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6/28/75 - Washington D.C. Folk Festival

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The original documents are located in Box 6, folder "6/28/75 - Washington D.C. Folk Festival" of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald R. Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Some items in this folder were not digitized because it contains copyrighted materials. Please contact the Gerald R. Ford Presidential Library for access to these materials. Fice festival Sat. 35 of american June 27 EDITORS' ADVISORY folklife Mrs. Ford went with Jack Ford, SMITHSONIAN INSTITUTION NATIONAL PARK SERVICE PRESS PREVIEW FOR 1975 FOLKLIFE David FESTIVAL SET FOR TUESDAY, news Leenner JUNE 24, AT 11 A.M. (PROMPTLY) & Frend riody of Davidi This special press preview of the 9th annual Festival of American Folklife will enable reporters to interview and film crafts people participating in the Festival, and to view the exhibits and entertainment that later will be enjoyed by crowds expected to exceed the 1 million-plus who attended the 1974 Festival. Press parking for the preview, and during the Festival, will be on French Drive, between the Lincoln Memorial and Independence Avenue. Parking permits will be issued at the site. The preview will start from the Press Tent, located on the Independence Avenue side of the Reflecting Pool. The tent will have typewriters, telephones and other amenities. Electric vehicles will be available and camera crews and photographers should unload equipment from French Drive to the carts. NO AUTOS WILL BE PERMITTED ON THE FESTIVAL GROUNDS. During the Festival, the vehicles should be scheduled in advance of visits by calling 381-6525. If you plan to cover the Festival and would like to have a press badge and press kit awaiting you at the Press Tent, please fill out and return the enclosed card. Registration is, of course, a convenience, not a necessity. For further information, call Susanne Roschwalb (381-6525) or Mary Krug (426-6700). ANERICAN REVOLUTION WEENTENING Sponsored by -0- AmericanAirlines SI-141-75 General Foods 5-23-75 1776-1976 © FORD is 075939 LIBRARY Digitized from Box 6 of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library Announcing the 9th Annual festival of american folklife Wednesday, June 25 through Sunday, June 29, 1975 Wednesday, July 2 through Sunday, July 6, 1975 Crafts 11 am to 5 pm; Music 11 am to 8 pm "The great national family reunion" In Washington, D.C. on the Mall, the 50 acre park between the Lincoln Memorial and the Washington Monument It's Free! Presented by AMERICANA REVOLUTION 1776-1976 WENTENNING Smithsonian Institution National Park Service Sponsored by American Airlines General Foods Supported by American Revolution Bicentennial Administration, U.S. Department of Labor, U.S. Department of Transportation, U.S. Department of Commerce, AFL-CIO, and in kind support from foreign, state and local governments What it is festival of has become the major summertime event in Washington, D.C. we are not a melting pot, but the most diverse society to exist in the history of american man. This is our strength, and this is what we celebrate. folklife the art, music, dance, food and stories that the people have created from their own experiences. 1975 marks the 9th Annual Festival. The event, begun in 1967 has been moving towards 1976 when Washington will be the focus of the national Bicentennial and the Festival of American Folklife will be the focus in Washington. Who it is The Festival is organized into theme areas - each speaking to the individual American about his past and his present. Old Ways in the New World, Native Americans, Working Americans and Regional Americans. STREET LAFAYETTE PARK PLACE : 13TH ITM 10TH ATH 340 STREET STREET 21ST 6TH STM STREET STREET SQUARE AVE 23RD MILESTONE 8TM TH MUNICIPAL PLACE CENTER : THE ELLIPSE E [LN] 2ND CONSTITUTION AVENUE , WEST POTOMAC U.S CAPITOL CAPITO O THE MALL ADAMS LIBRARY FOLGER JEFFERSON 0 Festival of American Folklife 0 INC AVENUE KUTZ BRIDGE PARK 0 STREET festival of american folklife Old Ways in the New World brings together American ethnic communities and their traditional counterparts from the Old World. In 1975, Japan, Lebanon, Germany, Italy, Panama, Mexico, Ghana, Jamaica, Haiti and more than 12 American-ethnic groups have been invited to participate. Native Americans shows the cultural life of the first Americans. This year the six nations of the Iroquois Confederacy will participate. In 1976 more than one dozen tribes from throughout the nation will come to the Bicentennial Festival. Working Americans explores the traditions of work in America and the pride, skills and lore of working people. Workers in Transportation from the ranks of railroaders, truck drivers, seafarers, air traffic controllers, aircraft and possibly ship assembly workers will participate. In 1976 over 110 unions and organizations will be invited to participate. Regional Americans demonstrates how the region in which Americans live has contributed to our life styles. In 1975 music, cookery and crafts that are indigenous to Coastal California and the Northern Plains will be featured. Family Folklore focuses on four areas common to all family life - family expressions, family foods, travel games and family histories. Through photographs, home movies and oral histories entire family groups can share their styles. Children's Area is the place where children will demonstrate their own culture to parents. This will include the games, rhymes, songs and crafts with found objects that have grown out of their experience. 1975 Presentations Through the efforts of field workers traveling thousands of miles, interviewing thousands of candidates, what is presented at the Festival is a vivid testimony to the diversity and creative dynamism of the traditional American. A partial listing of the planned 1975 presentations: Crafts Haflah Japanese flower Saint's Day arranging Carnaval Panemeño Japanese stitchery Musical Instruments Japanese ribbon craft willow basket weaving German accordion sweet grass baskets hammered dulcimer hay twisting (hackbrett) oak splint baskets zither Native Americans Ghana Workers in cheese making brass The Iroquois Jamaica Transportation silver work violins Confederacy: Transportation songs milling broom playing Mohawk workers' narratives Lacrosse stick making saw playing Cayuga Food lashing soap making 'ud Seneca marakout bread splicing Kente cloth weaving buzuq Onondaga khubz switching kite making nay Oneida corn soup signaling rope tricks rebab Tuscorora mochi-tsuki repairing corn husk doll making darbukkah sushi assembly Sicilian puppetry Iroquois water drum zeppole guitar making koto Countries calzone Regions Piñata making Taiko drum Japan bratwurst Coastal California flute Lebanon fry bread Northern Plains Celebrations baja sexto Germany pasta North Dakota Iroquois socials jarana Italy carimanola South Dakota Natsu Matsuri arpa Panamá chichas Nebraska German wedding guitarrón México tamales Kansas festival of american Postage and Fees Paid folklife Smithsonian Institution U.S.MAIL Division of Performing Arts Smithsonian Institution Washington, D.C. 20560 festival of american PRESS REGISTRATION CARD folklife NAME PUBLICATION ADDRESS TELEPHONE I do plan to attend Press Preview June 24. SMITHSONIAN INSTITUTION WASHINGTON, D.C. 20560 POSTAGE AND FEES PAID SMITHSONIAN INSTITUTION OFFICIAL BUSINESS PENALTY FOR PRIVATE USE, $300 U.S.MAIL DIVISION 3 955 ENTRY what SURE 2100 AMTRAK BUILDING WASHINGTON, D.C. 20024 Announcing the 9th Annual festival of american folklife Wednesday, June 25 through Sunday, June 29, 1975 Wednesday, July 2 through Sunday, July 6, 1975 Crafts 11 am to 5 pm; Music 11 am to 8 pm Presented by AMERICANA REVOLUTION 1776-1976 WENTENNING Smithsonian Institution National Park Service Sponsored by American Airlines General Foods Supported by American Revolution Bicentennial Administration, U.S. Department of Labor, U.S. Department of Transportation, U.S. Department of Commerce, AFL-CIO, and in kind support from foreign, state and local governments What it is festival has become the major summertime event in Washington, D.C. of we are not a melting pot, but the most diverse society to exist in the history of american man. This is our strength, and this is what we celebrate. folklife the art, music, dance, food and stories that the people have created from their own experiences. 1975 marks the 9th Annual Festival. The event, begun in 1967 has been moving towards 1976 when Washington will be the focus of the national Bicentennial and the Festival of American Folklife will be the focus in Washington. Who it is The Festival is organized into theme areas - each speaking to the individual American about his past and his present. Old Ways in the New World, Native Americans, Working Americans and Regional Americans. HELL 10TH 4TH ONE STREET STREET 21ST 6TH 5TM STREET STREET LLERY SQUARE RED AVE STREET OWEZ STREET 8TH TM I PLACE CENTER THE ELLIPSE [UL] - DE AVENUE I WES PO OMAC SUPREM U.S CAPITOL WASHINGTON 0 THE MALL ADAMS LIBRARY and V Festival of American Folklife, 8 AVENUE AVENUE KUTZ BRIDGE - 0 PARK STONE STREET festival of american folklife Old Ways in the New World brings together American ethnic communities and their traditional counterparts from the Old World. In 1975, Japan, Lebanon, Germany, Italy, Panama, Mexico, Ghana, Jamaica, Haiti and more than 12 American-ethnic groups have been invited to participate. 1 Native Americans shows the cultural life of the first Americans. This year the six nations of the Iroquois Confederacy will participate. In 1976 more than one dozen tribes from throughout the nation will come to the Bicentennial Festival. Working Americans explores the traditions of work in America and the pride, skills and lore of working people. Workers in Transportation from the ranks of railroaders, truck drivers, seafarers, air traffic controllers, aircraft and possibly ship assembly workers will participate. In 1976 over 110 unions and organizations will be invited to participate. Regional Americans demonstrates how the region in which Americans live has contributed to our life styles. In 1975 music, cookery and crafts that are indigenous to Coastal California and the Northern Plains will be featured. Family Folklore focuses on four areas common to all family life - family expressions, family foods, travel games and family histories. Through photographs, home movies and oral histories entire family groups can share their styles. Children's Area is the place where children will demonstrate their own culture to parents. This will include the games, rhymes, songs and crafts with found objects that have grown out of their experience. 1975 Presentations Through the efforts of field workers traveling thousands of miles, interviewing thousands of candidates, what is presented at the Festival is a vivid testimony to the diversity and creative dynamism of the traditional American. A partial listing of the planned 1975 presentations: Crafts Haflah Japanese flower Saint's Day arranging Carnaval Panemeño Japanese stitchery Musical Instruments Japanese ribbon craft willow basket weaving German accordion sweet grass baskets hammered dulcimer hay twisting (hackbrett) oak splint baskets zither Native Americans Ghana Workers in cheese making *brass The Iroquois Jamaica Transportation silver work violins Confederacy: Transportation songs milling broom playing Mohawk workers' narratives Lacrosse stick making saw playing Cayuga Food lashing soap making 'ud Seneca marakout bread splicing Kente cloth weaving buzuq Onondaga khubz switching kite making nay Oneida corn soup signaling rope tricks rebab Tuscorora mochi-tsuki repairing corn husk doll making darbukkah sushi assembly Sicilian puppetry Iroquois water drum zeppole guitar making koto Countries calzone Regions Piñata making Taiko drum Japan bratwurst Coastal California flute Lebanon fry bread Northern Plains Celebrations baja sexto Germany pasta North Dakota Iroquois socials jarana Italy carimanola South Dakota Natsu Matsuri arpa Panamá chichas Nebraska German wedding guitarrón México tamales Kansas festival of american Postage and Fees Paid folklife Smithsonian Institution U.S.MAIL Division of Performing Arts Smithsonian Institution Washington, D.C. 20560 SMITHSONIAN INSTITUTION WASHINGTON, D. C. 20560 POSTAGE AND FEES PAID OFFICIAL BUSINESS SMITHSONIAN INSTITUTION U.S.MAIL PENALTY FOR PRIVATE USE, $300 D. P. A. 2100 L'Enfant Plaza Ms. Sheila Wiedenfeld The White House 1600 Pennsylvania Ave. Washington, D. C. REVOLUTION HOUSE MAIL WHITE RECEPTION & SECURITY AMERICAN 1776-1976 1915 20 Processed by THE WHITE HOUSE WASHINGTON Fran dear, Manny melen dez ask me to send these to you- Peggie Brumback SERALD R FORD 1975 festival of american folklife SMITHSONIAN INSTITUTION NATIONAL PARK SERVICE B & O 41917 When John Henry was a little boy Sitting on his father's knee Said the Big Bend Tunnel on the B.&O. Is going to be the death of me. Bringing Americans together is one of the things American Airlines is proud to support a Bicentennial project we do best. that's also about bringing Americans together - the Festival of American Folklife. Different people coming together for a common purpose - to live, to work and to play - is a magnificent human enterprise. It's at the heart of our heritage, and it's the reason why we have faith for the future. We, the more than 35,000 people of American Airlines, will be doing our best by helping the Festival get around the country. And by encouraging Americans every- AAA where to visit it. 1975 festival of american folklife SMITHSONIAN INSTITUTION NATIONAL PARK SERVICE AMERICANT REVOLUTION 1776-1976 ™ Sponsored by AmericanAirlines General Foods TM Foreword The Cover The living art that the American peo- ple make of their own experience is not taught in our educational institutions, performed in our concert halls or housed in our museums. Folk songs and dances may be taught in schools and interpreted by professionals in concerts; material culture appears in museum exhibitions and collections, AMERICA. but living folkways are drenched with the rich, vital style which only the living tradition bearers themselves can impart to the performance of a song, to the execution of a complex craft technique, to the telling of a tale. The Festival cele- brates folk cultures as they persist in to Canada for a virtuoso when a big For a century and a half the train thousands of styles among millions of wedding is in the offing. has been a powerful symbol. Its impact people who inherited folkways as part Each community has its own values, on folk creativity has been as dynamic of their life styles. recognizes its own cultural leaders and as has its effect on the transportation The Festival was established in 1967 living treasurers. It takes a bit of cultural industry. At this year's Festival it serves by Secretary Ripley with the phrase: detective work for us to identify the as an appropriate symbol, unifying the "Take the instruments out of the cases community values and reflect them six program themes. It is a folklore and make them sing." The Smithsonian accurately. More than 50 field surveyors image that originates in Working had the objects; the mandate was to have helped bring together this year's American's area, but affects us all. find the people who create and use 900 participants. The role of the Festival Regional Americans are descendants them. is to find, encourage and celebrate the of some who came to this country to Our quest has been neither demo- cultural minorities that make up the build "the iron road." As a unifying graphic nor ethnographic. The search American majority. force, the train joined the two coasts is to locate people who are strong living The separate programs are conven- bringing people together. As a dividing practitioners of music, food, dance and ient but overlapping groupings: we are force, it cleaved the prairies, decimating craft traditions. all Working, Regional and Ethnic Ameri- the buffalo, pushing Native Americans Much of the material demonstrated cans who have participated in family from ancestral lands to narrowly and performed at the Festival is heard and children's folklore. The Festival is defined reservations. The train was a regularly in homes and backyards, com- the place for you to meet the champions passage to freedom for Blacks, the munity halls and churches across the of these traditions but also to contri- source of song and lore for poets and country. Most of the material is per- bute. The National Park Service and bards. At the Festival Mrs. Elizabeth formed unreflectively, some is taken the Smithsonian Institution invite you Cotten, the 82-year old singer-guitarist for granted by the participants them- to participate in this event bringing to will sing her childhood composition, selves, and some is treasured. it your own songs, stories, dances, "Freight Train," a beloved folk song Among communities of sacred harp recipes, superstitions and jokes at the now heard round the world. Other singers everyone can lead the singing same time that you come prepared to songs of transportation will be shared and read the shape notes, even young- learn those of others. in the Working Americans area where sters. But each group has one leader railroaders will also tell stories and who can lead and read better than the James R. Morris demonstrate skills, The train is a focus, rest. The Karpathos Greeks in Balti- Director, Division of Performing Arts generating heroes, heroines and more may have good lyra players and Ralph Rinzler dreams. pipers of their own, but they may send Director, Festival of American Folklife Cover photo by Lightworks. 2 Contents: The Festival: Theater of Action Foreword 2 The Festival: Theater of Action by S. Dillon Ripley 3 The Festival: Living History by Gary Everhardt 4 Working Americans 5 Rail Lore by Archie Green 7 Regional Americans 9 The Regions of the U.S. by Mack McCormick 12 Children's Folklore 14 Family Folklore 16 General Information: Programs 17 Highlights: June 25 18 June 26 20 June 27 22 June 28 24 June 29 26 Festival Map 28 July 2 30 July 3 32 July 4 34 July 5 36 July 6 38 General Information: Services 40 Eight years ago the Smithsonian ence of "Old Ways in the New World," as Old Ways in the New World 41 started the annual summer Festival of we call it-the perpetuation of national African Diaspora 46 American Folklife involving live per- and family folkways, whether they be- The World Family of Stringed formers. They demonstrated to visitors long to so-called minorities or are trans- Instruments on the Mall that a museum exhibit might mitted customs from all over the world. by Tom Vennum 48 consist of tools or instruments tem- In the same way, we have brought Old Ways in the New World: porarily laid aside, but not obsolete. The Native Americans to the Mall to demon- On Tour 49 persistence of crafts, of cultures that strate the resurgent Indian population's Native Americans 50 involve making, using and playing with concern with enduring crafts and rituals, such tools or instruments, needed to be while our "African Diaspora" celebrates What's Your Indian Language I.Q.? 53 underscored, and our theater of action the music, body movement and life- Komi Haynes 53 was the museum. styles of Blacks on three continents. In Supporters 54 Staff 55 THE R. FORD LIBRARY I venture to think that there is a close a typical large American city such as relationship between what our Festival Philadelphia there are perhaps 30 sub- (June 25-26 and July 2-6) has been seek- cultures, whose practitioners jealously ing to express and some of the newly perform Polish folk dances, eat Greek recognized strivings encompassed in food or preserve tribal music. the terms "cultural diversity" or "plural- There is in mankind today a fear of ism." In the Folklife Festival we rejoice the loss of identity. We fear that union C Smithsonian Institution 1975 in the annual recognition of the persist- of megastates and megacorporations 3 The Festival: Living History which for efficiency's sake would mold as high as 35 million. us all-our thoughts as well as our Those Americans fortunate enough to actions-to a new life where differences visit Washington this year will share in between groups would be smoothed "the great national family reunion" out. Communications, education and represented in the ninth annual Festival international economics would grad- of American Folklife. We in the National ually wipe out group differences. Park Service are proud to be a part of In the United States we still recognize the Festival and believe it represents cultural diversity or pluralism. In the what the folk of America are all about United Nations, nationalism is rampant. where they come from and their own Nationalism is a political extension of unique contributions to our way of life. the individual's yearning for the family, In a sense this Festival epitomizes the the clan, the tribe. Bicentennial. We are pleased to be part- Is it any wonder that the persistent ners with the Smithsonian Institution in quest for identity surfaces in nationalist bringing to the Mall this collage of (i.e. tribal) strivings in India? Nagas cultures. prefer to keep themselves identifiable In national parks throughout the as Nagas. Persistent tribal patterns in United States Americans and foreign Africa, religious patterns in Northern visitors can see re-creations of incidents Ireland, nationalist actions in the Middle and the folkways of early Americans. East all have a close correlation with From our great western parks to those the persistence of folk cultures and along our eastern shore, the dwellings tribal or clan relations. I suspect that the and lifestyles of the earliest Native Amer- continuing tensions in the Middle East icans and the "discoverers" of the new would be placed in clearer perspective world are preserved or re-created. These if they were understood to have strong living history lessons provide for Amer- folk roots far deeper than economics or icans a deeper feeling for their land. even religion. Recent experience in the The 1975 Festival of American Folk- less developed parts of the world shows life represents one of the biggest living that fear of the iron fist can only tem- history programs ever presented on one porarily still these folk strivings. Inter- site. But it still will not surpass the Festi- national law and order, lacking even an In this year when we are preparing to iron fist, has failed to control inter- celebrate our nation's Bicentennial in val planned for 1976. The National Park national anarchy. Perhaps there is an- 1976 many of our efforts are being di- Service is indeed delighted to be a other way through understanding and rected toward reviewing, interpreting sponsor of this year's program, looking forward to its culmination in the Bicen- accommodating the basic human fears and displaying the contributions made of loss of identity, and the basic per- by all our peoples to the political, tech- tennial Festival next year. sistence of folkways. For these are urges nological, cultural and social develop- Gary Everhardt so strong as to confound the planners, ment of our country. Director, National Park Service let alone the diplomats. Throughout the nation appropriate In view of the harmony and delight activities will be staged in 1976 to com- that our Folklife Festivals produce, are memorate the people and events that our museum experiences perhaps tell- made our history. Obviously, not all ing us something that we should Americans will be able to visit all these hearken to in a larger theater? sites. However, millions of Americans will visit our nation's capital this year S. Dillon Ripley and next. The estimates on the number Secretary, Smithsonian Institution expected during the Bicentennial reach 4 Working Americans Whenever people or goods are moved of transportation workers. The goal of skills, airline maintenance, and rail- by map coordinates, bounded at the top from one place to another, transporta- this area is to put names and faces in road maintenance of way. The second and bottom by specific altitudes and tion workers load it, haul it, tow it, truck place of services and machinery, to ap- will be devoted to the performance of continually changing due to the com- it, fuel it, service it, and keep it rolling. proximate as closely as possible the stories, jokes, personal experiences and plexities of moving aircraft and weather Towboat deckhands don work vests and actual work place, the human feelings other narrative expressions of trans- conditions. A controller tracks and ad- prepare the rigging for a midnight turn and the tone of the occupation. By portation workers. The Working Amer- vises the pilot in his sector and then of grain and coal-filled barges coming focusing on the skills, styles, stories, icans stage will feature the performance "hands him off" to a fellow controller as up-river from Cairo bound for St. Louis; jokes, beliefs and customs of contem- of songs and music growing out of the the plane passes into another area. air traffic controllers carefully plot porary workers, the Festival reveals the work experience. The third area is the Visitors will see demonstrations of this alpha-numeric readouts of traffic above similarities and differences of occupa- Learning Center. Here photographs of three-dimensional chess game and hear D.C.'s National Airport; the yard en- tional backgrounds. This presentation skills in the work environments, video- accounts of the interesting and dramatic gine at a midwest classification yard is the result of extensive planning and tapes and sound recordings taken on- events arising from the occupation. "shoves" a train of boxcars toward the cooperation among the AFL-CIO, the the-job can be experienced by the hump as a brakeman cuts cars bound U.S. Department of Labor, the Smith- Festival visitor. By presenting the sights for several eastern destinations; a com- sonian Institution and its folklife schol- and sounds of work not simulated or Commercial Aircraft Machinists missary cook fries sixty steaks for a ars, the National Park Service, and transportable to the Mall, such as the and Maintenance Workers flight from Kansas City to Los Angeles, transportation workers throughout the scale of a 747 overhaul bay, the massive There are two basic kinds of passen- while an inspector cautiously reads the country. weight and power of a modern towboat, ger-carrying aircraft being manufac- oil on a 747 wing strut before buying the complexities of a railroad classifica- tured and flown in this country-the the work of the day crew; and a sleeper The Exhibit tion yard and the ordered confusion of smaller corporate and private planes team stops at White's for a cup of hun- Visitors to the Working Americans an aircraft factory, a more complete produced by the general aviation indus- dred mile coffee before making the section of the Festival will have three understanding of the other Working try, and the large commercial jets South Charleston terminal with a load areas in which to share the occupa- Americans areas will be possible. Reg- operated and maintained by the major of 84 bills. tional folklore and skills of workers in ular workshops and scheduled discus- airlines. This portion of the Working This year the Working Americans transportation. The first presents simu- sions will deal with such topics as the Americans section seeks to explore the section presents the skills and lore lated work sites which will include areas safety considerations in these occupa- general aviation field by presenting the found within the work days and nights for bulk freight trucking, maritime tions, the twenty-four hour work rhythm skills involved in the fabrication of a of transportation workers and the simi- single-engine airplane's nose piece on larities and differences found in the the spinning lathe, the sub-assembly of movement of people and goods by fuselage and control panel sections and various transportation occupations. the machining of aluminum gears and Air Traffic Controllers parts. The commercial aircraft presen- tation will present repair and mainten- Air traffic controllers regulate the ance of an engine pylon section from a flow of vehicles through the roadways 727 aircraft, the recycling of parts which of the skies. Their work place is a dimly- are taken down and rebuilt by hand by a lit room filled with radar screens and "junkman" and the constellation of electronic communications equipment, skills involved in the repair and main- but their actual area of responsibility is tenance of the small jet engine now a three-dimensional piece of airspace. found on most 727's and 747's-the Each controller watches a particular auxiliary power unit (APU). Workers in volume of air, located geographically both the general aviation and com- mercial fields will also share their unique Machinists skills and the ways in which occupational lore-one which combines workers relate to each other, to their the excitement and mystery of airplanes tools, materials and products generate with a distinct pride and confidence in group awareness. their work. 5 Participants Railroad Workers erated a lively repertoire of folklore. Members from- American Federation of Musicians One of the most pervasive occupa- Today, however, the size of supertankers Air Traffic Control Association Hal C. Davis, President tional and cultural symbols in America, and line boats pushing bulk cargoes President: Joseph P. O'Brien in cooperation with the railroads and the people who work through inland waterways has added a Brotherhood of Locomotive Engineers THE MUSIC PERFORMANCE TRUST on them, will also be featured in this dramatically increased scale to the President: Burrell N. Whitmire FUNDS year's Festival. A four car display, track work environments of these men and Brotherhood of Maintenance of Way Kenneth E. Raine, Trustee laying and maintenance of way skills women. Consequently, it has not been Employes Music Performance Trust Funds possible to bring actual working vessels President: Harold C. Crotty The music for this occasion is provided by a area, signaling area and a mock-up to the Festival. However, timberheads, Brotherhood of Railroad Signalmen of grant from the Music Performance Trust locomotive engine will become staging cavils, and buttons can and have been America Funds, a public service organization created areas for skill demonstrations, story- President: Charles J. Chamberlain and financed by the Recording Industries telling and singing sessions by contem- placed on the Mall to illustrate rigging, International Association of Machinists under agreements with the American porary railroad workers. tying off, knot tying, and splicing skills. Federation of Musicians. Storytelling sessions, monitoring of and Aerospace Workers President: Floyd E. Smith John Benson: Singer, fiddler Workers in Trucking boat-to-boat communications, singing, International Brotherhood of Teamsters, Saul Broudy: Singer, guitarist, harmonica Although the truck driver recently has and signaling will also be offered in player Chauffers, Warehousemen and Helpers captured the attention of the popular appropriate skill areas and on the Work- of America Mickey Clark: Singer, guitarist media, his or her relationship to the ing Americans stages. President: Frank E. Fitzsimmons Elizabeth Cotten: Singer, guitarist John Jackson: Singer, guitarist Seafarers International Union of North dispatcher, dockworker, yardman and Smithsonian Museum Exhibits Louis Killen: Singer, concertina player America mechanic in the hauling of freight has Lewis London: Singer, dobroist There are also many permanent and President: Paul Hall been less clearly understood. To elabo- Bruce Phillips: Singer, guitarist rate on the interrelationships of con- temporary exhibits in the Smithsonian's United Transportation Union Jim Ringer: Singer, guitarist President: AI H. Chesser temporary trucking a working break Museums of History and Technology Bodie Wagner: Singer, guitarist District of Columbia Truck Roadeo bulk loading dock is a staging area for and Air and Space that provide visitors Gerret Warner: Singer, guitarist, banjo player Chairman: Gerald F. McCully with an opportunity to increase their Jeff Warner: Singer, guitarist, banjo player dockworkers, drivers, dispatchers and mechanics to display and discuss their knowledge of the people and equipment skills. A mock truck stop, complete with involved in transportation-both past 100 mile coffee, stories of jack-knifed and present. The first floor of the rigs, narrow escapes and a jukebox Museum of History and Technology filled with truckers' music is another contains permanent exhibits of farm demonstration area. At both the skill machinery, road vehicles (including a area and the Working Americans stage, 1930 Mack Truck Bulldog and a rare truckers will sing the songs of the dock 1912 Knox tractor), American merchant and the road. A feature presentation shipping, and a railroad hall that in- will be a truckers Roadeo on June 28 cludes a PS 4 Pacific type locomotive, and 29 performed by members of the the Southern Railway's No. 1401. The Washington, D.C. Trucking Association. North hall of the Arts and Industries Since its inception in 1937, the Roadeo Building and the quonset hut on Inde- has served the trucking industry by pendence Avenue feature aircraft and spotlighting the skill of the professional air technology from the first flying ma- truck driver. Drivers compete on written chines to the sophisticated equipment safety tests, inspections for equipment used in our space program and will be defects and the most exacting test-the open through September 1, 1975. obstacle course. Deep Sea and Inland Boatmen The skills of the seafarers-"Tying off" The past experiences of inland boat- a hawser on the bow of a towboat-are men and deep sea sailors have gen- demonstrated by Working Americans. 6 Rail Lore by Archie Green For a century and a half American I'm a walkin' down the track, railroad workers have created folklore- I've got tears in my eyes, songs, stories, styles-to cloak their Tryin' to read a letter from my home. lives. These on-the-job expressions by I'm goin' home on the mornin' train, hoggers, snakes, and tallowpots as well I'm goin' home on the mornin' train. as by baggage smashers, brass pound- I'm goin' home, I'm goin' home, ers, and car knockers were natural ex- I'm goin' home on the mornin' train. tensions of work, much like greasy The first, part of a bluesy lament, deals overalls or telegrapher's green eye- with earthly love and deep alienation. shades. In the most direct sense, a Although this lyric folksong is often spikedriver's chant or a fireman's elegy titled "Nine Hundred Miles" it is as to his dead engineer was a verbal or much a comment on social as it is on musical form which helped members of spatial distance. The second opens an a distinct occupational group define old spiritual concerned with the meta- their social and economic roles. phoric journey after death. Rail craftsmen see locomotives, ca- The iron horse's trail across the United booses, roundhouses, or track-sections States is marked in cartographer's as other mechanics view their personal signs. Cross ties are a few inches apart, work sites. Simply stated, one earns a while trestles and tunnels may be hun- living at the throttle or on the section. dreds of miles apart and an S.P. reefer All human work is decorated by some on a Maine siding is a continent away artistic embroidery and railroading is from home. But our nation's span is richer than most kinds of work in this also found in the imagination, not meas- decoration. urable by geographic codes. It is when Had rail lore remained the esoteric we non-railroaders are caught up by a possession of only a special work force, trainman's story that we begin to meas- it would have resembled the hidden ure it against our experience, our culture of ironworkers or shipwrights- personal sense of time and place. Here, known chiefly within tight vocational of course, we try to assimilate rail lore bounds. But the lore of trains spread "No other vocational lore including To hear and see the folklore of others and give it non-occupational meaning. beyond the industry. that of cowboys and sailors is as requires some probing, some analysis To some extent we all identify with America has carried on a fifteen- etched into the American character as a prelude to appreciation. Perhaps Casey Jones' heroism or John Henry's decade love affair with iron horses and as rail lore." the best handle in dealing with rail lore vitality. Likewise, we are amused when long steel rails. Obviously, train folk- an omnipresent emblem. Further, it is a is to appreciate the dual nature of the we first learn that trains have nick- lore was not the limited creation of multi-faceted symbol: power, conquest, material-functional and symbolic. Di- names: The Richmond, Fredricksburg railroad workers, for it was also formed love, loneliness, resignation, escape, rectly, the simplest figures of technical and Potomac is also the Run, Friends and extended by individuals within adventure. Not everyone knows the speech such as "flagging" and "high- and Push. We enjoy incorporating train other callings. Indeed, no other voca- deafening clang of the roundhouse balling" served to pace work. Traditional talk into casual speech. "Sidetrack," tional lore, including that of cowboys boilermaker's hammer; not everyone slang is a tool to facilitate work itself; "doubleheader," and "cannonball" are and sailors, is as etched into the Ameri- understands the beckoning callboy's job talk also sets old-timers apart from fluid words widely used today in many can character as rail lore. ritualistic duty. Yet all have been apprentices, and both from non-initi- contexts. For most non-railroaders the train is touched by rail lore. To live outside the ated outsiders. In our travels it is still fun to find railroad craftsman's domain does not Dr. Archie Green, a member of the executive When those in other callings respond "Kilroy Was Here" scrawled on rocks board of the American Folklore Society, is make one immune to his expressive to a rail composition it is largely be- and signposts. It is also pleasurable to the author of "Only a Miner." He will be life. Plainly, the "Orange Blossom Spe- cause of the train's symbolic purpose. know that Kilroy's hoary predecessor teaching in the graduate program at the cial" is not an instrumental piece played Two stanzas describing similar physical was a fancy calligraphic figure, J. B. University of Texas in the fall. only for railroaders. movement make the point effectively: King, chalked onto boxcar walls: 7 Who in the h--- is J. B. King? fire's very color in order to assert their between runs would lay over in bleak Books You see his name on everything! control over an elemental and mys- company dormitories. Talk fests filled Beck, Horace. Folklore and the Sea. Mid- On boxcar high, and flatcar low, terious power? in time and established brotherhood. dletown, Connecticut: Wesleyan University You see his name wherever you go. The train itself-steam engine, rattling These sessions were not identified by Press for the Marine Historical Association, Within the limited scope of a festival gondola, luxurious sleeper-is an im- the name of the terminal-point dorm, Inc., Mystic Seaport, 1973. booklet, one can note but a few ex- Botkin, Ben, and Alvin F. Harlow. A Treas- mensely complex machine as well as a but, rather, by the term "Baker Heater ury of Railroad Folklore. New York: Bonanza amples of the innumerable types of rail symbolic subject/object in American League," named after a long-obsolete Books, 1953. lore: superstitious beliefs about ghostly folklore. Gifted storytellers and folk- Pullman car-heating-apparatus. Doerflinger, William Main. Songs of the trains, watertank graffiti, craft initiation singers have had decades to polish Figuratively, the Festival of American Sailor and Lumberman. New York: Macmil- pranks, mournful ballads exorcising their narratives and melodies against Folklife is an extended "Baker Heater lan, 1972. grief from accidental deaths, language shining drive wheels. They have also League" in which we all relive each Gilbert, Glen A. Air Traffic Control: The of flags, lights, and hands to supple- had appropriate settings in which to other's excitement in work well done, or Uncrowded Sky. Washington, D.C., Smith- ment speech. The list is endless but two perform for their peers. The faded wall- attempt to accommodate some of the sonian Institution Press, 1973. customary practices demand attention. paper in many a boarding house was pain also found on the job. Hopefully, as Hubbard, Freeman H. Railroad Avenue: Industrial folklore does not gloss over but one backdrop where a conductor we see and hear ephemeral rail lore on Great Stories and Legends of American Railroading. New York: Whittesley House, work trauma. When freight cars were could hone a savory anecdote into a the National Mall, we will perceive it 1945. coupled by hand with link-and-pin de- traditional tale. Who has no memory of both as a functional badge of craft skill Knox, Jack. Riverman. New York: Abingdon vices, boomers would directly ask yard- depot crews sitting on their baggage and as a symbolic signal light in the Press, 1971. masters for work. These bosses, in turn, cards, "taking five" to pass along jests American imagination. Tak, Montie. Truck Talk. Philadelphia: asked brakemen and switchmen to hold while waiting for the train's arrival? Chilton Book Company, 1971. up their hands in place of written ref- When rough-handed construction Records erences or service letters. If the appli- stiffs of every color and nation laid cant had fingers missing, this certified America's rails, they also fused the The Ballad Hunter, Part VIII, Work Songs that he was an experienced worker and noise and pulse of their work into folk- for Rail Tamping and Track Laying. Library of not a greenhorn. lore. Whistle moans, wheel clicks, me- Congress L52. Curless, Dick. Dick Curless. Capitol Rec- One response to hazardous and on- tallic screeches, and engine roars were ords ST-11119, ST-11087. erous work was trade unionism. Rail- all humanized by warm emotion. We Dudley, Dave. Truck Drivin' Son-of-a-Gun. roaders were organizing unions early, still hear these transformed sounds Mercury Records 61028. and engaged in serious strikes during when harmonica and fiddle wizards Haggard, Merle and the Strangers. Same 1877 and 1894. Strikers were frequently grace the concert stage or festival Train, Different Time. Capitol Records SWBB- dealt with violently and were also black- platform 223. listed. Such job discrimination led The Festival of American Folklife is Railroad Songs and Ballads. Library of boomers to develop the custom of but one kind of a presentation that Congress L61. Rodgers, Jimmie. Train Whistle Blues. using their brotherhood (union) paid-up draws on work-centered culture. Ideally, RCA Victor LPM-1640. cards as "pie-cards." Hence, member- the Smithsonian Institution provides Simpson, Red. The Very Real Red Simpson. ship cards became meal tickets to gain for interaction between carriers of tra- Capitol Records ST-11093. food, rides, or shelter from other union dition and members of the larger so- Sovine, Red, or More and Napier. Best of brothers. ciety. Specifically, our Festival sets a the Truck Driver Songs. Starday 454. Even the simplest traditional act can particular scene where citizens from all Songs and Sounds of the Sea. National be viewed at several levels of meaning. walks can closely watch other working Geographic Album 07705. Before diesel fuel supplanted coal, people. In such an arena we begin to Trucker Stars. Hilltop Records JS-6134. engineers and firemen would knot red comprehend industrial folklore. As we bandanas around their necks to keep hear men and women at work we pull from being burned by showering cin- their speech patterns into our own ex- Railroad yardmen prepare a coal car for ders. Was this only a protective act? perience, and we relate their zeal to our freight classification. Their occupation Could these workers also have be- personal aspirations. generates skills, songs, jokes, customs decked themselves with a bit of the Many years ago, Pullman porters and costumes shared at the Festival. 8 Regional Americans Americans have traditionally drawn a economy of the area is based on grain As much as possible the music, cook- Steam-powered threshing equipment large share of their identity from the crops, feed crops, and livestock produc- ing or crafts are presented in the was commonly used in the Northern regions in which they live and work. For tion. The geography of the area is wide, contexts in which they are normally per- Plains before the combine. Old and the past seven years the Festival of flat expanses blanketed by long, deep formed. The idea is to make the Festival new threshing techniques are American Folklife has featured the tra- winters. The settlers of this region as much a celebration as an educational demonstrated at the Festival. ditions of a single state. This year we learned to be self-sufficient, skilled experience by providing a scene where expand on this format by presenting a users of every shred of available ma- musicians, craftsmen and cooks can multi-state region on the one hand and terial; e.g. they constructed houses share what they do by simply doing it. an intrastate region on the other: The from prairie sod and baled hay as sub- Crafts presented are associated oc- tinguished for their ability to stretch a traditional crafts, music, dance and stitutes for conventional building ma- cupational and domestic crafts. For seasonal crop into a year's food supply. cooking that distinguish the Northern terials unavailable to them. They were example, livestock-related crafts are The Festival cookbook features such Plains and the California Heartland will original re-cyclers, particularly in food those involved with maintenance, auc- regional specialties as blood pudding, be featured. preparations and crafts. tioneering, leatherworking, blacksmith- sauerkraut and fruit preserves. Cooking Well in advance of the Festival field The Festival presentation will repre- ing, wagonmaking and repair and metal will be demonstrated and sampled daily. surveyors working with folklorists in the sent the agriculture of the area by grow- working. Regular roundups, never 9 to Dances were the primary way of bring- featured regions covered thousands of ing on site wheat, the principal grain 5 operations, are a typical part of the ing people together in the region. miles and interviewed hundreds of po- crop, alfalfa, a principal feed crop, and way of life on the Plains. Key occupa- Stories are told of couples traveling tential participants to identify the most some typical plains grasses as well as tional skills related to livestock include hundreds of miles to attend a social articulate spokesmen and genuine tra- sorghum and sun flowers. Livestock horse handling, sheep shearing, and dance. Festival visitors can see and ditional performers. will be grazing on the Mall and will be ropework. participate in a variety of folk dancing used in demonstrations of herding The domestic crafts that flourish in by different ethnic groups, German, Northern Plains techniques. this region can be characterized as Scandinavian, Ukrainian and Czech, The first week of this Festival focuses Visitors will see varieties of threshing functional but decorative: piece quilts, who settled in the Plains. on the people of the Northern Plains from individual manual techniques to braided and rag rugs, corn husk and rag Northern Plains music is characteris- (North Dakota, South Dakota, Nebraska modern mechanical combines. A daily dolls, toys carved from chips, noise- tically performed on instruments prac- and Kansas), particularly on the occupa- tractor pull contest will demonstrate makers, whimmy diddles. The prevailing ticed in isolation. The fiddle is the tional life-styles related to agriculture not only the skills of the tarmers in objective of Plains craftsmanship is to principal instrument in addition to the and livestock. This is the region that is operating equipment, but also the pride create something beautiful and useful saw and harmonica. These are usually called the "breadbasket" and includes they take in the power of their own out of left-over or found objects. played solo, but at the Festival they will the beautiful but lonely prairie. The carefully maintained machinery. Northern Plains cooks became dis- also be performed in combination. 9 Participants California Heartland Northern Plains "I suppose the whole country has something in common, but about every WARKET. ST FISHERMANS WHARF Margaret Anderson: Singer, cook hundred miles or so there is a change. POWELL August Anheluk: Musician The terrain itself changes, and the Leslie Anheluk: Dancer crops, weeds, grasses and trees, and James Baker: Dancer the way of the water maybe. Not to men- Emerson Baker: Singer Norman Baker: Singer tion the people, and how they stand, Wade Baker: Dancer and walk, and talk, and what they think Donna Baranko: Dancer they're doing." The quote is by William Ann Basaraba: Singer Saroyan, a writer who came out of the Roy Basaraba: Singer California heartland that is the featured Lydia Bears Tail: Beadworker, cook & dancer region for the second week of the '75 Saunders Bears Tail: Dancer Festival. The character of his region is BEACH E HYDE AQUATIC PARK Linea Briggs: Bobbin lace maker expressed by its flamboyant image, di- MUSEUM Connie Burian: Dancer Laudie Burian: Musician verse landscape, and-of utmost im- Lewis Calwell: Horse trainer portance-a 'Mediterranean' climate Alvin Campbell: Fiddler that makes outdoor living so joyously Marlys Ciscar: Singer possible. It is also an area rich in ethnic George Crow Flies High: Agricultural communities and many of those com- implement maker, dancer prising the population of the heartland Dan Dasovich: Musician will be featured. Danny Dasovich: Musician Mexican-American muralists from the making accompanied by traditional sea Cable car bell ringing has become a George Dasovich: Musician East Los Angeles community will com- chanteys. A highlight of the Portuguese Peter Drakulich: Musician San Francisco tradition. AI Davison, plete a mural depicting their contribu- community is the "Festa da Espiritu Frances Driver, Jr.: Dancer the reigning champion and other Harold Edwards: Sheep shearer tion to the Festival. Paper flower making Santu" a celebration involving a parade experts will demonstrate their skills Jeanette Evoniuk: Dancer and piñata making will be demonstrated of decorated cows, ceremonial milking, July 2-6. Johnnie Evoniuk: Dancer and taught to visitors, as will masa a milk and bread feast and a traditional Laurence Evoniuk: Singer grinding, tortilla and tamale making. contest between solo singers who im- be Armenians who will weave rugs and Matt Evoniuk: Dancer Chinese-Americans from the San provise verses. On July 2, 3, and 4 Portu- spin wool. Matt Evoniuk, Jr.: Dancer Francisco area will perform a shadow guese sweet bread preparation, paper The joys of sociable dancing will be Pearl Evoniuk: Dancer puppet play twice daily. Included in the flower decoration, milking demonstra- shared by square dances, Portuguese Jarle Foss: Fiddler performance is a demonstration and tions and rehearsals of the chamaritas, chamaritas, Phillippine tinakling and an Dean Fox: Dancer explanation of the puppet figures. Var- the traditional Portuguese square dance, evening of waltzes. Celia Fliginger: Cook will be demonstrated and taught. Visitors to the Festival will be able to George B. German: Singer ious crafts including kite-making and Hilda Goering: Quilter the construction of paper ribbon fish Unique to San Francisco is the tradi- sample Chinese, Mexican, and Portu- Aaron Goertzen: Mandolin player will invite audience participation. Three tion of cable car bell ringing. Cable guese cuisine. There will also be ex- Dick Goertzen: Mandolin player traditional games, an early form of yoyo, car gripmen will announce each ses- amples of solo singing by Portuguese, Jacob Goertzen: Mandolin player shuttlecock and cat's cradle will also be sion at the main California stage and Anglos, French, and Black singers and Delwayne Good Iron: Singer, war bonnet demonstrated and taught. dance floor, amd will compete for the group singing by Molokans, Anglos, maker From the Portuguese-American com- bell ringing championship. Chicanos and Blacks. Velda Graber: Soap, sauerkraut maker munity of California comes Joseph From the Mediterranean-American The basic himan urge to sing and Darrell Griffith: Horse handler Silva, prominent tuna boat designer, community a Greek father and son will Rose Hand: Cook, quilter dance is expressed in the various song John Hanzek: Musician who will demonstrate boat design and il- demonstrate traditional woven straw and dance traditions found throughout Elmus Henderson: Saddle, harness maker lustrate model testing methods in the beehive construction and will give in- the region from San Francisco to Los Lyle Henderson: Saddle, harness maker reflecting pool. Portuguese-American formation on bee-keeping and the Angeles to the San Joaquin Valley, the Mabel Howling Wolf: Cook, quilter fishermen will demonstrate net and lure agricultural use of bees. There will also area we call the heartland. Leslie Jeffery: Cattle crew 10 Margie Jeffery: Ranch cook Douglas D. Weber: Musician Nora Bogdanoff: Molokan Singers Eddie Martinez: Muralist Mitchel Jeffery: Cattle crew Gene Weisbeck: Musician David Botello: Muralist Heli Medeiros: Singer William Jeffery, Jr.: Cattle crew foreman Donna Wilkie: Dancer, cook Jane Botieff: Molokan Singers Nellie Melosardoff: Molokan Singers Betty Johnson: Rosemaler Edward Wilkie: Dancer William J. Botieff: Molokan Singers Anna Mendrin: Molokan Singers Edward Johnson: Singer, musician Helen Wilkinson: Quilter Alfonso Chavez: Charro John Mendrin: Molokan Singers Esther Jorgensen: Cook Hugo Wuebben: Carver Kate Chernekoff: Molokan Singers Jonnie Kay Neavill: Fiddler Arvella Kenaston: Musician Alice Yellow Wolf: Beadworker Peter Chernekoff: Molokan Singers David Page: Uilleann Bagpiper Robert Kenaston: Musician Bert Yellow Wolf: Singer Jeoffrey Chiang: Special Chinese Consultant Sara J. Patapoff: Molokan Singers Roger Kenaston: Musician Joe Zacharias: Accordion Vivian Chiang: Co-Ordinator Jack Pavloff: Molokan Singers Director Mary Ann Krush: Singer Marie Zaste: Dancer, cook Richard Ching: Chinese Yo-Yo, Shuttlecock, Mary J. Pavloff: Molokan Singers Kathleen Laible: Canner Donna Kordon: Dancer Cat's Cradle Dolores Pequeno: Singer Ann Larson: Cook Dai T. Chung: Musician, Shadow player George M. Prohroff: Molokan Singers Bill Larson: Fiddler Marilyn Cunningham Cleary: Fiddler Pamella Ramsing: Shadow player Luella Loganbill: Quilter Earl Collins: Fiddler Rigoberto Rincon: Charro Glenn Lornev: Tractor pull Nemo Concepcion: Yo-Yo demonstrator President, La Alteña Eugene Mack: Dancer Danny Cruz: Charro Victor Romero: Guitarrista, vihuelo George Mack: Dancer Jack Cunningham: Fiddler Juanita Saludado: Singer Joyce Mack: Dancer Van Cunningham: Fiddler Paul Saludado: Singer, guitarist Verna Mack: Dancer Antonio Garcia Da Rosa: Mandolin player Roy J. Samarin: Molokan Singers Don Malnourie: Singer Leonel Garcia Da Rosa: Mandolin player Don Jesus Sanchez: Violinist Ben Makaruk: Singer AI Figueroa: Singer/guitarist Surma D'Mar Shimun: Dancer Marie Makaruk: Singer Carmela Figueroa: Singer Joe L. Silva: Festa Coordinator, dairyman Bill Mastel: Musician Alex A. Galkin: Molokan Singers José V. Silva: Tuna Boat Designer Mack Medakovich: Musician Juan Gandara: Charro Manuel Silva: Guitarrista Merle Messing: Tractor pull Vice President, La Altena Mary Silva: Cook, flower maker Alex Morin: Dancer, singer Alicia Gonzalez: Paper Crafts Julia Silveira: Guitarrista Bill Nameniuk: Musician Guadalupe D. Gonzalez: Paper Crafts, cook Rafael Furtado Simas: Violinist Debbie Painte: Beadworker, shawl maker, Jose Luis Gonzalez: Muralist Rosa Maria Simas: Dancer, baker dancer Rebecca Gonzalez: Paper Crafts, cook João Soares: Singer Agnes Palaniuk: Singer Blanche Gonzalez: Crafts, cook Shirley Sun: Presenter Billy Palaniuk: Dancer Kenneth M. Hall: Mandolin Player Araks Talbert: Baker, spinner Fred Penner: Musical saw player Marta Louise Hall: Musician Assistant Anna Tarnoff: Molokan Singers D. Peter Plechas: Musician Fermin Herrera: Harpista Smith Tester: Banjo player Agnes Poitra: Dancer Jorge Herrera: Jaranero Eugene Ung: Assistant Southern Leon Poitra: Dancer Maria Isabel Herrera: Jaranera, Chinese Cook Harry Porter: Sheep shearer requintera, dancer Maizie Ung: Kite Making, paper folding, Ken Putnam: Fiddler Chi-mei Kao Hwang: Chinese Craft Assistant ribbon fish demonstration Jean Roberts: Corn Husk Doll maker Hubert Isaac: Drummer Agostinho Valim: Singer Wayne Robinson: Sausage maker Rinold Isaac: Dancer Laurindo Valim: Dancer Alton Schlag: Musician Andrea Ja: Shadow player Moses A. Volkoff: Molokan composer James Schwab: Musician Robert Ernest, Lee Jeffery: Blues pianist Ossie White: Guitarist Larry Schwab: Musician Lewis Caldwell, a resident of South Kate Kalpakoff: Molokan Singers Roscoe White: Fiddler Mrs. Billy Short: Cattle Crew Dakota, will demonstrate the technique Craig Ernest Kodros: Bee hive maker Margaret L. Wong: Southern Chinese cook Dennis Short: Cattle Crew Geroge Harry Kodros: Bee hive maker Judy Woo: Assistant Shadow player of breaking workhorses in the Regional Marlene Sitting Crow: Cook, dancer Anna Koh: Northern Chinese cook Jesse Wright: Singer American area. Murphy Sitting Crow: Bustle maker, dancer David Koh: Assistant Northern Chinese cook Jimmy Wright: Singer Johnny Smith: Auctioneer Jim A. Korneff: Molokan Singers Walter Wright: Singer California Heartland John Stratman: Agricultural spokesman Julia Lazar: Baker, spinner William Wright: Singer Wilhelmine Thue: Cook Leslie Alamsha: Dancer Robert Lazar: Dancer Annie Zolnekoff: Molokan Singers Joe Trottier: Musician Juan Alvarado: Pregonero, guitarrista, Calvin E. Long: Tinker Paul Zolnekoff; Molokan Singers Mary Wallette: Dancer, cook jaranero Pauline Loo: Chinese craft assistant Francisco Carrillo: Guitarrista Earl Waltner: Blacksmith Manuel Azevedo: Caller, dancer, singer Francisco Macias: Charro Manuel Vasquez: Requintero 11 The Regions of the United States: An Inevitable Approach by Mack McCormick There is, at Anaconda, Montana, a word changes markedly. The passerby folklorist tends to think in terms of even the shadings in the Italian they great towering smokestack that pokes becomes aware that in each area he is specific communities: the Little Dixie speak have to do with the place where up from the snow covered hills. It can be witnessing a distinctive combination of area in Missouri, the Cajun people of they live. One is steel town, the other a seen for miles, a thick blunt mark against human textures set against the land. the Louisiana bayous and rice prairies, community of gentle hills filled with the big sky. They say around there that The mosaic is, in part, due to the land the Vanderpools of northeastern Penn- vineyards. their smokestack is so big the Washing- itself-the use made of it, the wealth it sylvania. Aliquippa is part of the industrial belt ton Monument would fit inside it. offers, the response it evokes. We can focus on a particular trait- that runs through the Ohio River Valley; That giant artifact plus the copper And, too, it is many subtle things: the the folkways of the Sea Islands or the an unmelted, unhomogenized region, mines and smelter it represents, when way people greet a stranger, the kind of persisting tradition of Sacred Harp sing- almost southern hill country but part of seen in combination with the miles of jokes told, the local games, the foods ing in a few places-or we can general- those northern towns where people are wire-fenced and rail-fenced fields of that prevail and countless other charac- ize about the human character of the steel workers and glass blowers. Lulla- wheat, offer even the most casual tour- teristics that combine to give one a entire Tidewater South. bies are heard in at least ten languages. ist an overwhelming sense of the region. sense of the region. The passerby ob- What results then is a series of over- Tontitown is in the Ozarks; the people At a local restaurant the menu lists a serves it, the native and resident are lapping regions, each formed and are farmers. Signs in the grocery store Cornish "Cousin Jack" meat pie; the part of it. shaped by different concepts. They are tell about dances where country rock counter is lined with working cattlemen; We are all aware of the regions, yet it not in agreement, but there are har- bands vie with a vigorous string band a poster at the cash register announces is a troubling matter to attempt to define monies that tend to occur as one leafs tradition. On occasion, poke salad is next weekend's timber carnival and what a region is. through what seem at first contradictory part of the diet. In good weather the logging contest close by in Idaho. There are many sets of facts from sets of facts. There are recurrent pat- congregation of a nearby church will Moving from one part of the nation to which to generalize a definition: settle- terns, consonances as well as contrasts, hold a brush arbor "sing." another the observer is aware of the ment patterns and the distribution of and from this stream comes our chief changing regions. The physical terrain barn types; centers of musical style or III sense of regionality. varies, the climate, the crops, the look clusters of traditional craftsmen offer Next year, in a summer-long se- of the cities is different. The spoken sets of facts. The natural features, the II quence, the Festival of American Folk- manufacturing districts, the agricul- The members of the Sons of Colum- life will look at all the regions of the Mack McCormick is a consultant tural regions, the urban belts offer yet bus Hall at Aliquippa, Pennsylvania are United States with programs that touch responsible for conceptualizing research other sets of facts. and presentation plans for the Regional culturally linked with the Italian com- upon the uniqueness of each major re- Americans program of the Festival. He is a Cultural geographers often work with munity at Tontitown, Arkansas. Yet, at gion, the human textures that charac- folklorist who has made documentary large regions, providing broad generali- the same time each group is part of its terize it and set it apart. recordings and studied regional lifestyle ties about the cultural landscape that region. The game of bocce they play on For our definition of what makes a in over 800 counties throughout the give us as few as four or five regions for weekends may be identical, but the region we are contemplating a fresh yet United States. Photo by Mack McCormick the entire nation. On the other hand, the style of dress, the kind of work they do, inevitable approach. As opinions and 12 theories from folklore, geography, no sharp division points, but only a What they offer people them- Northern Plains the agrarian and urban and physical subtle merging of one place into the selves, their special ways of life, their Books- sciences are brought together, each next, one cultural landscape fading in- foods and tools and music, will next Beckwith, Martha Warren. Mandan-Hidatsa must face a test: to its neighbor, overlapping, unbounded, year become a 12-week-long event Myths and Ceremonies. New York: Kraus Re- It must ultimately offer us a concept unhomogenized. through the Bicentennial summer. print Co., 1969. Reprint of a work originally of a region which the people who live In making program decisions about After 200 years, we can genuinely issued in 1937. there would agree with either by overt the regions-this year treating two major celebrate the fact that we remain a di- Blegen, Theodore, Grass Roots History. action or by subjective attitude that re- regions in a two-week festival-we versified people. In that lies the chief Port Washington, New York: Kennikat Press, veals their sense of place. We have, listen to the people in each place, striv- potential of a nation. 1969. Reprint of a work originally issued in therefore, no regions with firm and fixed ing to learn what sets their life apart 1947. boundaries, but a sense of areas sep- from those who live around that giant A Community Rodeo: Kendleton, Texas Deloria, Ella. Dakota Texts. New York: G. E. arated by transition zones. There are smokestack in Montana. Photo by Mack McCormick Stechert and Company, 1932. Out of print. Dorsey, George A. Traditions of the Arikara. Washington, D. C.: Carnegie Institution, 1904. Out of print. Fitzpatrick, Lilian. Nebraska Place-Names. Lincoln, Nebraska: University of Nebraska Press, 1960. Reprint and revision of a work originally published in 1925. Hostetler, John A. Hutterite Society. Balti- more: Johns Hopkins University Press, 1974. Pound, Louise. Nebraska Folklore. Lincoln, Nebraska: University of Nebraska Press, 1959. Out of print. Rydjord, John. Kansas Place Names. Nor- man, Oklahoma: University of Oklahoma Press, 1972. Sackett, S. J., and William E. Koch. Kansas Folklore. Lincoln, Nebraska: University of Nebraska Press, 1959. Sneve, Virginia. South Dakota Geographic Names. Sioux Falls, South Dakota: Brevet Press, 1973. Welsch, Roger. Shingling the Fog. Chi- cago: Sage Publications, Inc., 1972. Welsch, Roger. Sod Walls. Broken Bow, Nebraska: Purcell's, 1968. Welsch, Roger. Treasury of Nebraska Pio- neer Folklore. Lincoln, Nebraska: University of Nebraska Press. 1966. Coastal California Books- Adams, Charles C. Boontling: An American Lingo. Austin, Texas: University of Texas Press, 1971. Black, Eleanora, and Sidney Robertson. The Gold Rush Song Book. San Francisco: The Colt Press, 1940. Out of print. Clark, Margaret. Health in the Mexican- American Culture: A Community Study. 13 Children's Folklore Berkeley and Los Angeles: University of Oakland Blues. Arhoolie 2008. The children's area was created to paper airplanes, but also items which California Press, 1959. Robinson, L.C. "Good Rockin." Ups and celebrate children's folklife-those are collected, traded, bought or won Dwyer, Richard A., Richard E. Lingenfelter, Down. Arhoolie 1062. things that children teach each other like comics, trading cards, toys, rocks, and David Cohen. The Songs of the Gold Vern and Ray. Sounds from the Ozarks. and pass from one generation to the stamps and coins and other precious Rush. Berkeley and Los Angeles: University Old Homestead 10001. next through friends and siblings. Some possessions like records, transistor of California Press, 1964. of these traditions are demonstrably radios, bicycles, jump-ropes, balls and Gudde, Erwin G. 1000 California Place Several of the Library of Congress Archive hundreds of years old. Some are fairly favorite clothes. Money is also impor- Names. Berkeley and Los Angeles: University of American Folk Song recordings contain of California Press, 1971. material collected in California, some of it recent and are spreading voraciously. tant and children have many ways of Kroeber, Theodora. Ishi in Two Worlds. indigenous and some by informants from To demonstrate children's folklore, acquiring and spending it. In the Crafts Berkeley and Los Angeles: University of outside the region who were taped in Cali- young participants have been selected Tent participants can make cootie California Press, 1971. fornia. The following albums all have one or in cooperation with schools, scout catchers, water bombs, airplanes; dolls Lee, Hector. Tales of California. Logan, more numbers by traditional musicians from troops and camps from the District of from corn husks, yarn, paper, clothes- Utah: Utah State University Press, 1974. California. Columbia, Maryland and Virginia. Fes- pins and material; carve, whittle, draw, Miller, Elaine. Mexican Folk Narratives American Fiddle Tunes. AAFS L62. tival visitors are invited to join partici- and learn crafts from other areas of the from the Los Angeles Area. Austin, Texas: American Sea Songs and Shanties I. AAFS pants in presentations in the crafts tent, Festival. Folk artists who specialize in University of Texas Press, 1973. L26. game ring, hill and sand area and Moore, Willard B. Molokan Oral Tradition: American Sea Songs and Shanties II. drawing stories about their heroes, Legends and Memorates of an Ethnic Sect. AAFS L27. around the stage. battles, games, and other aspects of Berkeley and Los Angeles: University of Anglo-American Shanties, Lyric Songs, their lives will participate. Crafts Tent California Press, 1973. Dance Tunes and Spirituals. AAFS L2. Schneider, Gretchen A. Pigeon Wings and Anglo-American Songs and Ballads. AAFS Games Children's folklore includes aspects Polkas: The Dance of the California Miners. L12. of material culture: not only items which Games tend to predominate among New York: Johnson Reprint Co. 1969. Anglo-American Songs and Ballads. AAFS are made like slingshots, dolls and children's activities. They take many Taylor, Archer. Proverbial Comparisons L20. and Similes from California. Berkeley and Anglo-American Songs and Ballads. AAFS Los Angeles: University of California Press, L21. 1954. Out of print. Child Ballads Traditional in the United Western Folklore is a quarterly journal States I. AAFS L57. published by the California Folklore Society Child Ballads Traditional in the United that is devoted to international folklore States II. AAFS L58. scholarship. However, many articles on Cali- Railroad Songs and Ballads. AAFS L61. fornia folklore appear in its pages. Persons Songs and Ballads of American History interested in subscribing can do so by con- and of the Assassination of Presidents. AAFS L29. tacting the Secretary-Treasurer, California Folklore Society, University of California Songs of the Mormons and Songs of the West. AAFS L30. Press, Berkeley, California, 94720. The So- Versions and Variants of Barbara Allen. ciety also publishes a newsletter titled From AAFS L54. the Sourdough Crock. Records Alexander, Dave. The Dirt on the Ground. Arhoolie 1071. Alexander, Dave. The Rattler. Arhoolie 1067. Country Blues in California, 1947-1954. Muskadine Mus. 103. Evans, Virg. The Flying Fiddler. American Heritage AH 10-346. Kenny Hall. Philo 1008. Volunteer, Sophie Ripley (left) teaches Kenny Hall and the Sweets Mill String corn shuck doll making in the Band. Bay 727. Children's crafts tent. 14 Participants forms and are subject to seasonal use and constant change. Mable Hillary will lead visitors in ring games, supersti- tions, stories and other aspects of Black culture. Stu Jamieson will be teaching Southern "play party" games involving dance sets and circles, typical of the rural south. Paul Ofori-Ansah, a Ghana- ian participant will teach traditional games of Ghana. Iroquois children will share their games. Tree house activities, ball games, Hide and Seek, Kick the Can, Red Rover, Tag and Mother May I will Children's Folklore be played in the game ring. Groups: Barrie Camp Stage Bells Mill Elementary School On the children's stage, children will Brent Elementary School Brightwood Elementary School demonstrate jump rope rhymes, ring Burgundy Farm Country Day Camp games, clap games, drumming, danc- Camp Meadowbrook ing, singing, play parties, cheer leading Canterbury School and sparring. Harry Curtis of Washington, D.C. contributed this epic drawing typical of a Center Branch YMCA Children's lore, like games, takes form of children's folklore. Edmonds Elementary School many forms and serves many purposes. ons and toys; unauthorized reading of England, Scotland and Ireland, 2 vols. Friendship House Children pass on superstitions, cures, Frost Junior High School such as notes, comic books, slam- New York: Dover Press, 1964. ways of divining, game rhymes, TV and Herron, R. E., and Brian Sutton-Smith, eds. Girl Scouts-Port Byron, Illinois books; harassing substitutes. Second, movie plots, songs, parodies, gossip, there is the folklore of taboos, a large Child's Play. New York: Wiley, 1971. Girl Scouts-Roseville, Michigan Girl Scouts-Troop 1466 secrets and humor. Assisted by special- repertoire of gross jokes, riddles, stor- Jones, Bessie, and Bess L. Hawes. Step It ists in children's folklore from the Uni- Down. New York: Harper and Row, 1970. Green Acres Camp ies, ranking, toasts and dozens; games Newell, William Wells. Games and Songs Hardy Elementary School versity of Texas, participants in the like "doctor" and the activities of court- of American Children. New York: Dover Knoxville, Tennessee County Schools Folk Swap Tent will tell elephant jokes, ing which explore, detail and celebrate "knock-knocks," "mother-mothers," Press, 1963. Lafayette Recreation Center the taboos of our society. In the Folk Opie, lona and Peter. Children's Games in Landon Camp for Boys moral stories, parodies, riddles, secret Swap tent parents, teachers and chil- Street and Playground. Oxford: Oxford Uni- Metropolitan Police Boys Clubs languages, tongue twisters, ghost dren can discuss their concerns about versity Press, 1969. Metropolitan Police Girls Club stories, and other special areas of lore. Opie, lona and Peter. The Lore and Lan- Parkland Junior High School disapproved behavior. One of the participants from Washing- The children's area is not for baby- guage of School Children. Oxford: Oxford Piney Branch Middle School ton, D.C., known among his peers as University Press, 1959. Ross Elementary School an electrifying storyteller, will demon- sitting but rather a place where adults Sutton-Smith, Brian. The Folk Games of Sligo Junior High School strate his art. may learn from children and where Children. Austin, Texas: University of Texas Takoma Elementary School children may have a good time. Press, 1972. Travillah Elementary School No children's folklore area would be Valley Mill Camp accurate if it did not reflect the reality Books Films Watkins Elementary School that children's folklife is not all sweet- Abrahams, Roger D. Jump Rope Rhymes, a Hawes, Bess. Pizza Pizza Daddy-O. Edu- Individuals: ness and light. Children have feared and forbidden places, a caste system, Dictionary. Austin, Texas: University of cational Media Center, Berkeley, California. Helen Englar: Quilter Texas, 1969. Playstreets. Blackstar 1957. Stu Jamison: Folklorist secrets and taboos. Two distinct areas Brewster, Paul G. American Nonsinging Bessie Jones: Folklorist are disapproved of by adults. First, there Records Games. Norman, Oklahoma: University of Vanessa Jones: Folklorist is the folklife that turns classrooms into Oklahoma, 1953. Schwartz, Tony. Zing, Zing, Zing. Folkways Paul Ofori-Ansah: Folklorist battle grounds: stealing, making weap- Gomme, Lady Alice B. Traditional Games Records 7003. Claude Voder: Whittler 15 Family Folklore Every person's life contains at least have been. Family photograph albums one great novel, or so the saying goes. preserve the best of life-the birth of Be it the lady sitting next to you on the the baby, his first steps, birthdays, bus whose wallet unfolds into 120 pho- graduations, weddings, golden wedding tographs, or the man on the park bench anniversaries. whose memory is so good he doesn't It is in the nature of human expe- need the photographs, everyone has a rience, of the interplay of time and hu- story to tell. man life, to bring the past to bear upon There is a touch of the friendly stranger the present and to make the present in each interviewer at the Family Folk- memorable for the future. lore tent. But unlike that friendly This year the Family Folklore Program stranger, the interviews heard in the is expanding to include home photog- tent amount to more than scattered raphy as a form of folklore. In addition reminiscences. At last summer's Festival, to interviewing festival-goers, we are we heard of human experiences in forms presenting a chronicle of the American which best express them-family stories, life cycle as it is depicted in home movies family names and expressions, family and family albums. jokes and traditions. Taken together, Another new kind of material which this material often becomes the stuff brings the past to bear upon the pre- around which a family celebrates itself. sent is perhaps best called "reminiscent As one of last year's festival-goers put history." The self-imaging of families, it, family folklore is a kind of glue. In the Family Folklore tent, festival- tion with what is often depicted as her both in stories and photographs, is "You remember things that you did goers share stories, names and notorious past. As many times as there concerned with the preservation of the together," the same informant had said. expressions, heroes, and holiday were heroes, there were anti-heroes. personal experiences of family mem- "I think it's an attempt to dust off, get traditions. Visitors find themselves A person who did not realize the amount bers. A portion of these personal ex- rid of the cobwebs on memories which celebrated as "folk." of imagination that mixes with fact to periences, however, is shared cultural were pleasant. It isn't a particular story now called "Chi"; "I think it's an ab- produce an item of folklore, might think experience. This kind of story might or a particular event so much as an breviation of Chimain which was a name it was a veritable gallery of rogues that include reminiscences about one's attempt to get everybody on the same that came out of Chudy-Chimain which "great-grandfather and grandmothered" grandfather in the Civil War, or of one's wavelength. is a name that came out of Chudy which those interviewed at Family Folklore- father having eaten one of the first ice "We've always had dogs in our family," is a name that came out of my sister's horse thieves, cowards, courtmartialed cream cones at the 1904 World's Fair, he went on. "And a lot of the things we best friend in kindergarten whose name generals. "I should probably tell you or of one's self having attended Wood- do seem to get back to, 'do you remem- was Judy." about my great-great grandfather being stock. In photographs they might in- ber when such and such a dog did this. The Family Folklore Program was be- killed by the Indians," one informant ex- clude home movies of Dwight D. Eisen- He was not the only festival-goer to gun in 1974 for the purpose of collect- plained. "There were about 11 Texas hower in a motorcade, a photo of an old talk with us about the relationship ing the lore of the festival-goers at the Rangers-and he was one of the Rangers snow plow, or, as one family wrote to us, between the dog and family folklore: Festival of American Folklife. A simple -and one Indian. And the Indian got a photo of "the first Third Avenue Ele- "When I was 12 or 13 I got a dog and turn-about took place in our tent: the about six or seven of them before they vated train leaving the northernmost his name was Snoopy. And my sister festival-goer who came to see the cele- finally got him. So that's one of the not- 241st Street station in the Bronx." The and I had always fought with each brated folk on the stages at Family Folk- so-brave things in the family." Family Folklore Program will collect this other a lot-she's 5 years younger than lore found himself celebrated as the Whereas family stories represent one kind of material at the Festival with the me. But somehow when the dog came, "folk." way in which families "image" them- hope of expanding it into a living his- we became friends through the dog. Close to 300 interviews were con- selves verbally, family photographs rep- tory project for the Bicentennial. We developed a full language around ducted with persons at the Festival. For resent the way this is done visually. In the home movies and albums at the him, about 112 names! There were a those of us on the other side of the tape But while family stories seem to portray Family Folklore tent we hope you will series of about 6 years when these recorders was unfolded a whole pan- events as they were or indeed as worse see a reflection of segments of your own names evolved into a whole culture." orama of American life. Family stories than they were, family photographs lives, and in the interviews we hope you He then went on to say that the dog is seemed to express America's fascina- seem to portray them as they should will share some of them with us. 16 General Information: Programs Basket makers will be working in the Regional Americans area will feature Native Americans area. This Mohawk tractor pulls daily at noon and 3 p.m., basket was made using ashwood June 25-29; Charros, Mexican cowboys, splints. will demonstrate their skills daily at 11 the New World area the Manteos, a and 4, July 2-6. Events in the California heartland area will be signalled by the Sicilian Puppeteering Family, will per- form a medieval epic at 2 and 4 p.m. ringing of the cable car bells. daily July 2-6. Working Americans will feature a Truck- ers' Roadeo on Bacon Drive all day Concessions are representative of the Saturday, June 28 and Sunday, June 29. spirit and diversity of the Festival, and The Fourth Annual Fiddlers' Conven- offer ethnic foods, crafts, books, phono- tion and Contest will be held Saturday, graph records and children's ethnic July 5 beginning at 11 a.m. toys for sale. Ethnic food concessions are located mainly in the Old Ways in the New World and African Diaspora areas; books and records are available Program information about the Festival 11 a.m. to 5 p.m. in the Native Ameri- in some Learning Centers and at main of American Folklife is listed by day and cans, Regional Americans, African Dias- sales areas centrally located. Toys are by area on the following schedule pora and Old Ways in the New World available in the Children's area. Hay pages. General information may be areas. Traditional tood preparations rides and pony carts make the scenic obtained at six information kiosks appropriate to the theme area will be trip along the northside of the Reflect- across the Festival grounds. Detailed featured and sold. Among these: mara- ing Pool. The Native Americans area listings can be found daily on callboards kout bread, khubz, corn soup, mochi- features Indian foods and crafts for adjacent to each performance area and tsuki, sushi, zeppole, bratwurst, fry sale. learning center. bread, tortillas, pasta and more. Family Folklore will be interviewing festival-goers about family stories, Hours of the Festival are 11 a.m. to Learning Centers are located in the family names and expressions, personal 5 p.m. June 25-29 and July 2-6. The African Diaspora, Old Ways in the New heroes, stories parents make up for Festival is not in operation Monday, World, Native Americans and Working their children, and special holiday June 30 and Tuesday, July 1 to allow for Americans areas. Visitors can learn traditions. changeover of exhibits. Special music more about presentations through films, programs are offered nightly on the photos, videotapes, books, records and Children's Folklore is presented daily Festival Stage, 6:30-8:30 p.m. except workshops. Learning Center events are in the Children's area. Continuous ac- July 4. listed daily on the callboards adjacent tivities include the games ring, folk Crafts Demonstrations are held daily to each Center. swap tent, crafts areas, hill and sand castle building, hay ring, dancing, 11 a.m. to 5 p.m. in the Native Ameri- Festival Theaters offer film and live drumming, jump rope rhymes, ring cans, Regional Americans, African Dias- presentations in addition to those on games, and dancing on the Children's Daisy Barnwell Jones, a self-proclaimed pora and Old Ways in the New World stages. The Family Folklore area will area stage. "hillbilly" lady has lived in Washington areas. Traditional crafts appropriate to have continuous showings of the film for more than 40 years, but continues the theme area are featured. Among "Home Movies-the American Folk Art" Festival Broadcasts-June 30 through to think of Chimney Rock, North these: basket making, silver smithing, compiled from the film clips of three July 6 National Public Radio will be air- Carolina as her home. As she told the instrument making, corn husk doll mak- different families. Regional Americans ing concerts live each evening over its family folklore interviewers: "I have ing, lacrosse stick making, kente cloth will present Chinese Shadow Puppets 179 stations. Check local listings for the travelled part of the earth and been a weaving, drop spindle spinning, quilt- in shows at 11 a.m. and 2:30 p.m., July NPR member station in your area for part of some of its greatest institutions, ing and many more. broadcast times. 2-6, and a film on California folk tradi- but my heart has never left the land of Cooking Demontrations are held daily tions at 12 and 3:30. In the Old Ways in Special Program Information: The my father." 17 June 25 Highlights For detailed information consult call-boards at each stage. c., concert; d., discussion; W., workshop OLD WAYS IN THE NEW WORLD CHILDREN'S GERMAN LEBANESE AFRICAN DIASPORA FOLKLORE Freistadt Brass Band c. Village Dances from Mtein and Black Sacred Music Brent Elementary School** 11:00 Marjayoun (U.S., Jamaica, Ghana)* Stu Jamison-Play Party Games Street Sounds ** Scottsbluff Dance Band with Hackbrett Afro-American Stories *** Paul Ofori-Ansah-Ghanaian Games ** 11:30 Fredericksburg Dance Band c. Kaslik Group: Liturgical Music Brent Elementary School** 12:00 Edmonds Elementary School *** Langenschiltach Brass Band c. Music and Dances of Lebanese- Bessie Jones * 12:30 Americans Die Holsteiner Dance Band Landon Camp for Boys **, *** 1:00 Freistadt Brass Band and Dancers * Stu Jamison *** Münchener Hackbrettmusik Black Dance Workshop 1:30 Hackbrett Workshop W. Arab Solo Dance Instrument Making *** Bells Mill Elementary School* 2:00 Fredericksburg Dance Band; Dancers * Bessie Jones-Songs and Tales *** Langenschiltach Brass Band c. Kaslik Group: Secular Music Night Life Music ** Paul Ofori-Ansah-Ghanaian Games ** 2:30 Haflah: Dabke Instruction, Open Dancing Fredericksburg Dance Band "Sweet Honey in the Rock" *** Bells Mill Elementary School** 3:00 Scottsbluff Dance Band with Hackbrett c. Cabaret: Music, Song, Improvisational 3:30 Dance Münchener Hackbrettmusik 4:00 Freistadt Brass Band and Dancers * Die Holsteiner Dance Band 4:30 Evening Concert on Festival Stage Evening Concert on Festival Stage 5:00 Song Fest *** Evening * Church * Stage Market ** Game Ring * Plaza * Plaza *** House *** Folk Swap 18 June 25 WORKING REGIONAL NATIVE FESTIVAL AMERICANS AMERICANS AMERICANS STAGE c. Trucking Song Swap* c. Mitchifs-Music and Dance c. Dancing * c. Songs of Celebration c. Bodie Wagner *** d. Hassawamisco Tribe ** 11:00 Get A Load of This! ** 11:30 c. Railroad Song Swap * c. Goertzen Brothers W. Lacrosse Game **** c. Musical Instruments c. John Jackson *** 12:00 c., W. Schwab Brothers-German Social W. Stone Carver *** Music from the Northern Plains d. Coalition of Eastern Native 12:30 Americans c., W. Working on the Railroad * c. Sacred Offering 1:00 c. Saul Broudy *** c. String Music from the Northern Plains 1:30 c. Trucking Heroes-Song Swap* d. Catawba Tribe ** W. Rhythm W. Basket Weaving *** 2:00 c. Air Transportation Songs c. Nasi Tamburashi- d. Six Nations: Iroquois** Get A Load of This! *** Serbo-Croatian Music 2:30 c., W. Hoboes and Hoboing- c. George German-Cowboy Songs c. Historical and Topical Songs Utah Phillips* 3:00 c. Jim Ringer *** c. Solo Instrumentalists c. Songs and Dancers * 3:30 c. Truckers and Lovers * c. Ukrainian Religious and Secular Music c. Dance and Social Music 4:00 W. Ukrainian Dancers W. Lacrosse Game **** 4:30 CONCERT 6:30-8:30 Old Ways in the New World * Stage Evening * Working Americans Stage Learning Center Railroad Flatcar *** Craft Area *** Truck Dock **** Sports & Games 19 June 26 Highlights For detailed information consult call-boards at each stage. c., concert; d., discussion; W., workshop OLD WAYS IN THE NEW WORLD CHILDREN'S GERMAN LEBANESE AFRICAN DIASPORA FOLKLORE Freistadt Brass Band c. Village Dances from Mtein and Street Sounds ** Brent Elementary School ** 11:00 Marjayoun Afro-American Stories *** Camp Greenway *** Scottsbluff Dance Band with Hackbrett Black Sacred Music Paul Ofori-Ansah-Ghanaian Games* 11:30 (U.S., Jamaica, Ghana) * Fredericksburg Dance Band c. Kaslik Group: Liturgical Music Camp Greenway** 12:00 Edmonds Elementary School* Langenschiltach Brass Band c. Music and Dances of Lebanese- 12:30 Americans Die Holsteiner Dance Band Edmonds Elementary School** 1:00 Freistadt Brass Band and Dancers * Friendship House Center* Münchener Hackbrettmusik c. Village Dances from Mtein and Black Dance Workshop ** Bessie Jones 1:30 Marjayoun Hackbrett Workshop W. Arab Solo Dance Instrument Making *** Roseville, Michigan Girl Scouts ** 2:00 Fredericksburg Dance Band; Dancers * Bells Mill Elementary School* Langenschiltach Brass Band c. Kaslik Group: Secular Music 2:30 Haflah: Dabke Instruction, Open Dancing * Fredericksburg Dance Band Nite Life Music Concert ** Friendship House Center 3:00 Bells Mill Elementary School* Scottsbluff Dance Band with Hackbrett c. Cabaret: Music, Song, Improvisational "Sweet Honey in the Rock" 3:30 Dance Münchener Hackbrettmusik 4:00 Freistadt Brass Band and Dancers Die Holsteiner Dance Band 4:30 5:00 Ghana ** Evening * Church * Stage Market ** Game Ring * Plaza * Plaza *** House *** Folk Swap 20 June 26 WORKING REGIONAL NATIVE FESTIVAL AMERICANS AMERICANS AMERICANS STAGE c. Railroad Song Swap * c. Joe Zacharias d. Lacrosse-stick Maker *** c. Marriage, Courtship, and Love c. John Jackson ** d. Narragansett Tribe 11:00 Get A Load of This! *** c. Goertzen Brothers 11:30 c. Trucking Song Swap * c. Ukrainian Music and Dance W. Lacrosse Game **** c. Musical Instruments 12:00 c. Utah Phillips ** d. Ukrainian Traditions from the d. The Adult Motivational Education Northern Plains Project 12:30 c. Famous Trains* c. George German-Cowboy Songs W. Music as Heritage 1:00 c. Instrumental Music c. Dancers * 1:30 c., W. Country Music and Truckers * c. Song Styles 2:00 c. Bodie Wagner*** c. Nasi Tamburashi- d. Six Nations: Iroquois * Serbo-Croatian Music 2:30 Get A Load of This! *** c. Schwab Brothers-German Music c. Street Sounds c. New Train Songs* and Dance 3:00 c. Lewis London ** d. Six Nations Treaties** 3:30 c., W. Perils of the Road c. Mitchifs-Music and Dance c. Dance and Social Music 4:00 c. Songs and Dancers* 4:30 Evening Concert on Festival Stage CONCERT 6:30-8:30 Regional Americans Northern Plains * Stage Evening * Working Americans Stage ** Learning Center Railroad Flatcar *** Craft Area *** Truck Dock **** Sports & Games 21 June 27 Highlights For detailed information consult call-boards at each stage. c., concert; d., discussion; W., workshop OLD WAYS IN THE NEW WORLD CHILDREN'S GERMAN LEBANESE AFRICAN DIASPORA FOLKLORE Freistadt Brass Band c. Village Dances from Mtein and Street Sounds Boys Club #14 and Paul Ofori-Ansah ** 11:00 Marjayoun Afro-American Stories *** Brent Elementary *** Scottsbluff Dance Band with Hackbrett Bessie Jones *** 11:30 Fredericksburg Dance Band c. Kaslik Group: Liturgical Music Black Sacred Music Boys Club #10 ** 12:00 (U.S., Jamaica, Ghana) * Brent Elementary School* Langenschiltach Brass Band c. Music and Dances of Lebanese- Stu Jamison * 12:30 Americans Die Holsteiner Dance Band Edmonds Elementary School and 1:00 Freistadt Brass Band and Dancers * Stu Jamison * Meadowbrook Camp *** Münchener Hackbrettmusik c. Village Dances from Mtein and Black Dance Workshop* 1:30 Marjayoun Hackbrett Workshop W. Arab Solo Dance Instrument Making *** Meadowbrook Camp ** 2:00 Fredericksburg Dance Band; Dancers ¹ Lafayette Rcreation Center* Langenschiltach Brass Band c. Kaslik Group: Secular Music Paul Ofori-Ansah and Bessie Jones * 2:30 Haflah: Dabke Instruction, Open Dancing Fredericksburg Dance Band Night Life Music ** Parkland Junior High School ** 3:00 Lafayette Recreation Center *** Scottsbluff Dance Band with Hackbrett c. Cabaret: Music, Song, Improvisational "Sweet Honey in the Rock" *** 3:30 Dance Münchener Hackbrettmusik 4:00 Freistadt Brass Band and Dancers * Die Holsteiner Dance Band 4:30 5:00 Jamaica ** Evening * Church * Stage ** Market ** Game Ring * Plaza * Plaza *** House *** Folk Swap 22 June 27 WORKING REGIONAL NATIVE FESTIVAL AMERICANS AMERICANS AMERICANS STAGE c. Trucking Song Swap* c. Nasi Tamburashi- d. Indian Mountain Lookout** c. Historical and Topical Songs c. Utah Phillips *** Serbo-Croatian Music 11:00 Get A Load of This! ** W. Silver Smith Work ** 11:30 c. Railroad Song Swap* c., d. Scandinavian Traditions from the c. Singing* c. Musical Instruments Northern Plains 12:00 c. Jim Ringer *** d. Economic Development Program** c. Dance Contest 12:30 Presentation of Prizes c. Wagonners and Truckers* c. Mitchifs-Music and Dance W. Song Making Get A Load of This! *** 1:00 c. Air Transportation Songs* 1:30 c., W. The Train As A Symbol* c. Instrumental Music d. Lumbee Tribe ** c. Sacred Offering 2:00 c. Lewis London *** c. George German-Cowboy Songs d. Six Nations: Iroquois ** 2:30 c. Truckers and Lovers * c. Ukrainian Music and Dance W. Lacrosse Game **** W. Family Music Get A Load of This! 3:00 3:30 c., W. Railroad Wrecks c. Schwab Brothers-German Music c. Dance and Social Music from the Northern Plains 4:00 W. Corn Husk Doll Maker *** 4:30 Evening Concert on Festival Stage CONCERT 6:30-8:30 Working Americans * Stage Evening * Working Americans Stage ** Learning Center Railroad Flatcar *** Craft Area *** Truck Dock **** Sports & Games 23 June 28 Highlights For detailed information consult call-boards at each stage. c., concert; d., discussion; W., workshop OLD WAYS IN THE NEW WORLD CHILDREN'S GERMAN LEBANESE AFRICAN DIASPORA FOLKLORE Freistadt Brass Band c. Village Dances from Mtein and Whether a Yam Festival in Ghana, or Jun- Sligo Junior High School *** 11:00 Marjayoun kanoo Festival in Jamaica, or an Eman- Paul Ofori-Ansah ** cipation Day Celebration in the United States, African and African derived holi- Scottsbluff Dance Band with Hackbrett days and carnivals feature special foods, 11:30 special costuming, singing, dancing and parading. The African Diaspora area to- Fredericksburg Dance Band c. Kaslik Group: Liturgical Music day features all of these activities. All participants will conduct small sessions Ross Elementary School 12:00 all over the area where they can meet Sligo Junior High School their audiences in more Intimate ex- Langenschiltach Brass Band c. Music and Dances of Lebanese- changes. 12:30 Americans Performances Die Holsteiner Dance Band 1:00 Freistadt Brass Band and Dancers Wulomei Port Byron, Illinois Girl Scouts **, *** Kwaa Mensah Münchener Hackbrettmusik c. Village Dances from Mtein and Salisu Mahama 1:30 Marjayoun Charlie Sayles Hackbrett Workshop W. Arab Solo Dance Flora Molton Girl Scout Troop 2533 ** 2:00 Fredericksburg Dance Band; Dancers * Parkland Junior High School *** Rising Star Fife And Drum Band Langenschiltach Brass Band c. Kaslik Group: Secular Music Sweet Honey In The Rock Stu Jamison 2:30 Haflah: Dabke Instruction, Open Dancing* Kumina Group Fredericksburg Dance Band Maroons Parkland Junior High School 3:00 Arabbers Girl Scout Troop 2533 *** Linda Goss Scottsbluff Dance Band with Hackbrett c. Cabaret: Music, Song, Improvisational 3:30 Dance Mento Band Freelows Express Dance Group Münchener Hackbrettmusik 4:00 Freistadt Brass Band and Dancers Die Holsteiner Dance Band 4:30 Evening Concert on Festival Stage Evening * Church * Stage Market ** Game Ring * Plaza * Plaza *** House *** Folk Swap 24 June 28 WORKING REGIONAL NATIVE FESTIVAL AMERICANS AMERICANS AMERICANS STAGE c. Railroad Song Swap * c. Instrumental Music d. Aroostook Tribe ** W. Music as Work c. John Jackson ** c. Dancing * 11:00 Get A Load of This! ** 11:30 c. Trucking Song Swap * c. Mitchifs-Music and Dance W. Woodwork (Cradleboards and c. Musical Instruments Beadwork) *** 12:00 d. Office of Native American Programs ** 12:30 c., W. Riding the Rods * c., d. German Traditions from the W. Hoop and Dart Game **** c. Marriage, Courtship, and Love Northern Plains 1:00 1:30 c., W. On the Road c. Nasi Tamburashi- d. Shinnecock Tribe ** c. Sacred Offering Get A Load of This! *** Serbo-Croatian Music 2:00 d. Six Nations: Iroquois** 2:30 c., W. Railroad Heroes* c. Margaret Anderson-Swedish Songs c. Songs to Sing c. Jimmie Rodgers Songs ** 3:00 c. Goertzen Brothers W. Lacrosse Game **** 3:30 c. Perils of the Road c. Ukrainian Music and Dance c. Dance and Social Music 4:00 W. Bone Carver*** 4:30 CONCERT African Diaspora * Stage Evening * Working Americans Stage ** Learning Center ** Railroad Flatcar *** Craft Area *** Truck Dock **** Sports & Games 25 June 29 Highlights For detailed information consult call-boards at each stage. c., concert; d., discussion; W., workshop OLD WAYS IN THE NEW WORLD CHILDREN'S GERMAN LEBANESE AFRICAN DIASPORA FOLKLORE Freistadt Brass Band c. Village Dances from Mtein and AFRICAN DIASPORA Sacred and Sligo Junior High School ** 11:00 Marjayoun Ceremonial Services * Girl Scout Troop 1466 * Scottsbluff Dance Band with Hackbrett Ghanaian Presentation 11:30 Fredericksburg Dance Band c. Kaslik Group: Liturgical Music Paul Ofori-Ansah-Ghanaian Games ** 12:00 Sligo Junior High and Stu Jamison * Langenschiltach Brass Band c. Music and Dances of Lebanese- Jamaican Presentation (KUMINA) 12:30 Americans Die Holsteiner Dance Band Ross Elementary School* 1:00 Freistadt Brass Band and Dancers * Girl Scout Troop 1466 *** Münchener Hackbrettmusik c. Village Dances from Mtein and Bessie Jones * 1:30 Marjayoun Hackbrett Workshop W. Arab Solo Dance U.S.A. Presentation Parkland Junior High School** 2:00 Fredericksburg Dance Band; Dancers * (Local Black Congregation) Stu Jamison *** Langenschiltach Brass Band c. Kaslik Group: Secular Music 2:30 Haflah: Dabke Instruction, Open Dancing * Fredericksburg Dance Band Paul Ofori-Ansah-Ghanaian Games * 3:00 Parkland Junior High School *** Scottsbluff Dance Band with Hackbrett c. Cabaret: Music, Song, Improvisational 3:30 Dance Münchener Hackbrettmusik 4:00 Freistadt Brass Band and Dancers * Die Holsteiner Dance Band 4:30 Gospel Music Concert Evening * Church * Stage Market Game Ring * Plaza * Plaza *** House *** Folk Swap 26 June 29 WORKING REGIONAL NATIVE FESTIVAL AMERICANS AMERICANS AMERICANS STAGE c. The Road to Heaven * c. Ukrainian Religious Music d. Longhouse Life * c. Songs of Celebration c. Bodie Wagner *** d. Chippewa Tribe ** 11:00 Get A Load of This! *** 11:30 c. The Other Road * c. Goertzen Brothers c. Musical Instruments 12:00 c. Air Transportation Songs* c. Fiddle Styles of the Northern Plains d. Comprehensive Employment Training Act 12:30 c. Dance * c. Truckers and Lovers * c. Historical and Topical Songs 1:00 c. Utah Phillips *** d. Social Life on the Northern Plains d. Six Nations Panel* 1:30 c., W. Railroad Wrecks c. Nasi Tamburashi- d. Powhatan Confederacy W. Music as Heritage Serbo-Croatian Music and Dance 2:00 W. Lacrosse Game **** d. Potawatomi Tribe ** 2:30 c., W. Country Music, Railroading & c. Mitchifs-Music and Dance W. Indian Food *** c. Sacred Offering Trucking * d. Six Nations: Iroquois ** 3:00 Get A Load of This! ** c. Jim Ringer *** 3:30 c. Hoboes & Hoboing: Riding the Rods * c. Waltz Workshop c. Dance and Social Music 4:00 d. Dance * 4:30 CONCERT 6:30-8:30 Festival Concert * Stage Evening * Working Americans Stage ** Learning Center ** Railroad Flatcar *** Craft Area *** Truck Dock **** Sports & Games 27 Truck Roadeo Pony Cart Rides Lincoln Memorial Reflecting Pool African Diaspora Work Shuttle Market Stage Church Aircraft Exhibit/ D Learning Center Crafts Trucks Market Place " Learning Cen House Food Film & Cigarettes Hospitality " ? Working Auericans #/# June 25-29 ? R Railroa Lebanese French Drive Bleycles Mexican Stage Cafe Crafts Na Germans Learning Cente Northern Plains TI Beer Garden ? July 2-6 Old Ways First Aid U.S. Park Police Mexicans Lebanese/Italian Stage in the Press Italians fill Cooking Cafe New World Cooking Japanese Crafts dministration Coastal California Plaza Stage Cafe Truck Roadeo (June 28 & 29) German/Japanese Stage Fiddler's Convention (July 5) ? Information/Programs Restrooms Independence Avenue, S. " Food Sales Hay Ride Reflecting Pool Tuna Boat Testing Family Folklore Crafts Crafts Workshop 1 Crafts Working Americans Stage Native American Stage Regional American Stage Cooking Aircraft Exhibit Demonstration Sports & Games Learning Cente Theate Seafarers Livestock Working Agriculture ? Learning Center " Native Americans ? Auericans Book Sales ? Cooking Craft Sales "I Regional Americans Record Sales Craffs Sales Nat'l Public Radio Toy Sales Hill & Sand 0 Workshop 2 Folk Swap FESTIVAL STAGE Hay Ring Crafts Stage Children's Folklore FORD in ONLY LIBRARY Crafts festival Games Ring of american dence Avenue, S.W. folklife July 2 Highlights For detailed information consult call-boards at each stage. c., concert; d., discussion; w., workshop OLD WAYS IN THE NEW WORLD JAPANESE ITALIAN MEXICAN AFRICAN DIASPORA Tachibana Dancers Trattoria Party with Regional Italian c. Huichol Group Street Sounds ** 11:00 Music: North Italians or South Italian Afro-American Stories *** Countrymen or Neapolitans Taiko Drumming W. Mexican Song-styles 11:30 Minyo Dancers Informal Musicale c. Mariachi Contemporary Music Black Sacred Music (U.S., Haiti, Ghana) * 12:00 Japanese Folk Song and Dance W. Tradition of the Harp in Mexican 12:30 Music Papa' Manteo Marionette Show c. Jarocho Ensemble 1:00 c. Spotlight Concert * Tea Ceremony, Koto Music Trattoria Party with Regional Italian Black Dance Workshop** 1:30 Judo Demonstration * Music: North Italians or South Italian Countrymen or Neapolitans W. String Instruments in Mexican Instrument Making *** 2:00 Music Japanese Folk Song and Dance W. Musical Styles and Social Contexts c. Norteno Ensemble 2:30 Minyo Dancers * Trattoria Party with Regional Italian Nite Life Music Workshop** 3:00 Music: North Italians or South Italian Countrymen or Neapolitans Taiko Drumming W. Mexican Songs and Song-styles "Sweet Honey in the Rock" *** 3:30 Tachibana Dance Workshop Papa' Manteo Marionette Show/Workshop c. Jarocho Ensemble 4:00 c., W. Themes of Italian Life and Music Mexican Dance Workshop 4:30 Evening Concert on Festival Stage Evening Concert on Festival Stage Evening Concert on Festival Stage Song Fest *** Evening * Church ** Market * Plaza * Plaza * Plaza *** House 30 July 2 WORKING REGIONAL NATIVE FESTIVAL AMERICANS AMERICANS AMERICANS STAGE c., W. Songs of the Sea * Old-Time Fiddler's Jamboree & Dancing * c. Dancing* c. Songs of Celebration c. Jim Ringer c. Wright Brothers; Black Gospel d. Wampanoag Tribe ** 11:00 Quartet ** W. Old-Time Country Music *** 11:30 c. Railroad Song Swap* W. Farm Workers' Songs** W. Lacrosse Game **** W. Musical Instruments 12:00 c. Saul Broudy & Lewis London ** c. Portuguese Music and Dancing* d. Coalition of Eastern Native Americans** 12:30 c., W. Sheets and Riggings* W. David Page: Uilleann Bagpiper *** W. Stone Carver *** c. Sacred Offering 1:00 Get A Load of This! *** c. Sacred Music: Molokans Singers** 1:30 c. Trucking Song Swap * c. Mexican Music: Jarocho & Mariachi * W. Basket Weaving *** W. Vocal Styles W. Assyrian Music and Storytelling *** d. Haliwa Tribe 2:00 W. Irish Music ** d. Six Nations: Iroquois ** 2:30 Blues Piano: Robert Jeffery *** c. Dance and Social Music 3:00 c., W. Sea Shanteys W. Assyrian Dancing and Teaching* c. Dancers * c. Hoboes Songs** 3:30 Get A Load of This! ** c. Sacred Music: Molokans Singers** 4:00 c. Perils of the Road, Rail, & Sky * W. Chinese Games * W. Lacrosse Game **** 4:30 6:00 California Waltz Party* 5:00 Working Americans: Sea Shanteys CONCERT 6:30-8:30 Old Ways in the New World * Stage Evening * Working Americans Stage * California Stage ** Learning Center ** Railroad Flatcar ** Workshop Area 1 *** Craft Area *** Truck Dock *** Workshop Area 2 **** Sports & Games 31 July 3 Highlights For detailed information consult call-boards at each stage. c., concert; d., discussion; W., workshop OLD WAYS IN THE NEW WORLD JAPANESE ITALIAN MEXICAN AFRICAN DIASPORA Tachibana Dancers Trattoria Party with Regional Italian c. Huichol Group Street Sounds ** 11:00 Music: North Italians or South Italian Afro-American Stories *** Countrymen or Neapolitans Taiko Drumming W. Mexican Song-styles 11:30 Minyo Dancers Informal Musicale c. Mariachi Contemporary Music Black Sacred Music (U.S., Haiti, Ghana)* 12:00 Japanese Folk Song and Dance W. Tradition of the Harp in Mexican 12:30 Music Papa' Manteo Marionette Show c. Jarocho Ensemble 1:00 c. Spotlight Concert* Tea Ceremony, Koto Music Trattoria Party with Regional Italian Black Dance Workshop** 1:30 Judo Demonstration * Music: North Italians or South Italian Countrymen or Neapolitans W. String Instruments in Mexican Instrument Making *** 2:00 Music Japanese Folk Song and Dance W. Musical Styles and Social Contexts c. Norteno Ensemble 2:30 Minyo Dancers * Trattoria Party with Regional Italian Nite Life Music Workshop 3:00 Music: North Italians or South Italian Countrymen or Neapolitans Taiko Drumming W. Mexican Songs and Song-styles "Sweet Honey in the Rock" *** 3:30 Tachibana Dance Workshop Papa' Manteo Marionette Show/Workshop c. Jarocho Ensemble 4:00 c., W. Themes of Italian Life and Music Mexican Dance Workshop 4:30 Ghana ** Evening * Church ** Market * Plaza * Plaza * Plaza *** House 32 July 3 WORKING REGIONAL NATIVE FESTIVAL AMERICANS AMERICANS AMERICANS STAGE c. Song Swap-Railroading & Trucking* W. Assyrian Music and Dancing * W. Lacrosse-stick Maker *** c. Marriage, Courtship and Love c. Sea Songs-Gerret & Jeff Warner *** c. Wright Brothers: Black Gospel d. Shinnecock Tribe ** 11:00 Quartet W. Old-Time Country Music *** 11:30 c., W. Sea Shanteys W. Farm Workers' Songs* W. Lacrosse Game **** c. Musical Instruments Get A Load of This! ** c. Portuguese Music 12:00 d. Adult Motivational Education Project 12:30 c. New Train Songs * c. Sacred Music: Molokans Singers * c. Occupational Songs c. Jim Ringer** W. David Page: Uilleann Bagpiper *** 1:00 W. Old-Time Fiddling 1:30 c. Famous Ships* W. Portuguese Chamarritas: Square d. Lumbee Tribe ** c. Song Making Dancing * 2:00 W. Assyrian Music and Storytelling *** Get A Load of This! ** d. Six Nations Panel* 2:30 c., W. Truckers and Lovers* c. Kenny Hall ** W. Rhythm c. Blues Piano: Robert Jeffery *** 3:00 c. Bodie Wagner *** W. Chinese Games * d. Six Nations: Iroquois** 3:30 c., W. Fo'cas'tle Songs * W. Mexican Music: Jarocho ** c. Dance and Social Music 4:00 W. Songs and Dancers* 4:30 Evening Concert on Festival Stage CONCERT 6:30-8:30 Regional Americans- California Heartland * Stage Evening * Working Americans Stage * California Stage ** Learning Center ** Railroad Flatcar ** Workshop Area 1 *** Craft Area *** Truck Dock *** Workshop Area 2 **** Sports & Games 33 July 4 Highlights For detailed information consult call-boards at each stage. c., concert; d., discussion; W., workshop OLD WAYS IN THE NEW WORLD JAPANESE ITALIAN MEXICAN AFRICAN DIASPORA Tachibana Dancers Trattoria Party with Regional Italian c. Huichol Group Street Sounds ** 11:00 Music: North Italians or South Italian Afro-American Stories *** Countrymen or Neapolitans Taiko Drumming W. Mexican Song-styles 11:30 Minyo Dancers Informal Musicale W. Tradition of the Harp in Mexican Black Sacred Music (U.S., Haiti, Ghana) * 12:00 Music Japanese Folk Song and Dance W. String Instruments in Mexican 12:30 Music Papa' Manteo Marionette Show c. Jarocho Ensemble 1:00 c. Spotlight Concert* Tea Ceremony, Koto Music Trattoria Party with Regional Italian Black Dance Workshop** 1:30 Judo Demonstration * Music: North Italians or South Italian Countrymen or Neapolitans W. String Instruments in Mexican Instrument Making *** 2:00 Music Japanese Folk Song and Dance W. Musical Styles and Social Contexts c. Norteno Ensemble 2:30 Minyo Dancers * Trattoria Party with Regional Italian Nite Life Music Workshop 3:00 Music: North Italians or South Italian Countrymen or Neapolitans Taiko Drumming W. Mexican Songs and Song-styles "Sweet Honey in the Rock" *** 3:30 Tachibana Dance Workshop Papa' Manteo Marionette Show/Workshop c. Jarocho Ensemble 4:00 c., W. Themes of Italian Life and Music* Mexican Dance Workshop 4:30 Haiti ** Evening * Church ** Market * Plaza * Plaza * Plaza *** House 34 July 4 WORKING REGIONAL NATIVE FESTIVAL AMERICANS AMERICANS AMERICANS STAGE c. Transportation Song Swap * c. Mexican Music: -Jarocho, Corridos* W. Silver Smith Work *** c. Historical and Topical Songs c. Sacred Music: Molokans Singers d. Aroostook Tribe 11:00 Get A Load of This! *** W. Old-Time Country Music *** 11:30 c. Utah Phillips W. Irish Music ** c. Singing* W. Musical Instruments 12:00 d. Economic Development Program ** c. Dance Contest 12:30 Presentation of Prizes c., W. Sea Shanteys c. Portuguese Music: Desafio, Fados * c. Sacred Offering W. David Page: Uilleann Bagpiper *** 1:00 Get A Load of This! ** 1:30 c. Truck Stops, Truckers & Music * c. Wright Brothers: Black Gospel d. Coharie Tribe ** W. Music as Heritage c. Wrecks ** Quartet 2:00 W. Assyrian Music and Storytelling *** 2:30 c. Sailors and Their True Loves* W. Chinese Games * d. Six Nations: Iroquois ** W. Rhythm W. Fiddle Workshop: Cunningham W. Lacrosse Game **** 3:00 Family ** c. Saul Broudy and Lewis London ** c. Blues Piano: Robert Jeffery *** 3:30 Get A Load of This! *** W. Square Dance * c. Dance and Social Music c. Railroad Heroes* c. Sacred Music: Molokans Singers** 4:00 c. Sea Heroes and Pirates * d. Corn Husk Doll Making *** 4:30 * Stage Evening * Working Americans Stage * California Stage ** Learning Center ** Railroad Flatcar ** Workshop Area 1 *** Craft Area *** Truck Dock *** Workshop Area 2 **** Sports & Games 35 July 5 Highlights For detailed information consult call-boards at each stage. c., concert; d., discussion; w., workshop OLD WAYS IN THE NEW WORLD JAPANESE ITALIAN MEXICAN AFRICAN DIASPORA Trattoria Party with Regional Italian c. Huichol Group Whether a Yam Festival in Ghana, or 11:00 Music: North Italians or South Italian carnival in Haiti, or an Emancipation Countrymen or Neapolitans Day Celebration in the United States, African and African derived holidays and W. Mexican Song-styles carnivals feature special foods, special 11:30 costuming, singing, dancing and parad- ing. The African Diaspora area today Informal Musicale c. Mariachi Contemporary Music features all of these activities. All par- 12:00 ticipants will conduct small sessions all over the area, where they can meet their audiences in more intimate exchanges. W. Tradition of the Harp in Mexican 12:30 Music Performances Wulomei Bon Festival and Dance Papa' Manteo Marionette Show c. Jarocho Ensemble 1:00 Plaza Stage Kwaa Mensah All Day Salisu Mahama Trattoria Party with Regional Italian 1:30 Music: North Italians or South Italian Charlie Sayles Countrymen or Neapolitans Bill Hines W. String Instruments in Mexican 2:00 Music Rising Star Fife and Drum Band Sweet Honey In The Rock W. Musical Styles and Social Contexts c. Norteno Ensemble Haitian Dance Troupe 2:30 Meringue Band Trattoria Party with Regional Italian Haitian Vocal Ensemble 3:00 Music: North Italians or South Italian Countrymen or Neapolitans Arabbers W. Mexican Songs and Song-styles Rev. William Faulkner 3:30 Ardoin Brothers & Canray Fontenot Papa' Manteo Marionette Show/Workshop c. Jarocho Ensemble Freelows Express Dance Group 4:00 Mexican Dance Workshop 4:30 SATURDAY AFTERNOON CONCERT Evening * Church ** Market * Plaza * Plaza * Plaza *** House 36 July 5 WORKING REGIONAL NATIVE FESTIVAL AMERICANS AMERICANS AMERICANS STAGE c. Transportation Song Swap* W. Chinese Games* c. Dancing * FIDDLERS' CONVENTION AND CONTEST c. Portuguese Music ** d. Narragansett Tribe ** 11:00 W. Old-Time Country Music *** 11:30 c. Saul Broudy *** W. Farm Workers' Songs* W. Woodwork (Cradleboards and Bead- Registration 11:00 am work) *** 12:00 c. Louis Killen* d. Office of Native American Programs** Convention begins 11:00 am 12:30 c., W. Country Music and Truckers * W. Mexican Music: Jarocho ** W. Hoop and Dart Game **** Contest begins 1:00 pm Get A Load of This! *** W. David Page: Uilleann Bagpiper *** 1:00 1:30 c. W., Shipwrecks and Railroad Wrecks * c. Sacred Music: Molokans Singers d. Tunica-Biloxi Tribe ** c. Jim Ringer *** W. Irish Music 2:00 W. Assyrian Music and Storytelling *** 2:30 Get A Load of This ** W. Chinese Games* d. Six Nations: Iroquois ** c. New Train Songs * c. Wright Brothers; Black Gospel 3:00 Quartet c. Air Transportation Songs * c. Blues Piano: Robert Jeffery *** W. Lacrosse Game **** 3:30 c. Bodie Wagner & Lewis London *** W. Assyrian Dancing * c. Sea Shanteys c. Sacred Music: Molokans Singers ** 4:00 c. Hoboes* W. Bone Carver *** 4:30 5:00 Portuguese Festa: Boda da Leite * CONCERT Parade, concert, and dancing 6:30-8:30 Fiddlers Contest Awards Square Dance * Stage Evening * Working Americans Stage * California Stage ** Learning Center ** Railroad Flatcar ** Workshop Area 1 *** Craft Area *** Truck Dock *** Workshop Area 2 **** Sports & Games 37 July 6 Highlights For detailed information consult call-boards at each stage. c., concert; d., discussion; w., workshop OLD WAYS IN THE NEW WORLD JAPANESE ITALIAN MEXICAN AFRICAN DIASPORA Tachibana Dancers Trattoria Party with Regional Italian c. Huichol Group AFRICAN DIASPORA Sacred and Cere- 11:00 Music: North Italians or South Italian monial Services * Countrymen or Neapolitans Taiko Drumming W. Mexican Song-styles Ghanaian Presentation 11:30 Minyo Dancers Informal Musicale c. Mariachi Contemporary Music 12:00 Japanese Folk Song and Dance W. Tradition of the Harp in Mexican Haitian Presentation (Voodoo) 12:30 Music Papa' Manteo Marionette Show c. Jarocho Ensemble 1:00 c. Spotlight Concert * Tea Ceremony, Koto Music Trattoria Party with Regional Italian 1:30 Judo Demonstration * Music: North Italians or South Italian Countrymen or Neapolitans W. String Instruments in Mexican Music U.S.A. (Black Congregation) 2:00 Japanese Folk Song and Dance W. Musical Styles and Social Contexts c. Norteno Ensemble 2:30 Minyo Dancers * Trattoria Party with Regional Italian 3:00 Music: North Italians or South Italian Countrymen or Neapolitans Taiko Drumming W. Mexican Songs and Song-styles 3:30 Tachibana Dance Workshop Papa' Manteo Marionette Show/Workshop c. Jarocho Ensemble 4:00 c., W. Themes of Italian Life and Music * Mexican Dance Workshop 4:30 5:00 Gospel Music Concert Evening * Church Market * Plaza * Plaza * Plaza *** House 38 July 6 WORKING REGIONAL NATIVE FESTIVAL AMERICANS AMERICANS AMERICANS STAGE c., W. Songs of the Sea * Sacred Music * d. Longhouse Life * c. Historical and Topical Songs c. Bodie Wagner featuring all performers d. Potowatomi Tribe ** 11:00 11:30 C., W. Working on the Railroad * W. Musical Instruments Get A Load of This! *** 12:00 d. Comprehensive Employment Training Act 12:30 c. Dance * c., W. Sheets, Rigging & Shanteys c. Sacred Offering c. Railroading and Hoboing ** 1:00 d. Six Nations Panel * 1:30 c. Perils of the Road * W. Chinese Games * d. Passamaquoddy Tribe ** W. Occupational Songs Get A Load of This! ** c. Mexican Music 2:00 c. Blues Piano: Robert Jeffery *** W. Lacrosse Game **** 2:30 c. Gerret and Jeff Warner: Sea Songs * California Dance Party * c. Street Sounds Train Sounds Contest 3:00 c. Transportation Song Swap * c. Wright Brothers: Black Gospel W. Indian Food *** Get A Load of This! *** Quartet d. Six Nations: Iroquois ** 3:30 c. Dance and Social Music 4:00 c. Sacred Music: Molokans Singers ** c. Dance * 4:30 * Stage Evening * Working Americans Stage * California Stage ** Learning Center ** Railroad Flatcar ** Workshop Area 1 *** Craft Area *** Truck Dock *** Workshop Area 2 **** Sports & Games 39 General Information: Services Special Transportation Electric vehic- Park and Ride Services: ular transportation will be available for Soldiers' Home Parking Lot- Monday use by elderly and handicapped people through Saturday take bus #80. Buses along a fixed route of the Festival. run every 20 minutes. Use stop at 19th & Check with route maps at Information Virginia Avenues, N.W. Sundays take kiosks. #81 to 19th & G Streets, N.W. Carter Barron Parking Lot-Buses Parking There will be no public park- run every 10 minutes. Take bus #B-9 to ing provided at the Festival site. The use 13th & Pennsylvania Avenues, N.W. of bus transportation is recommended. (Valid Monday through Friday) Columbia Island - (off George Wash- First Aid The American Red Cross is ington Parkway near 14th Street Bridge). operating a First Aid Station in the Ad- Buses run Monday through Friday. Take ministration compound near Independ- bus #11B; it leaves every hour on the ence Avenue. Information kiosks will hour. direct visitors. The nearest Emergency R.F.K. Stadium-Buses run every 10 Hospital facility is located at George minutes. Take bus #40 or #42 to 14th & Washington University Hospital, six H Streets N.W. Transfer to #80 (runs blocks north of the Festival site at Wash- every 20 minutes) and continue to stop ington Circle. at 19th & Virginia Avenues, N.W. Lost Children Lost children will be Shuttle taken to the area operated by the U.S. Shuttle bus service from the North Park- Park Police and the American Red ing Lot of the Pentagon is scheduled. Cross. Parents should call for them For specific times call the National Park there. National Park Service technicians Service, 426-6700. and rangers will assist. There will be no paging on Public Address Systems. The lost children area will be in the vicinity of the Administration tent. Instrument-making, a traditional skill Lost and Found Articles Lost articles demonstrated at the Festival. This year may be claimed at the Administration a Mexican harp-maker and German tent at the end of each day. Found arti- Hackbrett-maker will carry on their cles may be turned in to any of the In- skills in the Old Ways in the New World formation kiosks. area. A fiddle-maker from the Northern Plains will be at work in Regional Rest Rooms There is a permanent rest America. At right are photos of a Mexi- room facility located near 17th Street at can guitar-maker as (top) he studies the east end of the activity area. Other the plan; (middle) he bends the sides facilities are located at strategic points against a heater into the typical curves throughout the Festival site. and studies an elegant motif; (below) the interior of the guitar before the Bicycle Racks Bicycle racks are lo- back is put on showing sound hole and cated on French Drive. Bike owners details of construction, and final must provide their own locks and/or touches put to bridge. chains to secure their bikes. Photos by Toshi Seeger. 40 Old Ways in the New World "Human beings are movers and wan- derers. Spanning oceans, crossing continents, they search always for that better place to be. And as they go, they carry with them not just clothing, not just furniture, but memories, habits, songs, customs, ways of doing things- all the storehouse of shared knowledge that will help make their new homes familiar and comfortable. These, then, are the Old Ways in the New World: the hand, heart and mind skills that people from a hundred parts of the globe have brought with them as their gift to a new homeland." More than 90 percent of all Americans recognize themselves as heirs to cultural traditions brought to this country from other parts of the world. This year the Festival features six of the many ethnic and nationality groups that have en- riched the American mosaic of culture. In the Bicentennial celebration, more than 30 will participate. The central theme of these presenta- tions is celebration. Individuals and groups who serve their communities In Langenschiltach, Germany, the brett, Zither and guitar. Blaskapelle upon the more traditional parts of their through singing, dancing, providing village of Blaskapelle plays for wed- (brass band) musicians and dancers repertories to demonstrate ties with instrumental music, telling stories, or dings and other special events. Several from Baden-Wurtemburg will perform other styles of Lebanese music on the preparing food for these gatherings dancers, pictured here wearing the wedding music from their region and program. are brought to the Festival from ethnic traditional wedding crown, will be will display a traditional wedding crown Each day's activities will resemble a communities in the United States and accompanying the band members to worn by their village brides. haflah, or Lebanese party with music, from their parent nations overseas. the Festival. Wedding foods will be demonstrated; song, food and dance. Dancers from The 1975 presentations feature Ger- bratwurst and other traditional German Marjayoun and Mtein, Lebanon, and man and Lebanese traditions June 25- bluff, Nebraska, play traditional wedding foods will be prepared for sale. Springfield, Massachusetts will teach 29, and Japanese, Mexican and Italian music on a combination of instruments: Festival visitors the dabke and other traditions July 2-6. a hammered dulcimer or Hackbrett, Lebanon-Haflah village group dances that are a basic accordian, trombone, and bass guitar. Lebanese "Old Ways in the New part of haflahs in both the Old and New Germany-Weddings Other music will be performed by a World" will reflect the diversity of tradi- Worlds. The German presentation focuses on German-American brass band from tional music and dance, urban and vil- The sacred dimension of Lebanese the music, dance and foodways as- Freistadt, Wisconsin, and an eight-piece lage, sacred and secular. Two urban music will be shown by vocalists sing- sociated with weddings-a celebration band from Fredericksburg, Texas. cabaret orchestras, one from Lebanon, ing choral songs sacred to Lebanese that involves whole communities in From Schleswig-Holstein in northern one from the United States, will play Christians. customs that have been practiced for Germany a six-piece band will perform nay, 'ud, rebab, qanun, and darbukkah Festive foods including kibbe, taboo- hundreds of years. wedding dance music. Bavarian wed- to accompany singing and solo dancing leh, and ma'moul will be cooked and German-American musicians from ding music will be played by three that have made the nightlife of Beirut available for sale, along with a cook- a German-Russian community in Scotts- musicians from Munich who use Hack- famous. Cabaret performers will draw book of traditional recipes. 41 Japan-Summer Festival from Italy in activities traditionally as- Visitors will hear the cries of street A Natsu Matsuri, or summer festival, sociated with saint's day celebrations, vendors and the sounds of tambourines, provides the frame within which Japa- scampagnate, carnivale and other bagpipes, scrapers and accordions, nese music, dance, crafts and foods are special occasions. instruments native to many regions of presented. Japanese-Americans from Music is of special importance in Italy. communities in Seabrook, New Jersey, these presentations, as it has been in A Sicilian family from Brooklyn will New York, Philadelphia, Chicago, and the immigration experience. An Italian operate marionettes in dramas based Washington, D.C., together with folk ballata, "Mother, mother give me my on the Song of Roland (Orlando Furioso) artists from Tokyo and Mihara, a small dowry/For to America I want to go," was epic. A Neapolitan burattinaio will pre- seacoast city in Hiroshima Prefecture, a refrain heard from one end of the sent simpler hand puppet dramas. will create festive and colorful celebra- Italian Peninsula to the other. It speaks Visitors are invited to play and watch tions daily, culminating in a major of the dreams of social and economic Italian games including bocce and Obon Odori in the Plaza on July 5. fulfillment that motivated emigration morra; to exchange jokes, riddles, stor- Folk dancing including Minzoku- and together with its hundreds of varia- ies and proverbs in the special discus- Buyo (folkloric dance) and regional tions is known as "the emigration song." sion center; and to sample pasta, Bon-odori (dances for the Lantern Performers from Northern and South- polenta, pastries, breads, sausages and Festival) from Japan will be demon- ern Italy will sing Calabrian ballads and the other traditional Italian foods which strated daily. serenades in harmony; robust osteria will be demonstrated and sold. Of special interest are the traditional songs of Trento; tralaleri from Luguria; The Mexican Plaza, traditional center Japanese instruments, taiko, flute, canzonette Napolitane from Naples, of social activity moves to the Festival. small brass gong and samisen, that will be used to accompany the singers and dancers. Japanese-American musicians will perform on the koto, a traditional stringed instrument. Crafts related to festivities, Ikebana (flower arranging) and origami (paper folding) will be demonstrated, as will calligraphy, kimono-making, zabuton- making and kite-making. Judo, the art of self-defense, will be demonstrated by men and women. At Japanese festivities food is not only delicious but attractive as well. Artistic food arrangement, sushi-mak- ing and mochi-tsuki (the traditional preparation of mochi) are part of the presentation. Japanese foods are for sale as well as a traditional Japanese cookbook, which will enable visitors to practice at home what they learn here. Italian puppeteer Michael Manteo will Italy-Festa perform the medieval epic, Orlando Italian-Americans from neighbor- Furioso daily at 2 and 4 p.m. in the Old hoods in the New York metropolitan Ways in the New World area, July 2-6. area will join counterpart participants 42 Participants German R. L. Frantzen: Trumpet player Gretel Gross Trio: Anthony Hartmann: Drummer Hans Eibl: Zither player Sidney Henke: Saxophone player Margarete Gross: Hackbrett player Hugo Klaerner: Alto horn player Gottfried Keck: Guitar player Arthur Klein: Accordion player Albert Meier: Bass horn player Die Holsteiner: Felix Pehl: Trumpet player Gregor Otto: Leader Karl-Heinz Kler, Musician Bob Schmer's Polka Play Boys: Albert Fahlbusch: Hammered dulcimer Hans-Joachim Knoof, Musician Rüdiger König, Musician player Walter Siwek, Musician Roger Fahlbusch: Bass guitar player Paul Gottfried Zulauf, Musician Andrew M. Gentry: Trombone player Robert H. Schmer, Accordion player Langenschiltach Blaskapelle: G. F. Weber-Benzing: Band leader Lebanese American Gudrun Epting: Dancer Hans Epting: Dancer Antoinette Arida: Dancer Margot Epting: Dancer Radie Bonemery: Dancer Walter Epting: Dancer Edward Denny: Dancer Mathias Hildbrandt: Bass tuba player Ali Elhage: Dancer Mathias Kieninger: Horn player Ethyl Anna Habib: Dancer Andreas Muller: Dancer Joseph George Habib: Dancer Bernd Muller: Dancer Baha Issa: Dancer Doris Muller: Dancer Hugo Klaerner: Alfred Weisser: Tenorhorn player Edmond Lahage: Dancer Gerd Weisser: Clarinet player S. Kweilin Nassar (Ms.): Dancer Walter Weisser: Trumpet player Laurice Peters: Singer Mrs. Waltraud Weisser: Dancer Jihad Racy: Oud, Buzuk, Nay & Rebab Konrad Kostin: Folklorist player Mexico-The "Plaza" Mariachi musicians from Mexico join Ulrich Tolksdorf: Folklorist Ray Rashid: Darbukkah player Louis Shelby: Violinist Mexicans and Mexican-Americans cultural cousins from the U. S. to German American James Soffan: Dancer will share the Hispanic-American stage celebrate shared musical heritage July Alte Kameraden Band, Freistadt, Wisc: Khazma Soffan: Dancer the second week of the Festival in a 2-6 in the Old Ways area. David Baumann: Baritone, trumpet player Mr. & Mrs. Mohammed Soffan: Dancers Donald Boehlke: Drummer program that attempts to seek out the through parts of the Southwest, will Samira Hadad Tamer: Dancer roots of those music traditions most Norman Boehlke: Trombone player Ahmad Zebian: Dancer be performed by Mexican-American Roland Braun: Clarinet, zither player Samir Zebian: Dancer popular among Mexican-Americans in musicians and dancers from that area Mervin Browne: Clarinet player Nazih Zebian: Dancer the United States. of the United States. Heavily influenced Karl Ebenhoch: Dancer Visitors to the Festival of American by the polkas, mazurkas and schot- Elroy Ernst: Trombone player Japanese American Folklife will be able to compare the tisches of the German/Bohemian set- Franklin Evens: Drummer Minyo Dance Group: styles of the mariachi music that now tlers in Texas, the music is performed Earl Hilgendorf: Baritone, trumpet, fliegel Susan Matsumoto Brown: Minyo dancer thrives in Mexico and in the United by accordion, guitar and occasionally horn player Donna Endo: Minyo dancer States. Of the mariachi styles performed, by cow bells, cow horns and block Franklin Klug: Bass tuba player Doris Endo: Minyo dancer two groups, one from California and from the percussion section. David Balsiger: Trumpet player Toshiko Hieshima: Minyo dancer another from Jalisco, Mexico, will play Harold Pipkorn: Baritone horn A musical tradition gaining in pop- Elaine Ichikawa: Minyo dancer Louis Rittschof: Clarinet player the contemporary styles enjoyed on ularity among Mexican-Americans is Michi Ichikawa: Minyo dancer Harold Schoessow: Trombone player both sides of the border. A third group, the jarocho of Southern Vera Cruz. An Grace Kono: Minyo dancer Elmer Schreiber: Trombone player, singer Kiyo Kunisada: Minyo dancer Huichol Indians, will present an in- ensemble of five performers from Mexico Donald Silldorff: Trumpet player Sharon Miyata: Minyo dancer digenous version. will play the harp-dominated music Wilmer Wetzel: Trumpet player Violet Mizuki: Minyo dancer The norteño style, a lively, rustic sound and execute the complex footwork of Pehl's Oompah Band, Fredericksburg Texas: Shizuko Ogawa: Minyo dancer that flourished in Texas and spread the dances. Henry Frantzen: Saxophone player Phyllis Taketa: Minyo dancer 43 Tachibana Dance Group: Yasuko Sudo: Koto player Calabrese Instruments featured in Old Ways Sahomi Tachibana: Minzoku-Buyo dancer Kimi Sugiyama: Cha No Yu performer Angelo Azzinari: Singer in the New World Toyo Kikuchi: Minzoku-Buyo dancer Chizu Takaoka: Narrator Annunziata Chimenti (Ms.): Tamborine Ellen Kubo: Minzoku-Buyo dancer Karen Takata: Origami & Ribbon player and singer German: Hackbrett; zither; guitar; dou- Taeko Okada: Minzoku-Buyo dancer folding demonstrator Annunziato Chimenti: Castanet player and ble bass; bass, baritone, tenor, and alto Fusako Akahoshi (Ms.): Zabuton maker James Takemori: Judo demonstrator singer horns; clarinet; trumpet; trombone; Shingetsu Akahoshi: Calligraphy Harumi Taniguchi: Zabuton demonstrator Mr. Giuseppe DeFranco: Accordion player saxophone; accordion; snare and bass demonstrator Hisano Tazumi: Zabuton demonstrator Francesca Feraco: Tamborine player and drums. Iddy Asada: Mochi-tsuki demonstrator Mrs. Sus Uyeda: Ikebana demonstrator singer and organizer Angelo Gabriele: Accordion player and Japanese: samisen; koto; flute; taiko Kimie Bond: Koto player Japanese singer drum; small brass gong. Tamae Brockman: Koto player Yasuto Adachi: Dancer Angelo Gencarelli: Singer Italian: guitar; accordion; zambouna; Takeno Dodohara: Zabuton maker Shiro Chiba: Dancer Vincenzo DeLuca: Bagpipe player tamborello; friction drum; scrapers; Sarah Setsuko Hecht: Koto player Tsukasa Ezaki: Dancer Molisani castanets. Katsuko Lee: Ikebana demonstrator Katsutoshi Hibi: Dancer Antonio David: Drum, castanet player and Kyomi Nakamura: Mochi-tsuki Tadao Kagami: Dancer singer Lebanese: qanun; 'ud; nay; rebab; demonstrator & organizer Takaki Kagawa: Flute, drum player Vincenzo David: Friction drum player darbukkah. Noriko Nakamura: Cha No Yu performer Setsuko Konishi: Dancer Trentini Mexican: Huichol drum; violin; harp; Mitsuko Nakashita: Clothing customs Sachio Kuramoto: Shamisen player Mario Dellao: Singer demonstrator Eiko Kurata: Dancer Guido Endrizzi: Singer guitar, jarana; guitarrón; guitarra de Midori Nataka: Zabuton maker Hideko Mamiya: Dancer Cornello Facinelli: Singer golpe; vihuela; trumpet. Kyoko Okamoto: Koto player Kenjiro Maru: Flutist Simone Fellin: Singer Ghana: gonje. Shigeo Mase: Dancer Louis Flaim: Singer Makiko Nakanishi: Dancer Umberto Flaim: Singer Miyoko Nozawa: Dancer Takae Ohmoto: Dancer Mexican Mitsuto Ohshita: Dancer Hermanos Fierro: Kinuko Sakakibara: Dancer Alejandro Fierro Samuyo: Harpist Kimio Sugawara: Singer, shamisen player Daniel Ramos Palacio: Jarana player Akio Takahashi: Dancer Hermo Solís Portela: Jarana player Kozo Yamaji: Stage director La Danza Azteca: Hisae Yamamoto: Dancer Juan Narranjo González: Dancer Italian American Julio Narranjo Gonzáles: Violinist Mariachi Udabe: Siciliani Ezekiel Hernández: Violinist Sisto Cominotto: Puppeteer Rafael Hernández: Violinist Angelo Grillo: Puppeteer Antonio Macías: Trumpet player Ida Grillo: Puppeteer Felix Macías: Trumpet player Joanna Lauria: Puppeteer José María Morales: Violinist Vincent Lauria: Puppeteer Ramiro Morales: Guitarist Ann Manteo: Puppeteer Adana Udave: Violinist Denise Manteo: Puppeteer Filamon Udave: Guitarron player Michael Manteo: Puppeteer Huicholes: Miguel Manteo: Puppeteer Mariano Ríos Díaz: Guitarist Napolitana Rufino Ríos Díaz: Violinist Giuseppina D'Andrea: Percussionist, Santos González Ríos: Dancer, singer craftsperson Crescencio Pérez Robles: Dancer A German wedding crown will be worn Carlos Ríos Rosas: Violinist, during workshops on traditional Encarnación Martínez Leguizamo: Dancer wedding dress June 25-29 in the Angélica Castillo Martínez: Dancer "Old Ways" area. Jesús Reyes Vargas: Harpist 44 Books Japanese Benedict, Ruth. The Chrysanthemum and Italians the Sword. New York: World Publishing Co., Bianco, Carla. The Two Rosetos. Bloom- 1967. ington, Ind.: Indiana University Press, 1974. Eaton, Allen. Beauty Behind Barbed Wire. Ogrizek, Dore. The World in Color: Italy. New York: Harper and Bros., 1952. New York: McGraw-Hill, 1950. Haga, Hideo and Warner, Dr. Gordon. Pasolini, Pier Paolo. Canzonieri Italiano: Japanese Festivals. Osaka, Japan: Hoikusha Antologia della Poesia Popolare. Bologna: Publishing Co., Ltd., 1965. Guand, 1955. Sakai, Atsuharu. We Japanese. Yokohama, Sandler, Gilbert. The Neighborhood. Balti- 1947. more: Bodine and Assoc., Inc., 1974. Toor, Frances. Festivals and Folkways of Germans Italy. New York: Crown Publishers, 1953. Stumpp, Karl. The German-Russians: Two Williams, Phyllis. South Italian Folkways in Centuries of Pioneering. New York: Atlantic Europe and America. 1969. Forum, 1967. Lebanese Records Aswad, Barbara C. Arabic Speaking Com- munities in American Cities. Staten Island, Italians New York: Center for Migration Studies and Italian Folk Music, Vol. 1. Emelia Piedmont. Assoc. of Arab-American University Gradu- Ethnic Folkways Records FE4261. ates, Inc., 1974. Italian Folk Music, Vol. 5: Naples and Keatings, Margaret and Khayat, Marie. Campagnia. Ethnic Folkways Records FE- Lebanon, Land of the Cedars. Beirut: Khay- 4260. ats, 1960. Lomax, Alan. Folk Music of Northern and Central Italy. Columbia Special Products Mexicans #91A02023. Acuna, Rudolph. The Story of the Mexican Lomax, Alan. Folk Music of Southern Italy Americans. New York: American Book Com- and the Islands. Columbia Special Products pany, 1969. #91A02025. Espejel, Carlos and Toneyama, Kojin. The Popular Arts of Mexico. New York: Weather- Japanese hill Press, 1974. Flower Dance, Japanese Folk Melodies. McWilliams, Carey. North from Mexico. Recorded by Katsumasa Takasago in Japan. New York: Greenwood Press, 1968. Nonesuch H-72020 Stereo. Moore, Joan W. Mexican-Americans. En- Watanabe, Shogetsu. Japanese Folk Music. glewood Cliffs, New Jersey: Prentice-Hall, Lyrichord LL ST 7163. 1970. Mexicans Steiner, Stan and Valdez, Luis. Aztlan. New York: Alfred A. Knopf, 1972. Chávez, Alex. Duermete Niño and El Testa- Stevenson, Robert. Music in Mexico. New mento. Century Records. York: Thomas Y. Crowell Company, 1952. Chávez, Lino. Recordings of the jarocho Toor, Frances. A Treasury of Mexican tradition. RCA Camden (Cam 28, Cam 53 and Folkways. New York: Crown Publishers, 1947. Cam 108). Vasquez, Richard. Chicano. New York: Lo mejor de Los Alegres de Teran. Falcon Doubleday, 1970. Records. Los Camperos. El Super Mariachi Los Camperos. Discos Latin Internacional. Strachwitz, Chris. Texas-Mexican Border Salisu Mahama, Dagboni musician of Music. Arhoolie and Folklyric records. Northern Ghana, will play the "Gonje" Vargas de Tecalitlan, Silvestre. El Mejor The "African Diaspora" concept explores the roots of the Black experience in the African Diaspora area. Mariachi del Mundo. RCA (MKL 1156). from Africa, the Caribbean and the United States. 45 African Diaspora The term "African Diaspora" refers Craft presentations will demonstrate a to dispersion through the slave trade direct link between traditions in the of African peoples and cultures. In its U.S., the Caribbean and Africa. Hair second year, the Festival's "African preparations have carried over without Diaspora" program continues to em- change from Africa. Cornrowing or hair- phasize the strengths of one of Amer- braiding and hair threading, part of a ica's most vital ethnic groups, the Black rich revival presence sweeping Black Americans. The organizing principle is American communities, will be demon- to document those aspects of culture strated by a Black American and a that link Black Americans to Africa, the Ghanaian hair dresser. Basketweavers mother continent, via the Caribbean from Mt. Pleasant, South Carolina, work- Islands and Latin America. ing with sea grass and split palmetto Artists and craftspeople were invited in woven coils, will sit beside crafts- to this Festival from the African nation people from Ghana and Jamaica as they of Ghana, the Caribbean nations of use comparable materials and tech- Jamaica and Haiti, and from cities across niques to produce similar baskets. the United States. In the garden behind the African Presentations represent basic societal house, foodstuffs common to the Black activities-worship, family, and trade. community such as okra, turnips, and Worship activities by all participants root vegetables will be growing. In the take place on an altar setting that is a food demonstration area many of these prototype of a rural U.S. church. Trade foodstuffs will be used in versions of activities take place in a typical Carib- recipes prepared by cooks from Chicago, bean market place. An African house, III., Accra, Ghana, and Kingston, the traditional center of family activities, Jamaica. becomes the setting for small group Cultural presentations, children's presentations which allow for intimate games, cooking, and sacred ceremo- interchange between participants and nies, will express the commonality of visitors. experiences of Black people. The lan- Workshops will establish the family guages heard throughout the area- of cultural experiences linked by com- English, French, Spanish, and the Afri- mon origins. For example, a music can languages of Twi, Ga, and Dagboni workshop on the Black American blues - reflect aspects of the historical dis- form will present the urban blues of persion of Black people. "Hounddog" Taylor, the country blues To supplement the live presentations of Bukka White, and the comparable movies, filmstrips, photographic ex- African music of Salisu Mahama from hibits, lectures, books and records northern Ghana. The vocal and instru- will be used. mental continuum heard in these forms The performing artists and crafts- will be strengthened by the music of a people of the African Diaspora express group of Black Cajuns from southwest- the unity within diversity that charac- ern Louisiana. Mahama's instrument, terizes African culture wherever it the gonje, is of the violin or fiddle fam- exists. Musicians, dancers, cooks, ily; Fontenot of the Cajuns plays the woodcarvers, hairdressers, basket- Arabbers or street vendors from Baltimore have been an important part of the fiddle; the guitar sounds of Bukka White weavers and fishnet makers from three Festival for several years as much for their fresh fruit and gayly decorated and "Hounddog" Taylor represent a continents represent urban and rural, carts, as for their significance as living folklore. change in string instrument, but not in secular and sacred, home and com- Photo © Roland Freeman use or quality of musical sound. munity activities of Black people. 46 Participants DOMESTIC Chicago urban blues band Nii Adu: Bass drummer Jean Edner Guerrier: Dancer Walter Horton: harmonica player Nii Acquah: Assistant leader, guitarist Helene Jeanis: Dancer Juliet Amoah: Ghanaian cook S. P. Levy: drummer Nii Yarboi: Congo drummer Andre Jeanty: Dancer Elizabeth and Beatrice Coakley: Basket Richard Molina: bass player Nii Annoh: Marakash player Fritz Jolicoeur: Dancer weavers Bo Tunestam: guitarist Nii Namale: Dancer Aline Jules: Dancer Ardoin Brothers: Cajun musicians St. Helenas Island Community Center Nii Nortey: Singer Herve Maxi: Dancer Alphonse Ardoin: Accordianist, singer Singers: Black American traditional sacred Nii LacLai: Singer Anne Alourdes Murat: Dancer Laurence Ardoin: Drummer musicians Naa Adei: Dancer, vocalist Jean Alphonse: Drummer Morris Ardoin: Guitarist Harold Lawrence Naa Amanua: Lead vocalist Edner Cherisme: Drummer Russell Ardoin: Bassist Ezekial Cohen Kwaa Mensah and Group: Andre Duplan: Drummer Canray Fontenot: Fiddler, singer Roberta Simmons Kwaa Mensah: Leader, vocalist, guitarist Julien Nemorin: Drummer BibleWay Church World Wide Congregation: Henry Simmons Kwaku Moses: Roso roso player, singer Altemat Ulysse: Drummer Gospel singers Carol Bowles Kwaku Abebrese: Clappers, singer Marie Bastianie LaGuerre: Singer Joe Bostic D.C. Black Repertory Vocal Workshop Kodro Andam: Congo drummer Marie Ernicia LaGuerre: Singer Elsie Hamilton Sonny Diggs: Arabber (fruit vendor) Kwaku Benyin: Donno (hour-glass) Antalcidas Murat: Singer Caroline Bowles Rev. William E. Faulkner: Storyteller drummer Claudette Pierre-Louis: Singer George Ferrell, Jr.: Metal sculptor, John Shine: blues guitarist Abronpa K.: Drummer Ensemble Meringue: woodcarver Salisu Mahama and Group: Dieujuste Dorlette: Contrebasse George Ferrell, Sr.: Woodcarver FOREIGN Salisu Mahama: Leader, gonje player, Eddy Dorlette: Saxophone Freelows Express: Black American dancers Jamaica singer Lehem Biral Felican: Saxophone Charles Freeney: Cook Kumina Group: M. D. Sulley: Dancer, interpreter Adonys Joseph: Trompette Anna Fuller: Hairbraider Elizabeth Alexander Asumanu Iddrisu: Gonje player Roland C. Montreuil: Accordeon Linda Goss: Storyteller Beatrice Bonner Iddrisu Salisu: Rattle player Dr. Michael Lamartiniere Honorat: William Hines: Streetsinger Amadu Iddrisu: Rattle player Cultural Representative Donald Carty Walter Kelly: Arabber (fruit vendor) Salifu Alhassan: Dancer Maureen Ellis: André Narcisse: Group leader Flora Molton: Streetsinger Saka Acquaye: Cultural representative Clifford Flemmings Rufus Pinckney: Fishnet maker The bottleneck style guitar playing and Roy Francis Rev. Leon Pinson: Gospel singer, guitarist the powerful voice of Flora Molton, Bertram Kelly Rising Star Fife and Drum Band: Haiti Lady Streetsinger, have been heard Clinton Kennedy Napoleon Strickland: Fife player Yvonne Dorlette: Dancer Imogene Kennedy on the streets of Washington, D.C. Bernice Turner: Drummer Marie Helene Gerbier: Dancer Maroons: since the 1940's. Otha Turner: Drummer George Sterling G. D. Young: Drummer Marie Harris Charles Sayles: Streetsinger, Blues harpist Charles Aarons Sweet Honey in the Rock: Acapella female Josephine DaCosta vocal group Mento Band: Evelyn Harris: Singer Theodore Miller: Violinist Pat Johnson: Singer Gerald Miller: Thumb piano Carol Maillard: Singer Jocelyn Power: Drummer Bernice Reagon: Singer Adam Roach: Banjo player, guitarist Louise Robinson: Singer Joseph Salmon: Drummer, cow horn Randy Weston: Jazz pianist player Wiregrass Sacred Harp Singers: Black Craftspeople: American Sacred harp musicians Claudia Nelson: Basket weaver Freelows Express: Black American dancers Una Griffith: Cook Theodric Erskine Celeste Robinson: Cook Lester Brooks Zachaeus Powell: Woodcarver Morris Hardy Peggy Warmington: Chaperone Joseph Lewis Michael McKinstry Ghana Hulie Reynolds Wulomei: Big Walter Horton and his Blues Band: Nii Ashitey: Leader, drummer, flutist 47 The World Family of Stringed Instruments by Tom Vennum Students of music as well as Festival visitors have the opportunity to hear a Chordophones whose strings are number of the world's musical instru- perpendicular to the soundboard are ments performed here, many of which classified as Harps. The Mexican arpa, will be new to them. Of particular in- as featured in the jarocho ensemble terest is the wide variety of stringed from Vera Cruz, is the Festival's only instruments. As a group they are called representative from the harp family. chordophones (from the Greek words Because strings may be made to for string and sound) to distinguish sound in one of three principal ways, them from other principal divisions of the manner in which they are set into musical instruments: membranophones vibration is yet another means of deter- (drums with skin heads), idiophones mining a chordophone's classification. (most other percussion), aerophones The strings may be bowed (the Huichol (winds and reeds), and electrophones fiddle, the Lebanese rebab), hammered (electronic instruments). (the German Hackbrett and the piano), By definition, a chordophone has at or plucked. (Strings can be plucked least one and usually several strings individually or strummed as a group, stretched parallel to each other between using either the fingers, as with harps, two points on the body of the instrument. or some sort of pick. The Japanese Often, one or two bridges are used to samisen player uses a large triangular raise the strings from the instrument, pick, the German Zither and Japanese allowing them to vibrate freely. These koto players wear picks formed into bridges may be fixed near the ends of rings on one hand, etc.) Thus among the strings, as on the guitar, or are occa- the Board Zithers one distinguishes sionally moveable for tuning purposes, between those which are plucked, as on the Japanese koto. called psalteries (the Lebanese qanun, The tonal range of a chordophone, the German Zither) and those which are how high or low it can play, depends hammered, called Dulcimers (the Ger- on the number of strings and their Lebanese instrument-maker plucks an When the strings stretch fully across man Hackbrett). Interestingly enough, various lengths, thicknesses, and de- 'ud in a workshop filled with stringed a surface, called a soundboard, the popular names for string instruments grees of tension. So that each string instruments: 'ud (lute family), guitar, chordophone belongs to the family of sometimes ignore such distinctions in may be adjusted to the proper tension, ganun (zither family), kemange (violin zithers. If the soundboard surface is manner of performance. Because the it is attached to some sort of tuning peg, family). For listing of instruments found flat, such as on the German Zither and American Appalachian "dulcimer" is or pin, which is turned until the string in Old Ways area see page 44. Hackbrett, the instrument is a Board usually plucked, not hammered, it is sounds the correct pitch. Performers of Photo courtesy National Geographic Society. Zither; if long and slightly curved, not really a dulcimer, but rather a chordophones may be seen adjusting tension may require a metal key, like a such as on the Japanese koto, the psaltery, just as an English horn is these pegs and testing the strings' clock or rollerskate key, to turn the chordophone is a Long Zither. not really a horn but a double-reed pitches before playing. If the instrument tuning pins, or even a special wrench Stringed instruments with necks instrument belonging to the oboe has only a few strings, as does a violin in the case of the piano. projecting from their bodies belong to family. or guitar, the tuning pegs are usually The body of a chordophone serves to the Lute family. Among the lutes in this The world family of chordophones, of wood and can be turned easily by amplify the sound of the strings when year's Festival are the Panamanian unified by a common means of sound hand, but instruments which have a they are made to vibrate. The shape of mejorana, the Japanese samisen, the production-t vibrating string is large number of strings under greater this resonating body, which is often Lebanese rebab and 'ud, the large num- nevertheless capable of many different Mr. Vennum is an ethnomusicologist who determined by the number and length ber of guitar types performed by the sounds, from the robust strumming of wrote his dissertation on American Indian of the strings, further decides the clas- Mexican mariachi band, and violins the rhythm guitars in the Mexican music at Harvard University. He is a con- sification of a chordophone, as does and fiddles of several sizes, including mariachi sound to the quieter sounds sultant on musical presentations in the Old the location of the strings in relation the double bass of the German bands, of the plucked zither. The Festival is Ways in the New World area of the Festival. to the instrument. and the Huichol Indian fiddle. a good time to compare these. 48 Old Ways in the New World: On Tour Following their participation in the cities have created festivals around the will serve as the focal point for the com- 1975 Tour Schedule Festival in Washington, performers "Old Ways" presentation; two city- munity activities when the Lebanese Lebanon: from eight foreign countries are sched- wide festivals in Philadelphia will fea- folk performers travel to El Paso, Texas. Toledo/Cleveland, July 1-4; Kalamazoo, uled to tour to 40 cities across the ture performances by the touring Since its beginning in 1973, the "Old July 8-10; Philadelphia, July 11-12; Denver, United States through the Smithson- groups. A festival in Lincoln, Nebraska Ways in the New World: On Tour" has July 13-15; Los Angeles, July 16-17; El Paso, ian's Touring Performance Service. has been planned for the German per- involved an expanding number of July 18-20. "Old Ways in the New World: On Tour" formers, as well as picnics and dances foreign countries and American com- Ghana: began in 1973 with the participation of in small neighboring communities. munities. Forty engagements in 1975 Buffalo, July 8-10; Philadelphia, July 11-13; 49 Tamburashi singers, dancers, and Italians will join in the festivities at an and 200 in 1976 as part of America's Oakland, July 15-17; Los Angeles, July 18-20; musicians from Yugoslavia. Serbo- outdoor celebration held in their honor Bicentennial celebrations will reac- Hawaii, July 22-24; St. Louis, July 25-27; Croatian Americans joined with the by the town of Hempstead, New York. In quaint thousands of Americans with Peoria, July 29-31; Wichita, Aug. 1-3. touring performers in a unique cultural Wichita, Kansas, students from Ghana their cultural cousins and will give even exchange that involved five commu- have joined the Bicentennial Commis- more Americans a basis for an under- Mexico: Indianapolis, July 8-10; Louisville, July 11-13; nities on both a personal and an artistic sion in planning the Ghanaian participa- standing of the ethnic heritage of their St. Louis, July 15-17; Philadelphia, July 18-20; level. tion in the Black Arts and Heritage neighbors. Salt Lake City, July 22-24; Los Angeles, July The enthusiastic response generated Festival. St George Orthodox Church 25-27; Albuquerque, July 29-31; El Paso, by the pilot tour resulted in an extended Aug. 1-3. program during the summer of 1974, when participants from seven countries Japan: traveled to eleven states. A welcome Milwaukee, July 8-10; Middleburg, Vt., July 11-13; Baltimore, July 15-17; Philadelphia, reception by the Mayor of Cleveland, July 18-20; Los Angeles, July 22-24; San informal festivals and workshops in Francisco, July 25-27. Spokane, a formal presentation at the United Nations are some of the activities Italy: that took place on that tour. Letters of Los Angeles, July 8-10; New Orleans, July 15-17; Hempstead, July 18-20; White Plains, enthusiasm followed each community's July 22-24; Baltimore, July 25-27. participation in the program. A spokes- person from Katherine Dunham's Per- Germany: forming Arts Training Center in East Lincoln, Neb., July 1-3; Hettinger, N. Dak., St. Louis, Illinois said, "For our com- July 4-6; Baltimore, July 8-10; Philadelphia, July 11-13; Montgomery, Ala., July 15-17; munity, it was something of a miraculous Louisville, July 18-20. and wonderful event. The interchange possible with children, adults and Jamaica/Haiti: families was of tremendous value to Atlanta, July 8-10; Milwaukee, July 11-13; East St. Louis." Staten Island, July 15-17; Philadelphia, July Requests for participation in the 18-20; St. Louis, July 22-24; Benton Harbor, Mich., July 25-27. 1975 "Old Ways" tour program have come from a variety of sources: Bicen- *Tour schedule subject to change. tennial commissions, parks and re- creation departments, human resources committees, museums, and the ethnic In a national outreach program the communities themselves. Exciting Smithsonian Institution tours activities await the arrival of the foreign participants from foreign countries to folk performers. In some cities the "Old American cities following the Festival. Ways" participants will be incorporated This year 40 cities will be on the tour. into existing festivals, as in the case Yugoslavian participants view of "Summerfest" in Milwaukee. Other Niagara Falls, during the 1973 tour. 49 Native Americans Never before has the Native American This has made us formidable: this has impracticable for ten or a dozen the settlers, beginning in 1620 when the Festival presentation been so closely given us great Weight and Authority English colonies, to whom it is more Wampanoag tribe welcomed the Pil- interrelated to American history. The with our neighboring Nations. We are necessary and must be more advanta- grims (in English), provided food for focus for the 1975 presentations is the a powerful Confederacy; and by your geous, and who cannot be supposed to them during the first difficult winter Six Nations of the Iroquois Confederacy: observing the same Methods our Wise want an equal understanding of their on the New England coast, and then the Mohawk, Cayuga, Oneida, Onon- Forefathers have taken, you will acquire interest." shared the first Thanksgiving. Tesquanto daga, Seneca, and Tuscarora, tribal such Strength and Power. Therefore, The Grand Council of the Iroquois (Squanto), the Wampanoag Chief and groups whose government has been in whatever befalls you, never fall out with Confederacy will be discussed in work- inter-cultural go-between whose role effect for hundreds of years and served one another." shops in the Learning Center where a was so crucial to the survival of the as a model for our federal system. The Benjamin Franklin did not miss the history in photographs is on display. early Pilgrims, is known to many school Grand Council directly influenced the point. "It would be a strange thing," Among other areas, agriculture, ar- children. His direct descendent, Komi creation of the Articles of Confederation he advised the Albany Congress in 1754, chitecture, crafts, members of the Haynes, will retell the story of her tribe's and the Constitution of the U.S. Cana- "if Six Nations of ignorant savages chitecture, crafts, members of the role at the Native American Learning satego, Chief of the Iroquois, is recorded should be capable of forming a scheme Iroquois are a major force in the la- Center. as advising the Colonial Governors for such an union, and be able to exe- crosse industry-from creating sticks The Wampanoag tribe introduced the meeting in Lancaster in 1744: cute it in such a manner as that it has to providing the athletes. Lacrosse Pilgrims to corn, a Native American "Our Wise Forefathers established subsisted ages and appears indissolu- will be played in competition in the product. Festival presentations will trace Union and Amity between five nations. ble; and yet that a like union should be Native Americans area daily. A cham- the role of maize from crop through pionship tournament is scheduled for harvest; from food preparation in soups Sunday, July 6 at 2:30 pm. Lacrosse and breads, to the use of husks by the stick making will be part of the crafts craftsmen in toys, dolls and ceremonial demonstrations along with silver smith- masks. ing, wood and bone carving, basketry The Narragansett Indians, or "praying and beadwork. Crafts will be available Indians" as they came to be called, for purchase in the crafts sales area. occupied the state of Rhode Island. Singing and dancing will take place They welcomed Roger Williams when daily. Friday evenings visitors are invited he was forced to flee Massachusetts. to participate in social dancing. The Their interdenominational church is Friendship dance, round dance, rabbit pictured in the Learning Center. Tri- dance and stomp dance will be bal representatives Mary Brown and demonstrated. Alberta Wilcox will talk about the ar- Native American food to be demon- chitectural contributions and the history strated and sampled include fry bread, of the people. corn and sassafrass tea. The Passamaquoddy from Maine are Iroquois orators such as Irving Pow- known for their intricate quill work and less, Sr., Irving Powless, Jr., Huron importance as trappers and fishermen Miller (whose prayer appears below), to the early settlers. Tribal represen- Elwood Green, Oren Lyons and Rick tatives will discuss their role in American Hill will be discussing the clans and history. nations, the formation of the Confeder- Other Native Americans who will acy, wampum, food, sports and games. participate in discussions are from the In the Learning Center will be partici- Shinnecock tribe of Long Island, New pants from various other Eastern Indian York; Indian Mountain Lookout Inter- tribes who will relate their influence on tribal Native Americans, New York; the Corn Husk is used in many of the crafts Lumbee, Haliwa and Coharie from North of the Iroquois. Here braids of corn Carolina; Catawba from South Carolina; husk are sewn together into a mask. Tunica-Biloxi of Louisiana; Chippewa 50 of Wisconsin and Potowatomi of Michi- gan. These participants are all members of the Coalition of Eastern Native Amer- icans (CENA) an organization whose purpose is to identify and assist in the socio-economic and organizational development of Eastern Native Ameri- cans. CENA includes non-reservation, urban and federally recognized tribes and groups. NORTH AMERICAN INDIAN PRAYER Creator of earth whose voice I hear in the wind Whose breath gives life to all the world- hear me. I have and many of my people have become lost in the turmoil of this world. So humbly I appeal to you for help for I need your guidance, I need your strength and wisdom. Oh Creator of earth-Teach me to walk along the narrow path. Open my eyes-so that I may behold a red and purple sunset. Teach me to respect many things you have created And make my ears eversharp so to hear your voice. Help me to learn again all the wonderful things you have taught to my great grandfathers And the lessons you have hidden in every flower, in every leaf and rock. Oh Creator of the earth, I seek your strength- not to be superior to my brother, but to be able to fight my greatest enemy, the evil within myself. Help me to be forever ready to come to the land of heaven with clean hands and steady eyes So that when my life fades away from this earth- that I walk on like a beautiful sunset. The heart that you have given me may come back to you without shame or fear. DANAEHO '1968' Elwood Green, Canadian Mohawk, is one of a long line of Iroquois "Chief Hiawatha" Huron S. Miller Silversmiths which began before the American Revolution. 51 Participants Six Nations: Iroquois participants Herb Dowdy: Singer Fidelia George: Dancer Cayuga Diosa Hill: Dancer Sam Crogan: Lacrosse player Helen Harris: Dancer Alisa Mike: Dancer Linda Harris: Dancer Nancy Poodry: Beadworker Steve Harris: Dancer Bill Printup: Lacrosse player Elijah Harris: Dancer Dean Printup: Lacrosse player Marty Jamerson: Dancer Elwood Printup: Lacrosse player Darwin John: Dancer Gene Printup: Lacrosse player Edith John: Cook Elizabeth Silversmith: Cook Coleen Johnny John: Dancer Mohawk Kevin Johnny John: Dancer Mike Johnny John: Dancer Mary Adams: Basket maker Richard Johnny John: Singer Mike Adams: Basket maker Vera Miller: Cook, beadworker Elwood Greene: Silversmith Ken Poodry: Cradleboard maker David Hill: Lacrosse player Eddie Scott: Dancer Stanley Hill: Bone carver Elmer Shongo: Dancer, cook Woody Hill: Dancer Corbett Sundown: Discussant Allan Jock: Dancer Lloyd Thomas: Dancer Marshall Joseph: Wood carver Marlene Thomas: Dancer Isabelle Skye: Cornhusk worker Hazel Thompson: Dancer Beatrice Thomas: Dancer Phillip Thompson: Dancer Russell Thomas: Dancer Margaret Terrence: Basket maker Tuscarora Cam Wilson: Bone carver Joe Chrysler: Lacrosse player Marge Wilson: Cook Orzey Cusick: Lacrosse stick maker Wanda Wilson: Dancer Emma Greene: Cook Alvis Hewitt: Cook manager Oneida Rick Hill: Discussant Irving Chrisjohn: Cornhusk worker Nina Jacobs: Dancer Mrs. Chrisjohn: Cornhusk worker Phillip Jacobs: Lacrosse player Onondaga Bob Patterson: Lacrosse player Paula Babcock: Dancer Kevin Patterson: Lacrosse stick maker Kevin Hill: Lacrosse player John Patterson: Lacrosse stick maker Martin Jimmerson: Dancer Helen Printup: Cook Angie Miller: Dancer Mary Rickard: Lacrosse stick maker Huron Miller: Singer, discussant Ellene Rickard: Lacrosse stick maker Barry Powless: Dancer Noreen Shongo: Cook Irving Powless, Sr.: Discussant Ron Smith: Lacrosse player Wilmer Wilson: Discussant Irving Powless, Jr.: Discussant Nancy Powless: Dancer Jacob Skye: Dancer Coalition of Eastern Native Perry Williams: Dancer Americans Participants Debbie Williams: Dancer Aroostook Association Ruby Williams: Dancer Terry Polchies: Discussant Guy Williams: Dancer Tim Williams: Dancer Catawba Corn husk masks, like this Whistler, Seneca Roger Trimnal: Discussant represent a class of spiritual beings Herbert Buck: Singer Chippewa which aid the Iroquois in healing and Lydia Buck: Dancer Dalores Baimbridge: Discussant curing ceremonies. Sadie Buck: Dancer Elizabeth Cadotte: Discussant 52 What's Your Indian Language I.Q.? Komi Haynes Haliwa 1. On the continent of North America Sequoyah had perfected a syllabic writ- Linda Lynch: Discussant there are about 200 American Indian ing system for his language and by 1830 Archibald Lynch: Discussant languages still spoken. True False about 90 percent of the Cherokee were Hassanamisco 2. One American Indian language has literate. Reading and writing became Louise Wilcox: Discussant more than 100,000 speakers. True highly valued among Cherokee, so it is Indian Mountain Lookout Inter-Tribal False not surprising that many of them should Native Americans have learned to read English as they 3. Most American Indian languages Asenith D. Vogt: Discussant learned to speak it. At the same time the have a very limited number of words settlers often had no opportunity to Lumbee and communications must be helped learn to write. Arlene Locklear: Discussant along by sign language and gestures. June Sampson: Discussant True False 5. False. Even if literature is limited to W. J. Strickland: Discussant written materials this would not be true 4. In Arkansas and Texas in the 1880's a Micmac as many groups have now collected higher percentage of Western Cherokee Tom Battiste their myths and songs in written form. than of whites were literate in English. Mohegan The major literature of the American True False Virginia Daamon: Discussant Indian lies in the rich and vast body of Narragansett 5. American Indian languages have no myths, orations and songs. This oral Alberta Wilcox: Discussant literature. True False literature is very much alive. One of the younger and historically Mary Brown: Discussant Answers Answers to questions 1 and 2 are taken from conscious participants at the Festival is Potawatomi 1. True. This is an estimate based on a Chafe, Wallace "Estimates Regarding the Komi Oweant Haynes, the seventeen Joe Winchester: Discussant survey made in the early 1960's. Present Speakers of American Indian Lan- year old daughter of Shirley Dawson Leroy Wesaw: Discussant guages" International Journal of American Haynes and Tesquantum (Wild Horse) Shinnecock 2. True. The Navajo language has more Linguistics. Haynes. Squanto Haynes is the son of than 100,000 speakers. Eva Smith: Discussant Answer to question 5 from Walker, Willard, the late Chief Tesquantum of the Wampa- Alice Franklin: Discussant 3. False. No native speaker of any hu- "Notes on Native Writing Systems and the noag Indians and Daisy Mingo Haynes, man language has to "eke out his Design of Native Literacy Programs" An- Tunica Biloxi who is now 82 years old and who at- Rose Marie Pierite limited vocabulary with gestures or thropological Linguistics, May, 1969. Ideas tended Carlisle Indian School with Jim sign language." The Plains Indian sign- for questions from "Navajo Basic Course" Wampanoag Robert Blair, Leon Simmons and Gary Wither- Thorpe. language was a system developed to be spoon. The Haynes family has resided con- Komi Haynes: Discussant used in contact with those who spoke tinuously in the Massachusetts area other languages, just as various trade Books since the 1600's when the earlier Chief languages are used (one such among Colden, Cadwalader. The History of the Squanto played such an important role American Indians was the Chinook Five Nations Depending on the Province of in the survival of the Pilgrims. jargon). New York. Ithaca: Cornell University Press, Tesquantum has taught his daughter, 4. True. By 1819 a Cherokee named 1958. Great Seal Books. Komi many of the traditional Wam- Foreman, George. The Five Civilized Tribes. panoag chants and dances that have Wampum - The Grand Council of the Norman, Oklahoma: University of Oklahoma been handed down from generation to Six Nations is composed of the Clan Press, 1934. generation, as well as many interesting chiefs from each of the Six Nations. Morrisseau, N. Legends cf My People, The Indian legends, some of which will be The number of chiefs in the Council is Great Ojibway. Toronto: Ryerson, 1965. retold in the Learning Center in the Tamarin. Alan. We Have Not Vanished. set at fifty, divided unequally among Follet, 1974. Native American area on Wednesday, the Nations. Although each nation has Wilson, Edmund. Apologies to the Iroquois. July 2 at 11 a.m. a different number of representatives New York: Farrar, Strauss, and Cudahy, 1959. The menus served in the Haynes fam- on the Council, each Chief is equal in ily continue to be basically the same as the Council as represented by the fifty Records those of 300 years ago: corn, beans, sea strands of wampum in the "Chiefs Iroquois Social Dance Songs 1, 2, 3. Iro- food, oysters, clams, crabs, lobsters Wampum." crafts: Ontario, Canada, 1969. and all types of fish. 53 Supporters Working Americans Children's Folklore Campbell Industries David Massey, Belcourt, N.D. AFL-CIO American Art Textile Print Co. Springfield Farm, Middleburg, Virginia June Sampson, W. H. Over Dakota Museum Department of Labor Bernard Screen Print Corp. Vaughn & Bushnell Manufacturing Co. Arthur Leno, Germans from Russia Department of Transportation Boise Cascade Vermont American Corp. Historical Society Bucilla Yarn Co. The Warren Group Cincinnati Tool Div. William Koch, Kansas State University Old Ways in the New World Ralph Coderre Woodward and Lothrop American Revolution Bicentennial Children's Folklore Central Mass. Joint Board African Diaspora Administration Textile Workers Union of America Ann Mitchell The Government of Germany Embassy of Ghana Colorite Textile Print Works The Government of Japan, Tokyo Embassy of Haiti Old Ways in the New World Dannemann Fabrics The Japan Foundation Embassy of Jamaica Embassy of Germany Design and Production Inc. The Government of Lebanon Museum of African Art Embassy of Italy Eastern Piece Dye Works The Government of Mexico Julian Euell, Asst. Secretary for Public Embassy of Japan The Felter's Co. Service, Smithsonian Institution Embassy of Lebanon G Street Remnant Co. Dr. Roy Bryce-Laporte, Director, Center for Embassy of Mexico Galligher and Hughely Contributors Ethnic Studies, Smithsonian Institution Ambassador Jesus Cabrera, Director y Jefe, M.S. Ginn and Co.-George F. Muth Co. Div. Dr. Edward Solomon Ayensu, Chairman, Asuntos Culturales, Secretaría de Rela- Hechingers Working Americans Dept. of Botany, Smithsonian Institution ciones Exteriores, Mexico The Hecht Company Mrs. Dinah Ameley Ayensu Instituto Nacional de Antropología e His- American Trucking Associations, Inc. Johnson & Johnson President: William A. Bresnahan Kool-Aid Old Ways in the New World toria, Mexico Dr. Guillermo Bonfils, Director General Association of American Railroads Lowers American Embassy in Germany Irene Vasquez President: Stephen Ailes Lucile Originals American Embassy in Italy Museo Nazionale delle Arti e Tradizioni Buddah Music, Inc. James McKnight American Embassy in Japan Popolare, Rome President: Bob Reno Newark Central and So. Jersey Joint Board American Embassy in Lebanon Dr. Jacopo Recupero, Director Combine Music, Inc. Textile Workers Union of America American Embassy in Mexico Dr. Annabella Rossi, Anthropologist President: Fred Foster Mill End Shops Dr. Suad Joseph Bicentennial Committee, Beirut Fred Rose Music, Inc. Murry Moreno Dr. Konrad Köstlin, Volkskunde Seminar, President: Wesley H. Rose Local 1790 Special Thanks University of Kiel Fruehauf Division Textile Union of America Dr. Ulrich Tolksdorf President: Robert D. Rowan Prints Almo, Inc. Jim Crowe Jim Buckler Japan Foundation, Tokyo International Association of Machinists Princeton Textile Corp. Mr. Yamaji, Folklore Consultant and Aerospace Workers-District 142 Ruby Ray Printers Jack Monday President: Quenton Kerr Ronnie Lace Works M. N. Christiansen Ms. Nogami U.S. Department of State International Association of Machinists Strosnider Hardware Kenneth Young Constance Minkin Sean Holly and Aerospace Workers-Local 1650 Tonka Toys Michael Metelits President: Earl Wheeler Girl Scouts Troupe 2533 Linda DuBro Jacobs Transfer Company Gestalt Associates Paul Storing Albert Ball President: H. Lindley Grubbs Regional Americans Guardian Isaphone Corporation Mary J. Dennis Newkeys Music, Inc. Drums Unlimited U.S. Department of Agriculture USIA, Washington, D. C. President: Jack J. Key Beltsville Agriculture Research Center Working Americans Juliet Antunes Railway Labor Executives Association U.S. Navy Daniel M. Collins Irving Sablosky Chairman: C. J. Chamberlain Naval Ship Research and Development Daniel W. Collins Ted Liu Realco Services, Inc. Center Richard Conn Diane Stanley President: R. E. Budorick Ship Performance Department Walter Davis Corinne Hedistsian, USIS, Beirut, Lebanon Safetran Systems Corporation National Tractor Pullers Association William J. Mullin Richard Arndt, USIS, Rome, Italy President: Robert J. Wyland International Harvester Peter Seitel Michael Weyl, USIS, Bonn, Germany Trans World Airlines, Inc. Agricultural Equipment Division Dorothy Shields Frank D. Underwood, USIS, Toyko, Japan President: F. C. Wiser San Francisco Public Utilities Commission Jerry Inman, USIS, Mexico City, Mexico Turnpike Tom Music Municipal Railway, Cable Car Division Regional Americans International Visitors Service Council President: Bob Reno United Transportation Union Great Plains Wheat, Inc. Buddhist Churches of America Washington, D. C. Area Trucking Association Southern Pacific Transportation Company Ellsworth Brown, Dacotah Prairie Museum Buddhist Churches of Seabrook, N.J., New President: Sarah F. Carl Southern Railway System David Hartley, Robinson Museum York City, Washington, D. C., Chicago 54 Staff Manabu Fukuda National Anthropological Archives Bob Moore National Park Service Japanese American Citizens League, U.S. Department of Commerce Stuart Orange National Office Coalition of Eastern Native Americans Gerald Parsons Director: Gary Everhardt Japanese American Citizens League, Native American Center for the Living Arts, Terry Prott Deputy Director: Russell E. Dickenson Washington, D. C., Seabrook, N.J., Phila- Georgetown University Athletic Department Joseph Quesenberry Director, National Capital Parks: Manus J. delphia Chapters Lumbee Regional Development Corp. John N. Ragsdale III Fish, Jr. National Organization of Arab-Americans John Stevens, Passamaquoddy Tribal Albert F. Rebold Deputy Director, National Capital Parks: Cynthia Hamra Hightower Governor Edwin M. Schmidt John A. Townsley Samira Haddad Tamer "Akwesasne Notes," Rooseveltown, N.Y. Loren Scott Assistant to the Director, Public Affairs, Betty Pipkorn Gladys Seigel NCP: George Berklacy Mary Fahlbusch Thanks Walter Shea Chief, Central Maintenance Operations: National Council de la Raza Working Americans Richard Spottswood Roger Sulcer Roberto Oliva John Sulko Facilities Manager: James Rubin Elvira Crocker Frank "Scottie" Aubusson Clair Umberger Maintenance Supervisor: George Mahaffey League of United Latin-American Citizens Bob Beckham United Transportation Union Records, Supervisor, Grounds Crew: Joe Terrell Ada Pena Dominic Berta Labor Management Documentation Supervisor, U.S. Park Police: Sgt. Michael Belia Ceja W. D. Best Center, Cornell University Barrett Lupe Aguirre R. Dan Birt Joseph Wall Technical Services Coordinator: Nino Vaghi Marie Ortega Richard Briggs Wayne State University Labor Archives Technical Advisor: John Hoke Genevieve Della Noce Hazel Brown Joseph H. Witt Chief, Central Visitor Services: Doug American Italian Bicentennial Commission, Richard Buttenheim Harold C. Wood Lindsay Inc. The Public Library of Cincinnati and John Ziereis Festival Coordinator: Ed Duffy II Progresso, Generoso Pope, Publisher Hamilton County, Inland Rivers Library Alessandro Giglio Norm Cohen Renzo Sacerdoti Paul Coker Giorgio Padovano Gordon Cole Rose Gatto Jerry W. Cosley Ralph Costantino Paul Dayhoff Assemblyman Michael Pesce James Drouillard Reverend John C. Sorrento Jay Fisher Joseph Schweighardt Roalia G. Furr Commissioner Dominic R. Massaro Roland Grayson Calogero Cascio William J. Harris Professor Giuseppe Cardillo Joseph Hickerson Father Silvano Tomasi Nat Howard Father James Kelly Harry Hubbard William DuChessi Andrew W. Johnson William Jolley African Diaspora Leroy Jones Edward Pancoast, Graham French, USIS, Paul Jones Accra, Ghana Ted Lavelle Roberta Jones, USIA, Washington, D. C. John Luyks John Twitty, USIS, Kingston, Jamaica James Mathias Dorothy Stansbury, Eric Weaver Peter McGavin U.S. Department of State John McGill Fritz Jean-Baptiste, Haitian Tourist Bureau C. M. McIntosh D.C. Black Repertory Company William G. McIntyre Robert J. Nash, F.A.I.A. & Associates Charles Mollard Native Americans Visitor participation is built into all Grand Council of the Six Nations Festival activities, singing, dancing "Long Island Forum" food and crafts. Participatory folk U.S. Department of Agriculture dancing can be found in all areas. 55 Staff Smithsonian Institution Participant Coord.: Noelle Prince Philip Sonnichsen Children's Folklore Volunteer Coord.: Dennis Harris Advisory Group: Conrad Arensberg, Svatava Program Coord.: Kate Rinzler Div. of Performing Arts Presenters: Kenneth S. Goldstein, Archie Jacobson, Alan Lomax, David McAllester Asst. Program Coord.: Barbara Melnicove Green, Teresa Pyott, Andy Wallace Production Staff: Joe Biderman, Naomi Area Supervisors: Jean Alexander, Margaret Administration Production Staff: Ken Smeltzer, Susan Kaitz, Connie Lee, Gabriel Christov, Janie Brady, Andrea Meditch, Danielle Raener, Sivard, Chris Prandoni, Adam Lewis, Beers, Adelita Wallace, Terry Reed, Guido Director: James Morris Albert Segal, Dorothy Stroman Deputy Director: Richard Lusher Stephani Altomare, Michaela Clancy, Adelphi, Jan Raabe, Bonnie Hoke, Roberta Production Crew: Cindy Robinson, Sarah Festival Director: Ralph Rinzler Bill Spaulding Hantgan Seaver Festival Deputy Director for Administration: Robert Byington Regional America African Diaspora Family Folklore Consultant, Bicentennial Planning: Mack Administrator: William K. McNeil Program Coord.: Rosie Lee Horn Folklore Specialists: Steven Zeitlin, Holly McCormick Research Coordinator: Charles Camp Folklore Specialist: Bernice Reagon Cutting-Baker, Sandy Gross, Amy Kotkin, Administrative Officer: Ernestine Potter Participant Coordinator: Diana Parker Learning Center Coord.: Sylvia Jacobs Jack Santino, Mark Workman, Caroline Operations Officer: Alan Lester Northern Plains Researchers: Metha Bercier, Participant Coord.: Linn Shapiro Mitchell, Laurie Gross Special Asst. to Director: Ruth Jordan John Carter, Carey Cook, Larry Danielson, Volunteer Coord.: Janet Harris Film Director: Ernst Star Fiscal Officer: Isabelle Jasper Sister Stephanie Dolyniuk, Karen Field Researchers, African Diaspora Photographic Specialist: Amy Kotkin Art Director: Janet B. Stratton Heinzman, Lynn Ireland, Constance Kane, Advisory Group: Roy Bryce-Laporte, James Festival Site Designer: Ken Dresser Jens Lund, Janet McDonnell, Gina Early, Leonard Goines, Pearl Williams Smithsonian Technical Services Special Projects: Barry Groom Newbold, Douglas Parks, Marjorie Sackett, Jones, Worth Long, Fela Sowande, A. B. Liaison, Office of Facilities Planning and Production Manager: B. C. May Earl Sampson, Darrel Sawyer, Dorothy Spellman, Ron Smith, Carol Maillard, Engineer Service: Jerry Shelton Asst. Prod. Manager: Peter Reiniger Shonsey, Scott Sorensen, Kenneth Jane Sapp Director, Office of Plant Services: Ken Shaw Chief Public Information: Susanne Stewart, Sherry Stoskopf, Robert Production Staff: Anifer Baker, Vernard Chief, Communication and Transportation Roschwalb Thompson, Robert Webb Gray, Joy Hooks, Arthur Jones, Fred Division: John Moreci, Steve Bullock, Public Infor. Officer: Manual Melendez California Research Staff: Leitch, Nick Meyers, W. L. Pettaway, Leon Doane Recordings: Kathy Dwyer Coordinator: Bess Lomax Hawes Mario Rivera, Chester Simms, Ken Craft Services: Div. Chief, William Wells, Participant Coord.: Marta Schley Assistant Coordinator: Barbara LaPan Rahm Smeltzer, Jay Stewart, Frank Yates Buck Goodman, Paul Wills, William Music Coord.: Frank Proschan Researchers: Justin Bishop, Joyce P. Bynum, Sonntag, William Janes, Jack Denbow, Supply Coord.: David Reinhardsen Nicola Marguerite Deval, Nicholas Hawes, Charles Gallagher, Paul Haas, Samuel Volunteer Coord: Susan Tipping Michael Korn, Marilyn Salvador, Dan Tour Program Steinour Concessions: Saul Baran, Betty Beuck Sheehy Touring Performance Services Director: Chief Stage Manager: Linda Ryan Advisors: Mark Mason A special thank you is extended to all Smith- Production Crew: Jim Moon, Kelly Myatt, Stephen P. and Ethel Dunn-Molokan Ethnic Tours Coord.: Pat Gebhard sonian Institution staff and volunteers who Susan Anderson, John Stewart, Harold presentation Production Staff: Norma Graus, Sally Roff- help in so many ways. Their spirit of coopera- Closter, Paulette Desell, Terry Wise, Elaine Miller-Mexican-American man, Cynthia Hightower, Elena Scott tion and good humor contribute enormously Christophili Constanopoulos, Mark Hubel, presentation to the success of the Festival of American Anne Marie Kuehling Joanne B. Purcell-Portuguese presen- Folklife. Without their assistance, prior to, Production Staff: Chris Atkins, Kim Baer, tation Native Americans during and after the event, the Festival could Nancy Burstein, Lynn Cilinski, Eva Elliott, Production Staff: Scott Brouard, Giuliana Program Coordinator: Lucille Dawson not be presented. Michael Gehron, Brock Holmes, Allison Busch, Peter Byrne, Lisa Cherkasky, Asst. Program Coord.: Thomas Kavanagh Hope, Jennifer Hope, Kim Jacobson, Steven Jarrett, Dorothy Neumann, James Participant Coord.: Abby Watkins Frances Klapthor, Betse Lanier, Sarah Rikoon Volunteer Coord.: Joy Silverman Festival Program Book Lewis, Howard Marshall, Anne Mercer, Consultant: Rayna Green Native Americans Advisory Group: Alfonso Editor: Susanne Roschwalb Lisa Mercer, Joseph Perez, Pam Ortiz, Louis Bruce, Barre Toelken, Clydia Art Director: Janet B. Stratton Terlesky, Andrea Westman Old Ways in the New World Nahwooksy, Dell Hymes, Rayna Green, Production Assistants: Nancy Horrell, Marc Students-in-Training: Valerie Whitney, Program Coord.: Shirley Cherkasky William Sturtevant Cheshire Sherri Lisa Tucker, Theresa Shellcroft Asst. Program Coord.: Sandra Tussing Production Staff: Dan Bigbee, Carey Vicenti, Typesetters: General Typographers, Artisan Anne Evans Asst Program Coord Suzanne Cox James Council, Reaves Nahwooksy, Type Ethnomusicologist: Thomas Vennum Ellsworth Stanton, Mary Jane Vanden Berg Printer: Fontana Lithograph Working Americans Participant Coord.: Chris Bartholomew Robert Lauderdale Text pages of the program are printed Program Coord.: Shirley Askew Fieldworkers: Anna Lomax, Anthony Shay, Discussants: Gladys Addison, EDA; on 60% reclaimed fibers. Field Research Coord.: Robert McCarl Miiko Toelken, Roger Welsch, Ernestine Roxanne Flanagan, AMEP: Cathy Clark, Asst. Program Coord.: Susan Donahue Perrie, Elizabeth Mathias, Ronald Smith, CETA; Georgian Gavin, ONAP 56 The people of General Foods take pride and pleasure in being able to help bring the "Festival of American Folklife" - a mirror of the strength our nation has in its diversity- to our fellow citizens during the bicentennial celebration GENERAL FOODS CORPORATION . 250 NORTH STREET . WHITE PLAINS . NEW YORK 10625 Chossie sys The Washington Post METRO Local News / Obitua SUNDAY, JUNE 29, 1975 At left, the Freistadt Alte Kameraden Band of Mequoin, Wis. At right, stumps serve as benches for audience listening to the Hosteiner Buttjers Band at the festival. Betty Ford Visits Folk Festival By J.Y. Smith The fact that Mrs. Ford could stroll the opening they expected a million Washington Post Staff Writer through the festival SO quietly was a visitors. Garman hrace bendns relief. to festival officials. who said TO - wdon the L.A. Times. VISIBLE VISITORS- Betty Ford and son Jack Festival of American Folklife on the Mall in Washing applaud during segment of Smithsonian Institution's ton. With them is Brenda Welch of Los Angeles. AP Wirephoto A-12 The Washington Star Sunday, June 29, 1975 United Press International First Lady Betty Ford, her son Jack and his friend, the American Folklife Festival yesterday on the Mall. Brenda Walsh of Los Angeles applaud a performance at Mrs. Ford also danced with Lebanese swordsman.

nara / coll_grf-0126 / doc

6/28/75 - Washington D.C. Folk Festival

ID: 1489432
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id	1489432
sourceUrl	https://catalog.archives.gov/id/1489432
contentType	document
collections	Sheila R. Weidenfeld Files (Ford Administration) Sheila Weidenfeld's Daily Events Files
subjects	President (1974-1977 : Ford). Office of the First Lady. 1974-1977 Arts
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url	https://catalog.archives.gov/id/1489432
naId	1489432
coverageEndDate	logicalDate 1975-06-30 month 6 year 1975
coverageStartDate	logicalDate 1975-06-01 month 6 year 1975
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ocrSource	nara-archive

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