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Worlds of Sound author Richard Carlin has writtenseveral books on folk, country, and traditional muHe worked for Folkways Records as an independproducer from 1975 to 1980, and is currently E ecutive Editor for Music at Pearson Prentice HaPh b P W n

Worlds of Sound , a book by Richard Carlin inassociation with Smithsonian Folkways, is availableat www.folkways.si.edu.

Talk Story f a l l 2 0 0 8 N o . 3 4

The Center appreciates the important role program evaluation can play ingauging the success of its many projects. Sales of recordings are an obviousbarometer of success or failure for Smithsonian Folkways. As in any

business enterprise, sales mean the continuation of the company and thestaff who run it. In the tumultuous music business, Folkways can proudlyclaim it is in the black. For our Web sites, we can monitor Web trends tosee the number of hits. These numbers are increasing daily. And at theSmithsonian Folklife Festival, we can take visitor surveys and get visitorcounts. The 2008 Festival visitor survey indicated that the 1,022,049people who came to the Mall this summer had an extremely positiveexperience.

But there are so many results of our work that are much more difficultto measure: What did the many buyers of our recordings take from themusic? After coming upon the Centers sites what did the surfers on the Web finally understand about our work?

D i r e c t o r s t a l k s t o r y

R ic h a r d K e n n e d y

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Talk Story

What did the visitors to the 2008 Festival learn about GrossNational Happiness policies in Bhutan, about workers atNASA, or about wine in Texas? Did some kind of exchangetake place that enabled them to see the world, even verybriefly, through the eyes of our participants? I think one of the strengths of all the Centers cultural productsand public programs is its commitment to encouraging audiences and participants to look at the world througheach others eyes and hear the world through differentears. At their best, the Festival, Folkways recordings,and the Centers Web sites are cultural dialogs thatspark between artists and audiences connections strong enough to broaden everyones senses. The success of theseconnections is always difficult to quantify.

We can say, however, that the Web has introduced the work of the Center to thousands of new visitors with whom we hope eventually to be able to enter into a dialog onissues of importance to our work. In the last six months,more than 1 million visitors made 3.2 million visits toand 14 million page views of Center sites. In response tothis explosion of interest, the Center is in the process of redesigning all of its Web sites with dozens of new features.Charlie Weber and his team produced twenty-four short,insightful pieces on selected topics from the 2008 Festival.Many Center staff members have continued to producedozens of Smithsonian Global Sound features from

Smithsonian Folkways and Rinzler Archives material.Herein, you can read reports on the success of each

of the 2008 Festival programs in articles by programcurators. We also appreciate seeing the Festival throughothers eyes. Were pleased to note that BizBash, anevents trade organization, has named the Festival one of the top 100 annual events in Washington, D.C. And we welcome the publication of American Aloha: Cultural Tourismand the Negotiation of Traditionby Heather Diamond. Thiscross-disciplinary, substantive volume takes a close look at the development and construction of the 1989 Festivalprogram on Hawaii.

In the following pages, you can also read Dan Sheehysreport on the phenomenal output from SmithsonianFolkways and Smithsonian Global Sound during the pastmonths. I want to take this opportunity to thank Dan foraccepting the additional responsibility of serving as acting director of the Smithsonian Latino Center (SLC) for thepast seven months while the Institution searches for a new SLC director. We know these extra responsibilities havestretched Dan. His patient employees have stepped in tohelp in this time of Institutional transition. Our Centerstaff is always stretching itself in a variety of ways with thehope that audiences and artists will, in turn, stretch their views of the world. Changes are difficult to measure but,nevertheless, worth the effort.

D i r e c t o r s t a l k s t o r y (continues from cover)

2008 Smithsonian Folklife FestivalBhutan 3NASA 5 Texas 7 Rinzler Concert 9

2009 Smithsonian Folklife Festival 11 The Festival Continues 11Smithsonian Folkways 13 New Releases 14Cultural Heritage Policy 16Newsmakers 17

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2008 Smithsonian Folklife FestivalBhutan 3NASA 5 Texas 7 Rinzler Concert 9

2009 Smithsonian Folklife Festival 11 The Festival Continues 11Smithsonian Folkways 13 New Releases 14Cultural Heritage Policy 16Newsmakers 17

Each morning, the Festival's Bhutan program opened to visitors witch(ceremonial procession) to thelhakhang (temple). The Bhutanese used

daily chibdrel t o honor different groups of Americans, including Smstaff, other Festival participants from Te as and NASA, and commuindividuals with disabilities.Ph b N G n

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B H u t a N at t H e 2 0 0 8 s M i t H s o N i a N f o l k l i f e f e s t i va l

Pres ton T. Sco t t , Cu ra to r

The Bhutan program at the 2008 Smithsonian FolklifeFestival was the largest and most comprehensive celebrationof Bhutanese life and culture ever presented outside of thekingdom. One hundred and fifty Bhutanese participantsprovided visitors an unparalleled opportunity to see,hear, touch, smell, and experience life in the Land of the Thunder Dragon. The Festival also benefited fromthe on-site participation of nearly every member of theprograms leadership committee, including Krista Amason,Bruce Bunting, Michael Doucet, Eva Haller, Steven Hoch, Yo-Yo Ma, Jane Morrison, Diana Natalicio, AmbassadorDaw Penjo, Donald and Shelley Rubin, Victoria Sant,and Michael Tobias.

Initial planning for the 2008 Bhutan Festivalexhibit commenced in 2004. The final Festival programshowcased an ancient culture in complex transition: theone-hundredth anniversary of the Bhutanese monarchy,the coronation of Bhutans Fifth King, and the Bhutanesepeoples free and peaceful transition to a constitutionaldemocracy all took place in 2008.

More than a month before the Festival opened, ateam of ten traditional Bhutanese carpenters arrivedin Washington to build a lhakhang (Buddhist temple)at the center of the Festival site. For all but one of theBhutanese craftsmen, it was their first trip outside of Bhutanthe first time they had ever been in a landscape

without mountains. They lived with four welcoming families in northwest Washington, and each day yieldedsurprising cultural exchanges, just as the Festival itself did later. The craftsmen used fieldstone and clay fromPennsylvania to build a traditional Bhutanese incenseburner near the lhakhang site, and each morning theyburned local herbs and evergreens in a traditionalBhutanese offering. Throughout the month of June,peoples early morning walks across the Mall werepunctuated by the rising lhakhang and fragrant smoke.Images from the temples construction (and otherhighlights from the Bhutan program) can be seen onthe Smithsonians Web site at http://www.folklife.si.edu/festival/2008/index.html. Thanks to the University of Texas at El Paso, the lhakhang will be reconstructed onthe university campus sometime in 2009.

Back in Bhutan, a dedicated team representing all of Bhutans main cultural traditions coordinatedFestival planning under the guidance of His RoyalHighness Prince Jigyel Ugyen Wangchuck. As part of their planning and preparation, the Bhutanese stageda dry run over several weeks that involved all of theFestival participants and presenters. The dry runsfirst day was opened by Her Majesty Queen Ashi Dorji Wangmo Wangchuck, who chaired the SmithsonianBhutan programs leadership committee. (continues on page 4)

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The Bhutanese who were coming to Washington gatheredat a site not far from the main dzong (historic fortress andmonastic center) in Thimphu to set up and present theirFestival activities. The Bhutanese dress rehearsal was anexemplary display of the type of cultural introspection thatFestival planning sometimes generates.

The magic of the Bhutan program started each Festivalmorning with the traditional Bhutanese chibdrel, which isan elaborate ceremonial procession that honors importantguests. Accompanied by blaring monastic trumpets andframed by the U.S. Capitol, Washington Monument, and

dozens of fluttering colorful prayer flags, the Bhutaneseparticipants proceeded to the lhakhang , where each day theyrecognized the chief guests. Visitors enjoyed Bhutanesemusic and dance, arts and crafts, spiritual and religioustraditions, traditional medicine, food, storytelling, andrecreational activities. Every day, live reports were sentto Bhutan to broadcast on Bhutans national televisionstation. After the Festival, at least two photographicexhibitions in Bhutan celebrated the spirit of the Festival.One took place at the Voluntary Artists Studio, Thimphu(VAST) and the other, at the National Museum in Paro.Photos from VAST can be seen at www.vast-bhutan.org.Bhutans first democratically elected prime ministeralso honored all of the Festival participants at a specialceremony at the National Assembly in Thimphu.

Bhutans thirteen traditional arts ( zorig chusum) werepresented in a shaded area near the lhakhang , where visitorscould mingle with some of the countrys finest weavers,painters, sculptors, carvers, cooks, and other artists. Oneof Bhutans most celebrated artists painted a mural thatdepicted beloved Bhutanese icons in a Washington, D.C.,landscape. The painting was presented to the Smithsonian when the Festival ended and hangs at the Center.

Under the trees, visitors also encountered anancient box of many doors representing the Buddhasunderstanding of the many paths to enlightenment and achanter who called people to ponder the boxs mysteries.Traditional yak herders from the highlands welcomed

guests into their yak-hair tent and entertained them with stories and lively antics. While the yak herdersmake their home in cool alpine areas, they managed without complaint to demonstrate their life in the hotand humid Washington summer. Perhaps because theymake their home near the very top of the world, they were charmed by the appearance one day of a NASA lunar robot. The result? What else but a playfulBhutanese highland dance with the little robot!

Nearby, some of Bhutans best cooks sharedtheir stories about food in Bhutan around a

traditional clay stove. Chilies and cheese, which arefundamental to Bhutanese cooking, provided anopportunity for some comparisons with cooking inTexas. Practitioners of Bhutanese traditional medicinealso shared ancient Buddhist teachings and theirknowledge of the many natural compounds foundin The Land of Medicinal Plants.

The Four Friends Stage, named after a Bhutanesetale that celebrates social and environmental harmony, was the gathering place for many lively discussionsabout traditions and contemporary issues, including Bhutans voluntary transition from absolute monarchy todemocracy, the meaning of Gross National Happiness(an official government policy articulated by BhutansFourth King), and the importance of environmental andcultural resources. For the first time, a Bhutanese monasticastrologer and a NASA astronaut discussed the meaning of the heavens to life on Earth. They started with radicallydifferent views yet quickly found common ground. OtherNASA officials presented to His Royal Highness Prince Jigyel a Bhutanese flag they flew aboard the Space ShuttleDiscoveryin anticipation of the Festival.

The Tsechu Stage was the venue for Bhutanesemusic and dance traditions. Musicians, singers, anddancers from Bhutans Royal Academy of Performing Artsdemonstrated many traditional Bhutanese folk dances,and Bhutanese monastic dancers performed sacred maskeddances rarely seen outside of Bhutan.

His Royal Highness Prince Jigyel, who playsacoustic guitar, surprised visitors at the Te asstage by joining Te as Johnny Brown for a soulfu lperformance of the Beatles Come Together.

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Many of the conversations taking place on the NASA programs Exploration Stage were not what you mightexpect to hear at a Smithsonian Folklife Festival. Oneday, a metallurgist, mechanical engineer, and machinistmight have discussed wind-tunnel testing; another day,an orbit determination analyst and an astrophysicistmight have explained a scientific mission. And on two very special days, you could hear NASA astronauts talking with Bhutanese astrologers about the meaning of life.

NASA: Fifty Years and Beyond represented an unusualcollaboration between the Center and the National

Aeronautics and Space Administration (NASA) on theoccasion of the agencys fiftieth anniversary in 2008.To be sure, several previous Folklife Festival programshad examined occupational traditions, such as AmericanTrial Lawyersin 1986 and Masters of the Building Artsin 2001,and another federal agency had already been featuredin 2005 in conjunction with the Forest Service, Culture, and Communityprogram. But many of the NASA engineers,scientists, and administrators who participated in the2008 Festival seemed initially resistant to the notionthat the concepts of tradition, folklife, and culturalheritage might apply to them.

Nevertheless, by the end of the ten-day event, theNASA participantsand altogether there were more than500 of them, coming from all ten NASA field centersacross the countryseemed to understand, appreciate,and truly enjoy the interest taken in their occupationalculture not only by the folklorists and anthropologists atthe Center, but also by members of the general public.The Festival program could not have succeeded withoutthe partnership of the National Aeronautics and Space Administration or without additional support from Jacobs Technology, Lockheed Martin, Boeing, NorthropGrumman, and United Space Alliance.

The tents on the Mall featured the following: Aeronauticsair traffic-control designers, flight

photographers and videographers, model makers,flight-suit technicians, test pilots, and othersconducting research on aviation and aircraft

Earth sciencearchaeologists, atmospheric scientists,meteorologists, plant pathologists, satellite imageryanalysts, and others who investigate the earthssurface, climate, and atmosphere

Foodwaysfood scientists, nutrition experts,

N a s a : f i f t y y e a r s a N D B e y o N D

J im Deu t s ch , Cu r a to r

Noting how the scientific invention of aircraft hasdone a lot of good for the world, the astrologer thought that this invention was e actly what theBuddha would have intended.

packaging engineers, and researchers who planand develop the cuisine served onboard spacecraft

Future missionsaerospace engineers, roboticsengineers, solar scientists, program managers, andothers helping to plan missions to the moon, Mars,and beyond

Human space flightastronauts, flight engineers, tileinspectors, microgravity experts, software engineers,solar array specialists, space suit technicians, andothers who are involved with the Space Shuttle andInternational Space Station

Propulsionmechanical engineers, operations managers,test systems engineers, and others who design and buildthe engines that power NASA spacecraft

Space artartists who use canvas, paper, and recycledmaterials (such as Shuttle tires) to document NASAs work and missions

Space scienceastrobiologists, astromaterials curators,astronomers, astrophysicists, heliophysicists, planetarygeologists, and others conducting research in the vastreaches of space

Astronauts Sunita Williams and Loren Shriver share their views on thintersection of science and religion with Bhutanese astrologer Yangkaon the E ploration Stage.Ph b D n d H b , sm h n n in n

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In addition, one tent was devoted to collecting oralhistories, not only from our NASA participants, but alsofrom members of the general publicto record theirmemories of NASAs past as well as their visions forNASAs future. During the ten days of the Festival, roughly300 recordings were logged and another 200 note cards were posted on our bulletin board. The memories wereboth poignant (especially when recalling the Challenger tragedy) and enlightening. For instance, one visitor, who was ten years old when the Soviet Sputnik was launched in1957, recalled the talk that U.S. students had to catch upacademically and that the next day was the first time weever had homework in school. All the oral histories andnote cards have been indexed and will reside in the RalphRinzler Folklife Archives at the Center.

Another very successful initiative led to family-friendly activities throughout the site. Young visitors wereencouraged to pick up the sixteen-page Mission Guideat theKids Space tent and then stop at a number of differenttents to meet the participants and learn more about NASA by completing a hands-on activity. For instance, inside the

a ng nd h m m p h n h ng h n h n n h M d ng h P n n h k d spn . Ph b l n W h , sm h n n in n

Earth Science tent, visitors were tested on their ability tospot the differences between two satellite images. Likewise,outside the Space Science area, visitors tossed marblesonto a surface of cake mix and flour to learn how cratersimpact planetary surfaces. After completing each of theseactivities, visitors received a NASA mission-patch sticker; with four or more of these stickers, visitors could returnto Kids Space to receive a NASA pin. More than 8,000mission guides were distributed.

Sizeable crowds listened to wide-ranging conversationsabout NASA culture on the two narrative stages. On July

5, two astronauts, Sunita Williams and Loren Shriver,shared the stage with Yangka, an astrologer from theParo District in Bhutan. Asked about the intersection of science and religion, Yangka replied that he personallyregarded science as a wonderful achievement and saidthat scientists were Buddhas and bodhisattvas in modernreincarnation. Noting how the scientific inventionof aircraft has done a lot of good for the world, theastrologer thought that this invention was exactly what theBuddha would have intended.

Yangkas response inspired astronaut Sunita Williams, whose father is Hindu and whose mother is Catholic, torecall that when she went into space, she took with her notonly a copy of the Bhagavad Gita and a Ganesha from herfather, but also a cross from her grandmother. Religionand science are pretty much intertwined, Williamsobserved. Noting the importance of both Mahatma Gandhiand Albert Einstein in her life, Williams felt that thecombination of the two disciplines might help explain why we are here.

The participants in other areas of the Festivaldemonstrating and discussing such topics as astromaterials,rehydratable foods, spacecraft engines, robotics, andmorewere not always so philosophical. But the NASA program provided a rare opportunity for the publicto meet and observe the men and women whose skills,specialized knowledge, and codes of behavior mark themas a very distinctive example of occupational culture.

N a s a : f i f t y y e a r s a N D B e y o N D(continues from page 5)

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Curator Pat Jasper and food and wine consultant DawnOrsak used the lenses of music, food, and wine to giveenthusiastic audiences large lessons about Texas and its vibrant culture.

Winemakers, sommeliers, viticulturists, and othersgave visitors a look behind the scenes at the fascinating butlargely unknown world of Texas wine. The vast state hasbeen blessed with dozens of microclimates, many closelymimicking the more famous microclimates of France andSpain. While most people know that Texas is BIG, few understand the variety of climates the state has to offer.

Because there was disappointment that wine could notbe sampled on National Park Service grounds, a sensorystation was set up to educate people on what they couldlearn from the scents wine produces. Many Texas wineriesdo not distribute outside of the state, so visitors weredelighted to have the opportunity to purchase Texas winesin the Festival Marketplace and at the food concessions.

The food demonstration area served as a greatillustrated lecture on the diversity of Texas cultures. Vietnamese, Polish, African American, Tex-Mex, cowboy,and Czech traditions were shared, along with barbecue,home canning, and more. But most interesting were the ways that traditions crossed cultural lines. Take chickenfried steak, for instance: early German and Austriansettlers brought recipes for Wiener Schnitzel and texafiedit as they became more Texan. There are hundreds of examples of foods in Texas born of neighbors from

different cultures sharing and adapting traditions. This isstill happening today and made for rich conversations inthe Lone Star Kitchen.

The unique flavor of the Texas singer-songwritertradition was on brilliant display. Texas icons were inabundanceJoe Ely, Joel Guzman, Guy Clark, VerlonThompson, Terri Hendrix, Lloyd Maines, CJ Chenier,Little Joe y la Familia, Marcia Ball, Los Texmaniacs, and Asleep at the Wheel, just to name a few. They performed,delivered workshops, and spoke about their inspirationsand what makes Texas the perfect environment for musicmaking. Songs were sung in English, Spanish, Polish,Czech, and many a combination of the above. Sacredmusic is also an essential part of the Texas ethos. TheOriginal Soul Invaders and the Jones Family Singersshared this moving tradition with appreciative audiences.

Dance was not forgotten; it was, after all, a programabout Texas where mere listening is unacceptable. Texansget up and move when they hear music.

c wb t m N p p p wb h n m w h h n ng f .

Ph b k n r h m, sm h n n in n

f dd n f n h B g n d n m mb h ph m p h dd d ng h s nd s n an n n .Ph b J t n , sm h n n in n

t e x a s : a c e l e B r a t i o N o f M u s i c , f o o D , a N D Wi N e

Diana Parker, D i r ec to r, Smi th son ian Fo lk l i f e Fes t iva l

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Dancers Larry Vanston, Kristen Wicke, and Cory Lock gamely ignored the sweltering Washington heat to show ushow to dance to zydeco, Cajun, mariachi, blues, westernswing, conjunto, polka of all varieties, cowboy music, andmore. Where did they find the energy? I asked. They said,From the music. The music, in this case, was providedby great talents such as Charles Thibodeaux and the AustinCajun Aces, the Quebe Sisters Band, Jody Nix and theTexas Cowboys, Les Amis Creole, Fiddlin Frenchie Burke,the Gillette Brothers, Mark Halata and Texavia, JamesHand, and Conjunto Los Angeles del Sur. No wonder no

one could stay seated! With some 120 of Texass best musicians, dancers,

singers, cooks, and winemakers in Washington for the2008 Festival, we knew the program was going to befascinating, but, as usual with the Festival, the best stuff wasserendipitous. Who knew that His Royal Highness Prince Jigyel Ugyen Wangchuck of Bhutan would be so moved byHouston Bluesman Texas Johnny Brown that he would ask to sit in on a performance? Watching them play together was truly a once in a lifetime experience. And a workshopon the role of boots with aficionados from Texas, bootmakers from Bhutan, and designers of astronaut bootsfrom NASA is not something youre likely to see againanytime soon. Perhaps the best surprise was that theUniversity of Texas at El Paso has been greatly influenced

by Bhutanese architecture. The University purchasedthe beautiful temple built for the Festival and will insurethat memories of these wonderful two weeks will have apermanent residence, deep in the heart of Texas.

The Festival always needs the support of folks who careabout what it accomplishes. This great look at what Texashas contributed to the nations culture could not havehappened were it not for the support of the Texas Office of the Governor, Economic Development and Tourism, andthe Texas Commission on the Arts. We are also gratefulto the Texas Department of Agriculture, the City of El

Paso, Houston Endowment, Inc., the San Antonio Officeof Cultural Affairs, the Music Performance Fund, andSouthwest Airlines. Please remember our supporters; theyremembered us. They were all great to work with.

Most of all, we are grateful to Pat Jasper and DawnOrsak, who contributed above and beyond the call of duty(not to mention, the limits of their contracts) to makesure that Texas was presented in a real and respectful way.Thank you both for having the knowledge to make thisa great program and the grace to make it a pleasure toproduce.

If you had the misfortune to miss Texas on the Mallthis summer, go to our Web site, www.folklife.si.edu, tosee video clips, photographs, and program book articlesfrom this extraordinary program.

t e x a s : a c e l e B r a t i o N o f M u s i c , f o o D , a N D Wi N e(continues from page 7)

B e a f e s t i v a l v o l u N t e e r !To c h e c k t h e v a r i e ty o f o p p o r tu n i t i e s a v a i l a b l e b e f o r e a n d

d u r in g t h e F e s t i v a l , v i s i t w w w. f o lk l i f e . s i . ed u a n d c l i c k O p p o r tu n i t i e s .

W e c a N t D o i t W i t H o u t y o u !

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For five decades of e cellence in thedocumentation of Afro-Caribbean and Lat

musical and cultural life across the United Sand around the world, for mentoring numer

musicians, for advocacy of the integrity arights of musicians, and in association withSmithsonian Folklife Festival, for educati

contributions to the understanding andappreciation of community-based traditio

through collections, e hibitions, publicatioand recordings. Presented on the occasion o

annual Ralph Rinzler Memorial Concert atSmithsonian Folklife Festival on the

National Mall of the United States of Amein Washington, D.C.

Certified on this 28th day of June 2008, an wi tnessed by those assembled.

Dr. Richard Kurin Acting Undersecretary for Histor y, Ar t, and C

Diana Parker Director, Smithsonian Folklife Festival

Searching around the world for musicians socialsecurity numbers, bridging language barriers, andarranging transportation and care for octogenarianmusicians and those with special needs were rewarding challenges for our staff. Their success was appreciatedby the overflow crowd who came to the Ralph RinzlerMemorial Concert to honor Ren Lpez andhear, shout out, and dance to the music of GrupoFolklrico y Experimental Nuevayorquino. TheCenters Rebecca Smerling-Marcus, with true folk wisdom, made it all happen, crossing new language

and cultural terrains and surviving the Smithsoniansbureaucracy. She arrived intact at the concert to hearRens moving tribute to Ralph and to revel in theamazing improvisational and uplifting musical soundsof Grupoincluding those of legendary timbale playerManny Orquendo, acclaimed bassist Andy Gonzalez,pianist Oscar Hernndez, and flautist Eddy Zervign.

The Rinzler Concert celebrates Ralphs mind and spirit,untiring and wide-ranging cultural work, all-encompassing humanity, commitment to traditional musicians andartisans, and never-ending will to increase and spreadknowledgethe very principles of cultural democracy. New Yorks Ren Lpez, a grassroots cultural activist, lay-scholar,educator, collector, and music producer, was among Ralphsspecial friends and colleagues in many groundbreaking field-research projects and musical endeavors. He exemplifiesRalphs and the Centers first principles of recognition andrespect for the creative, expressive agency and profoundknowledge of communities.

As an associate and advisor to Smithsonian Folklifeand Folkways projects, Ren almost certainly has thelongest relationship with the Institution when it comesto traditional Afro-Caribbean music. His closeness toLatino communities and musicians, especially those of New York City, and his exceptional connection toCuban musicians and ethnomusicologists in Cuba were central to the evolution of Ralphs musical taste,international collegial relations, Festival productions,and Folkways recordings.

A large and diverse audience from the Washingtonmetropolitan area and a small contingent from New York City were also honored with a lively concert performed bymany of the stellar musiciansmentees, dear friends,and colleaguesRen organized thirty years ago into GrupoFolklrico y Experimental Nuevayorquino.

r a l P H r i N z l e r M e M o r i a l c o N c e r t H o N o r s r e N l P e z : a s e r i o u s B u t f u N a f f a i r

J a m es Ea r ly, C u ra to r

G p f e p m n N q n m h s h B n p m d n h n r n l p h nn r ph r n M mc n . Ph b J f g , sm h n n in n

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Performing for the second time in thirty years (the reunion concert was in Berlin, Germany, last fall), Grupo was joinedby renowned Cuban drummer, community leader, and Afro-Cuban priest Orlando Puntilla Ros, who died a few weeks later in New York on August 12. The concert was supported by a grant from the Smithsonian Latino Center andthe publicity blitz of its director of exhibitions and public programs, Ranald Woodaman; and by outreach from WPFW 89.3 FM, including a preconcert interview of Ren by Latin Flavor host, Nancy Alonso.

The historical friendship between Ren Lpez and Ralph Rinzler continues to bear fruit. Most recently, Renproduced the 2007 Smithsonian Folkways recording To Tom, which features the singing and percussion of ConjuntoTodo Rumbero, led by the late Orlando Puntilla Ros (Smithsonian Folkways CD 40543).

In Ren Lpezs woRds

I met Ralph Rinzler in 1975. Francia Lubn, who was working on a project for the Center for Puerto RicanStudies (Centro) at CUNY, knew Ralph because she hadintroduced him to Arsenio Rodrguez. In 1975, the Centro was involved with local Puerto Rican youth in creatinga percussion workshop, which became known as theLe ington Avenue E press at East 106th Street. That workshop became a seminal meeting place for esteemedPuerto Rican musicians, poets, and instrument makers toshare their knowledge and talents in hopes of nurturingand passing this on to Manhattan Latino Barrio youth.The Centro was central to my political development. It was through Francias efforts that Arsenio and his brother Kiki were documented by Ralph and subsequently invitedto perform at the 1969 Festival of American Folklife withthe Washington bassist Luis El Bonco Salom Gonzlez.Ralph made me copies of his field recordings of ArsenioRodrguez and Yomo Toro (Puerto Ricancuatro player)as well as Arsenios performances at the 1969 Festival. Iconsider these recordings as the best ever done of theseimportant artists.In the early spring of 1975, Francia Lubn and PedroPedraza arranged for members of the Centro, includingmyself, to visit Ralph in Washington, D.C. She felt strongly that Ralph needed to know what was happening at thegrassroots level in the New York Latino community. The endresult was that Ralph and the Festival of American Folklifeinvited the workshop members (Le ington Avenue E press)and the local groups closely associated with the Centro

Los Pleneros de 110th Street, Patato y sus Rumberos, andthe Grupo Folklrico y E perimental Nuevayorquinotoparticipate at the 1975 Festival.That visit to Ralph and Kate Rinzlers house changed my life. Ralph took a real interest in me and the groups that I was working with. Eventually I was invited to be a panelist at the National Endowment for the Arts. More important

was that visit and those to follow would eventually cement a wonderful relationship with Ralph, Kate, andtheir daughter Marni. This in turn led to other introductioand friendships with James Early, Jos Sueiro, BerniceReagon, and Richard Kurin. These friendships continueto the present day. The Rinzlers home was always open-door to musicians passing through D.C. and those that lived in the Washington area. Food, music, and ideas weree changed in a wonderful ambiance of camaraderie.I felt at home because my apartment in New York was always being visited by friends and musicians for rehearsals and music sharing (listening to recordings).Ralph, Kate, and James visited my home in the Bron where they heard rehearsals of Grupo Folklrico andother groups in my small living room, or wed dash off to see the Pleneros, Patato, and La Sonora Matanceraat local festivities and clubs.

Over the years my relationship with the Festival resultedin opportunities to do the following fieldwork:1975Latino communities in the U.S. and Puerto Rico

(which resulted in their participation at the 1976Bicentennial Festival)

1988Cuba and Puerto Rico (groups such as Grupo AfroCuba de Matanzas, Chang de Guantnamo,and Cuarteto Patria y Compay Segundo fromCuba, as well as Marcial Reyes y Sus Pleneros deBayamn and Cuerdas de Borinquen from PuertoRico would participate in the 1989 Festival and be

recorded for Smithsonian Folkways Recordings)Im deeply grateful for the support and friendship over thlast thirty-eight years with the Rinzler family, my friendsin Washington, and the Smithsonian Folklife Festival. Eachas afforded me special opportunities to be a part of my communitys contribution to the celebration of our nationcultural heritage.

r a l P H r i N z l e r M e M o r i a l c o N c e r t H o N o r s

r e N l P e z : a s e r i o u s B u t f u N a f f a i r (continues from page 9)

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t h f c n n . . .

This summer, the Chicago Folk and Roots Festivalpresented a sampler of Latino Chicago heritage basedon the 2006 Latino ChicagoSmithsonian Folklife Festivalprogram. The Smithsonian and the Old Town Schoolof Folk Music launched the Latino Chicagoproject witha community ethnography on Latino Chicago folklifein the spring of 2005. This project culminated in the2006 Festival program, part of the Nuestra MsicaFestivalseries. In the fall of 2006, Festival participants, together with the Old Town School of Folk Music, organized arestaging in Chicago. The success of the Festival program

and its restaging led to a second restaging at the eleventhannual Folk and Roots Festival.

Latino Chicagofeatured instrument-making demonstrations, performances, an interview, and aDJ crew. William Cumpiano, who plays the tiple(thesmallest of Puerto Rican string instruments); BolivianHuguito Gutirrez, an Andean instruments artisan andmusician; and Ricardo Salazar, a jarana(a Mexican smallguitar) artisan, were the highlights of the program. Radio Chamba a Sunday afternoon Spanish-language programof the Chicago Interfaith Workers Center on WLUW 88.7 FM/ www.wluw.orgconducted the interview withparticipating artists and artisans. The dialogue betweenthe artists themselves and with festival staff, volunteers,and the general public continued throughout theprogram. William Cumpiano said, The crowd reactions were intensecuriosity, fascination, enchantment,puzzlement. Whenever I attempted to extract some simpletunes from a tiple, its sound never failed to draw peopleto the tent. So I did so, as often as I could. I felt like a

pied piper. Children were delighted, showing me theircrinkled-up eyes after Id let them paw at the strings.

In general, the Latino Chicagoprogram offered thepublic and, most important, the Latino communitythe opportunity to expand culturally, artistically, andintellectually. Luis Gabriel Giraldo, director of GrupoMiel, said, I was fascinated with the opportunity we hadto show the audience and other Latino artists our sacrificeto keep this music ensemble alive. I would like to continue working with Old Town School of Folk Musicin future events.

The program provided a unique opportunity forartists, who had not met previously, to perform togetherand learn more about each other. Tarima Sons directorRoberto Ferreyra, who also participated in the 2006Festival, observed, It was an honor to share the stage with Polish, Swedish, and Irish folk musicians during the Fiddle Contest. It was even more exciting to winthe contest. For our group, the contest was a greatexperience, and we would love to do another musiccollaboration at the Folk and Roots Festival. Venezuelanartist David Blasini, from Araguaney, added, It wasan honor to be part of the Latino Chicagosampler and aprivilege to share the tent with some of the best Latin American folk artists of Chicago, such as HuguitoGutirrez from Mayco Andes and Tito Rodrguez from AfriCaribe. Other groups that interacted with eachother were Martin Olivares and the Mexican norteomusicgroup Los Vencedores del Norte, Luis Giraldo and theColombian cumbiaorchestra Grupo Miel, and urban poetMichael Reyes on the main stage;

N u e s t r a M s i c a : l a t i N o c H i c a G o at t H e f o l k a N D r o o t s f e s t i va l

Nashma Car re ra Massar i , F ie ldworker and P resen te r, La t ino Ch icago P rog ram, 2006

2009 smIthsonIan FoLkLIFe FestIvaL

Giving Voice: The Power of Words in African American CultureLas Amricas: Un Mundo Musical/The Americas: A Musical World

Wales at the SmithsonianRecent agReements FoR FutuRe pRogRams

2010 Me ico2011 Colombia

(continues on page 12)

Hard-working Center video producer Charlie Weber shoots someambient landscape (or "B roll") in Lorient, France during a researchtrip to document Welsh performers at the 2008 Interceltique Festival.The country of Wales will be featured at the 2009 Smithsonian FolklifeFestival.Ph b B B n , sm h n n in n

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The Navigating the Mekong educational Web site(www.folklife.si.edu/mekong) was inspired by the 2007Smithsonian Folklife Festival program, Mekong River:Connecting Cultures, which brought together peoples who livealong the Mekong River, from Yunnan Province, China,through Laos, Thailand, Cambodia, and Vietnam. The Web site serves as an introduction to this part of the worldfor teachers and students, grades 6 through 10.

The site features a school boat trip on the Mekong River, with stops at different ports along the way. Journal entries reflect the geography, culture, food,and music of each country. Craft activities and recipes,taken from participant demonstrations at the Festival,allow for hands-on experience, while music and videoclips, borrowed from Smithsonian Folkways Recordings,

Global Sound, and Festival footage, further the culturalencounters. Younger students can download coloring pages about the Mekong and a PDF family guidebook, which has activities and information about the Mekong River: Connecting CulturesFestival program. To continuethe journey, there are links to books, music, and Websites, as well as suggestions for how to participate activelyin cultural experiences.

Kim Stryker, who organized the family activitiesarea of the Mekong program, coordinated the site,and Festival interns Nora Cary, Jennifer Kwong, SarahSajewski, and Elizabeth Tredeau researched and wrote thearticles. We hope that this online exhibition will not onlyenrich curriculums, but will also provide an enhancedunderstanding of Mekong cultures outside the classroom.

t h f c n n . . .

the bombaand plenagroup AfriCaribe and Aztecceremonial performer Miguel Gutirrez in the dance tent;Dill Costa and her Samba party and Carlos Meja andTeen Marimba Ensemble on the kids stage; and jarocho music group Son del Viento in the Gazebo. To many of the artists, the Folk and Roots Festival meant collaborationand brotherhood among folk musicians. Martin Olivaressaid, I was surprised to see the unity among the musicians.The love for music was shown in every musicians face, as well as a harmony inside and outside of the stage.

Latino Chicagoat the Folk and Roots Festival was such a

success that its organizers are considering a larger spacenext year. Catalina Maria Johnson, a reporter for ChicagoPublic Radios morning news and the Spanish-languagearts and culture monthly Contratiempo, commented, Giving Latino Chicagoits own separate and dedicated space at thecitys premier Folk and Roots Festival marks the beginning of a new time for Latinos in Chicago, an era in whichtheir cultural contribution will be more valued, and theirmusic will become recognized as one of the folk musicgenres of the land.

As a researcher for the Nuestra Msica: Latino Chicago project and organizer of the restaging at the Folk and RootsFestival, I conclude by saying that presenting the program

N av i G a t i N G t H e M e k o N G : o u r t r a v e l a D v e N t u r e s a l o N G t H e M e k o N G r i v e r

A r l en e R e in ige r, Co o rd ina to r, Mek o ng R ive r P ro g r am , 2 007

N u e s t r a M s i c a : l a t i N o c H i c a G o at t H e f o l k a N D r o o t s f e s t i va l (continues from page 11)

Latino Chicago program organizers Mateo Mulcahy and NashmaCarrera with African Community liaison Mwelwa Musambacine.

at the Folklife Festival was a great learning experience andan honor, but as a non-Chicago native, to organize andpresent it in Chicago at the Folk and Roots Festival was aneven more rewarding challenge. This project taught me notonly about oral history and community ethnographic work,but also about the artiststheir dreams and struggles inthis country. Their folk music and arts define their Latinoidentities in the United States, inspire nostalgia, andprovide opportunities to educate new generations.

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What do you get when you cross a record label with amuseum? When Folkways Records came to the Smithsonianin 1987, one indie folk record label owner told me it was like Mr. Peabody [the egghead dog of the Rocky andBullwinkle cartoon] meeting Dr. Know-It-All, referring to the convergence of Folkways and its famous linernotes with the Smithsonians mission of the increase anddiffusion of knowledge. I sometimes cast Folkways as atraveling exhibition service that takes over 250,000 mini-exhibits each year into homes, automobiles, radio stations,and iPods, each exhibition complete with art objects (audio

tracks) and interpretive signage (liner notes). One of themost enduring characterizations has been a museum of sound. But in a time when both museums and the worldof recorded sound are in a state of flux, what does thatmean? Or, proactively, what might it mean? Decades ago,in a beginning graduate seminar in ethnomusicology, eachof us students was asked to define ethnomusicology. I was last, and all of the conventional definitions had beenused up, so I said, Ethnomusicology is what you make it. At this juncture in time for Smithsonian Folkways, I feelthat the answer is similar: Crossing a record label witha museum is what you make it.

The Smithsonians new secretary, Dr. G. WayneClough, started his job July 1 and lost no time in declaring that taking the Smithsonians collections out of the back rooms and beyond the walls of the museums was what theSmithsonian should do in the twenty-first century. Healso declared that new approaches to generating revenuethrough the sale of value-added materials derived fromour collections, particularly via the Internet, should bea priority. Sound familiar? As the Institution movesforward to craft a strategic plan, Folkways, with itsSmithsonian Global Sound initiative, seems to find itself at the forefront.

At the same time, audio production and distributionare going digital. No news here; this has been on ouragenda for over five years. The news is that we havedigitized virtually our entire commercially availablecollection of 42,000 tracks of audio and nearly 2,800albums with liner notes and cover art. We have deepservers, thanks to the Smithsonian IT infrastructure, which offer plentiful storage and delivery capacity foreducational enhancements such as videos, podcasts,feature articles, and more. We have a small but talented

permanent technology staff (one person) and a teamof fourteen others with talents in managing, producing,marketing, and selling recordings. We, the Smithsonianand Folkways, are all dressed up and ready to go to thedance. The question is, which dance do we go to; that is, what programmatic fruits should we produce with ourinstitutional and human resources?

As we search for the answers to this question, theupcoming years promise to be a time of experimentation,of looking for new products, new formats, new ways tolet this little Folkways light of ours shine, and new

paths to being the greenest record label we can. In themeantime, we continue to produce compact disc recordingsof American roots music, such as Michael Doucets creativeCajun From Now On(SFW CD 40177), the archival ClassicPiano Blues from Smithsonian Folkways(SFW CD 40196), spoken word in Nobel Voices for Disarmament: 1901-2001(SFW CD47005), and childrens music with the late Tom GlazersHonk-Hiss-Tweet-GGGGGGGGGG and Other Childrens Favor(SFW CD 45068). Our various special series continueas well, with the African American Legacy releaseRichmond Blues(SFW CD 40179) by John Cephas and Phil Wigginsand three Latino recordings, Ayombe!: The Heart of ColombiaMsica Vallenata(SFW CD 40546), Amor, Dolor y Lgrimas:Msica Ranchera byNati Canos Mariachi Los Camperos (SFW CD 40518), and Que Viva el Canto!: Songs of Chile (SFW CD 40549) by Rafael Manrquez and friends.

We could not possibly be as productive as we are without the help of the many interns who sojourn hereand contribute to the Folkways mission. Our heartfeltthanks go to interns Daniel Atkinson, Will Chase,Matthew Dayton, Eileen Dorfman, Mara MargaritaLpez Forero, Kathryn Gilchrest, Jessica Keyes, Doug Peach, Corey Shinko, and Zorawar Shukla, who cameaboard in Spring. They were joined by GwendolynGrootenboer, Zach Hall, Micah Hendler, Joselyn Jang,Ellen Lueck, Jing Li, Hayley McCamey, Francisco Orozco,Robert Rose, and Naomi Setchell in the summer. Maythe future bring you the best in your careers! As thisissue goes to press, we are grateful to have Henry Appy,Orchid Burnside, Emily Hilliard, Nicole Martin, andMary Settle onboard with Jessica Keyes and Jing Li.

f o l k Wa y s i s W H a t y o u M a k e i t : f u t u r i N G f o l k Wa y s i N a D i G i t a l a G e

Dan ie l Sheehy, D i r ec to r and Cura to r, Smi th son ian Fo lkways Reco rd ings

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Cephas & Wiggins Richmond Blues[SFW-CD-40179]16 TRACKS, 65 MINUTES, 32-PAGE BOOKLET WITHExTENSIVE NOTES AND PHOTOS

In Richmond Blues, guitarist-singer John Cephasand his harmonica-playing partner Phil Wigginspersonify the century-old blues sound of thePiedmontthe Appalachian foothills running fromRichmond to Atlanta. Drawing from ragtime, ballads,country, old-time string band, rhythm and blues,and more, Richmond Bluesis a musical roadmapof the Virginia Piedmont. While Cephas calls it part of my heritage, part of my soul, the sound isdistinctly modern, a kind of urban acoustic blues.

Nobel Voices for Disarmament: 19012001[SFW-CD-47005]39 TRACKS, 67 MINUTES, 28-PAGE BOOKLET

In the face of historically unparalleled violence duringthe twentieth century, voices of reason unceasingly advocated for peace by disarmament. Alfred Nobelcreated the Nobel Peace Prize in 1901 to honor such advocacy. In this collection of archival andnew spoken-word recordings, Nobel laureates and

others remind us of their profound efforts on behalf of peace. Their eloquence rings out achievements indisarmament and evokes the growing need for conflict resolution in todays world. Michael Douglas, theUnited Nations Messenger of Peace, introduces andnarrates the compilation. This CD was made possibleby the generous support of the United NationsOffice of Disarmament Affairs, the Principality of Andorra, and the Smithsonians Lemelson Center for the Study of Invention and Innovation.

Rafael Manrquez and Friends Que Viva el Canto! Songs of Chile[SFW-CD-40549]25 TRACKS, 73 MINUTES, BILINGUAL 44-PAGE BOOKLET

Over one hundred years and three regions of Chilean folk song styles are summed up in thiscontemporary musical tour de force led by singer,guitarist, and composer Rafael Manrquez andfriends. Guitar and harp-driven country tonada s, Andean cachimbo s withcharango and quena ,southern Chilo island songs with accordion, politicalnueva cancin, edgy urbancueca s, and more offer a glimpse of todays Chilean folk music in its eclecticdiversity. Guest ar tists include Eduardo Peralta,Hctor Pavez, Pedro Yez, and a dozen other mainstays of the Chilean folk song movement.

Tom Glazer Tom Glazer Sings Honk-Hiss-Tweet-

GGGGGGGGGG and Other Childrens Favorites[SFW-CD-45068]24 TRACKS, 63 MINUTES, 32-PAGE BOOKLET WITH LYRICS

Tom Glazers uncanny ability to speak to childrenas saints speak to birds, as touted by theNew York Times, rings loud and clear in this signature collectionof live performances by this legendary childrensartist. His own delightfully silly On Top of Spaghettiand Honk-Hiss-Tweet-GGGGGGGGGG stand aseternal favorites alongside The Bus Song, This OldMan, Jimmy Crack Corn, and many more of twodozen newly compiled and remastered classic tracks.

newre

leases

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White House Workers: Traditions and Memories[SFW-DV-48003]DVD, 40-PAGE BOOKLET WITH ExTENSIVE NOTES AND PHOTOS

Butlers, chefs, housekeepers, electricians, ushers, curators,and many moreall members of the permanent White Housestafftell tales of triumph, tragedy, and deep devotion to thenation, the presidency, and the first families while workingbehind the scenes at 1600 Pennsylvania Avenue.White House Workers: Traditions and Memoriese plores the dedication,skills, and sacrifices of residence staff, whose e traordinary

service has helped the White House fulfill its multiple rolesas a family residence, seat of government, ceremonialcenter, historic building, and museum.The DVD contains the following features: An introduction by former president Jimmy Carter,

recalling the White House workers he knew Workers at the White House , a 32-minute documentary

film featuring a broad range of workers who have servedpresidents from Herbert Hoover to George H.W. Bush

The Working White House: 200 Years of Traditionsand Memories, a 12-minute introduction to theSmithsonian Institutions new traveling e hibition

Two hours of interviews conducted in 2007 with recently retired White House workers, recounting memories, describingtraditions, and e pressing the sense of community among staff and pride in their service to first families and the nation

J aNuary 20 09

Dan Milner Irish Pirate Ballads & Other Songs of the Se[SFW-CD-40553]13 TRACKS, 59 MINUTES, 20+ PAGE BOOKLET

Pirates, slavers, shanghaiers, and smugglers arejust some of the central characters in this album of lusty, authentic maritime songs; others are ardent patriots, hard-pressed immigrants, and weathered

sailors sheltering in the taverns of the seven seas. All are midway between some dicey spot in lifeand an uncertain future. Their compelling storiesof bold adventure are e citingly re-told here by an all-star crew of Irish singers and musicians.

MarcH 2009

New Lost City Ramblers 50 Years: Where Do You Come From? Where Do You Go[SFW-CD-40180]3-CD BOx SET, 81 TRACKS, 221 MINUTES, 50+ PAGE BOOKLET

WITH ExTENSIVE NOTES AND PHOTOS

Collectively known as the Ramblers, Mike Seeger, John Cohen, and Tom Paley (later replaced by Tracy Schwarz) brought the sounds of genuine old-timestring band and early bluegrass music to city andcollege audiences during the folk music revival of thelate 1950s and 1960s. This CD celebrates the groupsfiftieth anniversary, presenting classic Ramblersperformances, along with their field recordings of thetraditional musicians who inspired them, includingDock Boggs, Roscoe Holcomb, Tom Ashley, MaybelleCarter, Elizabeth Cotton, Eck Robertson, CousinEmmy, Reverend Gary Davis, Kilby Snow, DillardChandler, Dellie Norton, and the Balfa Brothers.

aP r i l 2 009

Pete Seeger American Favorite Ballads, vols. 15[SFW-CD-40155]5-CD BOx SET, 139 TRACKS, 355 MINUTES,50+ PAGE BOOKLET WITH ExTENSIVE NOTES AND PHOTOS

Pete Seegers life, music, and legacy encapsulatenearly a century of American history and culture.He has immersed himself in folk music and usedit, as Johnny Appleseed did, to plant the seedsof a better tomorrow in the homes across our land.The 139 songs in American Favorite Balladsnarratetales of ordinary people and their e traordinary deedsand show Pete at the crossroads of the past and thefuture, putting his own stamp on Americas folk songheritage while bequeathing it to generations to come.

J a

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a f r i c a N D i a s P o r a H e r i ta G e t r a i l : f r o M W H i c H Pa s t s t o W H i c H f u t u r e s ?

J a m es Ea r ly, D i r ec to r, C u l t u ra l H er i t a ge Po l i cy

For the past three years, James Early and Diana NDiayeof the Center and John Franklin of the National Museumof African American History and Culture have beeninvolved in the development of the African DiasporaHeritage Trail (ADHT) Conference, which is sponsoredby the Ministry of Tourism of Bermuda, led by Bermudaspremier, and organized by Henderson Travels andTours, the oldest African American tour agency in theUnited States. Heritage tourisms focus on African andDiaspora routes and trails is significantly informed byUNESCOs efforts to correct the record on historical and

contemporary contributions of African peoples to humancivilization. The work and notable African leadershipof UNESCOs Doudou Dine, former director of theDivision of Intercultural Projects, and Amadou-MahtarMBow, the sixth director-general, have inspired UNESCOresearch on the Slave and Silk routes. In recent years,their work has been advanced by UNESCOs permanentambassador from Benin Olabiyi Babola Joseph Ya,chair of the UNESCO executive committee; KaterinaStenou, director of the Division of Cultural Policiesand Intercultural Dialogue; Ali Moussa Iye, chief of theIntercultural Dialogue Section; and Edmond Moukala,special assistant to the chair.

ADHT entails research, commemoration, and publicinterpretation of African and African Diasporan peoplescultural resistance and creative, transformative response todreadful historical assaults on their humanity, including malicious attempts to eradicate their heritage. Therefore,scholars and public educators have refocused on the Arab- African slave trade, the European slave trade (commonlycalled the Atlantic slave trade, which is now recognizedas a crime against humanity), European colonialism,resistance to slavery throughout the Americas, and thestruggles against racism and for full equality of African andDiasporan peoples in Europe.

The late David H. Allen, minister of tourism on theisland of Bermuda, launched the first African DiasporaHeritage Trail Conference in 2001. It followed his visitto South Africa, where he spoke about the importance of ADHT: The aim of the African Diaspora Heritage Trailis to identify, conserve, and promote historic sites linked with the development and progress of people of Africandescent. The fact that an Anglo-Bermudian was movedto conceptualize and implement a project of such import

to his country, Africa, and its Diaspora is a testament tothe power of cultural ways of knowing and doing to reachbeyond the prejudice and violence against the other thathave so characterized human history and much of todaysintra- and intercultural encounters.

ADHT is preparing for its fifth internationalconference in Tanzania in October 2009. Two ADHTconferences were held in 2008, one in the Bahamasand one back in Bermuda (on which the Centers DianaNDiaye curated a 2001 Festival program) to celebratethe countrys emancipation from slavery. The success of

the 2008 Bahamas conference prompted UNESCOsdirector-general for culture to say that ADHT had sparkeda new and deep interest in recognizing, dedicating, andpromoting sites, events, arts, and material and intangiblecultural heritage that represent the tragic and heroicsuffering and resistance of ordinary and extraordinarymen and women in their country.

The long and trying roads to freedom and personalachievement across Africa and the Diaspora led in the1960s to Diasporan students becoming friends at HowardUniversity (which was established by the U.S. governmentto educate the descendants of enslaved Africans). Many years later, those friendships would have global resonance.One student would become premier of Bermuda, and hiscollege friends, children of the Atlanta founders of thefirst African American tourism business, would join himand his compatriots to form the ADHT. The historic African Diaspora trail, intended to disperse anddisconnect African peoples, is now being reconnected, just when ADHT, UNESCO, and the African Unionare discussing collaboration and partnerships. Becauseof ADHT, major conceptual and methodological issueshave arisen across Europe about how to effectively engagegovernments, tourists, the tourism industry, and citizensin historical research and interpretation of slavery,colonialism, liberation movements, resistance to racism,and national democratic transformations.

UNESCOs focus on commemorations of theabolition of the Atlantic/European slave trade and thelessons from that horrific crime may now prompt Araband Middle Eastern countries to become more active inresearch, documentation, and public commemorationsand programs about the history of African Diaspora trails within their borders. Scholar-filmmakers like Sheila

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M j H n gave a presentation entitled TheSmithsonian Institution Meets the National CathedrStone Carvers at the Laborlore Conversation V conference in San Francisco, California, on Septemb2008.The Stone Carvers, a thirty-minute documentary filmabout the master stone carvers of Washington NatioCathedral, is now available on DVD. It was directedand produced by Marjorie Hunt and Paul Wagner incooperation with the Center. Paul Wagner Productio(www.paulwagnerfilms.com) is the distributor.c nd B h s article, Newly Imagined AudienceFolkways Gay and Lesbian Records was publishein the Journal of Popular Music Studiesin August. Thearticle e plores the Folkways collection in light of gay and lesbian minority identity, social consciousnand politics during the era of homophile and gay liberation movements.D n sh h s article, From Grants to Grammys:Leveraging Cultural Energy, was published in theMid Atlantic Forumin September. J m e received one of the Legends andLegacies awards from the King Arts Comple inColumbus, Ohio. Other honorees included Harry Belafonte and Danny Glover.The University of Hawaii Press published American Aloha: Cultural Tourism and the Negotiation of TradH h a. D m nd s book on the Hawaii program the Centers 1989 Festival.

Ji d s articles on Frederick Tyrone Power,Glenn Quinn, Ernest Shackleton, and Washington, D were published in the encyclopedia,Ireland and AmeriCulture, Politics, and History , edited by James Byrne,

Philip Coleman, and Jason King (Santa Barbara: ABCLIO, 2008). He also published book reviews in sevjournals, including Journal of American Folklore, WeFolklore, and Choice: Current Reviews for AcademiLibraries; and one film review in the Journal of AmericHistory . In September, he made presentations on NAat Palacky University in the Czech Republic, on poand film at the Austrian Film Museum and Amerikain Vienna, and on Henwar Rodakiewicz at the Univof Lodz in Poland.

Walker and Georges Collinet in the United States, inconjunction with UNESCO and ADHT, are bringing to wider attention living African-derived culturalexpressions in countries such as Iraq and India. The African Unions formal incorporation of the Diasporainto its multilateral statecraft has already contributedto positive acknowledgement of Diasporan cultures andtradition bearers and to specific cultural policy initiativesthroughout Central and South America and westernand northern Europe.

The conjuncture of the UNESCO Convention on

the Protection and Promotion of the Diversity of CulturalExpressions, the African Union Diasporan outreach andpartnerships in the Americas and Europe, increasedEuropean Union attention to Afro-descendant citizensand immigrants, and emergent signs of proactive policiesabout ADHT in the Arab world and the Middle Eastpromises to deepen cultural democracy so that history willbe more accurately and forthrightly researched, presented,and supported. Greater cultural, social, economic, andpolitical equity and justice will result.

Still, far too many U.S. national and local artsand cultural institutions, professional cultural workers,academics, scholars, government agencies, and arts andcultural activists are unaware of and uninvolved in the work of UNESCO, ADHT, and the African Union.U.S. artists, cultural workers, and, particularly, AfricanDiasporans need to give more attention to Diasporatrails and routes in the United States. And they need toengage the U.S. State Department, which has executedglobal cultural policy with much foot-dragging, littlecultural diplomacy, some exploitation of artists, and has worked in direct opposition to UNESCO. Where arethe U.S. folklorists and community-based cultural workers on African Diaspora Heritage trails and routes?Responses are welcome.

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We observed; we interviewed; we photographed. During the 2008 Smithsonian Folklife Festival, our team of seveninterns, collectively nicknamed Folkdocs, spread out onthe National Mall like ants at a picnic, taking our mentalmagnifying glass to the program, Bhutan: Land of the Thunder Dragon. Throughout the ten-day Festival, we examined andanalyzed the smallest details of discussions, demonstrations,and infrastructure in order to think about the biggerpicturethe Smithsonian Folklife Festival as a learning laboratory and a vehicle for cultural understanding. Weasked ourselves, what are some ways that this progressive,

culturally relevant event can become even more effective?Our research formed an integral part of a Festival

analysis project, which Marjorie Hunt, Betty Belanus,Diana NDiaye, and Olivia Cadaval designed based ontheir online Harvard School of Education Teaching forUnderstanding course. The Teaching for Understanding framework defines understanding as the ability tothink and act flexibly with what one knows. During ourinvestigation into the Festivals promotion of deep culturalunderstanding, we raised a few central queries. First, weasked, what are some important ways the Festival impacts visitors, sparks questions, and inspires curiosity? Second,our group explored the ability of the visitor to absorbknowledge gained from the Festival and tried to decipher which components of the Festival affected their views most.Finally, we inquired how certain approaches could bemodified in order to maximize the experiences that visitors take away from the Festival.

While in the field, we moved thoughtfully with ournotebooks through crowds of T-shirt-clad camp groups, vacationers, Bhutan enthusiasts, and local residents. We saw respectful, curious Festival visitors have Ah-ha! moments: A little boy crouched next to a flute-playing Himalayan yak herder to share a smile. Visitors participating in a livelydiscussion about Bhutanese table manners and family lifeset before a smoking, clay stove. Moments like these led theteam to conclude that the Festival is tangibly successful inteaching for cultural understanding.

It was our mission to provide constructive feedback to Smithsonian staff and curators, so they could reach thepublic in meaningful ways during future Festival programs.The Folkdocs team developed several proposals:

A new set of strategies for giving Festival participantsa voice

A plan for an expanded and enhanced childrens area An alternate approach to offering hands-on activities A presenter training program in partnership with

local universitiesThanks go to the Folkdocs interns for their thoughtful

proposals and hard work. Eleana Diaz, Cecily Hart, Vanessa Herrera, Gabriel Prez, Sarah Searcy, LauraService, and the author assisted the Center in reflecting upon its goals, accomplishments, and opportunities toensure its role as an advocate for cultural democracy.Today, it plays a key roleto provide Americans the

occasion to appreciate different perspectives through face-to-face interaction, promoting empathy, tolerance, and,most important, understanding.

t e a c H i N G f o r u N D e r s t a N D i N G : f o l k D o c s f o c u s o N t H e f e s t i v a l

S h a w n a P i e s , C u l t u r a l R e s e a r c h a n d E d u c a t i o n I n t e r n

passIngs

a n N n B m 19232008Hawaii program fieldwork informant

ab B mb g 19262008Collector Records recording artist

e D ng 19332008Folkways recording artist D d G h 19222008

Folkways photographer s m G 19302008, Canadian Folkways

distributor and producer, music impresarios edm nd H 19192008

Interviewed on FolkwaysR k n 19252008

Hawaii Festival participant

M n H p l nd 19242008Festival employeeM n M n 19362008

Festival participant u h Ph p 19352008

Festival participant and Folkways recording artist o nd P n r 19472008

Festival participant and Folkways recording artist l v gh n r b n n 19272008

Festival participant t n s hw 19232008

Sound documentarian and Folkways recording artist

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Special lecture-demonstrations and Bhutanesefilms took place at the Freer Gallery of Art. Cinemaarts, now very popular in Bhutan, have been describedby one of Bhutans most famous filmmakers as simplyanother form of thangkha(important Buddhist imagery)painting. An overflow crowd attended a final evening performance of Bhutanese music and dance at theKennedy Center Millennium Stage.

Because Bhutan is such a musical society, there wasmusic throughout the site. Many of the Bhutanese artisanssang as they painted, weaved, carved, cooked, and built.

His Royal Highness Prince Jigyel, who plays acousticguitar, surprised visitors at the Texas stage by joining Texas Johnny Brown for a soulful performance of theBeatles Come Together.

Bhutanese hospitality was evident in the manyactivities designed for children and adults. With thehelp of Bhutanese children, families colored Bhutanesepostage stamps and made prayer wheels, and visitors wereable to sign a handmade-paper and leather-bound book surrounded by blue poppiesBhutans national flower.Later, the Smithsonian presented the book to His MajestyKing Jigme Khesar Namgyel Wangchuck. On opening day, Bhutan Post issued several sets of commemorativeFestival postage stamps.

Archery, the countrys national sport, was played daily.Bhutanese archers dazzled spectators by hitting a target thesize of a breadbox nearly a football field away. When theyhit the bulls eye or an opponent missed embarrassingly,

the archers performed humorous songs and dances.Other traditional Bhutanese games involved grounddarts, bamboo javelins, and wrestling.

Based on the results of visitor surveys, the 2008Festival went a long way toward introducing the publicto the life and culture of Bhutan. While 74 percent of the visitors surveyed reported that they knew little tonothing about Bhutan before they came to the Festival,a whopping 80 percent responded that they had learnedsome to a lot about Bhutan at the Festival. Sixty-twopercent said they definitely would like to visit Bhutan

if given the chance. Significantly, many Bhutanesereported that they learned something about theUnited States and American culture during their stay in Washington, and they also learned a lot about themselvesas a result of the Festival. Just over a year ago, RichardKurin wrote in this publication that [a] successfulapproach to cultural diplomacy in todays world mustoffer real two-way exchange [and] go well beyond themost elite of arts and culture to the grass roots in theUnited States and other nations.

It appears that the Bhutan program did just that. While Festival visitors typically remark that they enjoyedand learned from their Festival experience, this yearmany added that the Bhutan program somehow touchedthem. And the Bhutanese, too, reported experiencing theexhilaration you feel when sharing your life with so many(in this case nearly twicetheir own countrys population!).This is the Festivals powerful gift to us all.

B H u t a N at t H e 2 0 0 8 s M i t H s o N i a N f o l k l i f e f e s t i va l (continues from page 4)

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h d wh p dm n h pp -ng m' p m n .

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