Smithsonian
olklife Festival
\
-. *
...
t-;
Food Culture USA
Forest Service,Culture, and Community
Nuestra M?sica:Music in Latino Culture
Oman: Desert, Oasis, and SeaVfeL3?3
..-?** :"*

39th ANNUALSMITHSONIAN FOLKLIFE FESTIVAL
Food Culture USA
Forest Service, Culture, and Community
Nuestra M?sica: Music in Latino Culture
Oman: Desert, Oasis, and Sea
JUNE 2 3 -July 4, 2005
WASHINGTON, D.C.
The annual Smithsonian Folklite Festival bringstogether exemplary practitioners ot diverse traditions,both old and new, trom communities across theUnited States and around the world. The goal of the
Festival is to strengthen and preserve these tradi-
tions by presenting them on the National Mall,
so that the tradition-bearers and the public can
connect with and learn trom one another, and
understand cultural differences in a respectful way.
Smithsonian InstitutionCenter tor Folklite and Cultural Heritage750 9th Street NWSuite 4100Washington, DC 20560-0053
www.folklite.si.edu
? 2005 by the Smithsonian InstitutionISSN [056-6805
Editor: Carla Borden
Associate Editors: Frank Proschan, Peter SeitelAn Director: Denise Arnot
Production Manager: [oan Erdesky
Graphic Designer: ECrystyn MacGregor Confair
Design Intern. Ann Blewazka
Printing Stephenson Printing Inc., Alexandria, Virginia
SMITHSONIAN FOLKLIFE FESTIVAL
The Festival is supported by federally appropriated funds; Smithsonian trust funds; contributions fromgovernments, businesses, foundations, and individuals; in-kind assistance; and food, recording, and craft
sales. The Festival is co-sponsored by the National Park Service. General support for this year's programscomes from the Music Performance Fund, with in-kind support provided by Motorola, NEXTEL,WAMU 88. s FM.WashingtonPost.com, Pegasus Radio Corp., and Icom America. The 2005 SmithsonianFolklite Festival has been made possible through the generosity of the following donors.
Lead Support
Ministries of Heritage and Culture, Tourism,Information, and Foreign Affairs of OmanUSDA Forest ServiceWhole Foods Market
Founding Support
Wallace Genetic Foundation National Endowment for the Arts
Silk Soy HondaNational Forest Foundation Horizon Organic DairyUnited States Department of Agriculture
Major SupportNEXTELChipotle Mexican GrillGuest Services. Inc.Honest TeaJean-Louis Palladin FoundationThe American Chestnut Foundation
V.mns SpicesFarm AidJoyce FoundationIBMThe Rodale InstituteSmithsonian Latino Initiatives FundUnivision
Major In-kind Support
KitchenAid
Zola/Star Restaurant Group
Collaborative Support
Washington, DC Convention and Tourism CorporationCulinary Institute of America Marriott InternationalMiddle East Institute/Washington, D.C. Radio Biling?e
Ministry of External Relations of Mexico Public Authority for Crafts Industries of Oman
SMITHSONIAN FOLKLIFE FESTIVAL

CONTENTS
The Festival's Timely Appeal 7LAWRENCE M. SMALL
Commerce for Culture: From the Festival andFolkways to Smithsonian Global Sound 9RICHARD KURIN
Welcome to the 200s Smithsonian Folkhte Festival 15DIANA PARKER
Food Culture USA: Celebrating a Culinary Revolution 17JOAN NATHAN
Forest Service, Culture, and Community 31TERESA HAUGH AND JAMES I DEUTSCH
Nuestra M?sica: Music in Latino Culture?Building Community 48DANIEL SHEEHY
Nuestra M?sica: Music in Latino Culture
?
Construyendo comunidad 54DANIEL SHEEHY
Oman: Desert. Oasis, and Sea 61RICHARD KENNEDY
Craft Traditions of the Desert, Oasis, and Sea 66MARCIA STEGATH DORR AND NEIL RICHARDSON
An Omani Folktale 74ASYAH AL-BUALY
SMITHSONIAN FOLKLIFE FESTIVAL
Music and Dance in Oman 77OMAN CENTRE FOR TRADITIONAL MUSICKHALFAN AL-BARWANI, DIRECTOR
General Festival Information 81
Festival Schedule 84
Evening Concerts 94
Related Events 95
Festival Participants 97
Staff 121
Sponsors and Special Thanks 124
Site Map 130-131
SMITHSONIAN FOLKLIFE FESTIVAL
THE FESTIVAL'S TIMELY APPEAL
LAWRENCE M. SMALL, SECRETARY, SMITHSONIAN INSTITUTION
Welcome to the 2005 Smithsonian Folklife Festival! This year we feature [ 7 Ifour programs
?
Oman: Desert, Oasis, and Sea; Forest Service, Culture,
and Community; Food Culture USA; and Nuestra M?sica: Music inLatino Culture. Now in its 39th year, the Festival once again presents
a sample of the diverse cultural heritage of America and the world tolarge public audiences in an educational, respectful, and profoundly democratic way on theNational Mall of the United States. True to form, the Festival illustrates the living, vital aspect
of cultural heritage and provides a forum for discussion on matters of contemporary concern.For the first time, the Festival features an Arab nation, Oman. Oman is at the edge
of the Arabian Peninsula, both geographically and historically situated between EastAfrica and the Indian Ocean. Trade routes, frankincense, silverwork, Islam, a strategiclocation, and oil have connected it to the cultures of the Middle East, Africa, Asia, theMediterranean region, and beyond. Contemporary Omanis live poised between a long
and rich past and a future they are in the midst of defining. New roads, hospitals, schools,businesses, high-tech occupations, and opportunities for women are developing along-
side traditionally valued religion, family life, artistry, and architecture. Omanis are well
aware of the challenges of safeguarding their cultural heritage in an era ot globalization.The Festival program provides a wonderful illustration of the approaches they have taken
and enables American visitors and Omanis to engage in open, two-way interchange.During the Festival, the U.S. Department ofAgriculture Forest Service celebrates
its 100th anniversary. Programs in previous years have illustrated the traditions of WhiteHouse workers and of Smithsonian workers. This Festival examines the occupational
culture of Forest Service rangers, smokejumpers, scientists, tree doctors, and many
others devoted to the health and preservation of our nation's forests. They are joinedby artists and workers from communities that depend upon the forests for their liveli-hood or sustenance. The Festival offers a wonderful opportunity tor an active discus-
sion of the significance of our national forests and rangelands to the American people.Food Culture USA examines the evolution of our nation's palate over the pastgeneration. New produce, new foods, new cooking techniques, and even new culi-
nary communities have developed as a result of immigrant groups taking their placein our society, the rise of organic agriculture, and the growing celebrity ot ethnic and
regional chefs on a national stage. A diversity ot growers, food inspectors, gardeners,
educators, home cooks and prominent chefs share their knowledge and creativity asthey demonstrate the continuity and innovation in America's culinary culture.
SMITHSONIAN FOLKLIFE FESTIVAL
We also continue our program in Latino music this year with a series of evening concerts.
Last year's program drew many Latinos Co the National Mall, helping the Smithsonian reach
out to a major segment of the American population. Audiences were thrilled by the perfor-
mances, as were the musicians who presented their own cultural expressions and thus helped
educate their fellow citizens of the nation and the world. Smithsonian Folkways released
recordings ot three of the groups, and one later went on to be nominated for a Grammy
award. This year, Smithsonian Folkways will hopefully continue that tradition with additionaltalented musicians from New York, Washington, D.C., Chicago, Puerto Rico, and Mexico.The Festival has provided an amazingly successful means of presenting living cultural tradi-tions and has been used as a model for other states and nations. It has also inspired other major
national celebrations. Last year, the Festival's producer?the Center for Folklife and CulturalHeritage?organized two major benchmark events. Tribute to ?i Generation: The National Worldllin // Reunion drew more than 100.000 veterans and members of the "greatest generation" tothe Mall to celebrate the dedication of a new national memorial. Through discussions, perfor-
mances, interviews, oral histories, and the posting of messages on bulletin boards, members ofthat generation shared their stories with some 200,000 younger Americans. It was a stirringand memorable occasion. Months later, the Center organized the Native Nations Procession and
First Americans Festival tor the grand opening of the National Museum of the American IndianThis constituted perhaps the largest and most diverse gathering of Native people in history,
as hunts from Alaska and Canada marched down the Mall along with Suyas from the Amazon
rainforest, Cheyennes marched with Hawaiians, Navajos with Hopis, to claim their respectedplace in the hemisphere's long cultural history. Over the course of the six-day celebration,some 000,000 attended concerts, artistic demonstrations, dances, and other activities andlearned a great deal about the living cultural heritage of America's first inhabitants.The Festival and the other national events inspired by it help represent the cultural tradi-tions ot diverse peoples of this nation and the world to a broad public. The Festival is a unique
experience, both educational and inspiring, and one 111 which you, as a visitor, are wholeheartedlywelcome to participate. Enjoy it!
SMITHSONIAN FOLKLIFE FESTIVAL
COMMERCE FOR CULTUREFrom the Festival and Folkways to Smithsonian Global Sound
RICHARD KURIN, DIRECTOR,SMITHSONIAN CENTER FOR FOLKLIFE AND CULTURAL HERITAGEOne of the amis of the Festival is to promote the continuity of diversegrassroots, community-based traditions of Americans and people ofother countries. To do this, the Festival relies upon several methods
that demonstrate the value ot such cultural traditions. First, theSmithsonian invites members ot regional, ethnic, and occupationalcommunities to illustrate their artistry, skill, and knowledge at the Festival on theNational Mall. The symbolic
value ot the setting and theinvitation by the nationalmuseum help convey theprestige accorded to the tradi-tion and its practitioners.Second, we place Festivalparticipants in the positions ofteachers, demonstrators, and
exemplars of the tradition.Providing a stage for partici-pants to address their fellowcountrymen or citizens ot the
world m a dignified way onthe salient issues bearing ontheir cultural survival not onlyhelps visitors learn directly
about the culture but also
engenders a profound respectfor it. Additionally, the officials,
crowds, and publicity attendingthe Festival signal that theprestige and respect are wide-
spread and important. Finally,commerce too plays a role. It Festival visitors buy food, music, crafts, and books
it shows that they value the culture produced by participants and members ottheir communities. Commerce has always been part ot the Festival and part ot
our larger strategy to encourage the continuity of diverse cultural traditions.
[9]
Craftspeople and artisans sell their goods at the Haitian Market
at the 2004 Festival, bringing much-needed income back home.
SMITHSONIAN FOLKLIFE FESTIVAL
10]
Culture and CommerceCommerce has been intimately connected to
culture for tens of thousands of years. Longbefore the invention of nations and money,
and even before humans had settled in villages
and cultivated crops, communities traded andexchanged foodstuffs, stone tools, and valuable
minerals. Since then, no single people, country,
or community has bv itself invented anew all
of its cultural products. Rather, cultures every-
where have depended upon an infusion of foods,
material goods, songs and stones, inventions
and ideas from others. So main 1 of the thingswe associate with particular cultures?tomatoes
with Italians, paper with Europeans, chilis withIndians, automobiles with fapanese, freedom
and democracy with Americans?are actu-
ally results of intercultural exchange. Much of
it has been of a commercial nature?whetherby barter or sale, borrowing or theft, done
fairly or through exploitation. Of course not
all commercial exchange is tor the good.Sometimes commerce has led to the commodi-fication of things that should not be assigned
monetary or exchange value, eg . people, ashas been the case with slavery and human traf-ficking. Other items subject to commercial
exi hinge?arms and drugs, for example?mayhave terrible, deleterious effects. Still, whilethere may be main' reasons to create andproduce goods and services? utility, tradition,prestige, and pleasure among them?exchange
value certainly provides an incentive to do so.Commerce in and at the FestivalThe link between culture and commerce
is amply illustrated at the Festival tins year.Many Omani traditions arise from an activeeconomy that connects the desert, oasis, and
sea, and also connects C 'man to eastern Africa,
India, the Middle East, and the Mediterranean.Frankincense, silver, jewelry, and the amazingboats?the dhows?that transported them, point
to the importance of commerce in culturalproduction. As Food Culture USA illustrates, thephenomenon of commercial cultural exchange
is not just a thing of the past. American culinary
culture has been immeasurably enriched byimmigrants arriving over the last four decades.Their presence has resulted in new foods, newfusions, and new adaptations, as well as the growth
of small businesses Family-owned restaurantsbecome centers of continuing cultural expr?s
sion, extending culinary traditions while at thesame time helping promulgate new "tastes" for
customers and neighbors. Similarly, Latino musichas found vitality in contemporary America,
not only within its home community but also
within a larger market. That market has ensurednew audiences and a new generation of musi-
cians gaming broad recognition and attendanteconomic benefits. The cultural traditions
evident in and surrounding our forests are alsobound up with economic relationships I oggers,foresters, scientists, conservationists, artists, and
others are engaged in efforts to both exploit theforests commercially as well as preserve themCommerce is not only inherent in cultural
traditions featured at the Festival but also is part
of its very structure. It has been so since thebeginning. Ralph Rmzler, the Festival's foundingdirector, came to the Smithsonian from theNewport Folk Festival, where he encouraged
musicians and artisans to find new audiences and
sources of income tor their art. Rmzler recog-
nized that musicians had to make a living. In the
n;oos he produced several albums for FolkwaysRecords and managed traditional music iconsDoc Watson and Dill Monroe. He thought that
their skill and repertoire deserved attention and
merited commercial reward and appreciationFhe same impulse led him to team up withpotter N.mcN Sweezy and Scottish weaverNorman Kennedy to start Country Roads mCambridge, Massachusetts. This enterprise soldthe weavings, woodcarvings, baskets, ,\nd other
SMITHSONIAN FOLKLIFE FESTIVAL
The food concession for the Mela at the 1985 Festival increased the popularity of Indian cuisine in theWashington, DC, metropolitan area and led to many restaurants, among them Bombay Bistro andIndique, which are directly operated by personnel associated with the 1985 program.
crafts oftradition.il artisans and also aided manySouthern potteries, like Jugtown, to gam renewed
and expanded commercial viability. As Festivaldirector, Rmzler would rent a truck, pick up
crafts from Appalachia, sell them on the Mall, and
return money and respect to regional craftspeople.We continue this practice at the Festival,
selling participants' crafts in our Marketplace at
a very low mark-up. The idea is to encourage
craftsmanship by having audiences recognize
it as financially valuable. It is also why we
encourage musicians to sell their recordings,
cooks to sell their cookbooks, and so on. And it
is why we select restaurateurs or caterers fromthe communities featured at the Festival to
operate food concessions and serve a culturally
appropriate menu. We are fostering exposure
and knowledge for an important aspect of
culture, and also supporting the continuity ofpractice for those who carry these traditions.
Developing Commerce for CultureThe role of commerce m safeguarding diverse
cultural traditions is increasingly recog-
nized around the world, particularly giventhe ascent ofwhat might be termed the
"cultural economy." UNESCO, the UnitedNations Educational. Scientific, and CulturalOrganization, is currently developing a newinternational treaty on the topic tor consider-
ation by its General Assembly in October 200s.The draft convention addresses the issue of
cultural survival in the face of globalization
It recognizes the immense commercial value of
cultural products of varied types?from songs
to books, from fashion motifs to films. Amongthe many positive provisions to encourage
a diversity of cultural activity, it would also
allow nations to make policies to restrict theln-flow of cultural goods and services that
might jeopardize their own threatened or
[ii]
SMITHSONIAN FOLKLIFE FESTIVAL
1-1
endangered cultural traditions. The treaty offers
.1 means o? gaming an exception from freetrade policies, thus increasing the commer-
cial benefits to homegrown cultural products
while restricting cultural imports. For some,
this particular provision is a legitimate way toprotect the diversity of national culture from
massive globalization. For others, it is a means
ot limiting the tree flow of goods, services,and ideas through misguided protectionism.The motivation for the draft conven-tion is understandable, as local and regional
societies find themselves overrun \\ nliproducts created and distributed by a global.
commercially produced, mass culture to theperceived detriment ot their own. To some, the
multinational corporations are the bad guyswhose appetite tor greater market penetration
must be stopped by national governments. To
others, those governments are the problem,
as a tree market, albeit one dominated by
multinational corporations, is more hkcb topromote freedom ot choice and a better life.Between restrictive protectionism andlaissez-faire tree market economics is perhaps
a third way, more akin to the approach histori-
cally enacted at and through the Festival. Thislocates agency in people and communitieswho themselves have the power to act, < reate,produce and consume. Why not encouragelocal-level creativity? Wh\ not develop localand regional-level cultural industries around
tile world, m nations economically rich andpool As a number ot the fellows participatingin our Rockefeller Foundation-supportedhumanities residency projec t "1 heorizingCultural Heritage" have found, varied commu-
nities the world oxer assert ownership or
stewardship ot their own traditions auA arequite capable ot using, exploiting, and safe-guarding (hem lor their own benefit Ratherthan restrict the stimulating and useful How
ot cultural products between societies, orinvest the responsibility for cultural creation mgovernment agencies, it seems quite sensible
to marshal resources, invest in local cultural
capacity building, encourage the develop-ment ot cultural industries, and support amore robust, diversified world cultural market.Examples ot contemporary homegrown
cultural industries abound. The Indian filmindustry, Bollywood, which at first imitatedHollywood, has developed its own styles and
widespread c ommercial success. Worldwide,Chinese restaurants, initiated and staffedby diasporic communities, tar outnumberthe corporately created McDonald's.
Alternative Models: Folkwaysand Smithsonian Global SoundLike the Festival, Smithsonian Folkways
recordings provide a model of how local
cultural traditions can be enhanced throughcommercial means. The Colombian joropo
musicians appearing at last year's Festival
recorded the album Si, Soy Llanero forSmithsonian Folkways and won a Grammynomination as a result. This stirred folks on theOrinoco plains ot Colombia and Venezuela
and brought these musicians deserved recog-
nition, respect, and income from sales.
I hat pattern o.in be seen again and again
with Smithsonian Folkways artists as ourprimary mission?helping the voices of diversepeople to be widely heard?has been real-ized. Earning monev has helped musicians
continue to plav as musicians. Royalties from
recordings and music licensing, and incomefrom ticket sales to concerts may provideincome needed to maintain a tradition.
It is thus a pleasure to announce atthe Festival this year our public launch otthe Smithsonian Global Sound Web site
at w w vv.sinithsoni.mglobalsound.org.Smithsonian Global Sound is a virtual encyclo-
SMITHSONIAN F0LKLIFE FESTIVAL
o Miiitbioni.in dotal Sound
L04.A 1 Slflti Uo
among others, to continue to develop the located in the museum world, the culturalWeb site's content. Shortly, other archives and heritage they represent is not something dead,institutions will be united to participate. or frozen, or stored away for the voyeuristicImportantly, the fact that artists benefit gaze ot tourists or the idiosyncratic interestfrom Smithsonian Global Sound is not lost ot scholars. Rather, we regard that heritage ason users. "I like the tact that artists get their something living, vital, and connected to thedue." offered one. This is an exciting moment identity and spirit ot contemporary peoples,wherein we tan help artists the world over all trying to make their way in a complicated
share their know ledge and artistry with others, world today. Making that way takes mam things,
contribute to ongoing cultural appreciation including money.To the extent that we can useand understanding, and secure needed income. commerce as a means tor people to continue toEven though the Festival, Smithsonian turn their experience into cultural expression.Folkways, and Smithsonian Global Sound are and benefit from it, the better ott we all will be.
SMITHSONIAN FOLKLIFE FESTIVAL
WELCOME TO THE 2005 FOLKLIFE FESTIVAL
DIANA PARKER, DIRECTOR, SMITHSONIAN FOLKLIFE FESTIVAL
his summer marks the 39th time we have had the honor ofbringing together people fromcommunities across the United States and around the world. The Festival has been called
a magical event, because when we bring together so many exemplary practitioners ot
cultural and occupational traditions, amazing things can happen. In order to make your | 1experience a memorable one, let me suggest some things we have learned over the years.
Talk to the participants. The Festival is quite different from other Smithsonian exhibitions 111 thatthe artists are here for you to meet. Whether they are Omani embroiderers, bomba and plena musicians,smokejumpers or chefs, they are all accomplished artists. And you will probably not get a chance to learnfrom their like, face to face, ever again. They are the best in the world at what they do. and they have
agreed to come to share their knowledge with you. Don't let this opportunity pass you by.
Read the signs and the program book. They can provide insights into the cultures you areexperiencing and the people you are meeting and help you ask questions.You will also rind schedulesand site maps that can help vou plan your visit. Finally, the program book lists related activities, books,and recordings that can expand your experience and knowledge.
Pick up a family activities guide to help younger visitors participate in the Festival. Eachprogram has activities to help kids gam more from their Festival visit. A fun reward is available in each area toencourage young ones and help them take the experience home, where the learning can continue.
Take your time. Listen and ask questions at the narrative stages. Join in a dance or a game. Take noteof a recipe from a cuisine that is new to you.
Be aware of Festival visitors around you. Spaces near the front of music stages and food demon-
stration areas have been reserved for the use of visitors in wheelchairs, and those reading sign-languageinterpreters. Please help us keep the spaces open for these visitors.
Visit the Marketplace. The Festival is free, and the Marketplace helps support it as well as the workof traditional artists. Having traditional artists' work in your home can extend part ot the Festivalexperience year round. And be sure to visit the Smithsonian Global Sound tent too.Wear sunscreen and drink plenty of water. Washington summers can be brutal. Don't get so
engrossed in the experience that you forget to take care of yourself. And it dn electrical storm arrives,leave the Mall immediately. Before 5:30 p.m., go into an adjacent museum; after that time, go downinto the Metro entrance. The Mall is a dangerous place in a lightning storm.
Eat at Festival concessions. The food reflects the cultures presented at the Festival, and can expandyour culinary horizons. You may discover something you really love.
Visit us in the off season. Go to our Web site, www.folklife.si.edu. Photographs, recipes, and activitiesfrom this year's Festival will be available. And please let us know what you think ot the Festival.We are
constantly striving to improve it, and your opinion matters to us. Thank youfor coming, and enjoy your visit.
SMITHSONIAN FOLKLIFE FESTIVAL

FOOD CULTURE USACelebrating a Culinary Revolution
JOAN NATHAN
[17]
In the summer of 2001, when I was beginning to think about a FolklifeFestival program devoted to food, the Smithsonian's National Museum o?American History added Julia Child's kitchen to its exhibits, alongside someof the country's icons such as Thomas Edison's light bulb and the first Teddybear. At the opening reception for the exhibit, guests were served not theFrench dishes that Julia introduced to the United States, but a stunning menu ofAmerican food including seared bison filet with pepper relish and pappadam, purpleCherokee tomato tartlet with goat cheese and herbs, and a local organic sweettomato tart with basil and ncotta gelato.This meal was a patchwork of healthy,
natural, spicy foods from different cultures that we Americans have embracedin the forty years since Julia published her firstbook. While, in one sense, Julia Child's kitchen
represented the popular American introductionto French cooking, the reception menu showedthat its counters, appliances, and utensils had alsocome to symbolize a series of broader trends?anincreased interest in the craft of food in generaland in foods that could be considered American.The decades following the publication ot JuliaChild's Mastering the Art of French Cooking in 1961and the debut of her television show were a time
of momentous change in American tood. Duringthose years, the introduction of ethnic and regionaldishes to the American palate had opened ourmouths and minds to a broader array ot tastes; agrassroots movement for sustainability had returnedmany to the world of fresh, seasonal produceknown to their ancestors; and chefs and cooks hadbecome explorers and teachers of diverse traditionsin food. This period has been called the AmericanFood Revolution. Whatever it is, this is the besttime in history for American food. For those who
Chef Janos Wildergathers a bounty of
radishes at a farmnear his Tucson
restaurant. Like anincreasing number
of American chefs,Wilder works closelywith growers toensure that he hasthe freshest, best-tasting ingredients.
This article is adapted fromJoan Nathan'sforthcomingThe New American Cooking (Alfred A. Knopf).
Workers harvest artichokes at Ocean Mist Farms in California American agriculture depends on the skillsof migrant laborers, who continue to struggle for economic rights and adequate working conditions
take the time to cook at home or to dine outin ethnic and independent restaurants, the food
is thought out and delicious. We have artisanal
c heese makers, local organic farmers, even moregreat grocery and ethnic stores than most of us
ever dreamed of. The world is at our fingertips,and it is a pleasure to cook. The very nature ofAmerica has become global, and this is reflectedin our food. Chef Daniel Boulud calls today'scooking "world" cuisine. He is not very far off
T his revolution has come at a time whenmuch ot the news about food is less encour-
aging. During a visit to the Missouri coun-tryside, 1 stopped m at a mega-supermarketin a small town surrounded by farmland. Tomy surprise, m the midst of fields of fresh
strawberries and fish streams overflowing withtrout, I found that everything in the marketwas plastic and processed. 1 thought aboutthe author Barbara Kingsolver's comment,
"Many adults. I'm convinced, believethat food comes from grocery stores."
In a similar vein, my son 1 )avid, whendiscussing the "American" book on whichthis Festival program is based, s.nd that 1 haveto include Cheese Whiz and McDonald's.No, I don't. We know about the downside of
American food today?the growing power
ot fast food chains and agribusiness, people
not eatmg together as a family, food that
is denatured, whole processed microwave
meals, and the TV couch potato syndrome.
1 have instead focused on the positive. Inpreparation tor my forthcoming book. The NewAmanan Cooking, and the Festival 1 have criss-
crossed this country from California to Alaskaand Hawai'i to New England and have enteredkitchens, farms, processing plants, and restau-
rants, seeking out the recipes and the peoplewho have made American food what it is today.
1 have tried to show a fair selection ot what
1 have seen, interviewing people in 40 statesthroughout our great country. 1 have brokenbread in the homes of new immigrants such
as Hmongs of Minnesota and Ecuadoreans inNew [ersey. 1 have noticed how, at Thanksgiving,the turkey Atid stuffings have been enhancedby the diverse flavors now available in this
country. Accompanying the very Americanturkey or very American Tofurky will be spring
rolls, stuffed grape leaves, or oysters, all holidayfoods from an assortment of foreign lands.
That is American food today.SMITHSONIAN FOLKLIFE FESTIVAL
DIVERSITY
More than at any other time in our history,America's food has become a constantly changingblend of native and foreign ingredients and tech-
niques coupled with the most amazing ingredi-
ents of all?American ingenuity and energy. TheCivil Rights Movement spurred Americans to
explore their rich African-American and NativeAmerican traditions. In 196$ a new ImmigrationAct lifted the quotas on immigration trom mainnon-European countries, contributing to anincrease in immigrants trom Latin American,African, and Asian countries. People tromIndia, Thailand, Afghanistan, and Lebanonbrought their culture in the way of food.This unprecedented wave ot immigrationmade the United States more multicultural than
ever before. The figures tell the story: in 1970,of the 4 percent of foreign-born Americans,half came from European countries. Between1990 and 2000, over 6.5 million new immi-grants came to this country, resulting 111 32percent of the growth in the total U.S. popula-tion over the same period. At 11 percent, theproportion of immigrants in the United Statespopulation is the highest it has been in sevendecades. Of these, half are from Latin America,and almost all the rest are from countries not
even mentioned in the 1970 U.S. Census,such as Vietnam, Thailand. Afghanistan, andLebanon. As Calvin Trillin aptly wrote in theNewYorker, "I have to say that some serious
eaters think of the Immigration Act of [965 astheir very own Emancipation Proclamation."This increased cultural and ethnic diversity
can be found across the country. An hour's drivefrom that Missouri supermarket and its packaged,processed goods, on St. Louis's loop alongside aStarbucks caf? and beer and pizza joints, wereEthiopian, Japanese, Lebanese, Persian, andThai restaurants. This street, in the heartland ofAmerica, could have been 111 Washington, D.C.;Berkeley, California; or Boston, Massachusetts.The De Kalb Market in Atlanta and the WestSide Market in Cleveland are tilled with endless
varieties of cilantro, peppers, yams, epazote, andhoney melon; and cramped aisles with chestnutand ginger honeys as well as brisket cut for stir-
fry, fajitas, and Korean hot pots. In Newark'sIron District, once home to Portuguese immi-grants, the demographics are changing. DuringLent, I visited the 75-year-old Popular FishMarket. Brazilian immigrants had their pick ot
eel. clams, corvina, frozen sardines, lobsters, andbaccalhau (dried cod) piled in wooden crates
with a sharp chopper at the end. so that shop-pers could cut off the fish tails. At the food
concession at the University of California atSan Diego students can choose among Pekingduck, barbecued pork, and Mexican wraps.In New York one can see pedestrians noshingon vegetarian soul food, Chinese Mexicanfood, and Vietnamese and Puerto Rican bagels.Brighton Beach, Brooklyn, has turned into a
Little Russia with Cyrillic writing in shopsand restaurants. Chinatown in New York City
is rapidly swallowing up what used to be Little
Italy. This kaleidoscope is a portrait of Americatoday?ever changing, spicier, and more diverse.This diversity has led to interesting juxta-positions. The Asian lettuce wraps I ate at alunch break with Cambodian refugee farm
workers in Massachusetts I've also seen atChill's and Cheesecake Factories. In Lajolla,California, Mexican workers eat Chinesefood while making Japanese furniture. Home
cooks frequently integrate dishes from diversetraditions into their menus, making personal
modifications and adding their own uniquepersonality to traditional dishes. One result
is that an Indian mango cheesecake is now asAmerican as Southern pecan pie. In the West,hummus is now often made with black beans.For my own family, I make pasta withpesto and string beans one day, Moroccan
chicken with olives and lemon another, andMexican fajitas still another. My family's
"ethnic" dishes might have less bite than theywould in the Mexican or Thai community,but our meals are a far cry from those ot my
childhood, when each day of the week was
[19]
FOOD CULTURE USA
America's foodhas become
a constantlychanging blend
o? native andforeign ingredi-
ents and tech-
niques coupledwith the mostamazing ingre-dients o? all
?
American inge-
nuity and energy.
assigned a particular dish?meat loaf, lamb chops, fish, roast
chicken, spaghetti and meatballs, roast beef, and tuna casserole.Italian-American Jimmy Andruzzi, a New York fireman who
survived the World Trade Center tragedy, is the one who cooks
all the meals in his firehouse at 13th Street and Fourth Avenue.Unlike his mother's totally Italian recipes, his are more Italian-American and just American. He cooks in between calls for firesand bakes his mother's meatballs rather than frying them. AnIndian woman married to a Korean man living in WashingtonHeights, New York, is a vegetarian. She makes a not-so-tradi-tional grilled cheese sandwich with chickpeas, tomatoes, and theIndian spice combination, garam m?sala. Because there is notmuch cheese 111 India and that used is not so tasty, the "sandwich"
as it existed in India contained no cheese. Since immigratingto America, she has added cheddar cheese to her recipe.These diverse traditions haw also changed the way Americans
eat on the run. Quesadillas, dosas, and empanadas are eaten quicklyby busy people. With mass production, thev have become everydayfood m this country." These were foods that took time, individu-
ally made, and are ironically harder to prepare at home but easierin mass production," said Bob Rosenberg, a food consultant andformer CEO of Dunkin' Donuts. for example, California-bornGary MacGurn of the East Hampton Chutney Company spent 12years in .\n ashram in India before opening a small carryout in EastHampton, New York Gary's paper-thin white lentil and rice-baseddosas, which he loved while living 111 India, are tilled with such
"cross-cultural- American" ingredi-
ents as barbecued chicken, arugula,
roasted asparagus, ami teta cheeseAt the same time, traditions persist.Delicious authentic [amaican rum
cakes, perfected bv a woman amiher daughter who have not changedthen [amaican blend tor American
tastes, have more "kick" than thosefrequently eaten in this country.While many people bring traditional
recipes out tor special occasions, thiswoman features her [amaican ruin
cake at her restaurant 111 Brooklyn.
Sally Chow cooks a
steak, string bean,and tofu stir-fry inMississippi
SMITHSONIAN FOLKLIFE FESTIVAL
Four Season Farm in Harborside, Maine.
We all know that Americans did not alwayshave such broad tastes. As one person told me, "1
was so glad that there was intermarriage into myNew England family, because the food had toget better." No longer can a sociologist write asPaul Fussell did in his 1983 book Class:A Cuidethrough the American Status System, "Spicy effects
return near the bottom of the status ladder,where 'ethnic' items begin to appear: 1'ohsh
sausage, hot pickles and the like. This is themain reason the middle class abjures such tastes,believing them associated with low people,non-Anglo-Saxon foreigners, recent immigrantsand such riff-raff, who can almost always beidentified by their fondness tor unambiguousand un-genteel flavors." Today, Americans like
it hot (in varying degrees), and Asian stir-try
vegetables and rice are as American as grilled
steak, baked potatoes, and corn on the cob.
GRASSROOTS SUSTAINABILITY
Supplying the creative cooks, urban markets,and rows of ethnic restaurants are an expandinggroup of innovative growers. Over the lastfour decades, farmers such as Ohio's Lee Jonesand his Chef's Garden have pioneered new-models for agriculture. During that period,for cultural, culinary, environmental, health,and economic reasons many diets, environ-
mentalists, and growers became advocatesfor locally grown, seasonal, sustainable, and
organic food. Today, these models ot agricul-ture have entered the mainstream throughgrocery stores, farmers markets, and restau-
rants, altering the American food landscape.The backdrop for this shift in growingmethods is the consolidation ot American agricul-ture from family farms to a corporate, chemicallybased commodity model. During the middle
of the 20th century, the American family farm
fell into steep decline under pressure from .\n
expanding national food market. Chemical fertil-
izers, mechanization, and hybrid seeds engineeredto resist disease and increase vields allowed farmersto produce more food. Highway transportationmade it easier to ship food great distances withinthe United States. Combined, these factors tiltedAmerican agriculture to a commodity produc-tion model that favored uniformity, transport-
ability, and high yield. This model developed atthe expense of crop diversity and small-scale localproduction?more common modes ot agricul-ture throughout the 1 Nth and [9th centuries.Over time, the commodity model shifted
control from farmer to processor. With a largenumber of tanners producing the same crops
across the country, processors?companies thatturn corn into corn chips, tor example?hadmain suppliers from which to choose. Asfarmers achieved higher and higher yields, prices
sank. This spurred a continual consolidation
of farms as family farms went bankrupt underthe strain of higher equipment costs and fallingcommodity prices. Larger corporate farmscould sustain greater levels of capital investment
111 machinery and survive on high volume.
[21
FOOD CULTURE USA
I--I
Pot Pie Farm manager Elizabeth Beggins sells organic
vegetables, garlic, onions, herbs, and cut flowers atthe St. Michaels FreshFarm Market in Maryland.
Critics argued that while these large
corporate farms raising single commoditiesmight have been good at supplying single
crops to faraway producers, they undermined
rural ways of life, environmental quality, andfood diversity. Over the course of the secondhalf of the 20th century, more and moreAmericans have agreed. They have becomeincreasingly interested in a more diverse food
supply and are more engaged in questioningwhat is retened to as their food chain?thepath their food travels from farm to table.Several trends have supported a return todiversity and sustainability.The wave of recentimmigrants from countries around the worldhas brought their food-growing traditions tothe United States. Small-scale growers havesought new models of agriculture in order toremain economically viable and to promotethe crop diversity on which the diverse diets
outlined above depend. The increased diversity
of American food can be seen in crops that areplanted in home gardens and on farms. In San
1 )iego, ( 'alifornia,Vietnamese gardens coverfront lawns with banana trees, lemonerass,
Hmong farmers are thriving, selling theirfresh produce at the Minneapolis andSt Paul farmers markets.
and other herbs. In Maryland, West Africantanners grow chilis. With the number ot Asianimmigrants rising sharply 111 Massachusetts, theUniversity ot Massachusetts^ extension servicehas w uiked with tanners to ensure that vegeta-bles traditional to Cambodian. Chinese, and Thaidiets are available through local fanners markets.1 he organic farming movement is anothertrend that has played a major role. The roots
ot modern organic tanning are 111 a holistic
view ot agriculture inspired by British agrono-
mist Albert Howard, whose An AgriculturalTestament conceived ot soil as a system thatneeded to be built over time. Nutritional andgood-tastmg food would come from healthy
si>il I loward's ideas were popularized in theUnited States in the middle of the 20th centuryby J.I. Rodale and his son Robert Rodalethrough their magazines and organic gardeningguides. In the [960s, the counterculture readRodale and saw organic tanning as a way to
organize society in harmony with nature and
111 rebellion against industrial capitalism.At the same time, the Peace Corps andthe declining cost ot travel abroad "ave many
SMITHSONIAN FOLKLIFE FESTIVAL
Americans a window onto cultures and foodways in taraway
countries, leading them to question the distant relationshipbetween themselves and the growing ot their food. Like JuliaChild, others had become fascinated with French cooking whenliving in Paris. While Julia strove to demystify academic Frenchcooking for an American audience, Montessori-teacher-turned-chef Alice Waters brought French provincial traditions of buyingfresh ingredients locally and sitting down for leisurely mealsback to the United States. On her return from France, where
she spent a year traveling, she opened the northern California
restaurant Chez Panisse. It became the center ot a move-ment to serve only locally grown, seasonal, sustainable food.By featuring new ingredients such as baby artichokes and
cultivated wild mushrooms such as portabellos and shiitakeson cooking shows, in cookbooks, and in restaurants, chefs havebrought them to the attention of the public. When people
taste them, they want to know how they can cook them andwhere they can find them. This newdemand helps to support more farms.Today, Ocean Mist and PhillipsMushrooms, tor example, cateringto customers' requests, have offeredthese products to the retail market.At the same time, local craftproduction began to flourish as arti-
sans returned to traditional methodsand consumers became increasinglyenamored of the tastes that result.In France you get French cheese. InEngland you get English cheese. InHolland you get Dutch cheese. TodayAmerican cheese is being made inboutique cheese-making places all
over the country?on the farms where
animals are milked by hand?in smallbatches and by traditional methods.Similarly, with boutique olive
oil makers sprouting up all overCalifornia, Americans no longer have to go to Italy for estate-bottled extra-virgin olive oil. Although we have always hadSpanish olive oil, now we have American olive oil from Italian
olives raised in California. Pomegranates, plump and red. andmangoes, in so many guises, once brought in from abroad for
ethnic populations, are now being grown in California andFlorida. And artisanal chocolate maker John Scharffenberger
is giving European chocolates a run for their money.
Today Americancheese is beingmade in boutiquecheese-makingplaces all overthe country?onthe farms whereanimals are milkedby hand?insmall batchesand by tradi-tional methods.
.23.
Andy and Mateo Kehler,cheese makers in Greensboro,Vermont, have approximately
1 50 head of cattle from whichthey make their highly sought-
after cheeses. Mateo traveledthrough England, France,and Spain learning to makecheese from cheese masters.
FOOD CULTURE USA
Sustainable farmers such as Eliot Coleman are proving that locally grown food is viable in all
climates. Here, Coleman harvests lettuce at his Four Season Farm in Harborside, Maine
The host of companies specializing in craftand sustainable production keeps expanding. Steve
I )emos, founder o? Silk Soy, started out making
soy milk at a local fanners market in Boulder,
< ni. irado. Michael Cohen started peddling tempelifor Lite Lite, a brand now owned by ConAgra. HenCohen and [erry Greenfield propelled then peaceand love ice cream to the mainstream. StonyfieldFarm yogurt, Annie's Homegrown pasta, and
( alitornia's Earthbound Farms all sell through
national chains. ( lone are the days of unappe-tizing macrobiotics, brown nee, and totu. A wholeindustry has arisen making veggie burgers and
meatless sausage and salami,Tofurkys tor vegetarianThanksgh ing dinners, and "not dogs" and "phonybaloncv" all out or soy. While 25 years ago health
consciousness was the domain of the countercul-
ture, and vegetarianism and food coops were a sign
ot pacifism, today they have become mainstream.An increasing number ot companies and
retailers have pioneered nationwide markets.
1 he health-food mass movement was startedin 1974 by a 25-year-old hippie and six-
tune college dropout named |ohn Mackev.who opened the Safer Way, then one ot 25health food stores m Austin, Texas. Today,
while most ot those other 24 health food
stores are defunct, Sater W.iv has grown intothe largest chain ot grocery stores with an
organic slant in the country. Whole Foods,
with [65 stores coast to coast, are in mainplaees where there is rarely a hippie in sight.The retailer is now the leading outlet for
a growing number of national brands that
share the store's commitment to health and
sustainability. Whole Foods has also spurredother supermarkets to stock their shelves
with a growing number ot organic products.This combination ot environmental stew-
ardship, flavor, and health is quietly buildingup around the country in schools, neighbor-hoods, and cities. As globalism increases inour kitchens and supermarkets, there is a
countervailing trend of people who want to
see what can be produced in their area ot the
country. Most people realize, ot course, thatSMITHSONIAN FOLKLIFE FESTIVAL
coffee and chocolate need warmer climatesthan America otters, but an increasing number
of them are looking regionally rather than
nationally for food to eat. Farmers markets,
schools, and chefs have been at the fore-front of this movement. Eliot Coleman, forexample, a farmer in Maine, has come up with
an enclosed, natural environment in whichhe can raise foods all year long. Followinghis lead, restaurants like Stone Barns inPocantico Hills, New York, are using the
system. Many college food services, spurredby Alice Waters and others, serve local applesin the tall, labeling the varieties. Collegefood service administrators are increasingly
visiting farms and farmers so that they canmake connections. The American Universityin Washington, D.C., for example, not only
serves local cheeses, but its administrators
visit the farms from which the cheeses come.American consumers are demanding
a greater variety of food, and they want toknow where their food comes from andhow it was produced. Today we can get
Eliza Maclean raises heritage Ossibaw pigs outside
of Chapel Hill, North Carolina. She is just one of anincreasing number of growers who are helping topreserve the biodiversity of American food.
beet from totally or partially grass-fed cows.And we are starting to ask questions aboutthe way these animals were raised. Do theycome from a family farm? Are they fed
organically? What does "natural" mean'But the move to sustainable growing goesfurther, bridging community, environmental
responsibility, and taste. As grower Lee Jones
said at a recent summit on the American food
revolution, "The best farmers are looking at
a way to go beyond chemical-free agricul-ture, they are looking at adding flavor and
at improving the nutrient content. They aregoing back to farming as it was five genera-tions ago. It's truly a renaissance?there is now
a chance tor small family farms to survive aspart of this new relationship with chefs."
FOOD AS EDUCATION:PASSING IT ON
When my mother started to cook, she usedthe Joy of Cooking and the Settlement Cookbook,period. Since increased diversity, sustainability,and craft production have brought enthusiasmand energy to American food, there has been an
explosion of information about food. Accordingto the Library of Congress, in the past 30 yearsthere have been over 3,000 "American" cook-books published, more than in the 200 previousyears. At the same time, the number of cookingshows has ballooned. In the early 19x0s, betweentelevision and the discovery of chefs in newspa-pers and cookbooks, something was happening.The firefighters at one of Chicago's tirehousesand shrimp fishermen in the bayous of Louisiana
wouldn't miss [ulia Child's show for anything,
except maybe a tire. It was only after shebrought American chets onto PBS that the FoodNetwork took oft with a series ot chefs whowould become household names?WolfgangPuck, Emeril Lagasse, and Paul Prudhonime.Now, Americans tune in, buy their cookbooks,and then seek out their restaurants. Chefs have
clearly become both major celebrities and majorinfluences in the way many Americans cook.FOOD CULTURE USA
"I
The number
of programsdesignedfor childrenhas swelledin the pastdecade alone.
Students harvest kale atThe Edible Schoolyard inBerkeley, California, and(opposite) the WashingtonYouth Garden at theU.S. National Arboretumin Washington, DC.
However, Americans are learning about food traditions in other ways.Founded in Italy in [986, Slow Food was organized in response to the
sense that the industrial values of tast tood were overwhelming food tradi-tions around the globe. As restaurants like McDonald's entered markets,they torced producers into their system of production and standards. This
reduced biodiversity, promoted commodity agriculture, and underminedhospitality. Slow Food, in contrast, would document traditions and biodi-
versity and work toward protecting and supporting them. The InternationalSlow Food movement now has over 83,000 members organized into
national organizations and local "conviv?a" that celebrate the diversity and
culture of their local foods. Slow Food USA has recently partnered with anumber ot other organizations?American Livestock Breeds Conservancy,Center tor Sustainable Environments at Northern Arizonao
? University, Chefs Collaborative, Cultural Conservancy,
I Native Seeds/SEARCH, and Seed Savers Exchange?in
a program called Renewing America's Food Traditions
e (RAFT). RAFT aims to document traditions, produce.
w and animal breeds, and then help their growers to developnew markets so that they become economically viable.Farmers markets and produce stands giveconsumers direct contact with tanners, allowing themto ask questions and learn about what is in season.Personal relationships help to create a communitybond between growers and eaters There are also
opportunities tor people to become more directl)invoked 111 the growing ot their tood. Local farms
called CSAs (community supported agriculture)that are supported by subscribers who pay moneytor .1 portion ot the farm's produce and who alsowork periodically planting, weeding, and harvestinghelp people learn about the source ot their tood.rhe number ot programs designed tor children has
swelled in the past decade alone. Probably the best-known program is Alice Waters's The Edible Schoolyard
111 Berkeley, California. Begun 111 1994. the program
is designed to bring the community and experien-
tial ethos of the locally grown-sustainable movementto middle school students. Seeing tood as central tobuilding individual health, fulfilling social relationships, and community
lite, The Edible Schoolyard teaches children to plan a garden, prepare
soil, plant, grow and harvest crops, cook, serve, and eat?in its phrasing,food "from seed to table.'' Students collaborate in decision-making on all
aspects ot the garden. Working closely with the Center for Ecoliteracy,The Edible Schoolyard teachers have been on the forefront ot designing
a curriculum that can place food at the center ot academic subjectssuch as math, reading, and history in order to "rethink school lunch."
SMITHSONIAN FOLKLIFE FESTIVAL
Similarly, the Culinary Vegetable Institutein Huron, Ohio, has launched Veggie U to
educate food professionals and the generalpublic about vegetable growing and cooking.Recently, it has developed a curriculum for
schools that will soon be m Texas systems.The Center for Ecoliteracy has developed adetailed "how-to" guide for school systemsto follow in creating their own programs.Spoons Across America, sponsored by theAmerican Institute of Food and Wine andthe |ames Beard Foundation, sponsors Days
ofTaste in schools across the country. Localprograms also abound. In Washington, D.C.,Brainfood teaches children about life skillsthrough food activities after school and duringthe summer. The Washington Youth Gardengives children from the Washington, D.C.,public schools hands-on experience gardeningand then cooking their harvest. Programslike these are growing across the country.Then, of course, there is the time-honored way of passing traditions on in familykitchens and on family farms. Hopefully, many
of these more formal programs remind cooksand growers to explore their own family tradi-tions and the foodways of those around them.
This food revolution is about growing andcooking traditions and their adaptation to new
circumstances. It is about finding?amid a land-
scape dominated by pre-packaged goods?
a
closer association with processes such as soilpreparation, harvesting, and cooking thatprevious generations took for granted. And it is
an awareness o? what a meal is, and how meal-time is a time to slow down, to listen, and to
savor food. Perhaps most importantly, it is about
sharing these things?or passing them on.This sharing and understanding taketime that today's busy schedules frequentlydon't allow. However, many are realizingthat the richness of shared experiencesinvolving food is too precious to give up.Thev think about the taste of a fresh carrotpulled from a garden on a summer atternoon
or a meal savored with family and friends.The food revolution that we celebratelooks both backward and forward: back-ward to long-held community traditions ingrowing, marketing, cooking, and eating;forward to innovations for making thesetraditions sustainable and passing them on tofuture generations. It depends on nurturing
a physical environment that supports diver-
sity; sustaining the know ledge needed to
cultivate that biodiversity; and passing ontraditions of preparing and eating. Together,these traditions are the foundation otmuch of our shared human experience.Everyone has to eat; why not cat together?
27
FOOD CULTURE USA
SALAD GREENS WITH GOAT CHEESE, PEARS, AND WALNUTS
This recipe comes from Joan Nathan's The New American Cooking,to be published in October 2005 by Alfred A. Knopf.
One of the most appealing recipes to come out of Alice Waters's Chez Panisse Restaurant
in Berkeley, California, is a salad of tiny mache topped with goat cheese. How revo-lutionary this salad seemed to Americans in the 1 970s! How normal today.
[28] Alice got her cheese from Laura Chenel, a Sebastopol, California, native who was trying to liveoff the grid, raising goats for milk. The same year Chez Panisse really caught on, Laura went toFrance to learn how to make authentic goat cheese. When she came back, she practiced what
she had learned, and it wasn't long before a friend tasted her cheese and introduced her toAlice. "All of a sudden the demand was so great," Laura told me, "that I had to borrow milkfrom others." Beginning with its introduction at Alice's restaurant at the right moment in 1979,the goat cheese produced at Laura Chenel's Chevre, Inc., became a signature ingredient in thenewly emerging California Cuisine. Today, artisanal cheese (made by hand in small batches
with traditional methods) and farmstead cheese (made on the farm where it is milked) makeup one of the largest food movements in the United States. Chevre, Inc., has become synony-mous with American ch?vre, and Laura still tends her beloved herd of 500 goats herself.
Vi cup walnuts
1 teaspoon Dijon mustard2 tablespoons balsamic vinegar
Vt teaspoon sugar2 tablespoons walnut oil2 tablespoons canolaor vegetable oil
Salt and freshly groundpepper to taste2 ripe Bosc pears
5 ounces goat cheese6 slices French bread,cut in thin rounds8 cups small salad greens
1
.
Preheat the oven to 350degrees. Spread out thewalnuts in a small bakingpan and toast them in theoven until lightly browned,5 to 7 minutes. Take thewalnuts out of the oven,but leave the oven on.
2. Mix the mustard with the
vinegar and Vi teaspoon ofsugar in a large salad bowl.Slowly whisk in the walnutand canola or vegetable
oil. Season with salt andpepper to taste. Set aside.
3. Cut 1 pear into thin
rounds. Peel and corethe second pear, slice itin half lengthwise, and
cut into thin strips.
4. Spread some of the goatcheese on the rounds ofFrench bread and top with
a pear round. Then spreadsome more cheese on top
of the pear. Bake in theoven a few minutes, untilthe cheese has melted.
5. While the cheese is baking,add the salad greens tothe salad bowl with thethin pear slices and tossgently to mix. Divide the
salad among 6 to 8 plates.
6. Place the hot pear-cheese
rounds on top of thegreens, scattering the
walnuts around and serve.Yield: 6-8 servings
SMITHSONIAN FOLKLIFE FESTIVAL
SUGGESTED READING
Belasco,Warren. 1989. Appetitefor Change:How the Counterculture Took over the Food Industry,1966-1988. New York: Pantheon Books.
Brenner, Leslie. 1999. American Appetite:TheComing ofAge of a Cuisine. New York: Avon Bard.
Fitch, Noel Riley. 1997. Appetite for Life:
Tlie Biography oj Julia Child. New York:Doubleday.
Franey, Pierre. 1994. A Chef's Tale:A Memoir of Food, France, ami America.New York: Alfred A. Knopf.
Gabaccia, Donna R. 1998. We Are Wliat WeEat: Ethnic Food and the Making oj Americans.Cambridge, Mass.: Harvard University Press.
Halweil. Brian. 2004. Eat Here: ReclaimingHomegrown Pleasures in a GlobalSupermarket. New York:WW. Norton.
Hess,John L., and Karen Hess. 1997. TheTaste
of America. New York: Grossman Publishers.
Lapp?, Francis Moore. 1971. Diet for a SmallPlanet. New York: Ballantine Books.
Oldenberg, Ray. 1989. The Great Good
Place: Caf?s, Coffee Shops, CommunityCenters, Beauty Parlors, General Stores, Bars,Hangouts, and How They Get Yon Through
the Day. New York: Paragon House.
Pollan, Michael. 2001. The Botany
of Desire:A Plant's Eye I lew of theWorld. New York: Random House.
Reardon.Joan. 1994. M.F.K. Fisher, JuliaChild, and Alice Waters: Celebrating the Pleasures
of thcTable. New York: Harmony Books.
Schlosser, Eric. 2001. Fast Food Nation:The Dark Side of the Ail-American Meal.New York: Houehton Mifflin.
Schneider, Elizabeth. 1998. UncommonFruits & Vegetables:A CommonsenseGuide. New York: William Morrow.
. 2001 . I egetables from Amaranth
to Zucchini:The Essential Reference. NewYork: Morrow Cookbooks.
Trager,James. 1995. The Food Chronology:A Food
Lover's Compendium oj Events and Anecdotes fromPrehistory to the Present. New York: Henry Holt.
JOAN N AT HAN, guest curator of Food CultureUSA, is the author ot numerous cookbooks,including Jewish Cooking in America, which wonboth the James Beard Award and the IACP/JuliaChild Cookbook of the Year Award. She has beeninvolved with the Smithsonian Folklife Festival as
a presenter, participant, and researcher for over 25years. The Food Culture USA program is inspiredby the research she conducted for her cookbook,
Tlie New American Cooking (Alfred A. Knopf,October 2005).
All photographs courtesy ofJoan Nathan
unless noted otherwise.
\ I
'PW^
[29]
FOOD CULTURE USA
w
.
~
A> wm:
FOREST SERVICE, CULTURE,AND COMMUNITY
TERESA HAUGH AND JAMES I. DEUTSCHWhen Lezlie Murray was in the fifth grade,she took a class outing to the nearbyGif?brd Pinchot National Forest insouthwestern Washington State. "My bestfriend's father was a ranger, and he took
our class out into the forest and talked to us about the treesand everything that was a part of that environment. It really
stuck with me." Now an interpretive naturalist and director otthe Begich, Boggs Visitor Center at Portage Glacier m Alaska'sChugach National Forest, Murray has always cherished that
early turning point in her life. "Every day I pinch nvyselt when
I get up," she explains. "I'm in the most beautiful place in the
world. I've done a lot of traveling, so
I can say that and really mean it."In many ways, Murray's story is
not unusual for those who live andwork in the forests, whether public
or private, m the United States.Growing up near a forest, or having
a relative who has worked outdoors
with natural resources, seems toinfluence one's choice of career path.Take, for example, Kirby Matthew,
a fourth-generation Montanan whogrew up near the Trout Creek RangerStation in Montana's KootenaiNational Forest. His father worked
as a logger and then with the ForestService, so it was natural tor Kirbyhimself to enter the Forest Service,where he has "a history." He nowworks for the Forest Service'sHistoric Building PreservationTeam in Missoula, Montana.
Lezlie Murray leads a group of
visitors on a trail to Rainbow Falls inAlaska's Tongass National Forest.
[3i
3 3]
OCCUPATIONAL CULTURE
The 2005 Smithsonian Folklife Festival program
Forest Service, Culture, and Community pres-
ents occupational traditions from the USDAForest Service, an organization celebrating
its centennial, as well as other forest-depen-dent traditions from the cultural communi-
ties it serves. Approximately too participants
are on the National Mall to share their skills,
experiences, and traditions with members
of" the public; they include tree patholo-
gists, wildlife biologists, landscape architects,historic horticulturalists, botanists, bird banders,
archaeologists, environmental engineers, fire-fighters, smokejumpers. recreation specialists,backcountrv rangers, wooden vers, basket
makers, quilters, instrument makers, musi-
cians, poets, storytellers, and camp cooks.
Forest Service, Culture, and Community buildsupon previous Folklife Festival programs thathave examined occupational traditions, such
as American Trial Lawyers in [986, Wliite HouseWorkers in 1992, Working ?11 the Smithsonian in[996, and Masters oj the Building Arts in 2001.Every occupational group
?
including cowboys,factor) workers, farmers, firefighters, loggers,
miners, oil workers, railroaders, security offi-
cers, even students and teachers? has its owntraditions, which may have a variety of forms.One such form is the use o? a special-ized vocabulary. For instance, city doctorsmay refer to malingering hospital patients
as gomers, perhaps an acronym for "(let Out
ot My Emergency Room"; loggers in theNorthwest refer to blackberry ?am as beat signand hotcakes as saddle blankets; and academics
refer to then' doctoral degree as their union card,and books as tools of the trade, as if to suggestthat their ivory-tower realm has the same rigorand robust organization as the factory floor.
In other cases, occupational traditions takethe form of specialized tools, gear, and clothingworn by members ot the occupational group;ballads and folk songs, such as "The [am onGerry's Rock," which tells oi a tragic accidentthat occurred when floating logs jammed on the
Kennebec River in central Maine; pranks andjokes, which are often directed at the newest
rookie; stones and personal remembrances
nt work incidents or characters; and a wideassortment ot customs and superstitions. Whattolklonsts at the Smithsonian try to under-
stand, as they identify and ask questions aboutdifferent occupational traditions, are the skills,
specialized knowledge, and codes of behaviorthat distinguish a particular occupationalgroup and meet its needs as a community.Another way ot looking at occupational
culture is to see it as a part ot a particularcompany, agency, or organization. As [amesQ. Wilson observes, "Every organization has
a culture, that is, a persistent, patterned wayof thinking about the central tasks of andhuman relationships within an organization.Culture is to an organization what person-
ality is to an individual. Like human culturegenerally, it is passed on from one genera-tion to the next. It changes slowly, if at all."The tooth anniversary of the USDA ForestService in 2005 provides a splendid oppor-tunity for understanding and appreciating its
organizational and occupational cultures.
The occupational culture of theUSDA Fotest Service is representedby a diverse group of workers.
SMITHSONIAN FOLKLIFE FESTIVAL
FOREST SERVICE HISTORY
The origins of the Forest Service go back to themid- to late 19th century, when natural resourceswere in high demand throughout the country.Homesteaders wanted land, miners wanted
minerals, and everyone wanted timber. People
often took what they wanted with little regardfor the impact on the environment or for thefuture state of our natural resources. However, in1891, realizing the need tor greater control overour forests, the U.S. Congress passed the ForestReserve Act, which authorized the President to
establish forested public lands in reserves thatwould be managed by the General Land Office(GLO) in the Department of the Interior.One of the first employees of the GLO wasGifford Pinchot (1865?194.6), aYale graduatewho not only had studied forestry in Franceand Germany but was also a personal friend ofPresident Theodore Roosevelt. (Pinchot was tobecome the namesake for the national forest that
naturalist Lezlie Murray visited in the [960s.)Believing that professional foresters in theDepartment of Agriculture and the forests they
cared for should both be part of the same federal
agency, Pinchot convinced Roosevelt in 1905 to
approve the transfer of the forest reserves fromthe Department of the Interior's GLO to theDepartment of Agriculture's Bureau of Forestry.As a result of this Transfer Act, 63 million acresof land and 500 employees moved to the USDA,and a corps of trained foresters was assignedthe work of conserving America's forests, withGifford Pinchot as the first Forest Service Chief.On July 1, [905, the Bureau of Forestry wasrenamed the Forest Service, because Pinchotbelieved the new title better reflected the
mission of the agency as being one of service.From 1905 to 1907, in spite of opposi-tion from local governments and the timberindustry, Pinchot and Roosevelt added millions
of acres to the forest reserves. Congress reactedin 1907 by passing an amendment to the
agricultural appropriations bill, taking awayfrom the President the power to create forest
reserves and giving it instead to Congress. In
According to Gifford Pinchot, first Chief of theForest Service, "Our responsibility to the Nation isto be more than careful stewards of the land; wemust be constant catalysts for positive change."
that amendment, forest reserves were renamed
national forests, leaving no doubt that forests
were meant to be used and not preserved.While most of the new national forests
were in the West, the passage of the Weeks Act
111 1911 allowed for the acquisition of lands inthe East to protect the headwaters of navigable
streams. With that, the National Forest systembecame more environmentally diverse. BecausePinchot was convinced that the people who haddecision-making powers over forests should live
near the lands they managed, the Forest Service
set up district offices 111 California, Colorado,Montana, New Mexico, Oregon, and Utah.Forest supervisors and rangers were given adegree of flexibility with their finances, and theybecame the voice of the Forest Service in thelocal communities. Later, districts were added torAlaska, Arkansas, Florida, and the Eastern states.Today, in 2005, the National Forest systemincludes isS national forests and 20 nationalgrasslands, and it encompasses 193 million acresof land m 42 states, the U.S. Virgin Islands, andPuerto Rico. This total acreage (roughly 300,000
square miles) is larger than the entire state ofTexas, and comparable in size to the states ofNew York, Pennsylvania, Ohio. Indiana, Illinois,and Wisconsin combined. With nearly 38,000
3 3
FOREST SERVICE, CULTURE, AND COMMUNITY
employees, the USDA Forest Service
is larger than any other land-manage-ment agency, including the Bureau ofLand Management (roughly 11,000
employees), National Park Service(roughly 20,000 employees), and Fishand Wildlife Service (roughly 9,000employees), all o? which are part ofthe Department of the Interior.
THE STATUS OF THE NATIONALFOREST SYSTEM TODAY
For the past 100 years, the mission
of the Forest Service has often beendescribed in Pinchot's words as conser-
vation foi the greatest good oj the greatest
numbei 111 the long run. However, theidea o? what is the greatest good can
change. Accordingly, the Forest Servicehas had to deal with many stronglyheld opinions about how nationalforests should be managed and used.Employing a concept of multiple use,and thus differentiating itself from
other land management agencies, theForest Service has tried over the yearsto accommodate a wide variety of
uses for the forests and grasslands it
manages: timber, grazing, recreation,
wildlife, and watershed protection.The relative value of extracting
resources from national forests oftenchanges with current national events.For instance, after World War IF thedemand tor wood surged as AmericanGIs returning from the war needednew housing for their families and
as the United States was helping to
rebuild [apan.As a result, the ForestService was pressured to exchange
older, slow -growing timber standstor younger, taster-growing trees.
Golden Aspen trees in Idaho'sSawtooth National Forest.SMITHSONIAN FOLKLIFE FESTIVAL
A forest ranger in 1910 poses while carrying hisheavy equipment load. After passing a writtenexamination, rangers had to endure hardships andperform labor under trying conditions.
In 1919 Helen Dowe was one of the earlyfire lookouts in Colorado's Pike NationalForest, scanning the landscape for smokeand signs of fire below
[35]
Wood and other forest products are stillin demand, and the Forest Service must
search for the best ways to balance social,economic, and ecological demands.The forests have additional value ashomes to countless species of fish, birds,
other wildlife, and plants, some ot which arethreatened or endangered. Forest Serviceemployees must look tor ways to protecthabitat while providing places for the publicto view plants and wildlife with minimal envi-
ronmental impact. Fresh water from nationalforests and grasslands teeds into hundreds
ot municipal watersheds across the country,thereby providing clean drinking water to
nearly do million people. And as the nationbecomes increasingly urban, people look totheir national forests as places tor fun and
recreation. They want somewhere they cancamp and hike, breathe fresh air, sit underthe shade ot trees, and listen to birds sine.
ORIGINAL FOREST RANGERSON THE JOB
As the multiple-use mission ot the agency
evolved, so did the Forest Service workforce.
In the newly minted Forest Service ot 1905.
all employees were men. Rangers were custo-dians of the land and proudly donned new
uniforms with Forest Service shields, rodeon horses, carried guns, and wore hats. They
were paid $60 per month and had to furnishtheir own equipment and pack animals.To be hired as .1 forest ranger, a man hadto have both scientific knowledge and practical
skills. He had to know about forestry, ranching.livestock, lumbering, mapping, and cabin building.
In addition, he had to demonstrate that he could
saddle and ride a horse, pack a mule, use a compass,
and shoot a rifle. Some applicants were even
asked to cook a meal. In 1905, all Forest Service
regulations could be contained 111 a single 142-
FOREST SERVICE, CULTURE, AND COMMUNITY
[3 6]
page book, which could fit in the rangers shirtpocket. By contrast, todays Forest Service manuals
till many bookshelves and computer disks.
In the early days, forest rangers and thenfamilies lived in isolated places. They wentwhere they were assigned, often on short
notice. Their wives cooked, kept watch in firelookout towers, and took care of any visitorswho showed up at the doorstep (the ranger'shouse was usually the last one at the end of a
very long road). Families learned to be self-
sufficient, manage without electricity, and enjo)the adventure of living close to the land. Many
children grew up believing this way of life wasthe norm, and learned to love and appreciate theoutdoors. The forest ranger by necessity becamepart of the community where he lived.The
ranger developed working relationships withthe local ranchers, loggers, hunters, and fish-ermen. He was responsible for enforcing rules,issuing permits, and maintaining boundaries.The roles played by these early forest rangersforeshadowed the organizational culture and
structure of the agency we see today. In the 2 1st
century, regional foresters, forest supervisors, anddistrict rangers are vences of authority in localcommunities, and are supported by a diverseworkforce ot men and women that includes
After a fire in 1936 in Montana's Lolo NationalForest, workers re-planted Ponderosa Pinetrees in an effort to rehabilitate the forest.
SMITHSONIAN FOLKLIFE FESTIVAL
wildlife biologists, fishery biologists, hydrologists,mineral experts, engineers, researchers, ecolo-gies, forest planners, computer programmers,
entomologists, firefighters, and other specialists
FORESTRY?GROWING TREES
Unlike some other natural resources that areused once and then lost, forests are entitiesthat live and breathe, and can be renewed.Forest ecosystems can be maintained throughgood management, making the best use of
scientific research, such as ensuring natural
regeneration or planting seedlings to replacethe trees that have burned or have been cut.Professional foresters use mam tools inmaintaining forest health. For example, theytake core samples and count annual ringsto help them understand how old a tree is,and to get a glimpse of the tree's life cycle.Foresters study how crowded trees are. howmuch undergrowth is present, and what kind
of wildlife is dependent on the local habitat. AsSaul Irvin.a ranger with the florida Division
ot Forestry, explains, "We plant trees, we marktrees, we control burn [intentionally setting
a fire for prescribed purposes], we do every-thing it takes to keep the forest growing."CONTROLLING FIRES
At the beginning of the 20th century, manyprofessional foresters were trained 111 Europe,winch did not prepare them for the monu-
mental tires that used to sweep the NorthAmerican continent. Early settlers tendedto let large fires burn to clear the land forgrazing, but. as populations increased, people
started looking at the threat of fire in adifferent way, and the control of tires became
a major part of the Forest Service's work.After a million-acre tire in Washingtonand Oregon claimed 38 lives 111 1902. theForest Service became more systematic m
its approach. It stationed people in lookouttowers, hired firefighters, and after World War Ihired Army pilots to spot fires from the air.
I he Civilian Conservation Corps was enlisted
Fully suited, these smokejumpers in 1952 practice parachute-steeringmaneuvers while also strengthening their arm and shoulder muscles.
during the 1930s to tight fires throughoutthe West. In 1940, Rufus Robinson and EarlCooley became the world's first smokejumpers,parachuting into Idaho's Nez Perce NationalForest. Today, airplanes and helicopters drop not
only firefighters and equipment on tire linesbut also water and tire-retardant chemicals.Forest Service researchers are very proac-
tive in studying fire and how it affects forestsm the long run. They consider whether it isbetter to stop fires or let them burn and how
fire might actually improve wildlife habitatand encourage the growth ot new trees. Fire
researchers manage torests to make them more
resilient to wildfire by removing underbrushand excess trees that literally add fuel to the tire.Sometimes they even use tire as a prescriptionto restore health to a forest that is overgrown
or has the potential to burn out ot control.The history ot fire prevention in theForest Service is as old as the agency. Formany employees, their first job was keeping
a 360 o vigil from a tire lookout tower, oftenspending their days m solitude. While lookoutsdo have contact with the outside world, theyhave had to find ways to fill their time. They
might be found playing the guitar, writing
a novel, or even riding an exercise bike.Donna Ashworth ofArizona has spent 26
consecutive seasons on lookout tower duty.Ashworth doesn't feel alone when she is sittingm the lookout tower, however, because she isconnected to others via radio. She describes herjob poetically:"! never get tired of it. It's alwaysbeauty. It's always the drama in the sky
I live m the air. I can see 60, So. 100 miles."Ot course, lookouts are only onepart of the fire workforce. Others, such
as smokejumpers and firefighters, experi-ence fire from a very different perspective.As Kelly Esterbrook, a former smokejumperfrom Oregon, observes, "You definitelyhave to like to be physical. You just don'tget through the training program if youdon't enjov it. You have to like adventure.
It's probably the best job I've ever had."Firefighters enjoy the challenge and thecamaraderie of the work. Linda Wadleigh. .1
fire ecologist from Flagstaff, Arizona, began
as a forester but ended up as a firefighter.Wadleigh recalls, "Here I was a forestry major,and I decided I had a real love for fire. I was
raised a forester, but I was baptized in tire."She describes firefighting as compelling.
"Being called on a fire is one ot the strangest
experiences. . . . [The love ot tiretightmg] is
a genetic disorder. . . . Once you smell thesmoke, it brines out the flaw in your DNA."
[3 7]
FOREST SERVICE, CULTURE, AND COMMUNITY
k?.
!
i
- .
>!
mKP HIA backpacker sets up camp at Buck Creek Pass in the Glacier Peak Wilderness of Washington's OkanoganNational Forest There are more than 450 trails here, and most are not completely snow free until mid-August.MANAGING RANGELANDS
In addition to protecting forests and righting
tires, the Forest Service also oversees themanagement ofrangelands and grasslands.Ranchers depend on Forest Service grazingpenults to provide forage for then cattleand livestock. The Forest Service works to
meet the needs of the ram hers, while at thesame time insuring that rangelands remainhealthy and available to future generations.Ranchers are not the only ones who enjo)what national grasslands provide. Visitorscome tor hiking, hiking, camping, hunting,fishing, and canoeing. The scenic beauty of
national grasslands is an inspiration to photog
raphers, birdwatchers, and Sunday drivers.Wildlife enthusiasts visit to catch a glimpse
of vvhitetail deer, prairie dogs, prairie
chickens, grouse, and butterflies.Managers have long realized that the well-being of forests and grasslands depends largelyon the health of the soil and the presence
of water. To grow plants and trees, they looktor vvavs to maintain healthy soil, match the
right species to the soil, and prevent erosion.Especially in more arid areas of the West, theamount of rainfall is vital. Chuck Milner. a
range specialist m Oklahoma's Black KettleRanger 1 )istrict, notes how "w hen it rams,everybody looks smart; when it doesn't
ram, then you can't do anything right."
SMITHSONIAN FOLKLIFE FESTIVAL
PROTECTING WILDLIFE HABITATS
Forest Service wildlife k>iologists are concerned with careful manage-ment and conservation practices, and their efforts have brought
species like whitetail deer and wild turkeys back from the brink of
extinction. Wildlife biologists also deal with the concept of multiple
use, trying to balance public demand tor hunting opportunities withthe desires of others who prefer to watch or photograph animals intheir natural environment.Wildlife biologists consider it imperative to look at an ecosystem
as a whole. Jame Agyagos from the Red Rock Ranger District inSedona, Arizona, avoids over-specialization. "The beauty of thejob is not becoming too focused and honed in on one species,but learning a little bit about everything around you."The impor-tant aspects of her work are '"recognizing when there's a breakin the link somewhere, how our activities might be affecting theworkings of the system, and how we can change our manage-ment to bring those workings back to their proper condition."Wildlife biologists work to increase their knowledge of wetlandhabitats, of the different species that depend on dead and dying trees,
of the effects of fire on wildlife habitat, and of the crucial role playedby old-growth trees. Biologists use tree thinning and tree planting asways to increase the food supply for
wildlife. They study questions such ashow owls depend on old-growth tree
species and how migrating salmon arc
affected by sediment and tempera-ture in streams. Their work is vitalbecause national forests and grasslandsprovide 80 percent of the habitat for
elk, bighorn sheep, and mountaingoats 111 the continental 4s states, as
well as 12 million acres of waterfowlhabitat, 2.S million acres of wild turkeyhabitat, and habutat for 250 species
of Neotropical migratory birds.
The Nootropics are the region ofthe New World that stretches south-ward from the Tropic of Cancer
'The beauty ofthe job is notbecoming toofocused andhoned in onone species,but learning alittle bit abouteverythingaround you."Janie Agyagos
Forest Service researchers work tomaintain healthy habitats for bothplant and animal species.
3 9J
FOREST SERVICE, CULTURE, AND COMMUNITY
--^i'liunterw eight jih
[40]
I ...itl jibAAAAAAAAAAAAAA??AAAAAAyWVWWX,
The leafy tops of tall trees in an old-growth forest form a canopy, a nurturing shelter for the life below Canopycranes allow scientists to research this hard-to-reach environment. There are currently 10 canopy cranes aroundthe world, but the Wind River Canopy Crane in Washington State is the tallest at 282 feet, and covers six acresunder its swing. Illustration by Bob Van Pelt, courtesy Wind River Canopy Crane Research Facility
TREE DOCTORSMany Forest Service scientists arc ac tivcbinvolved in research to promote the health o?trees and other plants, covering the fields ofbotany, chemistry, ecology, silviculture, plantand animal interactions, vegetation dynamics,invasive plants, insect population, and moleculargenetics These researchers often act as treedoctors, tackling threats to plants and trees in
national forests and grasslands, and employing
a variety of tools. |ust as your personal physi-
( 1 .1 1 1 has to look at your entire body and life-
style to understand your health problems, treedoctors need to look at the forest as a whole.For example, the Pacific NorthwestResearch Station and GifFord Pinchot National
I orest work 111 partnership with the University
of Washington to conduct research at the WindRiver Canopy Crane. From the gondola of a250-toot (25-story) crane, employees such asKick Meinzer and David Shaw conduct experi-ments 111 the canopies ot trees as tall as 220 feet.They look at the place where the forest is opento the sky, because that's where trees bud and
photosynthesis occurs. Scientists study the effect
ot lichens and fungi, and measure the effects
of pollutants on trees. For Meinzer, the canopy
crane provides an opportunity for understandinghow plants work. "A lot ot people tend to regardplants as inert objects, and they're surprisedthey have a physiology. But when you reallyget into it. it's amazing how complex and howintegrated plants are. That's what fascinates me."
DEVELOPING FOREST PRODUCTS
Scientific research often contributes to thedevelopment ot new forest products. Theforest product that most often comes tomind is lumber, but there are a number otnon-timber forest products as well, winch are
used by the residents ot forest communities.Examples include foods such as mushrooms;
medicinal plants such as ginseng and ginkgo:floral products that include moss, vines, ferns,and evergreens; and the wood used in decora-tions and crafts. In some places, non-timberforest products provide more employmenttor a local community than timber cutting.
SMITHSONIAN FOLKLIFE FESTIVAL
Overgrown, a dense forest can burn like
matchsticks in a wildfire, but it can be thinned,and the thinned materials can be used for
a winery ot products. The Forest ProductsLaboratory, established in iyio in Madison,Wisconsin, is the nation's leading wood
research institute, studying various aspects ofpaper making, wood preservation, and recy-
cling. Their research has helped increase the
average lumber yield per log from 25 percentto 60 percent, extended the life of railroad ties,and developed protocols for the U.S. PostalService to make no-lick stamps recyclable.
PRESERVING OUR HERITAGE
While many Forest Service researchers arelooking to the future, another section ot the
agency's workforce is actively involved inpreserving the past and connecting people'shistory to the land. As described by the ForestService's National Heritage Strategy, "Waiting
silently in the mountains, canyons, and river
valleys of our national forests and grasslands
are the remnants of past cultures that confront
us and remind us of the centuries-old rela-tionship between people and the land. Theseheritage resources hold clues to past ecosys-tems, add richness and depth to our landscapes,provide links to living traditions, and helptransform a beautiful walk 111 the woods into
an unforgettable encounter with history."Empowered by the National HistoricPreservation Act ot 1996, archaeologists and
other heritage specialists locate artifacts andhistorical sites in order to preserve and protectthem from road construction, prescribedburning, and vandalism. Artifacts that arelocated and protected include pottery, baskets,
ancient tools, rock paintings and petroglvphs,
and, in some cases, prehistoric dinosaur bones.
Jeff Bryden and Flash, a Chesapeake Bay Retriever,make a great law enforcement team. Flash is thefirst dog in the Forest Service trained to detectcontraband fish and wildlife, instead of drugs.Flash can also track lost visitors.
ENFORCING THE LAW
The Forest Service Law Enforcement andInvestigations (LEI) staff has the overall job ofupholding the laws and regulations that protect
natural resources. Law enforcement personnelprotect natural resources, people, and property,
often working in partnership with local, state,and other federal law enforcement offices.As Berneice Anderson, a Regional PatrolCommander based in Milwaukee. Wisconsin,
explains, "A lot ot people think that everyonewho visits the forest is out to have a very good
afternoon or weekend, enjoying the natural
resources and the scenery. And that's what wehope tor, but we also know that at any giventime we have to be prepared tor the thingsthat are negative." As a result, LEI officers maybe called upon to investigate crimes such astimber theft, arson, or the illegal cultivation of
marijuana on national forest lands. They alsoprotect archaeological sites, investigate vehicle
accidents, provide first aid, educate the public,and assist in search and rescue operations.The duties of LEI officers can be lifethreatening. For this reason, Andy Coriell,Patrol Captain on Oregon's Mount Hood
FOREST SERVICE, CULTURE, AND COMMUNITY
4-
"The essentialpiece is to capturepeople's interestm stories and art,the cultural expres-
sions that comefrom the heartand the headsof the people."Rita Cantti
National Forest, is glad to have what he desenlies as supe-
rior equipment on the cutting edge of technology. "I don'tgo to work ever without a bullet-proof vest on. We carrysemi-automatic weapons, handcuffs, pepper spray, baton, radio,and pretty much anything else you can stick on a belt."
Jefi Bryden, the lead law enforcement officer on Alaska'sChugach National Forest, finds one- of his greatest assets to behis canine (K-9) partner. Flash, a Chesapeake Bav Retriever thathas completed rigorous training and wears its own Forest Servicebadge. Like main' employees, Bryden dreamed of working for theForest Service from a young age.'Tretty much, I'm doing what Iplanned on doing my entire life. When I was knee high to a gopher,
1 planned on working 111 natural resource law enforcement."
< ??'?TOflanBj SEEKING INSPIRATIONFROM THE FORESTS
Rita Cantu works for theForest Service as an interpreterand environmental educator,but she is also a storyteller,songwriter, and singer whoplays more than a dozeninstruments
For centuries, artists have been captivatedby the beauty of the mountains, lakes,
streams, woods, and wildlife found 111 ourforests and grasslands Clifford Pinchot,the first Chief of the Forest Service,was inspired to the conservation causethrough the 19th-century paintings ofthe Hudson River School that showed
scarred mountains 111 the Northeastdevastated by logging and farming.Jim Denney, District Facilities Manager
at the McKenzie River Ranger Stationin Oregon's Willamette National Forest,
is a contemporary artist who shares thesame spirit as the Hudson River Schoolpainters in depicting the changes thathave taken place 111 the landscape. Oneinteresting historical coincidence, according to I )ennev, is that
"111 the mid- 19th century, there was a merchant 111 New York who
collected works by the Hudson River painters. Cine painting calledHuma Mountain by Sanford Clifford depicted a clear-cut with a littlecahm in the middle of it. The merchant who bought the paintingwas James Pinchot, and he named Ins son after that painter
?
Clifford Pinchot, who became the father of the Forest Service."Traditional artists and crafters have long had a close relationshipto forests and the materials that they provide. Forest Service archae-
ologists have discovered baskets made from spruce roots that are as
old as the earliest civilizations on the North American continent.Weavers today still make baskets out of roots, vines, and branches.SMITHSONIAN FOLKLIFE FESTIVAL
>Working for the Forest Service since 1966, Jim Hammer uses pack animals to haul his equipment ashe constructs and preserves trails in Washington's Okanogan and Wenatchee National Forests.
Other crafters collect wood, antlers, beeswax,
quills, acorns, flowers, twigs, bark, moss, andpine resin to create their arts, crafts, and house-hold objects. Woodworkers use forest productsfor a variety of items that run the gamut fromintricately carved figurines to musical instru-ments and canoes. For instance, Nathan Jackson,
a Tlingit woodcarver from Ketchikan, Alaska,has received the prestigious National HeritageFellowship from the National Endowment forthe Arts for his totem poles, clan crests, masks,
canoes, and carved doors, all made withinthe traditions of the Tlingit people. When he
carves something, it is intended ro be used, not
left on display. For example, "A canoe is just
a boat." he explains, "but it gets you to thinkabout what our people used to do, and howthey put good material to good use. Then thiscanoe becomes an extension of our culture."Forest Service employee Rita Cant? fromArizona works with the Conservation andthe Arts program to connect communitiesto nature through the arts. The program uses
artists, dancers, writers, musicians, storytellers,and poets to tell the story of the growth of
conservation policy in the United States. "It's
not enough just to manage our resourceswherever they might be, separate from thecommunities," Cantu maintains. "The essential
piece is to capture people's interest in stonesand art, the cultural expressions that comefrom the heart and the heads of the people."COOKING AND CAMPING
Some art is edible, such as pies, jams, andmedicine that have been made from wildfoods and herbs. From the earliest days of tentcamping, cooks have enjoyed making mealson open fires. The love for camp cooking has
not disappeared, and the National Museum
of Forest Service History recently published acookbook with traditional Dutch oven recipesthat have been used in the field by rangers and
fire tower lookouts (see Suggested Reading).Jim Hammer, Trails Coordinator on theMethow Ranger District in Washington State,
recalls the typical breakfasts (with distinctive
names) that might be eaten by the crew. "If youwere with an old packer, like old Bill Imes, you'dhave spotted dog [i.e., oatmeal] along with what-
ever else you had. And with a couple of the oldpackers, the only variety you'd ever have frombacon, eggs, and hotcakes was eggs, bacon, andhotcakes. It all the animals were in and breakfast
was ready, we'd have one old boy that'd holler
out, 'The dog's gut a spotl'That meant breakfast
was ready and you'd better be getting up."
4.1
FOREST SERVICE, CULTURE, AND COMMUNITY
DUTCH OVENONE-POT MEAL
Thomas M. Collins of North Ogden,Utah, retired Forest Service employee
Ingredients
1 Vi to 2 pounds of small to medium
red potatoes, washed and unpeeled2 medium heads of cabbage,
I 44 ] cut in wedges3 onions, quartered8 ears of sweet corn on the cob,
cleaned and broken in half2 pounds of smoked kielbasa or othersmoked ring sausage, cut into quarters
1 quart water
Place the potatoes on the bottom of
a 12-inch Dutch oven and layer asfollows: cabbage, onion, corn, and
sausage. Add water and cover tightly tokeep in moisture. Cook for about onehour, with 10 to 12 charcoal briquetteson the bottom, replacing charcoal as
needed. The smoky juice from the
sausage drips down through the otherfood and gives it a good flavor. Servefrom the Dutch oven, or transfer some
of the top layers to other containersfor easier access to the potatoes on thebottom. Season to taste. Serves 6 to 8.
Thomas Collins explains: I got this recipefrom a horse packer in Montana. It isprobably derived from the old cream-candinners that were used by early settlers
in New England and the Midwest whenfeeding large numbers of workers atgrain-threshing bees and other workparties. The food was layered in severalfive-gallon cream cans With the lids on,they were put on the coals of a woodfire to cook. When serving, the food wasgenerally separated. The cook took themeat out (different kinds of smoked meat
could be used), cut it up, and served it soeveryone received some meat. This one-pot meal was a natural for Dutch ovens.
Reprinted with permission from CampCooking. WO Years by the NationalMuseum of Forest Service History.
Rock climbing, hiking, and rappelling are just a few methodsfor bringing people closer to nature in the national forestsPROMOTING RECREATION
Recreation takes many tonus. In communities around the
nation, families can join in Forest Service programs thatteach them not only how to fish, but also how to protectfish habitats, protect water quality, operate a boat safely,and practice the principles of catch and release. Enthusiasts
can go hiking, biking, bird watching, horseback riding,hunting, skiing, sledding, ice skating, snow shoeing, snow-boarding, rock climbing, canoeing, surfing, diving, swim-
ming, or camping?to name a tew. The Forest Service
maintains trails that range from short nature hikes forphotographers to rugged backcountry trails for backpackers.Man\ r trails are accessible to people with disabilities.Main' people have long recognized the need toleave parts of America undisturbed by humans. The first
wilderness areas in the United States were establishedby the Forest Service in 1920; since then, close to 100
million acres of wilderness have been added to the system.The United States has far more acres of wilderness set
aside than any other country in the world, and in 2004
celebrated the 40th anniversary of the Wilderness Act.
In wilderness areas, visitors are united to come, but
not to remain. Programs such as Leave No Trace teach
wilderness visitors to pack out their trash, use lightweight
stoves instead of making fires, stay on designated trails,
control horses, and leave cultural and historical sites alone.
1 he forest Service has a cadre of employees whose job
is to talk about the value ot forests, wildlands, and nature.Interpretive naturalists and backcountry rangers are found
SMITHSONIAN FOLKLIFE FESTIVAL
- t
in state-of-the-art visitor centers as well as on remote backcountry trails.They share scientific knowledge m ways that people can understand.Francisco Valenzuela, a recreation planner for the Rocky Mountain Regionin Colorado, expresses one of the pleasures of the job: "It's really nice to seepeople enjoy themselves, going out in nature and getting close to it, appreci-
ating it, moving to help support it?and not necessarily doing damage to it. It's
really great to be part of the Forest Service team and help create these things,because I think they're going to be on the land for many centuries to come."
FACING CHALLENGES FOR THE FUTURE
As the current Forest Service Chief Dale Bosworth makes clear, the job ot taringfuture challenges is an enormous one (see page 46). But as the Forest Servicebegins its second century, the participants in Forest Service, Culture, and Communitydemonstrate at the 2005 Smithsonian Folklife Festival that there is already a longtradition of caring for the land, serving the public, and meeting these challenges.For instance, the Forest Service has an ongoing mission to educate teachersand children, connecting people to the land through conservation education.Such education increases public awareness and understandingof the interrelationships in natural systems. Natural resourceprofessionals teach in classrooms or lead field trips. Similarly,Smokey Bear and Woodsy Owl have become national symbols
111 fire-prevention and conservation campaigns.As this essay has indicated, the men and women who work
111 our forests and rangelands have very special connections tothe land and its natural resources. They understand the science,the history, the technology, the art, and the traditions of forest
service, culture, and community. They also recognize the valuesinherent in the work they do. As environmental psychologistHerbert Schroeder explains. "A tree is a living organism.You
can see it grow, and it grows slowly over a period ot years.You can develop a bond, a sense of connection over that longperiod of time. . . . If there's a tree on a person's property, theyhave contact on a continuing basis. If the tree happens to beone of those planted by your ancestors, that provides a connec-tion with your family. And you also have a connection with thefuture.You can think about how that tree will be appreciated byyour grandchildren or great-grandchildren."
"Our national forests will be here one hundred yearsfrom today,'" adds Joe Meade, supervisor ofAlaska's ChugachNational Forest. "And as we move into this new century, our national forests
are going to be incredibly important. ... In the Lower 48 [states], because otpopulation growth, the national forests are becoming the place to escape, to
recreate, and to get away. The more and more our population grows, with moreand more green space lost, the more valued our public lands will be and willcontinue to be for all time." Following the example set by Gifford Pinchot 100years ago. these men and women are still seeking to provide "the greatest goodof the greatest number in the long run."
The ForestService hasan ongoingmission toeducateteachers and
children,connectingpeople to theland throughconservationeducation.
45
Smokey Bear hasbeen an importantsymbol of wildfireprevention since 1944.
FOREST SERVICE, CULTURE, AND COMMUNITY
FUTURE CONCERNS FOR PUBLIC LANDS
In January 2005, a Forest Service Centennial Congress was held in Washington, D.C., tocommemorate 100 years of conservation and to open a dialogue with others about thechallenges and opportunities that will face the Forest Service in the next 100 years. At that
congress, Chief Dale Bosworth outlined some of the current challenges to conservation:
" Dealing with a growing population. In the last 100 years, the United States more thantripled its population to 275 million. By the turn of the next century, the U.S. populationmay reach 571 million.
? Expressing the changing face of America. Although conservation belongs to all citizens,the face of conservation has traditionally been rural and white. As the U.S. populationbecomes ever more urban and more ethnically diverse, the Forest Service needs to giveAmericans from every background more opportunities to participate in conservation.w Supporting our land ethic with a rational consumption ethic. The UnitedStates is the largest wood-consuming nation on earth, and consumption keepsexpanding. At the same time, most Americans don't want any changes in the land-scape or any commercial operations on public land. If Americans truly believe in
a land ethic, they must also reduce their consumption of natural resources.A Restoring our fire-adapted forests to something more resembling their conditionat the time of European settlement. Many of the Forest Service's most pressingproblems are related to fire and fuels in forested landscapes that, by their very nature,
are dynamic. The goal therefore is not to keep landscapes unchanged for all time
?
which is impossible?but to restore (or at least to account for) the dynamic ecologicalprocesses (including fire) through which our forested landscapes evolved.
Responding to the realities of a global economy in a culturally diverse world. One
of those realities is that invasive species are moving around the world with growing ease.This is a huge threat, not only to native ecosystems, but also to our financial resources.* Better managing outdoor recreation. We are in growing danger of loving our public landsto death. In 2001, there were over 214 million visits to national forests and grasslands. Bythe end of the 2 1 st century, that number is expected to double. The Forest Service must find
a way for visitors to get the high-quality experiences they want without compromising thehealth of the land or the ability of future visitors to get those same high-quality experiences.* Restoring the health of many watersheds and repairing a deteriorating infrastructure.There is a large backlog of watershed restoration projects on national forest lands, as well asthousands of deteriorating culverts to replace, roads to restore, abandoned mines to reclaim,
vegetation to treat, and many deferred projects for maintenance and ecological restoration.
Understanding and coping with long-term and large-scale climate changes. Climatechange at various scales is undeniable, and it has momentous social, economic, and
ecological implications. For example, the West is much drier now than 30 years ago.
r Working better together across boundaries on a landscape scale. Partnershipsand collaboration are absolutely crucial for the Forest Service, particularly forbetter engaging its various publics in managing national forest land.SMITHSONIAN FOLKLIFE FESTIVAL
47
WORKS CITED ANDSUGGESTED READING
Byington, Robert H.,ed. 1978. WorkingAmericans: Contemporary Approaches to Occupational
Folklife. Smithsonian Folklife Studies 3 . LosAngeles: California Folklore Society.
King, R.T. 1991. The Free Life oj a Ranger: ArchieMurchie in the U.S. Forest Service, 1929-1965. Reno:University of Nevada Oral History Program.
McCarl, Robert. [986. "Occupational Folklore."In Folk Groups and Folklore Genres.AnIntroduction, edited by Elliott Oring.Logan: Utah State University Press.
Miller, Char, and Rebecca Staebler. 2004.The Greatest Good: woYears of Forestry in America.2nd ed. Bethesda: Society ofAmerican Foresters.
National Museum of Forest Service History. 2004.
C,i/?;i Cooking, ?ooYears, 1905-2005. Salt Lake City:Gibbs Smith.
Steen, Harold K. 1976. The I IS. Forest Sanee:A History. Seattle: University ofWashington Press.
U.S. Department of Agriculture. 2005. tooYears ojConservation... for the Greatest Good. Washington:USDA Forest Service, Report FS-8l9, www.fs.fed.us/centennial/products/documents/ 100-booklet.pdf
Williams, Gerald W. 2000. The USDA
Forest Service:The First Century. Washington:USDA Forest Service, Report FS-650.
Wilson, James Q. 1989. Bureaucracy:What Government Agencies Do and WhyThey Do It. New York: Basic Books.
TERESA HAUGH is editor of the Forest
Service's regional newsletter in Alaska
and interviewed prospective participantsfor this year's Folklife Festival. Before
moving to Alaska she worked in the
medical field in Georgia and Alabama.
JAMES I. DEUTSCH is the curator of the200s Festival program Forest Service, Culture, amiCommunity. He served as program curator for
the National World Wai II Reunion 111 May 2004,
and has taught courses on American folklorein Armenia, Bulgaria, Germany, Kyrgyzstan.Norway, Poland, and the United States.
All photographs courtesy oj the I 'SDA
Forest Service unless noted otherwise
FOREST SERVICE, CULTURE, AND COMMUNITY
NUESTRA M?SICA: MUSIC IN LATINO CULTURE
Building Community
DANIEL SHEEHY
[48] What is the meaning of music? One person's music mightbe another person's noise, devoid of significance. On the
cither hand, a simple melody might tap into a deep vein
ot emotion, eall up a cherished memory, deepen spiri-
tual devotion, make the body move, or spur social action.When people endow music with meanings, associations, and values, they lend
it power?power to communicate, to move us, to transform our frame ofmind and our emotions. A common musical grounding can be used to
strengthen social connectedness, to bring people together in common
cause, or to create symbols ot identity tor public representation.What, then, is the meaning ot m?sica latina? Latino music? The title ofthe Nuestra M?sica?"Our Music"?program conveys two meanings. One
is the feeling ot closeness that Latinos who share lite experiences, values, amiperhaps language teel when they sav. "This is out music "The other meaning,underscored by the symbol-charged setting of the National Mall in the nation's
capital around the Independence I >av holiday, is that ni?isi?i latina is adefining piece ot our nation's living cultural heritage. The story-line of the 200s Nuestra M?sica program is "Music BuildsCommunity"?how 1 atinos have used music to persevere
as mexicanos, Ch?canos, puertorrique?os, NewYoricans,
cubanos, salvadore?os, centroamericanos, dominicanos, colom-bianos, Latinos, or another self-proclaimed label, in the
mass-media-driven, multicultural society ot the UnitedStates. In elaborating this theme, our greater purposes
over the tour years of this project (2004-2007)
are to spotlight grassroots m?sica latina's beauty,texture, and centrality to our nation's cultural coreand to explore the main shades of meaning thatLatinos give music. Our special focus 111 the 200sprogram is how Latinos use music and the values it carries
For Nellie Tanco, veteran member of Los Plenerosde la 2 1 , the performance of Afro-Puerto Ricanbomba and plena in New York City builds astrong sense of Puerto Rican identity.
SMITHSONIAN POLK LIFE FESTIVAL
to build a coherent, positive sense of communityamong people ot specific cultural backgroundsand among the Latino population as a whole.Why is music important to the well-being
of Latino culture? How do Latinos use musicto build community? We can find part ot theanswer in the success story of how centuries-
old Puerto Rican musical traditions were putto use to strengthen contemporary PuertoRican identity and community cohesion.When Puerto Rican j?baro people from the
rural island hinterlands flocked to the mate-
rial mecca of New York City in the middledecades of the 20th century seeking a brightereconomic future, they abandoned more thantheir boh?os (traditional country houses). They
left their music to languish at the margins ot
modernity. Their sung poetry and home-grown
stringed instruments were at the core ot theirSpanish heritage, introduced to the island begin-
ning m the first decades of the [6th century.These centuries-old traditions were thoughtto be music of yesterday, not of tomorrow.Countercurrents to this trend, however,gathered momentum to form a riptide thatwould pull Puerto Ricans back to their musical
roots. The empty materialism and social alien-
ation of city life left a cultural vacuum mwhich music that connected people to thefamiliar sounds of their past was welcome. Into
this vacuum strode "innovative traditionalists"
such as Estanislao Mart?nez, known as "Ladi,"who helped set the standard tor the modern
conjunto j?baro "j?baro ensemble," creating thesound ot two cuatros playing in harmony,
six-stringed guitar, g?iro (a gourd rasp), andbongos. Ladi's upscale j?baro sound played
well to Puerto Ricans both in the UnitedStates and at home on the island, and other
Juan "Juango" Guti?rrez listens attentivelyto his fellow musicians as he lays downthe beat on his barriles drum for LosPleneros de la 2 1 's Smithsonian Folkways
recording, Para Todos Ustedes.
j?baro groups such as Ecos de Borinquen, ledby Miguel Santiago Diaz, have continued thej?baro legacy of creating music that speaks tograssroots tradition and community solidarity.When fellow Puerto Rican musician JuanGuti?rrez relocated from the island to New YorkCity to work as a percussionist in Broadwaytheater orchestras, he found the antidote forhis feelings ot urban alienation 111 the music otAfro-Puerto Rican musicians in the New Yorkbarrio. He brought together some ot the best
"street corner" percussionists and founded thegroup Los Pleneros de la 21, creating a soundthat interwove traditional African-derived bombaand plena music with contemporary soundsthat appealed to New Yoricans. Los Pleneros de
la 21 became one of the most influential and
celebrated touchstones of Puerto Rican identityand sparked an explosion ot similar bomba and
49 1
NUESTRA M?SICA MUSIC IN LATINO CULTURE
?o]
plena groups throughout the Northeast andbeyond. In addition to bringing a refreshedsound ot deep tradition to urban listeners, thegroup created new compositions that broughtPuerto Ricans together around current socialissues. One example is the piece "Isla Nena"
with its retrain "Isla nena, perla cautiva; tupueblo te liber? de /./ marina" (Little girl island,pearl in captivity; your people liberated youfrom the navy) that celebrates the successfulprotests leading the U.S. Navy to abandon use
of the island ot Vieques as a tiring range.A fundamental cornerstone of community isthe family. Family, in turn, is otten fundamentalto passing on musical traditions, and musicmaking can be an important way ot keepingfamily ties strong .\nd music a lively, integrated,and relevant part ot community lite. In the cattlecountry ot the northeastern Mexican state ofSan Luis Potos?, tor example, the members ofthe trio Los Camperos de Valles, all acclaimed
representatives ot the Mexican son huasteco
musical tradition, recall the importance ot familyconnections to having taken up their music.Violinist loci Monroy's grandfather Mateo was
a violinist, and an uncle ot his mother's playedguitar, especially at velorios, wakes. At the age oftwelve, Monroy started following his relativesand their musician friends around to parties atneighboring ranches and towns, learning bits andpieces ot how to play the traditional Huastecaninstruments, the jarana and huapanguera (smalland large rhythm guitars). Similarly, his colleagueGregorio "Goyo" Solano started learning jaranafrom his father at the age often. He followedhis violinist lather to local community tiestas.birthday parties, and baptism celebrations, wherehe was hired to play in Huastecan trios. "I gotinvoked m the musical scene, just listening at
first. My father showed me little by little thefinger positions, and 1 became part ot the trio
after having learned a little," he recalls.Likewise,group leader Marcos Hernandez started playingthe huapanguera professionally wath his uncleFortmo at the age ot fifteen. None of theseoutstanding musicians had formal training:
The author interviews Los Camperos de Vallesin Ciudad Valles, San Luis Potos?, Mexico, forthe context-providing liner notes as vital to therecord-making process as the music itself
they were first inspired and trained by theirfamily, the "conservatory ot traditional music."
It it were not tor their strong family ties, this
masterful group ot traditional musicians wouldlikely not exist. In the Huastecan region, the
son huasteco not only communicates a sense otidentity with the region's shared lifeways but,lor the musicians, carries strong associations
with family and with the "extended family"
ofprofession.il Huastecan-style musicians.Another example ot how music buildscommunity is found in El Salvador's moun-tainous, agricultural Oriente (eastern) region.There, where small villages dot the ruggedlandscape, the centerpiece ot main town andfamily fiestas is the music ot a spirited, uniquelySalvadoran musical ensemble called chanchona.Chanchona literally means big sow, the localname given to the large stringed bass thatprovides the harmonic foundation tor the group.The chanchona emerged in the latter halt of the20th century, borrowing repertoire from popular
music from Mexico and other countries mVentral America. Over time a standard instru-
mentation ot six or more members emerged,including chanchona, two violins, guitar, tumba(conga drum), and other percussion. Its grass-
roots sound focuses on the popular cumbia dance
rhythm, fast-paced canci?n ranchera "country
SMITHSONIAN FOLKLIFE FESTIVAL
song," and slower, romantic bolero. When the chanchona strikes up
its catchy dance rhythms and the singers launch into lyrics laced
with local sentiment, it pulls people out of their normal routineand marks an emotional sense of special occasion. In the rest of ElSalvador, the chanchona marks the Oriente region as a distinct place,
with its associations of country life and rural poverty. As millions
of Salvadorans migrated to the United States during and after the
civil strife of the 1970s and 1980s?today about one out of fourSalvadorans lives outside El Salvador?the music came to take onadded meaning. Just as Salvadorans uprooted from their homelandlost their self-grounding sense of place as they relocated to U.S. cities
such as Miami, New York, Los Angeles, Houston, and Washington,D.C., in their newly adopted homes music took on a more intense
sense of"home." Indeed, for many Salvadorans, especially those fromOriente, only a few seconds of the chanchona's music evoke a feeling
of "being home" nearly as well as taking a several-thousand-mileplane ride back to El Salvador. In Washington, D.C., home to over
a hundred thousand Salvadorans mainly from Oriente, the chan-
chona has emerged as a prominentsymbol ot Salvadoran presence.The group El?seo y su ChanchonaMel?dica Oriental has performed
every Friday and Saturday night
since 2001 at Judy's Restaurantin Washington, D.C.The group'sleader. El?seo Guti?rrez, took upthe music of the chanchona in hishometown of San Alejo, La Uni?n,El Salvador, learning mamly fromhis father and brothers. At Judy's,his seven-member group performs
a range of music that appeals to
clientele from El Salvador, Honduras,Guatemala, Mexico, and other LatinAmerican countries. When theyplay for local Salvadoran weddings,birthday parties, and other celebra-
tions, focus is on the cumbia and
canci?n ranchera repertoire favored among Salvadorans.While in many Latino communities music is a magnet that pullspeople together around familiar ideas of shared values and experi-
ences, it is also used to construct new, forward-looking ideas otcommunity and mutuality of purpose. In Chicago, the group Sonesde M?xico takes threads from many distinctive regional styles otMexican music, weaves them into contemporary sounds and fresh
compositions, and creates a new musical fabric that is at once tradi-
When peopleendow musicwith meanings,
associations, and
values, they lend
it power?powerto communi-
cate, to move
us, to transformour frame olmind and ouremotions.
[51]
Karol Aurora de Jes?sReyes sings with hermentor Miguel SantiagoDiaz during a recording
session for the Grammy-nominated Jibaro Hasta
el Hueso: MountainMusic of Puerto Rico byEcos de Bonnquen.
NUESTRA M?SICA MUSIC IN LATINO CULTURE
NUESTRA M?SICA LAUNCHES NEW SERIES
In 2002, the Smithsonian's Center for Folklife and Cultural Heritage
conceived the Nuestra M?sica: Music in Latino Culture project, a multi-year
effort to document and to make accessible grassroots musical expressions
of the living cultural heritage of Latino communities in the United States.Smithsonian Folkways Recordings, the national museum's nonprofit recordlabel, sparked Nuestra M?sica by launching a series of 25 new recordings ofLatino music reflecting the diversity of Latino cultures and their generations-
old musical creations These CDs in the series have been released to date:
J?baro Hasta el HuesoMountain Music of Puerto flico by [cos de Bonnquen
Capoeira Angola 2Brincando na RodaSFW CD 40488
El ave de mi so?ar:Mexican Sones Huastecos byLos Camperos de VallesSFW CD 40512
Havana, Cuba, ca. 1957:Rhythms and Songs of the OrishasSFW CD 40489
Havana & Matanzas, Cuba,
ca. 1957; Bata, Bemb?,and Palo SongsSFW CD 40434
Heroes & Horses: Corridos fromthe Arizona-Sonora BorderlandsSFW CD 40465
Jibaro Hasta el Hueso:Mountain Music of PuertoRico by Ecos de BorinquenSFW CD 40506
La Bamba: Sones Jarochosfrom Veracruz. Featuring Jos?Guti?rrez 3 Los Hermanos OchoaSFW CD 40505
Latin Jazz: La Combinaci?n PerfectaSFW CD 40802
?Llegaron Los Camperos'Concert Favorites of Nati Cano'sMariachi Los CamperosSFW CD 40517
Luiz Bonf?: Solo in Rio 1959SFW CD 40483
Matanzas Cuba, ca. 1957:Afro-Cuban Sacred Musicfrom the CountrysideSFW CD 40490Quisqueya en el HudsonDominican Music in New York CitySFW CD 40495
Raices Latinas: SmithsonianFolkways Latino Roots CollectionSFW CD 40470
S?, Soy Llanero: Joropo Music fromthe Orinoco Plains of ColombiaSFW CD 40515
Viento de Agua Unplugged:Materia PrimaSFW CD 40513
?Viva el Mariachi!: Nati Cano'sMariachi Los CamperosSFW CD 40459
For more informationand other selections, visit
www.folkways.si.edu.
BATA, BEMB? - PALO NG
NATI CANO'S MARIACHI LOS CAMPEROSfir a* V*'?4SMITHSONIAN FOLKLIFE FESTIVAL
tional and contemporary, rural and urban, oldand new. In Chicago, recent immigrants frommany regions ot Mexico live alongside youngand old Mexican Americans trom families
rooted in Chicago tor the past hundred years.The enthusiastic reception of Sones de Mexico'smusic in Chicago reflects their success at both
capturing the essence of Chicagoan Mexicanidentity and painting a positive musical picture
ot how the contributions ot mexicanos tromdifferent backgrounds and age groups are all
valuable and mutually supporting cultural assets.Folk-rooted, popular dance music plays
a special role in forging a pan-Latino senseof community.When nation-specific differ-
ences in heritage?Mexican, Puerto Rican,Salvadoran, Colombian, and so forth?soften
as new generations ot Latinos emerge and findcommon ground in American society, labelslike "Latino" take on greater relevance. Music
stores advertise recordings ot m?sica latina,and nightclubs offer dance music appealingto many Latino backgrounds and interests.Especially in cities such as Washington, D.C.,where people ot many Latino nationalities
share similar social footing, dance promoters,
club owners, and dance bands provide dance
music that appeals to a range of Latinos.While the members ot Washington's [CJ Band
specialize m Dominican merengue, for example,they might also play salsa, cambia, reggaet?n,
and other popular styles. This meeting place
ot rhythms is also a pan-Latmo commons thatbuilds a sense of shared cultural and social life.Through these and other musical "windowson culture" that the Nuestra M?sica: Music inLatino Culture program presents and explores,we can find the fullest meaning ot music. Thismeaning goes far beyond mere sounds; it goes tothe heart of personal and social identity, to issuesof survival for immigrant communities adjustingto alien social environments, to constructing anew spirit ot community m an ever-evolving
world. Music carries knowledge, meaning, affect.and spirit because people have endowed it withthese assets, because they consider it essential to
envisioning and living a normal lite in whichthey are genuinely themselves. Creative musi-
cians and communities constantly constructnew meanings tor music, meaning that serves a
social purpose as well as an aesthetic one. NuestraM?sica otters visitors to this "living exhibition"on the National Mall the opportunity to meetthe musicians and to learn more about the
world ot meaning behind the sounds, as well
as to sing the songs, to dance to the rhythms,and to experience the panorama ot diverse
expressions we call m?sica lamia. The 200sinstallment ot Nuestra M?sica presents a series
of evening concerts showcasing a variety ofLatino musical styles and cultures and exploringthe theme "Music Builds Community."
[ 5 3 I
SUGGESTED READING
Olsen, Dale A., and Daniel Edward Sheehy, eds.2000. Tlic Garland Handbook ot Latin AmericanMusic. New York: Garland Publishing.
Schechter, John M. 1999. Music in Latin AmericanCulture: Regional Traditions. New York: Schirmer Books
Sheehy, Daniel. 2006. Mariachi Musii inAmerica: Experiencing Music, Expressing Culture.New York: Oxford University Press.
DANIEL SHEEHY is an ethnomusicologist,
curator, musician, and director of SmithsonianFolkways Recordings, the national museum's
nonprofit record label. He has authoredand edited numerous publications on LatinAmerican music, as well as produced concerts,tours, and recordings ot musicians fromLatin America and the United States.
All photos courtesy of Daniel Sheehy
unless indicated otherwise.
NUESTRA M?SICA MUSIC IN LATINO CULTURE
NUESTRA M?SICA: MUSIC IN LATINO CULTUREConstruyendo comunidad
DANIEL SHEEHYTRADUCIDO POR CAROLINA SANTAMAR?A
[5 4]
?Cu?l CS elsignificadode la m?sica:Lo que esm?sica parauna persona,para otrapuede serun ruidodesprovistode sentido.
a ^~ ~^| u?l es el significado de la m?sica? Lo que es m?sica para una?m persona, para otra puede ser un ruido desprovisto de sentido.A Por otro lado, una simple melod?a puede calar en lo profundo
^"^ ~ alean/ando una vena emocional, evocar una memoria querida,intensificar la devoci?n espiritual, provocar el movimiento del cuerpo o estimular la
acci?n social. Al otorgarle a la m?sica ciertos significados, asociaciones y valores, laspersonas le confieren poder?poder para comunicar, para conmovernos, para transformar
nuestro estado mental y nuestras emociones. Una base musical en com?n puede ser
utilizada para fortalecer las conexiones sociales, para congregar a las personas en torno auna causa compartida, para crear s?mbolos de identidad en las representaciones publicas.?Cu?l es entonces el significado de m?sica latina? El titulo del programa NuestraM?sica tiene dos significados. FJ primero se refiere a esa afinidad que los latinos, quecomparten experiencias de vida, valores y quizas el lenguaje, sienten cuando dicen "esta
es nuestra m?sica". El otro sentido, que resalta el simb?licamente cargado escenario de
la Explanada Nacional en la capital de la naci?n alrededor de la conmemoraci?n delD?a de la Independencia, es que la m?sica latina es una pieza que define la herencia
cultural de nuestra naci?n. El argumento central del programa Nuestra M?sica del .i?o2005 es "I a musua construye comunidad", y se refiere a la manera como los latinosen los Estados Unidos lian usado la m?sica para seguir siendo mexicanos, ch?canos,puertorrique?os, nuyoricanos, cubanos, salvadore?os, centroamericanos, dominicanos,colombianos, latinos o cualquiera otra etiqueta auto-referida dentro la sociedad alta-mente mediatizada v multicultural de los Estados Unidos. Al darnos a la tarea de elaborar
este tema, nuestros principales prop?sitos a lo largo de los cuatro a?os que cubre esteprovecto (2004-2007) han sido destacar la belleza, la textura y la importancia de las
ra?ces de la m?sica latina en el coraz?n cultural de la naci?n, y explorar los muchosmatices de significado que los latinos dan a la m?sica. Nuestro programa para el 200s
se ha enfocado en la manera en que los latinos usan la m?sica y los valores que ?statrae consigo para construir un sentido comunitario m?s coherente y positivo, entregentes con determinadas raices culturales, y entre la poblaci?n latina en general.?Por qu? es tan importante la m?sica para el bienestar en la cultura latina" ?C?mo usanlos latinos la m?sica para construir comunidad? Podemos encontrar parte de las respuestas
en la historia exitosa sobre las tradiciones centenarias de Puerto Rico que sirvieron parafortalecer la identidad v la cohesion de la comunidad puertorrique?a. Cuando los libarosde la zona rural de la isla emigraron hacia la mitad del siglo XX a la meca material deNuevaYork en busca de un futuro econ?mico m?s brillante, abandonaron mucho m?s que
sus boh?os. Dejaron su m?sica languidecer en los m?rgenes de la modernidad. Su poes?a
cantada v sus instrumentos de cuerda tradicionales estaban al centro de la herencia espa?ola
SMITHSONIAN F0LKLIFE FESTIVAL
introducida a la isla en Lis primeras d?cadas del siglo XVI. Se pensaba que estas tradiciones
centenarias eran solo eso, m?sica del ayer y no del ma?ana.Corrientes contrarias a esta tendencia, sin embargo, cobraron velocidad para formar unmovimiento que arrastrar?a a los puertorrique?os otra vez hacia sus ra?ces musicales. El mate
rialismo sin sentido y la alienaci?n social de la vida urbana dejaron un vac?o en el cual fuebienvenida una m?sica que conectaba a la gente con los sonidos familiares de su pasado. Parallenar este vac?o irrumpieron "innovadores tradicionales" como Estanislao Mart?nez, cono-
cido como "Lad?", quien ayud? a configurar la agrupaci?n t?pica para el modernoconjunto j?baro, con el sonido de dos cuatros tocando en armon?a, la guitarra de
seis cuerdas, el g?iro y los bong?es. El sonido j?baro sofisticado de Lad? rueaceptado por puertorrique?os tanto en los Estados Unidos como en la isla, yotros grupos j?baros como Ecos de Bormquen, liderado por Miguel SantiagoD?az, han continuado con ese legado j?baro de crear m?sica que hace refer-
encia a la tradici?n y en pro de la solidaridad comunal.Cuando el m?sico puertorrique?o Juan Guti?rrez se traslad?de la isla a la ciudad de Nueva York para trabajar como percu-
sionista en orquestas teatrales de Broadway, encontr? el ant?-doto para sus sentimientos de alienaci?n urbana en la m?sicade los m?sicos afropuertorrique?os del barrio neoyorquino.Reuni? a algunos de los mejores "percusionistas de esquina"y fund? el grupo Los Pleneros de la 21, creando un sonidoque entretej?a las tradiciones de origen africano de la bombay la plena con los sonidos contempor?neos que gustaban a losnuyoricanos. Los Pleneros de la 21 se convirtieron en uno delos m?s influyentes y c?lebres puntos de encuentro de la iden-tidad puertorrique?a, desatando una explosi?n de grupos similaresde bomba y plena a trav?s del noreste e incluso m?s all?. Adem?sde entregar a los oyentes urbanos un sonido renovado venido delo profundo de la tradici?n, el grupo cre? nuevas composicionesque re?nen a los puertorrique?os alrededor de problemas socialescontempor?neos. La pieza "Isla Nena" es un ejemplo, con su
refr?n "Isla nena, perla cautiva; tu pueblo te liber? de la marina"que celebra la exitosa protesta que llev? a la Marina Norteamericana
a abandonar el uso de la isla de Vieques como campo de tiro.Uno de los elementos fundamentales de la comunidad es la familiaLa familia es. a su vez, frecuentemente una pieza clave en el traspaso detradiciones musicales de una generaci?n .1 otra. El quehacer musicalpuede ser una manera importante de fortalecer los lazos familiares yformar una parte activa, integrada y relevante de la vida comunitaria.Por ejemplo, en las tierras ganaderas del estado de San Luis Potos?, en
el noreste mexicano, los miembros del tr?o Los Camperos de Valles,aclamados representantes de la tradici?n musical del son huastecode M?xico, recuerdan el importante rol que los lazos de familia hantenido en la conservaci?n y continuidad de su m?sica. Mateo, abuelodel violinista Joel Monroy, era tambi?n violinista, mientras que su
Lorena ??iquez es miembro de Sones de M?xico.
NUESTRA M?SICA MUSIC IN LATINO Cl
"I
Los Camperos de Valles son m?sicos reconocidos del son huasteco tanto en San Luis Potos?, Mexicodonde viven, como entre comunidades inmigrantes potosinas en los Estados Unidos y mundialmente.
t?o abuelo materno tocaba la guitarra, espe-
cialmente durante los velorios. A los docea?os de edad Monroy comenz? a seguir a susparientes v a sus amigos m?sicos que tocaban
en las tiestas celebradas en ranchos v pueblos
vecinos, aprendiendo poco a poco a tocar losinstrumentos huastecos tradicionales, la jarana
v la huapanguera (guitarras r?tmicas de dife-
rentes tama?os). As? mismo su colega Gregorio
"Goyo" Solano comenz? a aprender a tocar lajarana con su padre cuando ten?a diez a?os. Sol?a
seguir a su padre violinista que acud?a a fiestaslocales de la comunidad, fiestas de cumplea?os vbautizos donde era contratado para tocar en trioshuastecos. "Me fui enrolando en el ambiente de
la m?sica, primero oyendo.Y mi pap? me dec?apoco a poco las pisadas, v me fui integrando en
el trio despu?s de haber aprendido un poco".De la misma manera, el l?der del grupo. MarcosHernandez, comenz? a tocar la huapanguerade manera profesional con su t?o Fortino a losquince a?os de edad. Ninguno de estos magn?-ficos m?sicos tuvo una educaci?n musicalformal; fueron inspirados por primera vez ventrenados por sus propias familias, el "conser-
vatorio de la m?sica tradicional". Si no hubiera
sido por los tuertes lazos familiares, este mara-
villoso grupo de m?sicos tradicionales podr?ano haber existido. En la regi?n huasteca, el
son huasteco no solamente comunica un
sentido de identidad con los estilos de vida
regionales, sino que adem?s representa paralos m?sicos una serie de tuertes asociacionescon su familia y con la "familia extensa" delos m?sicos profesionales del estilo huasteco.Otro ejemplo de c?mo la m?sica construyecomunidad se puede encontrar en las regionesmonta?osas de la region de Oriente en IISalvador. All?, en donde peque?os pueblos
se esparcen a trav?s del paisaje escarpado, lapieza central de muchas de las tiestas familiares
v comunitarias es la m?sica de un animoso
ensamble, exclusivamente salvadore?o, llamadochanchona. Chanchona es el nombre que se
le k.\.\ [ocalmente al enorme contrabajo queprovee el fundamento arm?nico de la agru-paci?n. La chanchona apareci? en la segunda
mitad del siglo XX. tomando repertorio de la
m?sica popular de M?xico y de otros pa?sesde Centroam?rica. Con el tiempo apareci?
una instrumentaci?n est?ndar de seis o m?smiembros que incline la chanchona?dos
violines, una guitarra, una tumba (conga) v
otros instrumentos de percusi?n. El origen deSMITHSONIAN FOLKLIFE FESTIVAL
su sonido surge del ritmo bailable de la popular
cumbia, del ?gil comp?s de la canci?n rancheray del m?s lento del bolero rom?ntico. Cuando
la chanchona empieza a tocar sus contagiosos
ritmos bailables y los cantantes abordan sus letrasadornadas de sentimiento local, la gente se alejade la rutina diaria y la m?sica marca el comienzode una ocasi?n especial dentro del panorama
emocional. En el resto de El Salvador, la chan-chona identifica la regi?n de Oriente como un
sitio distintivo, con sus asociaciones de la vidacampesina y la pobreza rural. En la medida que
millones de salvadore?os comenzaron a nngrar
a los Estados Unidos durante y despu?s de laguerra civil de los a?os 70 y 80
?
todav?a hoyuno de cada cuatro salvadore?os vive fuera deEl Salvador? la m?sica termin? adquiriendo
nuevos significados. Justo en el mismo momento
en que los salvadore?os desraizados de su tierra
natal perd?an su sentido de pertenencia almudarse a ciudades como Miami, Nueva York,Los Angeles, Houston y Washington D.C., en sus
reci?n adoptados hogares la m?sica tom? sobre
s? misma un sentido m?s intenso de "'hogar". En
efecto, para muchos salvadore?os, especialmente
Jos? Arnaldo Mart?nez Zayas con Ecos deBorinquen hace la armon?a del segundo cuatro,elemento distintivo en la m?sica libara.
para aquellos de Oriente, solo unos segundosde m?sica de chanchona evocan el sentimientode "estar en casa" casi tanto como el hecho detomar un vuelo de vanos miles de millas para
volver a estar en El Salvador. En Washington,D.C., donde est?n radicados m?s de cien mil
salvadore?os provenientes en su mayor?a delOriente, la chanchona se est? conviniendo
cada d?a m?s en un prominente s?mbolo de lapresencia salvadore?a. Desde el 2001. el grupoEl?seo y su Chanchona Mel?dica Oriental se hapresentado cada viernes y s?bado en la nocheen el restaurante |udy's en Washington, D.C. Eljete del grupo. El?seo Guti?rrez, empez? a tot .il-
la m?sica de la chanchona en su pueblo natalde San Alejo, La Uni?n, El Salvador, apren-diendo sobre todo de su padre y sus hermanos.En [udy's, el grupo de siete m?sicos ofreceuna amplia variedad de m?sica que gusta a la
clientela de El Salvador. Honduras, Guatemala,M?xico, y otros pa?ses latinoamericanos. Cuandotocan para bodas, tiestas de cumplea?os y
otras celebraciones salvadorenas.se enfocan
en el repertorio de cumbia y de canci?n
ranchera favorecido entre los salvadore?os.
M?sico y especialista Juan Dies proporcionabien marcada la parte del bajo a su grupoSones de M?xico con su guitarr?n.
[5 7]
NUESTRA M?SICA MUSIC IN LATINO CULTURE
RAICES LATINAS
Smithsonian Folkways Latino Roots Collection
58]
NUESTRA M?SICA LANZA NUEVA SERIE
En 2002, el Centro de Tradiciones Populares y Patrimonio Cultural de la
Instituci?n Smithsonian concibi? el proyecto Nuestra M?sica: Music inLatino Culture, un esfuerzo de multiples a?os para documentar y hacer
accesible expresiones musicales tradicionales del patrimonio culturalde comunidades latinas en los Estados Unidos. Smithsonian FolkwaysRecordings, el sello de discos sin fines de lucro del museo nacional, inici?Nuestra M?sica con el lanzamiento de una serie de grabaciones nuevas de
m?sica latina que refleja la diversidad de culturas latinas y sus creaciones
musicales. Estos son los discos que se han publicado hasta la fecha.
Capoeira Angola 2:Brincando na RodaSFW CD 40488
El ave de mi so?ar:Mexican Sones Huastecos byLos Camperos de VallesSFW CD 40512
Havana, Cuba, ca. 1957:Rhythms and Songs of the OrishasSFW CD 40489Havana & Matanzas, Cuba, ca.1957; Bata, Bemb?, and Palo SongsSFW CD 40434
Heroes & Horses: Corridos from theArizona-Sonora BorderlandsSFW CD 40465
Jibaro Hasta el Hueso:Mountain Music of Puerto Ricoby Ecos de BohnquenSFW CD 40506
La Bamba: Sones Jarochosfrom Veracruz. Featuring Jos?Guti?rrez & Los Hermanos OchoaSFW CD 40505
Latin Jazz:La Combinaci?n PerfectaSFW CD 40802
/Llegaron Los Camperos!Concert Favorites of Nati Cano'sMariachi Los CamperosSFW CD 40517
Luiz Bonf?: Solo in Rio 1959SFW CD 40483
Matanzas Cuba, ca. 1957:Afro-Cuban Sacred Musicfrom the CountrysideSFW CD 40490Quisqueya en el Hudson:Dominican Music in NewYork City SFW CD 40495
Raices Latinas: SmithsonianFolkways Latino Roots CollectionSFW CD 40470
Si, Soy Llanero: Joropo Music fromthe Orinoco Plains of ColombiaSFW CD 40515
Viento de Agua Unplugged:Materia PrimaSFW CD 40513
?Viva el Mariachi! Nati Cano'sMariachi Los CamperosSFW CD 40459
Para m?s informaci?n y otras selec-
ciones, visite www.folkways.si.edu.
\\&&ABo.
O?"?*"??!*
SMITHSONIAN FOLKLIFE FESTIVAL
Mientras que en muchas comunidadeslatinas la m?sica funciona como un im?n que
re?ne a la gente alrededor de ideas familiares de
valores y experiencias compartidas, la m?sica
es tambi?n utilizada para construir nuevas ideasde comunidad y de prop?sito mutuo de cara alfuturo. En Chicago, el grupo Sones de M?xicoretoma cabos de muchos estilos regionalesde la m?sica mexicana para entretejerlos con
sonoridades contempor?neas y composicionesfrescas, creando nuevos tejidos musicales queson a la vez tradicionales y contempor?neos,
rurales y urbanos, viejos y nuevos. En Chicago,inmigrantes recientes procedentes de muchas
reglones mexicanas viven lado a lado con m?xi-coamericanos j?venes y viejos pertenecientes
a familias que han estado establecidas en la
ciudad desde hace por lo menos cien a?os. La
recepci?n entusiasta de la m?sica de Sones deM?xico en Chicago refleja el ?xito alcanzado
al lanzarse a capturar la esencia de la iden-tidad chicagomexicana, e ilustra un positivopanorama musical alrededor de las contribu-
ciones que los mexicanos de diferentes or?genesy edades hacen y que constituven aportesculturales valiosos que se apoyan mutuamente.La m?sica popular bailable basada en ra?cestradicionales juega un papel especial en la consoli-daci?n de un sentido pan-latino de comunidad.Cuando diferencias nacionales espec?ficas en suherencia?mexicana, puertorrique?a, salvadore?a,colombiana y dem?s?se van suavizando en lamedida en que van surgiendo nuevas genera-
ciones de latinos que encuentran una base com?nen la sociedad norteamericana, etiquetas como
"latino" adquieren una mayor relevancia. Lastiendas de m?sica promocionan grabaciones de
m?sica latina y los clubes nocturnos ofrecenm?sica bailable que busca atraer diversos or?genes
e intereses latinos. Especialmente en ciudadescomo Washington D.C.en donde personas dediversas nacionalidades latinas comparten una base
social similar, los promotores de baile, los due?osde clubes y las orquestas ofrecen m?sica bailableque atrae a un amplio rango de latinos. Mientraslos miembros de la banda |CJ de Washington
se especializan en el merengue dominicano.
por ejemplo, pueden tambi?n interpretar salsa,cumbia, reggaet?n, y otros estilos populares. Estelugar de encuentro de ritmos es tambi?n unterreno pan-Latino com?n que construye un
sentido compartido de vida cultural y social.A trav?s de la presentaci?n de esta y otras
"ventanas culturales" musicales que el programaNuestra M?sica: Music in Latino Culture explora,podemos encontrar un m?s completo signifi-cado de la m?sica. Este significado va muchom?s all? de lo puramente sonoro; penetra en elcoraz?n de la identidad personal y social, en lamanera en que las comunidades inmigrantes
sobreviven y se adaptan a ambientes socialesdiferentes, en la construcci?n de un nuevo
esp?ritu de comunidad en un mundo que est?en constante evoluci?n. La m?sica lleva consigoconocimiento, significado, afecto v esp?ritu,porque la gente la ha colmado con todos esos
valores, porque considera que la m?sica es
esencial para imaginar y vivir una vida normalen la que cada uno sea genuinamente quien es.Las comunidades y la creatividad de sus m?sicosconstantemente producen nuevos significadospara la m?sica, significados que sirven prop?sitos
sociales as? como est?ticos. Nuestra M?sica ofrece
a los visitantes de esta "exhibici?n en vivo"
en la Explanada Nacional la oportunidad deconocer a los m?sicos y de aprender m?s acercadel universo de significados detr?s de los sonidos,
as? como a cantar las canciones, a bailar los
ritmos, y a experimentar el diverso panoramade expresiones que llamamos m?sica latina. Elsegmento de Nuestra M?sica en el 2005 presenta
al p?blico una serie de conciertos nocturnosque ofrecen una muestra de la variedad de los
estilos y las culturas musicales latinas explorando
el tema "la m?sica construye comunidad".
DANIEL SHEEHY es etnomusic?logo,
curador, m?sico y director de SmithsonianFolkways Recordings, el sello musical sin finesde lucro del museo nacional. Es autor y editorde numerosas publicaciones sobre m?sica deAm?rica Latina como tambi?n productorde conciertos, giras y ?lbumes de m?sicade Am?rica Latina y de Estados Unidos.
>'J I
NUESTRA M?SICA: MUSIC IN LATINO CULTURE

OMAN: DESERT, OASIS, AND SEA
RICHARD KENNEDY
The Sultanate of Oman lies on the east coast of the Arabian Peninsula, facingthe Arabian Sea. Living at this crossroads between Asia, Africa, and theMediterranean. Omanis have developed a complex culture that draws on the
country's Arab roots as well as its long-standing contacts with India, East Africa,and the Middle East. For 5,000 years Oman has traded throughout the region.
Its ships have sailed to Asia and Africa, and its caravans have traveled overland to the shoresof the Mediterranean, contributing to the country's surprisingly cosmopolitan history.Western geographical regions often separate lands that share boundaries or whosehistories are closely aligned. The Middle East and South Asia may seem worlds apart, butthe flight from Muscat, the Omani capital, to Mumbai (Bombay), India, is just a little overtwo hours. Oman is not, as it sometimes appears, only a country on the edge of the ArabianPeninsula, but rather a land at the center ot an ancient and modern cultural and economic
exchange. Omanis are proud ot but reserved about their important role in world history.Historically, its geography has posed both challenges and opportunities for Oman.Omani culture has been molded by the struggle to master the desert and seacoast both for
settlement and tor trade ot the rareproducts found there. Throughouthistory, Oman's copper, frankincense,dates, and petroleum have been prized
outside the country, and, although
often difficult to extract and trans-port, these products have reached
ancient markets in the Mediterraneanand India and modern marketsthroughout the world. Omanis havebeen master mariners ot the seas and
skillful nomadic traders ot the desert.In the third millennium bce,copper mines in what is now Oman,likely the ancient trading center
called Magan, provided this flexibleand important metal to the civiliza-tions of the Tigris and EuphratesRivers in the Middle East and the
(Left) Bait Al Ras, an oasis town.The map on the right shows Oman'strade routes throughout history.
I "'I
Muscat, modern capital of Oman, has welcomed travelers for centuries.
Indus River on the Indian subcontinent.Historical evidence suggests .1 regular trade by
ship and caravan. In the first millennium < 1,particularly during the Roman and ByzantineEmpires, the aromatic resin frankincense, like
silk from China, became a highly sought-afterluxury. Burning frankincense also became a
necessary part of pagan and. later, [ewish andChristum ritual. Boswellia trees on the hillsides
ot southern ( )man produce the finest frankin-
cense, and an extensive trade developed acrossthe Arabian Peninsula and through the RedSea One ot the Three Kings of the Christianbirth story was carrying this valuable aromatic.Early settlement by Arabs, probably comingfrom modern Yemen during the first millen-nium ( 1. and the arrival and rapid acceptance
ot Islam in the 7th century created a degree of
unification among the peoples ot the easternend ot the Arabian Peninsula. Nevertheless,the great Hajar Mountains separated peopleon the seacoast from those in the interior,and the vast expanse of uninhabitable land
across the center ot the country separated thepeoples ot the north and the south. As Omanexpanded its trade, outside cultural influenceswere added to this internal diversity. Persiansfrom the north, Indians from the east, and
Africans from the south all had profoundinfluences on the development ot Oman.
( 'man entered a long period ot isolation inthe [9th century and has only recently reopened
its borders and reestablished its cosmopolitanperspective. Until 1970, there were few roads,hospitals, or schools anywhere in the country.Since [970, Mis Majesty Sultan Qaboos binSaid has specifically committed his govern-ment and its resources to education, health,infrastructure, and the environment. He has
also sponsored cultural preservation projectsthat recognize the fragility ot loeal traditions
111 the tace ot globalization. Oman knows that
its place in world history has created a unique
culture that deserves support. Encouragement
ot traditional music and crafts coupled withlaws to preserve local architecture and historic
sites have been the hallmark ot policies that
value the past and also anticipate the future.The accession ot Sultan Qaboos bin Saidand the Omani people's firm belief in Islamhave united a people with broadly different
experiences and histories. This culturaldiversity is reflected in Oman's three vastlydifferent environments?the desert, the oasis,and the sea. The country's complex culture
reflects its people's responses to each.SMITHSONIAN FOLKLIFE FESTIVAL
DESERT
The deserts ot the Arabian Peninsula would be
a hostile environment for a settled people. But
ancient traders of frankincense flourished inthese dry lands by mastering the secrets of their
constantly changing topography, and contem-porary nomadic pastorahsts have retained that
mastery. Bedouin people have lived alongsidetheir animals and have learned to move them as
weather and their need for water demand. Goats,
sheep, camels, and horses provide meat, milk,hide, hair, and transportation for the nomadsand are the tocus of their economy. In Omanthe paths of some Bedouins also pass the coasts,particularly in the Sharqiyah region ot east-
central Oman. Here they fish and dry their catchto carry inland tor trade at oasis towns and toprovide teed for their animals. But whether they
are trading animal products or fish. Bedouins otthe Omam desert use their culture to maintain
mobility and responsiveness to change. Bedouinsmake crafts that are lightweight yet sturdy. They
weave clothes, camel trappings, and tents of
goat and sheep's hair and dye them with local
minerals and plants. Their weaving designs
are distinctive and may signal tribal identity.They also weave containers of date palm leaves
reinforced with leather. They make all prod-
ucts tor easy transport and mainly tor personal
use; in the past these items were rarely sold.Bedouins have always exchanged their animalsfor products available at the oases?-jewelry,
weapons, tools, and cotton or silk thread.Bedouin celebrations that support the cycles
ot nomadic lite are accompanied primarily by
singing and have borrowed little from oasis
culture. However, many nomadic people havebecome settled and have been profoundly influ-
enced by oasis and even global culture. Today thenomadic population of Oman is very small dueto the attraction of employment in the cities and
oil fields. The influence ot the oil industry, whichbegan in the Omani interior in the late 1960s,has been dramatic. But some Omani nomads
still travel with their animals, trade in the oasistow 11s. and produce their crafts?now as often
as not for trade to interested city dwellers.
Some Omani Bedouin families still travel by camel; however, most use trucks.
OMAN DESERT, OASIS, AND SEA
OASIS
64]
Qurayat fishermen
cast their net from atraditional woodenhur?, an inshorefishing activity that
is repeated dailyalong much ofOman's coastline.
I he oases of Oman have always been centers where farmers andmerchants from the coast meet and trade with nomadic Bedouins fromthe interior desert. Many oasis towns arose near passes on either side
of the Hajar Mountains in the north. Built next to the wadis, or river
valleys that seasonally bring water from the mountains, these oases were
able to support cultivation, particularly of dates. Their wealth and stra-tegic location enabled oases to become mercantile centers that broughttogether settled people, nomads, and visiting traders. These fortifiedtowns, where copper vessels, fish, dates, indigo cloth, and camels aretraded, remain centers for contact between the desert and the sea.
t 'rafts ot the oases use local and imported materials and represent influencesfrom throughout the region. Foreign traders brought gold, silver, and iron to oasistowns to supplement local copper 111 the production ot jewelry, weapons, and tools.
I he\ sold silk and cotton that enabled local weavers to make finer cloth, and wood
tor more elaborate architectural construction. Ideas also transformed the oases.
Persians, tor example, brought knowledge ot irrigation that developed the elaborate
falaj system to tunnel water to settlements.Today the oasis town provides access tothe products ot the 21st century?cars,TVs, cell phones, and computers. And as 111the past, it continues to be a place to exchange ideasthrough both formal institutions like universities andinformal meetings ot individuals.
SEA
The seacoast has also been a meeting placethroughout Omani history. For millenniaOmani sailors have been famous tor their travelsthroughout Asia and Africa. Whether Sindbad
ot the tool Xifilih was .\n Omani is irrelevant;the widespread belief that he was reflects the
reality ot many Omani sailors and merchants mthe Middle East and the Indian Ocean. Omanimerchants sailed to China in the Nth century,and it was an Omani who led the Portuguese explorer Vasco da (?ama to Indiain 1498.The Omani seas continue to provide fishermen with their livelihood,
and. although most new ships now come from outside Oman, an effort is beingmade to revive its great shipbuilding traditions. On the shores of the city of Stir,
a visitor caw see the reconstruction ot ancient dhows, and in Musandam, alongthe Straits o? I lormuz, traditional boats still actively fish 111 the local waters.Through this great maritime tradition, Oman has absorbed Indian,European, and African cultural influences. Many Omani communitieshave their roots in Persia, India, or Africa; Baluch, Gujarati, and Swahili
can still be heard 111 homes throughout the Sultanate. And, not surpris-ingly, coastal music and dance are creative amalgams ot Arab, African,and Indian traditions?vital elements ot Omani national identity.SMITHSONIAN FOLKLIFE FESTIVAL
THE FESTIVAL PROGRAM
The 200s Smithsonian Folklife Festival programon Oman features over ioo musicians, dancers,
craftspeople, and cooks representing culturaltraditions trom the desert, oasis, and sea. Thedate-leaf baskets and decorative wool carpetsmade tor easy transport by nomadic desertpeoples provide a striking contrast to theheavy copper vessels and elaborate silverworkproduced by craftsmen in the oases, while proud
shipbuilders demonstrate skills that have madeOmani ships renowned throughout the IndianOcean. The fabled frankincense that in someways represented to the ancient Mediterraneanworld what oil does to modern economies is stillgrown in the south and used throughout Oman.A section ot the program features a variety ofOmam adornments including aromatics such
as frankincense, as well as textiles and jewelry.Most Omam music accompanies dance and
is present at celebrations ot all kinds around the
country. People rejoice with music and dance
at births and weddings, use them sometimesfor healing, and celebrate with them at timesof victory. Men's and women's dance is accom-panied by musical instruments that display the
cultural influences ot the region?stringedinstruments trom India, wind instruments trom
Persia, drums trom Africa, and even bagpipes(originally from Egypt but more recently playedby British military troops in residence in Oman)
are all part ot the sounds of Omam music.The 2005 program is the first to feature anArab nation at the Smithsonian Folklife Festival.Arabs and Arab Americans have participatedin past Festivals, but this program provides an
opportunity to tocus on an Arab culture at atime when the Arab world is unfortunatelymuch misunderstood here. We hope the Omanprogram will dispel some myths about the
region and even include a tew pleasant surprisestor those knowledgeable ot the region.
[65]
NOTE ON TRANSLITERATION
Arabic words that have been incorporated into English,including place names found in Webster's Dictionary, areprimarily written in their English form. Transliterationsof other words from the Arabic to the Roman alphabet
are usually guided by Library ot Congress usage. Inmost cases, transliterations are made from ModernStandard Arabic words, not from words in Omamdialect(s). Diacritical marks are omitted unless they arean integral part ot the language. Readers will notice thefollowing two marks:
(') An apostrophe to indicate the break in soundthat occurs in the middle of some Arabic words
(') A single, inward-facing quote to represent the
'ayn consonant which does not occur in EnglishSUGGESTED READING
Agius, Dionisius. 2003. Seafaring in the ArabianGulf and Oman.The People of the Dhow.London: Kegan Paul International.
Callan, Lou, and Gordon Robison. 2000. Oman &the I 'titled Arab Emirates. Melbourne: Lonely Planet.
Hawley, Donald. 1984. Oman & Its Renaissance.Second edition. London: Stacey International.
The Journal ot Oman Studies, 1 bis. 1-12.197S-2002. Muscat: Ministry of Heritageand Culture. Sultanate of Oman.
Ministry of Information, Sultanate ofOman: http://www.omanet.omOwtram, Francis. 2004. A Modern History of Oman:Formation of the State since 1920. London: I.B.Tauris.
Stevens, Andre, 1990. Oman: Citadels between Sandand Sea. Winksele. Belgium: Terra Incognita.Wikan, Unni. 1991. Behind the I HI in Arabia: Womenin Oman. Chicago: University of Chicago Press.RICHARD KENNEDY is the curator ofthe 2005 Festival program on Oman andDeputy Director ot the Smithsonian Centerfor Folklife and Cultural Heritage. He has co-
curated Festival programs on the Silk Road.Tibetan culture, the Philippines, Russian music,Thailand, Indonesia, and Hawai'i. His Ph.D.
is in South and Southeast Asian Studies fromthe University ot California at Berkeley.
All photographs courtesy oj the Omani Craft HeritageDocumentation Project unless noted otherwise.
OMAN: DESERT, OASIS, AND SEA
CRAFT TRADITIONS OF THEDESERT, OASIS, AND SEA
MARCIA STEGATH DORR AND NEIL RICHARDSON
6 61 Craft industries have been .1 defining element of Omani cultural heri-tage for more than s.ooo yens. In towns, villages, and desert campsthroughout the country, craftsmen and craftswomen continue to linkthe cultural past with the present. Their crafts express national iden-
tity and endow Oman with an unparalleled living heritage.Oman's craft traditions have evolved to meet utilitarian needs, but combinethe most basic of these?food, water, shelter, and safety?with the innate humandesire for self-expression through personal adornment and artistry. The traditionshave been further shaped by harsh climatic conditions, particularly the scarcity of
water, which has had a strong overall influence on lifestyles, economic development,and settlement patterns in a varied landscape that includes desert, oasis, and sea.
VOICES OF THE DESERT
< For the Bedouin tribes of Oman's desert regions, survival has dependedon adaptation to An untamed environment.The nomads' proficiency in< . .utilizing scarce natural resources to satisfy the needs for shelter, food, andnomadic equipment has enabled them to thrive in the and lands.< The defining characteristic of Bedouin craftsmanship is portability.A decision to move may come suddenly, as news is received about? better pasturage or an important tribal event. It may also be precipi-tated by seasonal occurrences such as the ripening of dates 111 oasistowns or the running of sardines along the desert coast. Tools andoo equipment are tew 111 number, light in weight, resistant to breakage,and easily packed and transported to a different location.Men and boys, responsible tor the welfare of camel herds, work together to load them for
travel or to tit them out tor races and celebratory events. The making of camel trappings is agroup endeavor, with as main as tour men required for the braiding of a heavy loading strap.Women and girls also work in groups, some minding children and goats, others churning
milk, and still others engaged in spinning, weaving, or embroidery.Weaving is a particularly
convivial activity. Several women may work together to spin or dye wool tor a single weaving,their work accompanied by the hubbub inevitably associated with voting children. Visitorscome and go frequently throughout the day and may often be seen helping with the tasseling
ot a camel rug or saddlebag while drinking coffee and discussing the latest news.Bedouin craftsmanship combines utility with a strong sense of self-expression. 1 heintricate geometric designs o\\ rugs, bags, d\id trappings reveal patterns of daily life in the
The shop of a silver and antiques dealer in Mutrah souk (marketplace)
is a storehouse of treasures including khanjars and jewelrySMITHSONIAN FOLKLIFE FESTIVAL

6 8
The coiled, leather-covered basket used bydesert dwellers for milking camels is lightweightand unbreakable, typifying the requirement forportability that underlies all Bedouin craftsmanship
Young girls from a Bedouin family worktogether to braid the ends of a rugwoven by their mother.
desert and display the weavers' ingenuity indepicting the world around them. Sources ofinspiration for designs include spindles and otherweaving tools, kohl containers, combs, goats,lizards, hud tracks, and the camel itself; mosthave been passed down from mother to daughterfor untold centuries. Other designs, such as scis-
sors and helicopters, are evidence of creativeinvention by new generations of weavers andillustrate the dynamic nature of crafts as a vehicletor expression.On the fringes of the desert are bustling
oasis towns where Bedouin lifestyle overlaps
with that of settled communities. Despitetheir allegiance to the desert, Oman's Bedouincommunities do, of necessity, maintain stronglinks to these towns.They make periodic visitsto sell livestock, tribal rugs and trappings, desert-palm basketry and other Bedouin products, andto purchase the work of market-based silver-and coppersmiths, silk weavers, embroiderersand other town-dwelling artisans, main ofwhom cater specifically to a Bedouin clientele.
DATE PALMS AND SOUKS:OASIS TOWNS OF THE INTERIOR
Oasis town settlements bring lite and au unex-pected tableau of green to a landscape that
is otherwise desolate and brown. The largest
of these towns are characterized by elaborate
systems of defense that incorporate vvatchtowers,perimeter walls, fortified gates, and massive,
multi-towered fortresses. These protect inhabit-
ants and the sources of water vital to settlementand the extensive cultivation of date palms.The date palm is, without question, themost versatile of Oman's natural resources,and tor good reason it is known throughoutthe Arab world as the "tree of life." Beyond
its obvious value as a provider of food,
shelter, and fuel, it is the greatest source ot
craft material in the country. It has useful
applications in seafaring, fishing, tanning.herding, trading, and general housekeeping.Virtually every part of the date palm is
utilized by artisans. Leaflets are plaited into
SMITHSONIAN FOLKLIFE FESTIVAL
long strips and joined to make mats, baskets, and food covers.Fibrous material found at the base ot fronds is plied into rope and
used to cushion loads on donkeys and camels. The central ribsof fronds are made into clothing fumigators or bird traps, or arelashed together to form panels for constructing dwellings, work-
shops, and livestock enclosures. Date stalks are split and made into
rigid containers, while the dates themselves are added to indigodye vats and leather tanning solutions. Sharp spines projectingfrom the sides of fronds are used as needles by embroiderers. Trunk
sections are hollowed out to make cattle troughs, mortars, andbeehives, or cut lengthwise into quarters and used as ceiling beams.Any surplus material can be used by potters for tiring pottery.A focus of most oasis towns is the souk (marketplace), which
serves as a base for both the production and marketing of crafts.Carpenters, silversmiths, coppersmiths, and blacksmiths typically havepermanent workshops within the souk itself, while leather cratters
set up temporary sunshades under whichthey work and offer leather goods for sale.The indigo dyers of Bahla, among the lastin the Arab world to use natural indigo,continue to work in traditional workshops
with large dyeing vats set into earthenfloors and dyed fabric drying on the roof-tops. Souk-based crafts are characterizedby a high degree ot specialization and
are typically learned through apprentice-
ship. Those artisans who work outside thesouk?potters, basket makers, weavers ofcamel and donkey trappings, and rose-waterproducers?sell their finished goods inthe souk directly or through middlemen.Artisanal communities in oasis townsdepend upon and support each other. Forinstance, leather tanners and indigo dyers
use earthenware vats made by potters.Large copper cauldrons are used formaking halwa, which is packaged in palmbaskets, and also tor distilling rose water,which is collected in other copper vesselsand poured from highly ornate silver
sprinklers. The workshops of carpenters,
silversmiths, and potters abound withpalm-frond mats and hand-forged iron
tools, creating webs ot exchange among
craftspeople that help maintain the viabilityof traditional artisanry in oasis towns.
The date palm is,
without question,the most versatile
of Oman's natural
resources, and forgood reason it isknown throughoutthe Arab world asthe "tree o? li?e. ,,
[69]
OMAN DESERT, OASIS, AND SEA
70]
COASTAL CRAFTSMANSHIPAND GLOBAL CONNECTIONS
Oman's seafaring heritage is legendary, andboat building?perhaps more than any other
craft industry?has had a fundamental impacton the course ot Omani history. The earliest
written reference to the country, recorded onAkkadian clay tablets dating to 2520 BCE, pertainsto maritime trade and the emergence of Oman(then known as "Magan") as one ot the world's
first seafaring nations. Based on the export ofcopper from the north and frankincense fromthe south, earl} trade activity was a major cata-lyst tor advances in boat-building technology.From these early times, Oman's boat-buildingindustry grew as part of a regional development
ot seafaring capability throughout the Gulf, theArabian Sea, and the Indian Ocean, a develop-ment characterized by transfers of technologyand trade in wood and other raw materials.Oman's early boat-building traditionshave been perpetuated in Musandam. wherethe sterns and bows ot double-ended vessels
continue to lie stitched together with palm-fiber rope and decorated with goatskinsand cowry shells. Boat yards in the coastal
entrepot of Sur also remain active, withtraditional boat builders receiving commis-
sions for vessels with the elegant transomsfavored by local fishermen. Virtually all of thetools and equipment used are of extremely
ancient lineage. Among the most important
ot these are the adze and the bow-drill.Oman's port cities have a history rich in
seafaring tradition. For centuries, dhows set sailfrom Sur, Suhar, and Muscat fully laden withmerchandise from Oman?dried fish, dates,limes, copper, frankincense, horses, skins, honey,and pomegranates?as well as Gulf pearls andYemeni coffee. In the [8th century, more than(in percent of the total Gulf trade and halfthe produce ofYemen passed through Omaniports. In return, traders brought commodi-
ties that were 111 short supply m Oman: wood,
spices, rice, precious metals, silks, textiles,iron, horn, and tine porcelain ware. They
also brought new ideas and technologies.
At a boat yard in Al-Ashkharah, a bow-drill is employed to fit ribsto the planked hull of a shu'i commissioned by a local fisherman.
SMITHSONIAN FOLKLIFE FESTIVAL
[7i]
A Bah?a blacksmith, assisted by his sons, employs hot-forging techniques to make a steel knife blade.
Many of the materials were importedto supply coastal cratt industries. Bronzeand iron contributed to the development otmetalworking?particularly tool making andweaponry production?while the gradual adop-tion of silver and gold as regional currenciesencouraged the development of refined decora-
tive techniques tor weaponry and jewelry. Finehardwood brought a degree of sophisticationto the boat-building industry and permitted avolume of production that would have beenimpossible on the basis ot indigenous wood
alone. The precious value of wood encouragedthe development ot woodcarvmg into a fine
art form that maintains its pride of place indoors, windows, and other decorative features
of monumental and vernacular architecture.Embroiderers and pit-loom weavers benefitedfrom the import ot silk and other threads thatadd color and diversity to local costume.Towns such as Suhar, Muscat, Sur, andSalalah along Oman's coastline emerged as major
entrepots that boast a rich mixture of people,
a decidedly cosmopolitan air, and a lively and
varied collection ot cratt traditions. They have
been gateways for new ideas, materials, andtechnologies, which have not only enriched the
cratt heritage of coastal communities but alsofiltered inland via overland trade routes. At thesame time, Omani artisans, employing indig-enous materials, techniques, and designs, havebrought their own interpretations and customsto the practice ot their crafts. The result is a
captivating synthesis, within which are discern-ible Arab, Asian, and East African influences.The resulting whole is a vibrant and unique
cratt culture that is resoundingly Omani.The souk in the capital city and port otMuscat has a broader role than those in theinterior. Although a center ot traditional craftsproduction, the souk also gathers cratt prod-
ucts from all over the country?Bahla pottery,basketry from the Batinah, Sun embroidery andpit-loom weaving, tribal rugs and trappings, andNizwa copper and silverwork. All find an outletin the capital-area marketplace. Local women sellincense in the heart ot the souk, their mixtures
spread before them to entice customers. Hand-embroidered qimmahs (men's caps), made inthe privacy ot the home or courtyard, are alsoOMAN DESERT, OASIS, AND SEA
[72]
Although the old
is making way forthe new, progress is
still a mantle wornlightly by a societythat retains a strongcommitment totradition, culture,and heritage.
The secrets of one of the world'smost ancient crafts are containedin a small workroom in Bahla, oneof the last corners in the Arabworld where Indigo dyeing is stillintertwined with local cultureSuccessive generations of Omaniscontinue to be captivated by the
allure of the precious dyestuff
on otter, and special commissions are accepted for work to order.Contiguous with the various souks are artisanal workshops, where
silver- and goldsmiths, weaponry makers, blacksmiths, leather
cratters, carpenters, tailors, and hahva makers may all be found hard
at work. It is evident, particularly in the gold and silver souks, that
mercantile prosperity and the cosmopolitan character of the capitalhave done much to encourage the production of luxury goods.The souks of the capital are outlets not only for consumergoods but also tor a broad range of imported raw materials usedby urban and rural artisans. Textile sellers offer fabrics from the FarEast, the Indian subcontinent, Africa. Europe, and the Americas,together with threads, trims, and other costume materials used byembroiderers and pit-loom weavers. Suppliers in the alleys behindthe gold and silver souk provide jewelers and khanjar (Omaniceremonial dagger) makers
with imported metals in ingot
or nugget form, wire and sheet
metal in various gauges at highly
competitive prices, dies, tools,
scales, and crucibles from Pakistanand India, Omani leather, Indianteak, and a range of burnishing,
soldering, and casting compounds.For the incense makers, perfumeand spice sellers otter fragrantingredients from the far corners
of the world?aromatic oils,woods, resins, rose-scented
water, fixatives, and burners.The spice stalls also otter henna
< powder and paste as well as2 dried limes, which are used as
1 a fixative m henna mixtures.Although the old is making
* i way for the new, progress iso
- still a mantle worn lightly by
a society that retains a strong commitment to tradition, culture,and heritage. The extent to which Omani craft products continueto have utility in daily life is quite remarkable, as is the extentto which craft producers continue to equate challenge withopportunity m the practice of their craft. Craft skills continueto be passed down trom mother to daughter, father to son, andOman remains among the few nations in the Middle East with
a living heritage that remains relevant to both local popula-tions and visitors. There is every hope that the country cancontinue to broaden its horizons without forfeiting its past.
SMITHSONIAN FOLKLIFE FESTIVAL
An embroiderer 15 resplendent in her own hand-stitched finery inBilad Sur. She uses silk and metallic threads from India and Asia,and silk fabric woven especially for the Omani market.SUGGESTED READING
Richardson, Neil, .ind Marcia Dorr. 2003. The Craft Heritage of ( )man.Dubai: Motivate.MARCIA STEGATH DORR earned degrees in fine arts and
education from the University of Michigan. She taught art and
established an interior design firm in Ann Arbor before goingto live mThe Gambia with her family in 19X3. While there she
created a West African artisans' co-operative. In 1986 she moved tothe Sultanate of Oman, where her work in cultural preservation
continued with a United Nations project to revitalize traditionalpottery production. Ms. Dorr is presently advisor to the governmenttor the adaptive re-use ot historic torts and castles
NEIL RICHARDSON was born in London and later movedto Australia, where he graduated from the University ofWestern Australia with a degree in business and marketing.He has worked in Oman since 1989, specializing in heritagemanagement and the preservation of traditional cratt industries.In addition to his work on the documentation of traditional
craft industries, he was a co-founder of the Omani HeritageGallery, a not-for-profit organization linking traditional Omani
artisans with contemporary markets tor their products.
.-4// photographs courtesy of the Omani Craft HeritageDocumentation Project unless noted otherwise.
THE OMANICRAFT HERITAGEDOCUMENTATIONPROJECT
Rich and diverse, the craft industries
of Oman are among the mostimportant cultural traditions in theArabian Peninsula. Until recently,however, there had been little
research into this subject. When
it became apparent that the rapid
modernization of the Sultanate
would challenge the survival of the
country's craft industries, the OmaniCraft Heritage Documentation
Project was initiated in 1996 by HisHighness Seyyid Shihab bin Tariq
Al Said. Its aim has been to identify
and document the different types
of crafts in all parts of the country.From Xhejirz (ceremonial small-bladed ax) makers of Musandam
to the potters of Dhufar, hundreds
of craftspeople have beeninterviewed, and their techniques
and products have been carefullydocumented and photographed.An important result of this
project, the extraordinary two-
volume work, The Craft Heritage
of Oman, is a tribute to Oman's
artisans and the traditions they
create. Authors Neil Richardson
and Marcia Dorr document the
origins and development of the
country's craft traditions and
artisan communities. They provide
a comprehensive region-by-region
record of the design and productiontechniques of the many and varied
crafts found across the Sultanate.
This wide-ranging catalogue of
artifacts concludes with a review ofthe changing role of craft industries
in a rapidly modernizing society,
making it the most significantpublication on the traditional craftheritage of southeast Arabia.
.73.
OMAN DESERT, OASIS, AND SEA
74]
AN OMANI FOLKTALE
ASYAH AL-BUALY
Omani folk literature reaches all social classesand consists of different types of folk genres. Itincludes proverbs, which summarize human life
experiences, and folk songs, which groups ofpeople sing for special occasions such as weddings,birth celebrations, and Islamic festivals. In addition,
it includes narrative forms such as fables and otherfolktales, stories of lunar eclipses, jinn or spirit
tales, and sira, or tales that glorify a hero whomay or may not have been an historical figure.The following is an Omani folktale that,
although told for entertainment, also containsthe complex dualities and recurring contradictions
of human relationships. The fable is titled "Tale
of Fadil or Ramadu." Fadil is an Arabic malename that means "praiseworthy," and Ramaducomes from the word ramadi, meaning "gray."
TALE OF FADIL OR RAMADUOnce upon a time, there was a merchant who had
an only son named Fadil. Fadil's mother died whenhe was an infant. His father remarried a womanwho hated Fadil and always tried to get rid ofhim so that she could have the full attention andlove of his father. Fadil had a horse named Insiyah(from ins, meaning "human beings, "a name
often used in Omani folklore for a domesticated
animal that possesses human qualities).A merchant, Fadil's father was away fromhome from early morning till late evening.During his father's absence, the stepmotherwould abuse Fadil by starving, cursing, andhitting him. When she would send Fadil to thekuttab, the Koran (Qur'an) school where herbrother was the teacher, he would continue totorment Fadil by hitting and humiliating him.One day, while the stepmother and herbrother were planning to rid themselves
of Fadil for good by killing him, the horseInsiyah listened attentively, and later gave
Fadil full details of this conspiracy.On the following day, the stepmother, whohad always neglected Fadil, offered him a cleanplate full of food. Fadil knew that the food hadbeen poisoned, and so he refused and ate fromthe saucepan in the kitchen, saying he wanted toleave the good food for his stepmother.Then he refused to wear a clean shirt offeredby his stepmother, because he knew that it toohad been treated with poison. He picked the shirt
up with a stick and burned it in the garden, sayingthat his father would buy him a new shirt.The stepmother and her brother suspectedthe horse Insiyah of informing Fadil of their plansand decided to get rid of the horse.
In her third deceitful act, the stepmotherpretended that she was seriously ill and slept all
Like the hero Fadil, many Omanis have
a close relationship with their animals.Horses are especially valued.
***i.
day. She put dry bread and dry date-palm leaves
under her mattress. When her husband returned
in the evening, she tossed and turned, producingsounds like broken bones as the bread and leaves
snapped. She was trying to convince her husband
she was suffering with fever pain in her bonesand mumbled to him that the doctor prescribed ahorse's liver to cure her.When the husband hesitated, she immediately
said she understood that slaughtering the horse
Insiyah would pain his son, who was so greatly
attached to the horse. The husband's responsewas that she was more important than the horse,
which could easily be replaced with another.At dawn, Fadil discussed this new conspiracy
with his horse Insiyah. They agreed that while Fadilwas at school, Insiyah would neigh three times
?
first when dragged from the stables, second when
reaching the slaughtering area, and the third timewhen being prepared for slaughter.When Fadil heard the first neigh, he asked
his teacher for permission to go home, but theteacher refused. At the second neigh, Fadil askedfor permission to go out for a drink, but theteacher refused again. But on the third neigh,
Fadil slipped by the teacher and ran out of the
class to the slaughtering place, where his fatherwas preparing to kill Insiyah.The astonished father explained his intentionsto Fadil. Fadil humbly asked his father to grant him
a final farewell ride on the horse. His father agreedbut asked Fadil to return as quickly as possible,because of his stepmother's suffering.
Fadil jumped on Insiyah and rode away farfrom home. He wrote to his father informing him
of his wife's mistreatment. He then returned brieflyto satisfy his father's yearning for him but left againand continued to write more details. The father
revealed his knowledge to his wife only when Fadilinformed him of his wife's pretended illness.But it was too late. Fadil had already
returned and left for the third time. He crossed
several deserts and settled in a wealthy emirate,disguising himself as a poor servant by spreadinggray ashes on himself, which caused the localpeople to call him Ramadu.
There, over the course of several episodes,
Fadil was able with his horse's help to save the
emir and his emirate from a cruel king whointended to conquer the emirate and marry the
emir's daughter by force. Eventually, Fadil marriedthe princess and lived happily ever after.
Such tales share many features with folkliterature from around the world. For example,
as much as the Omani tale represents Omani
society, its structure is not unlike the tales ofmany other nations. But this particular fable
articulates profound concepts connected toOmani ethics?beginning with the names
of its eponymous hero, Fadil and Ramadu.These indicate the boy's embodiment ofbravery, self-sacrifice, and unselfishness.
Fadil's departure from home at a veryyoung age reflects an Omani value on
adventurous, courageous behavior that facesthe unknown for the sake of achieving a loftygoal. Fadil embodies an ideal Omani, who
can overcome disappointments in life such
as the cruel treatment of the stepmother andher brother, the Koran teacher, who shouldhave been models of exemplary behavior.The Omani people encourage perseverance.This theme is confirmed by a common proverb tothe effect that any action should be performed
at least three times to achieve perfection.
In other words, repetition is necessary for
success. This was expressed in our fable bykey incidents being repeated three times.
In Omani society and many others, human
nature searches for complete happiness.Therefore, it is not surprising that our fable
ends with a happy ending in which Fadil andthe emir's daughter share love and marriage.
ASYAH AL-BUALY is Assistant Professor in theDepartment of Arabic Literature and Language,College of Arts and Social Sciences, Sultan Qaboos
University. Born in Zanzibar, she holds a Ph.D.from Cairo University and has published a number
of scholarly and popular articles on literatureand the arts.
I 75 I
OMAN: DESERT, OASIS, AND SEA

MUSIC AND DANCE IN OMANOMAN CENTRE FOR TRADITIONAL MUSICKHALFAN AL-BARWANI, DIRECTOR
7l
? W V/ ?l V
V
All of Oman's traditional music is sustained byoral transmission between generations, andeach region has its own unique forms. Songsand dances are performed during festivals andceremonies throughout the country. Songs varyfrom region to region, north to south, from one environment to
another. Songs of desert, oasis, and sea differ in purpose, content,and instrumentation.Desert songs often praise the sturdiness of the camel. Al-taghrud, sung while riding camels, encourages both animal and
rider. It is a group song with words that do not change fromplace to place. Al-tariq is a Bedouin song sung either while
riding a camel or seated on the ground. Two singers perform itin alternating verses. This song praises the she-camel and reflects
a slower pace of the camel in contrast to al-taghrud, whichmimics the camel traveling at a faster pace. Much of Bedouinsong is unaccompanied.In many ways a dance of the oasis, although performed inmost areas, al-razhah is characterized by its use of the sword and itsexchange of poetry between men. Men leap into the air, carrying
a heavy sword, and must not falter upon landing. The men alsothrow the sword into the air and catch it as it comes down?
a
show of strength and prowess.Years ago, al-razhah was used toannounce the onset of war or victory, to muster troops, or to
mediate between warring factions. Today it is used as a welcometo and celebration of His Majesty Sultan Qaboos bin Said. Thedance has three slow rhythms, but upon a call from the drum,the men perform sword displays, the aim of which is to hit one'sopponent on the left thumb. If no side is a clear winner, then an
elder of the tribe cuts the air between them, terminating the tight.Sea songs reflect sailors' duties during preparation of the
ship for departure, during the voyage, and upon its return.There are many types of sea songs. One, shilat al-hamul (TheSong of the Porters), is performed when loading goods onto
[77]
Dancers rehearse for an 'id al-adhacelebration in the Saham district.
OMAN DESERT, OASIS, AND SEA
y%
[78]
THE OMAN CENTREFOR TRADITIONALMUSIC
Traditional Omani songs anddances are woven together
with modern Omani music into
a rich tapestry of the country's
musical heritage. Recognizing
that Oman's present-day
cultural achievements are
rooted in a past with ancientbeginnings, His Majesty SultanQaboos bin Said directed thatthe country's musical heritagebe collected and documentedto ensure its preservation forfuture generations. The OmanCentre for Traditional Music(OCTM) was established in1984 with this purpose.Since its inception, theCentre has documented
more than 80 percent ofOman's musical traditions. Itincludes more than 24,000photographs, 725 audiovisual
recordings, a large number
of sound recordings, and adigitized database of these
materials. The Centre's approach
is comprehensive because,
in Oman, music is part of a
traditional lifestyle in whichhealing, fishing, planting,
and other kinds of work playprominent roles. The Centre hasidentified more than 130 differentforms of traditional music inOman, grouping them into four
main types: sea shanties andfishing songs, celebration songs,Bedouin music, and mountain
music. In 2002 the Centre wasgiven an award by UNESCO's
International Music Council in
recognition of its role in thepreservation of Omani music.
Al-tanq is performed by Bedouins who sing to each other whilethey ride camels and when they are seated on the ground.
the ship and also to pray to God for sate passage during theirjourney. Other songs include nasa al-sharal (Raising the Sails),in which each sail has its own part, differing from the othersin tempo and text. Al-hambal is a song performed by sailorson their way to the al-razhah dance. Two drummers lead theprocession walking backward to face the marching partici-pants, encouraging them to show then bravery and courage.Many dances are performed only m certain regions or at specific
celebrations. The Musandam region m the north, tor example, hasven distinctive songs. Al-nnvah is unique to mountain-dwellingBedouins in this region and involves eight to ten drummers whomove forward, backward, and then m a circle. Its verses pertain
to different times of the day.The first, al-sirah, is performed in the
morning; al-sadai is performed mid-morning; al-rawah at noon:
and al-siriya m the evening. This song is heard mainly at weddings,
religious festivals, and on official holidays. Wayliyah al-nisa is adance performed by women in Ibri, m the central Dhahira region.Groups of women, each placing her right hand on her neighbor's
shoulders, move around in unison. Each woman shakes a silver
rattle, which she holds in her tree hand, to mark the simple
rh\ thm. When the leader of a group gives her rattle a long shake,the women change places .\nd form circles. Singing and drum-ming accompany the dancing. Al-tayminah is a traditional song ofthe central Dakhliyah, sung as a child learns the Koran (Qur'an)by heart. The children of the local school gather m a processionbehind the teacher who reads a passage from the Koran. At theend of each verse the children reply "Amin" (Amen) in unison.SMITHSONIAN FOLKLIFE FESTIVAL
In the southern Dhufar region, al-bar sa isperformed as a celebration of youth by twodancers, each holding a dagger in his righthand and his shal (waist wrap) in his left hand.The characteristic movement ot al-bar'a is apowerful one-tooted leap into the air. Thetwo dancers move in a synchronized series ot
steps, advancing and retreating as they make
full circles. At a particular moment, bothdancers bow down before the musicians to
allow soloists to come forward and sing.Al-mawlid is a song ot celebrationperformed on the Prophet's birthday, at
weddings, when moving to a new house, or
curing the sick. This dance has a leader (klialifah),
a second in command (shawush), and a reciter(i/iin).The klialifalt's succession is hereditary, andthe qari is usually a scholar. Al-dan song anddance involves two parallel rows ot participants.Drummers continually approach the rows, until
a dancer steps out from his row to perform a
solo. Beating their drums, the drummers then
chase him through the dance until he returns to
his original position. A stipulation of performing
al-dan is that all men must go barefoot. Anyonefound wearing sandals is punished with a fine.Raqs al-nisa (Women's Dance) is one of the
most frequently performed dances in its home
region. Bedecked in gold, women move inpairs among the seated participants with small,
measured steps. When they have circled the area.they sit down to allow the next pair to dance.Music in Omani society plays a role at
every stage ot a person's lite. From birth, tocoming of age and marriage, during profes-
sional life, and finally in death, an Omani isaccompanied by traditional arts that express joy
or pain or simply help with everyday work.
SUGGESTED READING/LISTENING
El-Mallah, issani. 1998, < )mani Traditional Music.Tutzing: H. Schneider.
The Music q) an Ancient Civilization: The Sultanate qjOman, (CD). 1994. Muscat: Ministry of Information.
[79]
The traditional al-razhah dance displays a performer's courage, swordsmanship, and poetic skills.Al-razhah used to announce war or victory. It also would provide a way for men to express their demandsto their leaders. Today al-razah is performed at weddings, holidays, and to welcome an honored visitor.

GENERAL FESTIVAL INFORMATION
FESTIVAL HOURSThe Opening Ceremony tor the Festivaltakes place at the Sounds ot the ForestMusic Stage at n a.m., Thursday,June 23.Thereafter, Festival hours are n a.m. to5:30 p.m., with special evening events. Seethe schedule on pages 84-94 for details.
FESTIVAL SALES
Visitors may purchase Middle Eastern and
other program-related lunches, snacks, anddinners from Festival food concessions. A
variety ot objects produced by Festival arti-
sans and a selection of related books and
recordings will be available at the FestivalMarketplace on the Mall-side lawn ot theFreer Gallery ot Art. Smithsonian Folkways
recordings will also Lie available there.
PRESS
Visiting members of the press should
register at the Press tent located near theSmithsonian Metro Station on the Mall
atjetterson Drive and 12th Street.
FIRST AIDA first aid station is located near theSmithsonian Metro Station on the Mall
at [etterson Drive and 12th Street.
LOST & FOUND/LOST PEOPLE
Lost items or family members should bebrought to or picked up from the Volunteer tentlocated near the Smithsonian Metro Station onthe Mall at Jefferson Drive and 12th Street.
METRO STATIONSMetro trains will be running every day ot the
Festival. The Festival site is easily accessiblefrom the Smithsonian and Federal TriangleStations on the Blue and Orange Lines.
SERVICES FOR VISITORSWITH DISABILITIES
Large-print and audio-cassette versions of thedaily schedule and audio-cassette versions ofthe program book and signs are available at the
Festival Information kiosks and the Volunteer
tent. Other formats are available upon request.Volunteers are on call to assist wheelchair users.Audio loops to assist hard-ot-hearing visitors areinstalled at the music stages. Service animals are
welcome. American Sign Language interpreters
are available on site; the Festival schedule indi-
cates which performances and presentations areinterpreted (?5t?P). On Thursdays and Saturdays,programs in Food Culture l ]SA\ Beyond theMelting Pot tent will be captioned (oc).
[8i
RESTROOMS & TELEPHONESThere are outdoor facilities tor the public andtor visitors with disabilities located near all
of the program areas on the Mall. Additional
restroom facilities are available in each of themuseum Laiildmgs during visiting hours. Publictelephones are available on the site, oppositethe National Museums of American Historyand Natural History, and inside the museums.
THUNDERSTORMS
In case of a severe rainstorm visitors shouldgo inside a museum. It museums are closed,
visitors should go into the Metro Station.Summer rainstorms are usually brief, and
often the Festival resumes operations within
an hour or two. In the event ot a severethunderstorm the Festival must close.Do not remain under a tent or a tree!
In the tradition of Omani hospitality, welcome to the Festival!
GENERAL FESTIVAL INFORMATION
Dutch oven chili cook-offONGOING FESTIVAL PRESENTATIONS
In addition to the daily scheduled perfor-
mances, there will be ongoing demonstra-tions in the individual program areas.
ecosystems, identification of plants and trees,
woodcarving, painting, basket weaving, quilting,instrument making, paper making, law enforce-ment methods, archaeological fieldwork, use oftraditional tools, firefighting and smokejumpingtechniques, tire lookout practices, walks throughthe Interactive Forest, and building homes
with modern and efficient wood products.
Oman: Desert, ( fosis, and Sea: Shipbuilding, tradi-tional masonry, basketry, wool and silk weaving,indigo dyeing, camel handling, pottery, silverjewelry making, copper- and blacksmithing,incense and perfume making. Islamic calligraphy,traditional embroidery, and leatherworking.
MARKETPLACE EVENTS
Friday, June 24, 3-4 p.m.Nuestra M?sica Performances and CD SigningsLos Camperos de Valles and Sones de Mexico
Saturday, June 25, 3-4 p.m.Nuestra M?sica Performances and CD SigningsLos Camperos de Valles and Ecos de Borinquen
Sunday, June 26, 1-2 p.m.Oman Book SigningMarcia Dorr and Neil Richardson
Food Culture I 'SA: Cheese making, cacao
cultivating and chocolate making, coffeegrowing Mid roasting, spice sourcing, sustain-
able gardening and tanning, gadget and utensil
collecting, recipe exchanging, chili roasting,cooking demonstrations, professional kitchendemonstrations, tofu making, dairy tanning, teagrowing and making, winemaking and vide ul-ture, barrel making, youth gardening programs,barbecue, and community food celebrations
Forest Service, Culture, and Community: Wilderness
survival skills and techniques, hiking and trail
safety, riding all-terrain vehicles, packing andcamping skills, traditional cooking methods,bud identification, stream and river flow,canopy crane research, interdependence of
Sunday, June 26, 3-4 p.m.Nuestra M?sica Performance and CD SigningLo>s de Borinquen
Saturday, July 2, 1-2 p.m.
( lin.in Booh SigningMarcia Dorr and Neil Richardson
Saturday, July 2, 3-4 p.m.Nuestra M?sica Performances and CD SigningsEl?seo y su Chanchona Mel?dicaOriental and Los Pleneros de la 2\
Sunday, July 3, 3-4 p.m.Nuestra M?sica Performances and CD SigningsLos Lleneros de la 21 and [CJ Band
Look loi cookbook signings too!
SMITHSONIAN FOLKLIFE FESTIVAL
Visit the Oman Adornment Pavilion to learn about traditional natural cosmetics.ESPECIALLY FOR CHILDRENAND FAMILIESYou can discover the mystery recipe ingre-dient, become a junior forest ranger, and followSindbad the Sailor through the desert, oasis,and sea of Oman with the Family ActivitiesGuide, which encompasses all three programs.Each program has a reward for completingtheir guide questions. The guide is availabletree ot charge trom every Festival Informationkiosk and at the following locations in theprograms: Food Culture I JSA, at the PottingShed; Forest Service, Culture, and Community, atthe Family Activities Tent; and ( )man: Desert,Oasis, and Sea, in the Learning Center.
California, which includes information aboutplant varieties, sustainable gardening, and freshproduce. Find out what chefs feed their families
at the Beyond the Melting Pot, Carden Kitchen,
and Home Cooking tents. Meet the farmers inthe Tradition and Adaptation area who can tellyou about growing our food and selling it tolocal markets, communities, and restaurants.
Forest Service, Culture, and Community: Learnhow to cook outdoors, create a naturejournal, design a nature quilt square, see howto build a bird box, and try your hand atidentifying trees and plants. Check the daily
schedule m the Family Activities Tent.
[8:
In addition, families will enjoy thefollowing features ot the programs:
Food Culture USA: Learn about growing yourown vegetables and fruits at the giant EdibleSchoolyard. This garden showcases Alice Waters 'srenowned food-education project in Berkeley,
< )man: Desert, Oasis, and Sea: Play tradi-tional Omani games or beat your own
rhythm on an Omani drum. Then learnhow to decorate a friend's hands withhenna, or try writing your name in Arabic.Check the schedule signs in front of theAl Maidan and the Adornment Pavilion.
GENERAL FESTIVAL INFORMATION
FESTIVAL SCHEDULE (Programs are subject to change)
Thursday, June 23 Festival Opening Ceremony at n o'clock on the Sounds of the Forest St,W
Food Culture USA
Beyond the Melting Potoc12:00 Sheila I ukinsoc 1:00 Brad Ogden8 4 | 2:00 Tom Bivins withNova Km: andLes Hookoc 3:00 Charlie Palmeroc 4:00 Auhc BunyarataphanGarden Kitchen?%12:00 Marion Speai1:00 |immy Andruzzi2:00 John Phillips3:00 Sheila Lukins4:00 Mark Federmanand Herman VargasHome Cooking12:00 Mark Federman andHerman Vargas1:00 Najmieh Batmanglij2:00 Marion Spear3:00 linunv Andruzzi4:00 John PhillipsAround the Table12:00 Passing It < hi:Cookbook Writing1:00 Sustainability andMarketing: OrganicStandards?9 2:00 Recipes foi a Slew LandImmigrant Cooks3:00 Passing li On:FamiK Recipes?"f 4:00 Sustainable MenusEdible Schoolyard Ramada12:00 Food fm Tlwuglit:
( Children's Education1:00 Garden C Crientation2:00 llii ConversationContinues: Lunch [able
Partic ipants3:00 [mpro\ ing SchoolLunches4:00 A I lay in the Kitchen
Forest Service, Culture,and CommunitySounds of the Forest Stagei?j11:00 Opening Ceremony?^12:00 Rita Cantu1:00 Rulers in the Dirt2:00 Patrick Michael Karnahan3:00 ( Chuck Milner4:00 I he Fiddlin' I orestersCommunity Stage12:00 I ogger Poetry and Song1:00 Women of the ForestServiceif 2:00 Fighting Forest I ires3:00 Inspirations from theForest4:00 I aw Enforcement in the21st t'enturc5:00 Forest Service FamilyCamp Foodways12:00 Wilde rafters1:00 ( looking in the Field2:00 I >uti li < >ven I Jelights3:00 ( Cooking ( Catfishtf 4:00 Plants ?nJ I )yes5:00 I >utch Oven I MightsFamily Activities Tent(.Ingoing events tor young peoplethroughout the day, including:smg-alongs, storytelling, craftdemonstrations, career counseling,and nature awareness programsCheck the schedule board in trout
of the FamiK Activities lent tordail) event information.
Interactive ForestOngoing activities throughout theday in this forest-like learning envi-ronment, |om rangers, naturalists,and others for guided tours throughthe Interactive Forest Check theschedule board outside the Forestfor d.nK e\ent information.
Oman Desert,Oasis, and SeaMagan Stage12:00 Al Majd Ensemble12:45 Qurayat Ensemble1:30 Suhar Ensemble2:30 Al Majd Ensemble3:30 Qurayat Ensemble4:30 Suhar EnsembleAl Maidan?5T12:00 Music Workshop12:45 t 'main Stories1:30 Dance Workshop2:15 ( hnani ( lames3:00 Calligraphy and Language3:45 ( 'main < lames4:30 Desert TraditionsOasis Kitchen12:00 Omani LunchBef 2:00 All about Halwa2:45 Food from the Desert3:45 ( offee, Dates, and
I lospitaliry4:45 Meaning of HalalAdornment Pavilion12:00 ( hii.ui {domed: Men andBoys' Regional Press12:45 Workshop Henna
I Vcoration1:30 < )man Adorned: Womenand C in Is' Regh mil
I Iress2:15 Adorning Ships of the
I desert Ships of the Sea3:00 I Vorkshop Making Si entsAroma as AdornmentSef 3:45 Dressing the Horn*
I )esert, t >asis. and Seaicf 4:30 Diversity in Omani Dress
*>cy induati i imerican Sign I
ititi rpreted programoc denotes captioned performance
SMITHSONIAN FOLKLIFE FESTIVAL
Friday, June 24 (Programs are subject to change)
Nuestra M?sica Evening Conceit ?it 5; ;i> on the Sounds of the Forest Stage
Food Culture USABeyond the Melting Pot?xj11:00 Mara C?mara12:00 Charlie Palmer1:00 Karen MacNeil2:00 Tom Bivins with NovaKim and Les Hook3:00 Cesare Lanfranconi4:00 Melissa KellyGarden Kitchen11:00 John Phillips12:00 John and Anthony Uglesich1:00 [immy Andruzzi2:00 Najmieh Batmanglij3:00 Karen MaeNeil4:00 Manon SpearHome Cooking11:00 Mark Federman andHerman Vargas12:00 Jimmy Andruzzi6$ 1:00 Melissa Kelly2:00 Nahid Mohamadi3:00 John Phillips4:00 Mara ( 'amaraAround the Table11:00 Recipesfor o New Land:Immigrant Cooks12:00 Passing It On .-Biodiversityand Food Traditions1:00 Sustainable Business2:00 Traditional Crops in NewSoil: Immigrant Growerst?f 3:00 Links in the Food Chain:Food Safety?qj 4:00 Sustainable GrowingEdible Schoolyard Ramada11:00 Garden Orientation12:00 Foodfoi Thought: Children'sEducation1:00 (?arden Orientation2:00 The Conversation Continues.Lunch Table Participants3:00 Improving School Lunches4:00 A Day 111 the KitchenSlow RoastBarbecue with limTabb
Forest Service, Culture,and CommunitySounds of the Forest Stage11:00 Keith Bear12:00 Riders 111 the Dirt?gf 1:00 The Fiddlin' Foresters2:00 Rita Cant?3:00 Cindy Carpenter4:00 Patrick Michael Karnahan?9 5:30 Evening ConcertNuestra M?sica:Music in Latino CultureThe Mexican SonCommunity Stage?^11:00 Bud Watching and Research12:00 Wildlife Encounters1:00 Forest Folklore2:00 The Greatest Good3:00 Threats to the Forest4:00 Community Relations?0 5:00 Logger Poetry and SongCamp Foodways11:00 Dutch Oven Delights12:00 Wildcrafters1:00 Cooking in the Field2:00 Dutch Oven Delights?gr 3:00 Cooking Catfish4:00 Plants and Dyes5:00 Dutch Oven DelightsFamily Activities TentOngoing events tor young peoplethroughout the day, including:
sing-alongs, storytelling, craftdemonstrations, career counseling,and nature awareness programs.Check the schedule board infront of the Family Activities Tenttor daily event information.
Interactive ForestOngoing activities throughout theday 111 this forest-like learning envi-ronment, loin rangers, naturalists,and others for guided tours throughthe Interactive Forest. Check theschedule board outside the Foresttor daily event information.
Oman: Desert,Oasis, and SeaMagan Stage?><y11:30 Suhar Ensemble12:30 Qurayat Ensemble1:30 Al Majd Ensemble2:30 Suhar Ensemble3:30 Qurayat Ensemble4:30 Al Majd EnsembleAl Maidan12:00 Oasis Traditions12:45 Omani Games1:30 Dance Workshop2:15 Calligraphy and Language3:00 Omani Stories3:45 Music Workshop4:30 Omani GamesOasis Kitchen12:00 All about Halwa12:45 Food from the Oasis1:45 Fruits and Sweets of Oman2:30 Coffee. Dates, andHospitality% 3:30 Id DinnerAdornment Pavilion12:00 Northern Omani Traditionsof Men's Dress12:45 Northern Omani Traditions
of Women's Dress?9 1:30 Workshop: Face Masks2:15 Oman Adorned:Dressing the Home3:00 < hihin Adorned: Curls toWomen, Boys to Men3:45 Workshop: Henna?qf 4:30 Treasures of Trade
?<0 indicates American Sign Languageinterpreted program
[85]
FESTIVAL SCHEDULE
Saturday, June 25 (Programs are subject to change)
Nuestra M?sica Evening Concert at s: ?c> on the Sounds of the Forest Stage
8 61
Food Culture USABeyond the Melting Potoc 11:00 Marion Spearoc 12:00 Steve Raichlenoc 1:00 Todd < ?ray2:00 Kaz ( >kochioc 3:00 Janos Wilderoc 4:00 loin Bivins with NovaKmi .iiui 1 es 1 lookGarden Kitchen11:00 John Phillips12:00 Janos Wilder?><? 1:00 Najmieh Batmanglij2:00 Charles I'h.m3:00 John and Anthony Uglesich4:00 [odd GmHome Cooking11:00 Nongkran Daks12:00 Mark Federman andHerman Vargas1:00 Manon Spear2:00 Steven Raichlen% 3:00 John Phillips?& 4:00 Mara ( amaraAround the Table
^cf1 1:00 Passing It On Biodiversityand I ood Ir.ulitions12:00 Passing ll ' hiSustaining Tradition1:00 Global Exchange, LocalValue!2:00 Recipa fm a .Yen LandImmigrant ( 'ooks3:00 Passing li < hiFood Publishing4:00 < )rganic, Natural, andConventional: Navigatingthe Food LandscapeEdible Schoolyard Ramada11:00 Garden ( )rientation12:00 Foodfa Thought:Children's Education1:00 Garden ( Indication2:00 Tlie Conversation Continues:Lunch Tabic Participants3:00 Improving School Lunches4:00 A I >a\ m the Kitchen
Forest Service, Culture,and CommunitySounds of the Forest Stage?ey11:00 ( Inu k Milner12:00 ( 'iiulv Carpenter1:00 Riders in the I >irt2:00 Keith Bear3:00 I he Fiddlin' I oresters4:00 Rita ( lantu
t>qf 5:30 Evening ConcertNuestra M?sica:Music in Liuino CultureMusic and PoetryCommunity Stage11:00 Inspirations from the I orest12:00 Piles from the Woods% 1:00 Why [Joined the USDA
1 oresl Sen ii e2:00 Music . Rhythm, and Natureif 3:00 Forest Servic e Icons4:00 l a\\ Enforcement in the2 1st ( 'entui \?} 5:00 Water in the 1 .nestsCamp Foodways11:00 Dutch Oven I Mights12:00 Wildcrafters1:00 Cooking in the Field2:00 I iutch Oven Delights3:00 l ooking ( attish4:00 Plants and Dyes5:00 Duti li ( )ven I ielightsFamily Activities Tent
( ingoing events for young peoplethroughout the day, including:sing-alongs, storytelling, craftdemonstrations, career c ounseling,and nature awareness programs
l he. k the schedule board introut of the Family Activities lentfor daily event information.Interactive ForestOngoing activities throughout theday in this forest-like learning envi-ronment. Join rangers, naturalists,and others for guided tours throughthe Interactive I orest ( heck theschedule board outside the Forestfor daily event information.
Oman: Desert,Oasis, and SeaMagan Stagefy11:30 Qurayat Ensemble12:30 Al Majd Ensemble1:30 Suhar Ensemble2:30 Qurayat Ensemble3:30 Al Majd Ensemble4:30 Suhar EnsembleAl Maidan12:00 ( )mani Games12:45 ( )mani Stories1:30 Dance Workshop2:15 l 'mam ( ..unes
*Sf 3:00 Maritime Traditions3:45 Music Workshop4:30 Calligraphy and LanguageOasis Kitchen12:00 I ood from the Sea?<? 1:00 Coffee, Dates, andHospitality2:00 t )mani l (inner4:00 All about Haliratf 4:45 Pleads of ( 'manAdornment Pavilion12:00 Dressing the I Ionic12:45 Workshop: Pace Masks(burquas)1:30 Adorning C anieK andHorses2:15 Workshop: Omani Silverand ( ?old ( )rnaments3:00 ' hinui Adorned:Men's Regional l )ressin the Oasis3:45 < hnan Adorned:Women's Regional Dressin the Oasis4:30 Personal Expressionthrough Adornment
*>cf indicates American Sign Langitagtinterpreted programOC denotes captioned performance
SMITHSONIAN FOLKLIFE FESTIVAL
Sunday, June 26 (Programs are subject to change)
Nuestra M?sica Evening Concert at 5:30 on the Sounds of the Forest Stage
Food Culture USABeyond the Melting Pot?^11:00 Mark Federman andHerman Vargas12:00 LisaYockelson1:00 |os? Andr?s2:00 Frank Morales3:00 Fabio Trabocchi4:00 Mara C?maraGarden Kitchen11:00 Charles Phan12:00 Plana My Trail?cj 1:00 Susan Belsinger2:00 LisaYockelson3:00 Aulie Bunyarataphan4:00 Diana My TrailHome Cooking11:00 Brenda Rhodes Miller12:00 Marion Spear1:00 Mark Federman andHerman Vargas2:00 Marion Speartef 3:00 Charles l'han4:00 lose Andr?sAround the Table11:00 Recipesfoi ,1 New Land:Immigrant ( \>nks12:00 Links in the Food Chain:Food Safety1:00 Global Exchange.Local Values2:00 What'i In Season:Farmers Markets3:00 National Markets,Sustainable Foodstcf 4:00 Local Food, Local EconomyEdible Schoolyard Ramada11:00 Garden Orientation12:00 Food foi Thought:Children's Education1:00 Garden Orientation2:00 The Conversation Continues:Lunch Table Participants3:00 Improving School Lunches4:00 A Day in the KitchenSlow Roast13mner on the Grounds
Forest Service, Culture,and CommunitySounds of the Forest Stage?^11:00 Cindy Carpenter12:00 Chuck Milner1:00 Rita Cant?2:00 The Fiddlin' Foresters?$ 3:00 Patrick Michael Karnahan4:00 Riders in the DirtSsf 5:30 Evening ConcertNuestra M?sica:Musk in Latino CultureJ?baro MusicCommunity Stage11:00 Wildlife Encounters12:00 Community Relations
c?cj 1:00 Accessibility in theOutdoor Environment2:00 Women of the ForestService3:00 Diversity in the ForestSen it e4:00 I ogger Poetry and Songtxf 5:00 The Greatest GoodCamp Foodways11:00 Dutch Oven Delights12:00 Wildcrafters1:00 ( Ooking in the Field2:00 Dutch Oven Delights3:00 ( onking Cattish4:00 Plants and Dyes5:00 Dutch Oven DelightsFamily Activities TentOngoing events for young peoplethroughout the day, including:sing-alongs, storytelling, craftdemonstrations, career counseling,and nature awareness programs.Check the schedule board infront of the Family Activities Tentfor daily event information.Interactive ForestOngoing activities throughout theday m this forest-like learning envi-ronment. |oin rangers, naturalists,and others for guided tours throughthe Interactive Forest. Check theschedule board outside the Forestfor daily event information.
Oman: Desert,Oasis, and SeaMagan Stage
<?cj11:30 Al Majd Ensemble12:30 Suhar Ensemble1:30 Qurayat Ensemble2:30 Al Majd Ensemble3:30 Suhar Ensemble4:30 Qurayat EnsembleAl Maidan12:00 Desert Traditions12:45 Dance Workshop?gf 1:30 Omani Stories2:15 Omani Games3:00 Calligraphy and Language3:45 Music Workshop4:30 Omani GamesOasis Kitchen12:00 Wedding Celebration2:00 All about Halwa?ef 2:45 Food from the Desert3:45 Indian Flavors 111 Oman4:45 Coffee, I 'ates, andHospitalityAdornment Pavilion12:00 Oman Adorned. Women'sAdornment ill DesertCommunities12:45 1 )man Adorned Men'sAdornment in DesertCommunities1:30 Workshop: Face Masks2:15 Home Decor in the Desert.Tent Beautiful3:00 Adorning Camels3:45 Workshop:Omani Embroidery?& 4:30 Dress, Faith, and Identitym Oman
?cf indicates American Sign Languageinterpreted program
8 7]
FESTIVAL SCHEDULE
Monday, June 27(Programs are subject to change)
Food Culture USA
Beyond the Melting Pot11:00 Marion Spear12:00 Food Iraditions[88] 1:00 Carole Greenwood2:00 Mark Furstenberg?<3 3:00 Francis I ayrlet"j 4:00 I )avid ScribnerGarden Kitchen11:00 Charles Phan12:00 Mara C?mara1:00 ( larol Reynolds2:00 David Scribner3:00 Robert Weland4:00 C 'ar?le C ?reenwoodHome Cooking11:00 Susan Belsinger12:00 Robert Weland1:00 Charles Phan2:00 Nils. in Lindeborg3:00 Cesare Lanfranconi4:00 Marion SpearAround the Tablei%11:00 Traditional Crops in New
Soil: Immigrant ( ?rowers12:00 National Marketsand ( ?rowers1:00 Sustainability:Local Sourcing2:00 Recipes fot a New l.audImmigrant ( looks3:00 Passing li OnSustaining tradition4:00 Global ExchangeEdible Schoolyard Ramada11:00 Garden Orientation12:00 Foodfor Thought:Children's Education
t>ejf 1:00 Garden Orientation2:00 The < ".onversation
( ^ontinni> Lunch fableTin Kip.ints3:00 Improving SchoolLunches4:00 A I >.i\ in the Kitchen
Forest Service, C ulture,and CommunitySounds of the Forest Stage11:00 Patrick Michael Karnahan12:00 I he Fiddhn' Foresters?ef 1:00 Riders in the I )irt2:00 Keith Bear3:00 l lindy t 'arpenter4:00 ( huck MilnerCommunity Stage11:00 I ighting I orest Fires12:00 Research Matters1:00 I.lies from the Woods2:00 I / ifetime in the Woods:A I ove Stor\?? 3:00 l he Greatest Good4:00 I i nest Service Familyt"f 5:00 Heritage MattersCamp Foodwaysfj11:00 l )utch Oven Delights12:00 Wildcrafters1:00 t looking in the Field2:00 Dutch Oven Delights3:00 Cooking Catfish4:00 Plants and I )yes5:00 Dutch Oven DelightsFamily Activities TentOngoing events for young peoplethroughout the day, including:
sing-alongs, storytelling, craftdemonstrations, career counseling,and nature awareness programs.Check the schedule board in front
of the Family Activities lent fordaily event information
Interactive Forest
l ingoing activities throughoutthe day in this forest-likelearning environment, [oin
rangers, naturalists, and othersfor guided tours through theInteractive Forest. Check theschedule hoard outside the forestfor daily event information.
Oman: Desert,Oasis, and SeaMagan Stage11:30 Suhar Ensemble12:30 Qurayat Ensemble1:30 AJ Majd Ensemble2:30 Suhar I nsemble3:30 Qurayat Ensemble4:30 AJ Majd EnsembleAl Maidan??12:00 Calligraphy andLanguage12:45 Dance Workshop1:30 ( )mani (?ames2:15 ( )m.mi Stones3:00 Musi, Workshop3:45 t )asis I raditions4:30 ( )mani GamesOasis Kitchen12:00 All about Halwa12:45 Food of the OasisBe? 1:45 Spicing in Oman2:30 Got'fee, I >ates, andHospitality3:30 Ramadan MealAdornment Pavilion12:00 Head t loverings andJewelry12:45 Workshop: Fragrance asAdornment1:30 Women's DressTraditions of the South2:15 Men i Dress:Traditions of the South?y 3:00 Workshop: Henna3:45 I hvssing Ships, t lam?is,
.\i\i\ Horses?>y 4:30 Transition to Modernity:Omani Fashion I )esign
?>cf mdicah ? American S*;gn /interpreted preigram
SMITHSONIAN FOLKLIFE FESTIVAL
Thursday, June 30 (Programs are subject to change)
Sounds of the Forest Evening Concert at 5:30 on the Sounds of the Forest Stage
Food Culture USA
Beyond the Melting Potoc 11:00 Gilroy and Sally Chowoc 12:00 Roberto Donnaoc 1:00 Emeril Lagasse2:00 Ed LaDouoc 3:00 Todd Englishoc 4:00 Food TraditionsGarden Kitchen11:00 Food Traditions12:00 Sudhir Seth?<f 1:00 Steve Herrell2:00 Food Traditions3:00 Carol Reynolds4:00 Ed LaDouHome Cooking11:00 Food Traditions12:00 Carol Reynolds1:00 Food Traditions2:00 Gilroy and Sally Chowtaf 3:00 Sudhir Seth?<? 4:00 Food TraditionsAround the Table?ey11:00 Recipes for a New Laud.Immigrant Cooks12:00 Passing li 1 >uCookbook Writing1:00 Sustainability andMarketing: ( JrganicStandards2:00 Recipes for a New Land3:00 Passing li On: FamilyRecipes4:00 Sustainable MenusEdible Schoolyard Ramada11:00 Carden Orientation12:00 Food for Thought:Children's Education1:00 Garden Orientation2:00 The ConversationContinues: Lunch TableParticipants3:00 Improving School Lunches4:00 A Day in the Kitchen
Forest Service, Culture,and Community
Sounds of the Forest Stage?^11:00 Keith Bear12:00 Riders in the Dirt1:00 The Fiddlin' Foresters2:00 Cindy Carpenter3:00 Rita Cant?4:00 Patrick Michael Karnahan?$ 5:30 Evening ConcertSounds of the ForestCommunity Stage11:00 Fighting Forest Fires12:00 BirdWatching & Research?% 1:00 Cattle and Rangelands2:00 Community Relations3:00 Forest Service Family4:00 The Greatest Good?f 5:00 Women ofthe Forest ServiceCamp Foodways11:00 Dutch Oven Delights12:00 Wildcrafters1:00 Cooking in the Field2:00 Dutch Oven Delights?y 3:00 Cooking Cattish4:00 Plants and Dyes5:00 Dutch Oven DelightsFamily Activities TentOngoing events for young peoplethroughout the day, including:sing-alongs, storytelling, craftdemonstrations, career counseling,and nature awareness programs.Check the schedule board intront of the Family ActivitiesTent tor daily event information.
Interactive ForestOngoing activities throughoutthe day 111 this forest-likelearning environment, [oin
rangers, naturalists, and otherstor guided tours through theInteractive Forest. Check theschedule board outside the Foresttor daily event information.
Oman: Desert,Oasis, and SeaMagan Stage11:30 Al Majd Ensemble12:30 Qurayat Ensemble1:30 Suhar Ensemble2:30 Al Majd Ensemble3:30 Qurayat Ensemble4:30 Suhar EnsembleAl Maidan?^12:00 Music Workshop12:45 Omani Stories1:30 Dance Workshop2:15 Omani Games3:00 Calligraphy andLanguage3:45 Omani Games4:30 Desert TraditionsOasis Kitchen12:00 Omani Lunch?9 2:00 All about Halwa2:45 Food from the Desert3:45 Coffee, Dates, andHospitality4:45 Meaning of HalalAdornment Pavilion12:00 Oman Adorned: Men andBoys' Regional Dress12:45 Workshop:Henna 1 decoration1:30 Oman Adorned: Womenand Girls' Regional
l )ress2:15 Adorning Ships of the
I (esert ships of the Sea3:00 Workshop: MakingScents?Aroma asAdornment?gf 3:45 Dressing the Home:Desert. ( Jasis, and Sea?gf 4:30 Diversity in Omani
I )ress
?<3J indicates American Sign Languageinterpreted programOC denotes captioned performance
[89]
FESTIVAL SCHEDULE
Friday, July 1 (Programs are subject to change)
Ralph Rinzler Memorial Concert at 5:30 on the Sounds of the Forest Stage
Food Culture USA
Beyond the Melting Pot11:00 Douglas Anderson12:00 Michel Richard90 | 1:00 Ed LaDou2:00 Gilroy and Sally Chow3:00 I uii.i Bastianich4:00 Moron OuattaraGarden Kitcheni%11:00 AnnAmernick12:00 Carol Reynolds1:00 Suvir Saran2:00 Michel Richard3:00 Eric Ziebold4:00 Carol ReynoldsHome Cooking11:00 Food Traditions12:00 Ann Amernick1:00 Steve Herrell2:00 Morou < Juattara
*gp 3:00 Ed LaDou?sf 4:00 Gilroy and Sail) I howAround the Table11:00 Passing It ( >nBiodiversity and FoodTraditions12:00 Global Exchange, I ocalValues?9 1:00 National Markets,Sustainable Foods2:00 I inks in the Food ( 'ham3:00 Passing It ( hi
( ookbooks4:00 Sustainable ( ?row ingEdible Schoolyard Ramada11:00 Garden Orientation12:00 Foodfor Thought:
( Ihildren's Educ ation1:00 Carden ( )nentation2:00 The < ConversationContinues. Lunch TabicParticipants3:00 Improving SchoolLunches4:00 A I Jay in the Kitchen
Forest Service, Culture,and CommunitySounds of the Forest Stage
*y11:00 PatYork12:00 I he Fiddlin' Foresters1:00 Rita Cant?2:00 Keith Bear3:00 Patrick Michael Karnahan4:00 ( hack Milner?f 5:30 Evening ConcertRalph Rinzlei MemorialConcert: Beautiful BeyondCommunity Stage11:00 Inspirations from the Forest12:00 ( lowbo) Poetn?gf 1:00 Legacy of Gifford Pinchot2:00 Forest Service Iconst?3 3:00 Music, Rhythm, and Nature4:00 Law Enforcement inthe 2 1st Century5:00 Wildlife EncountersCamp Foodways11:00 Dutch Oven Delights12:00 \\ ildcrafters1:00 ( ooking in the Field2:00 I (uteri ( >ven I ielights3:00 ( Poking cattish4:00 Plants and I )yest<3 5:00 Dutch Oven Delights
Family Activities TentOngoing events tor young peoplethroughout the day, including:sing-alongs, storytelling, craftdemonstrations, career counseling,and nature awareness programs
( he. k the schedule board introut of the Family Activitieslent for daily event information.
Interactive Forest
( ingoing ac tivities throughoutthe day in this forest-likelearning environment. |oinrangers, naturalists, and othersfor guided tours through theInteractive Forest Check theschedule board outside the Foresttor d.ulv event information
Oman: Desert,Oasis, and SeaMagan Stage?^11:30 Suhar Ensemble12:30 Qurayat Ensemble1:30 Al Majd Ensemble2:30 Suhar Ensemble3:30 Qurayat Ensemble4:30 Al Majd EnsembleAI Maidan12:00 ( )asis traditions12:45 t hiiani (?ames1:30 I lam e Workshop2:15 Calligraphy andLanguage3:00 ( )mani Stones3:45 Music Workshop4:30 ( )mani GamesOasis Kitchen12:00 All about Halwa12:45 Food from the Oasis1:45 Fruits and Sweets
of ( )man2:30 ( offee, Dates,and I lospitalitytxj 3:30 Id DinnerAdornment Pavilioni5^12:00 Northern ( >maniTraditions of Men's
I Iress12:45 Northern O111.1111traditions of Women's
I )ress??3 1:30 Workshop: Face Masks2:15 < )man Adorned:
I dressing the Home3:00 ' hnan Adorned
( nils to Women.Boys to Men3:45 Workshop: Henna?<? 4:30 I leisures of Trade
6$ indicates American Sign Lanpiaj/iinterpreted program
SMITHSONIAN FOLKLIFE FESTIVAL
Saturday, July 2 (Programs are subject to change)
Nuestra M?sica Evening Concert at y.30 on the Sounds of the Forest Stage
Food Culture USA
Beyond the Melting Potoc 11:00 Douglas Andersonoc 12:00 Ris Lacosteoc 1:00 Suvir Saran2:00 Frank Moralesoc 3:00 Paul Prudhommeoc 4:00 Patrick O'ConnellGarden Kitchen11:00 Maria Gooriah12:00 Steve Herrell1:00 Patrick O'Connell2:00 Hi Soo Shin Hepmst.ill3:00 Carol Reynolds4:00 Gilroy and Sally ChowHome Cooking11:00 Hi Soo Shin Hepinstall12:00 Gilroy and Sally Chow1:00 Ed LaDou2:00 Ak.ish.i Richmond?9 3:00 Food Traditions4:00 Ed LaDouAround the Table11:00 Recipes for a New Land12:00 Passing It On: SustainingTradition?ef 1:00 Sustainability2:00 Global Exchange3:00 Link-, in the Food Chain4:00 Sustainability:Organic StandardsEdible Schoolyard Ramada?cp11:00 Garden Orientation12:00 Food foi Thought:Children's Education1:00 Garden Orientation2:00 The ConversationContinues:Lunch Table Participants3:00 Improving School
I mulles?ej 4:00 A I )ay in the KitchenSlow RoastArgentinean Asado
Forest Service, Culture,and CommunitySounds of the Forest Stage11:00 Chuck Milner12:00 Patrick Michael Karnahan1:00 Keith Bear2:00 Cindy Carpenter3:00 The Fiddlin' Foresters4:00 Rita Cantil?af 5:30 Evening ConcertNuestra M?sica:Music 111 Latino CultureCommunity 111 NewYork and WashingtonCommunity Stage?5^11:00 Threats to the Forest12:00 Cowboy Poetry1:00 Education in the Forests2:00 Fighting Forest Fires??3 3:00 .-1 Lifetime in theWoods:A Love Story4:00 Forest Service Family?cf 5:00 Heritage MattersCamp Foodways11:00 Hutch Oven Delights12:00 Wildcrafters?rj 1:00 < looking in the Field2:00 Hutch Oven Delights3:00 ( looking Catfish4:00 Plants and Dyes5:00 Hutch Oven DelightsFamily Activities Tent
( ingoing events for young peoplethroughout the day, including:
sing-alongs, storytelling, craftdemonstrations, career counseling,and nature awareness programsCheck the schedule board infront of the Family Activitieslent tor daily event information.Interactive ForestOngoing activities throughoutthe day in this forest-likelearning environment. JoinLingers, naturalists, and otherstor guided tours through theInteractive Forest. Check theschedule board outside the Forestlor daily event information.
Oman: Desert,Oasis, and SeaMagan Stage?f11:30 Qurayat Ensemble12:30 Al Majd Ensemble1:30 Suhar Ensemble2:30 Qurayat Ensemble3:30 Al Majd Ensemble4:30 Suhar EnsembleAl Maidan12:00 Omani Games12:45 Omani Stories1:30 Dance Workshop2:15 Omani Games?<3 3:00 Maritime Traditions3:45 Music Workshop4:30 Calligraphy andLanguageOasis Kitchen12:00 Food from the Sea?<J 1:00 Coffee, Hates, andHospitality2:00 Omani I )inner4:00 All about Halwa?<? 4:45 Breads of< (manAdornment Pavilion12:00 Dressing the Home12:45 Workshop:Face Masks (burquas)1:30 Adorning Camelsand Horses2:15 Workshop: Omani Silverand Gold Ornaments3:00 Oman Adorned:Men's Regional Dressin the Oasis3:45 Oman Adorned:Women's Regional I >rcssin the Oasis4:30 Personal Expressionthrough Adornment
?0 indicates American Sign Languageinterpreted program
oc denotes captioned performance
.91
FESTIVAL SCHEDULE
Sunday, July 3 (Programs are subject to change)
Nuestra M?sica Evening Concert at ?:jo on the Sounds of the Forest Stage
Food Culture USA
Beyond the Melting Pot11:00 HiSooShmHepinst.il]12:00 Fabio Trabocchi[92] 1:00 Ed I al >ou2:00 LisaYockelson3:00 Suvir Saran4:00 Gilroy and Sally (howGarden Kitchen11:00 Akasha Richmond12:00 Maria ( looriaht"j 1:00 Paul Prudhomme2:00 Carol Reynolds3:00 Ed LaDou4:00 I larol ReynoldsHome Cooking11:00 Steve Herrell12:00 I isaYockelson1:00 Gilroy and Sally Chow2:00 Hi Soo Shin Hepinstallf=f 3:00 Food Traditions4:00 Maria GooriahAround the Tablef>gp11:00 Traditional Crops in New
Soil: Immigrant Growers12:00 Passing II ( >nSustaining Traditions1:00 Global I ?change2:00 What's In SeasonFarmers Markets3:00 National Markets,Sustainable Foods??<$ 4:00 Local Food, Local EconomyEdible Schoolyard Ramada11:00 ( larden Orientation12:00 Foodfor Thought:Children's Education1:00 (?arden Orientation2:00 The ConversationContinues: Lunch rabieParticipants3:00 Improving School Lunches4:00 A Da) in the Kit< henSlow RoastMike and Ann Mills
Forest Service, Culture,and Community
Sounds of the Forest Stage11:00 Patrick Michael Karnahan12:00 Keith Bear1:00 ( lindy Carpenter2:00 I he Fiddlin' Foresters3:00 ( hnck Milner4:00 Rita Cant?t"j 5:30 Evening ConcertNuestra M?sica:Music in Latino Culture
I he I )ance SceneCommunity Stage?^11:00 Wildlife Encounters12:00 ( attle and Rangelands1:00 Tales from the Woods2:00 Survival of the Fittest
S><3 3:00 I liversity in theForest Service4:00 Inspirations from the Forest5:00 \\c Miien of the ForestServic eCamp Foodways11:00 Dutch Oven Delights?y12:00 Wildcrafters1:00 ( booking in the Field2:00 I hiu h Oven I Jelights3:00 Cooking ( attish4:00 Plants and Dyestjf 5:00 I )utch Oven DelightsFamily Activities Tent
( ingoing events tor young peoplethroughout the day, including:sing-alongs, storytelling, craftdemonstrations, career counseling,and nature awareness programs.Check the schedule hoard infront of the Family Activities tentfor daily event information.
Interactive ForestOngoing activities throughoutthe ?\,\\ in this forest-likelearning environment. |oinrangers, naturalists, and othersfor guided tours through theInteractive Forest. Check theschedule hoard outside the Foresttor dailv event information.
Oman: Desert,Oasts, and SeaMagan Stage?<f\1:30 Al Majd Ensemble12:30 Suhar Ensemble1:30 Qurayat Ensemble2:30 Al Majd Ensemble3:30 Suhar Ensemble4:30 Qurayat EnsembleAl Maidan12:00 I lesert Traditions12:45 Dance Workshop?<? 1:30 Omani Stories2:15 Omani ( lames3:00 Calligraphy andLanguage3:45 Music Workshop4:30 Omani GamesOasis Kitchen12:00 Wedding Celebration2:00 All about Halwa?3 2:45 food from the Desert3:45 Indian Flavors in Oman4:45 Coffee, Dates, and
I lospitalityAdornment Pavilion12:00 < )man Adorned: Women'sAdornment in I )esertCommunities12:45 ' hnan Adorned: Men'sAdornment in 1 )esertCommunities1:30 Workshop: Lace Masks2:15 Home Decor in the Desert.Tent Beautiful3:00 Adorning ( lam?is3:45 Workshop:Omani Embroidery?qf 4:30 Dress. Faith, and Identitym Oman
?^f indiciilei American Sign Languagi?ah rpn tea program
SMITHSONIAN FOLKLIFE FESTIVAL
Monday, July 4 (Programs are subject to change)
Hootenanny at ? o'clock on the Sounds of the Forest Stage
Food Culture USABeyond the Melting Pot4^11:00 Brenda Rhodes Miller12:00 Jose Andr?s1:00 Paul Prudhomme2:00 Food Traditions3:00 Steve Herrell4:00 Ed LaDouGarden Kitchen11:00 Nongkran Daks12:00 Suad Shallal1:00 Carol Reynolds2:00 Gilroy and Sally Chow3:00 Hi Soo Shin Hepmstall4:00 Jose AndresHome Cooking11:00 Gilroy and Sally Chow12:00 Hi Soo Shin Hepinstall1:00 Ed LaDou2:00 Akasha Richmond?<J 3:00 Suad Shallal4:00 Carol ReynoldsAround the Table11:00 Traditional Crops in New
Soil: Immigrant Growers12:00 National Markets andC lowerstgf 1:00 Sustainability:Local Sourcing2:00 / Hversity: Immigrant Cooks3:00 Recipes for a New Land:Immigrant Cooks?zf 4:00 Global ExchangeEdible Schoolyard Ramada11:00 (larden Orientation12:00 Foodfor Thought:Children's Education1:00 Carden Orientation2:00 The < ConversationContinua: Lunch TableParticipants3:00 Improving School Lunches4:00 A Day in the KitchenSlow RoastDinner on the Grounds
Forest Service, Culture,and CommunitySounds of the Forest Stage11:00 Cindy Carpenter12:00 Rita Cant?1:00 Patrick MichaelKarnahan2:00 Chuck Milner3:00 Keith Bear?$ 4:00 The Fiddlin' Foresters5:00 HootenannyCommunity Stage?cf11:00 Heritage Matters12:00 Cowboy Poetrytcj 1:00 Education in the Forests2:00 The Greatest Good3:00 Community Relations4:00 Fighting Forest Fires5:00 Forest Service FamilyCamp Foodways11:00 Dutch Oven Delights12:00 Wildcrafters1:00 Cooking in the Field2:00 Dutch Oven Delights6cj 3:00 Cooking Catfish4:00 Plants and Dyes5:00 Dutch Oven Delights
Family Activities TentOngoing events for young peoplethroughout the day. including:
sing-alongs, storytelling, craftdemonstrations, career counseling,and nature awareness programs.Check the schedule board infront of the Family Activitieslent for daily event information.
Interactive ForestOngoing activities throughoutthe day in this forest-likelearning environment. Join
rangers, naturalists, and othersfor guided tours through theInteractive Forest. Check theschedule board outside the Forestfor daily event information.
Oman: Desert,Oasis, and SeaMagan Stage11:30 Suhar Ensemble12:30 Qurayat Ensemble1:30 Al Majd Ensemble2:30 Suhar Ensemble3:30 Ourayat Ensemble4:30 Al Majd EnsembleAl Maidan?^12:00 Calligraphy .mo\Language12:45 Dance Workshop1:30 C Ilium Games2:15 Omani Stories3:00 Music Workshop3:45 Oasis Traditions4:30 Omani GamesOasis Kitchen12:00 All about Hahra12:45 Food of the Oasist"j 1:45 Spicing in Oman2:30 Coffee. Dates, andHospitality3:30 Ramadan MealAdornment Pavilion12:00 Head Coveringsand Jewelry12:45 Workshop:Fragrance as Adornment1:30 II omen 's Dress:Traditions of the South2:15 Men's Dress:Traditions ot the South?& 3:00 Workshop: Henna3:45 Dressing Ships, Camels,and Horses6% 4:30 Transition to Modernity:Omani Fashion I )esign
*cf indicates American Sign Languagtinterpn ted program
[93
FESTIVAL SCHEDULE
EVENING CONCERTS
Sounds of the Forest Stage
All concerts are sign language interpreted.
>4]
Friday, June 24, 5:30-9 p.m.The Mexican Son
1 os Camperos de
Valles, MexicoSones de M?xico, Chicago
Saturday, June 25, 5:30-9 p.m.Music and Poetry
1 os Camperos de
Valles. MexicoEcos de Borinquen,Puerto Rico
Sunday, June 26, 5:30-7 p.m.[?baro MusicEcos de Borinquen,Puerto Rico
Thursday, June 30, 5:30-9 p.m.Sounds oj ilii' ForestKeith BearRita Cant?Riders in the DirtPatrick Michael KarnahanChuck MilnerThe Fiddlin' ForestersCindy t larpenterShawnee Forest NewCentury Children's Choir
Friday, July 1, 5:30-9 p.m.Ralph RmzlerMemoria] Concert
Beautiful BeyondMark and Nancy Brown(Eastern Band Cherokee)
Comanche Hymn SingersMaria Nauni (Comanche)Vince Redhouse (Navajo)
Saturday, July 2, 5:30-9 p.m.Community in NewYork and II 'ashingtonEl?seo \ su ChanchonaMel?dica Oriental,Washington, D.C.Los Pleneros de la21, New York
Sunday, July 3, 5:30-9 p.m.The Dance SceneLos Lleneros de la21, New York|CJ Band, Washington, D.C
Joel Monroy Martinez of Los Camperos de Valles Patrick Karnahan
SMITHSONIAN FOLKLIFE FESTIVAL
RELATED EVENTS
Food Culture USA
ExhibitionBon App?tit! Julia Child'sKitchen at the SmithsonianOngoingNational Museum ofAmerican HistoryFirst floor west
FilmsSaturday, June 25,to Sunday, July 3National Gallery ofArtMarcel Pagnol's 1930s FannyTrilogy?consisting of Marius,Fanny, and C?sar?presents agentle portrait of the inhabit-
ants of the old Provencal portof Marseilles, including Panisse,the warmhearted widowei andsailmaker (and. by design, thenamesake ofAlice Waters 's famous
restaurant Chez Panisse). Marius
will be shown June 25 at 2 p.m.and [une 2d at 4 p.m. Fanny
will be shown July 2, and C?sai
will be shown July 3. For moreinformation visit www.nga.gov.
Food Culture in the CityContinue your exploration otFood Culture USA throughoutthe nation's capital with spe< 1.1Idinners, events, and talks featuringtop local and visiting dietsalong with growers. For fulldetails, visit www. Washington,org or call (202) 789-7000.
United States Department ofAgriculture Visitor's CenterLocated on the National Mall(Jefferson Drive). Washington, DC.Open Monday-Friday,9 a.m. to 3 p.m.
Forest Service, Culture,and Community
ConcertsThe Kennedy Center'sMillennium Stage will featureconcerts by Festival participantson the following evenings,trom (1 to 7 p.m. Concerts arefree and open to the public.
Saturday, June 25Riders in the DirtAnne Alford[oanna Booser|udv HaiglerGayle Hunt
Monday, June 27The Fiddlin ' Foresters|ane LecheTom McFarlandJim MaxwellLynn Young
Thursday, June 30Nature ami HarmonyShawnee Forest NewCentury Children's ChoirCindy Carpenter
Saturday, July 2Musii of the WestPatrick Michael KarnahanChuck Milner
Sunday, July 3Musk of tlw EarthRita Cant?Keith Bear
FilmJune 24 and July 1, 12 noonJune 25-26 and July 2-4, 2 p.m.Baird AuditoriumNational Museum ofNatural History
The 1 Greatest Good (2005), atwo-hour documentary film,
tells the complete history ot theUS] >A Forest Service throughinterviews, archival footage,and new cinematography.
Forest Service Open HouseLearn more about the USDAForest Service by visiting the
I 1 nest Service InformationCenter inside the Sidney R.Yates Building, 201 14th StreetSW. You can see an animatronicSmokey Bear, explore a 19SOS-
eia ranger cabin, and enjoy
a special display of historicalphotos that highlight life in thenational forests and Grasslands.The Information Center is open8 a.m. to s p.m. weekdays, 9 a.m.to 4 p.m. weekends and holidays.
Forest ServiceUnveiling CeremonyFriday, July 1, 2 p.m.
I he unveiling of a survey markerto commemorate the USDAForest Service's 100th anniversary
will take place on the west sideof the ?amie L.Whitten Building,1400 Independence Avenue SW.
9 5
RELATED EVENTS
RELATED EVENTS
[96]
Nuestra M?sica:Music in Latino Culture
ConcertsThursday, June 23, 7 p.m.Cultural Institute of Mexico2829 16th Street. NWWashington, DC 20009
A free concert features the trio[os Camperos de Valles humCiudad Valles, San Luis Potos?,presenting the Mexican son huastecoLimited space available. For infor-mation tall (202) 728-1628
The Kennedy Center'sMillennium Stage will featureconcerts by Festival participantson the following evenings,from 6 to 7 p.m. Concerts aretree and open to the public.
Sunday, June 26Los ( lamperos de I alies
Friday, July 1Los Plenews de la 21
Oman: Desert, Oasis, and Sea
ExhibitionCaravan Kingdoms:Yemen and the Ancient Incense TradeJune 25-September 18, 2005Arthur M. Sackler ( .aller\Smithsonian Institution
For over a thousand years, from around 800 BCE to 600 Cl , the kingdomsof Qataban, Saba (biblical Sheba), and Himyar grew fabulously wealthyfrom their control over the caravan routes of the southern Arabianpeninsula and. in particular, from the international trade in frankin-
cense and myrrh. Excavations at the capitals ot these ancient kingdomshave yielded spectacular examples of architecture, distinctive stonefunerary sculpture, elaborate inscriptions on stone, bronze, and wood,and sophisticated metalwork. For the first and only tune in NorthAmerica,Yemen's stunning artistic heritage will be examined in a majorinternational exhibition organized by the Arthur M. Sackler Gallery.Drawn from the collections of the Republic ofYemen, the AmericanFoundation for the Study of Man. the British Museum, and DumbartonOaks, this exhibition of approximately 200 objects explores the unique
cultural traditions of these ancient kingdoms. It gives special emphasisto the rich artistic interaction that resulted from overland and mari-time contacts linking the southern Arabian peninsula with the easternMediterranean, northeastern Africa, and south and southwest Asia.
Los Pleneros de la 21 will perform on the Kennedy Center Millennium Stage on Friday, July 1, at 6 p.m.
SMITHSONIAN FOLKLIFE FESTIVAL
FESTIVAL PARTICIPANTS
Food Culture USA
CheeseMelanie Cochran, KeswickCreamery, Newburg, PennsylvaniaMelanie Cochran makes aged,raw milk cheese at KeswickCreamery's no-acre farm in theCumberland Valley. The farm has45 [ersey cows that rotation. illygraze. Keswick produces cheddar,Wallaby, Dragon's Breath, feta,Italian herb feta. feta de Provence,tomato & basil feta, and (season-
ally) Carrock and Calverly.
Allison Hooper,llebsterville, VermontAllison Hooper started theVermont Butter & CheeseCompany with Bob Reesein 1984. She learned artisanal
t heese making as a college
student studying in Francein the late 1970s. Located 111Websterville, their companybuys its goats' and cows' milkfrom a network of local farms.
Rob Kanfelt, NewYork, NewYorkAs owner of Murray's CheeseShop, the famous GreenwichVillage gourmet food store,Rob Kaufelt travels throughoutEurope and America in search ofnew and exotic cheeses. He is .m
active member of the Amerit .111Cheese Society, and his dedica-tion to cheese retail has earnedhim a medal from France'sGuilde des Fromagers.As he says,
"Remember... Cheese Rules!"
Mike Koch, FireFly Farms,
Bittinger, MarylandKoch and his partner Pablopurchased the 130-acre farm 111 [997and have spent the last five years
renovating the property and devel-oping a small dairy business. Koch's
affinity for farming and cheesemaking is hereditary; his paternalgrandfather emigrated to an Iowadairy farm from Switzerland, whereprior generations had been dairyfarmers 111 the Alpine foothills
outside Ch?r.
Cesare Marocchi,Chevy Chase, MarylandCesare Marocchi was born inCastel Forte, Italy, and came tothe United States as an Italiandiplomat. Instead of returning to
Italy, he went into business with afriend and started the Washington
restaurant Vice. Marocchi was oneof the first in the Washington areato make fresh mozzarella from
cheese curd. He owns Marcella'sRestaurant in Chevy Chase.
Maria Moreira,Lancaster, MassachusettsMaria Moreira, whose familyimmigrated to the UnitedStates from Portugal in the1960s, farms and makes cheese.Morena also teaches sustainablepest management to Hmongfarmers as part of a program toprovide land, skills, and accessto markets in Massachusetts.
Wendy ll'icbe, Orange, I 'irginiaWendy Wiebe raises heritagelivestock on her farm in Orange.Working the farm with SuffolkPunch draft horses, she raises pigs.
chickens, turkeys, sheep, cows,
vegetables, fruits, and berries. She
uses milk from her dairy cows tomake cheese, butter, and yogurt.ChocolateEl Ceibo, Rio Beni, BoliviaEl Ceibo became the world's
first small farmers' coopera-tive to manufacture?and, since1986, to export?cocoa products
(powder, butter, chocolate) under
its own management. El Ceibo
was also quick to recognize theimportance of organic farming.As far back as 19X7 it converted alarge part of its cocoa production
operations to organic proce-dures, and in [988 organically
certified cocoa was marketedand exported throughout theworld for the first time.
CoffeeMshikamano Farmers Association,Mbeya Region, TanzaniaMshikamano Coffee Group is
.1 cooperative of approximately300 farmers in five villagesin the southern highlands ofsouthwestern Tanzania, nearZambia. Founded in 1995 byDavid Robinson, m partner-
ship with rural farming families,Mshikamano provides coffee toSweet Unity Farms, an inde-pendent brand established byRobinson. Sweet Unity Farmsbegan selling its coffee interna-tionally in [999. Mshikamano
recently received invest-ment capital from the AfricanDevelopment Foundation tofinance the expansion of itsproduction and enhance its inter-
national marketing activities.Cooking DemonstrationsAnn Amernick, Washington, D.C.Ann Amernick is ExecutivePastry Chef and owner of PalenaRestaurant. Before openingPalena, she was assistant pastrychef at the White House andpastry chef at Jean-Louis at theWatergate. She has been nomi-
nated for Outstanding Pastry Chefby the James Beard Society, and
she has been twice named to theTen Best Pastry Chefs in America
list by Chocolatiei Magazine.
[97]
FESTIVAL PARTICIPANTS
D?nalas Anderson,Washington, D.C.Douglas Anderson, ExecutiveChef at Four Seasons I [otel inWashington, D.C . was born inScotland and raised in northern
Illinois Anderson developed his
appreciation tor a rich variety
ot cooking styles while traveling
with, and serving as a cook lor,the U-S. Coast Guard, From ( uba
'' ,s I to Canada, the customs, ingredi-
ents, and history ot the East < )oastinspire and shape his culinary style.
?os? Andr?s, Washington, D.C.lose Andres, whose Washington,D.C, restaurants include ( if?Atl?ntico, (aleo, Zaytinya, andOyamel, is known tor his highlyimaginative Spanish and American
cuisine. Raised m Spain. Andres
still remembers the day bis lathertaught him to treat endueswith respect. Today he lues inWashington, where he usesAmerican ingredients to makethe food be loved as a child
linuny Andruzzi,Staten Island, NewYorkFirefighter fimmy Andruzzi cooksmeals for bis Manhattan tirehousein between calls. Unlike his moth-
er's traditional Italian cooking.Andruzzi's cuisine is more thor-oughly Italian American?baked
meatballs, tor example, instead
of tried Located at 14th Streetand Third Avenue, Andruzzi'stirehouse was one of the firstto arrive at the World TradeCenter on September 11,2001.
Dan Barber,Pocantico Hills, NewYork
I )an Barber grew up farming andcooking tor bis family at theirweekend home in the Berkshire's.After working 111 restaurantsfrom California to Paris, be
returned home to New York toopen Blue Hill and later Blue
Hill at Stone Barns in Pocantico
Hills, which he describes as "aplatform, an exhibit, a classroom.
a conservatory, a laboratory, and
a garden" where an awareness
of the agriculture process "addsto the pleasure of eating.''
Lidia Bastianich,New )oih, New YorkLidia Bastianich is the host ofthe public television series Lidia's
Italian Table and Lidia's ItalianAmerican Kitchen. She is co-ownerof three New York ( it) restau-
rants? Felidia, Becco, and FricoBar?and author ot tour cook-books, most recently Lidia's FamilyTable She was born 111 Pula, Italy,and came to NewYork in [958,
Najmieh Batmanglij,
II ashington, D.C.Raised m Iran, N.i|nnehBatmanglij moved to France 111[979. After authoring a Frenchcookbook, Batmanglij came toAmerica, where she has sincepublished Food of Life, Persian
( booking for ,1 Healthy Kitchen,and I la it oj Pi rsia. Her self-proclaimed goal ts to exposeAmericans to the finer aspects
of Persian food and culture.
Sustiti Belsinger,Brookeville, MarylandSusan Belsinger is a culinary
educator, food writer, photog-
rapher, noted herbalist, and co-author of several award-winningcookbooks Belsinger travelsthroughout the United Statesand (.'a?ada giving lecturesand demonstrations on subjectsincluding herbs, edible flowers,
aromatherapy, and gardening.
lam Bivins, Burlington, I ermontlom Bivins, the former chef
at the Grafton Inn 111 Grafton,Vt., is presently the ExecutiveChef at the Essex Campus ot
the New England CulinaryInstitute 111 Montpelier.Vt. Aproponent ot sustainable agri-
culture, he also enjoys foragingtor wild toods, which he thenincorporates into his cooking.
Anlie Bunyarataphan,Washington, D.C.Auhe Bunyarataphan ownsboth the T.H.A.I. restaurantin Shirlington,Virginia, andBangkok |oe's in the Georgetownneighborhood of Washington.D.C, vi here she also serves as
c bet She otters a modern takeon traditional I hai street food,epitomized in her restaurant's
stainless steel dumpling bar.
Mara C?mara, Washington, D.C.Bom in Cambia. C?mara came toWashington. D.C, in [996, andwas a babysitter tor three childrenAt home in Baijd, she alwayshelped her mother cook. C?mara
is the designated cook withinthe ( lamb?an community torweddings, gatherings, and birthdayparties m the Washington area
Gilroy ami Sally ('lion;
< .7,11 ksdale, MississippiGilro) and Sally Chow live 111Mississippi, where their cookingtuses Chinese and MississippiDelta traditions. Both descendants
ot 19th-century immigrants fromChina to the Delta, they meetonce a week with family members.A teat her by profession, Sally
also has a cake-making business.
Nongkran Daks, Chaniilly, I 'irginiaNongkran 1 )aks is the Executive
I 'het and owner ot Thai Basil
restaurant, located in Chantilly,
as well as the author ot AsianNoodles anil Snaths and Healthy
I lei: and Sin -It y Dishes She hastaught Thai, Vietnamese, andChinese cooking in Bangkok,Beijing, Honolulu, Vientiane,
I aos. and now Virginia.
SMITHSONIAN FOLKLIFE FESTIVAL
Roberto Donna, Washington, D.C.Roberto Donna's mission is thepromotion of authentic Italian
cuisine. An award-winning chefand restaurateur in Washington,D.C., he introduced others tothe real flavors of Italy, whichhe provides in his restaurants,including Galileo. Laboratoriodel Galileo, and Osteria delGalileo. Donna was born in thePiedmont region of Italy, and
arrived in Washington at age iy.
Mark Federman,New York, New YorkMark Federman is the ownerof Russ ?\ Daughters on NewYork's Lower East Side. Russ &Daughters is among the oldest andmost renowned smoked fish storesin Nev/York City. Federman was
a lawyer in the Brooklyn DistrictAttorney's Office before becomingthe third generation of his familyto supply New Yorkers with caviar,smoked tish, and their cherishedlox, bagels, and cream cheese.
Mark Furstenberg,Washington, D.C.Mark Furstenberg is a busi-nessman-baker who broughtgood, high-quality breads toWashington, D.C. The founderof Marvelous Market and BreadLine, he also teaches breadmaking, writes about bread, and
consults with bakeries throughoutthe United States, including therenowned French Laundry inCalifornia. Before making a careerof his lifelong baking hobby, heworked as a journalist, an admin-istrator for the Boston PoliceDepartment, and a consultant.
Maria Gooriali,Alexandria, I 'irginiaO? Irish, English, and Indiandescent, Gooriah was born on theisland of Mauritius, off the coast
ot East Africa. Before coming tothe United States in 1970, shestudied 111 England. After working
is ,1 private cook tor families, she
is now a greeter for visitors atWashington National Airport. Thedesignated cook for all events inthe Mauritius community, this
is the first time that Gooriah
will cook for the Festival.
Todd Gray, Washington, D.C.A native of Fredericksburg,Virginia, Todd Gray is chefand co-owner of Equinox inWashington, D.C!. After serving 111the kitchens of Roberto Donna,Jean-Louis Palladin, and RobertGreault, he opened Equinox,which serves Certified Humane
meats, sustainably fished seafood,and locally sourced organic
vegetables. He has also designed
.1 menu for the SalamanderInn and Spa m Middleburg,Va.. reflecting the flavors of theVirginia Piedmont region.
Carole Greenwood,Washington, D.C.Carole Greenwood offers upsimple American cuisine ather most recent restaurant,Buck's Fishing and Camping inWashington, D.C. Greenwoodearned a reputation for her
straightforward cooking andno-nonsense attitude at her
earlier restaurant. Greenwood.
Hi Soo Sliin Hepinstall,Silver Spring, MarylandHi Soo Shin Hepinstall is theauthor ot Growing I 'p in a KoreanKitchen, a cookbook and child-
hood memoir that brings thefull richness of Korean cuisineto an American audience. After
receiving a degree in Englishfrom Ewha Women's Universityin Seoul, Korea. Hepinstall
spent 35 years traveling theworld. She is also the author oi
a best-selling Korean novel.
Steve Hcrreli,Northampton, MassachusettsSteve Herrell is the founder ofHerrell's Ice Cream, a chain of
"super-premium" ice cream
stores in Mass. that began 1111980. Herrell claims that his
original store, Steve's Ice Cream,pioneered the technique ofgrinding up name-brand candyand mixing it with traditionalflavors. Herrell grew up inWashington, D.C, where he madeice cream by hand in his backyard,following his father's recipes.
Melissa Kelly, Rockland, MaineMelissa Kelly is the ExecutiveChef of Primo Restaurant inRockland. Maine, as well .ischef of Primo Restaurants inTucson and Orlando for theMarriott Corporation. Her
culinary career began in herItalian grandmother's kitchen
111 Long Island and continuedwith stints at An American Placeand Alice Waters 's Chez Panisse,where Kelly perfected her style:
"simplicity, seasonality, freshness."
Ris L?eoste, Washington, D.C.Ris Lacoste, the Executive Chefof 1 7.S1J m Washington. D.C,gained experience working inParis and is now considered oneofWashmgton's premiere chefs.Her restaurant uses seasonaland regional ingredients to
create simple, timeless cuisine.
[99]
FESTIVAL PARTICIPANTS
Ed Li?Dmi, Studio City, CaliforniaEd LaDou, known as the inventor
of California Pizza, helped
create an entirely new style in1975 by adding .111 exotic array
of toppings including scallops,fish roc, and zucchini flowersto traditional dough-and-saucepizzas. In n;S7, LaDou usedmoney earned from consulting
with California Pizza Kitchens100] to open his o\\ n restaurant, theCaioti Pizza Caf? in Studio City.
Etneril Lagasse,New Orleans, LouisianaBorn and raised in the Portuguesecommunity of Fall River.Massachusetts. I agasse openedIns first 1cst.1u1.1nt 111 1990. He
is now the chef-proprietor of
nine restaurants?three 111 NewOrleans, two 111 Las Vegas, twom Orlando, one in Atlanta, .\\\done in Miami. He is the host ofboth The Essence oj Emeril and
/ 'merit Live television shows andauthor of eight cookbooks.
( besare Lanjranconi,Washington, D.C.Cesare 1 anfranconi began his
career at age is by helping hisgrandmother prepare food forher restaurant in the Lake Comoregion of Italy Alter working at anumber of well-known restaurantsin Italy and England, Lanfranconicame to the United States andworked with Roberto Donna,because he believed it would bemore conducive to his creativeapproach to Italian cuisme. He
is now the Executive Chef atTosca m Washington. 1 ).C
Francis Layrle, Washington, D.C.As the chef at the French Embassyin Washington, D.C, Francis I ayrle
is the i ulinary representative of hisCountry. In his 27 wars in America.he has been influenced by nouvelle
cuisine and the American culi-
11 .11 \ revolution, but he continues
to cook classic French dishes forthe ambassador's table with freshherbs and other ingredients. Hehas prepared over iso,000 meals aspersonal chef to French ambassadorsand their guests, and the Frenchgovernment has honored him withthe Ordre National du Mente
Sheila Lukins, New York, New YorkSheila Lukins, chef, cookingteacher, and tood writer, is alsothe co-founder ot the Silver Pilate
111 New York City.The SilverPalate started out as a tiny shop onColumbus Avenue where Sheila andher partner Julie Rossi produced
a line ot cooking products andthen the best-selling Silvei PalateCookbook. Since then Sheila has
written lour other cookbooks and
is Lood Editor ot Parade Magazine.
Karen MacNeil,Sopo I alley, CaliforniaWine expert Karen MacNeil is the2004 winner ot the OutstandingWine and Spirits Professional awardfrom the James Beard FoundationShe is the author of the award-winning TheWine Bible and host
of the television show. Wine, lood
i- Friends, with Karen MacNeil.
Brenda Rhodes Milla,Silver Spring, MarylandPrenda Rhodes Miller, the director
ot the DC Campaign to Preventleen Pregnancy, is the wife ot ,1
minister. An avid home cook, she
is author ot The Church Ladies
'
Celestial Suppers and SensibleAdvice andThc Church Lady'sDivine Desserts, both of which
celebrate the lives and looking
ot America's church ladles
Nahid Mohamad!, Washington, DC.Nahid Mohamadi came to theUnited States from lehcran 111 [968
as .1 young bride with her husbandMohamed, who was a medical
student. In the United States,she studied interior design and
architecture. In the evening shelearned to cook Iranian toodfrom her mother's letters. Farfrom home, she kept trying the
recipes until they worked.
Frank Morales, Washington, D.C.Frank Morales graduated from theCulinary Institute of America in[995, then went on to hone Ins
skills at a number of New York'sfinest restaurants, including UnionPacific and Le Cirque. In 2003 he
started his own restaur.int. Zola,in Washington, 1 >.( '.., immedi-
ately receiving high praise tot his
straightforward American cuisine.
Diana My Iran. Washington, D.C.After coining to America fromVietnam in 1975, Diana M5 Fran
first gamed renown as a successful
I >.C. dressmaker and designer. InThe I ietnamese Cookbook, 'Fran
offers simplified versions ot tradi-tional Vietnamese dishes that canbe made with ingredients avail-
able at American supermarkets.
Patrick O'Connell, Washington, D.C.Lor the past two decades Patrick
( )'( onnell has been the chef at theInn at Little Washington, w Inch the
I ravel Channel ranked as one of theWorld's Best Millionaire Hangouts.
I lis work there has inspired suchcookbooks as The Inn ,11 LittleWashington Cookbook and PatrickO'Connell's Refined American Cuisine
Kaz Okochi, Washington, D.C.Born and raised in Nagoya, |apan,Okochi first came to the UnitedSlates 111 1980 lie returned to|ap.m m [983 to attend thcTsujiCulinary Institute, then came toWashington. DC, in [988 to pursuehis career in the United States.After launching a successful line
ot supermarket carry-out sushi atfresh Fields (now Whole Foods),Okochi pursued his dream andopened his own restaurant, KazSushi Bistro, 111 Washington, D.CSMITHSONIAN FOLKLIFE FESTIVAL
Moron Ouattara, Washington, D.C.After coming to the UnitedStates from Ivory Coast to studycomputer science, Morou Ouattaraworked nights as a dishwasher in
a Washington. D.C, restaurant.Starting from the bottom, heworked his way up to become chef
at the D.C. restaurant Signatures.
as well as a cook for the nation-wide Head Start Program.
Charlie Palmer, Washington, D.C.Charlie Palmer has received
critical acclaim for his signature
"Progressive American" cuisine,
a style that reinterprets classicEuropean cooking using American
artisanal products and small farmproducers. Palmer is chef-owner
ot many restaurants, includingAureole and Charlie Palmer's SteakHouse in Washington. D.C. He isthe author of Gnat Ameritan Food,Charlie Palmer's Casual Cooking, andThe Art ofAureole. Palmer was bornand raised in upstate New York,and currently lives in Manhattan
with his wife and tour sons
Charles Phan,San Francisco, CaliforniaCharles Phan is the chef and ownerof San Francisco's Slanted Door,an Asian-American restaurantthat mixes simple Vietnamesedishes with European wines anddesserts. After Ins family fledVietnam by boat in 1977. Phanworked as a busboy and studied
architecture at Berkeley beforeopening the Slanted Poor in 1994.
Jo/111 Phillips, New York, New YorkJohn Phillips, an architect whoworked as a city planner for theCity of New York, is a "passionateamateur home cook." A co-founderof the Ninth Avenue InternationalFestival 111 Manhattan, he has
always loved testing recipes, readingcookbooks, and is the designatedcook at all office functions and
parties with friends. Now retired,Phillips divides his time between
selling real estate and cooking.
Nora Pouillon, Washington, D.C.Chef and owner of RestaurantNora and Asia Nora, Nora Pouillonwas .1 pioneer 111 introducing
organic dining to the Washington
area over 22 years ago. In April1999, Restaurant Nora became thefirst certified organic restaurantin the nation. She is the authorof Cooking with Nora, a seasonalcookbook teaturing organicmenus for the home cook.
Pan! Prudhomme,New Orleans, LouisianaPaul Prudhomme won instant
recognition when he openedK-Paul's Louisiana Kitchen in1979 with his late wife K. Sincethen, he has lectured interna-tionally, authored eight cook-books, created Magic SeasoningBlends? his own line of spices and
sauces?and appeared on count-less television and radio shows
Steven Raiehlen,Coconut Grove, FloridaSteven Raiehlen is an award-winning author, journalist, cookingteacher, and TV host. His best-
selling Barbecue Bible cookbook isone of his 25 published cookbooksIn 2003, his TV show. Barb?ate
( 'niversity with Steven Raiehlen,debuted on public television,
Carol Reynolds,Greensboro Bend, I ertnontCarol Reynolds is not only ateacher but also a gitted homecook. The wife of a tanner.Reynolds uses the syrup thather husband harvests fromlocal trees to create a variety
of innovative dishes, such as a
version of anadama bread that
uses grade 13, dark amber maple
syrup 111 place of molasses
Michel Richard, Washington, D.C.Michel Richard was born inFrance, apprenticed as a baker.and moved to America in [974After opening many sui 1 essful
restaurants on the West Coast,Richard opened Citronelle in theLatham Hotel Georgetown inWashington, D.C, in 1994 In early1998, Richard moved from LosAngeles to Washington, DC, tocook full time at Citronelle. He
is the author of Michel Richard'sHome Cooking with a French Accent.
Akasha Richmond,Los Angeles, CaliforniaAkasha Richmond is a health food
caterer for such Hollywood stars
as Pierce Brosnan and Billy BobThornton. She is also a healthfood consultant and author of TheArt ofTqfu, as well as the soon-to-be-published Healthy Hollywood.
Snvir Saran, New York, NewYorkWhen Suvir Saran came from NewDelhi to NewYork 111 1993, he wasdrawn not by his love of cookingbut his love of art. After working
at both the Metropolitan Museumof Art and Bergdorf Goodman inManhattan, Saran began teachingcooking at NYU and running a
small catering business. I he businesswas so successful that in 1997. Saranwas asked to cook the first Indianmeal ever served at Carnegie Hall.
David Scribner, Washington, D.C.David Scribner is the chef atSmith Point, a restaurant in theGeorgetown neighborhood ofWashington. D.C, that takes itsname and culinary inspiration fromNantucket Island. Before openingSmith Point. Scribner was theExecutive Chef at Felix in DCsAdams Morgan neighborhood; laterhe worked with D.C'. chef CaroleGreenwood, who taught him howto use fresh, seasonal ingredientsto let food speak for itselt.
[ 1 o 1
FESTIVAL PARTICIPANTS
,02 I
Sudhir Seth, Bethesda, MarylandA graduate of Hotel Managementfrom Delhi, India. Seth worked
as a chef in India and thenwas commissioned to openBukhara in New York City andin Chicago. He served as execu-tive chef at the Bombay ( Hub inWashington. D.C., and thenopened Heritage India DC He
is now owner and chef at Passageto India in Bethesda, Maryland.
Anthony and Joint Uglesich,Nat' Orleans, LouisianaAnthony Uglesich, a CroatianAmerican, owns the New Orleansinstitution Uglesich's Restaurant-open since 1924?which serves
cuisine made with local produceand hand-ground spices Uglesichhas appeared on TV with Enieril
I agasse and Martha StewartHis son |ohn is author of
/ glesich's Restaurant Cookbook.
Lisa Yockelson, Washington, D.C.Lisa Yockelson is a baking journalist
with a concentration in both classicand contemporary American andEuropean regional specialties. Hermost recent work. Baking by Flavor,
is a comprehensive technique- and
recipe-oriented cookbook based011 more than a decade of researchin exploring and developing flavorm baked goods. Yockelson is theauthor of 1 i baking cookbooks.
Suad Shallal, Washington, D.C.When Suad Shallal came fromIraq to Falls Church. Virginia. 111[966, she telt as it she had landedon another planet. She spoke noEnglish, didn't drive, and onlylooked Iraqi food hulas. Shallal
continues to cook Iraqi food athome, while her sons run Minn'sAmerican Bistro and the I unadrill, both of which serve MiddleEastern food made from locallygrown, organic ingredients.
Million Spear, Fox, ArkansasA native of California, MarionSpear moved to Arkansas, where
she is a musician, herbalist, andcook at the Ozark folk Centerin Mountain View. She alsobrews beer and grows |apanese
vegetables in her backyardgarden to season her"top-of-the-stove," scratch cooking
Fabio Trabocchi, McLean, Virginialabio Erabocchi, a native ot Italy'sMarche Region, moved to theWashington. D.C .area to openMaestro at The Ritz-l arlton,Ivsons Corner, in McLean in April2001 . Atter three years ot operation.Maestro has acquired the covetedAAA Five Diamond Award
Herman I argas,New }'ork. New YorkA native ot the DominicanRepublic, where he was raisedon a farm,Vargas came to theUnited States when he was 14and worked at Russ <.\ Daughtersput tune. While there hebecame attached to the family
values ot this family-owned
appetizing store He has workedthere ever since, even speakingYiddish with a Spanish accent.
Robert Weland, Washington, DC.Robert Weland recently came toWashington from Manhattan's
( uastavuio's. taking over as head
i hef at I'oste Weland is a firmbeliever that naturally raised foodtastes better Weland came toWashington with his wife, whoworks tor the Secretary ot StateAt I'oste he brings tree-rangechickens from Ainish country
mic\ wild salmon from Alaska
/,1111's Wilder, Tuscon, Arizona|anos Wilder runs both |anosand I Bar in Tucson. A native otPalo Alto, 1 California, he believes
111 the marriage ot French andSouthwestern cuisine. Wilder, whopartners Ins restaurant with Ins
wife Rebecca, specializes 111 servingdishes made from the crops thePima and Maricopa Indians havebeen growing 111 the area tor sears
Eric Ziebold, Washington, D.C.Eric Ziebold. a native of Iowa and
a 1004 graduate ot the CulinaryInstitute ot America, is chef at ( its/en After beginning his career atWashington's Vidalia, he worked
at Wolfgang Puck's Spago in LosAngeles and I liornas Keller's TheFrench Laundry. He was namedone ot Food &Wine Magazine'sBest New ( bets 111 200s.
DairyHorizon Organic, Boulder, ColoradoHorizon ( Jrganic began selling
organic yogurt in 1992. A yearlater, the company began selling
organic milk. Horizon now ownstwo dairy farms, one in Idaho andone in Maryland. Approximatelytwo-thirds ot its milk comesfrom family and independent
certified-organic dairy tanners
across the United States,The Edible SchoolyardChelsea Chapman,Berkeley, California
l Chelsea ( Chapman is Program
( Coordinator at I he EdibleSchoolyard in Berkeley. Raisedin Alaska, she graduated with aB.A. 111 anthropology from Reed
( College. Atter working at AliceWaters's Caf? Fanny, she movedto I he Edible Schoolyard, where
she handles administrative dutiesand teaches an after-schoolcooking class in the spring.
SMITHSONIAN FOLKLIFE FESTIVAL
Eliot Coleman, Harborside, MaineEliot Coleman is co-owner,with Barbara Damrosch, of FourSeason Farm. He is author of TheNew Organic Croan, Four SeasonHarvest, and the Winter Harvest
.Manual. He served for two years
as the Executive Director ot theInternational Federation of OrganicAgriculture Movements and wasan advisor to the U.S. Departmentof Agriculture on the Report andRecommendations on Organic Farming.
Ann Cooper,East Hampton, New YorkAnne Cooper works to transform
cafeterias into culinary class-rooms tor students?one schoollunch at a time. A graduate of theCulinary Institute of America,she was Executive Chef at thePutney Inn inVermont. Shenow works as a consultant forschools that seek to transformtheir school lunch programs.
Barbara Damrosch,Harborside, MaineBarbara Damrosch is co-owner,with Eliot Coleman, of Four SeasonFarm. She is the author of TlieGarden Primer, Theme Gardens, andthe Page-A-Day Gardener's Calendar,which has been published everyyear since 1992. In addition towriting and consulting extensively,
she appeared as a correspondenton the PBS series The VictoryGarden and was co-host, with herhusband Eliot Coleman, ot tin-television series Gardening Naturally.
Benjamin Goff, Berkeley, CaliforniaBenjamin Goff is the Program
( Coordinator for the LeConteElementary School Farm andGarden in Berkeley. Over thepast five years he has developed
a garden-based nutrition/healthylifestyles curriculum for gradesK-5. He previously worked tortheWillard Greening Project
as an Americorp member andgraduated from the EvergreenState College, where he studied
sustainable agriculture.
Marsha Guerrero,Berkeley, CaliforniaMarsha Guerrero is Director otthe School Lunch Initiative atThe Edible Schoolyard. A nativeof northern California, she hasworked with Sally Schmitt andfor the Metropol Bakery inEugene, Oregon. She has alsomanaged such restaurants as Prego,MacArthur Park, and Guaymas.
Jenny Guillaume, Washington, D.C.Jenny Guillaume has been theProgram Coordinator tor theWashington Youth Garden atthe U.S. National Arboretum
since the fall of 2003. Prior tomoving to DO, she graduatedfrom Bates College and was theGarden Coordinator tor HilltopCommunity Garden in Lewiston.Mame. As for her favorite vegetable,
it's okra and she likes it tried,true to her Southern roots.
Davia Nelson and Nikki Silva,San Francisco, CaliforniaKnown as The Kitchen Sisters,Davia Nelson and Nikki Silva havebeen producing radio programstogether since 1979. They are the
creators (with Jay Allison) ot the[999 Peabody Award-winning
series "Lost & Found Sound." the2002 Peabody Award-winning
series "The Sonic MemorialProject," and "Hidden Kitchens,"which aired on National PublicRadio during the Fall of 2004.
Kimberly Rush, Washington, D.C.Kimberly Rush has been involvedwith the WashingtonYouth Garden
at the U.S. National Arboretumfor over five years and has directedthe program for the last three.Previously, she was the AssistantDirector for Garden Harvest, afarm m Baltimore that donatesorganic produce to emergencyfood agencies. She graduated from
St. Mary's College of Maryland
111 1998 with a B.A. 111 biology.
Kelsey Siegel, Berkeley, CaliforniaKelsev Siegel received a bachelor'sdegree in environmental studies,with an emphasis on sustainable
agriculture, from Oberlin College.He has worked as a teacher and aprofessional chef; these combinedinterests led him to serve as anAmencorps member in The EdibleSchoolyard garden during the[998-99 school year. His abilities
as a teacher, mentor, and gardenerhave led to his current position
as Garden Teacher and Manager.
Josh I 'iertel,New Haven, Connecticut[osh Vierte! is Associate Director otthe Yale Sustainable Food Project.His interest in fresh produceand sustainable growing began
as an undergraduate at HarvardUniversity, where he convincedthe school to allow him to plantcrops in the Biology greenhouses.At Yale, he works to sourcelocally grown, seasonal producefor the university's dining halls.
Alice Waters, Berkeley, CaliforniaIn 1971 Alice Waters, a kindergartenteacher, opened Chez Panisse 111Berkeley, serving a single tixed-price menu that changed daily. In
io')''. she created the Chez PanisseFoundation to help underwrite
cultural and educational programs
sui h as The Edible Schoolyard thatdemonstrate the transformativepower ot growing, cooking, andsharing food. Waters is author andco-author of eight books, includingFanny al Che: Panisse, a storybookand cookbook tor children.
Food Safety and QualityThe United States Department
ofAgriculture (USDA)Guest Services, Inc.National Restaurant AssociationRestaurant Association ofMetropolitan Washington
District of ColumbiaDepartment of Health
I 10;
FESTIVAL PARTICIPANTS
HoneyBeehive Beeproducts,New York, New YorkBy promoting the work of arti-
s.m.il beekeepers (specificallyharvesting varietal honeys), it isBeehive's hope that honey willtake its place as the unusual.complex food that it is. Everyhoney is as unique as its floral
source? it can be compared toI0 4J wine, tea, and eottee m its varietyand complexity. As both distinc-tion and quality are becoming a
rarity in our culture, Beehive'sgoal is to make high-quality, vari-
etal honeys more readily avail-
able to consumers everywhere.
Narrative SessionsBruce Aidell,Situ Francisco, CaliforniaKnown to many as The SausageKing, Bruce Aidell foundedBruce Aidell's Sausage Companyin [983 after working as a
chef at the Berkeley restaurantPoulet. Aidell is the author
1 if 1 Dumber of t ookbooksincluding Bruce Aidell's CompleteSausage Hook and Bruce Aidell'sComplete Book of Pork:A Guide
10 Buying, Storing, and Cookingthe World's Favorite Moot
Michael and Ariane Batterberry,New York, .Veir YorkMichael and Ariane Batterberryir founders of two of the
nation's most prominent food
magazines, Food Arts andFood I- 1 1 'ine. They are alsoauthors of a host of booksincluding Mirror, Minor andFashion:Thc Mirror oj History.
Ann Brody, Washington, D.C.Ann Brody is executive directorof the Jean-Louis PalladinFoundation, an organization thathonors the spirit of its namesakeby identifying talented young
chefs and funding internshipsto further their education.
Steve Danos, Boulder, ColoradoIn 1977 Steve Pernos foundedWhite Wave, which has sincegrown to be a nationwide soylood phenomenon. Demos cameup with the idea of founding a
ti 'In company during an eight-week meditation retreat heattended in California followingthree years of travel 111 Indiaand the East. White Wave is bestknown tor Silk Soymilk, the
nation's best-selling soy beverage
Store Jenkins, NewYork, New YorkAuthor of the The Cheese Primeand member of France's eliteGuilde de St. Uguzon, Steve|enkins has been describedIn the Vcir Yoik 1 imes as both
"the enfant terrible of thefancy food business" and "theeminence grise of America
( heese Mongers." [bdayJenkins is the cheese expert atNew York's Fairway Market
Judith Jones, New York, NewYorkludith |ones is Senior Editormil Vice-President at Alfred AKnopf, Inc. In her time there, shehas not only edited translations ofSartre and Camus, but also devel-oped a list of first-rate cookbook
writers such as [ulia Child andlames Beard. She created theiS-book KnopJ Cooks American
series and co-authored threebooks with her late husband,including The Book oj Broad andKnead It. Punch It. Bake It'
Erika Lesser, NewYork, NewYorkEnka Lesser earned an M.A.in Food Studies from NewYork University, then took ,\\iinternship with Slow FoodUSA, and has been with SlowFood ever since. She spent ayear living in lira. Italy, where
she worked for the newUniversity of GastronomicSciences. Returning to NewYork, she became ExecutiveDirector of Slow Food LISA
Bill Niman,Marin County, California
Bill Niman began farming inCalifornia during the 1960s. Nowhis farm has expanded into NimanRanch, one of the best-knownproducers of gourmet meats in
restaurants across the country.There are a tew simple funda-
mentals that Bill Niman lives by:humane treatment of the animals,
natural feed, no growth hormones
or therapeutic antibiotics, and a
sense of stewardship that valuesthe land as a sustainable resource.
Cus Schumacher, Washington, D.C.Raised in a Massachussettsfarm family. Cms Schumacherwent on to become the UnderSecretary tor farm and ForeignAgricultural Services at the U.S.Department ol Agriculture. In this
capacity he was responsible forthe USDA's domestic commodi-
ties policy and its internationaltrade and development programs.
Howard Shapiro,San Juan Pueblo, New MexicoIn 1989, Howard Shapiro wasone of the founding membersof Seeds of Change, a groupdedicated to preserving biodi-
versity and promoting sustain-
able, organic agriculture. He is
also the co-author ol Gardening
foi the Finnic of tin Earth
SMITHSONIAN FOLkLIFE FESTIVAL
Slow RoastMike Mills andAmy Mills TuniclijfiMike Milk is .1 champion pitmasterwith six barbecue restaurants insouthern Illinois and Las Vegas.He became the only three-timeGrand World Champion pitmaster
at Memphis in May. He is also apartner m Blue Smoke restaurantm New York City. Amy MillsTunicliffe is a writer and co-author with her father, Mike,
of Peace, ?.on', and Barbecue.
El Patio, Rockville, MarylandOpened in 2001, El Patio ottershomemade Argentinean cuisine.
1 he family-owned caf? also
specializes in hosting asados,
or festive masts. During the
asado, a cow will be barbecuedthroughout the day while guestsenjoy sharing .1 male (a hot teamade from the leaves and shoots
ot Ilex paraguensis), playing truco(a traditional card game), andlistening to Argentinean tolk music
Jim Tabb, Tryon, North CarolinaFounder of the Blue RidgeBarbecue Festival and acclaimedbarbecue cook, Jim Tabb hastraveled around the world as
a barbecue judge and cookHe is the organizer of theNorth Carolina State BarbecueChampionship held m Tryon.
SoyWhile Wave, Boulder, ColoradoWhite Wave was founded in 1977by Steve Demos after he returnedfrom an inspiring trip travelingthrough India and other parts
ot Asia tor three years. From its
earliest days, ?hen Demos madetofu in a bucket and delivered itto local stores. White Wave hassupplied more than 30 percent otthe U.S. tofu market. The company
also boasts over 40 soy products
?
including soymilk, soy yogurt, totu,tenipeh, and seitan?more thanyo percent of which are certified
organic. Its commitment to sustain-
abihty stretches to its energy policy.All power that is used to produce its
soy products is generated by wind.
Spices
I 'arms Spices, Baltimore, Maryland
"Hands down.Vanns is the best
spice company in the U.S.A.."
says Jesse Sartain, NutritionalDirector of Chefs in Americaand Chairman of the AmericanTasting Institute in San Francisco.California. Founded by Ann Wilderin Baltimore in niNi.Vanns wasthe product of a frustrated hobbycook who loved Indian cuisinebut could not readily find thehigh-quality spice blend neededto make tandoon. So, she created
it. In the process, she discoveredthe best spice growers 111 the worldand developed a thriving business.
TeaHonest Tea, Bethesda, MarylandHonest lea was founded in 1997 bySeth Goldman and Barry Nalebuff,one ot Goldman's business schoolprofessors. Honest Tea has applied
its passion for social responsibilityto initiatives in the environ-ment and to creating partnershipswith the growers, cultures, andcommunities behind the teas.
Tools of the TradeCulinary Historians ofWashington, D.C.Culinary Historians ofWashington,D.C. was founded 111 [996 forthe study ot foodstuffs, cuisines,and culinary customs from allparts of the world. Membership
is open to scholars, cooks, food
writers, nutritionists, collectors,
students, and anyone interested
111 learning about foodways.
Slow Food USASlow Food USA is an educa-tional organization dedicated topromoting stewardship of theland and ecologically sound foodproduction; reviving the kitchenand the table as the centers of plea-
sure, culture, and community; invig-
orating and proliferating regional,
seasonal culinary traditions; creating
a collaborative, ecologically
oriented, and virtuous globaliza-tion; ,\\ic\ living a slower and moreharmonious rhythm ot lite.
Tradition and AdaptationErika Allen, Chicago, IllinoisErika Allen is Projects Managerfor Growing Power. Will Aliensdaughter, she has a small farm
agricultural background and
experience. She spent her forma-tive years involved m all aspectsof farm management from trans-planting seedlings to managingfarm stands and farmers markets
Hill Allen, Milwaukee, WisconsinWill Allen is the Director ofGrowing Power, a national not-for-profit organization supportingthe development of communityfood systems. Allen, a Wisconsintanner and community foodsystems educator and trainer, isdedicated to supporting smallfamily farmers and bringing healthy
affordable food to urban areas.
Elizabeth Beggins and Ann Yonkers,Pot Pie Farm, Whitman, MarylandElizabeth Beggms and Ann Yonkersgrow fruits, vegetables, and poultryon this 9-acre organic waterfrontfarm on the Chesapeake Bay
near St. Michaels. Maryland.
A
crusader for farmers markets, Ann
is the president and co-directorof FreshFarin Markets, which
runs six farmers markets 111 theChesapeake Bay area, l'ot Pie Farm
sells seasonal vegetables, garlic,
onions, herbs, and cut flowers at the
St. Michaels FreshFarin Market.
[105]
FESTIVAL PARTICIPANTS
Don Bustos,Espa?ola, New Mexico
I >on Bustos is president ofthe Santa Fe Farmer's MarketInstitute and an active farmer
.is well. On less than tour acres
of Luid, Bustos grows over 20different varieties of peppers. He
also uses innovative solar heatingto get the most from his land,producing crops throughout
1 "'' I New Mexico's mild winters.Bustos lives on his farm with his
wife Blanca, his children Amilioand Anna, and his grandsonAngelo. He writes a monthly
newsletter and lectures widely.
Mote ami Jim Crawford,Hustontown, PennsylvaniaMoie and |im Crawford runNew Morning harm 111 ruralPennsylvania. Jim Crawford beganfarming on rented land over 30years ago, and has today expandedto a 95-acre farm that grows over40 different crops. They havealways marketed their produce inWashington, D.C.,a wonderful
opportunity, the\ saw to not only
sell m a more lucrative market but
also to enjoy the city's cultural life.
Leslie Harper,Cass Lake, MinnesotaLeslie Harper is a Chippewa
wild rice harvester. Her motherJudy Harper, a cook withHead Start, introduced wild
rice into the school lunchprogram. The Harpers live innorthern Minnesota, home ofthe true wild rice, the seed of a
wild grass. For the Chippewa,harvesting wild rice is part
ot the cycle of their year.
John ami Sukey Jamison,Latrobe, PennsylvaniaJohn and Sukey Jamison rusesome of the finest lambs in the
country, at least according tosuch gourmet chefs as Emeril
L agasse and the late JuliaChild. The |amisons came intofarming accidentally, bin nig a
centuries-old farmhouse thatlust happened to come with 65
acres of land. They raised lamb
as a hobby until the late [ean-Louis I'alladin tasted some at aPittsburgh fundraiser and beganrecommending it to his friends.
Nova Kim ami Les Hook,Albany, I ertnontNova Kim and Les Hook are
wildcrafters in the NortheastKingdom ofVermont.They maketheir living selling wild foodsto restaurants throughout upperNew England. Specializing m wildmushrooms, they regularly supply
<"> varieties to their customers,
Tzaxe and Ying Lee,Fresno, CaliforniaTzaxe and Ying Lee farm approxi-
mately 130 acres ol specialty
vegetables and 230 acres otgrapes at ( hcrta Farm in FresnoBoth Hmong immigrants from
t ambodia. they have been 111business tor over 20 years, andnc now the largest Hmonggrowers in the United States
Mike Pappas, Lanham, MarylandSince 1995, Flo Farms has beenproviding fresh, organically grown
vegetables, herbs, and flowers tothe high-end restaurant trade 111the Washington metropolitan area.Eco Farms is rapidly becoming apremier supplier ot fresh, organi-
cally grow n vegetables, herbs.and flowers in the metropolitanWashington area year round!
Harry Records,Exeter, Rhode Island
I Lui\ Records grows authenticRhode Island Hint corn at hisHarry Here farm. He explains, "Icombine the old with the new.huh. ins grew Hint corn, high 111
starch and low in sugar, beforethose three boats ever arrivedin Plymouth. The Indians used
it as barter with the traders."Harry takes painstaking care othis seed stock so that it remains
"pure and retains its distinc-tive flavor, different from anyother corn >>n the market."
Joel Salatin, Swoope, VirginiaJoel Salatin is the acknowledgedexpert in both pastured poultryand multi-species grazing, 111w bu h chickens and cows harmo-
niously share pasture space 111
anticipation of the space the\ willharmoniously share in the stom-
al lis ot satisfied gourmands. He is
als, 1 the author ot, among otherbooks. Pastured Poultry ProfitS andSalad Hiii lieef. Salatin grew up on
a Virginia farm that his father, anaccountant, ran in his spare time.
Teresa Slioiea,Window Rock, ArizonaTeresa Showa is a corn farmerfrom Arizona, where she is aproject coordinator conducting
research to develop a marketing
strategy tor Navajo traditionalcorn She is working with cornpollen, young ears ot kneel-down bread, and neeshjizhi,aform ol dried, steamed cornkernel. I he goal ot the project
is to develop a strategy that
will support growers and the
cultural practices that dependon traditional Navajo corn
Wine
I he wane section ot the FoodCulture I N.I program has been
i oordinated by WmeAinei ica.Ass. u latum of Maryland Wineries,Pennsylvania Wineries Association.New York Wine and GrapeFoundation, Missouri Grapeand Wine Program, NorthCarolina Grape Council, andVirginia Wineries Association
SMITHSONIAN FOLKLIFE FESTIVAL
Forest Service, Culture,and Community
Susan Adams,Oxford, Mississippi; ProtectingForests and Wildlife HabitatsSusan Adams knew from earlychildhood that she wanted to he
a biologist. In 2000, her dreamwas fulfilled when she took ajob as a research fisheries biolo-gist at the Southern ResearchStation, Center for BottomlandHardwood Research. Adams
wades, snorkels, and uses boatsin studying the behavior andecology of tish, crayfish, andamphibians in streams and riversin the Southeast and Montana.
Jante Agyagos,Cormnllc, Arizona; ProtectingForests and Wildlife HabitatsAs a district wildlife biologist,Janie Agyagos is responsible tortracking and protecting over50 rare species including birds,mammals, reptiles, amphibians,invertebrates, fish, and plants.Additionally, she is responsible formanaging the habitat ot variousgame species, building and main-taining wildlife structures, andidentifying and preventing the
spread ot invasive plants. Skills
required in her job include snakehandling, nighttime navigation,kayaking, rappellmg, horseback
riding, and fence building.
Berneice Anderson, Milwaukee,Wisconsin; Law EnforcementBerneice Anderson is PatrolCommander for the ForestService's Eastern Region,which covers 20 states. Sheholds degrees in criminal justiceand sociology, and previously-worked as a Law Enforcement
officer in the Wayne NationalForest (Ohio) and Shawnee
National Forest (Illinois). Shehas also served on the RegionalMulticultural Team as the coor-dinator for the African AmericanSpecial Emphasis Program.
Kimherly Anderson,Milwaukee, Wisconsin; Water,Woods, and MountainsAs Regional PartnershipCoordinator for the ForestService's Eastern Region,Kimberly Anderson works toidentity corporate and nonprofitpartners for Forest Serviceprojects involving tish. wildlife,
recreation, timber, and other
resources. One ofAnderson's
recent accomplishments was
a partnership agreement withthe American Council ofSnowmobile Associations, which
will result in the planting ot 7.S00trees throughout Wisconsin.
John Anhold, Flagstaff Arizona;Camp Foodways/Tree DoctorsWorking as a forest entomolo-
gist, John Anhold travels aroundArizona assessing the state's five
national forests. He is particu-larly concerned with the threatsthat insects, noxious weeds,and invasive species pose to theforests' health and well-being.Anhold's father, a retired ForestService employee, taught his sonsthe art of Dutch oven cooking,which Anhold and his wife LindaWadleigh, also a Forest Serviceemployee, continue to practice.
Matt Amn, New York,New York; Forest LandscapesMatt Aran describes himself asthe luckiest person 111 the world.He is a landscape architect andthe coordinator of the ForestService's Living MemorialsProject in New York City. Thisproject uses the power of treesand green space to bring people
together and create lasting, livingmemorials to the victims ofterrorism and their families.
Phyllis Ashmead, Mi-Wuk Village,California; Interactive ForestPhyllis Ashmead is an interpreter
at the Stanislaus National Forest,and a recipient of the 2004Gifford Pinchot Excellence 111Interpretation and ConservationEducation Award. As an inter-preter, Ashmead aims to instill
respect for heritage and national
resources. Examples ot her proj-
ects include On Fire!, a play aboutthe iyio wildfires that changed
national fire management policy,and a program about NancyKelsey. the first woman to crossthe Sierra Nevada Mountains.
Donna Ashworth, FlagstaffArizona; Fire Lookout TowerDonna Ashworth has spentthe past 21 years working as afire tower lookout at WoodyMountain Fire Lookout in theCoconino National Forest.Over the course of her career.Ashworth has become an expert
at distinguishing forms of smokeand at quickly pinpointingthe location of wildfires. Now
she can easily tell whether adistant plume means trouble
or is just the westbound dieseltram leaving Flagstaff.
Barbara Balen, Hathaway Pines,California; Forest LandscapesBarbara Balen is the districtheritage specialist and interpre-tive program manager on theCalaveras Ranger District inthe Stanislaus National Forest.She works closely with localNative American communitieson the protection, traditional use.and interpretation ot botanicaland archaeological resources
[ 107]
FESTIVAL PARTICIPANTS
Ian Barlow, White Bird,Idaho; Woodlands HeritageA recent recipient of the ForestService Chief's Award, IanBarlow work-, .is .1 wilderness
ranger and animal packer atthe Nez Perce National ForestBarlow is an expert m the use ofmany kinds of traditional tools,including crosscut saws and axesHis familiarity with rigging
I ' ? methods for moving large orheavy objects is invaluable 111
areas of the forest where motor-ized equipment is prohibited
Joy Barney,Pinecrest, California; ProtectingForests ami Wildlife Habitan|oy Barney works as part ot .111interpretive team on the StanislausNational Forest. She especially
enjoys presenting programsabout wildlife and ecosystemsto younger visitors, and makesliberal use ot music and story-telling to get her messages across.Her interactive program topicsinclude the water cycle, tire
cycle, and resource protection
Dan Baiter, Washington,D.C.; Community StagePan Bauer serves as the ( luct
ot the Border Security andPlug Coordination Branch
111 the Office ot the Secretary,Department ot the Interior.Formerly, he served as theforest Service's National I >rugProgram t Coordinator and ActingAssistant Director tor HomelandSecurity. His career with theForest Service began m [976 as
a firefighter in Montana, before
lie slutted to law enforcement
Keith Bear, Drags Wolf
I Wage, North Dakota; Arts &Crafts/Sounds of the ForestKeith Bear is a storyteller, singer,dancer, flute player, and flutemaker from the Mandan-Hidatsatribes of the northwest plains ofNorth Dakota. A self-taught fluteplayer. Bear has been performing
since i<;S(i. Over the past 20years, he has given numerous
concerts and has produced severalalbums. At the Festival. Beardemonstrates the craft ot makingHutes out of red cedar, pine,
spruce, and various hardwoods
Karen Bennett,Philomath, Oregon; ProtectingForests ami Wildlife Habit?isKaren Bennett is the Forest Soilsand Hydrolog) program manager
at the Siuslaw National Forest.She has been recognized nation-
ally and internationally tor her
role in coordinating restorationwork in the Siuslaw River Basin,where efforts to restore habitattor endangered aquatic specieshave been extrem?is successful.Bennett also helped developthe river box. a teaching toolthat simulates a river system10 demonstrate how soils and
water interact with farms, dams,and other human activities.
Jeff Bryden, Moose Pass,Alaska; Law EnforcementSince |ett Bryden was "knee highto a gopher." as he puts it. hehas wanted to work in natural
resource law enforcement. Foday,he is a Lead Law EnforcementOfficer in the Chugach Nationalforest Chosen as Officer of theYear. Bryden modestly attri-butes the credit tor his successto his canine partner. Flash.
a ( Chesapeake Bay Retrieverflash is the first dog employedby the forest Service to detectfish -and -came smugglers.
Angie Bullets, Fredonia,Arizona; Arts & CraftsAngle Bullets serves as theTechnical Service Branch Leaderof the K.ubab Ranger District ofthe K.ubab National Forest. As
a member of the K.ubab Band
of Paiute American Indians.Bullets is honored to manageand care tor her ancestral landsin her professional career. At theFestival, Bullets demonstratesthe making ot cradle boards, one
of the many traditional Paiute
crafts inspired by the natural
resources of the K.ubab plateau.
Rita Cant?, Prescott, Arizona;Sounds of the ForestRita Cant? works with theConservation and the Artsprogram, which uses artists,dancers, writers, musicians,
storytellers, and poets to tell the
story of the growth ot conserva-tion policy 111 the United States.Throughout her career. Cant? has
also maintained a separate business
as a storyteller, songwriter, andperformer. Cant? received theForest Service Southwest Region's
( lutstandmg Interpreter ot theYear Award 111 1097 and 2000.
Cindy Carpenter,Brevard, North Carolina;Sounds of lite ForestNunc [992, Cindy Carpenterhas been the Education andInterpretation Program Manager,
responsible for field trips, publicprograms, and special events,
at the Cradle ot Forestry inAmerica Historic Site, locatedin North Carolina's PisgahNational Forest. She has playedthe guitar for 35 sears and singstraditional music that comesfrom the southern Appalachians
SMITHSONIAN FOLKLIFE FESTIVAL
G.W. Chapman,Alamogordo, New Mexico; FireCamp/Forest Service HistoryG.W. Chapman served tor manyyears as a Forest Service firefighteron the Lincoln National Forest.After a catastrophic wildfire inthe Capit?n Mountains in 1950,Chapman rescued a badly burnedbear cub who soon became oneof America's most recognizable
symbols. After efforts to rein-tegrate the cub into its nativehabitat were unsuccessful, theForest Service chose to augmentthe animated version of SmokeyBear with this living symbol.
Kevin Cooper, Santa Maria,California; Protecting Forestsand Wildlife HabitatsKevin Cooper, a wildlife biolo-gist on the Los Padres NationalForest, comes from a Forest Servicefamily. His father was a woodtechnologist, and his sister is anan haeologist. Cooper special-izes in birds and can mimic 111.11 1\bird calls and owl hoots?skillshe uses to inventory bird popula-tions by calling tor them andlistening tor their responses.
,-liiiiy Coriell, Sandy, Oregon;Law EnforcementAndv Coriell met his wife.Forest Service archaeologistKristen Martine (also a Festivalparticipant), at a conference onthe Archaeological ResourceProtection Act. As a Forest ServiceLaw Enforcement Officer, Coriellhas a particular interest in archaeo-logy al sites because a large partof his job is knowing where these
sites are in order to protect themfrom vandalism and looting.
,4/ Conic//,Sedona, Arizona; Call of the WildAl Cornell is a member of Friends
ot the forest, a volunteer groupdedicated to preserving the RedRock District of the CoconinoNational Forest by building and
repairing trails, cleaning up litter,and patrolling the forest. Cornell's
repertoire ot skills includes exper-
tise 111 fire making, cordage making,tool making, paint making, land
navigation, and survival techniques.
Jim Dcnney, McKenzie Bridge,Oregon; Arts & CraftsJim Denney has worked for theForest Service for decades, first as
a firefighter during summers, now
as a District Facilities Managerof the McKenzie River RangerStation 111 Oregon. Dennev is anaccomplished artist who gathersinspiration from the vivid visualimagery ot the land's transforma-tion at the hands ot humankindover the past several decades.
Tim Eldridge, Missoula,Montana; Smokejumper BaseUntil a knee injury ended his
active jumping career,TimEldridge served the Forest Service
.is a smokejumper at the Missoulabase. Eldridge now manages theSmokejumper Visitor Center,which receives approximately20,000 visitors each summer.In addition to arranging toursfor schools, tour groups, andCongressional and foreign delega-tions, Eldridge is also responsibletor the Center's displays, exhibits,and commercial operations.
Kelly Esterbrook,Bend, Oregon; Smokejumper BaseIn [980, Kelly Esterbrook \\.isone ot the first six women linedto the Prospect Ranger District'shotshot crew?a group of highly
skilled firefighters who tackle
tough wildfires. In [986, shebecame a smokejumper and forten years enjoyed the camaraderieand adventure ot parachutingout ot airplanes to fight wildfires.After retiring from smokejumping,Esterbrook began working inthe Willamette National Forest's
tire management office.
The Fiddlin' Foresters;Sounds of the ForestThe Fiddhn' Foresters are the
"official old-time string band of theUSDA Forest Service." Consisting
ni I oresl Sen 11 e employee , fromthe Rocky Mountain Region, thegroup has been playing together
since 1994. The Foresters dress 111
vintage 1907 uniforms, and singabout the importance of resource
* onservation and public land
stewardship. Their programs featuretraditional songs from the southernAppalachians and the AmericanWest. The Fiddlin' Foresters haveplayed at events such as the 2002Olympic Games and the NationalWestern Stock Show. The group
recently received the Forest ServiceChiefs Award for its interpretive
musical program. Its membersinclude lane Leche (guitar),TomMcFarland (guitar),Jim Maxwell(banjo), and Lynn Young (fiddle).
Bill Glass, Wilmington,
Illinois; Forest Landscapes
Bill Glass is an ecologist at thenew Midewin National TallgrassPrairie. The tallgrass prairie is oneof the rarest natural ecosystemsin the United States, and hometo several nationally endangeredplants. The challenge ot restoringthe Prairie to its original condi-tion is difficult because the localecosystem has been drastically
altered, fust by pioneers whoconverted the native prairie tofarmland, and later by the presenceof a U.S. Army munitions plant.
[109]
FESTIVAL PARTICIPANTS
Gordon Grant,Corvallis, Oregon; ProtectingForests and Wildlife HabitatsGordon Gout has always beeninterested m how rivers workand the role watersheds play inpeople's lives. He spent 12 yearsworking as a white-water riverguide before returning to si In niltor his doctorate m hydrologyand fluvial geomorphology.As a Research Hydrologist, he
studies the effects of land use,dams, geology, and floods on
river pint esses. At the Festival,(rant uses an experimental river,complete with live vegetationand floods, to give visitors adynamic display ol river processes.
lid dross, Brookings, Oregon;Interactive ForestUntil retiring from the ForestService in [997, Ed Gross worked
as a soil scientist at the SiskiyouNational Forest. When the ForestService developed the SiskiyouForest Plan 111 the lciNos. Gross
realized the important role playedby dead organic matter 111 a forest's
regenerative cycle. It was because
oi Ins efforts that the eventualForest Plan included recom-mendations to leave "large woody
material" on the forest floor
Tony Guinn,Mountain I iew, Arkansas;Water, Woods, and Mountainslonv Guinn is the VisitorInformation Specialist at theBlanchard Springs Caverns, one
of the few caves 111 the I orestService system that offer toursto the public. Guinn arrangestours for the Caverns' yi 1,1 11 11
1
annual visitors. She is also respon-
sible for producing educationalprograms about the caves, thenhistory, and the bats and endan-gered species that live there
Jim Hammer, Winthrop,Washington; Call of the Wild|un Hammer has spent his entire40-year Forest Service carvelon the Methow Valle) Ranger
I 'istnet 111 the < )kanogan andWenatchee National Forests,where he now serves as Wildernessand Frails Coordinator. Beforemining mto an office position.Hammer was an expert animalpacker who built, maintained, andupgraded trails in the wilderness
Elizabeth Hawke, Milford,Pennsylvania; Interactive ForestElizabeth Hawke began her career
at Grey Towers National HistoricSue as a summer intern. Now,
as the horticulturist of GiffordPinchot's ancestral home, Hawke
nurtures the historic gardensand landscape, a moat, and theFingerbowl, the Pinchots' distinc -tive outdoor dining table. She
also takes care of the grounds
of the 102-acre estate, includingthe trees that were planted byGittord and his wale Cornelia,large sloping lawns, forests,
trails, paths, and roadwav s
Charles Hillary, Madison,Wisconsin; Forest ProductsCharles Hillary is a PhysicalScience leclinici.ui at the ForestProducts Laboratory. In his posi-tion. Hillary implements newtechnology and computers for theLab. He also conducts resean h inthe pulp and paper division for thePostal Service recycling project,working on ways to removeinks, toners and glues from paper
ti 1 t onform to standards forPostal Service suppliers. At theFestival, Hillary demonstratessimple ways for children and
adults to make their own paper.
Jack Holcomb, Lawrenceville,
( Georgia; Arts & CraftsJack Holcomb "s professional
career is with the Forest Service,but Ins passion is constructingguitars by hand, spending atleast 250 hours on each guitar.Holcomb has worked withthe Forest Service tor 26 yearsand is currently the RegionalHydrologist for the Forest Servil eSouthern Region 111 Atlanta Atthe Festival, Holcomb displaysone of Ins classical guitars andgives an in-depth presentationon the methods and materialshe uses to craft his guitars.
Saul Irvin, Seville, Florida;Camp Foodways/Fire CampSaul Irvin has been winking withthe Florida Division of Forestryfor 2s years, serving as a combi-
nation firefighter and ranger, or
"hanger" (in Ins own words). As a
child lie learned to hunt, fish, andfind his wax. around the woods,and now lie applies those earlylessons to Ins work as a forest
ranger. He also has become ,inexperienced cook, particularlyfor several varieties of cattish.
D?rica Jackson,Ketchikan, Alaska; Arts & CraftsD?rica [ackson began her profes-
sional weaving career 111 the early1970s, combining her trainingin textile design with her newly
acquired knowledge and respectfor Northwest Coast Indian Art.Her Chilkat weaving can nowbe seen 111 various museumsaround the globe In addi-tion, she shares her knowledgeby teaching apprentices and
students at the Totem HeritageCenter m Ketchikan, Alaska.
SMITHSONIAN FOLKLIFE FESTIVAL
Nathan Jackson,Ketchikan, Alaska; Arts & CraftsNathan Jackson was born intothe Sockeye Clan on the Raven
side of the Chilkoot-Tlingittribe, and specializes in wood-
carving, jewelry, and design.Many museums exhibit his work,including a 20-foot cedar totempole at the National Museum otthe American Indian. In 199s, he
received the prestigious NationalHeritage Fellowship from theNational Endowment for theArts. At the Festival, Jacksondemonstrates his elaborate tech-
niques of carving a totem pole.
Patrick Michael Karnahan, Sonora,California; Sounds of the ForestDuring his [5-year tenure withthe Forest Service, PatrickMichael Karnahan worked in sixCalifornia forests, including theStanislaus National Forest, wherehe still volunteers. Karnahan is
a skilled painter; several ot his
canvases have appeared on thecover of Wildfire Magazine, andone of his paintings was selectedfor a postage stamp by the U.S.Postal Service. He has released14 CDs with his Black IrishBand, and covers a broad reper-toire of traditional American,
Irish, and Italian folk music.
Robert Karrfalt, Lafayette,Indiana; Tree DoctorsRobert Karrfalt is the Director otthe National Tree Seed Laboratory.The lab's three major functions
are to test seed quality, providetechnical assistance to govern-ments and individual growers, and
maintain an international seedbank. One key component is to
certify that seeds or seedlings are
suitably adapted for the planting
area. Since 1972 the Seed Bankhas shipped over 150 seed speciesto 95 countries in an effort topromote global reforestation
Nova Kim and Leslie Hook,Albany, I ennont; Camp FoodwaysNova Kim and Leslie Hook
are self-described wildcratters,which they define as "acceptingfrom the woods or field what is
offered, and utilizing it." Kim andHook cultivate wild edibles likemushrooms, which they then sellto restaurants and stores. Then-previous business ventures haveincluded a successful ginseng teabusiness and wildcrafting nurseryplants from national forests.
Beth King, Layton, Utah;Camp FoodwaysBeth King works in the
I litermountain Region'sEngineering Cartographies
I )epartment, and is also the care-taker of the Forest Service HistoryArchives at Weber State University.Recently, King's archival work hasfocused on chronicling the historyof outdoor cooking in the ForestService, resulting in a cookbook.Camp Cooking: tooYears, 1905-2005, published by the NationalMuseum of Forest Service History.
Samuel Larry, Atlanta, Georgia;Forest Service HistorySince [968, the Tuskegee ForestryProgram has played a major rolein training African-Americanforesters and natural-resourceprofessionals. Samuel Larry
enrolled at Tuskegee Universityto studv forestry in 1976 andlater became the Forest Service'sliaison to Tuskegee. Currently he-leads cooperative fire manage-ment activities for the ForestService's Southern Region.
Pat Lynch, Encampment,Wyoming; Forest Service HistoryThough retired from the ForestService. Pat Lynch maintains a
"guard station" where he lodgesForest Service employees trav-
eling through the area. Lynch
is .111 expert on Forest Service
history, and his guard station
is furnished with an extensive
collection of memorabilia,including uniforms, badges, andcorrespondence between GiffordPinchot and William Kreutzer, theForest Service's first Chief and
first forest ranger, respectively.
Wally McRae, Forsyth,Montana; Community StageWally McRae manages a cattle
ranch in eastern Montana, wherehis family has lived since [885.Intrigued by the traditionalpoetry of working cowboys and
ranchers, McRae has writtenmore than 100 poems and tourbooks ot poetry, and was the firstcowboy poet to be awarded theNational Heritage Fellowshipfrom the National Endowmentfor the Arts. From 1996 to 1998,he served as a member of theNational Council on the Arts.
Nanette Madden, Fall River,California; Fire Camp
( 'ne ot the first female fire-fighters to work for the USDAForest Service, Nanette Madden
currently works as Division 1 hieifor Protection and Preventionon the Modoc National Forest,and as a technical specialist on .1National Fire Prevention Team.Madden has received the SilverSniokey Bear Award for her workin wildland fire prevention.
Karen Malis-Clark, FlagstaffArizona; Family ActivitiesKaren Malis-Clark works as anAssistant Public Affairs Officerin the Coconino National ForestSupervisor's office. A favoritepart of her job is giving talks anddemonstrations at schools, adulteducation classes, environmental
seminars, and meetings withForest Service partners. In 2003
she received the SouthwesternRegion Conservation Educatorand Interpreter of the Year award
[III]
FESTIVAL PARTICIPANTS
Kristen Marline, Flagstaff,Arizona; Forest LandscapesKristen Martine is the DistrictArchaeologist for the Mogoll?nRim Ranger District on theCoconino National Forest.She often works with NativeAmerican groups that use theforest or have .1 connection to its
archaeological sites. Martine is alsoinvolved m protecting traditional
cultural properties, as well as sitesthat may have religious signifi-
cance. Her husband, Amlv Coriell,
is also a Festival participant.
Karen Martinson,Madison, II 'isconsin;Sustainable Resource HouseKaren Martinson is the HousingProgram Specialist at theForest Service's Forest ProductsLaboratory, where she facili-tates research coordination andpartnerships with universities,industry, and other govern-ment agencies. She also played
a significant role in the creationand development o? the Lab'sAdvanced Housing ResearchCenter and the ResearchDemonstration House. At the
Festival, Martinson is one of the
staff providing information onthe Sustainable Resource House
Kirby Matthew, Deei Lodge,Montana; Woodlands HeritageKub\ Matthew is the ProgramManager of the Historic BuildingPreservation le.un for theNorthern Region. Matthew'sintroduction to historic buildingpreservation came when heworked as a seasonal archaeologist
at the l.olo National Forest from[98] to [986. He was subsequently
certified by the National ParkService as a master preservation
carpenter. As man} eark 20th-
century buildings age. Matthew'sproficiency in traditional buildingtechniques helps preserve thehistory of America's forests
Joe Meade, Anchorage, Alaska;Water, Woods, ami Mountains|oe Meade is the Forest Supervisor
at the Chugach National Forest.Meade is visually disabled, andworks with the help of a talkingcomputer and his guide dog.Navarro. He began working withthe Forest Service in 1977, andwas later instrumental in ensuringthat the Forest Service become
a leader in compliance with theAmericans with Disabilities Act.Throughout his career. Meade hashelped ensure that national forestsand public facilities are acces-
sible for everyone's enjoyment,
Bill Meadows, Washington,D.C.; Community Stage
Hill Meadows serves as presi-dent ofThe Wilderness Society,
overseeing a staff of iso locatedin Washington, DC, and nineh gii mal offices. More than 2.5
million acres have been addedto the National WildernessPreservation System sinceMeadows became president of the
organization in 1996. Previouslyhe served as director of the SierraClub's t entenni.il (. amp.ugn.
Rick Meinzer, Corvallis,Oregon; Canopy CraneRick Memzer is an accom-plished scientist, specializingin plant physiology I le hasworked all over the world and
is currently working with theWind River Canopy Crane inthe Gifford Pinchot NationalForest. Memzer is interested inlearning about the route watertakes in a tree from the roots tothe uppermost leaves, to under-
stand better the life of a tree
Warren Miller. Peek, Idaho;
1 1 bodlands HeritageWai ten Miller is nationally
recognized as an expert in the
use ol the crosscut saw. Whileemployed with the Forest Service,
Miller worked as a wilderness
ranger at the Nez Perce NationalForest. Although he retired
several years ago, he continueslo teach several crosscut saw
classes for the agency every year.
Chuck Milner, Cheyenne,Oklahoma; Sounds of the lorcslAs a range specialist at the BlackKettle National Grasslands,
t !huck Milner oversees the
area's cattle-grazing programHowever, his other career is as .1cowboy singer, poet, and story-
teller, using his songs, poems,and stories to connect the ForestService and the Oklahoma
ranching community. In 2001,Milner's original composition.
"Do.m's Crossing," received theWill Rogers Award tor WesternMusic Song of the Year from theAcademy of Western Artists
Heather Murphy, Leavenworth,Washington; Protecting Forestsand Wildlife HabitatsHeather Murphv is a wildlifebiologist who surveys bird,mammal, amphibian, and molluskpopulations tor the WenatcheeRiver Ranger District on theOkanogan and WenatcheeNational Forests She keeps
records of the tracks, feathers,fur. scat, bones, nests, plants, andorganisms that she observes. Owthe side, she uses watercolors toillustrate her field notes. At the
Festival, she shares her techniquestor keeping nature journals.
Lezlie Murray, Girdwood,Alaska; Call of the WildLezlie Murray currently serves
as the Director of the Begich,Boggs Visitor Center at theChugach National Forest, thesecond largest national forest 111the country. She and her team
offer a diverse range of programstor visitors to Prince WilliamSound. It's hard to describe a
SMITHSONIAN FOLKLIFE FESTIVAL
typic.il "day .it the office" forMurray. She docs everythingfrom teaching how to hike safelyaround hears to leading ice-worm
safaris on the Byron Glacier Trail.
Hank Nelson, Wasilla,Alaska; Community StageHank Nelson grew up in alogging camp near Coos Bay.Oregon, and worked as a timber
taller tor more than 30 years inthe Northwest, including Alaska,Washington, and Oregon. Henow works part-time as a busdriver, raconteur, and guide tor
cruise ship passengers. AlthoughNelson considers himself more
of a singer and songwriterthan a poet, be also writesand recites logger poetry.
Lavinia B. Nelson, Mt. Pleasant,South Carolina; Aits & CraftsBorn and raised on a sharecrop-ping plantation in South Carolina,Lavinia Nelson learned how toweave different types of baskets
at a very young age from hergrandmother. She demonstrateshow she makes high-qualitybaskets using grass, pine needles,and leaves gathered on the shore-line near her home. Nelson isaccompanied at the Festival byher daughter-in-law and grand-daughter, who also weave baskets
Kelly Pearson , Jonesboro,Illinois; Call of the WildKelly Pearson is responsible forthe maintenance and operationof several developed recre-
ation areas at the Lusk CreekWilderness. Because most visitors
arrive on horseback, the trails
are under constant stress, and
require frequent maintenance.Pearson's work days includecorrecting erosion problems,hardening and draining trails,and shaping them to providean environmentally sound and
enjoyable experience tor riders.
Leona Pooyouma, Flagstaff,Arizona; Arts & CraftsLeona Pooyouma is a human
resource assistant in the CoconinoNational forest, helping thosewho are seeking work with theForest Service. In addition to herprofessional work, Pooyouma
is a skilled Hopi wicker basket
weaver. Using native plantsand bushes found on the Hopi
reservation, she weaves in thefluid Mesa wicker style, trans-forming rabbit brush and sumacplants into works of art.
Marvin Pooyouma, Flagstaff,Arizona; Arts & CraftsMarvin Pooyouma began his
career with the Forest Servicein 1972 as a member ot theCoconino Hotshots, a fire-fighting crew. During the oft
seasons Pooyouma spent muchtime learning about Hopi teach-ings and traditions; now he ishighly skilled in the art of textile
weaving, which he learned fromhis grandfather and is currentlypassing down to his son
Steve Reed, Victor, Montana;Sniokejnmper BaseSteve Reed is a smokejumpersquad leader, or spotter, at theMissoula Smokejumper Base.Spotters are responsible forlumper and plane safety, fordelivering firefighting equipment,and for determining when andwhere jumpers will land. Recti
also helps recruit and preparenew trainees for the challengingsix-week basic training regimen
required of all new smokejumpers.
Rodney Richard, Si:,Rangeley, Maine; Arts & CraftsRodney Richard worked formany years as ,^n independentlogger in the woods ot westernMame before retiring in thelate iySos. He learned to carvewood from his father and otherfamily members, and has like-
wise taught his son how to
carve with both chainsaw andjackknife. "The chainsaw is justlike a jackknife, only a reallypowerful one," he explains.
Riders in the Dirt;Sounds of the ForestThe Riders in the Dirt are atraditional bluegrass quartet fromOregon. All tour ot the band'smembers are women and ForestService professionals. GayleHunt, who plays guitar, banjo,and mandolin for the Riders,
says that the group would neverhave started it not tor the tirelessenthusiasm of rhythm guitaristand fellow Ochoco NationalForest employee. Judy Haigler.Rounding out the Riders aretiddler |o Booser, silvicultunstfor the Deschutes and OchocoNational Forests, who also plays
musical saws and flutes; and lead
singer and bassist Anne Alford, a
wildlife biologist at the CrookedRiver National Grassland.
Michael Ritter, Madison, Wisconsin;Sustainable Resource HouseMichael Ritter serves as AssistantDirector at the Forest Service'sForest Products Laboratory andleads then Advanced HousingResearch Center. The AHRCconducts research into many
aspects of wood-frame housingwith an emphasis on maximizingdurability and energy efficiencywhile enhancing the sustain-
abihty of our nation's forests Atthe Festival. Ritter is one ot the
staff providing information onthe Sustainable Resource House.
William Rosanelli, Montague,New Jersey; Forest Servir? HistoryWhen school is in session.William Rosanelli teachestheolog) at a Catholic highschool in New Jersey. However,during the summer Rosanelli
is the Lead Interpretive [burGuide at Grey Towers National
1 1 1 j
:
FESTIVAL PARTICIPANTS
Historie Site, once the home
of GifFord Pinchot, the formergovernor of Pennsylvania andfirst Chief of the Forest Service.Ros.melli i\ very knowledgeableabout Pinchot, Pinchot's family,and Forest Service historv.
Michelle Ryan, Dillon, Montana;Forest Service HistoryMichelle Ryan comes from a114] Forest Service family: her lather,
an uncle, her husband and sonhave all been employed by theForest Service at some point.Recently, Ryan's quilt design ?asone of two chosen to commemo-
rate the Forest Service's centen-
nial Conceived in the traditional
scrap-quilt style, Ryan's quiltfeatures a top pieced by 100 indi-
viduals employed by, or otherwiseconnected to. the Forest Service.
Catherine "Cat" Sampson, Camp
I erde, Arizona; Law EnforcementCat Sampson, originally fromFrance, is Assistant OperationsManager on the Red RockDistrict in the Coconino NationalForest 1 he Great American HorseRace, staged 111 197'' to celebrateAmerica's Bicentennial, broughtSampson to the United States.She rode from Frankfurt. N Y . toSacramento, Calif., and tell in love
with the West She has been withlil "rest Service tor 10 years and
wishes she had found it sooner
Nathan Schiff, Stoneville,Mississippi; Vice DoctorsNathan Silnft is an entomologist
at the ('enter for Bottomland
I lardwood Research. He
researches how insects spreadfungal and bacterial diseases
I li work has brought him to 4 ;
1 ountries, where he lias workedwith forestr) groups and variousnon-governmental organiza-tions to address the problem
of insects killing trees. Schifftakes pride 111 .\n enormous
collection that includes bril-liantly colored butterflies andbeetles the size ot\\ human fist.
Herb Schroeder, Hvanston,
Illinois; Forest Landscapes
I lerb Schroeder is recognized
as an expert 111 environmentalpsychology, a branch ofpsychology concerned withunderstanding people's relation-
ship with the environment.Working tor the Forest Service'sNorth Central Research Station.V liroeder conducts research tohelp land managers and plan-
ners better appreciate howhuman beings experience and
value different environments.
Dave Shaw, Carson,Washington; Canopy Crane
I lave Shaw's fascination withbiology and natural historv beganwhen he was a young bo) livingin Singapore and Malaysia, wherehis father was a rubber Innertor an American tire company.loda\ he is a research scientist atthe Wind River Canop) Crane,with a particular interest in forestprotection and the natural lnstor\
ot forest organisms, includingbirds, epiphytes, and mistletoe
The Shawnee Forest New CenturyChildren's Choir, Southern
Illinois: Sounds of the Forest
I he Shaw nee Forest New
l entur\ Children's C 'hoircomprises children, ages << to 14,who love nature and singing.
1 lie choir members come frommany different backgrounds,
schools, and towns 111 southern
Illinois. Singing is a way forthem to share their harmonious
voices with others, and also to
share the message of conserva-tion in the new century.
Jane Smith,Corvallis, Oregon; Tree DoctorsJane Smith is a research botanistand mycologist at the PacificNorthwest Research Station who
studies the role of fungi in theforest ecosystem. Fungi are bestknown to humans in their ediblemushroom forms, but mycologistsknow that the symbiotic relation-
ship between fungi and trees isindispensable to a forest's survival.
Stacey Smith, McKenzie Bridge,Oregon; Call of the WildStacey Smith was raised em aranch where she fust learned tolove the outdoors, and where sheand her tour sisters were expel tedto do most ot the householdand barnyard chores. Now sheworks for the Forest Service as
a "1 eave No I rat e" I ducator,frequently interacting with Inkinggroups to teach and promote
responsible use of the wilderness.
Bill Stafford, Lake Montezuma,Atizona; Camp Foodways
Bill Stafford is the RecreationStaff Officer for the Red Rock
I (?strict of the t Coconino Nationalforest, which welcomes morethan tour million visitors annu-
ally and is home to Arizona'smost popular recreation area,
( )ak ( reek C 'anvon Stafford'spersonal career has been ]tist
as busy. He has been chasedb\ bears and rattlesnakes, hashelped tight the biggest forest
tire m the Coconino's historv,and has rescued flood victims,
Jean Szymanski, Albuquerque,Neu> Mexico; Family ActivitiesJean Szymanski is theConservation EducationSpecialist tor the Forest Service'sSouthwestern Region, andone ot the lead coordinators otcurriculum development for theNew Mexico Forestry Camp.
SMITHSONIAN FOLKLIFE FESTIVAL
The camp was initiated in 1990to help New Mexico youthbetter understand the manage-ment and uses of New Mexicanforests, teaching them about
trees, streams, archaeology, insects,
wildfire, grazing, and wildlife.
Sidne Teske, Tuscarora,Nevada; Arts & CraftsSidne Teske's award-winningplem-air pastel paintings havebeen inspired by 30 years ofliving amongst the mountainsand forests ot Nevada. Teskefollows her instincts as she paints.
using vibrant colors to capturethe light and scenery 111 the areaaround the Humboldt-ToiyabeNational Forest. At the Festival,Teske demonstrates her use of
color and provides a window tothe real landscapes of the West.
Donna Thatcher, Farmington,New Mexico; Camp FoodwaysDonna Thatcher is a naturalistwho currently serves as thedirector of the Nature Center
at the Farmington Museum. Atthe Festival, she demonstratesher extensive knowledge ofSouthwestern native plantsand how they have been usedin traditional ways?as dyes,food, arts, and householdproducts?by Hispanic andNative American cultures.
WaltThies,Corvallis, Oregon; Arts & CraftsWaltThies's fascination with wood
is not hunted to his professional
career as a research plant patholo-gist at the Pacific NorthwestResearch Station. The wood ofthe Pacific Northwest has inspiredhim to become a skilled woodturner of bowls, ornaments,and toys. At the Festival Thiesdiscusses the natural character-istics and science of wood as he
rapidly transforms blocks ofwoodinto finished, shaped pieces.
Charmaine Thompson, Provo,Utah; Forest LandscapesCharmaine Thompson is an
archaeologist and heritage specialist
at the Uinta National Forest. In
addition to fieldwork respon-
sibilities that include finding,
exploring, and mapping sites ot
significance, Thompson ensuresthat all archaeological work inthe Forest conforms to federal
regulations. In her presentationsto Forest visitors, Thompsonteaches about the delicate balancebetween use and preservation.
Lee Thornhill, Lakeside,Arizona; Fire CampLee Thornhill is a deputydistrict ranger at the Apache andSitgreaves National Forests. In
addition to his regular duties,Thornhill is part of an IncidentManagement team that respondsto natural disasters like forest
fires. The job is stressful and
chaotic, and often requires longabsences from his family andhome. Still, Thornhill would
never give up this extra work:he says he ?as hooked themoment he first smelled smoke.
Trails Unlimited, Monrovia,California; Interactive ForestTrails Unlimited is an EnterpriseUnit within the USDA ForestService that has constructedmore than 100 miles of trailsand provided training on trailmanagement throughout theUnited States. Led by CamLockwood, Trails Unlimited
constructed the InteractiveForest at the Folklife Festival.
Teresa Trulock, Pinedale,Wyoming; Forest Service HistoryTeresa Trulock works as aResource Specialist for theBridger-Teton National Forest.Recently, Trulock's design for aking-sized quilt was one of two
selected to commemorate the
Forest Services centennial. Thequilt features 12 sections that areeach associated with a themefrom the Forest Service's 100years.The quilt's individual blockswere sewn by volunteer quiltersfrom across the United States.
Gail Tunberg,Albuquerque, New Mexico;Water, Woods, and MountainsAs Wildlife Program Managerfor the Southwestern Region,Gail Tunberg is responsible torimplementing the "Be BearAware" program. Created m
response to increasing interactionbetween humans and wildlife,
"Be Bear Aware" educates visi-tors on ways to minimize thepossibility of confronting a bearThese include maintaining a
clean camp, avoiding productsthat attract bears, and cookingin ways that don't invite bears.
Francisco I alenzuela,Golden, Colorado; Water,Woods, and MountainsCurrently the RegionalRecreation Planner tor theRocky Mountain Region,Francisco Valenzuela has alsoworked as a landscape architect,
regional planner, and interpreter.Valenzuela's first day of work atthe Mt. St. Helens Ranger I 'istrictwas also the day the volcano
erupted. For the past 25 years,Francisco has documented the
natural processes of the volcanoand its surrounding environment.
Dennis Vroman, Grants Pass,Oregon; Protecting Forestsand 1 1 'ildlife HabitatsDennis Vroman is a bird bandei
at the Siskiyou National Forest.Although he retired from theForest Service in [996, hecontinues to maintain threeMAPS (Monitoring AvianProductivity and Survivorship)
stations on the Siskiyou. These
[US]
FESTIVAL PARTICIPANTS
stations are vital to efforts moni-toring the health of local songbirdpopulations Over his lifetime,Vronian estimates that he hasbanded more than 30.000 birds.
Linda Wadleigh, Flagstaff,Arizona; ('amp Foodways/Fire Camp/Tree DoctorsAs the Regional Fire Ecologislin the Southwest, Linda Wadleigh
1 1 '' I works on all the national forestsin Arizona and New Mexico.Although wildfires are commonlyassociated with destruction, fire
ecologists like Wadleigh under-stand the beneficial effect that firecan have on a local ecosystem.In fact, regular tires are essentialto .1 forest's regenerative cycle.Her husband. John Anhold. is
also a Festival participant.
Lee Webb, Grants Pass,Oregon; Protecting Forests
,iii(l Wildlife HabitatsUntil retiring in 2004, Lee Webbwas the Wildlife Biologist at theRogue Rfver-Siskiyou National
I orest.Webb spent 29 years withthe forest Service, and helpeddevelop the Land and ResourceManagement Plan tor theSiskiyou, which resulted in thecreation ot over 10,000 wildlife
sites ami [9 botanical areas Webbhas always been especially inter-
ested in the Spotted Owl, anddiscusses the owl at the Festival
.W/7 Weintraub, Williams,Arizona; Forest LandscapesNeil Weintraub is the DistrictArchaeologist on the Williams andlus.nan Ranger 1 hstricts 111 theKaibab National forest, chargedwith protecting, managing, andinterpreting a broad range o? 1 1 1
1
facts and resources. Many ot the
artifacts he has uncovered near the(hand Canyon date back at least|.,ooo years. Weintraub has alsobeen heavily involved in effortslo discourage once-rampantlooting near archaeological sites.
(Jlimli 1 1 'illiatns, Albuquerque,Neu> Mexico; Forest Service HistoryChuck Williams has a personalconnection to two of the ForestService's most recognizable icons.From 1968 to 1970, Williamsserved as technical advisor to thetelevision show, Lassie Whenever
I oresi Service rangers and Lassiewere filmed, the show's producers
relied on Williams to help shapedialogue and plot. Williams latercreated a public service spot.
"Give a Hoot, Don't Pollute,"that introduced Woodsy Owl,who has since become America's
official environmental icon.
Marta Witt, Wilmington,
Illinois; Forest LandscapesMarta Witt is the Public ServiceTeam Leader at the MidewinNational Tallgrass Prairie, which
sits on land previously occupiedby the Juliet Army AmmunitionPlant, once the Army's largest
supplier ot TNT. Efforts to restorethe natne ecosystem have beencomplicated by the presence ot'contaminants and by the domi-nance ot non-native plant species.The Prairie opened its first s.ooo
acres to the public 111 2003.
Keith Wolferman, Missoula,Montana; Smokejumper BaseKeith Wolferman works as asquad leader at the MissoulaSmokejumper base. When aforest tire breaks out. squadleaders like Wolferman plan the
aerial attack against the tire.
I hey determine |tmip spotsand release points based on
calculations of wind speed anddirection, and are responsibletor plane and jumper safety.
Pat York,Jonesboro, Illinois;Community Stage/Water, Wooiis, ami MountainsAs Recreation Program Manageron the Shawnee National Forest.Pat York aims to connect indi-
viduals and communities totheir forests She has facilitated
community projects to establishNational Scenic Byways; andhas also worked at the HoosierNational Forest, where sheteamed with local arts councils toobtain grants from the NationalEndowment for the Arts for
multicultural performances. York
is a songwriter, performer, andconductor ot a children's choirand a cappella women's ensemble
J.P. Zapalla, Santa Ynez,California; Smokejumper Base
J.P. Zavalla has worked as afirefighter since he graduatedfrom high school. He has been
a smokejumper at several forestsin the West, and he spent timewith the Los Padres Hotshots.Zavalla comes from a forestService family; both his fatherand his brother work for the
1 os Padres National forest.
Pete Zavalla, Solvang,California; Community StagePete Zavalla is the Iribal I iaisontor the Los Padres NationalForest, helping Native Americangroups obtain special use permitsto interact with the forest intraditional ways. Zavalla becameinvolved with the Forest Servicein 1990, while thinking of waysto combat high youth unemploy-ment on his Chumash reservationHe subsequently helped initiate
a work program at the forest forteenagers from the reservation.
Tony Zavalla, Santa Barbara,
( California; Fire CampPony /avalla is a tire engine oper-
ator at the Los Padres NationalForest, where his lather andbrother also work. Zavalla beganhis career as a firefighter andwas soon transferred to the LosPadres Hotshots. an elite group otfirefighters called upon to battlethe toughest blazes Before hebecame a truck operator, Zavallahad the opportunity to spendone season on the same smoke-jumping team as his brother.SMITHSONIAN FOLKLIFE FESTIVAL
Nuestra M?sica:Music in Latino Culture
Los Camperos de I alies, MexicoLos Camperos de Valles is a trioof Mexico's finest musicians inthe ?on huasteco style from the
northeastern Mexican cattle-herding region known as theHuasteca. Their sound is markedby hard-edged, improvised violinplaying, driving guitar rhythms,and high-pitched singing markedwith falsetto breaks. Danceforms an integral part ot the sonhuasteco. Renowned lyricist anddancer Artemio Posadas, accom-panied by young dancer DoloresGarcia, perform with the trio.
Los Camperos de Valles es untr?o formado por algunos delos mejores m?sicos del sonhuasteco de la regl?n ganaderadel noreste de M?xico conocidacomo la Huasteca. Su sonido seidentifica por la improvisaci?ny estilo vigoroso del violin, losritmos persistentes de la guitarra,y canto con voz aguda marcadopor quebradas de falsete. El baileforma una parte integral del sonhuasteco. Trovador y bailadorArtemio Posadas, acompa?adopor la bailarina Dolores Garc?a,
se presentan con el tr?o.
Marcos Hern?ndez Rosales,leader/l?der; huapangueraDolores Garc?a, dance/danza
Joel Monroy Mart?nez,
violin/violin; vocals/vozArtemio Posado, composer/compositor; dance/danzaGregorio "Goyo" SolanoMediano, jarana; vocals/voz
Ecos de Borinquen, Puerto RicoEcos de Borinquen represents thebest of today's m?sica j?bara, musicfrom the mountainous regionsof Puerto Rico, interpreted by
eight top-flight musicians fromthe island. Stringed instrumentsand sung poetic forms that dateback hundreds of years to Spanishprototypes are combined with theCaribbean percussion sounds ofthe g?iro rasp and hand drums.
Ecos de Borinquen representa lomejor de la m?sica j?bara contem-por?nea de las reglones monta-?osas de Puerto Rico, interpretadapor ocho de los mejores m?sicosde la isla. La instrumentaci?nde cuerdas y las formas depoes?a cantadas que vienen deprototipos espa?oles que tienen
cientos de a?os, son combinadascon los sonidos percusivos delCaribe del g?iro y la pandereta.
Miguel A. Santiago D?az.leader/l?der; composer/compositor; singer/ trovadorLuis Manuel Cm: Reyes, bongosK?rol Aurora deJes?s Reyes,
singer/trovadoraJos? Delgado Serrano, firstcuatro/primer cuatroPablo Figueroa \ 'illalohos, g?iro
Jos? A. Mart?nez Zayas, secondcuatro/segundo cuatroHarry Mel?ndez Marline:.chorus/coro; small percus-sion/percusi?n menorRam?n I azquez Lamboy,guitar/ guitarra
El?seo y su Chanchona Mel?dicaOriental, Washington, D.C.El?seo y su Chanchona Mel?dicaOriental, with roots in rural
eastern El Salvador, has brought
a little piece ot "home" to D.C.'slarge Latino community. Theseven-piece chanchona ensemblewith two violins, guitar, andpercussion takes its name from the
resemblance of its large stringedbass to a sow, a common sight inthe mountainous region dotted
with small villages. The catchyrhythms ot the cumbia and thelively canciones rancheras (country
songs) and lyrics laced withhomegrown sentiment are the
core of the chanchona's repertoire.
El?seo y su Chanchona Mel?dicaOriental ha tra?do un pedacito de
su lugar de origen a la enormecomunidad latina en Washington,D.C. con ra?ces en las regiones
rurales del oriente de El Salvador.El ensamble de chanchona condos violines, guitarra y percusi?n,toma su nombre por el tama?odel enorme contrabajo, comouna chancha o puerca, unanimal com?n en esta regi?n
caracterizada por peque?ospueblos que se esparcen a trav?sdel paisaje escarpado. El ritmobailable de la popular cumbia,
el ?gil comp?s de la canci?n
ranchera, el m?s lento del bolerorom?ntico y otras composiciones
regionales forman la base del
repertorio de chanchona.
El?seo Gutierre:, leader/l?der; bass/contrabajoManuel Enrique Alhe?o,
vocals/voz; g?iro
Terencio Cabrera, first
violin/primer violinJoel Cm:, guitar/guitarr.iPedro Angel Guti?rrez, secondviolm/segundo violinMario Mercado, tumbasLins Saenz, timbales
[117!
FESTIVAL PARTICIPANTS
JCJ Band. Washington, DC.JCJ Band is a popular Washington,D.C.-based dance band that
specializes m the Dominican
merengue, one of the most popularof contemporary pan-Latino socialdances. In addition, they play awide range ot Latino dance music.
|C| Band es una banda popular enWashington, D.C. que se especializa
1
' I en el merengue dominicano, uno delos bailes sociales pan-latinos maspopulares. Ademas, la banda brindaun repertorio amplio de m?sicalatina para bailar para los diferentesgustos de su publico latino
Carlos C Toledo, leader l?der;bass bajoAnthony Carr, saxophone saxof?nF?lix Carrera, trumpet' trompetaWaltei /. Duran, percus-sion/percusi?nEly A. Hern?ndez, trumpet.' trompetaLuis Hern?ndez, vocals/vozNelson Medina, pianoSalvador E. Montoya, saxo-phone/saxof?nGiovanni M?rcelo, percus-
sion percusi?nAndr?s Parra, vocals vozRene L Sandoval, percussionpercusi?nLuis l: I Hieda, vocals voz
Los Plateros de la 21, New YorkLos Pleneros de la 21 have for nearlyJS years performed the strongest
strands ot Atro-Puerto Rican music,the bomba and the plena.1 hey set thepercussive essence ot their music in
a web ot contemporary harmoniesand artful arrangements appealing toboth traditionalists and innovators.
I hey take their name from bus stop2i in Santurce, Puerto Rico, thelocal identifier of a neighborhoodthat is the source of the best ot theAfro-Puerto Rican tradition.
Los Pleneros de la 21 tienen casi
veinticinco a?os tocando las tradi-
ciones mas tuertes de la m?sica
afropuertorrique?a, la bomba v laplena 1 os m?sicos sit?an la esenciapercusiva de su m?sica dentro de uii.\
red de armon?as contempor?neasy arreglos art?sticos complaciendotanto a los tradicionalistas como a losinnovadores. Su nombre viene de laparada de autobus 21 en Santurce,Puerto Rico, identificando el barrioque es la fuente de lo mejor en la
tradi? ion afropuertorrique?a.
Roberto Cepeda, g?iro; maracas;dance baileMiriam F?lix, bomba dance/baile ile bomba, chorus coroJuan ' ]uti?rrez . panderetas; barrilesde bomba, timbale; percussionpercussion, chorus coro
Julia Loiza Guti?rrez-Rivera,bomba dance baile de bomba
Jos? Lantigua, pumo: synthesizer/
sintetizador; chorus/coroH?ctoi "Tito" Matos, vocals/voz;chorus coro; panderetas;barriles de bomba; cu?Edgardo Miranda, acoustic and elec-
tric cuatro cuatro ac?stico
\ el?< tricoCamilo Ernesto Molina, g?iro;
maracas, pandereta: barriles debomba; timbale; chorus coroDonald Nicks, electric bass guitar/bajo el?ctrico; string bass contrabajo
Jos? Rivera, vocals/voz; chorus/coro;pandereta; barriles de bombaNellieTanco, vocals voz; chorus/coroSam C.Tanco, vocals/voz; chorus ..oro
Sones de M?xico, Chicago, IllinoisSones de Mexico is a six-memberChicago-based ensemble dedicatedto performing regional styles ofMexican music interwoven withcontemporary creativity. Theyplay a variety ot instruments and
musical genres, and their repertoire
reflects the diverse backgrounds
ot Chicago's distinctive Latinocommunity, Mexican and beyond,
Sones de Mexico es un ensamble de
seis miembros basado en Chicago
v dedicado a la presentaci?n delos estilos regionales de la m?sicamexicana intercalada con creativ-idad contempor?nea. Los m?sicostocan una variedad de instrumentosy g?neros musicales y su repertorio
refleja la diversidad cultural de ladistintiva comunidad latina, mexi-
cana y no mexicana, de Chicago.
licnaio Cer?n, vocals/voz;
a< 1 ordion/acorde?n; jarochoharp arpa jarocha; violin/
violin; saxophone saxof?nJuan ?ho\ vocals/voz; guitarr?nLorena ??iguez, vihuela;jarana;
small percussion/percussion menor
Joel Mart?nez, drums tambores;percussion percusi?n
Victot Pichardo, vocals/voz;hu.ip. Higuera; jarana; guitar/guitarra; clarinet clarinete
Jos? lu?n Rivera, vocals/voz;
requinto; violin/violin
SMITHSONIAN FOLKLIFE FESTIVAL
Ornan: Desert,Oasis, and Sea
Craft TraditionsAromatics and PotteryMahfoodha Hamed SaidAlAmu, Salalah, IncenseMuna Mohammed MahadAlAmri, Salalah, Incense BurnersGhaliya AH Mohammed AlBas, Salalah, IncenseMaryam Ahmad Balhaf,Salalah, PerfumeCalligraphySaleh Juma MuslemAl Shukairi,Muscat, C lalligraphyMohammed Kasim NasserAlSayegh, Muscat, CalligraphyDesert CampNasra Nasser SaadAl Batahari,Shleem, Camel Milking BasketsJawhara SaidAUAl Duwaiki,Una, Camel TrappingsHaniya Sultan Al Waheibi,
Ibra, Camel TrappingsNajood Hamood Al II 'aheibi,?bra, Bedouin CosmeticsEmbroideryKhalsa Mohammed Abdullah Al
Jabri, Samail, Cap EmbroideryNajla Juma SaidAl Sinani,
Stir, Sun EmbroideryMasar ]amaan Saad Ban Saad,Salalah, Salalah EmbroideryMaryam Ali RashidAl Shehhi,Kasab; Date Palm BasketsIndigoAmur Salean SalimAl Shamakhi,Babia, Indigo-dyed ClothMetalworkMubarak Abdullah Ismail. 1/Farsi, Sin, CopperworkMusabah Jaarqj Khamis AlHadad, Manah, MetalworkIbrahim Hamood Al Isma Hi,Nizwa, Silver JewelryOmar Abdullah Khalifin Al Rashidi,Sin, in; Silver KhanjarWorkKhalid Naseer Sai/AlTaiwani,Nizwa, Khanjai AdornmentWeavingSahuman Abdullah Basan AlKhatri,Al Hamra, Wool WeavingKhalfan Aniui KhalfanAl Badowi,Al Mudaibi, Silk Weaving
Occupational TraditionsOasis KitchenSaiiina Bakhit Abdulla Al Badri,Muscat, Omani Cooking/.aim Hamed Mohammed AlDhahli, Muscat, Habva MakingSaid Abdullah Saul Al Hailby,Muscat, Omani CookingAhmed Rashid Abdullah AlMarsoori, Muscat, Halwa MakingTraditional BuildingKbalnl ?uma Hassoun AlAraimi, Sur, BoatsAhmed Mubarak SabeitAl Araimi, Sur, Boats
1/j Said Khamis AlYahyaai,Bahla, Traditional StructuresSaleh Khalqf SaifAlYahyaai,Bahla, Traditional Structures
Music and Dance TraditionsAl Majd, Salalah(South Oman Traditions)Saul Awadh Salim Al Hadhramj
Jalal Awadh Said AllounAbdul Sharif Bakhit Ba Maalaq
I Ihiyab Nasser ArfahBait Al RabashNassr Bashir Ashoor Bait ArdhamSamid Nasib FarhanBait Bu SalaselWata Said MohammedBait DashishaAppian Said [amaan Bait FarhanAbdul Hadi Fael Bait MaaleqAbir Gharib Bakhit Bait MabrookKhaloud Gharib BakhitBait MabrookAtaf Saleh Faraj Bait MustahilSaid Aman Allah SaidBait NaghathitNaji Awadh Rajab Bait RabiaRajab Khamis Saad Bait SaleemAni?a Riyadh Rabia BaitTaroomAbdallah Masib FarajBu Bait Al AmriRasam Rabia Nasib MaadAnwar Nasib Saad QafqafArafat Matar Rajab
Qurayat EnsembleK .'i anal Coast Traditions)Namir Khamis IshaqAl BalushiSaid Taraif Saleem Al GhazaliAmal Khamis Juma Al HabsiNabil Naseeb SangorAl [abriSuad Obaid Salmeen Al JabriAll Khamis Said Al [ahdhamiNaaim Suwaid SangoorAl RisadiMubarak Khamis Juma Al RuzaiqiTalib Khalfan Salim Al Sha AibiAfra [uma Sulaiyam Al SinaniAmal |uma Sulaiyam Al SinaniHadaiyad Rabia
I ladaiyad Al SinaniMahfoodh AbdullahNajnn Al SinaniRahima Rabia Hadid Al SinaniRahma |uma Sulaiyam Al SinaniSalehYousuf Fail Al SinaniSalim Juma Suleum Al SinaniYousufThani FayilAl SinaniAhmed Zaid Fail Al WaheibiZayid Khalif MubarakSuhar Ensemble(North Coast Traditions)Abdullah Saleh Al BalushiIbrahim MubarakHamed Al Balushi[uma Khamis Juma Al BalushiSinan Ibrahim All Al BalushiAh Suhail SahmAl DhahriObaid Mohammed Obaid Al FarsiKhamis Ah MohammedAl HamdaniMohammed Abdullah Al HamdaniSaid Nasib Kharabash Al HamdaniAbdallah Saleh Ah Al JabriAbdullah KhadeemDhiwaiAJ KahaliAbdullah Ah Shinain Al MaqbaliAbdullah Salmeen Al MaqbaliKhalfan Saleh Abdullah Al NofliYounis [uma Khamis Al NorliIbrahim Mohammed Al QasmiSaad Said Nasib Al QasmiAsim Ah Mohammed Al ShafeiMohammed Ah IbrahimAl ShezawiDarwish Saleh Salim Al ShibliDhahi Ghasab DhahiAJ ShibliSalmi MohammedAbdulla Al ShibliMohammed Hassan SaidAl ShidiKhamis Ah Khaif Hamdani
I [19]
FESTIVAL PARTICIPANTS
I20]
Ralph RinzlerMemorial ConcertMark ?mil Nancy Brown(Eastern Band Cherokee),Robbinsville, North CarolinaThe Browns ?ere born and raisedin the are.i around Robbinsville,known .is the Snowbird region,where Cherokee tradition andlanguage remain strong. They sing
old i 'herokee hymns that dateto the I'lth century and earlier.
with tunes that arc familiar fromother Christian churches. Whilethe singing is in Cherokee, the
style is strongly reminiscent
of the southern Appalachian
singing of the tarter Family. TheBrowns can be heard on BeautifulBeyond and have also recorded
an album called /'// Fly Away:Hymns in the Cherokee Language.
Comanche Hymn Singas,Lawton, Oklahoma
I he Comanche Hymn Singers arefrom IVtarscv United MethodistChurch m the heart of Comanche
< i luntry. In such churches, the
singing is congregational; after theleader sings the hrst tew words,the whole congregation will joinin In Comanche churches, the
songs are "made" (or created) bymembers of the church, unlikethose in many other Indian
chinches, where missionariestranslated common hymns fromEnglish to the local Indianlanguage. Most of the singers aremembers ot the Pewewardy familyand are related by bloi id and
marriage. They are featured on theSmithsonian Folkways recording.Beautiful Beyond ChristianHymns in Native Languages
Maria Nauni (Comanche/Seneca), Cache, OklahomaMaria Nauni has a degree inbusiness from the University
of ( H.lahoma and now ispursuing a master's degree inbusiness administration Sheworks as an education specialistfor the Comanche Nation'sOffice of Higher Education.In February 2004 she released
a recording called ComancheHymns performed by Maria Nauni,w hk h was nominated in thebest traditional vocals category
it Milwaukee's 2004 IndianSummer Musk Awards She has
1 .i> tied w idely as a performer,
speaker, model, and actress
lince Redhonse (Navajo),Tucson, ArizonaVmce Redhouse was born and
raised in California, a member
of a family ot musicians thatincludes his brother. Larry, a jazzpianist: sisters and singers Maryand Charlotte; and brothers Tonyand Lenny, both percussionists.The family recorded a highlyacclaimed album. ? 'rban Indian,tor Canyon Records in i'><i~Vince specializes in the NativeAmerican flute and also performson tenor saxophone. He was leadtenor sax player with the Airforce Band of the Southwest His
first two solo recordings, I aiili inthe House and Sacred Season (RedSea SOAR label), were bothnominated tor Grammy awards 1112002. His latest recording is ( ,\>
( life Every Nation. As a soloist.Vince primarily performs clas-
sical music, traditional hymns, .\nc\contemporary spiritual composi-tions He will be accompaniedby guitarist Matt Mitchell
Mark and Nancy Brown
will perform old Cherokeehymns that date from the
early 19th century.
SMITHSONIAN FOLkLIFE FESTIVAL
SMITHSONIAN INSTITUTION
Lawrence M. Small, SecretarySheila P. Burke, Dcpmy Secretary andChieJ Operating OfficerCENTER FOR FOLKLIFEAND CULTURAL HERITAGE
Richard Kunn, DirectorRichard Kennedy. Deputy DirectorLoretta Cooper, Development DirectorRebecca Smerling, Assistant to theCenter Director/Special EventsAdministrationBarbara Strickland, Assistant Director
for Finance and AdministrationMarquinta Bell. Budget AnalystClaudia Telhho.Administrative SpecialistRachelle Hardy.Management Support AssistantLinda Benner, Administrative AideEddie Mendoza, AdministrativeAssistant/Food ConcessionsRamona Dowdal.Judy Goodrich,Mann Hoyt, Renny Smith.
I ohiuteeisGersende Piganeau, InternSmithsonian FolkwaysRecordings /SmithsonianGlobal SoundPainel Sheehy, Curator and Directo)Anthony Seeger,Curator and Director, EmeritusD. A. Sonneborn, Assistant DirectorBetty Derbyshire, FinancialOperations A lanagerRichard Burgess,
Directot oj Marketing and SalesMark Gustafson,Radio and Retail PromotionsMary Monseur, Production Manage)John Passmore, ManufacturingCoordinatorMargot Nassau, Royalties andLicensing ManagerJohn Smith, Sales andA farketing SpecialistPete Reimger, Sound ProductionSupervisorRonnie Sinipkins, Audio EngineeiToby Dodds. Technology ManagerAmy Schneter, Program AssistantKcisha Martin, Financial Assistant
Helen Lindsay, Lead Customer ServiceRepresentativeLee Michael Demsey,Norman van der Sluys,Ciislomci Service RepresentativesRyan Hill, Sales RcpcsentativeLinda Claudia de Four. GregDonahue, Patrick Gelesh, SusanneG?ricke,Jenna Homnch-Micocci.Joanna Kelly. David Linaburg, [ulieLipson, Gregory Morrison, MaxNewman, Bradley Pearson, JamesPotter, Alexander Riedel, AndrewRitchey. Jessica Schwartz. ]ana Seidl,Laura Smith, Benjamin Teitelbaum,Caleb Ward. luteinsRalph Rinzler FolklifeArchives and CollectionsJeffrey Place. ArchivistStephanie Smith, Assistant ArchivistBob Earle, Julian Foley, KennethKraszewski, Maya Lerman,Meaghan McCarthy, MariaRobinson, InternsCultural Heritage PolicyJames Early, Director
I cvl.i Strotkamp, InternCultural Researchand Education
( )livia Cadaval, ChairThomas Vennum, Jr.,Senior Ethnomusicologist V.iuei itusBetty 1- Belanus, Olivia Cadaval,Nun v Groce, Majorie Hunt, I )ianaBand N'Diaye, Frank Proschan,Peter Seitel, Cynthia Vidaurri,Curators, Folklorists, Education &Cultural SpecialistsCarla Borden, Program /PublicationsManagerJohnW. Franklin, Program Manage!Manelle Beach, Emily BrostofF,Courtney Lutterman, luteins
Folklife Advisory CouncilKurt Dewhurst (chair), Judy Mitoma(vice-chair), Michael Doucet,Anthony Gittens, John Herzog(ex-qfficio) , Barbara Kirshenblatt-Gimblett, Debora Kodish, EnriqueLamadrid. Worth Long, LibbyO'Connell.J. Scott Raecker,Robert Santelh, Ricardo Trnnillos
Folkways Advisory CouncilMichael Asch (chair), Phyllis Barney,Hall Cannon, Don DeVito, EllaJenkins, Anthony Seeger (ex-qfficio),Lied SilberResearch AssociatesRobert Albro, Gen Benoit. Pati it kDelatour, Kip Lornell, MaraMayor,Joan Nathan, Sam AugSam, Preston Scott, Chucho Valdez,Patrick Vilaire, Nilda VillaltaRockefeller HumanitiesFellows (2004-05)Robert Albro, lane Anderson,
1 esley Fordred-Green, ChristinaKreps.Tong Lam, Lillian Manzor,Marya McQuirter. Sua ReddySMITHSONIANFOLKLIFE FESTIVAL
1 )iana Parker, Festival DirectorNatalie Hisczak,Rebekah Plueckhahn,Assistants to the Festival DirectorNatasha Beckman,Scott Courlander, ?uterusParticipant SupportNajat Dawaji, Participant CoordinatorMarsha Michel, Ahza Schiff.Participant AssistantsJudy Luis Watson, Social CoordinatorJocelyn Frank, Transportation CoordinatorLauren Kritzer, AssistantTransportation CoordinatorAlicia Mittleman, InternCarolyn Dunn, Participant HospitalityLead I blunreeiTechnical SupportRobert Schneider, Technical DirectorTun Manning,Associate Technical Directo)Rebecca Berlin.Assistant Technical DirectorCharles Andrew Marcus, ElectricianRay Reed, Pipe FitteiEric Hammons, Anthony Milby,CarpentersRobert Brox, John Bullock,Kendra Denny, Ralph Derbyshire.Bruce Hall, |oshua Herndon,Terry Meniefteld, Manuel Mijando,SMITHSONIAN FOLKLIFE FESTIVAL STAFF
Ene Nance, Alark Strickland,Exhibit WorkersDave Lanning, TruckingSteve Fisher. Sound Stage Supervisor
1 )aniel Chew. InternPublicationsCarla Borden. Publications MauageiChieJ EditoiCarla Borden, Frank Proschan,Arlene Reiniger, Peter Seitel,
II 'riters /EditorsCarolina Santamar?a, Trans?ala
Design & Production
I >cmse Arnot, Art I )ir< , totKrystyn MacGregot ( onfair,
< Graphic Designa
In.in Erdesky. Production ManageiAnia Blewazka, Design Intern
Documentationlerirev Place, Audio DocumentationCoordinatotStephanie Smith. PhotoDocumentation CoordinatorCharlie Weber.Vn/c.i Documentation
( Coordinatot
Issa Abdulcadir, Hannah Sai ks. InternsMarilyn Gaston, Lead I olunteei
Education andProgram SupportArlene Reiniger, Intern Coordinatot|ohn Franklin, Accessibility ( CoordinatotCandas Barnes. Koli Cutler, MartinHiraga, Kimberly Underwood,Hank Young, Sign-language InterpretersVieki Moeser, Becky Haberacker,Public Affairs
( Ulleen McCarthy, (enniferWong,Public Affairs InternsKevin Blackerby, Supply CoordinatotMichelle 1 ieCesare, Supply AssistantMolh Koval, ?manAmanda Pike, Foodways CoordinatotBarbara BogaRosh.
I bluntecr CoordinatorMelanie Morgan, Assistant I olunteeiCoordinatorSara Mvkietyn, 1 uc\ I e ri ell. Interns
MarketplaceRachel Delgado, Marketplace
i CoordinatotA.C. Stickel, ' )perations XlanageiBetty I )erbyshire. Fiscal ManageiMarlene Craves. Inventory ManageiHenri Goodson, Alexandra Zapplc,Marketplace Consignment Assistants
Alit Bin Brahim, Carlos Bruce,
l.isun Castro,Aaron Chaisiri,Fernando ( lordova, Stewart Duque,Allison Fax. Jon-Nicol.u Langlois,Nathan 1 anglois, Swatantar Mann,Keisha Martin. Vicente Mendoza,Wei id. ill R Morris. Anna Pinkert,
I i.im Sheehy Adelina ( Simmons,Rosemary Iaing, Marketplace Associates|oh.nina Blunie. Intern|oyce I lubbard, Lf.nl I olunteei
Food Culture USAloan Nathan, Guest CuratotStephen Kiilil, Co-CuratoiArlene Reiniger, Program Coordinatotlieverh Simons, Program AssistantAlana Ackerman, AmyBartscherer, Amaris Ketcham,Shikha Nandkeolyar, NguyenKim I )zung. InternsI'olK Adema, Betty Belanus,
I niiK Botein, Charley ( imp.|ohn Franklin. Alexandra Greeley,Nanc\ ( Iroc e. Mark I laskell,Kevin I lealy, I ucy I ong, StevenPrieto, Michael Twitty, ( '.) nthiaVidaurri, Chris Williams, Presenters
I Vhorah I ( laffin.Education ConsultantMichael Batterberry t( Chair),An.me Batterberry, Warren Belasco,Partice Dionot,John T. Edge, RaynaGreen, loin Head, Ethel Rami.I'hvlhs Rh hm.m. (ins Schumacher,Marsha Wiener. Ann Yonkers.Advisory ( Committee\h. t Waters (Chair), I )ana
( owin, Barbara Fairchild, JudithIones, Emeril 1 agasse, DeborahMadison, Robert Mondavi, NoraPouillon, Ruth Reiehl, Cabin
Trillin, Whole Foods. Tim & NinaZagat, Leadership CommitteeMargaret Ershler, Lead I olunteei
Forest Service, Culture,and CommunityInn I leutseh. Program ( Cm, uoiDorey Butter, Program CoordinatorIasha Coleman, Research CoordinatotEmma Bellamy, [ohn Buckholz,(lane Gilbert, Natascha Guluk,Alba Mercado,Yixin Qui.Ahza Sehitt. Kim Stryker, InternsZakiya Williams, Lead I olunteeiNancy Groce, Marjorie Hunt,('ame Kline, lens Fund.Bob McCarl, Peter Seitel, PresentersUSDA Forest Service(Coordination Team
I inda Feldman, New Century
oj Service Program ManageiChristine Murray, FestivalProgram ManagerKaren Fiore, R.esearch and OralHistories, Festival Co-CoordinatorKaren Finlayson, LogisticsBob Beckley, LogisticsPipa Elias, Student Conservation
I ssociation InternSusan Alden, Centennial PartnershipsKeven Kennedy, CentennialCommunicationsleresa Haugh, Public Affairs SpecialistSarah Iverson, Audio- 1 'isual SpecialistArlena Aragon-I lusband, PatriciaAstern/. i. Christina Ban, SarahBarsness, Hob Beckley, CherylBurgess. Kevin Davis, BonnieDearing, Sherri Richardson Dodge,
Jill Evans, Maryo Fuel]. KathleenFiggen, Karen Fiore, Sandi 1 orney,Don Gedney (1918-2005), AndrewGrace, Andrea Graham, ElizabethHarvey, leresa Haugh, David Hunt,
I )on [ensen, Elizabeth 1 larve)lohnson, Barbara Kenady-Fish,
( .11 1 ie N Kline. ( onnie R. Lee,
lei rv I ivingston, (dins 1 osi,[ens I mid. Kan Lusk, MichelleMcanally, Ken McCall,James
I Mi ( onnell.June McMillen,Dans Mmler. Sheila Poole, BenQuick, Mike Ryan,John Schelhas,
( \1th1e Si hmidlin, Steve Segin,Ronna I ee Sharpe, George Sibley,Brooke Smith. Stephen Swimmer,
I lame 1 hatcher, Fee Webb. JanetWerren. Georgia Wier. CarolWinkler, Susan Wright. Pat York.Interviewers ?mil fieldworkers
SMITHSONIAN FOL?LIFE FESTIVAL
Nuestra M?sica:Music in Latino Culture
Olivia Cadaval, Daniel Sheehy,CuratorsCristina D?az-Carrera,Program CoordinatoiNuda Villalta, Research AssociateRussell Rodr?guez, PresenterCarolina Santamar?a, TranslatoiNatalie Ara?jo, Mary P?rez,Eduardo Ubeda, Interns
Ornan: Desert,Oasis, and Sea
Hassan Mohammed AH Al-Lawati(Chair), Riyadh Yousef Al Raisi,Majid Said Hila] Al Mahroqi,Khalfan Ahmed Al Barwani, SalimAdil Al Mamary. Abeer AbdullahAl Farsi, Abdullah Hilkal AlDawodi.Adil HumaidAl Mur AlAlawi, Saeed Sultan Al Busaidy,Curatorial CommitteeRichard Kennedy, CuratorSaeed Sultan Al Busaidy,Mary N. Sebold,Program CoordinatorsMarcia Dorr, Crafts Program AdvisorKhalfan Al-Barwani,Music Program AdvisoiPiana N'Diaye, Adornment PavilionProgram AdvisorJamal Ahmed Ghulam Al Balushi,Khalfan Ahmed Al Barwani, AsyahAl Buali, Mubarak Al Dawodi, MajidAl Harthy, Murtatha Abdul KhaliqAl Lavvatna, Hamood Abdullah AlWaheibi, Enrico Dcrnco.AdamDorr, Marcia Dorr. Neil Richardson.Muna Ritchie, PresentersMohammad Anun,Angelo Rotondaro, InternsMaria Marcus, Lead I blunteer
National Park ServiceC?ale Norton,Secretary oj the Interior
I ran P. Mamella. Director,National Park ServiceDonald W. Murphy. Deputy
Director. National Park ServiceJoseph M. Lawler, Regional Director,National Park- ServiceDwight E. Pettiford, Chief, I 'nitedSlates Park PoliceVikki Keys. Superintendent,National Mall and Memorial ParksRick Merryman, Chief,Division of Park ProgramsLeonard Lee, Permit Specialist,Division oj Park ProgramsKaren Cucurullo, Special Assistantfor Partnerships, National Malland Memorial ParksRobert Karotko, Chief, Division
oj I ????oi Services, National Malland Memorial ParksSean Kenncalv, Chief, Division
oj Maintenance, National Malland Memorial ParksEmployees of the National ParkService and the United StatesPark PoliceSMITHSONIAN SUPPORTFOR THE FESTIVAL
Office of the Secretai \Office of External AffairsOffice of DevelopmentOffice of Sponsored ProjectsOffice of the Inspector GeneralOffice ot the Genera] CounselOffice of the Deputy Secretaryand Chief Operating OfficerSmithsonian Outer forLatino InitiativesFacilities Engineeringand OperationsOffice of Engineering, Design,and ConstructionOffice of Facilities ManagementHorticulture and TransportationOffice of Facilities Reliability
Office of Facilities Planningand ResourcesOffice of Architectural Historyand Historic PreservationOffice of Project ManagementOffice ot Protection ServicesOffice of Safety andEnvironmental ManagementOffice ot Government RelationsOffice ot CommunicationsOffice of Public AffairsVisitor Information l\ Associates'Reception CenterAccessibility ProgramOffice ot Human ResourcesOffice of Special Eventsand ProtocolOffice ot the Chief InformationOfficerOffice of Imaging andPhotographic ServicesOffice of IT OperationsOffice of System ModernizationOffice ot the Chief FinancialOfficerOffice of the ComptrollerOffice of Contracting
1 ravel Services C )fticeOffice ot the Treasurer
l )ffice of Risk ManagementOffice ot Planning and BudgetingOffice ot Financial SystemsIntegrationNational ProgramsThe Smithsonian AssociatesSmithsonian AffiliationsSmithsonian TravelingExhibition ServiceSmithsonian Center for Educationand Museum StudiesOffice of the Under Set retar) for ArtFreer Gallery ofArtOffice of the Under Secretaryfor ScienceOffice of International RelationsNational Museum ofNatural HistorySmithsonian Business VenturesSmithsonian Magazine
[23
SMITHSONIAN FOLKLIFE FESTIVAL STAFF
SPONSORS AND SPECIAL THANKSGeneral FestivalThe Festival is supported byfederally appropriated funds;Smithsonian trust funds; con-tributions from governments, busi-
nesses, foundations, and individuals;in-kind assistance; and food,
recording, and craft sales Support
| i 2 4 | for this vear's Festival comes fromthe Music Performance Fund, within-kind support provided throughMotorola, NEXTEL.WAMU 88.5
I M,WashingtonPost com. PegasusRadio Corp., and Icom America.Additional In-kind SupportCactus Cantina, Washington, D.(
( 'ostco, Beltsville, Maryland; GlobalVillage Productions. Alexandria,Virginia; Gordon Biersch,Washington, 1 ).C; Krispy KremcDoughnuts, Washington. I U '.,Leatherman Tool (?roup. Portland.
( )regon; Media Visions VideoDuplication, Newmgton, Virginia;McDonalds - MCI (enter.Washington. DC; Nine YardsMedia, Alexandria. Virginia; PatrickTelepictures, Washington, D.C.;Potbelly Sandwich Works, ( In. igo,
Illinois; Target Distributing AudioVideo Division, Germantown,Maryland;TDK Electronics. PortWashington, New York; Wriglev
( Company, Peoria, llinoisFood Culture USA
1 his program was made possiblethrough major contributionsfrom Whole Foods Market, theWallace Genetic Foundation, SilkSoy, and Horizon Organic I >.iirvAdditional funding came fromthe United States I )epartment ofAgriculture. Contributors includeV'anns Spices, Honest Tea, I armAid, Guest Services, Inc., Chipotle\? ii in Grill, The Rodale
Institute, and the Jean-FoulsPalladin Foundation. Major in-kind
support came from KatchenAid
and Zola Star Restaurant Group.Collaborative support camefrom Marriott International, theWashington. DC Convention andIourisin Corporation, and the
( ulinarv Institute of America.
Additional In-kind SupportAmerican Plant Food ( 'o .Bethesda, Maryland; BeehiveBeeproducts, New York. NewYork;The Coleman Company,
Inc., Wichita. Kansas; Cnswcll
I loud, 1. ( lermantown, Maryland;
( )X< >, New York. New York;
1 riger's Hardware, Washington,
1 ) ( . ( ?riffin Greenhouse andNursery Supply, Tew lcsbury,Massachusetts; Hercules I ence,College Park, Maryland;
I liter- A menean Foundation.Washington, I XC. Johnson's
Florist ex Garden ( lentei s,Washington, 1 ).C; Maine Wood
1 leaf ( 'o.. Inc., Norridgewoc k.Maine; \U Evo\ Ranch, Petaluma,
( ililonua; Mslukamano FarmersAssociation. Mbeya Region.Tanzania; Nursery Supplies [nc .
( hambersburg, Pennsylvania;
( )ilc loth International, Los Angeles.California; SI Corporation.
( lik kamauga, ( ?eorgia; Slow
I ood USA, New York. NewYork. Sur 1 a 1 able, Virginia
1 ie. ich, Virginia; Target.W Ilea ton.Mars land; Wetsel Seed Co.,
1 larrisonburg,Virginia;WineAmerica. New York, New York
Special ThanksAdams Media Corporation,Alfred A Knopf; Carrie Bachman;Albie Barden, Mame Wood
I leat Co., Inc . Bartlevy Press.Ann Hartscherer; Michael andAriane Batterberry; FrancineBerkowitz, Culinary Historians otWashington. DC; Diane Bernstein;
Maggie Boon; Nancy Boyer;Svlv.m Hrackett; Ann Brody; KenBrown; Bulfinch; Dara Bunion.V'anns Spices; Tiffani Cailor, FourSeasons. Bryan Callahan; RitaCalvert; Allen Carroll, National
( ieographic Society; ShirleyCherkasky, Culinary HistoriansofWashington, I ).C ; Anna
( hnstenson, Clarkson Potter;
Eliot ( oleman: Sarah ("rocker;Barbara Damrosch;Janet Davis;Mel Davis; Steve Demos; Jennifer
1 )oerr; I lien Feeney,White Wave;[an Fehrman; R.T Fletcher; LisaFotter; Zeke Freeman; Deborah L.
Caftiii; Ceo-textile Co ; Jim Goum.Fungi Perfecti; Seth Goldman,
1 Finest lea; Laura Goldstein,Marriott Corporation; Sarah
( iraham; Fori Griffith, GriffinGreenhouse and Nursery Supply;Allen Hance; Irene Hamburger;HarperCollins; Rachel Hayden;Kevin Healy, Inter-AmericanFoundation; Rico and RajahHilhard; loan Hisaoka; Monty
I lolmes, Smithsonian Horticulture,Stephanie 1 lolt, ( )XO; MeredithHubel. Smithsonian Horticulture.Kathleen Hughes, Capital Books,Brian lush, ARS; Sarah Kenney;lodd Kliman; Sandy Ferner,Ayrshire Farm; Dusty Lockhart;
I )errell I yles, Smithsonian
I [orticulture; Mage Publications;Brian Maynard; Christina Mazzanti;Shawn McBride; Hugh McClam,S| ( orporation; McEvoy Ranch;Montgomery County Beekeepers'Assoi lation. Morrow Cookbooks;()il ( loth International; NurserySupplies Inc ; Parade Magazine;Peggy Parsons. National GalleryofArt; Laurinda Patton; PelicanPublishing; Penguin Publishing;Pogo Organics; Suzanne Rater;Random House; Pamela Reeves;Alvsa Reich; Alicia Schnell,
I lonest lea; ( lus Schumacher;SMITHSONIAN FOLKLIFE FESTIVAL
Seeds of Change; Howard Shapiro;SI Corporation; David Sloane,WineAmerica; Slow Food USA;Minn Stein, Ayrshire Farm;John Surina, USDA; DanielleTergis;Thai Basil; Laura Travina;T?mara Waldo, Sunnyside Farm;Ten Speed Press; Ann Yonkers,FreshFarm Markets; Josh Viertel;Tony Guarnello.Wetsel SeedCompany; Workman Publishing
Forest Service, Culture,and Community
This program was made possiblethrough a partnership withthe USDA Forest Service andproduced in collaboration
with the National Endowmenttor the Arts. Major supportcame from the National ForestFoundation. Honda, and WholeFoods Market, with additional
contributions from IBM and TheAmerican Chestnut Foundation.In-kind SupportAAA Tree Service, Alexandria,Virginia; Alaska Marine Lines;L.L.Bean. Freeport, Maine; DaysEnd Horse Rescue, Lisbon,Maryland; DC Urban Forestry,Washington, D.C.;Jacobs CreekJob t lorps Civilian ConservationCenter, Bristol, Tennessee; HartkeTheatre at the Catholic UniversityofAmerica, Washington, D.C.;Lodge Manufacturing Company,South Pittsburg, Tennessee;Melrose Hotel Co., Washington,D.C.; Maryland Forests Association,Grantsville. Maryland; The Mill,Fork. Maryland: National Centertor Earth-Surface Dynamics.Minneapolis, Minnesota; RandomHouse. Knopf PublishingGroup, New York; RuppertNurseries, Laytonsville, Maryland;Shemin Nurseries. Burtonville,Maryland; Trails Unlimited,Monrovia, California; Waterford
Press, Phoenix, Arizona.
Special ThanksDave Aicher, Donavan Albert,Ted Alway, Carla Arnold, DianeBanegas, Ron Banegas, JoyceBarott. Sonja Beavers, Joy Berg,Barry Bergey, Ama Blewazka,Kendra Bourgart, Carlton Buford,Patrick Calpin, Karen Campbell.Kerry Cassidy, Chris Castillo,Ten Cleeland, Ed Cohen, RandyCooper, Derrick Crandall,Chuck Croston, Thierry Curtis,Shannon Daut. Chris Davitt.JohnDeen-Turay, Todd DeGarmo,Lori Delgado, Judy Dersch, EdDickerhoof, Dugal Dickerson,
Lisa Dowhaniuk, Steve Dunsky,Lenme Eav, D^w Edwards.Stana Fedenghi. Albert Finan,Arvada Fisher, Jack Fisher, Steveand Mark Fletcher, Steve Foley,Jerry Franklin, Teresa Fraser,Troyd Geist, Keith Ginn, MichaelGoergen, Rene? Green-Smith.Ray Halbisen, India Hall, DennisHardman, Paul Hart, Karla Hawley,Wanda Hawaiian, Bill Hay, FredHebard, Cassie Hebel, Nicholas
Hillary. Terry Hoffman,TeresaHollingsworth, [oel Holtrop,Lynda Houfek, Sue Howards, DonHowlett, Don Jastaad, DenverJames, Dan Jiron, Bob Iones, EdKarch, Mark Kelly, Lee Kessler.JimKoen.Tosh Konya, Debra Kroeger,Tracy Lambert, John Laurence,Marilyn LeMoine, George Lennon,Mets Lerw lll.Jim Lockver, CamLockwood, Marion Lostrom, MaryMcDonald, Dom McKay, I onMcKean.Jane Malonev. ( ?loriaManning, Vrughan Marable, SteveMarkotski.Jeff Marr, KatherineMarshall, Char Miller, MarkMilhette, Kevin Mills, CindyMiner, Patrick Murphy, KristenNelson,Wilke Nelson, DonNormandin, l^jn O'Connor,Steve Oravetz, Cindy Pandini,Chris Paola, Sue Paulson,Mark Pearlstein, Karl Perry,Julia Petersen, Tom Pettigrew,
Roger Phelps, Louise Phillips,Nadine Pollock, Bill Possiel, PhilPntchard, Joyce and RobertRehfeld, Laetitia Relia, GeorgeRink, Denise Rippentrop, HowardRosen. I )ale Rosengarten, DebbieRothberg, Fred Rowe, [asonRutledge, Safiya Samman, LindaSchmidt, John Sebehus, Mar\JaneNeuter. Greg Sharrow, KimShelton, Dick Smith,Amy Snyder.Lew Southard, Tom Stafford.Dave Steinke, Suzanne Sterrett,Erika Sterrett-Sylvester, |asonStinchfield, Craig Stinson, MerlSturgeon, Bob Swinford, Micha]
Tal, Billy Terry. Floyd Thompson,Robin Thompson, Tony I ighe,DonTrammell, Fred Velasquez, IrisVelez.JeffWaalkes, Kim Walton.JeffWaters, Ron Wester. |errvWilco.xen. Jerry Williams.TomWilliamson, 1 )iana Wilsey-Geer,Don Wilson. Art Wolfe. l'cgg\Yocom, Janet Zeller.J.Y.Zhu.American Bird Conservancy,Anaconda Job Corps Center,Bat Conservation International.Capital Area Woodturners.Ecological Restoration Institute
at Northern Arizona University,Moorehead Cultural Center.Nor-Cal Woodturners. One-WayManufacturing. Patuxent ResearchRefuge, Roots and Shoots? [aneGoodaL Institute. Trapper I reekJob Corps Center, University ofMaine. Wenatchee SportsmenAssociation, Willamette ValleyWoodturners. Woodcraft Store
Allegheny National Forest.Apache-Sitgreaves National Forest,Black Kettle National Grasslands,Bridger-Teton National Forest.Chugach National Forest, CibolaNational Forest, CoconinoNational Forest, Crooked RiverNational Grassland, DeschutesNational Forest, DeSoto NationalForest. Eastern Region, ForestProducts Laboratory, GeorceSPONSORS AND SPECIAL THANKS
[2 6]
Washington and Jefferson NationalForests, Gifford Pinchot NationalForest, Grey lowers NationalHistoric Site. IntermountainRegion, Kaibab National Forest,
I os Padres National Forest,Midewin National Tallgrass Prairie,Modoc National Forest, Mt.Hood National Forest, NationalForests in Mississippi, NationalForests m North Carolina,National Tree Need 1 aboratory,Nez Perce National Forest,Northeastern Area, NortheasternResearch Station, North CentralResearch Station, NorthernRegion, Ochoco National Forest.
( )kanogan & Wenatchee National
Forests, Ozark-St. Francis NationalForest, Pacific Northwest ResearchStation, Pisgah National Forest,Prescott National Forest. Region
I Aerial Fire Depot - MissoulaSmokejumper Base, Reinventionlaboratory. Rocky MountainRegion. Shaw nee National Forest,Siskiyou National Forest. SiuslawNational Forest. Southern Region.Southern Research Station.Southwest Region. StanislausNational Forest, [onto NationalForest. Uinta National Forest.Washington Office, WillametteNational Forest, Wind RiverCanopy Crane Research Facility
Special thanks to the followingindividuals, who contributed to
Forest Service, ( Culture, andCommunity by allowing themselvesto be interviewed: GenevaAccawanna, Richard Ackernian,M an Beth Adams. Susan Adams.Alan Ager.Janie Agyagos, KentAinsworth, Anne Alford, I )aveAllen, Jay Allen, Shane Allgood,Verdie Allies. John Ainonson, AlanAnderson, Alvin G Anderson,Bei neice Anderson, RiendaAnderson, Glenn Anderson,Kimberly Anderson. |ohn Anhold.Arlena Aragon-Husband, |ohn
Arrechea, Matt Arnn, Gordon Ash.Phyllis Ashmead, 1 )onnaAshworth, Charles "Carlos"Atencio, lorn Atzet. Man 1 Badley,Jack Baker, Elaine Baldwin,Barbara Balen, Billy Ball. Herman
Ball. Aim Ballard, Daniel Banks.Ian Barlow. |oyce KillebrewBarnett, Floyd Barnett, |oy Barney,Mars Barr, Byrd Bartholomew,Nancy Basket, Dan Bauer. KateBauer. Robert Beckley, | miBedwell, Brian and Sarah Behle.
I larscs Belser. Peter Belldllha.Mike Benham, Karen Bennett.Joseph Bennion, Jim Berger, I inBergland.Velicia Bergstrom, DanBinder. Sean Binder. Foms Black,Calvin Blackburn, Dee Blackburn.
I nomas Blankenship, RichardBodner, Larry Bonner, [oannaBooser. I )ale Bounds. KarenBrand, Edgar Brannon, SkipBrelsford, Paul Brewster. SteveBrink, Caren Briscoe. LynnBrittner, Christina Brogdon, SamBrookes. Gloria Brown, MarkBruhy, Randy Brunson, William |.Bryan, Jeff Bryden, Oliverliiu Ides, Bob Buckman, RussBulklev, Angle Bulletts. PeterBunting, Cher Burgess. LarryBurkhart, |erry Burns, RobertBint, Eric Bush, loinCammermeyer, Lindsay Campbell,Rita Cantti. Mark and GretchenNeal Cardall, Cindy Carpenter,Edward Carpenter.AJ Carr (1946-21104). Ben and Sandra Carter,
I )an l ates. Pete I ceil. ChaiieneChambers, Bill Chapel, G.WChapman, Laura Chapman, [erry
C honka. Shannon Clark, [ane
i :liff Kathryn Cliff (191 0-2004),
1 )on Cloud, [erry t llutts, Steve
i o.idy, Bryan Colgrove, I >on
t olp. (..On Conley, Hugh Recce
t onner. Amos Coochyouma,Gerald Cook, Forrest Cooper,Frederick Cooper. Kevin Cooper,Romain Cooper, Arden Cores.Andy Coriell, Al Cornell, [ohn
Courtenay, Fred Craig, ChuckCroston, Connie and WilliamCrothers, Sr., William Crothers, |r.,Sally I rum. Helena Culver, MikeCurran. Gilbert Davies, RogerDawson, Beverly deGero.JimDenney, Lynn Dennis, Robert
1 )evlin,Velia Diemert, Don Dilley,Phillip Dobbins. Robert Dodson,Joel Douglas. Kate Booth Doyle,Nancy and Bruce Dreher, PaulDufour, Myrna Duke, VickieDunaway, Frank Duran, [ohn
1 >ss \ er. t hnstopher Eagar,Barbara Last, ]errv Edwards. Penny
I ggan, rim Eldridge, MariaEmery, George Engler. Kelly
I sterbrook, Robert Ettner, Stanand Pegg) 1 wanoski, Arle\F.idness. Curtis Fair, ScottFairchild, Fony Farqua, EloiseNoble Fasshauer, Paul Fattig, [ohnFayhee, Mamie Ferrier, DelhsFerrier, 1 'w igl? Fickes. Terrs 1
Fifield, Michelle Finch, [ohn Firth.Fred Fitchner. Pat Flach. bun
I lanigan, Bruce Flewelling, Bill
I ord, Larry Ford. Sandra |oForney, Eric Forsman, GreggFoster. Rich Foster. Bruce 1 ox,Euster Foy, Paul Frank, [err)Franklin. Cass Freedland, SusanFreeman. Harry Frey, JeremyFried, Besan Frost, Sandra Frost,Carl Frounfelker, Mike Furniss,Pain Gardner, Troyd Geist, KeithGertsch, Robert Gillihan, CurtisGlasoe, Bill Class, LaVerne Glaze,Steve Glazer, [ohn R. "Bob"Glenn, Merle Glenn. Paul Gobster,Pin His Goddard, Max Godfrey, ArtGoodtimes, Marie Could, AmyGowan, Janet Grabowski, Gordon
( .rant. Bob Gray, Duane Green,Ed Cross. David Diaz Guerrero,Ions Guinn, Nancy Hadlock,Judy Haigler, Fred Hall. Ian Malm.Paul Hamel, [ames Hammer, MikeHammer, David Hammond,Garryck Hampton, Don Hansen.Doug Hansen,John Hanson.Dave Hargreaves, George Harpole,
SMITHSONIAN FOLKLIFE FESTIVAL
Gary Harris, Ty Harrison.[eannette Hartog.Tonia Harvey,Ted Hatzimanolis, Paul Hauk,Elizabeth Hawke, Mark Hayes,Richard Haynes, CynthiaHenchell, Barbara Henderson.Terry Henrie, Lynn Hewlett, HillHickey.Aisha Hill, Charles Hillary.Alan Hillyard.John Hoagland,Mack Hogan, Ken and SueHolbrook. Jack Holcomb, BettyHolder, Duffy Holiday, EricHollenbeck, Les Hook, TomHooker, Mike Horn, ClarenceHostler. Skyanne Housser, RobertHoverson.Ted Howard. HonHowlett, Pat Hubbard, JuneHuckleberry. Hugger Hughes.Nichole Hungerford, Gayle Hunt,Leigh Ann Hunt,John Huppi.William Hurst. Simon tberlin,Monica Ingold, Gay Ippohto. |ohn[ppolito, Saul Irvin.Wilma Irvin,Reed Irwin, Nancy Iwanicki, Samand Renee [ackson, |imm Jacobs,Robert (Jigger) Janes, JefFJaqua,|ovce letterson, Austin |enkms.Bertley Jensen. Melvyn Johnson,Mike Johnson, Shelton Johnson,Terry Johnson. Robbm [ohnston,Betty (ones, |eremy (ones, StevenJones,Wendall Jones,TommyJoseph, Leslie Joslin, Janet foyer,Bruce Juhl. David Jurney. PatrickMichael Karnahan, Dan Karnes,Robert Karrfalt, Michael Keating,Penny Keck, Leo Keeler, Barb andStewart Keiry. Bill Keith, MikeKellogg, Guy "Jeep" Kessler, lamesKeyser, Nova Kim,Tom Kimmons,Beth King, Eleanor Kubach,Bobby Kitchens, Nefisia Kittrell,Bob Klages, Bill Klein, CarolKnight, James Kochenderfer, |ohnKoning, Brian Konnersman.Denys Koyle, Ray Kresek, BillKuntz. Paul Labounty, D.we Lacy,Jeff LaLande, Sonny LaSalle.TomLaurent. Kay Laws, [ane Leche,Beth LeClair, Kevin Lee, Jim Leep,Ted Lemmger, Terry Lesmeister,James Littlepage, Cyndy and
Timothy Livingston, |amesLockyer, Daniel Logan. BenLowman, Eini Lowell, lackLozensky. William Lucas, ArielLugo. Billy Lumpkin, SusanaLuzier, Chery Lyda, Pat Lynch,Rick McBridc, Mark McCallum,Jim McCaskeyWard McCaughey,Mary McConnell, RonMcCormick, Mary McCorvie,Kathy McCovey Krmn McCoy,Jack McCrory, Barbara McDonald,fiances McEwen.Tom McFarland.Pauline McGinty, Lori McKean,Dave McKee, Craig Mackey,Thelma McNeal, ColeMacPherson, Alice McSweeney.Nanette Madden, Jim Mahoney,Karen Mahs-Clark, EdManchester, Patrick Mangan.Wyona Manning, AntonioManzanares, Molly Manzanares.[oyce Marder, Anthony andShirlee Marraccini, ElizabethMarsh, Don Marshall, StevenMartin, Kristen Martine, NancyMathews. Don Mathias, Kirb\Matthew. Jim Maxwell, B.DMayberry, Sigrid Mayer, KrmnM. ( loyAndrea McKeenJoeMeade. Frederick Meinzer,Merton Menge, Bob Mergell.Randy Merrell. Matthew Meyer,
1 )avid Michael. Mike Miller,Regis Miller, Warren Miller. MarkMilhgan, Chuck Milner, MikeMilosch, Gail Mitchell, JohnMitchell, Judy Mitchell, MikeMitchell. William Moody. JeffMorales. Sylvia Mori, |onMomsscv. Owen Mortensen,Niccole Mortenson, Bret Morton.Hank Mostovov, Linda Mullens.Heather Murphy. Lezhe Murray,Rod Nakamoto, Lavinia Nelson.Kim Nelson, Kristen Nelson,Lloyd Newland, Charles Newlon,David Norsworthy, Dave Oates,Chet Ogan, Susan Olherding, theOld Ephraim Mountain Men,Don Oman, Beverly Ortiz, JillOsborn, Clark Ostergaard, Thomas
Oswald, Jeff Outhier, LloydPalmer, Glen Parham, Lafe Parrish,Robert Partido, Susan Paulson,John Peacock, Kellv Pearson, Donand Eva Peden, Dale Peel, DanPence, Mark Pengcllv. JanPetersen, Stan Pfister, Marcie
Phillips,Vein Phillips. WaynePhillips, Peter and Nancy Pinchot,Vernon Pine. Tim Pohlman, LeePooyouma.John Poppino, MarvinPooyouma, Boyd Poulsen,Haiganoush Preisler, I )avePrevedel, |im Prunty, MargePrunty, Carol Raish, Winston Rail,Valei ie Rapp, Ben Rasbeary.Wilverna Recce, Stephen Reed.Rhonda Renider, Connie Reid,Steve Reutebuch.Jim and LynnRigoin, Genny Riner, Wwe andSuz Rittenhouse. Michael Ritter,Luis Rivera. Marlene Rivero, F.Dale Robertson, Earl Roe, DavidRomtvedt. William |. Rosanelli,Belinda Ross, fuella Ross, SteveRoy, Ernie Rutledge.Jim Russell,Michelle Ryan, Cat Sampson,Kathenne Sanchez Meador, HonSanders, Auriel Sandstead,Domenic Santangelo, KarenScallon, [ohn Schaar, I )aleSchaeffer. Kathleen Schields,Nathan Schiff, 1 )avid Schmid,Herbert Schroeder, RobertSchroeder, Janet Schultz, BruceSi humacher, C 'arv Schwarz, RickScott, Valerie Seaberg. ChrisSecakuku, Richard Sedwick,Monte Seehorn, Nancy Seldin,Vickie Sell. Steve Senyitko, DickSeiino, Tom Sharpe, David Shaw,Mattie Sheafor, Dick and LizShelton, Ronny Shelton, JerryShortt, George Sibley, I isa Sieg.John Slav Ken Sleight. Jane Smith.Nicole Smith. Stacey Smith, ZaneGrey Smith, Erin Smith-Mateja,Tom Smyhe. Billy Snodgrass,Gary Snyder, Stuart Snyder,Barbara Soderberg, Karen Solan.Bob Sorenson, Lewis Southard,fired Spears, [oyce Speidel, David
[27
SPONSORS AND SPECIAL THANKS
Stack, Bill Stafford, loni Stafford,Andy Stahl.Vev.i St.msell, ReneeStauffer, Phvlhs Steeves, DuaneStephens, |erry Stewart, WayneStone, Ken Straley, 1 )on Studier,Rogert Stutts.Joe Sullivan, ErikaSvendsen, Rebecca Swaney,Monte Swasey, Wayne Swank,Fred Swanson, Nikki Swanson,Eric Swett, Clinton Sykes, |eanSzymanski, |ohn l.ivlor. AmeliaTerrapin. Perry Sykes lerrv. Sidncfeske, Donna Thatcher, Walt Thies,liobbie 1 hompson, I IharmaineThompson, Lee Thornhill.TateThriffiley, Gail Throop, StanTixier, Frank and Marv AnnTortorich, L I Treat. 1 arry Frekell.Michael Treshow, Teresa frulock,Jan Tubiolo, Paul Tubiolo, C lailrunberg.Ava Furnquist, |acobUhland, I Inward Ulrich, FranciscoValenzuela, Nan Vance. K.iV.ing,TonyVarilone, Marty Vavra, InsVelez, Teresa Vigil, RamiroVillalvazo, Hank Vogler,JohnVozzo, Dennis Vroman, DaleWaddell, Linda Wadleigh, I rankWadsworth, Doug Wagner, Fa\Walker, Larry Walter Kris Walters,Wayne Ward, Arde.in Watts.Lee Webb, George Weick, NeilWeintraub, Bernie Weisgerber,(.'liarles Wells, Frank Werner, JaneWestenberger, Lynne Westphal,lames White. I lavid Whitten,Steve Widowski, Pat Wilde, ErnieWilkinson. Margaret Wilkinson.
( harhe Williams, Chuck Williams,Ernie Wilson, Keith I Hike Wilson.Ken Wilson, Richa Wilson, MartaWitt, Keith Wolferman, BonnieWood, Mary Lou Wood, ScottW lodruff, Bill Workman, FredericYbright, Larry Yeckel, Fat York,AnneYost, EdYost, LynnYoung,Anthony Zavalla, [.P. Zavalla,Fete Zavalla, l.met Zeller, andJosephine Zirkle
Nuestra M?sica:Music in Latino CultureThis program has been generouslyfunded by the Smithsonian LatinoInitiatives Fund, NEXTEL, [oyceFoundation, and Univision andproduced in collaboration withthe Cultural Institute of Mexicoand the Ministry of ExternalRelations of Mexico, with mediasupport from Radio Biling?e.
Special ThanksErika Colon, Mar) Monseur,Mulow Palleja, Pete Reiniger
Oman: Desert,Oasis, and Sea
I his program was produced mpartnership with the Ministries
of Heritage and Culture,Tourism,Information, and Foreign Affairs,and the Fubhc Authority forCrafts Industries of the govern-ment of the Sultanate of (.hilan,and w nh the cooperationof the Middle East Institute(Washington, 1 ).( ' ). and the
< )man I feritage Gallery.
In-kind SupportPriefert ( onstructionRock Creek Horse (.'enter
Special ThanksH.H. Sa\ yid HaithamBin Tariq Al SaidH.H. Seyyid ShihabBin Tariq Al SaidH 1 YousefBin AlawiBm AbdullahH.E Maqbool Bm Ah SultanH.E. H.uned BinMohammed Al RashdiFEE Rapha Bmt\bdulameer bm AhH.E. Sharifa BmtKhaltan Al YahyaiH.E. Aish.i Bint KhaltanJumail Al Siaby
H.E. Mohammed Ah Al-Khus.nbvHon. Richard BaltimoreHon. David MackHon. Edward WalkerN.ijwa AdraAh Ismail Al-BullushiAl Bustan Palace HotelHamoodAJ HarthyBadarAJ HumAh AJ-MamaryTalib lss.i AJ-SalmiAhmed Mohammed Al-TammuJean-Luc Ainann
1 )oug B.uimBrenda Bickett
I he Folger I he.itreFolklore Ensemble of the
1 )iwan of the Royal CourtDiana FritzPamela HensonMeredith HubelE. Harper |ohnsonAhx Kauttniaii[an KendriekSebastian ManavalanMargo NakhoulNadia ( )smanMarjoi ie RansomBryan Saylor
1 \ nn SinurskiKevin SkillinMichael Snow denSultan Qaboos UniversityThomas VosmerAlex Williams
Of Special Note
Thanks to all our volunteerswhose loyal and tireless
efforts contribute greatlyto the Festival's success
It is with deep sadness that we
note the passing ot Dale Dowdal,
a devoted Center and Festival
volunteer lor nine years
SMITHSONIAN FOLKLIFE FESTIVAL
CONNECTING ?OT?ETHROUGH MUSICLike the Smithsonian Folklife Festival, Smithsonian Folkways Recordings helpsthe diverse voices of the world's people to be heard, understood, and appreciated.
Folkways:The Original VisionWoody Guthrieand Lead BellyOriginal Vision,the milestone 1989recording of classicroots Americana,launched the nonprofitSmithsonian Folkways label. To celebratethe 15th anniversary of this historic album,we expanded the original CD with 6 bonustracks, enhanced packaging, and extended
notes. Original Vision now provides even moreInsight into the Impact of Woody Guthrie'sand Lead Belly's music. (SFW 40000)Mary Lou 's MassMary Lou WilliamsNewsweek called thescore "an encyclopediaof black music, richlyrepresented from
spirituals to bop torock." At long last
reissued, this is Williams's "Music for Peace,"a landmark recording that addressed many
of the social Ills of the 1960s and 1970sand is perhaps the most openly religious jazzrecording made at that time. (SFW 40815)
Solo in Rio 1959n Luiz Bonf?bOll/ One of the mostcreative guitar? 'v*-?a?k ilniisos of the JUth^T i_ ' century, Luiz Bonfais celebrated as aprincipal architect
of the cool Braziliansound of bossa nova. But Bonf? was farmore than the composer of "Manh? deCarnaval." His technical mastery, intimacy,and dynamism suffuse every track of thisfirst CD edition of his masterpiece, a long-unobtainable solo 1959 LP, along with ahalf-hour of previously unreleased materialfrom the original studio session. (SFW 40483)
The Silk Road:A Musical CaravanWhat if Marco Polohad owned a taperecorder? And whatJa# I ?f his epic travels?{ft I along the Silk Roadhad taken placenot at the end of the 13th century but atthe beginning of the 21st? Far-fetchedconjectures to be sure, but our compilationoffers a glimpse of the rich musical lifethat an intrepid and curious travelerlike Marco Polo might find in the lands
of the Silk Road today. (SFW 40438)
t iVAbrafiV?,,, cELLAbration2005 Grammy winner!
"?>*L Ella Jenkins, "The% FMusic," has madei:^&m dozens of Folkways"S??tr recordings and earnedcountless awards
In a 50-year career, including the LifetimeAchievement Award from The RecordingAcademy. On this album, some of today's finestfolk and children's performers pay tribute toElla Jenkins with sparkling new renditions
of her timeless repertoire. (SFW 45059)
The Lilly Bros &Don Stover: Bluegrassat the Roots, 1961Brothers Everett and
"B" Lilly of WestVirginia partnered withbanjo great Don Stoverto lay down this honest,first-class rendition of bluegrass roots. TheLillys' harmony vocals and Stover's classicbanjo style made this a milestone recordingwhen it was first released by Folkwaysin 1961. Remastered with 2 previouslyunreleased tracks from producer MikeSeeger's original recordings. (SFW 40158)
Abayudaya: Musicfrom the JewishPeople of UgandaAbayudaya presents aunique and compellingcollection of musicin which the rhythmsand harmonies ofAfrica blend with Jewish celebrationand traditional Hebrew prayer. Thissingular community of African peopleliving committed Jewish lives hassurvived persecution and isolationand asserts, "We have been savedby our music." (SFW 40504)r"^^ fiyi Classic SouthernGospel fromSmithsonianFolkwaysThis album showcasessome of the bestin bluegrass gospeland country gospelfrom the Smithsonian Folkways archives.The music's plain-spoken, direct, andearnest style stokes it with power andappeal, whether performed by marquee-name artists Bill Monroe and the Watsonfamily or by local churchgoers such asthe Old Regular Baptists. (SFW 40137)
Smithsonian Folkways Recordingsis the nonprofit record label of theSmithsonian Institution. We arededicated to supporting cultural diversityand increased understanding amongpeoples through the documentation,preservation, and dissemination of sound.
mailorder@si.edu1.888.F0LKWAYS1.202.275.1143
? J Smithsonian Folkways Recordings wivw.folirivays.si.edu
SMITHSONIAN FOLKLIFE FESTIVAL 2005
130]
n n n n i|
NATIONAL MUSEUM OF AMERICAN HISTORY
L^V> f=f l<
PROTECTINGIORESTS
?immunitySTAG! \1.. - - J~fOREST SERVICE HISTORY
COMMUNITY iWANDCAAfTS
UU 01 THE WHO
BEVERAGES
WATER. WOODS& MOUNTAINS LAWENFORCEMENT
FORESTPRODUCTS
WOODLANDS TOREST LANDSCAPESHERITAGE SJIAMIL? ACTIVITIES mSsam -TO THE WASHINGTON MONUMENT
EIRE CAMP FIRE LOOKOUTTOWER m
SM0K[|UMP[R8ASE PARACHUTE IOWER
IT:
SOUNDS 01 THE FORESTNUESTRA M?SICA CONCERTS
FORESTSERVICE
SUSTAINABLE ?ESOURi E HiiUSf INTERACTIVE FORESTHE I?>3*
FESTIVAL EXHIBIT
?@? Q
VOLUNTEERS > . PRESS
?First Aid (V) Volunteers(?J Information Q[4U] Food Concession Qg Lost and Found
Toilets ? Metro [ <7J Audio Loop(5) Accessiblegjj Sign Language^^ Interpretation Information /
??tto the Metro
^s
p^otteANDAROI
TEI
BEVERAGES ARABBERS
I UNA
OMAN
OB
? su ?IREERGALLERTOIART
!!!Miiiiiiinr|TPiiniiiiMr !!!!
NATIONAL MUS? UMOF NATURAL HISTORY?s MADISON DRIVE^
ADORNMENTPAVILION
J^X
' ?^3?> PROFESSIONAL FOOD SAFETYKITCHEN ?QUALITY
TOOLSOF THE TR?DE
'?
??
TRADITION sADAPTATION I^J-^V*A<A ; WILDC RAFTING
'
- ' SPICESBEVERAGES ARABBERS
^ c5^WINECHOCOLATE AROUND THE TABLE
ni 'W TO THE U.S. CAPITOL-m SUwiGARDEN KITCHEN11 \
BEYONOTHE MELTING POT
DESERT CAMP^w^ EDIBLE SCHOOLYARDTRADITIONAL BUILDING FOODCULTURE USA3.1 = AMERICAN CAFE (210LATINO CAF? yf*<$$*$$&$<$'&$ '?
tas
SMITHSONIAN CASTLEARKETPLACEJOKANDCDSIGNINGS
- r rI
IUR MSACKLER GALLERY UK! JEFFERSON DRIVE
t
-(g)
NATIONAL MUSEUM OF AFRICAN ART
[13 1]
ILLUSTRATION BY AIMIA BLEWAZKA

i 30
SMITHSONIAN FOLKLIFE FESTIVAL 2005
B MW f]
NATIONAL MUSEUM 01 AMERICAN HISIORI ?a iiBilH?r?aWij?ir"?NATIONAL MUSEUM OE NAIUML HISTOATtto the Metro(S3 fftSI MADISON DRIVE PAIIO PATH
4J\^> NtOTEODKI0AE?I? I0REST SEATKE BISTORT pottertandaiomat tDOKNNENTMIIIION fA. ?*'_^ft)^. Plnffwmiui innn (KinPAOIESSIONAl fOOD saiettAITCHEN tQUAUTI11)01101 1H1 IUD?HETALWOAl
?EIEMG?S
WATER. WOODSMOUNTAIN!
COMMUNITY AA7TAHD (Mill
fOASST(iioouns
IM?ITI0N SADAPTATION?^T1OASIS UTCHSN
LAWSNIOACEMSNTWOODLANDS (ORES! LANDSCAPESHERITAGE (AHiirAamiiEs U [^s
-TO THE WASHINGTON MONUMENT CHl .?flH**, iB? CAllKSHAPHTBETERAGSS ARASI?AS -?^LBEVERAGES ARA18ERS Hu? ni ATI AROUND THE TAEl!m m
SMITHSONIANG101A1 SOUND
SNOIEJUHPfRBASS PARACHUTE TOWER
~m SUSTAIKABL? RESOURCE HOUSE
SOUNDS 01 THE IORSSTNUESTRA M?SICA CONCERTS
FORESTSERVICE H
n
n(ESTIVAL fXHIBET
INTERAaiVEIOREST
(OS in?m ??@ Q
TO THE U.S. CAPITOL -
BETOHDTHE MELTING POT t
EDIIIESCHOOITARDFOODCULTURE USA
.-^RP- -^f^-
IRiMluHAl BUILDING Hi LiriNiMiii
Audio LoopfflFintAid (J) VfeluntwnUJ Information Q Pr^stSB Foo? Conc,?lon ? Lo? and Found S *"*"""'(OB Taleu B Metro
TOLUNTESAS P,!H
S3 Sign Language*?
' Interpretation Information
IIRSTAID
ffia
?jyi as
SMITHSONIAN CASTLE
Hi-
?RKETPLAWlANOCDSIGH,
EAEER GALLERY 01 ART
JEFFERSON DRIVE
??N'SACRKROJ ?IWNATIONAL MUSEUM Of AERICANART tPATIO PAIN
[ 1 3 1 1
ILLUSTRATION BY ANIA B
The ethnographicanswer to ?Tunes.
?New York Times
Explore the world ofmusical traditions atwww.smithsonianglobalsound.org
SMITHSONIANGLOBAL SOUND
offers an unparalleled expe-
rience of traditional musicfrom around the world.Users can browse from over40,000 tracks, listen to 30-
second sound clips of every
track, and read extensiveinformation about each track.The site offers a number of
ways to find music: search bygeography, instrument type,
culture group, or language.
Don't know where to
start? Features such asRadio Global Sound,Artist Profiles, and guidedtours from world music
celebrities help users
easily discover new music.Smithsonian Global Soundhosts music and soundfrom around the world andmakes it easily available.
Browse, sample, and buyhigh-quality, hard-to-find,and rarely heard record-ings from international
archives. State-of-the-arttechnology disseminatestraditional music on the
site to aid educators,engage students, and
entertain fans. In additionto sound, the site provides
accurate contextualinformation and expertcommentary?something
no other music download
site provides.
Royalties earned fromthe sale of music on the
site go to the artists, their
communities, the archivesthat preserve their
recordings, and the furtherexpansion of SmithsonianGlobal Sound. SmithsonianGlobal Sound also helps
establish intellectualproperty rights for the
artists involved, providing
a base from which theymay exercise those rightsfor economic and culturaldevelopment.
We hope these efforts, inturn, spark the creation
of new music andpromote the apprecia-tion of cultural diversityaround the world.
? ? Smithsonian Global Sound

Smithsonian Folklife Festival SMITHSONIAN INSTITUTION LIBRARIES3 9088 01476 4583