nanette Madden for a postage stamp by the U.S.

works as 1 Postal Service. He has released Samuel Larry, Atlanta, Georgia; currently Division hiei Forest Service History for Protection and Prevention 14 CDs with his Black Irish the Tuskegee Forestry the National Forest, Band, and covers a broad reper- Since [968, on Modoc

has as specialist .1 toire of traditional American, Program played a major role and a technical on National Irish, and Italian folk music. in training African-American Fire Prevention Team. foresters and natural-resource Madden has received the Silver

Robert Karrfalt, Lafayette, professionals. Samuel Larry Sniokey Bear Award for her work

Indiana; Tree Doctors enrolled at Tuskegee University in wildland fire prevention.

Robert Karrfalt is the Director ot to studv forestry in 1976 and the National Tree Seed Laboratory. later became the Forest Service's Karen Malis-Clark, Flagstaff Family Activities The lab's three major functions liaison to Tuskegee. Currently he- Arizona; works as an are to test seed quality, provide leads cooperative fire manage- Karen Malis-Clark technical assistance to govern- ment activities for the Forest Assistant Public Affairs Officer ments and individual growers, and Service's Southern Region. in the Coconino National Forest maintain an international seed Supervisor's office. A favorite

Pat Lynch, Encampment, part of her job is giving talks and bank. One key component is to demonstrations at schools, adult certify that seeds or seedlings are Wyoming; Forest Service History suitably adapted for the planting Though retired from the Forest education classes, environmental

Service. maintains a and meetings with area. Since 1972 the Seed Bank Pat Lynch seminars, lodges partners. has shipped over 150 seed species "guard station" where he Forest Service In 2003 Forest Service employees trav- she received the Southwestern to 95 countries in an effort to promote global reforestation eling through the area. Lynch Region Conservation Educator

is .111 expert on Forest Service and Interpreter of the Year award

FESTIVAL PARTICIPANTS Kristen Marline, Flagstaff, Joe Meade, Anchorage, Alaska; Miller worked as a wilderness

Arizona; Forest Landscapes Water, Woods, ami Mountains ranger at the Nez Perce National

Kristen Martine is the District |oe Meade is the Forest Supervisor Forest. Although he retired

Archaeologist for the Mogollón at the Chugach National Forest. several years ago, he continues

Rim Ranger District on the Meade is visually disabled, and lo teach several crosscut saw

Coconino National Forest. works with the help of a talking classes for the agency every year.

She often works with Native computer and his guide dog.

American groups that use the Navarro. He began working with Chuck Milner, Cheyenne, Oklahoma; Sounds of the lorcsl forest or have .1 connection to its the Forest Service in 1977, and As a range specialist at the Black archaeological sites. Martine is also was later instrumental in ensuring National involved m protecting traditional that the Forest Service become Kettle Grasslands,

t !huck Milner oversees the cultural properties, as well as sites a leader in compliance with the area's cattle-grazing program that may have religious signifi- Americans with Disabilities Act. cance. Her husband, Amlv Coriell, Throughout his career. Meade has However, his other career is as .1 singer, poet, and story- is also a Festival participant. helped ensure that national forests cowboy songs, and public facilities are acces- teller, using his poems,

Karen Martinson, sible for everyone's enjoyment, and stories to connect the Forest

Madison, II 'isconsin; Service and the Oklahoma

Sustainable Resource House Bill Meadows, Washington, ranching community. In 2001,

Karen Martinson is the Housing D.C.; Community Stage Milner's original composition.

Program Specialist at the Hill Meadows serves as presi- "Do.m's Crossing," received the

Forest Service's Forest Products dent ofThe Wilderness Society, Will Rogers Award tor Western

Laboratory, where she facili- overseeing a staff of iso located Music Song of the Year from the tates research coordination and in Washington, DC, and nine Academy of Western Artists partnerships with universities, h gii mal offices. More than 2.5 Leavenworth, industry, and other govern- million acres have been added Heather Murphy, ment agencies. She also played to the National Wilderness Washington; Protecting Forests and Wildlife Habitats a significant role in the creation Preservation System since

Heather is a wildlife and development oí the Lab's Meadows became president of the Murphv biologist surveys bird, Advanced Housing Research organization in 1996. Previously who amphibian, and mollusk Center and the Research he served as director of the Sierra mammal, populations tor the Wenatchee Demonstration House. At the Club's t entenni.il (. amp.ugn. River Ranger District on the Festival, Martinson is one of the Corvallis, and Wenatchee staff providing information on Rick Meinzer, Okanogan National Forests She keeps the Sustainable Resource House Oregon; Canopy Crane

Rick Memzer is an accom- records of the tracks, feathers,

Kirby Matthew, Deei Lodge, plished scientist, specializing fur. scat, bones, nests, plants, and

Montana; Woodlands Heritage in plant physiology I le has organisms that she observes. Ow

Kub\ Matthew is the Program worked all over the world and the side, she uses watercolors to

Manager of the Historic Building is currently working with the illustrate her field notes. At the

Preservation le.un for the Wind River Canopy Crane in Festival, she shares her techniques Northern Region. Matthew's the Gifford Pinchot National tor keeping nature journals.

introduction to historic building Forest. Memzer is interested in

preservation came when he learning about the route water Lezlie Murray, Girdwood, Alaska; Call of the Wild worked as a seasonal archaeologist takes in a tree from the roots to Lezlie Murray currently serves at the l.olo National Forest from the uppermost leaves, to under- as the Director of the Begich, [98] to [986. He was subsequently stand better the life of a tree Boggs Visitor Center at the certified by the National Park Miller. Peek, Idaho; Chugach National Forest, the Service as a master preservation Warren

largest national forest 111 carpenter. As man} eark 20th- 1 1 bodlands Heritage second

is the country. She and her team century buildings age. Matthew's Wai ten Miller nationally as an expert in the offer a diverse range of programs proficiency in traditional building recognized visitors to William techniques helps preserve the use ol the crosscut saw. While tor Prince

Forest It's hard to describe a history of America's forests employed with the Service, Sound.

SMITHSONIAN FOLKLIFE FESTIVAL :

typic.il "day .it the office" for Leona Pooyouma, Flagstaff, wise taught his son how to Murray. She docs everything Arizona; Arts & Crafts carve with both chainsaw and from teaching how to hike safely Leona Pooyouma is a human jackknife. "The chainsaw is just around hears to leading ice-worm resource assistant in the Coconino like a jackknife, only a really safaris on the Byron Glacier Trail. National forest, helping those powerful one," he explains. who are seeking work with the

Hank Nelson, Wasilla, Forest Service. In addition to her Riders in the Dirt; Alaska; Community Stage professional work, Pooyouma Sounds of the Forest

Hank Nelson grew up in a is a skilled Hopi wicker basket The Riders in the Dirt are a logging camp near Coos Bay. weaver. Using native plants traditional bluegrass quartet from

Oregon, and worked as a timber and bushes found on the Hopi Oregon. All tour ot the band's taller tor more than 30 years in reservation, she weaves in the members are women and Forest 1 1 1 j the Northwest, including Alaska, fluid Mesa wicker style, trans- Service professionals. Gayle

Washington, and Oregon. He forming rabbit brush and sumac Hunt, who plays guitar, banjo, now works part-time as a bus plants into works of art. and mandolin for the Riders, driver, raconteur, and guide tor says that the group would never cruise ship passengers. Although Marvin Pooyouma, Flagstaff, have started it not tor the tireless Nelson considers himself more Arizona; Arts & Crafts enthusiasm of rhythm guitarist of a singer and songwriter Marvin Pooyouma began his and fellow Ochoco National than a poet, be also writes career with the Forest Service Forest employee. Judy Haigler. and recites logger poetry. in 1972 as a member ot the Rounding out the Riders are

Coconino Hotshots, a fire- tiddler |o Booser, silvicultunst

Lavinia B. Nelson, Mt. Pleasant, fighting crew. During the oft for the Deschutes and Ochoco South Carolina; Aits & Crafts seasons Pooyouma spent much National Forests, who also plays

Born and raised on a sharecrop- time learning about Hopi teach- musical saws and flutes; and lead ping plantation in South Carolina, ings and traditions; now he is singer and bassist Anne Alford, a

Lavinia Nelson learned how to highly skilled in the art of textile wildlife biologist at the Crooked

weave different types of baskets weaving, which he learned from River National Grassland. at a very young age from her his grandfather and is currently grandmother. She demonstrates passing down to his son Michael Ritter, Madison, Wisconsin; how she makes high-quality Sustainable Resource House baskets using grass, pine needles, Steve Reed, Victor, Montana; Michael Ritter serves as Assistant and leaves gathered on the shore- Sniokejnmper Base Director at the Forest Service's line near her home. Nelson is Steve Reed is a smokejumper Forest Products Laboratory and

accompanied at the Festival by squad leader, or spotter, at the leads then Advanced Housing her daughter-in-law and grand- Missoula Smokejumper Base. Research Center. The AHRC daughter, who also weave baskets Spotters are responsible for conducts research into many

lumper and plane safety, for aspects of wood-frame housing Kelly Pearson delivering firefighting equipment, with an emphasis on maximizing , Jonesboro,

Illinois; Call of the Wild and for determining when and durability and energy efficiency

Kelly Pearson is responsible for where jumpers will land. Recti while enhancing the sustain- the maintenance and operation also helps recruit and prepare abihty of our nation's forests At

of several developed recre- new trainees for the challenging the Festival. Ritter is one ot the

ation areas at the Lusk Creek six-week basic training regimen staff providing information on

Wilderness. Because most visitors required of all new smokejumpers. the Sustainable Resource House.

arrive on horseback, the trails

are under constant stress, and Rodney Richard, Si:, William Rosanelli, Montague, require frequent maintenance. Rangeley, Maine; Arts & Crafts New Jersey; Forest Serviré History Pearson's work days include Rodney Richard worked for When school is in session.

correcting erosion problems, many years as ,^n independent William Rosanelli teaches

hardening and draining trails, logger in the woods ot western theolog) at a Catholic high

and shaping them to provide Mame before retiring in the school in New Jersey. However, an environmentally sound and late iySos. He learned to carve during the summer Rosanelli

enjoyable experience tor riders. wood from his father and other is the Lead Interpretive [bur

family members, and has like- Guide at Grey Towers National

FESTIVAL PARTICIPANTS Historie Site, once the home of insects killing trees. Schiff Jane Smith,

of GifFord Pinchot, the former takes pride 111 .\n enormous Corvallis, Oregon; Tree Doctors

governor of Pennsylvania and collection that includes bril- Jane Smith is a research botanist

first of Chief the Forest Service. liantly colored butterflies and and mycologist at the Pacific

Ros.melli i\ very knowledgeable beetles the size ot\\ human fist. Northwest Research Station who about Pinchot, Pinchot's family, studies the role of fungi in the and Forest Service historv. Herb Schroeder, Hvanston, forest ecosystem. Fungi are best

Illinois; Forest Landscapes known to humans in their edible Michelle Ryan, Dillon, Montana; I lerb Schroeder is recognized mushroom forms, but mycologists Forest Service History as an expert 111 environmental know that the symbiotic relation- Michelle Ryan comes from a psychology, a branch of ship between fungi and trees is 114] Forest Service family: her lather, psychology concerned with indispensable to a forest's survival. an uncle, her husband and son understanding people's relation- have all been employed by the ship with the environment. Stacey Smith, McKenzie Bridge, Forest Service at some point. Working tor the Forest Service's Oregon; Call of the Wild Recently, Ryan's quilt design «as North Central Research Station. Stacey Smith was raised em a one of two chosen to commemo- V liroeder conducts research to ranch where she fust learned to rate the Forest Service's centen- help land managers and plan- love the outdoors, and where she nial Conceived in the traditional ners better appreciate how and her tour sisters were expel ted scrap-quilt style, Ryan's quilt human beings experience and to do most ot the household features a top pieced by 100 indi- value different environments. and barnyard chores. Now she viduals employed by, or otherwise works for the Forest Service as to. connected the Forest Service. "1 Dave Shaw, Carson, a eave No I rat e" I ducator, Washington; Canopy Crane frequently interacting with Inking Catherine "Cat" Sampson, Camp I lave Shaw's fascination with groups to teach and promote

I erde, Arizona; Law Enforcement biology and natural historv began responsible use of the wilderness. Cat Sampson, originally from when he was a young bo) living

France, is Assistant Operations in Singapore and Malaysia, where Bill Stafford, Lake Montezuma, Manager on the Red Rock his father was a rubber Inner Atizona; Camp Foodways District in the Coconino National tor an American tire company. Bill Stafford is the Recreation

Forest 1 he Great American Horse loda\ he is a research scientist at Staff Officer for the Red Rock

Race, staged 111 197'' to celebrate the Wind River Canop) Crane, I (¡strict of the t Coconino National America's Bicentennial, brought with a particular interest in forest forest, which welcomes more Sampson to the United States. protection and the natural lnstor\ than tour million visitors annu-

She rode from Frankfurt. N Y . to ot forest organisms, including ally and is home to Arizona's Sacramento, Calif., and tell in love birds, epiphytes, and mistletoe most popular recreation area, with the West She has been with ( )ak ( reek C 'anvon Stafford's lil "rest Service tor 10 years and The Shawnee Forest New Century personal career has been ]tist

wishes she had found it sooner Children's Choir, Southern as busy. He has been chased

Illinois: Sounds of the Forest b\ bears and rattlesnakes, has Nathan Schiff, Stoneville, I he Shaw nee Forest New helped tight the biggest forest Mississippi; Vice Doctors l entur\ Children's C 'hoir tire m the Coconino's historv, Nathan Silnft is an entomologist comprises children, ages << to 14, and has rescued flood victims, at the ('enter for Bottomland who love nature and singing.

I lardwood Research. He 1 lie choir members come from Jean Szymanski, Albuquerque, researches how insects spread many different backgrounds, Neu> Mexico; Family Activities fungal and bacterial diseases schools, and towns 111 southern Jean Szymanski is the

I li work has brought him to 4 ; Illinois. Singing is a way for Conservation Education

1 ountries, where he lias worked them to share their harmonious Specialist tor the Forest Service's with forestr) groups and various voices with others, and also to Southwestern Region, and non-governmental organiza- share the message of conserva- one ot the lead coordinators ot tions to address the problem tion in the new century. curriculum development for the New Mexico Forestry Camp.

SMITHSONIAN FOLKLIFE FESTIVAL The camp was initiated in 1990 Charmaine Thompson, Provo, Forest Services centennial. The to help New Mexico youth Utah; Forest Landscapes quilt features 12 sections that are better understand the manage- Charmaine Thompson is an each associated with a theme ment and uses of New Mexican archaeologist and heritage specialist from the Forest Service's 100 forests, teaching them about at the Uinta National Forest. In years. The quilt's individual blocks trees, streams, archaeology, insects, addition to fieldwork respon- were sewn by volunteer quilters wildfire, grazing, and wildlife. sibilities that include finding, from across the United States.

exploring, and mapping sites ot

Sidne Teske, Tuscarora, significance, Thompson ensures Gail Tunberg,

Nevada; Arts & Crafts that all archaeological work in Albuquerque, New Mexico; Sidne Teske's award-winning the Forest conforms to federal Water, Woods, and Mountains plem-air pastel paintings have regulations. In her presentations As Wildlife Program Manager [US] been inspired by 30 years of to Forest visitors, Thompson for the Southwestern Region, living amongst the mountains teaches about the delicate balance Gail Tunberg is responsible tor and forests ot Nevada. Teske between use and preservation. implementing the "Be Bear follows her instincts as she paints. Aware" program. Created m using vibrant colors to capture Lee Thornhill, Lakeside, response to increasing interaction the light and scenery 111 the area Arizona; Fire Camp between humans and wildlife, around the Humboldt-Toiyabe Lee Thornhill is a deputy "Be Bear Aware" educates visi-

National Forest. At the Festival, district ranger at the Apache and tors on ways to minimize the

Teske demonstrates her use of Sitgreaves National Forests. In possibility of confronting a bear color and provides a window to addition to his regular duties, These include maintaining a the real landscapes of the West. Thornhill is part of an Incident clean camp, avoiding products

Management team that responds that attract bears, and cooking

Donna Thatcher, Farmington, to natural disasters like forest in ways that don't invite bears.

New Mexico; Camp Foodways fires. The job is stressful and

Donna Thatcher is a naturalist chaotic, and often requires long Francisco I alenzuela, who currently serves as the absences from his family and Golden, Colorado; Water, director of the Nature Center home. Still, Thornhill would Woods, and Mountains at the Farmington Museum. At never give up this extra work: Currently the Regional the Festival, she demonstrates he says he «as hooked the Recreation Planner tor the her extensive knowledge of moment he first smelled smoke. Rocky Mountain Region,

Southwestern native plants Francisco Valenzuela has also and how they have been used Trails Unlimited, Monrovia, worked as a landscape architect, in traditional ways—as dyes, California; Interactive Forest regional planner, and interpreter. food, arts, and household Trails Unlimited is an Enterprise Valenzuela's first day of work at products—by Hispanic and Unit within the USDA Forest the Mt. St. Helens Ranger I 'istrict Native American cultures. Service that has constructed was also the day the volcano

more than 100 miles of trails erupted. For the past 25 years,

WaltThies, and provided training on trail Francisco has documented the

Corvallis, Oregon; Arts & Crafts management throughout the natural processes of the volcano

WaltThies's fascination with wood United States. Led by Cam and its surrounding environment. is not hunted to his professional Lockwood, Trails Unlimited career as a research plant patholo- constructed the Interactive Dennis Vroman, Grants Pass, gist at the Pacific Northwest Forest at the Folklife Festival. Oregon; Protecting Forests

Research Station. The wood of and 1 1 'ildlife Habitats the Pacific Northwest has inspired Teresa Trulock, Pinedale, Dennis Vroman is a bird bandei him to become a skilled wood Wyoming; Forest Service History at the Siskiyou National Forest. turner of bowls, ornaments, Teresa Trulock works as a Although he retired from the and toys. At the Festival Thies Resource Specialist for the Forest Service in [996, he discusses the natural character- Bridger-Teton National Forest. continues to maintain three

istics and science of wood as he Recently, Trulock's design for a MAPS (Monitoring Avian

rapidly transforms blocks of wood king-sized quilt was one of two Productivity and Survivorship)

into finished, shaped pieces. selected to commemorate the stations on the Siskiyou. These

FESTIVAL PARTICIPANTS 1

stations are vital to efforts moni- (Jlimli 1 1 'illiatns, Albuquerque, community projects to establish toring the health of local songbird Neu> Mexico; Forest Service History National Scenic Byways; and

populations Over his lifetime, Chuck Williams has a personal has also worked at the Hoosier

Vronian estimates that he has connection to two of the Forest National Forest, where she

banded more than 30.000 birds. Service's most recognizable icons. teamed with local arts councils to From 1968 to 1970, Williams obtain grants from the National

served as technical advisor to Linda Wadleigh, Flagstaff, the Endowment for the Arts for Arizona; ('amp Foodways/ television show, Lassie Whenever multicultural performances. York

I oresi Service rangers and Lassie is a songwriter, performer, Fire Camp/Tree Doctors and were filmed, the show's producers conductor ot a children's choir As the Regional Fire Ecologisl relied on Williams to help shape and a cappella women's ensemble in the Southwest, Linda Wadleigh dialogue and plot. Williams later 1 '' 1 works all forests I on the national created a public service spot. Zapalla, in Arizona and New Mexico. J.P. Santa Ynez, "Give a Hoot, Don't Pollute," Although wildfires are commonly California; Smokejumper Base that introduced Woodsy Owl, has as associated with destruction, fire J.P. Zavalla worked a who has since become America's ecologists like Wadleigh under- firefighter since he graduated official environmental icon. from stand the beneficial effect that fire high school. He has been

a smokejumper at several forests can have on a local ecosystem. Marta Witt, Wilmington, In fact, regular tires are essential in the West, and he spent time Illinois; Forest Landscapes with the Los Padres Hotshots. to .1 forest's regenerative cycle.

Marta Witt is the Public Service Zavalla comes from a forest Her husband. John Anhold. is Leader at the Service both his also a Festival participant. Team Midewin family; father National Tallgrass Prairie, which and his brother work for the

sits on land previously 1 os Padres National forest. Lee Webb, Grants Pass, occupied by the Juliet Army Ammunition Oregon; Protecting Forests Plant, once the Army's largest Pete Zavalla, Solvang, ,iii(l Wildlife Habitats supplier ot TNT. Efforts to restore California; Community Stage Until retiring in 2004, Lee Webb the natne ecosystem have been Pete Zavalla is the Iribal I iaison was the Wildlife Biologist at the complicated by the presence ot' Rogue Rfver-Siskiyou National tor the Los Padres National contaminants and by the domi- Forest, helping Native American I orest.Webb spent 29 years with nance ot non-native plant species. groups obtain the forest Service, and helped special use permits The Prairie opened its first s.ooo to develop the Land and Resource interact with the forest in acres to the public 111 2003. traditional Management Plan tor the ways. Zavalla became involved with the Forest Siskiyou, which resulted in the Service Keith Wolferman, Missoula, in while thinking creation ot over 10,000 wildlife 1990, of ways Montana; Smokejumper Base to combat high youth unemploy- sites ami [9 botanical areas Webb Keith as a his has always been especially inter- Wolferman works ment on Chumash reservation squad leader at the Missoula He subsequently helped initiate ested in the Spotted Owl, and Smokejumper base. a a program at the forest for discusses the owl at the Festival When work forest tire breaks out. squad teenagers from the reservation.

leaders like Wolferman plan the .W/7 Weintraub, Williams, aerial attack against the tire. Tony Zavalla, Santa Barbara, Arizona; Forest Landscapes

I hey determine |tmip spots ( California; Fire Camp Neil Weintraub is the District

and release points based on is Archaeologist on the Williams and Pony /avalla a tire engine oper- calculations of wind speed and ator at the Los Padres National lus. nan Ranger 1 hstricts 111 the direction, and are responsible Kaibab National forest, charged Forest, where his lather and tor plane and jumper safety. with protecting, managing, and brother also work. Zavalla began his career as a firefighter and interpreting a broad range oí 1 1 1 Pat York,Jonesboro, Illinois; was soon transferred to the Los facts and resources. Many ot the Community Stage/ Padres Hotshots. elite group ot artifacts he has uncovered near the an Water, Wooiis, firefighters called upon to battle (hand Canyon date back at least ami Mountains As the toughest blazes Before he |.,ooo years. Weintraub has also Recreation Program Manager became a truck operator, Zavalla been heavily involved in efforts on the Shawnee National Forest. lo discourage once-rampant Pat York aims to connect indi- had the opportunity to spend viduals one season on the same looting near archaeological sites. and communities to smoke- their forests She has facilitated jumping team as his brother.

SMITHSONIAN FOLKLIFE FESTIVAL Nuestra Música: Ecos de Borinquen, Puerto Rico Elíseo y su Chanchona Melódica Ecos de Borinquen represents the Oriental, Washington, D.C. Music in Latino Culture best of today's música jíbara, music Elíseo y su Chanchona Melódica from the mountainous regions Oriental, with roots in rural

Los Camperos de I alies, Mexico of Puerto Rico, interpreted by eastern El Salvador, has brought Los Camperos de Valles is a trio eight top-flight musicians from a little piece ot "home" to D.C.'s of Mexico's finest musicians in the island. Stringed instruments large Latino community. The the ¡on huasteco style from the and sung poetic forms that date seven-piece chanchona ensemble northeastern Mexican cattle- back hundreds of years to Spanish with two violins, guitar, and herding region known as the prototypes are combined with the percussion takes its name from the Huasteca. Their sound is marked Caribbean percussion sounds of resemblance of its large stringed by hard-edged, improvised violin [117! the güiro rasp and hand drums. bass to a sow, a common sight in playing, driving guitar rhythms, the mountainous region dotted and high-pitched singing marked Ecos de Borinquen representa lo with small villages. The catchy with falsetto breaks. Dance mejor de la música jíbara contem- rhythms ot the cumbia and the forms an integral part ot the son poránea de las reglones monta- lively canciones rancheras (country huasteco. Renowned lyricist and ñosas de Puerto Rico, interpretada songs) and lyrics laced with dancer Artemio Posadas, accom- por ocho de los mejores músicos homegrown sentiment are the panied by young dancer Dolores de la isla. La instrumentación core of the chanchona's repertoire. Garcia, perform with the trio. de cuerdas y las formas de poesía cantadas que vienen de Elíseo y su Chanchona Melódica Los Camperos de Valles es un prototipos españoles que tienen Oriental ha traído un pedacito de trío formado por algunos de cientos de años, son combinadas su lugar de origen a la enorme los mejores músicos del son con los sonidos percusivos del comunidad latina en Washington, huasteco de la reglón ganadera Caribe del güiro y la pandereta. D.C. con raíces en las regiones del noreste de México conocida rurales del oriente de El Salvador. como la Huasteca. Su sonido se Miguel A. Santiago Díaz. El ensamble de chanchona con identifica por la improvisación leader/líder; composer/ dos violines, guitarra y percusión, y estilo vigoroso del violin, los compositor; singer/ trovador toma su nombre por el tamaño ritmos persistentes de la guitarra, Luis Manuel Cm: Reyes, bongos del enorme contrabajo, como y canto con voz aguda marcado Károl Aurora de Jesús Reyes, una chancha o puerca, un por quebradas de falsete. El baile singer/ trovadora animal común en esta región forma una parte integral del son José Delgado Serrano, first caracterizada por pequeños huasteco. Trovador y bailador cuatro/primer cuatro pueblos que se esparcen a través Artemio Posadas, acompañado Pablo Figueroa \ 'illalohos, güiro del paisaje escarpado. El ritmo por la bailarina Dolores García, José A. Martínez Zayas, second bailable de la popular cumbia, se presentan con el trío. cuatro/segundo cuatro el ágil compás de la canción

Harry Meléndez Marline:. ranchera, el más lento del bolero Marcos Hernández Rosales, chorus/coro; small percus- romántico y otras composiciones leader/líder; huapanguera sion/percusión menor regionales forman la base del Dolores García, dance/danza Ramón I azquez Lamboy, repertorio de chanchona. Joel Monroy Martínez, guitar/ guitarra violin/ violin; vocals/voz Elíseo Gutierre:, leader/ Artemio Posado, composer/ líder; bass/contrabajo compositor; dance/danza Manuel Enrique Alheño, Gregorio "Goyo" Solano vocals/voz; güiro Mediano, jarana; vocals/voz Terencio Cabrera, first

violin/primer violin

Joel Cm:, guitar/guitarr.i Pedro Angel Gutiérrez, second violm/segundo violin Mario Mercado, tumbas

Lins Saenz, timbales

FESTIVAL PARTICIPANTS JCJ Band. Washington, DC. Los Plateros de la 21, New York Sones de México, Chicago, Illinois

JCJ Band is a popular Washington, Los Pleneros de la 21 have for nearly Sones de Mexico is a six-member D.C.-based dance band that JS years performed the strongest Chicago-based ensemble dedicated

specializes m the Dominican strands ot Atro-Puerto Rican music, to performing regional styles of merengue, one of the most popular the bomba and the plena.1 hey set the Mexican music interwoven with percussive essence ot their music in of contemporary pan-Latino social contemporary creativity. They a web ot contemporary harmonies dances. In addition, they play a play a variety ot instruments and and artful arrangements appealing to wide range ot Latino dance music. musical genres, and their repertoire both traditionalists and innovators. reflects the diverse backgrounds

I hey take their name from bus stop |C| Band es una banda popular en ot Chicago's distinctive Latino 2i in Santurce, Puerto Rico, the Washington, D.C. que se especializa community, Mexican and beyond, local identifier of a neighborhood

1

' I en el merengue dominicano, uno de that is the source of the best ot the los bailes sociales pan-latinos mas Sones de Mexico es un ensamble de Afro-Puerto Rican tradition. populares. Ademas, la banda brinda seis miembros basado en Chicago

un repertorio amplio de música v dedicado a la presentación de Los Pleneros de la 21 tienen casi latina para bailar para los diferentes los estilos regionales de la música veinticinco años tocando las tradi- gustos de su publico latino mexicana intercalada con creativ- ciones mas tuertes de la música idad contemporánea. Los músicos afropuertorriqueña, la bomba v la Carlos C Toledo, leader líder; tocan una variedad de instrumentos plena 1 os músicos sitúan la esencia bass y géneros musicales y su repertorio bajo percusiva de su música dentro de uii.\ Anthony Carr, saxophone saxofón red de armonías contemporáneas refleja la diversidad cultural de la

Félix Carrera, trumpet' trompeta y arreglos artísticos complaciendo distintiva comunidad latina, mexi-

Waltei /. Duran, percus- tanto a los tradicionalistas como a los cana y no mexicana, de Chicago.

sion/percusión innovadores. Su nombre viene de la

Ely A. Hernández, trumpet.' trompeta parada de autobus 21 en Santurce, licnaio Cerón, vocals/voz;

Luis Hernández, vocals/voz Puerto Rico, identificando el barrio a< 1 ordion/acordeón; jarocho

Nelson Medina, piano que es la fuente de lo mejor en la harp arpa jarocha; violin/

Salvador E. Montoya, saxo- tradií ion afropuertorriqueña. violin; saxophone saxofón

phone/saxofón Juan ¡ho\ vocals/voz; guitarrón Roberto Cepeda, güiro; maracas; Giovanni Mórcelo, percus- Lorena íñiguez, vihuela;jarana; dance baile sion percusión small percussion/percussion menor Miriam Félix, bomba dance/ Andrés Parra, vocals voz Joel Martínez, drums tambores; baile ile bomba, chorus coro Rene L Sandoval, percussion percussion percusión

' barriles Juan ]utiérrez . panderetas; percusión Victot Pichardo, vocals/voz; de bomba, timbale; percussion Luis l: I Hieda, vocals voz hu.ip. Higuera; jarana; guitar/ percussion, chorus coro guitarra; clarinet clarinete Julia Loiza Gutiérrez-Rivera, José luán Rivera, vocals/voz; bomba dance baile de bomba requinto; violin/ violin José Lantigua, pumo: synthesizer/

sintetizador; chorus/coro

Héctoi "Tito" Matos, vocals/voz; chorus coro; panderetas; barriles de bomba; cuá

Edgardo Miranda, acoustic and elec-

tric cuatro cuatro acústico

\ elé< trico

Camilo Ernesto Molina, güiro; maracas, pandereta: barriles de bomba; timbale; chorus coro

Donald Nicks, electric bass guitar/

bajo eléctrico; string bass contrabajo

José Rivera, vocals/voz; chorus/coro; pandereta; barriles de bomba

NellieTanco, vocals voz; chorus/coro

Sam C.Tanco, vocals/voz; chorus ..oro

SMITHSONIAN FOLKLIFE FESTIVAL Ornan: Desert, Occupational Traditions Qurayat Ensemble

K .'i anal Coast Traditions) Oasis, and Sea Oasis Kitchen Namir Khamis IshaqAl Balushi Saiiina Bakhit Abdulla Al Badri, Craft Traditions Said Taraif Saleem Al Ghazali Muscat, Omani Cooking Amal Khamis Juma Al Habsi Aromatics and Pottery /.aim Hamed Mohammed Al Nabil Naseeb SangorAl [abri Mahfoodha Hamed SaidAl Dhahli, Muscat, Habva Making Suad Obaid Salmeen Al Amu, Salalah, Incense Jabri Said Abdullah Saul Al Hailby, Muna Mohammed MahadAl All Khamis Said Al [ahdhami Muscat, Omani Cooking Amri, Salalah, Incense Burners Naaim Suwaid SangoorAl Risadi Ahmed Rashid Abdullah Al Ghaliya AH Mohammed Al Mubarak Khamis Juma Al Ruzaiqi Marsoori, Muscat, Halwa Making Bas, Salalah, Incense Talib Khalfan Salim Al Sha Aibi Maryam Ahmad Balhaf, Traditional Building Afra [uma Sulaiyam Al Sinani

I [19] Salalah, Perfume Kbalnl ¡uma Hassoun Al Amal |uma Sulaiyam Al Sinani Hadaiyad Rabia Calligraphy Araimi, Sur, Boats

I ladaiyad Al Sinani Saleh Juma MuslemAl Shukairi, Ahmed Mubarak Sabeit Mahfoodh Abdullah Muscat, C lalligraphy Al Araimi, Sur, Boats Najnn Al Sinani Mohammed Kasim Nasser Al 1/j Said Khamis AlYahyaai, Rahima Rabia Hadid Al Sinani Sayegh, Muscat, Calligraphy Bahla, Traditional Structures Rahma |uma Sulaiyam Al Sinani Desert Camp Saleh Khalqf SaifAlYahyaai, Saleh Yousuf Fail Al Sinani Nasra Nasser SaadAl Batahari, Bahla, Traditional Structures Salim Juma Suleum Al Sinani Shleem, Camel Milking Baskets YousufThani FayilAl Sinani Jawhara SaidAUAl Duwaiki, Music and Dance Traditions Ahmed Zaid Fail Al Waheibi Una, Camel Trappings Al Majd, Salalah Zayid Khalif Mubarak Haniya Sultan Al Waheibi, (South Oman Traditions) Ibra, Camel Trappings Suhar Ensemble Saul Awadh Salim Al Hadhramj Najood Hamood Al II 'aheibi, (North Coast Traditions) Jalal Awadh Said Alloun ¡bra, Bedouin Cosmetics Abdullah Saleh Al Balushi Abdul Sharif Bakhit Ba Maalaq Embroidery Ibrahim Mubarak

I Ihiyab Nasser Arfah Khalsa Mohammed Abdullah Al Hamed Al Balushi Bait Al Rabash Jabri, Samail, Cap Embroidery [uma Khamis Juma Al Balushi Nassr Bashir Ashoor Bait Ardham Najla Juma SaidAl Sinani, Sinan Ibrahim All Al Balushi Samid Nasib Farhan Stir, Sun Embroidery Ah Suhail SahmAl Dhahri Bait Bu Salasel Masar ]amaan Saad Ban Saad, Obaid Mohammed Obaid Al Farsi Salalah, Salalah Embroidery Wata Said Mohammed Khamis Ah Mohammed Maryam Ali RashidAl Shehhi, Bait Dashisha Al Hamdani Kasab; Date Palm Baskets Appian Said [amaan Bait Farhan Mohammed Abdullah Al Hamdani Indigo Abdul Hadi Fael Bait Maaleq Said Nasib Kharabash Al Hamdani Amur Salean SalimAl Shamakhi, Abir Gharib Bakhit Bait Mabrook Abdallah Saleh Ah Al Jabri Babia, Indigo-dyed Cloth Khaloud Gharib Bakhit Abdullah Khadeem Metalwork Bait Mabrook DhiwaiAJ Kahali Ataf Saleh Faraj Bait Mustahil Abdullah Ah Shinain Al Maqbali Mubarak Abdullah Ismail. 1/ Abdullah Salmeen Al Maqbali Farsi, Sin, Copperwork Said Aman Allah Said Khalfan Saleh Abdullah Al Nofli Musabah Jaarqj Khamis Al Bait Naghathit Hadad, Manah, Metalwork Naji Awadh Rajab Bait Rabia Younis [uma Khamis Al Norli Al Qasmi Ibrahim Hamood Al Isma Hi, Rajab Khamis Saad Bait Saleem Ibrahim Mohammed Nizwa, Silver Jewelry Aniña Riyadh Rabia BaitTaroom Saad Said Nasib Al Qasmi Abdullah Al Rashidi, Asim Ah Mohammed Al Shafei Omar Khalifin Abdallah Masib Faraj Sin, in; Silver KhanjarWork Mohammed Ah Ibrahim Bu Bait Al Amri Khalid Naseer Sai/AlTaiwani, Al Shezawi Rasam Rabia Nasib Maad Nizwa, Khanjai Adornment Darwish Saleh Salim Al Shibli Anwar Nasib Saad Qafqaf Dhahi Ghasab DhahiAJ Shibli Weaving Arafat Matar Rajab Sahuman Abdullah Basan Al Salmi Mohammed Khatri,Al Hamra, Wool Weaving Abdulla Al Shibli Khalfan Aniui KhalfanAl Badowi, Mohammed Hassan SaidAl Shidi Al Mudaibi, Silk Weaving Khamis Ah Khaif Hamdani

FESTIVAL PARTICIPANTS Ralph Rinzler songs are "made" (or created) by lince Redhonse (Navajo), Memorial Concert members of the church, unlike Tucson, Arizona those in many other Indian Vmce Redhouse was born and Mark ¡mil Nancy Brown chinches, where missionaries raised in California, a member (Eastern Band Cherokee), translated common hymns from of a family ot musicians that Robbinsville, North Carolina English to the local Indian includes his brother. Larry, a jazz The Browns «ere born and raised language. Most of the singers are pianist: sisters and singers Mary in the are.i around Robbinsville, members ot the Pewewardy family and Charlotte; and brothers Tony known .is the Snowbird region, and are related by bloi id and and Lenny, both percussionists. where Cherokee tradition and marriage. They are featured on the The family recorded a highly language remain strong. They sing Smithsonian Folkways recording. acclaimed album. Í 'rban Indian, I20] old i 'herokee hymns that date Beautiful Beyond Christian tor Canyon Records in i'> works as an education specialist Hymns in the Cherokee Language. ( life Every Nation. As a soloist. for the Comanche Nation's Vince primarily performs clas- Comanche Hymn Singas, Office of Higher Education. sical music, traditional hymns, .\nc\ Lawton, Oklahoma In February 2004 she released contemporary spiritual composi- a recording called Comanche I he Comanche Hymn Singers are tions He will be accompanied from IVtarscv United Methodist Hymns performed by Maria Nauni, by guitarist Matt Mitchell Church m the heart of Comanche w hk h was nominated in the best traditional vocals category < i luntry. In such churches, the

singing is congregational; after the it Milwaukee's 2004 Indian Mark and Nancy Brown

leader sings the hrst tew words, Summer Musk Awards She has will perform old Cherokee

the whole congregation will join 1 .i> tied w idely as a performer, hymns that date from the

in In Comanche churches, the speaker, model, and actress early 19th century.

SMITHSONIAN FOLkLIFE FESTIVAL SMITHSONIAN INSTITUTION

Lawrence M. Small, Secretary Helen Lindsay, Lead Customer Service Folkways Advisory Council

Sheila P. Burke, Dcpmy Secretary and Representative Michael Asch (chair), Phyllis Barney,

ChieJ Operating Officer Lee Michael Demsey, Hall Cannon, Don DeVito, Ella Norman van der Sluys, Jenkins, Anthony Seeger (ex-qfficio), CENTER FOR FOLKLIFE Ciislomci Service Representatives Lied Silber AND CULTURAL HERITAGE Ryan Hill, Sales Rcpcsentative Research Associates Richard Kunn, Director Linda Claudia de Four. Greg Robert Albro, Gen Benoit. Pati it k Richard Kennedy. Deputy Director Donahue, Patrick Gelesh, Susanne Delatour, Kip Lornell, Mara Loretta Cooper, Development Director Góricke, Jenna Homnch-Micocci. Mayor, Joan Nathan, Sam Aug Joanna Kelly. David Linaburg, [ulie Rebecca Smerling, Assistant to the Sam, Preston Scott, Chucho Valdez, Lipson, Gregory Morrison, Center Director/Special Events Max Patrick Vilaire, Nilda Villalta Newman, Bradley Pearson, James Administration Potter, Alexander Riedel, Andrew Rockefeller Humanities Barbara Strickland, Assistant Director Ritchey. Jessica Schwartz. ]ana Seidl, Fellows (2004-05) for Finance and Administration Laura Smith, Benjamin Teitelbaum, Robert Albro, lane Anderson, Marquinta Bell. Budget Analyst Caleb Ward. luteins 1 esley Fordred-Green, Christina Claudia Telhho. Ralph Rinzler Folklife Kreps.Tong Lam, Lillian Manzor, Administrative Specialist Archives and Collections Marya McQuirter. Sua Reddy Rachelle Hardy. Jeffrey Place. Archivist Management Support Assistant SMITHSONIAN Stephanie Smith, Assistant Archivist Linda Benner, Administrative Aide FOLKLIFE FESTIVAL Bob Earle, Julian Foley, Kenneth Eddie Mendoza, Administrative 1 )iana Parker, Festival Director Kraszewski, Maya Lerman, Assistant /Food Concessions Natalie Hisczak, Meaghan McCarthy, Maria Ramona Dowdal.Judy Goodrich, Rebekah Plueckhahn, Robinson, Interns Mann Hoyt, Renny Smith. Assistants to the Festival Director

I ohiuteeis Cultural Heritage Policy Natasha Beckman, Gersende Piganeau, Intern James Early, Director Scott Courlander, ¡uterus

I cvl.i Strotkamp, Smithsonian Folkways Intern Participant Support Recordings /Smithsonian Cultural Research Najat Dawaji, Participant Coordinator Global Sound and Education Marsha Michel, Ahza Schiff. Painel Sheehy, Curator and Directo) ( )livia Cadaval, Chair Participant Assistants Anthony Seeger, Thomas Vennum, Jr., Judy Luis Watson, Social Coordinator Curator and Director, Emeritus Senior Ethnomusicologist V.iuei itus Jocelyn Frank, Transportation Coordinator D. A. Sonneborn, Assistant Director Betty 1- Belanus, Olivia Cadaval, Lauren Kritzer, Assistant

Betty Derbyshire, Financial Nun v Groce, Majorie Hunt, I )iana Transportation Coordinator Operations A lanager Band N'Diaye, Frank Proschan, Alicia Mittleman, Intern Richard Burgess, Peter Seitel, Cynthia Vidaurri, Carolyn Dunn, Participant Hospitality Directot oj Marketing and Sales Curators, Folklorists, Education &

Lead I blunreei Mark Gustafson, Cultural Specialists

Radio and Retail Promotions Carla Borden, Program /Publications Technical Support Mary Monseur, Production Manage) Manager Robert Schneider, Technical Director John Passmore, Manufacturing JohnW. Franklin, Program Manage! Tun Manning, Coordinator Manelle Beach, Emily BrostofF, Associate Technical Directo)

Margot Nassau, Royalties and Courtney Lutterman, luteins Rebecca Berlin. Licensing Manager Folklife Advisory Council Assistant Technical Director Marcus, Electrician John Smith, Sales and Kurt Dewhurst (chair), Judy Mitoma Charles Andrew

A farketing Specialist (vice-chair), Michael Doucet, Ray Reed, Pipe Fittei Pete Reimger, Sound Production Anthony Gittens, John Herzog Eric Hammons, Anthony Milby, Supervisor (ex-qfficio) , Barbara Kirshenblatt- Carpenters Ronnie Sinipkins, Audio Engineei Gimblett, Debora Kodish, Enrique Robert Brox, John Bullock, Toby Dodds. Technology Manager Lamadrid. Worth Long, Libby Kendra Denny, Ralph Derbyshire. Amy Schneter, Program Assistant O'Connell.J. Scott Raecker, Bruce Hall, |oshua Herndon, Kcisha Martin, Financial Assistant Robert Santelh, Ricardo Trnnillos Terry Meniefteld, Manuel Mijando,

SMITHSONIAN FOLKLIFE FESTIVAL STAFF Ene Nance, Alark Strickland, Marketplace Forest Service, Culture,

Exhibit Workers Rachel Delgado, Marketplace and Community

I leutseh. ( Cm, uoi Dave Lanning, Trucking i Coordinatot Inn Program

Steve Fisher. Sound Stage Supervisor Dorey Butter, Program Coordinator A.C. Stickel, ' )perations Xlanagei

1 )aniel Chew. Intern Iasha Coleman, Research Coordinatot Betty I )erbyshire. Fiscal Managei Emma Bellamy, [ohn Buckholz, Publications Marlene Craves. Inventory Managei (lane Gilbert, Natascha Guluk, Carla Borden. Publications Mauagei Henri Goodson, Alexandra Zapplc, Alba Mercado,Yixin Qui. ChieJ Editoi Marketplace Consignment Assistants Ahza Sehitt. Kim Stryker, Interns Carla Borden, Frank Proschan, Alit Bin Brahim, Carlos Bruce, Zakiya Williams, Lead I olunteei l.isun Castro,Aaron Chaisiri, Arlene Reiniger, Peter Seitel, Nancy Groce, Marjorie Hunt, Fernando ( lordova, Stewart Duque, II 'riters /Editors ('ame Kline, lens Fund. Allison Fax. Jon-Nicol.u Langlois, Carolina Santamaría, Transíala Bob McCarl, Peter Seitel, Presenters

Nathan 1 anglois, Swatantar Mann, USDA Forest Service Design & Production Keisha Martin. Vicente Mendoza, (Coordination Team

I >cmse Arnot, Art I )ir< , tot Wei id. ill R Morris. Anna Pinkert,

( I inda Feldman, New Century Krystyn MacGregot onfair, I i.im Sheehy Adelina ( Simmons,

oj Service Program Managei < Graphic Designa Rosemary Iaing, Marketplace Associates Christine Murray, Festival In. in Erdesky. Production Managei |oh. nina Blunie. Intern Program Manager Ania Blewazka, Design Intern |oyce I lubbard, Lf.nl I olunteei Karen Fiore, R.esearch and Oral Documentation Food Culture USA Histories, Festival Co-Coordinator Karen Finlayson, Logistics lerirev Place, Audio Documentation loan Nathan, Guest Curatot Bob Beckley, Logistics Coordinatot Stephen Kiilil, Co-Curatoi Pipa Elias, Student Conservation Stephanie Smith. Photo Arlene Reiniger, Program Coordinatot

I ssociation Intern Documentation Coordinator lieverh Simons, Program Assistant Susan Alden, Centennial Partnerships Charlie Weber.Vn/c.i Documentation Alana Ackerman, Amy Keven Kennedy, Centennial ( Coordinatot Bartscherer, Amaris Ketcham, Communications Issa Abdulcadir, Hannah Sai ks. Interns Shikha Nandkeolyar, Nguyen leresa Haugh, Public Affairs Specialist

I olunteei Marilyn Gaston, Lead Kim I )zung. Interns Sarah Iverson, Audio- 1 'isual Specialist

I'olK Adema, Betty Belanus, Arlena Aragon-I lusband, Patricia Education and I niiK Botein, Charley ( imp. Astern/. i. Christina Ban, Sarah Program Support |ohn Franklin. Alexandra Greeley, Barsness, Hob Beckley, Cheryl Arlene Reiniger, Intern Coordinatot Nanc\ ( Iroc e. Mark I laskell, Burgess. Kevin Davis, Bonnie

|ohn Franklin, Accessibility ( Coordinatot Kevin I lealy, I ucy I ong, Steven Dearing, Sherri Richardson Dodge, Candas Barnes. Koli Cutler, Martin Prieto, Michael Twitty, ( '.) nthia Jill Evans, Maryo Fuel]. Kathleen Hiraga, Kimberly Underwood, Vidaurri, Chris Williams, Presenters Figgen, Karen Fiore, Sandi 1 orney, Hank Young, Sign-language Interpreters Don Gedney (1918-2005), Andrew I Vhorah I ( laffin. Vieki Moeser, Becky Haberacker, Grace, Andrea Graham, Elizabeth Education Consultant Public Affairs Harvey, leresa Haugh, David Hunt, Michael Batterberry t( Chair),

( Ulleen McCarthy, (enniferWong, I )on [ensen, Elizabeth 1 larve) An.me Batterberry, Warren Belasco, Public Affairs Interns lohnson, Barbara Kenady-Fish, Partice Dionot, John T. Edge, Rayna

( .11 Kevin Blackerby, Supply Coordinatot 1 ie N Kline. ( onnie R. Lee, Green, loin Head, Ethel Rami.

lei rv I ivingston, (dins 1 osi, Michelle 1 ieCesare, Supply Assistant I'hvlhs Rh hm. m. (ins Schumacher, [ens I mid. Kan Lusk, Michelle Molh Koval, ¡man Marsha Wiener. Ann Yonkers. Mcanally, Ken McCall, James Amanda Pike, Foodways Coordinatot Advisory ( Committee ( I Mi onnell.June McMillen, Barbara BogaRosh. \h. t Waters (Chair), I )ana Dans Mmler. Sheila Poole, Ben I bluntecr Coordinator ( owin, Barbara Fairchild, Judith Quick, Mike Ryan, John Schelhas,

Melanie Morgan, Assistant I olunteei Iones, Emeril 1 agasse, Deborah ( \1th1e Si hmidlin, Steve Segin, Coordinator Madison, Robert Mondavi, Nora Ronna I ee Sharpe, George Sibley,

Sara Mvkietyn, 1 uc\ I e ri ell. Interns Pouillon, Ruth Reiehl, Cabin Brooke Smith. Stephen Swimmer,

Trillin, Whole Foods. Tim & Nina I lame 1 hatcher, Fee Webb. Janet

Zagat, Leadership Committee Werren. Georgia Wier. Carol Winkler, Susan Wright. Pat York. Margaret Ershler, Lead I olunteei Interviewers ¡mil fieldworkers

SMITHSONIAN FOLÍLIFE FESTIVAL Nuestra Música: National Park Service Office of Facilities Planning Music in Latino Culture Cíale Norton, and Resources

Secretary oj the Interior Office Olivia Cadaval, Daniel Sheehy, of Architectural History

I ran P. Mamella. Director, and Historic Curators Preservation National Park Service Office Cristina Díaz-Carrera, of Project Management Donald W. Murphy. Deputy Office ot Program Coordinatoi Protection Services Director. National Park Service Office of Safety and Nuda Villalta, Research Associate Joseph M. Lawler, Regional Director, Environmental Russell Rodríguez, Presenter Management National Park- Service Office ot Government Relations Carolina Santamaría, Translatoi

Dwight E. Pettiford, Chief, I 'nited Office ot Natalie Araújo, Mary Pérez, Communications Slates Park Police Office of Public Affairs Eduardo Ubeda, Interns

Vikki Keys. Superintendent, Visitor Information l\ Associates' [23 Ornan: Desert, National Mall and Memorial Parks Reception Center

Oasis, and Sea Rick Merryman, Chief, Accessibility Program

Division of Park Programs Office ot Human Resources Hassan Mohammed AH Al-Lawati Leonard Lee, Permit Specialist, Office of Special Events (Chair), Riyadh Yousef Al Raisi, Division oj Park Programs and Protocol Majid Said Hila] Al Mahroqi, Karen Cucurullo, Special Assistant Office ot the Chief Information Khalfan Ahmed Al Barwani, Salim for Partnerships, National Mall Officer Adil Al Mamary. Abeer Abdullah and Memorial Parks Office of Imaging and Al Farsi, Abdullah Hilkal Al Robert Karotko, Chief, Division Photographic Services Dawodi.Adil HumaidAl Mur Al oj I ííííoi Services, National Mall Office of IT Operations Alawi, Saeed Sultan Al Busaidy, and Memorial Parks Office of System Modernization Curatorial Committee Sean Kenncalv, Chief, Division Office ot the Chief Financial Richard Kennedy, Curator oj Maintenance, National Mall Officer Saeed Sultan Al Busaidy, and Memorial Parks Office of the Comptroller Mary N. Sebold, Employees of the National Park Office of Contracting Program Coordinators

Service and the United States 1 ravel Services C )ftice Marcia Dorr, Crafts Program Advisor Park Police Office ot the Treasurer Khalfan Al-Barwani, l )ffice of Risk Management Music Program Advisoi SMITHSONIAN SUPPORT Office ot Planning and Budgeting Piana N'Diaye, Adornment Pavilion FOR THE FESTIVAL Office ot Financial Systems Program Advisor Integration Jamal Ahmed Ghulam Al Balushi, Office of the Secretai \ National Programs Khalfan Ahmed Al Barwani, Asyah Office of External Affairs The Smithsonian Associates Al Buali, Mubarak Al Dawodi, Majid Office of Development Smithsonian Affiliations Al Harthy, Murtatha Abdul Khaliq Office of Sponsored Projects Smithsonian Traveling Al Lavvatna, Hamood Abdullah Al Office of the Inspector General Exhibition Service Waheibi, Enrico Dcrnco.Adam Office ot the Genera] Counsel Smithsonian Center for Education Dorr, Marcia Dorr. Neil Richardson. Office of the Deputy Secretary and Museum Studies Muna Ritchie, Presenters and Chief Operating Officer Office of the Under Set retar) for Art Mohammad Anun, Smithsonian Outer for Freer Gallery of Art Angelo Rotondaro, Interns Latino Initiatives Office of the Under Secretary Maria Marcus, Lead I blunteer Facilities Engineering for Science and Operations Office of International Relations Office of Engineering, Design, National Museum of and Construction Natural History Office of Facilities Management Smithsonian Business Ventures Horticulture and Transportation Smithsonian Magazine Office of Facilities Reliability

SMITHSONIAN FOLKLIFE FESTIVAL STAFF SPONSORS AND SPECIAL THANKS

General Festival support came from KatchenAid Maggie Boon; Nancy Boyer; and Zola Star Restaurant Group. Svlv.m Hrackett; Ann Brody; Ken The Festival is supported by Collaborative support came Brown; Bulfinch; Dara Bunion. federally appropriated funds; from Marriott International, the V'anns Spices; Tiffani Cailor, Four Smithsonian trust funds; con- Washington. DC Convention and Seasons. Bryan Callahan; Rita tributions from governments, busi- Iourisin Corporation, and the Calvert; Allen Carroll, National nesses, foundations, and individuals; ( ( ulinarv Institute of America. ieographic Society; Shirley in-kind assistance; and food, Cherkasky, Culinary Historians craft sales Support recording, and Additional In-kind Support of Washington, I ).C ; Anna

i 2 | for this vear's Festival comes from 4 | ( Plant Food 'o . American ( hnstenson, Clarkson Potter; the Music Performance Fund, with Beehive Bethesda, Maryland; Eliot ( oleman: Sarah ("rocker; in-kind support provided through Beeproducts, New York. New Barbara Damrosch;Janet Davis; Motorola, NEXTEL.WAMU 88.5 York;The Coleman Company, Mel Davis; Steve Demos; Jennifer

I M,WashingtonPost com. Pegasus Inc., Wichita. Kansas; Cnswcll 1 )oerr; I lien Feeney, White Wave; Radio Corp., and Icom America. I loud, 1. ( lermantown, Maryland; [an Fehrman; R.T Fletcher; Lisa

Additional In-kind Support ( )X< >, New York. New York; Fotter; Zeke Freeman; Deborah L.

Cactus Cantina, Washington, D.( 1 riger's Hardware, Washington, Caftiii; Ceo-textile Co ; Jim Goum.

( 'ostco, Beltsville, ) ( Maryland; Global 1 ( . ¡riffin Greenhouse and Fungi Perfecti; Seth Goldman, Productions. Alexandria, Village Nursery Supply, Tew lcsbury, 1 Finest lea; Laura Goldstein,

Virginia; Gordon Biersch, Massachusetts; Hercules I ence, Marriott Corporation; Sarah

Washington, 1 ).C; Krispy Kremc College Park, Maryland; ( iraham; Fori Griffith, Griffin

'., Doughnuts, Washington. I U I liter- A menean Foundation. Greenhouse and Nursery Supply; Leatherman Tool (¡roup. Portland. Washington, I XC. Johnson's Allen Hance; Irene Hamburger;

( Visions Video )regon; Media Florist ex Garden ( lentei s, HarperCollins; Rachel Hayden; Duplication, Newmgton, Virginia; Washington, 1 ).C; Maine Wood Kevin Healy, Inter-American - (enter. McDonalds MCI 1 leaf ( 'o.. Inc., Norridgewoc k. Foundation; Rico and Rajah Washington. DC; Nine Yards Maine; \U Evo\ Ranch, Petaluma, Hilhard; loan Hisaoka; Monty Alexandria. Virginia; Patrick Media, ( ililonua; Mslukamano Farmers I lolmes, Smithsonian Horticulture, Telepictures, D.C.; Washington, Association. Mbeya Region. Stephanie 1 lolt, ( )XO; Meredith

Potbelly Sandwich Works, ( In. igo, Hubel. Smithsonian Horticulture. Tanzania; Nursery Supplies [nc .

Illinois; Target Distributing Audio Capital Books, ( hambersburg, Pennsylvania; Kathleen Hughes, Video Division, Germantown, lush, ( )ilc loth International, Los Angeles. Brian ARS; Sarah Kenney;

Maryland;TDK Electronics. Port California; SI Corporation. lodd Kliman; Sandy Ferner, Washington, New York; Wriglev Farm; Dusty Lockhart; ( lik kamauga, ( ¡eorgia; Slow Ayrshire

( Company, Peoria, llinois I )errell I yles, Smithsonian I ood USA, New York. New

I [orticulture; Mage Publications; York. Sur 1 a 1 able, Virginia Food Culture USA Brian Maynard; Christina Mazzanti; 1 ie. ich, Virginia; Target. W Ilea ton. McClam, 1 his program was made possible Mars land; Wetsel Seed Co., Shawn McBride; Hugh

through major contributions S| ( orporation; McEvoy Ranch; 1 larrisonburg, Virginia; Wine from Whole Foods Market, the America. New York, New York Montgomery County Beekeepers' Wallace Genetic Foundation, Silk Assoi lation. Morrow Cookbooks;

Special Thanks ( loth Soy, and Horizon Organic I >.iirv ()il International; Nursery Corporation, Additional funding came from Adams Media Supplies Inc ; Parade Magazine; Alfred Knopf; Carrie Bachman; Parsons. National Gallery the United States I )epartment of A Peggy

Agriculture. Contributors include Albie Barden, Mame Wood of Art; Laurinda Patton; Pelican

I Press. Publishing; V'anns Spices, Honest Tea, I arm leat Co., Inc . Bartlevy Publishing; Penguin

Aid, Guest Services, Inc., Chipotle Ann Hartscherer; Michael and Pogo Organics; Suzanne Rater; Reeves; \¡ ii in Grill, The Rodale Ariane Batterberry; Francine Random House; Pamela

Institute, and the Jean-Fouls Berkowitz, Culinary Historians ot Alvsa Reich; Alicia Schnell,

Palladin Foundation. Major in-kind Washington. DC; Diane Bernstein; I lonest lea; ( lus Schumacher;

SMITHSONIAN FOLKLIFE FESTIVAL Seeds of Change; Howard Shapiro; Special Thanks Roger Phelps, Louise Phillips,

SI Corporation; David Sloane, Dave Aicher, Donavan Albert, Nadine Pollock, Bill Possiel, Phil

WineAmerica; Slow Food USA; Ted Alway, Carla Arnold, Diane Pntchard, Joyce and Robert

Minn Stein, Ayrshire Farm; Banegas, Ron Banegas, Joyce Rehfeld, Laetitia Relia, George John Surina, USDA; Danielle Barott. Sonja Beavers, Joy Berg, Rink, Denise Rippentrop, Howard

Tergis;Thai Basil; Laura Travina; Barry Bergey, Ama Blewazka, Rosen. I )ale Rosengarten, Debbie

Támara Waldo, Sunnyside Farm; Kendra Bourgart, Carlton Buford, Rothberg, Fred Rowe, [ason

Ten Speed Press; Ann Yonkers, Patrick Calpin, Karen Campbell. Rutledge, Safiya Samman, Linda

FreshFarm Markets; Josh Viertel; Kerry Cassidy, Chris Castillo, Schmidt, John Sebehus, Mar\Jane Tony Guarnello.Wetsel Seed Ten Cleeland, Ed Cohen, Randy Neuter. Greg Sharrow, Kim Company; Workman Publishing Cooper, Derrick Crandall, Shelton, Dick Smith, Amy Snyder.

Chuck Croston, Thierry Curtis, Lew Southard, Tom Stafford.

Forest Service, Culture, Shannon Daut. Chris Davitt.John Dave Steinke, Suzanne Sterrett, and Community Deen-Turay, Todd DeGarmo, Erika Sterrett-Sylvester, |ason

Lori Delgado, Judy Dersch, Ed Stinchfield, This program was made possible Craig Stinson, Merl Dickerhoof, Dugal Dickerson, Sturgeon, through a partnership with Bob Swinford, Micha] Lisa Dowhaniuk, Steve Dunsky, the USDA Forest Service and Tal, Billy Terry. Floyd Thompson, Lenme Eav, D^w Edwards. produced in collaboration Robin Thompson, Tony I ighe, Stana Fedenghi. Albert Finan, with the National Endowment DonTrammell, Fred Velasquez, Iris Arvada Fisher, Jack Fisher, Steve Waalkes, tor the Arts. Major support Velez.Jeff Kim Walton. and Mark Fletcher, Steve Foley, Waters, Wester. came from the National Forest Jeff Ron |errv Jerry Franklin, Teresa Fraser, Foundation. Honda, and Whole Wilco.xen. Jerry Williams. Tom Troyd Geist, Keith Ginn, Michael Williamson, 1 Foods Market, with additional )iana Wilsey-Geer, Goergen, Reneé Green-Smith. contributions from IBM and The Don Wilson. Art Wolfe. l'cgg\ Ray Halbisen, India Hall, Dennis American Chestnut Foundation. Yocom, Janet Zeller.J.Y.Zhu. Hardman, Paul Hart, Karla Hawley, In-kind Support American Bird Conservancy, Wanda Hawaiian, Bill Hay, Fred Tree Service, Alexandria, Anaconda Job Corps Center, AAA Hebard, Cassie Hebel, Nicholas Bat International. Virginia; Alaska Marine Lines; Conservation Hillary. Terry Hoffman, Teresa Area Woodturners. L.L.Bean. Freeport, Maine; Days Capital Hollingsworth, [oel Holtrop, Ecological Restoration Institute End Horse Rescue, Lisbon, Lynda Houfek, Sue Howards, Don at Northern Arizona University, Maryland; Urban Forestry, DC Howlett, Don Jastaad, Denver Center. Washington, D.C.;Jacobs Moorehead Cultural Creek James, Dan Jiron, Bob Iones, Ed Nor-Cal Woodturners. One-Way t lorps Civilian Job Conservation Karch, Mark Kelly, Lee Kessler.Jim Manufacturing. Patuxent Research Center, Bristol, Tennessee; Hartke Koen.Tosh Konya, Debra Kroeger, Refuge, Roots and Shoots [ane Theatre at the Catholic University Tracy Lambert, John Laurence, — GoodaL Institute. Trapper I reek of America, Washington, D.C.; Marilyn LeMoine, George Lennon, Job Corps Center, University of Lodge Manufacturing Company, Mets Lerw lll.Jim Lockver, Cam Maine. Wenatchee Sportsmen South Pittsburg, Tennessee; Lockwood, Marion Lostrom, Mary Association, Willamette Valley Melrose Hotel Co., Washington, McDonald, Dom McKay, I on Woodturners. Woodcraft Store D.C.; Forests Association, Maryland McKean.Jane Malonev. ( ¡loria

Grantsville. Maryland; The Mill, Manning, Vrughan Marable, Steve Allegheny National Forest.

Fork. Maryland: National Center Markotski.Jeff Marr, Katherine Apache-Sitgreaves National Forest, tor Earth-Surface Dynamics. Marshall, Char Miller, Mark Black Kettle National Grasslands,

Minneapolis, Minnesota; Random Milhette, Kevin Mills, Cindy Bridger-Teton National Forest.

House. Knopf Publishing Miner, Patrick Murphy, Kristen Chugach National Forest, Cibola Group, New York; Ruppert Nelson, Wilke Nelson, Don National Forest, Coconino Nurseries, Laytonsville, Maryland; Normandin, l^jn O'Connor, National Forest, Crooked River

Shemin Nurseries. Burtonville, Steve Oravetz, Cindy Pandini, National Grassland, Deschutes

Maryland; Trails Unlimited, Chris Paola, Sue Paulson, National Forest, DeSoto National

Monrovia, California; Waterford Mark Pearlstein, Karl Perry, Forest. Eastern Region, Forest

Press, Phoenix, Arizona. Julia Petersen, Tom Pettigrew, Products Laboratory, Georce

SPONSORS AND SPECIAL THANKS Washington and Jefferson National Arrechea, Matt Arnn, Gordon Ash. Courtenay, Fred Craig, Chuck

Forests, Gifford Pinchot National Phyllis Ashmead, 1 )onna Croston, Connie and William

Forest, Grey lowers National Ashworth, Charles "Carlos" Crothers, Sr., William Crothers, |r.,

Historic Site. Intermountain Atencio, lorn Atzet. Man 1 Badley, Sally I rum. Helena Culver, Mike

Region, Kaibab National Forest, Jack Baker, Elaine Baldwin, Curran. Gilbert Davies, Roger

I os Padres National Forest, Barbara Balen, Billy Ball. Herman Dawson, Beverly deGero.Jim

Midewin National Tallgrass Prairie, Ball. Aim Ballard, Daniel Banks. Denney, Lynn Dennis, Robert

Modoc National Forest, Mt. Ian Barlow. |oyce Killebrew 1 )evlin,Velia Diemert, Don Dilley,

Hood National Forest, National Barnett, Floyd Barnett, |oy Barney, Phillip Dobbins. Robert Dodson,

Forests in Mississippi, National Mars Barr, Byrd Bartholomew, Joel Douglas. Kate Booth Doyle,

Forests m North Carolina, Nancy Basket, Dan Bauer. Kate Nancy and Bruce Dreher, Paul [2 6]

National Tree Need 1 aboratory, Bauer. Robert Beckley, | mi Dufour, Myrna Duke, Vickie Nez Perce National Forest, Bedwell, Brian and Sarah Behle. Dunaway, Frank Duran, [ohn

Northeastern Area, Northeastern I larscs Belser. Peter Belldllha. 1 >ss \ er. t hnstopher Eagar,

Research Station, North Central Mike Benham, Karen Bennett. Barbara Last, ]errv Edwards. Penny

Research Station, Northern Joseph Bennion, Jim Berger, I in I ggan, rim Eldridge, Maria

Region, Ochoco National Forest. Bergland.Velicia Bergstrom, Dan Emery, George Engler. Kelly

( )kanogan & Wenatchee National Binder. Sean Binder. Foms Black, I sterbrook, Robert Ettner, Stan

Forests, Ozark-St. Francis National Calvin Blackburn, Dee Blackburn. and Pegg) 1 wanoski, Arle\

Forest, Pacific Northwest Research I nomas Blankenship, Richard F.idness. Curtis Fair, Scott

Station, Pisgah National Forest, Bodner, Larry Bonner, [oanna Fairchild, Fony Farqua, Eloise

Prescott National Forest. Region Booser. I )ale Bounds. Karen Noble Fasshauer, Paul Fattig, [ohn

- I Aerial Fire Depot Missoula Brand, Edgar Brannon, Skip Fayhee, Mamie Ferrier, Delhs

1 Smokejumper Base, Reinvention Brelsford, Paul Brewster. Steve Ferrier, 1 'w iglú Fickes. Terrs

laboratory. Rocky Mountain Brink, Caren Briscoe. Lynn Fifield, Michelle Finch, [ohn Firth.

Region. Shaw nee National Forest, Brittner, Christina Brogdon, Sam Fred Fitchner. Pat Flach. bun

Siskiyou National Forest. Siuslaw Brookes. Gloria Brown, Mark I lanigan, Bruce Flewelling, Bill

National Forest. Southern Region. Bruhy, Randy Brunson, William |. I ord, Larry Ford. Sandra |o

Southern Research Station. Bryan, Jeff Bryden, Oliver Forney, Eric Forsman, Gregg

Southwest Region. Stanislaus liiu Ides, Bob Buckman, Russ Foster. Rich Foster. Bruce 1 ox,

National Forest, [onto National Bulklev, Angle Bulletts. Peter Euster Foy, Paul Frank, [err)

Forest. Uinta National Forest. Bunting, Cher Burgess. Larry Franklin. Cass Freedland, Susan

Washington Office, Willamette Burkhart, |erry Burns, Robert Freeman. Harry Frey, Jeremy

National Forest, Wind River Bint, Eric Bush, loin Fried, Besan Frost, Sandra Frost,

Canopy Crane Research Facility Cammermeyer, Lindsay Campbell, Carl Frounfelker, Mike Furniss,

Rita Cantti. Mark and Gretchen Pain Gardner, Troyd Geist, Keith

Special thanks to the following Neal Cardall, Cindy Carpenter, Gertsch, Robert Gillihan, Curtis

individuals, who contributed to Edward Carpenter.AJ Carr (1946- Glasoe, Bill Class, LaVerne Glaze,

Forest Service, ( Culture, and 21104). Ben and Sandra Carter, Steve Glazer, [ohn R. "Bob"

Community by allowing themselves I )an l ates. Pete I ceil. Chaiiene Glenn, Merle Glenn. Paul Gobster,

to be interviewed: Geneva Chambers, Bill Chapel, G.W Pin His Goddard, Max Godfrey, Art

Accawanna, Richard Ackernian, Chapman, Laura Chapman, [erry Goodtimes, Marie Could, Amy

M an Beth Adams. Susan Adams. C honka. Shannon Clark, [ane Gowan, Janet Grabowski, Gordon

Alan Ager.Janie Agyagos, Kent i :liff Kathryn Cliff (191 0-2004), ( .rant. Bob Gray, Duane Green,

Ainsworth, Anne Alford, I )ave 1 )on Cloud, [erry t llutts, Steve Ed Cross. David Diaz Guerrero,

i Allen, Jay Allen, Shane Allgood, o.idy, Bryan Colgrove, I >on Ions Guinn, Nancy Hadlock,

Verdie Allies. John Ainonson, Alan t olp. (..On Conley, Hugh Recce Judy Haigler, Fred Hall. Ian Malm.

Anderson, Alvin G Anderson, t onner. Amos Coochyouma, Paul Hamel, [ames Hammer, Mike Bei neice Anderson, Rienda Gerald Cook, Forrest Cooper, Hammer, David Hammond, Anderson, Glenn Anderson, Frederick Cooper. Kevin Cooper, Garryck Hampton, Don Hansen. Kimberly Anderson. |ohn Anhold. Romain Cooper, Arden Cores. Doug Hansen, John Hanson.

Arlena Aragon-Husband, |ohn Andy Coriell, Al Cornell, [ohn Dave Hargreaves, George Harpole,

SMITHSONIAN FOLKLIFE FESTIVAL Gary Harris, Ty Harrison. Timothy Livingston, |ames Oswald, Jeff Outhier, Lloyd

[eannette Hartog.Tonia Harvey, Lockyer, Daniel Logan. Ben Palmer, Glen Parham, Lafe Parrish,

Ted Hatzimanolis, Paul Hauk, Lowman, Eini Lowell, lack Robert Partido, Susan Paulson, Elizabeth Hawke, Mark Hayes, Lozensky. William Lucas, Ariel John Peacock, Kellv Pearson, Don

Richard Haynes, Cynthia Lugo. Billy Lumpkin, Susana and Eva Peden, Dale Peel, Dan

Henchell, Barbara Henderson. Luzier, Chery Lyda, Pat Lynch, Pence, Mark Pengcllv. Jan

Terry Henrie, Lynn Hewlett, Hill Rick McBridc, Mark McCallum, Petersen, Stan Pfister, Marcie

Hickey.Aisha Hill, Charles Hillary. Jim McCaskeyWard McCaughey, Phillips, Vein Phillips. Wayne

Alan Hillyard.John Hoagland, Mary McConnell, Ron Phillips, Peter and Nancy Pinchot, Mack Hogan, Ken and Sue McCormick, Mary McCorvie, Vernon Pine. Tim Pohlman, Lee Holbrook. Jack Holcomb, Betty Kathy McCovey Krmn McCoy, Pooyouma.John Poppino, Marvin [27 Holder, Duffy Holiday, Eric Jack McCrory, Barbara McDonald, Pooyouma, Boyd Poulsen,

Hollenbeck, Les Hook, Tom fiances McEwen.Tom McFarland. Haiganoush Preisler, I )ave Hooker, Mike Horn, Clarence Pauline McGinty, Lori McKean, Prevedel, |im Prunty, Marge

Hostler. Skyanne Housser, Robert Dave McKee, Craig Mackey, Prunty, Carol Raish, Winston Rail,

Hoverson.Ted Howard. Hon Thelma McNeal, Cole Valei ie Rapp, Ben Rasbeary. Howlett, Pat Hubbard, June MacPherson, Alice McSweeney. Wilverna Recce, Stephen Reed. Huckleberry. Hugger Hughes. Nanette Madden, Jim Mahoney, Rhonda Renider, Connie Reid, Nichole Hungerford, Gayle Hunt, Karen Mahs-Clark, Ed Steve Reutebuch.Jim and Lynn Leigh Ann Hunt, John Huppi. Manchester, Patrick Mangan. Rigoin, Genny Riner, Wwe and

William Hurst. Simon tberlin, Wyona Manning, Antonio Suz Rittenhouse. Michael Ritter,

Monica Ingold, Gay Ippohto. |ohn Manzanares, Molly Manzanares. Luis Rivera. Marlene Rivero, F.

[ppolito, Saul Irvin.Wilma Irvin, [oyce Marder, Anthony and Dale Robertson, Earl Roe, David

Reed Irwin, Nancy Iwanicki, Sam Shirlee Marraccini, Elizabeth Romtvedt. William |. Rosanelli,

and Renee [ackson, |imm Jacobs, Marsh, Don Marshall, Steven Belinda Ross, fuella Ross, Steve

Robert (Jigger) Janes, JefFJaqua, Martin, Kristen Martine, Nancy Roy, Ernie Rutledge.Jim Russell,

|ovce letterson, Austin |enkms. Mathews. Don Mathias, Kirb\ Michelle Ryan, Cat Sampson, Bertley Jensen. Melvyn Johnson, Matthew. Jim Maxwell, B.D Kathenne Sanchez Meador, Hon Mike Johnson, Shelton Johnson, Mayberry, Sigrid Mayer, Krmn Sanders, Auriel Sandstead,

Terry Johnson. Robbm [ohnston, M. ( loyAndrea McKeenJoe Domenic Santangelo, Karen

Betty (ones, |eremy (ones, Steven Meade. Frederick Meinzer, Scallon, [ohn Schaar, I )ale

Jones, Wendall Jones, Tommy Merton Menge, Bob Mergell. Schaeffer. Kathleen Schields,

Joseph, Leslie Joslin, Janet foyer, Randy Merrell. Matthew Meyer, Nathan Schiff, 1 )avid Schmid,

Bruce Juhl. David Jurney. Patrick 1 )avid Michael. Mike Miller, Herbert Schroeder, Robert

Michael Karnahan, Dan Karnes, Regis Miller, Warren Miller. Mark Schroeder, Janet Schultz, Bruce

Robert Karrfalt, Michael Keating, Milhgan, Chuck Milner, Mike Si humacher, C 'arv Schwarz, Rick

Penny Keck, Leo Keeler, Barb and Milosch, Gail Mitchell, John Scott, Valerie Seaberg. Chris

Stewart Keiry. Bill Keith, Mike Mitchell, Judy Mitchell, Mike Secakuku, Richard Sedwick,

Kellogg, Guy "Jeep" Kessler, lames Mitchell. William Moody. Jeff Monte Seehorn, Nancy Seldin,

Keyser, Nova Kim, Tom Kimmons, Morales. Sylvia Mori, |on Vickie Sell. Steve Senyitko, Dick Beth King, Eleanor Kubach, Momsscv. Owen Mortensen, Seiino, Tom Sharpe, David Shaw,

Bobby Kitchens, Nefisia Kittrell, Niccole Mortenson, Bret Morton. Mattie Sheafor, Dick and Liz

Bob Klages, Bill Klein, Carol Hank Mostovov, Linda Mullens. Shelton, Ronny Shelton, Jerry

Knight, James Kochenderfer, |ohn Heather Murphy. Lezhe Murray, Shortt, George Sibley, I isa Sieg.

Koning, Brian Konnersman. Rod Nakamoto, Lavinia Nelson. John Slav Ken Sleight. Jane Smith.

Denys Koyle, Ray Kresek, Bill Kim Nelson, Kristen Nelson, Nicole Smith. Stacey Smith, Zane

Kuntz. Paul Labounty, D.we Lacy, Lloyd Newland, Charles Newlon, Grey Smith, Erin Smith-Mateja,

Jeff LaLande, Sonny LaSalle.Tom David Norsworthy, Dave Oates, Tom Smyhe. Billy Snodgrass,

Laurent. Kay Laws, [ane Leche, Chet Ogan, Susan Olherding, the Gary Snyder, Stuart Snyder,

Beth LeClair, Kevin Lee, Jim Leep, Old Ephraim Mountain Men, Barbara Soderberg, Karen Solan.

Ted Lemmger, Terry Lesmeister, Don Oman, Beverly Ortiz, Jill Bob Sorenson, Lewis Southard,

James Littlepage, Cyndy and Osborn, Clark Ostergaard, Thomas fired Spears, [oyce Speidel, David

SPONSORS AND SPECIAL THANKS Stack, Bill Stafford, loni Stafford, Nuestra Música: H.E. Mohammed Ah Al-Khus.nbv

Andy Stahl.Vev.i St.msell, Renee Music in Latino Culture Hon. Richard Baltimore Phvlhs Stauffer, Steeves, Duane This program has been generously Hon. David Mack Stephens, |erry Stewart, Wayne funded by the Smithsonian Latino Hon. Edward Walker

Stone, Ken Straley, 1 )on Studier, Initiatives Fund, NEXTEL, [oyce N.ijwa Adra Rogert Stutts.Joe Sullivan, Erika Foundation, and Univision and Ah Ismail Al-Bullushi Svendsen, Rebecca Swaney, Al produced in collaboration with Bustan Palace Hotel Monte Swasey, Wayne Swank, the Cultural Institute of Mexico HamoodAJ Harthy Fred Swanson, Nikki Swanson, and the Ministry of External BadarAJ Hum Eric Swett, Clinton Sykes, |ean Relations of Mexico, with media Ah AJ-Mamary

Szymanski, |ohn l.ivlor. Amelia lss.i support from Radio Bilingüe. Talib AJ-Salmi Terrapin. Perry Sykes lerrv. Sidnc Ahmed Mohammed Al-Tammu feske, Donna Thatcher, Walt Thies, Special Thanks Jean-Luc Ainann

I Erika Colon, Mar) liobbie 1 hompson, Iharmaine Monseur, 1 )oug B.uim

Thompson, Lee Thornhill.Tate Mulow Palleja, Pete Reiniger Brenda Bickett

Thriffiley, Gail Throop, Stan I he Folger I he.itre Tixier, Frank and Marv Ann Oman: Desert, Folklore Ensemble of the

Tortorich, L Treat. 1 arry Frekell. 1 I Oasis, and Sea )iwan of the Royal Court Michael Treshow, Teresa frulock, Diana Fritz I his program was produced m Jan Tubiolo, Paul Tubiolo, C lail Pamela Henson partnership with the Ministries runberg.Ava Furnquist, |acob Meredith Hubel of Heritage and Culture, Tourism,

Uhland, I Inward Ulrich, Francisco E. Harper |ohnson Information, and Foreign Affairs, Valenzuela, Nan Vance. K.iV.ing, Ahx Kauttniaii and the Fubhc Authority for TonyVarilone, Marty Vavra, Ins [an Kendriek Crafts Industries of the govern- Velez, Teresa Vigil, Ramiro Sebastian Manavalan ment of the Sultanate of (.hilan, Villalvazo, Hank Vogler, John Margo Nakhoul and w nh the cooperation

Vozzo, Dennis Vroman, Dale Nadia ( )sman of the Middle East Institute

I rank Waddell, Linda Wadleigh, ).( Marjoi ie Ransom 1 (Washington, ' ). and the Wadsworth, Doug Wagner, Fa\ Bryan Saylor < )man I feritage Gallery.

Walker, Larry Walter Kris Walters, 1 \ nn Sinurski

Wayne Ward, Arde.in Watts. In-kind Support Kevin Skillin

Lee Webb, George Weick, Neil Priefert ( onstruction Michael Snow den

Weintraub, Bernie Weisgerber, Rock Creek Horse (.'enter Sultan Qaboos University

(.'liarles Wells, Frank Werner, Jane Thomas Vosmer Special Thanks Westenberger, Lynne Westphal, Alex Williams H.H. Sa\ yid Haitham lames White. I lavid Whitten, Bin Tariq Al Said Steve Widowski, Pat Wilde, Ernie Of Special Note H.H. Seyyid Shihab Wilkinson. Margaret Wilkinson. Thanks to all our volunteers Bin Tariq Al Said ( harhe Williams, Chuck Williams, whose loyal and tireless H 1 YousefBin Alawi Ernie Wilson, Keith I Hike Wilson. efforts contribute greatly Ken Wilson, Richa Wilson, Marta Bm Abdullah to the Festival's success H.E Maqbool Bm Ah Sultan Witt, Keith Wolferman, Bonnie H.E. H.uned Bin Wood, Mary Lou Wood, Scott It is with deep sadness that we Mohammed Al Rashdi W lodruff, Bill Workman, Frederic FEE Rapha Bmt note the passing ot Dale Dowdal, Ybright, Larry Yeckel, Fat York, a devoted Center and Festival \bdulameer AnneYost, EdYost, LynnYoung, bm Ah volunteer lor nine years H.E. Sharifa Bmt Anthony Zavalla, [.P. Zavalla, Khaltan Al Yahyai Fete Zavalla, l.met Zeller, and H.E. Aish.i Bint Khaltan Josephine Zirkle Jumail Al Siaby

SMITHSONIAN FOLKLIFE FESTIVAL CONNECTING ¡OTíE THROUGH MUSIC Like the Smithsonian Folklife Festival, Smithsonian Folkways Recordings helps the diverse voices of the world's people to be heard, understood, and appreciated.

Folkways: The Silk Road: Abayudaya: Music The Original Vision A Musical Caravan from the Jewish

Woody Guthrie What if Marco Polo People of Uganda and Lead Belly had owned a tape Abayudaya presents a Original Vision, recorder? And what unique and compelling the milestone 1989 Ja# I ¡f his epic travels collection of music recording of classic £{ft I along the Silk Road in which the rhythms roots Americana, had taken place and harmonies of launched the nonprofit not at the end of the 13th century but at Africa blend with Jewish celebration Smithsonian Folkways label. To celebrate the beginning of the 21st? Far-fetched and traditional Hebrew prayer. This the 15th anniversary of this historic album, conjectures to be sure, but our compilation singular community of African people we expanded the original CD with 6 bonus offers a glimpse of the rich musical life living committed Jewish lives has tracks, enhanced packaging, and extended that an intrepid and curious traveler survived persecution and isolation notes. Original Vision now provides even more like Marco Polo might find in the lands and asserts, "We have been saved Insight into the Impact of Woody Guthrie's of the Silk Road today. (SFW 40438) by our music." (SFW 40504) and Lead Belly's music. (SFW 40000)

Mary Lou 's Mass cELLAbration fiyi Classic Southern t iVAbrafiV»,,, Mary Lou Williams 2005 Grammy winner! r"^^ Gospel from Newsweek called the "?>*L Ella Jenkins, "The Smithsonian score "an encyclopedia % F Folkways of black music, richly Music," has made This album showcases represented from i:^&m dozens of Folkways some of the best spirituals to bop to "Sí«tr recordings and earned in bluegrass gospel rock." At long last countless awards and country gospel reissued, this is Williams's "Music for Peace," In a 50-year career, including the Lifetime from the Smithsonian Folkways archives. a landmark recording that addressed many Achievement Award from The Recording The music's plain-spoken, direct, and of the social Ills of the 1960s and 1970s Academy. On this album, some of today's finest earnest style stokes it with power and and is perhaps the most openly religious jazz folk and children's performers pay tribute to appeal, whether performed by marquee- recording made at that time. (SFW 40815) Ella Jenkins with sparkling new renditions name artists Bill Monroe and the Watson of her timeless repertoire. (SFW 45059) family or by local churchgoers such as Solo in Rio 1959 the Old Regular Baptists. (SFW 40137) n Luiz Bonfá The Lilly Bros & One of the most bOll/ Don Stover: Bluegrass Smithsonian Folkways Recordings creative guitar at the Roots, 1961 is the nonprofit record label of the 'v*-«a«k ilniisos of the JUth £ Brothers Everett and Smithsonian Institution. We are ^T i_ ' century, Luiz Bonfa "B" Lilly of West dedicated to supporting cultural diversity is celebrated as a Virginia partnered with and increased understanding among principal architect banjo great Stover peoples the documentation, of the cool Brazilian Don through to lay this honest, dissemination of sound. sound of bossa nova. But Bonfá was far down preservation, and more than the composer of "Manhá de first-class rendition of bluegrass roots. The Carnaval." His technical mastery, intimacy, Lillys' harmony vocals and Stover's classic and dynamism suffuse every track of this banjo style made this a milestone recording [email protected] first CD edition of his masterpiece, a long- when it was first released by Folkways unobtainable solo 1959 LP, along with a in 1961. Remastered with 2 previously 1.888.F0LKWAYS half-hour of previously unreleased material unreleased tracks from producer Mike from the original studio session. (SFW 40483) Seeger's original recordings. (SFW 40158) 1.202.275.1143

£ J Smithsonian Folkways Recordings wivw.folirivays.si.edu SMITHSONIAN FOLKLIFE FESTIVAL 2005

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