^^SOJVIAN 4^ fc, 3 Smithsonian Center for Folklife ami Cultural Heritage 750 9th Street NW Suite 4100 Washington, DC 20560-0953 www.folklife.si.edu « 2001 by the Smithsonian Institution ISSN 1056-6805 EDITOR: Carla M. Borden ASSOCIATE EDITOR: Peter Seitel DIRECTOR OF DESIGN: Kristen Femekes GRAPHIC DESIGNER: Caroline Brownell DESIGN ASSISTANT: Michael Bartek Cover image: Gombeys are the masked dancers of Bermuda. Art from photo courtesy the Bermuda Government . mB^th Annual Smithsonian Folklife Festiva On The National Mall, Washington, D.C. June 27 - July 1 a July 4 - July 8, 2001 Bermuda Connection Mew York City amhe Smithsonian' Masters c#!he Building Arts NewYOiK CITY ax THe smiTHSonian The Festiva. This program is produced in collaboration with Mew York's is co-sponsored by __ Center for Traditional Music and Dance and City Lore, the National Park Service. with major funding from the New York City Council, the New York City Department of Cultural Affairs, The Festival is supported by federally Howard P. Milstein, and the New York Stock Exchange. appropriated funds, Smithsonian trust funds, The Leadership Committee is co-chaired by The Honorable contributions from governments, businesses, Daniel Patrick Moynihan and Elizabeth Moynihan and foundations, and individuals, in-kind corporate chairman Howard P. Milstein. assistance, volunteers, food and craft sales, and Friends of the Festival. Major support is provided by Amtrak, Con Edison, the Recording Industries Music Performance Trust Funds, IVIajor in-kind support has been provided by Arthur Pacheco, and the Metropolitan Transportation GoPed and IVIotorola/Nextel. Authority. Major contributors include The New York Community Trust, The Coca-Cola Company, The Durst Foundation, the May £t Samuel Rudin Family Foundation, Leonard Litwin, and Bernard Mendik. Additional donors include Stephen and Judy Gluckstern, Emigrant Savings Bank, and Jeffrey Gural. BermuDa connecxions Masxers of thc BiiiiDinG ajts This program is produced in partnership with the Bermuda This program is produced in collaboration with the Government Departments of Community and Cultural Affairs International Union of Bricklayers and Allied Craftworkers within the Ministry of the Environment, Development and and the International Masonry Institute, the National Trust Opportunity and The Bermuda Connections Smithsonian for Historic Preservation, the National Building Museum, Folklife Festival Charitable Trust. The leadership Committee the American Institute of Architects, and the Preservation is chaired by The Honourable Terry E. Lister, J.P., M.P. Trades Network. Major contributors include the Bank of Bermuda Foundation, Major funding is provided by Homestore.com, the Marble the Bermuda Hotel Association, BELCO, Cable Et Wireless, Institute of America, Allied Stone Industries, the Building TYCO International Ltd., ACE Limited, The Argus Group, and Stone Institute, the Indiana Limestone Institute, and the Centre Solutions. Major in-kind support has been provided by National Building Granite Quarries Association. Major the Bermuda Container Line, the Bermuda Hotel Association, contributors include Target Stores, the Associated General Appleby, Spurling ft Kempe, Bermuda Export Sea Transfer, Contractors of America, the National Association of Realtors, Stevedoring Services, and Deloitte ft Touche. and the Smithsonian Women's Committee. Additional donors include the School of the Building Arts, Duron, Inc., the Brick Industry Association, the Laborers' International Union of North America, the Smithsonian Educational Outreach Fund, and the Copper Development Association, Inc. The Festival's Cultural Partnerships f"^ Bermuda Connections by Lawrence M. Small imuda by William Zuill, Sr. The Festival: Speaking of Heritage Bermuda Cedar and Its Carvers by James Zir by Deny Galvin i, Bermuda Connections by Diana Baird N'Diaye Notes on Bermudian Language The Globalization and Localization of Cultup.J I by Ruth Thomas by Richard Kurin "My Girl Verna": Bermudian Vernacular A Tribute to S. Dillon Ripley Architecture in the ?ist Centuiy '-| ^ K-'' by Diana Parker by James Tucker New York City at the Smithsoman Ralph Rinzler Memorial Concert Masters of the BuildingArts Mai^Stief Mead Centennial Concert IVlarjorie Hunt The Builder's Art by Heniy Glassie of the Smitlisonian's goals is to preserve American and human cultural heritage and share it with our fellow citizens of the nation and the Oneworid. This is a big job, and there is simply no way the Smithsonian I can accomplish it alone. We rely on partnerships with numerous I organizations and individuals to help us. This is especially evident in the annual Smithsonian Folklife Festival, which this year features programs on New York City, Bermuda, and the building arts. The Festival depends on solid research. Several dozen Bermudian scholars, educa- tors, and artists working with Smithsonian curator Diana Baird N'Diaye interviewed hun- dreds of tradirion-bearers, documenring everything from gardening to house-building to music-making. That documentary archive of tapes, photographs, field notes, and videos now consritutes a snapshot of Bermudian culture and provides the basis for the Festival program, as well as a resource for the future. A similar effort took place in my home- town. New York City. Folklorist Nancy Groce directed the curatorial work - selecting the traditions to feature at the Festival and the people to present them - aided by cultural organizarions in the city, among them the Center for Tradirional Music and Dance, City Lore, and the Museum of American Financial History, a Smithsonian affiliate. Masters of the Building Arts grew from the vision of the Smithsonian's Marjorie Hunt, guided by her own stellar research on the stone carvers of the National Cathedral. THe FCSTivaL's cuLTurai parxnersHiPS by Lawrence M. Small, Secretary, Smithsonian Institution It is not by research and curarion alone that any exhibirion or program comes to fruirion - institutional and fiscal support are necessities. In New York, fiscal support from the City Council was combined with private giving. Daniel Patrick and Elizabeth Moynihan led Festival organizers to a strong group of New York partisans. Howard Milstein took a leadership role. The New York Stock Exchange, Amtrak, Con Edison, the New York Community Trust, Arthur Pacheco, and others made important donarions. In Bermuda, the Departments of Community and Cultural Affairs, under Minister Terry Lister's leadership, mobilized the island's resources. The Bank of Bermuda Foundation provided fiscal support, and inspired others. To develop the building arts program, we joined forces with the National Trust for Historic Preservation and the National Building Museum. We enlisted the support of the International Union of Bricklayers and Allied Craftworkers, Homestore.com, the Stone Expo's industry groups, and others with an interest in highlighting and preserving the skills that beautify our built environment. Festival production entailed additional partnerships. The National Park Service helped us prepare the National Mall to receive a subway car loaned by the Metropolitan Transportarion Authority, a fully rigged dinghy loaned by Sandys Dinghy Association, and scaffolding used by Universal Builders Supply for restoring the Statue of Liberty and the Washington Monument. Add to this support of more than 600 volunteers, many of whom have helped the Festival for decades. Finally, there are the participants, who grace the Mall with their presence to share their knowledge, skill, arristry, and wisdom. It is, we hope, useful to those participants themselves, who, as a result of their partnership with the Smithsonian and their connecrion with the public, return home renewed of purpose to preserve and extend their traditions to future generations. National Park Service, like the Smithsonian Institution, helps preserve our nation's heritage. By caring for the nation's historic sites, its trails, Ihemonuments, and memorials, we help the voices of the past speak to us today. This is important work if future generations are to benefit from the lessons learned, the knowledge gained, the skills developed, the artistry accomplished by our forebears. The Smithsonian Folklife Festival shares in this work. The Festival celebrates not only monuments, buildings, museum-quality artifacts, historical facts, and valued performances, but the people who make them, hold them in esteem, and debate their meaning. The Festival represents a wonderful range and diversity of voices and human experiences. This year's Festival features programs on the building arts. New York City, and Bermuda. The Masters of the Building Arts program brings together expert craftsmen in the building trades who use tradirional arts to restore our monuments and historic sites. Among them you will find many of those arrisans who've worked on the Washington Monument, the Franklin Delano Roosevelt Memorial, Acoma Pueblo, historic Charieston, and Native Hawaiian sites. It is these arrisans that help the Narional Park Service and its state and local partners to preserve America's treasured heritage. THC FesTivaL: speaKinc of HeriTaoe by Deny Galvin, Acting Director, National Park Service The New York City program highlights the way in which that city has become the global village. Broadway, the fashion industry, the Apollo Theater, and Wall Street are all featured. So too is the vital cultural creativity that has come about as people from the worid over have settled in New York. The Festival