Folklife Center News A m e r i c A n F o l k l i F e c e n t e r

RobeRt buRns at 250: nimRod WoRKman aRChie GReen aFC symposium Goes diGital 1917-2009 BOARD OF TRUSTEES Congressional Appointees: C. Kurt Dewhurst, Chair, Michigan Daniel Botkin, California Mickey Hart, California Dennis Holub, South Dakota William L. Kinney, Jr., South Carolina Charlie Seemann, Nevada Kay Kaufman Shelemay, Massachusetts Librarian Appointees: Jane Beck, Vice-chair, Vermont Maribel Alvarez, Arizona 3 Read about AFC’s 9 Riveting old-time singing 11 Folklorist, shipwright, Tom Rankin, North Carolina symposium celebrating the from coal miner, labor librarian, and labor Donald Scott, Nevada poetry and folklore collecting of activist, and folksinger Nimrod historian Archie Green was crucial Ex Officio Members Robert Burns, Scotland’s national Workman, now digitized. to the founding of AFC. James H. Billington, Librarian of Congress poet. G. Wayne Clough, Secretary of the Smithsonian Institution AmericAn FolkliFe center Rocco Landesman, Chairman, National Endowment for the Arts The American Folklife Center was created in 1976 by the U.S. Congress to “preserve and present Jim A. Leach, Chairman, National Endowment American folklife” through programs of research, documentation, archival preservation, reference for the Humanities service, live performance, exhibition, publication, and training. The Center incorporates the Archive Elaine Lawless, President, American Folklore of Folk Culture, which was established in the Music Division of the Library of Congress in 1928 and Society is now one of the largest collections of ethnographic material from the United States and around the Deborah Wong, President, Society for world. Ethnomusicology Folklife Center News publishes articles on the programs and activities of the American Folklife Peggy A. Bulger, Director, American Folklife Center, as well as other articles on traditional expressive culture. It is available free of charge from the Center Library of Congress, American Folklife Center, 101 Independence Avenue, S.E., Washington, D.C. Judith McCulloh (Emerita), Illinois 20540–4610. Folklife Center News does not publish announcements from other institutions or reviews of books from publishers other than the Library of Congress . Readers who would like to comment on Center Folklife Center News activities or newsletter articles may address their remarks to the editor. Volume 31, Nos. 1-2, Winter-Spring 2009 OnLinE inFORMATiOn RESOURCES: The American Folklife Center’s Website provides Stephen D. Winick, Editor full texts of many AFC publications, information about AFC projects, multimedia presentations David A. Taylor, Editorial Advisor of selected collections, links to Web resources on ethnography, and announcements of upcoming Morgan E. Greene, Designer events. The address for the home page ishttp://www.loc.gov/folklife/ . An index of the site’s contents is available at http://www.loc.gov/folklife/az-index.html. Cover: “Portrait of Robert Burns, Ayr, Scotland” The Website for The Veterans History Project provides an overview of the project, an online “kit” for from the LC Prints and Photographs Division participants recording oral histories of veterans, and a brief presentation of some examples of video- Photochrom Print Collection. Reproduction and audio-recordings of veterans’ stories. The address is http://www.loc.gov/vets. Number LC-DIG-ppmsc-07528

AMERiCAn FOLkLiFE CEnTER STAFF Administration: Maggie Kruesi, Cataloger Veterans History Project: Alexa Potter, Librarian (Research Peggy A. Bulger, Director Valda Morris, Processing Technician Robert Patrick, Director Specialist) Mary Bucknum, Assistant to Marcia Segal, Processing Archivist Rachel Mears, Supervisory Program David Sager, Processing Technician the Director Nora Yeh, Archivist, Coordinator Specialist Gabrielle Sanchez, Archivist Michael Taft, Head, Archive Megan Halsband, Processing Technician Monica Mohindra, Supervisory Liaison Jason Steinhauer, Liaison Specialist David A. Taylor, Head, Research and Bert Lyons, Digital Assets Manager Specialist Jamie Stevenson, Liaison Specialist Programs Reference: Donna Borden, Program Assistant Aron Swan, Processing Technician Rada Stojanovich-Hayes, Jennifer A. Cutting, Folklife Specialist Yvonne Brown, Processing Technician Lisa Taylor, Liaison Specialist Administrative Assistant Judith A. Gray, Folklife Tamika Brown, Processing Technician Stephanie Weaver, Processing Research and Programs: Specialist, Coordinator Ariel De, Program Officer Technician Theadocia Austen, Public Events Stephanie A. Hall, Automation Tracey Dodson, Executive Assistant Tom Wiener, Librarian (Research Coordinator Specialist Jennifer Eidson, Processing Technician Specialist) Peter Bartis, Folklife Specialist Todd Harvey, Folklife Specialist Megan Harris, Librarian (Collection American Folklife Center: Nancy Groce, Folklife Specialist Ann Hoog, Folklife Specialist Specialist) Tel: 202 707–5510 Guha Shankar, Folklife Specialist Pinesha Harrison, Program Assistant Fax: 202 707–2076 Audio Engineering: Jeffrey Lofton, Liaison Specialist Stephen D. Winick, Writer-Editor Jonathan Gold, Audio Technician E-mail: [email protected] Candace Milburn, Processing www.loc.gov/folklife Processing and Cataloging: Digital Conversion: Technician Catherine Hiebert Kerst, Archivist John Barton, Specialist David Novack, Processing Technician Robert Burns at 250: Poetry, Politics, and Performance quickly recognized, and he By Nancy Groce was soon being hailed and very year on January 25, devotees across the globe celebrated as a literary lion gather to mark the birthday of the beloved Scottish poet throughout Scotland. In the ERobert Burns. They hold formal dinners and celebrations decade that followed, his that include recitations, songs, and toasts. No other artist is so works were published widely consistently or widely feted on his birthday. In addition to his in books and periodicals in work as a poet, Burns was a pioneering collector and preserver Britain and North America. of folksongs. It seemed only right, therefore, that for the 250th His career as a farmer birthday of the “lad born in Kyle,” the American Folklife Center proved less successful, (AFC) should organize a major public event to explore Burns and, in 1788, he accepted and his contributions as a poet, songwriter, and folklorist. an appointment with the With this in mind, on February 24 and 25, 2009, AFC pre- Customs and Excise service An 1865 Letter inviting President sented the free public symposium Robert Burns at 250: Poetry, and moved first to Ellisland, Abraham Lincoln to make a toast Politics, and Performance. The well-attended symposium and then to the southwest- to Robert Burns, now preserved explored Burns’s life and work, as well as his lasting impact on ern Scottish market town of in the LC Manuscript Division. America and American culture. Leading scholars, politicians, Dumfries in 1791. He responded, “Thinking of what poets, and musicians from Scotland and the United States Few poets have moved as [Burns] has said, I cannot say joined experts from the Library of Congress, including the easily between the worlds of anything worth saying.” U.S. Poet Laureate. The event was produced in cooperation rural folk poetry, folksong, with the Library’s Center for the Book and the Library’s Poetry and urban literary circles as Robert Burns. A talented poet and Literature Center, and was made possible with generous in both the Scots and English languages, Burns was also a support from the Scottish Government, as part of dedicated collector of Homecoming Scotland 2009. folksongs and tunes, an Scotland’s National Poet able musician, and a Robert Burns is more than a poet; he has gifted lyricist. In addition served as an icon and inspiration for generations to his poems, folklorists of artists, performers, politicians, social admire Burns for the activists, and cultural reformers throughout the significant contributions world. Burns was born in Alloway, near Ayr, in he made to seminal southwestern Scotland, on January 25, 1759. He published anthologies was the eldest of the seven children of William of Scottish songs and Burnes, a tenant farmer, and his wife Agnes ballads, such as George Broun. Growing up in poverty with little formal Thompson’s A Select schooling, the poet nevertheless received a solid Collection of Original education from his father and several local tutors Scottish Airs for the in subjects that included French, Latin, and Voice (1793), and mathematics. He began writing poetry and song James Johnson’s The lyrics at the age of fifteen. By twenty, following his Scots Musical Museum family’s move to a farm near Tarbolton, he became (1787-1797). For these active in a country dance society and joined books, and others like several local clubs and lodges. them, Burns sometimes In 1786, at the urging of his brother Gilbert submitted original and some of his friends, Burns published his first poems set to traditional volume of poetry, Poems, Chiefly in the Scot- tunes, which allowed the tish Dialect, in Kilmarnock. The volume was an “Robert Burns and his Highland Mary,” a litho- tunes to be published immediate critical success, and a second edi- graph published in 1846 by N. Currier. LC Prints and preserved. He also tion, printed in Edinburgh soon thereafter, proved & Photographs Division, reproduction number LC- wrote and edited verses a financial success as well. Burns’s talent was USZC2-2962. based on traditional

AmericAn FolkliFe center news 3 This unusual copy of “Auld Lang The Symposium Syne” in Burns’s own hand resides In order to ensure that the most prominent scholars and per- in the Library’s Manuscript Division. formers of Burns’s work were free to participate, AFC held its symposium one month after Burns’s birthday, on February 24 songs and poems collected from and 25. The event began on Tuesday afternoon in the Mum- folk performers, among them ford Room, on the sixth floor of the Library’s James Madison such well-known songs as “Auld Memorial Building. Welcoming remarks were presented by the Lang Syne,” “My Luve’s Like a Librarian of Congress, James H. Billington, by the American Red, Red Rose,” “Scots Wha Folklife Center’s Director Peggy Bulger, and by Cate Newton, Hae,” and “Flow Gently Sweet Director of Collections and Research at the National Library Afton.” Like many early of Scotland. The speakers noted the longstanding relation- folksong collectors, Burns ship between the Library of Congress and the National Library felt free to adapt and “improve” of Scotland, and expressed hopes that these ties would be traditional songs. In this manner, he is credited strengthened by future exchanges and cooperative projects. with preserving more than three hundred Scottish songs. Dr. Billington introduced the symposium’s keynote speaker, Burns wrote poetry in both Scots and English, and many the Rt. Hon. Alex Salmond, MP, MSP, First Minister of Scotland of his most memorable works are a careful blend of the two. and Head of the Government of Scotland. Before an overflow This made the poems widely accessible to Scottish as well as audience—which included famed Scottish actor Sir Sean Con- English-speaking audiences, while retaining a character that nery and other celebrities—the First Minister spoke eloquently was distinctly Scottish. The subject matter of his poems was about Burns’s life, work, and enduring influence. remarkably broad, and addressed topics as varied as politics, Mr. Salmond began by pointing out how the bard’s egalitarian class inequality, Scottish nationalism, romance, religion, social politics and humanitarian leanings influenced his poetry, noting life, nature, and social justice. His lyricism, his ability to appeal that “Burns was an artist who…rose to the station of national to varied audiences, and his short but colorful life served as an bard, whilst still retaining his status as a common man. For all inspiration for Romantic poets and writers that followed in the his paradoxes, Burns lived by a consistent set of values which next generation. The causes and concerns addressed by his he gives voice to from the earliest satires through to his late poetry influenced — and continue to influence — artists, politi- political songs.” cians, and activists in Scotland, America, and numerous other The First Minister traced Burns’s “zigzag course through countries throughout the world. life,” and discussed the impact that the poet’s works have had Burns died at Dumfries in 1796 at the tragically young age on the cultural and political landscapes of both Scotland and of thirty-seven. His birthday, January 25, is still celebrated America. He quoted from the works of several influential Ameri- annually throughout the world with “Burns Suppers,” at which cans – including Henry David Thoreau, Abraham Lincoln, Fred- his life is remembered, his memory immortalized, his poems erick Douglass, and Maya Angelou – who credited Burns as an recited, and his lyrics enthusiastically sung. important influence. He emphasized that Burns remains more than an historic figure, citing the con- tinued importance of his works on pub- lic discourse in contemporary Scotland. In particular, he noted the iconic role played by the Bard’s songs and poems during Scotland’s recent devolution movement, and cited the moment, now famous throughout Scotland, when folksinger Sheena Wellington sang Burns’s anthem “For a’ that and a’ that” in 1999, at the reopening of the Scottish Parliament after 292 years. He concluded: “Without a doubt, Burns has left an indelible thumbprint on the world. His influence on the hearts and minds of millions is beyond question and beyond quantification. For many

Photo by Megan Halsband Scots—myself included—Burns is still Scotland’s First Minister, Alex Salmond (l.), and actor Sean Connery, at the reception held in the voice which dignifies Scotland’s the Library’s Members Room on February 24, 2009. quest for freedom.”

4 AmericAn FolkliFe center news The keynote panel Following the close of the first day’s proceedings, the Scottish ended with an ex- Government, under the auspices of House of Representatives change of gifts: First member Mike McIntyre from North Carolina, presented a Minister Salmond pre- memorable VIP reception in the ornate Members’ Room of sented the Library with the Library’s Jefferson Building. Hosted by Rep. McIntyre a beautifully framed and First Minister Alex Salmond, the event drew Senators holographic copy of Lamar Alexander, Lindsey Graham, Kay Hagan, Orrin Hatch, Burns’s best known Claire McCaskill, Harry Reid, Mark Warner, Jim Webb, and song, “Auld Lange Roger Wicker, and Representatives Neil Abercrombie, Robert Syne,” based on an Aderholt, Henry Brown, Steve Cohen, John Duncan, Bob original in the collection Etheridge, Bob Goodlatte, Mike McIntyre, Cathy McMorris- of the National Library Rodgers, Jim Matheson, Brad Miller, Candice Miller, Jeff Miller, of Scotland. In return, Jerry Moran, and Fred Upton. Other special guests included Sir Dr. Billington presented Sean Connery, U.S. Poet Laureate Kay Ryan, and Librarian of the First Minister with Congress James H. Billington. two books about the During the reception, a framed copy of Congressional Photo by Megan Halsband Library: James Con- Resolution 169 was presented to First Minister Salmond by Professor Robert Crawford spoke away’s America’s Library: its author, Representative McIntyre. The Resolution under about Burns’s significance as The Story of the Library consideration by the House “expresses the sense of the House “America’s Bard.” of Congress 1800-2000, of Representatives that the poet Robert Burns was a true friend (2000), and John Y. Cole’s On These Walls: Inscriptions and of the United States, that his work inspired the citizens of this Quotations in the Library of Congress (2008). nation, as well as his native Scotland, and that the annual Following the keynote address, Michael Taft, Head of the celebration of his birth is a tradition that transcends national American Folklife Center Archive, introduced the symposium’s boundaries, and as a result, should be observed.” first speaker, Robert Crawford, Professor of Modern Scottish The text of the Resolution also notes that one of the reasons Literature at the University of St. Andrews. Dr. Crawford, who for its introduction and passage is that “the American Folklife is an award-winning poet in his own right as well as a distin- Center at the Library of Congress is also celebrating this anni- guished scholar of Scottish and British literature, spoke on versary with a free public symposium on Burns’s life and work Burns’s significance as “America’s Bard.” entitled Robert Burns at 250: Poetry, Politics and Performance, Drawing on research from his recently published biography from February 24 of Burns, The Bard (2009), Crawford considered what America through February 25, meant to Burns, touched on Burns’s artistic responses to the 2009, in Washington, historical events and politics of his day, and noted how Burns D.C.” subsequently influenced and inspired such major American Festivities continued poets as Walt Whitman, Robert Frost, and Maya Angelou. He even after members of also discussed Burns’s continued presence in contemporary Congress returned to American popular culture, including the frequent use of his the Capitol to hear a songs in key scenes of American movies. “Though Burns is joint address by Presi- rightly regarded as the national bard of Scotland,” he argued, dent Obama. “thanks to his democratic voice, his admiration for the Ameri- The Symposium, can Revolution, and his impact on American writers, he can Day Two also be called “America’s Bard.” Wednesday, Febru- The first day of the symposium ended with an outstand- ary 25, the second ing round-robin presentation of Burns’s songs and poetry by day of the symposium, Margaret Bennett, Valentina Bold, Billy Kay, and Ed Miller. Dr. began with a gracious Miller, a Scottish folklorist and musician based in Austin, Texas, welcome by Deanna began the session with a rousing version of Burns’s song “For Marcum, the Library’s a’ that and a’ that,” and later followed it with performances of Associate Librarian for several classic Burns songs, including “A Red, Red Rose,” Library Services. In and “Auld Lang Syne.” Professor Bold read “The Rights of her speech, Marcum Photo by Megan Halsband Women” and “To a Mouse,” Dr. Bennett sang “Ae Fond Kiss,” recognized the warm Ed Miller (left) and Margaret Bennett, and award-winning Scottish journalist and broadcaster Billy Kay relationship between who are academic folklorists as well gave a memorable recitation of the poem “Tam o’ Shanter” in the Library of Con- as folksingers, spoke about Burns’s its original Scots. gress and the National significance and sang Burns’s songs.

AmericAn FolkliFe center news 5 Library of Scotland, and expressed her hope that this event The morning session closed with “Robert Burns and the would forge even closer ties. AFC’s Head of Research and Scots Language,” a presentation by award-winning writer Programs, David Taylor, then introduced the day’s first panel, and BBC broadcaster Billy Kay. Like Burns, Kay grew up in “Burns and His World,” and the opening speaker, Nat Edwards. the Scots-speaking southwestern counties of Ayrshire and Edwards, who is the Education and Interpretative Services Dumfriesshire. He is the author of the influential work on the Manager at the National Library of Scotland, is a leading history of the Scots language, Scots: The Mither Tongue, and authority on the life of Burns. As a curator and educator, he he has devoted his life to making Scottish people, at home and is particularly interested in how the poet’s story has been abroad, aware of their rich cultural heritage. presented to the public. Prior to joining the National Library, Quoting an old Scots saying he had heard as a child, “Thaim Edwards served as Director of Burns National Heritage Park, wi a guid Scots tongue in their heid are fit tae gang ower the poet’s birthplace, in Alloway, Ayrshire. As Chairman of the the warld,” Kay discussed issues surrounding linguistic and National Burns Collection, he had recently organized the travel- national identity in contemporary Scotland. Kay illustrated his ing exhibition “Zig-Zag: the Paths of Robert Burns.” Edwards’s talk with audio recordings from his own fieldwork, which gave illustrated presentation, “Robert Burns: The Usual Suspects,” the primarily American audience a chance to hear how the provided the audience with a engaging and informative language spoken by Burns – and in which he wrote his greatest overview of Burns’s life, and explored the challenges involved poetry –still thrives as a living language in today’s Scotland. in “decoding” well-entrenched myths about the bard, in order He also examined the ongoing political struggle faced by those to ascertain more about the real man and the nuances of his speaking, teaching, and advocating for the Scots language in complex life. contemporary Scotland. He finished by expressing hope that Edwards’s talk was followed by an informative and effer- Scots would still be spoken in Scotland when Burns’s 500th vescent presentation by the eminent historian Ted Cowan, birthday is celebrated. Professor of Scottish History, and Director of the University of Following lunch, AFC folklorist Maggie Kruesi introduced the Glasgow’s Crichton Campus in Dumfries. Cowan’s presenta- panel “Burns and Traditional Culture,” and the afternoon’s first tion, “Eighteenth-Century Scotland and Eighteenth-Century speaker, folklorist Valentina Bold, Head of Scottish Studies at America,” compared cultures on either side of the Atlantic the University of Glasgow’s Dumfries campus. Robert Burns during the 1790s, and explored Burns’s awareness of, and spent his final years in Dumfries, where Dr. Bold, (and her reaction to, specific historical events. In particular, Cowan drew colleague Ted Cowan), are active members of the local Burns the audience’s attention to the American and French Revolu- Appreciation and Research in Dumfries (BARD) team. tions, their impact on eighteenth-century Scotland, and Burns’s Bold spoke on Burns’s important contributions as a proto- reactions to them. He provided insights into how political and folklorist. He was, she noted, an excellent fieldworker and social conditions in both America and France influenced Burns song collector whose familiarity with, and championship of, and shaped his poetry. traditional tunes and lyrics preserved hundreds of what are Photo by Megan Halsband (L-r): Panelists Margaret Bennett, Ed Miller, Valentina Bold, John Y. Cole, Cate Newton, Marc Lambert, and Stephen Winick joined hands in the traditional manner to sing Burns’s “Auld Lang Syne” at the close of the symposium.

6 AmericAn FolkliFe center news by renowned folklorist, singer, and storyteller Margaret Bennett, from the Royal Scottish Acad- emy of Music and Drama in Glasgow, who was assisted by Scottish singer, guitarist and folklorist Ed Miller. During her presentation, entitled “The Spontaneous Language of My Heart: The Life and Songs of Robert Burns,” she and Miller per- formed excerpts from Burns’s songs – some well known and others obscure – to trace the poet’s life and experiences. For a change of pace, the next panel as- sembled three distinguished poets for a panel discussion of “Poetry, Celebrity, and the Public.” Moderated by Patricia Gray, Head of the Library’s Poetry and Literature Center, the panel featured Kay Ryan, Poet Laureate of the United States,

Photo by Megan Halsband Robert Crawford, poet and literary scholar from Nat Edwards of the National Library of Scotland (r.) listens attentively while Scotland’s St. Andrews University, and Myra award-winning writer and BBC broadcaster Billy Kay discusses “Robert Burns Sklarew, former president of the Yaddo artists’ and the Scots Language.” community and professor emerita of literature at now classic Scottish American University. The panel was asked to reflect on Burns’s songs for later genera- experiences as a celebrity poet and compare it with their own tions. She also touched experiences as well-known contemporary poets. on how contemporary Robert Crawford began by discussing the Bard’s relation- traditional Scottish ship to his patrons, which involved patronage “in both the good musicians continue to and bad sense.” Burns, he noted, was heavily influenced by use Burns’s works as an earlier Scottish poet, Robert Fergusson, whose poverty and a reference source to tragically early death served as a cautionary example of the enrich and expand their shortfalls of patronage and dependency. He pointed out that repertoires. She argued Burns was the first poet to become a celebrity in his own life- that the poet’s approach time, and that his career paved the way for later celebrity poets, to collecting – which such as Lord Byron. Crawford contended that, at the height of

Photo by Megan Halsband often involved “polish- his fame, Burns carefully managed his image as a rustic poet Marc Lambert, Chief executive of ing a song of lesser through dress and carefully considered “performative” actions. the Scottish Book Trust, talked about quality” -- if not strictly Even while he was being lionized by the Edinburgh literati, the Trust’s efforts to advance literacy in accord with modern Crawford explained, Burns strove to maintain his independence and promote reading and writing in documentation prac- and “treasured marginality” – often humorously referring to Scotland. tices, was nevertheless himself as a mere “bardy” (small bard). Finally, noting that the a laudable and note- panelists had mutually agreed to “clumsily interpose something worthy achievement. of our own to prove that [we] are poets,” the speaker closed his She also recounted remarks with a reading of his own poem, “Same, Difference,” Burns’s contributions from his recent collection Full Volume. as a collector and United States Poet Laureate Kay Ryan followed Crawford at author of bawdy songs the podium. Claiming she was at a “massive disadvantage” and erotic poems, and because she lacked a charming Scottish accent, she reflected spoke about her experi- on her own brushes with celebrity since being appointed to ences as the editor of her position. She amused the audience by recounting how she a recently completed had learned of her appointment, the immediate aftermath of edition of Burns’s col- learning about it, and the impact it has since had on her life and lection of bawdy songs, writing. In a wonderfully self-deprecating manner, she claimed The Merry Muses of that, even now, with all her celebrity and “the attendant fuss”

Photo by Megan Halsband Caledonia. that came with it, she was still able to travel around her small Kay Ryan, Poet Laureate of the United Dr. Bold’s presenta- California town practically unnoticed. Although she off-handedly States, spoke about “Poetry, Celebrity, tion was followed by a remarked that “the main job of the Poet Laureate is to explain and the Public.” lecture/demonstration the job of the Poet Laureate,” she also thoughtfully reflected on

AmericAn FolkliFe center news 7 the humble social such as Robert Burns Cigars, held in the Library’s Prints and background Photographs Division. The panel continued with a discussion she shared with entitled “Tomorrow’s Bard: Promoting Reading and Literacy Robert Burns, in Scotland and the United States.” Panelists Cate Newton, and noted her Director of Collections and Research at the National Library of admiration for Scotland, Marc Lambert, Chief Executive of the Scottish Books Burns’s ability Trust, and John Y. Cole, Director of the Center for the Book at to write poems the Library of Congress, spoke about their programs, and about that combined the challenges of promoting reading and cultural literacy in the “superficial” contemporary world. simplicity Following the closing panel, participants and audience mem- with profound This surreal advertisement for Robert Burns bers gathered in the Mumford Room’s foyer for a reception fea- insights. cigars is in the LC Prints and Photographs turing Scottish delicacies, hosted by the Scottish Government Myra Sklarew Division with the caption “Woman, with wings and coordinated by the Office of Scottish Affairs at the British brought the panel on back, holding box of Robert Burns cigars Embassy. Robin Naysmith, Scottish Government Counsellor for to a close with a and offering one to pipe-smoking owl.” (Re- North America at the Embassy, offered a few closing remarks. moving testimony production number LC-USZ62-58871) Throughout the event, members of the audience and partici- to how Burns’s pating scholars had the opportunity to view an original Burns poetry had influenced her own life. Initially, when asked to manuscript of the “Ballad of Sheriffmuir,” which the National take part in the panel, she told the audience, she thought of Library of Scotland had recently purchased in Washington and speaking on her experiences as a poet and at Yaddo, but while graciously loaned the Library for the symposium. A glass case preparing for the symposium she began to recall how important containing this new acquisition was placed in the foyer of the Burns’s work had been during her own childhood. She didn’t Mumford Room. It was displayed alongside a second Burns know how her Rumanian immigrant parents became familiar manuscript, a letter, which was generously loaned by local with Burns’s poetry, but expressed her belief that it was the manuscript dealer Gavin Adams and his firm, Adams Hamilton. Scotsman’s special gift to write poetry that spoke to peoples of More than two hundred people attended the symposium, very different backgrounds and assured his celebrity status as some coming from as far away as North Carolina and New York. an international icon. All were impressed with the uniformly high quality of presenta- Following a break for coffee and refreshments, Stephen tions and the amount of innovative research and informed dis- Winick, folklorist and American Folklife Center staff mem- cussion that took place over two very busy days. The American ber, began the symposium’s final panel, “The Contemporary Folklife Center thanks colleagues throughout the Library for their Bard,” with an informative overview of the Library of Congress’s help and support, and especially the Library’s Center for the Burns-related materials. He showcased everything from very Book and Poetry and Literature Center, for their cooperation in valuable manuscripts, such as a copy of “Auld Lang Syne” in planning and organizing the event. AFC is also deeply indebted Burns’s own hand, to amusing advertisements for products to the National Library of Scotland for its suggestions and contributions. Finally, we owe thanks to the Scottish Government, and especially the staff of its Office of Scottish Affairs at the British Embassy, without whose guidance and generous support this memorable inter- national event would not have been possible. As with most of the Library’s public events, the Burns symposium was captured on video for future researchers. This documentary record of the sympo- sium enriches the Library’s holdings on both Robert Burns and Scottish culture. The video has been made available as an online webcast, and can be accessed via the American Folklife Center’s website, which also contains other information about the symposium, in- cluding the schedule, biographies of the participants, and a list of Burns-related resources. To access the

Photo by Megan Halsband video, please visit the symposium website: http:// (L.-r.): Robin Naysmith, Scottish Government Counsellor for North America at www.loc.gov/folklife/Symposia/Burns/program.html the British Embassy, Peggy Bulger, Director of the American Folklife Center, Cate Newton, Director of Collections and Research at the National Library of Editor’s Note: AFC Folklife Specialist Nancy Groce Scotland, and Kurt Dewhurst, chairman of the AFC’s Board of Trustees. was the coordinator of the symposium. m

8 AmericAn FolkliFe center news “A Measure of Rascality”: AFC’s Nimrod Workman Recordings Go Digital. By Stephen Winick FC’s collections include recordings union activist who successfully of many legendary names in rural lobbied for benefits to go to AAppalachian folk music: Frank victims of black lung disease. Proffitt, Flatt & Scruggs, Hazel Dickens, He was also a seeker-out of Uncle Dave Macon, Bascom Lamar songs both mundane and Lunsford, and many, many others. Among fantastic, and his exotic, biblical these greats, one of the most outstanding first name, Nimrod, gives a hint is Nimrod Workman, whose unique of his aptitude at song hunting. recordings showcase soulful singing, (In the Bible, Nimrod is Nimrod Workman and his daughter Phyllis Boyens, mid- an unusual repertoire, and interesting described as “a mighty hunter 1970s. From the film Nimrod Workman: To Fit My Own recollections of rural life. The AFC before the Lord,” and for this Category by Scott Faulkner and Anthony Sloane. AFC Archive contains dozens of recordings of reason, “Nimrod” was once a Nimrod Workman CS file. Workman, most of them made by Mike common English colloquialism Of course, the general public can come Seeger in the 1980s. The majority of these for “hunter”; it is in this sense that it to the Center’s reading room to hear many recordings have recently been digitized. became an American name.) of these recordings. But in this case, Some have become commercially available By 1982, Workman was long retired they can also take some of them home. on CD, while many others can be heard from coal mining, and had become a well A selection of the recordings has been only by visiting AFC. known figure in old-time music. He had released to the public by a third-party Workman, winner of a 1986 National released two LPs and several singles, and producer, Nathan Salsburg. Salsburg, an Heritage Fellowship from the National had even appeared in a number of films, employee of the Alan Lomax Archive, first Endowment for the Arts, was named including Michael Apted’s 1980 feature came across Workman on a 45 rpm single for his grandfather, a Cherokee Indian Coal Miner’s Daughter. But the majority of in Lomax’s collection. He later said of the and Civil War veteran. The name was his repertoire was still undocumented, so two songs on that record: appropriate; the younger Nimrod was, Mike Seeger sought and received a grant “I had never heard anything as starkly first and foremost, a workman. He was from the National Endowment for the Arts, intimate and honest, bearing not a trace of a coal miner for over forty years, and a to record Workman’s songs and stories romanticism, born as they were of decades for posterity. of personal experience and hardship. I’m Recording Workman was particularly im- not indulging in hyperbole when I say that portant, in Seeger’s view, because in many they scared me, and made me chilly and cases Workman’s versions of folksongs uncomfortable. But though they might were unique. Seeger explained this in his have slightly repelled me, they were grant report, citing Workman’s headstrong deeply moving.” personality, lack of reliance on the written Salsburg, who is also a musician, a word, and what he called “a measure of writer, and the host of the internet ra- rascality” as reasons why the singer made dio show Root Hog or Die, later heard changes to his songs. “Nimrod takes about AFC’s recordings of Workman, and songs and personalizes them, puts them decided to use them on the debut CD of into his own style,” Seeger wrote. “There his record label, “2s and Fews.” Entitled is no doubt that most of his songs are I Want to Go Where Things Are Beautiful, living things.” Seeger recorded eighteen the CD contains twenty-three songs and Workman’s CD, I Want to Go Where Things seven-inch reels of Workman, comprising four snippets of conversation. Are Beautiful, contains twenty-three songs somewhat more than ten hours of song On the CD, you can hear the spry, and four snippets of conversation from AFC and speech; he later donated them, along sinewy, eighty-seven-year-old retired miner 1988/029, the Mike Seeger Recordings with hundreds of other tapes, to the Ameri- tell about his uncle Pete, who came over to 1988 Collection. can Folklife Center. the U.S. from England. You can hear him

AmericAn FolkliFe center news 9 describe his grandfather as a soldier “in afterwards. Workman’s lines express both by visiting the American Folklife Center’s the Rebel-Yankee war.” Most importantly, the horror and the humor of such public reading room. you can hear him sing classic old ballads humiliation in a town where everyone While it was true that Workman suffered mingled with love songs, spirituals, and knows one another’s business: from black lung disease (to say nothing of his own compositions. His voice is a the effects of his smoking and drinking), typical mountain voice, sharp and craggy. “Come all you nosy women who he still lived another twelve years after It’s a powerful voice from a singer who scatters news about these recordings were made. He died was still strong despite his advanced Don’t tell no tales upon us, we’re bad in 1994, at the age of 99, with Seeger’s age; in fact, AFC staff member Jennifer enough without. recordings still standing as the most Cutting remembers seeing Workman two Don’t tell no tales upon us, to try to extensive documentation of his repertoire. years after these recordings were made, make a fuss Workman was also documented on film backstage at a folk festival, break-dancing You’ve been guilty of the same thing, by Alan Lomax, and AFC has much of that with teenagers. pre-haps a whole lot worse.” material as well. As for the rest of Mike Seeger’s tapes, Workman’s spirituals can both exalt and the four hundred or so hours of recordings terrify. “Gabriel’s Trumpet” features the he donated to the Archive feature such album’s title, “I want to go where things luminaries as Maybelle Carter, Bill Monroe, are beautiful,” as a prominent line; it and Roscoe Holcomb, as well as Merle paints a dazzling portrait of heaven. “Oh, Travis, the Stanley Brothers, and Cousin Death,” on the other hand, is a chilling Emmy…not to mention Seeger’s own conversation between a sinner and Death band, The New Lost City Ramblers. Not himself, in which Death’s icy grip cannot all of this material has been transferred to be bargained, threatened, or begged away. reference tapes for researchers to hear, so Some of Workman’s songs were written the Center recommends that you send an from scratch. The most famous of these email to [email protected], a few days before is his heartbreaking autobiographical lyric, you plan to visit; a reference librarian will “42 Years,” in which he describes his own provide information about what can be battles with black lung disease: made available. m

My bones they did ache me, my kneecaps got bad Down on a hard rock, on a set of knee pads Mike Seeger, photographed in the Library’s The motors were shifting, Coolidge Auditorium in 2007 by Robert Cor- got sand in my hair win as part of the Robert Corwin Collection, Both lungs were broke AFC2007/023. down, from breathing bad air. As Seeger noted, Workman often changed the words to his songs, so most Beyond what is on the listeners have never heard verses quite like CD release, the tapes in his. His ballad “Lord Daniel” is a version the Center contain many of “Little Musgrave and Lady Barnard,” more hours of Workman’s a song which dates at least to the time of song and speech, most of Shakespeare, and probably earlier. Work- which were transferred to man’s lyrics blend matter-of-fact English digital format at the same with romantic metaphor, creating such time as the material on the surprising lines as “another man’s in the CD. That means you can bed with your wife, and both of their hearts hear Workman sing more is one.” Another of the CD’s highlights, iconic songs, such as “John “In the Spring of ’65,” is an American Henry,” “Amazing Grace,” Nimrod Workman ca. 1975. From the film Nimrod Work- ballad about a party so raucous that the “Hog-Eyed Man,” and “Go man: To Fit My Own Category by Scott Faulkner and Anthony narrator and his friends are embarrassed Down, Moses”—but only Sloane. AFC Nimrod Workman CS file.

10 AmericAn FolkliFe center news Archie Green (1917-2009) ith great sorrow, the American President Ford in 1976. Green combined Folklife Center at the Library his sensitivity for working people with an Wof Congress (AFC) reports the abiding concern for democratic processes death of Archie Green on March 22, and a willingness to lobby for reforms. He 2009. Dr. Green, North America’s most was pragmatic and workmanlike, able to prominent scholar of labor-related folklore, size up a job, break it into steps, roll up has been an essential guiding force in the his sleeves, and get it done. All of these history of AFC. It was largely through his qualities, combined in one energetic ad- efforts that the Center was created. From vocate, made the American Folklife Center

1969 to 1976, Green put his academic possible. Photo by Derek Green, August, 2007 career on hold, to live in Washington, D.C. During his lobbying years, Green kept Archie Green wearing the Living Legend and lobby Congress for the passage of the a brass plaque over the door of his of- Award bestowed upon him by the Librarian American Folklife Preservation Act. This fice, marked “Citizens’ Committee for an of Congress. act, which created the AFC, was passed American Folklife Center.” In February, and it is now proudly displayed in the unanimously by Congress and signed by 2009, he donated the plaque to the AFC, Center’s main office. “Archie’s key role in the establishment of the American Folklife Center makes him a cherished hero to all of us,” said the Center’s director, Peggy Bulger. Born Aaron Green, in Winnipeg, Manitoba, in 1917, Archie moved with his parents to Los Angeles, California, in 1922. He grew up in southern California, began college at UCLA, and transferred to the University of California at Berkeley, where he received a bachelor’s degree in political science in 1939. He signed up for the Civilian Conservation Corps, and spent a year in a camp on the Klamath River, where he was a road builder and a firefighter. When his term of service was up, he returned to work in the San Fran- cisco shipyards as a shipwright, and then served in the U.S. Navy during World War II. Returning once again to San Francisco after the war, he learned the carpentry trade and became a member of the United Brotherhood of Carpenters and Joiners of America, to which he belonged for over sixty-seven years; he was also a Journey- man Shipwright. Green enrolled in graduate school in 1958, earning a Master of Library Sci- ence degree from the University of Illinois in 1960, and a Ph.D. in folklore from the University of Pennsylvania in 1968. He Photo by Carl Fleischhauer Archie Green speaking in the Library’s Great Hall, at a reception to mark the founding of the went on to a distinguished teaching career, American Folklife Center, February 19, 1976. during which he influenced many future

AmericAn FolkliFe center news 11 leaders of the discipline of folklore and a description and analysis of tinsmiths’ folklife. He taught at the University of Il- art, using examples from around the linois at Urbana-Champaign, (1960-1972), country (Tin Men, 2002); a monograph on and at the University of Texas at Austin, millwrights in northern California over the (1975-1982). He earned teaching fellow- twentieth century (Millwrights in Northern ships at several other institutions, includ- California 1901-2002, 2003); and a collec- ing the Bingham Humanities Professorship tion of essays on the traditional lore of the at the University of Louisville in 1977, and Sailor’s Union of the Pacific (Harry Lunde- a Woodrow Wilson Center fellowship in berg’s Stetson and Other Nautical Trea- Washington, D.C., in 1978. sures, 2006). In addition to these books, As a scholar, Green was best known for Green published articles in Appalachian his work on occupational folklore and on Journal, the Journal of American Folklore,

early hillbilly music recordings. He com- Labor’s Heritage, Musical Quarterly, and Photo by David A. Taylor bined his support for labor and his love of other periodicals and anthologies. Archie Green at the San Francisco water- country music in the research that became Green’s most recent publication is The front, with his wife, Louanne, May 2000. his first book, Only a Miner (1972). He Big Red Songbook (2007), featuring the related to laborlore. For example, it has went on to write many other books: a col- lyrics to the 190 songs included in the worked with the National Trust for Historic lection of essays on laborlore (Wobblies, various editions of the Industrial Workers Preservation to identify labor landmarks Pile Butts, and Other Heroes, 1993); a of the World’s (IWW) Little Red Songbooks in San Francisco and install commemora- work on the stories of laborers (Calf’s Head from 1909 to 1973. Green inherited this tive plaques; supported the publication & Union Tale, 1996); a collection of essays project from John Neuhaus, a machin- of books on roots music, labor songs and on folklore (“Torching the Fink Books” and ist and IWW member who devoted years historic labor landmarks; prepared guides other Essays on Vernacular Culture, 2001); to collecting a nearly complete set of the to films on skilled union craftsmen; and IWW songbooks and determining what helped the United Mine Workers restore music the songs had been set to. When the Ludlow Monument in Colorado. Neuhaus died of cancer in 1958, he gave The Fund also sponsored a series his unique collection of songbooks, sheet of small conferences called “Laborlore music and other materials to Green, who Conversations,” which brought together vowed to carry on activists, trade unionists, scholars, and Neuhaus’s vision of artists to discuss their various perspec- a complete edition tives on workers’ culture. The fourth of of IWW songs. these conferences was sponsored by AFC Green was a founding and seminal figure and held at the Library of Congress on in what is now known as public folklore. August 15-16, 2007. Green was unable As a senior staff associate at the AFL-CIO to attend, but as part of the proceedings, Labor Studies Center in the early 1970s, he was awarded a Living Legend Award by he initiated programs presenting workers’ the Librarian of Congress, and honored in traditions at the Smithsonian Institu- a special statement by the Speaker of the tion’s Festival of American Folklife House of Representatives, Nancy Pelosi. on the National Mall. From 1969 to Green established an archive for his 1976, he lobbied Congress for the es- collected materials in the Southern Folklife tablishment of the American Folklife Collection at the University of North Caroli- Center. He was a founding member na at Chapel Hill, where he also deposited of the Fund For Folk Culture, an Neuhaus’s original materials relating to the organization which supported folklife IWW. Green has also made contributions through research, grants, and publi- to AFC collections, including several reels cations for over seventeen years. In of labor songs, recordings of his appear- 1995, Green was awarded the Ben- ances at colloquia and symposia, and a jamin A. Botkin Prize for outstanding series of interviews about his life and work achievement in public folklore by the conducted by AFC folklorist David Taylor. avid A. Taylor American Folklore Society. Green is survived by his wife of 64

Photo by D Green also served as secretary years, Louanne; three children, Derek, Archie Green with “Mr. Dixie”, an 11-foot- of the nonprofit Fund for Labor Culture David, and Debra; several grandchildren; tall tin man, at Dixie Sheet Metal Works, & History. Founded in July 2000, the and countless students, friends, and Falls Church, Virginia, in November 1995. Fund has spearheaded several initiatives admirers. m

12 AmericAn FolkliFe center news Getting Inspired: The James Madison Carpenter Team Visits the Library of Congress By Robert Walser rom Aberdeen (Scotland), Man- AFC staff also chester, Sheffield, and London appreciated the F(England), and Minneapolis (U.S.), scope and value the transatlantic collaborators of the James of the collection, Madison Carpenter project gathered in but did not have April 2008 at the American Folklife Center the resources to for a week of hands-on work with one of catalog such a the most comprehensive collections of large and varied British folklore ever assembled by a single collection at the collector. Carpenter, an American folklorist item level. The and collector who visited England in 1928 present team The Carpenter Project team at work and then again from 1929 to 1935, gath- was therefore in the Folklife Reading Room ered an enormous legacy of folklife materi- formed, to als, including approximately one thousand complete the work Carpenter himself ballad texts and eight hundred tunes of envisioned by cataloging, editing and Sea shanty the Francis Child canon; five hundred finally publishing much of this outstanding expert Robert sea songs and shanties; one thousand collection. Walser began other ballads and songs from Britain and The project began in 2002, when the his part of the Carpenter presentation by America; two hundred children’s singing Carpenter Project team began using a con- singing a shanty from the collection games, riddles, and nursery rhymes; three temporary archival descriptive standard hundred British folk plays; miscellaneous (Encoded Archival Description or EAD) cataloging work, team members initially examples of folktales, Cornish carols, and to catalog the collection. For this work, used digital copies of Carpenter’s other genres; five hundred related photo- members of the team used digital cop- cylinders, discs and paper-based materials graphic images; and forty drawings. ies of collection materials. The resulting to gather all the information about a Carpenter realized the scope and impor- catalog, recently updated, is hosted by particular singer and song and to render it tance of his collection. He transcribed and the Humanities Research Institute at the in a clear and useful manner. edited many of the songs, and attempted University of Sheffield and may be viewed While images of pages and copies of throughout his career to secure research at http://www.hrionline.ac.uk/carpenter. sound recordings proved an excellent grants to support their publication in book The Carpenter team is now directing basis for most of the team’s work, there form. He was, however, unsuccessful in its efforts toward preparing Carpenter’s were inevitably questions that each scholar publishing the collection. In 1972, he sold collection for publication. As with the could only answer by consulting the origi- it to the American Folklife Center, a pur- nals. The week in April was their chance to chase arranged by the Center’s director at do so, and to see if this or that mark was a the time, Alan Jabbour. Jabbour and the comma, quarter note, arrow or dash – or a Photo by Stephen Winick. The James Madison Carpenter Project team met with AFC staff in the Folklife Reading Room. (L.-r.): Eddie Cass, Thomas McKean, Jennifer Cutting (AFC), David Atkinson, Peggy Bulger (AFC), Robert Walser, Elaine Bradtke, and Julia Bishop.

AmericAn FolkliFe center news 13 This photo of “Sam Bennett’s Morris Dancers” has a list of names on the back, which will enable the team’s dance specialist, Elaine Bradtke, to identify individual dancers.

to the uses the Library will have for of “Sam Bennett’s Morris the data. Not only will this work continue Dancers” identifies, for the first time, the to serve users through the Sheffield site, smudge, an inkblot or other stray mark. fifteen dancers in this 1933 image, and but the data will be adapted for use in Information penciled on the back of again opens a door to further research. conjunction with the Library’s efforts to drawings and photographs furnished Textual sleuth put the entire collection online in the near some of the and ballad future. most exciting scholar David The trip was, for the Carpenter team, an new information Atkinson valued extraordinary opportunity to delve into and for the team. seeing with his deepen our understanding of the whole For example, own eyes the of the collection. Equally valuable was the Eddie Cass, different layers time spent with transatlantic collaborators whose specialty of corrections without whose help this work could never is folk drama, in the manu- be done. was thrilled to script pages. For all the discover the Carpenter conservation, David Atkinson, an expert Thomas B. McKean is address of artist made multiple cataloging, on English songs and the team’s specialist on George Baker, changes and administration, ballads, is also the team’s Scotland and the whose color- editorial marks, hospitality overall editor. Scottish ballad. ful drawings of often going over and culinary characters from the same song several times using several assistance, mummers’ different pens. Seeing the originals made the entire plays enliven it possible for Atkinson to distinguish UK-based the collection. among Carpenter’s writing instruments, Carpenter Eddie Cass is the team’s This discovery which clarified the order and significance Project team specialist in folk drama. will enable of Carpenter’s revisions. Ultimately, this al- give hearty thanks to our colleagues at the further research lows the team to distinguish what Carpen- Library of Congress, and especially the on this impor- ter believed to be the song’s final form. crew at the American Folklife Center. tant contributor. Looking ahead, members of the Similarly, Elaine Carpenter team met with representatives of Robert Walser is an independent scholar Folklorist Julia Bishop Bradtke’s dis- the Library’s Performing Arts Encyclopedia living in Minnesota. He is a member of is the team’s leader and covery of a list project. They were delighted to learn that the Carpenter Collection Team, based at project coordinator. of names on the the standards-based work they did on the the Elphinstone Institute, University of back of a photo Carpenter catalog is superbly adaptable Aberdeen, Scotland. m

14 AmericAn FolkliFe center news Henrietta Yurchenco (1916-2007) By Nancy Groce t is appropriate that folklorists, who City, where she was soon immersed in a often specialize in the study of legends, heady mix of arts and left-leaning politics Ihave some of their own. Henrietta that characterized the Depression-era Yurchenco, the pioneering folklorist and metropolis. That same year, she was ethnomusicologist, who passed away at hired as a staff member by municipal the age of 91 on December 10, 2007, was radio station WYNC, and quickly initiated one of ours. An indomitable fieldworker, some of the first regularly scheduled scholar, educator, broadcaster, reviewer, broadcasts of folk and ethnic music. and producer, Yurchenco inspired and During the ensuing years, her shows on influenced generations of researchers. WYNC and WBAI featured leading folk Through her broadcasts, albums, and performers such as Woody Guthrie, Aunt recordings, she introduced folk and Molly Jackson, Lead Belly, Pete Seeger, world music to and a very young Bob millions of Americans. Dylan, as well as scores Photo by Basil Yurchenco Furthermore, she of talented ethnic singers greatly enriched the and musicians that she collections of the discovered in urban clubs, American Folklife restaurants, community Center through the houses, and union halls. donation of her valuable In 1941, Yurchenco and field recordings. her husband traveled to Born Henrietta Weiss, Mexico, where an initial she was known as interest in hearing some Henrietta Yurchenco in Mexican native Yentl to what she called local music developed into dress, in Oaxaca, Mexico, in 1942.

her “nonconformist” Photo by David Taylor a lifelong dedication to Henrietta Yurchenco with University immigrant family in New fieldwork. The diminutive Yurchenco recounted her eventful life and of Maryland graduate student Haven, Connecticut. Yurchenco spent the experiences in her engaging book Around Sergio Navarrete Pellicer, at the She studied music next five years traveling the World in 80 Years. Library in 1993. at both Yale and The on muleback, carrying In addition to her career as a fieldworker New School’s Mannes Conservatory, and hundreds of pounds of recording and broadcaster, in 1966, Yurchenco developed into a gifted pianist. In 1936, equipment, to document the pre-Hispanic joined the faculty of The City College of she married the Argentine-born painter music and traditions of fourteen mountain New York, where she taught courses on Basil Yurchenco and moved to New York and desert tribes in remote areas of world music and ethnomusicology. Near- Mexico and Guatemala. Her subsequent ing her 90th birthday, Professor Emerita fieldwork trips, some of which were Yurchenco began a new partnership with supported by the Library of Congress, broadcaster Eli Smith, many years her took her to Spain, Puerto Rico, Columbia, junior, to launch Down Home Radio, an Ecuador, Morocco, and Ireland. innovative Internet world music program. Among her many books and articles Until shortly before her death, Yurch- is the classic study, In Their Own Voices: enco was an active member of New York’s Women In Judeo-Hispanic Song and Story, academic and music scene. When I last and A Mighty Hard Road: The Woody visited with her at her Chelsea apartment Guthrie Story (1970), which she wrote with in June, 2007, to record a segment for assistance from Guthrie’s widow Marjorie. Down Home Radio, she looked a bit frail, Her recordings resulted in more than but nevertheless was busy planning her fifteen releases for numerous prestigious next field trip. As always, she was full of labels, including the Library of Congress, fun, insight, and inspiration. Photo by Paige Lyons Henrietta Yurchenco recording interviews in Smithsonian Folkways, Nonesuch, Henrietta Yurchenco is survived by her Loiza Aldea, Puerto Rico, 1969. Global Village, and Rounder. In 2003, son, Peter, and two grandchildren. m

AmericAn FolkliFe center news 15 PReSORted StANdARd A m e r i c A n POStAGe ANd FeeS PAid F o l k l i F e liBRARy OF CONGReSS WAShiNGtON, d.C. c e n t e r PeRMit No. G-103

101 Independence Avenue,S.E. Washington, D.C. 20540-4610

OFFiCiAl BuSiNeSS PeNAlty FOR PRivAte uSe, $300 Photo by Megan Halsband Actor Sean Connery, Associate Librarian for Library Services Deanna Marcum, Scottish First Minister Alex Salmond, and AFC Director Peggy Bulger took a tour of some of the Library’s facilities during AFC’s Robert Burns symposium. See the story on page 3 for more information about the symposium.

ISSN 0149-6840 Catalog Card No. 77-649628