1970eAiiie]icai|^oll(JHe The SmithsonianInstituti URi'-'i^'J l^:jiSi!@S:V:?'X^^''V;.lfti<;*''?r?Jl?^??>^i!:''J'r.:' eAn|eiicai|^Fall(Jife THE FOLKLIFE FESTIVAL PROGRAMby S. Dillon Ripley Secretary of the Smithsonian Institution,S. Dillon Ripley.Smithsonian photO- The Festival of American Folklife again this yearpresents for your enjoyment and study a few ex-amples of the diverse oral and material culturesof the United States. The great public response tothis Festival stems in part from the fact that allAmericans share to some extent in the traditionsrepresented by these grass root artists and crafts-men. The personal culture which we keep withinour family reflects our most basic and immediateaesthetic expression. Our own personal folkwaysmay be represented by proverbs, or superstitions,or a recipe for preparing food, or a song, or ajoke. It may be reflected even in the manner inwhich we plant our gardens or decorate our homes.Those who participate in the Festival come frommany backgrounds and regions, and each participantis carefully selected by a system of field researchwhich is conducted throughout the year. Field re-searchers are like cultural detectives who seek outthe evidence of cultural retentions with trained eyeand ear and evaluate what is discovered throughreference and consultation, and who documentthese discoveries with written reports, tape recordedinterviews, photographs and craft samples. TheFestival itself is the public presentation of this re-search and documentation. But there are otherpurposes for the knowledge gained through fieldresearch. By the evaluation of this information, wecan perceive social attitudes and beliefs, determineaesthetic values, develop increased historical per-spectives, and study the little known cultural geogra-phy of our country.Great cultural riches, with which we are onlypartially familiar, abound in the United States.The discovery of these treasures required vastlymore research than we are presently able to under-take; therefore, we hope that your enjoyment andenthusiasm will lead to increased support for andinterest in a more comprehensive program of re-search, the products of which will add immeasur-ably to our educational materials, our social under-standing, and the quality of our lives. CONTENTSTHE FESTIVAL OF AMERICAN FOLKLIFE PROGRAM 3TABLE OF CONTENTS 4ARKANSAS INTRODUCTION 5JIMMY DRIFTWOOD INTERVIEW 6 'MISTER, CAN YOU TELL ME WHERE THIS ROAD GOES?' 8APPETIZING TRADITIONS OF ARKANSAS 10THE COOPER 14THE CHAIRMAKER 16AMERICAN INDIAN INTRODUCTION 18THE SOUTHERN PLAINS INDIANS 18THE HISTORY OF AMERICAN INDIAN RESEARCH 19AT THE SMITHSONIANPROGRAM 21DAIRY INTRODUCTION 29FARM COTTAGE CHEESE MAKING 30COME, BUTTER, COME! 31A "FREIGHT TRAIN" PICKER: ELIZABETH COTTON 35THE SACRED HARPERS AND THEIR SINGING SCHOOLS 38GENERAL INTRODUCTION 39THEY STILL TAILOR MAINE LOBSTER BOATS 40THE ARCHIVE OF FOLK SONG IN THE 43LIBRARY OF CONGRESSTHE STUDY OF FOLKLORE AND FOLKLIFE 45IN AMERICAN UNIVERSITIES S. Dillon Ripley James R. MorrisMack McCormickRuth MaloneMack McCormickMack McCormick John C. EwersJoanna Cohan Scherer W. S. ArbuckleDon VoderMike SeegerJoe Dan Boyd C. Richard K. LuntAlan Jabbour andJoe C. HickersonRichard M. Dorson THE YOUNG SCIENCE OF INDUSTRIAL ARCHEOLOGY 46 Peter H. Smith The Swiss and Italians who settled in Arkansas in the late nineteenthcentury with the black farmers of the delta and with the mountaineers, whoseforebears hailed from Britain, are contributors to the patchwork of traditionalcultures which characterize the State of Arkansas today. Each year the Festivalfocuses attention on a state to present an intensive picture of the stamina andvariety of the area's folk cultural patterns.Sponsorship for the Arkansas presentation has come from the Office ofThe Honorable, the Governor of Arkansas, Winthrop Rockefeller; from theState Parks, Recreation and Travel Commission and from a number of indi-viduals and groups throughout the state.A deeper insight into some of the participating craft workers and musiciansas well as into the method of locating participants for the Festival can befound In the articles which follow: An Interview with limmy Driftwood, Ozarkballadeer, founder of the Rackensack Folklore Society and Festival and creatorof "The Batde of New Orleans", by lames Morris, Director of the SmithsonianInstitution, Division of Performing Arts: "Mister, Can You Tell Me WhereThis Road Goes?", by Mack McCormick, field researcher for the Festival.Ralph Rinzler Razor back hog, symbol of the state of Arkansas. Mothersow feeding her young. Wood carvings by northwesternArkansas craftsman, Roy Harris. JIMMY DRIFTWOOD INTERVIEW11 MAY 1970 by lames R. Morris JRM: When did you first begin to perform music?JD: Now that depends on what you're talkingabout performing, you know, in big public oraround little school houses and on the front porchesand things like that.JRM: I mean, when did you first begin to makemusic?JD: I don't know how young. )ust as young as akid could learn. One of our most popular peopledown here is a little boy who's six years old and Iknow? I know I was singing when I was that oldcertainly.|RM: When did you first begin to perform for alarge public, Jimmy?JD: Well, really, for real public, it would be aftermy first record was made. Of course, I always ranaround to the schools and places like that and didprograms, and in about nineteen and thirty-five inPhoenix, Arizona, I was in a contest? I was aboutto starve to death, and? I guess that's the reason Iwon?and I got on a radio program. That's reallythe first? I can remember that we had this durnthing in a high school in Phoenix and there wassuch a crowd it looked like acres and acres to me.You know, I never seen such a crowd, and I remem-ber looking down?the only time I ever was affectedin my life?and seeing that my britches' legs wereshaking below my knees. Of course, you've got toremember in high school and all the country schoolsaround, we always made up plays (I had been aschool teacher), made up the songs for the playsand all that sort of thing. And that would have beenthe time I first started teaching school, which wouldhave been when I was sixteen years old.JRM: From whom did you learn songs and instru-mental styles?JD: I didn't learn instrumental styles. My fatherplayed, of course, and you know how he played.He bar-chorded across on the guitar. And I learnedto do that too, but I don't do it exactly like Dad did.They're beginning to talk now of you learning somebody's style. For instance Bookmiller Shannon ?people now are talking about going and tryin'to learn Bookmiller's style of banjo playing. Wedidn't ever have anything like that. A fellow justgot a guitar or a banjo and might go and watchsome fella and learn where to place his fingers,but not how to hit the strings. I didn't learn thatway. I remember somebody tuned an old fiddleup for me and I can remember very well that Istarted in learnin' to play "Co Tell Aunt Nancy"or maybe you know'd it as "Go Tell Aunt Rhodie,"and I learned how to play just the notes of thatthing and I can remember that my mother was just,oh, she was so tired of this after a while, this samething over and over and over. And I heard hertellin' my daddy, and he said, "What is this he'strying to play?" and I told her what I was tryin'to play, and she said, "That's 'Co tell Aunt Nancyher old gray goose is dead.' " And I remember Dadsaid, "Well, I wish it'd been Aunt Nancy'd beendead."You know, and we learned to do this by ourselvespretty well and I think everybody else did. We justlistened and then played our own way.JRM: Tell me something about the traditional orfolk culture of your area, both in the past and today.ID: Now folk culture, the singing of the songsand the playing and everything that had to go withit, play parties and everything else?of course, when I was a child, that was really all the entertainment,except church, and I think you can just pretty wellcall church, too, a folk thing, 'cause in the earlydays, the songs that they sung was the songs thatthey knew from memory, and it was the same sortof old sermons that had been preached since JesusChrist was here I guess. And so in the lives of ourpeople when I was a kid it was a good thing becauseyou met at people's homes and you sung, and youplayed and you visited? I think we ought to re-member this word,?you visited?and we becamecloser together, and I think we loved each other.Of course we had fights, you know, but you knowhow it was back in those days. Two fellas had afist fight and they shook hands and that was thelast of it. They played together that night. We hada period in there when we didn't have so muchfolk singin' anymore. Now we have revived thesame sort of thing we used to do. People again areplaying at each other's houses and they are again, I think, getting closer together and they are lovingeach other more. I think a good example of whatthis can do is that people come to Mountain Viewto hear the music, especially for the spring festival.The kids from NY and Chicago and everywhere,they come and they hear that they can camp inmy barn. They don't expect me to condescend tospeak to them. But when they get here and I meetthem, I shake hands with them, I bring them in thehouse, we give them their dinner; and we soonhave them making their own coffee and washingtheir own dishes in the house or outside the house,and everybody being treated like somebody lovedthem. At first when they see this, some of themare afraid of it and wonder, "What's this guy fixin' to do to me?" But finally they catch on that thisis real and this is good, and we learn somethingabout these kids and I think these kids go backhome a little better than they were when theycame. Now we're building a culture center, andmillions will be comin' in the future, and if ourpeople could all keep this thing that they've gotnow, being good to each other and being good tothe people who come and being friendly and havinga good time?just being friendly with people, Iihink this thing could spread, and I think a lot ofthe trouble of this world could disappear.|RM: Tell me a little bit about your program inMountain View.)D: Well, every Friday night of the world we meetat the court house in Mountain View to have aprogram of folk music. Now we're not meeting topLiI on a performance. We are actually meetingio--wpll, we call it practice, the right word I sup-pose is rehearse, for the festival in the spring. Wemeet just to practice and if the rourl house is full,well that's all right. If there's not many peoplethere, that doesn't make any difference. These arejust the fiddlers, the guitar players, the banjo players,ihe mandolin players, the fellas who play the bow.the harmonica, the tunes that they have learnedfrom their fathers. Sometimes our fathers and ourmothers and grandfathers did a song that had atone time been a copyrighted song. But we don'tknown that. We don't know anything about it bein'copyrighted. Now last night. Bob Blair was askin'me to teach him, "It's a Long Way to Tipperary."He thought it was an old folk song because heheard his grandfather sing it and he didn't knowit'd ever been copyrighted. His grandfather sungit and as far as he's personally concerned, this is afolk song. And we sing and we play and the peoplejig dance? this thing that people just jump up anddo, you know, on the spur of the moment, if theylike the music. It's kind of like the old-time churchwe had when if a preacher made a statement thatthrilled some old lady or some old man, theyjumped up and shouted. It's very close akin, thetwo things are. And of course we also have squaredancing, but that's something that people can seeanywhere, everywhere, on the TV or anywhere. Butthe jig dancing and things like that that we do,that you can only see in a place like MountainView, I think, are the things that's important andthat's why people keep comin' to see this sort ofthing. The people come to see this music notbecause it is great music or anything like that,but they tell me because it's . . . these, this is real . . . this is just the people and just the people'smusic.JRM: How many people in Mountain View actuallymake music?JD: Oh my. 1 used to worry a little about whenwe got the folk culture centfer, I said to myself,the young folks are not playing and one of thesedays when we all die off, there will be a monumentover there to those people who are gone and that'sall you know, and that's bad. But for instance now jimmy Driflwood.Smahionian photo when we have the annual folk festival, we haveadded a night and that's when the school childrenput on their own folk program. This year they hadclose to 200 school kids from all over the country. I was astounded. There was about fifteen Britishballads sung during one performance. That's morethan we as adults do in one of our performances.JRM: Where did they learn them?)D: They learned them from their grandparentsand other people like that. And the interesting thingis that I had been to some of these grandparentsand said, "We'd like you to teach us an old song,"and they told us they didn't know any songs. Butthen their grandkids come home singing a songand grandpa starts singing one too. These kidshave actually, well, they have mined; they've struckoil where we have hit dry holes. You know what Imean? MISTER, CAN YOU TELL ME WHERETHIS ROAD GOES?'by Mack McCormick SUNDAY MORNING: A brush arbor 'sing' in StoneCounty, Arkansas.Photograph by Mack McCormick Hughes, Arkansas.It's just about dusk.Two men are standing on the porch of a smallgrocery store, telling things to a stranger. "You'll probably find lots around here who dosuch things as make their own hominy. But Iwouldn't know just who? " "And there's some make wine for themselves,"the other man put in. "That's that scuppernong wine. They go outin a thicket and get these wild grapes and usethem . . . but those grapes don't come in seasontill next fall."The other man nodded. "That's just the same asgoing out and picking these wild greens like water- cress and poke salit." He turned to the stranger. "If you come back in the right time of year Icould carry you out in the bottoms and show youhow to find some of the best food you'd ever putin your mouth."A third man joined them, adding what he couldto answer the stranger's questions. "You're looking for people who do things, isthat what?"One of the men snapped his fingers, saying, "Thatfellow that makes John boats?what was hisname?"They glanced at one another. No one knew hisname or what had become of him. "I think he moved off somewhere," one said.The talk covered a dozen or more possibilities.Mention was made of a lady who passes timemaking toys for children and of an herb doctorand of a garrulous fellow who tells an hour-longaccount of a wildcat chase. The conversationtouched on a man who makes sorghum molassesand on a blacksmith and on house parties whereyoungsters make their own music with homemadeinstruments.The talk continually verged on possibilities butsomehow shied away from anything more definite.It never quite offered a lead or a set of directionsto someone who might be induced to go to Wash-ington this summer.It looked like a dry run.Coodnights and good wishes were passed around.The stranger walked down the steps and startedalong the road.He was about thirty feet away when one of themen called after him, "Of course?there's thatfellow out toward Forrest City that makes baskets."The stranger stopped. "He's right out there, about three miles downthe road.""What sort of baskets?" "Those old time cotton-picking baskets. It's aman named Tim Sparks makes those.""What kind of house would I look for?" "You can't miss it. It's a white house on theleft-hand side. You'll see a big post in front of hisplace where he splits the oak he uses. ... He justweaves those baskets with his hands. It's amazing tome to watch it."That conversation took place one evening lastNovember. It's typical. And it's part of what mightbe offered in answer to the questions that come aspeople visit the Festival of American Folklife.How do they get all this together? Where dothey find the people?If the undertaking is to represent, well and fully,the life and diversity and tradition of a state likeArkansas, where do they begin?The answer, quite simply, is this: They goknocking on doors.They ask questions. They go where the answerstake them.They talk to newspaper editors and deputy sheriffsand people in the state capitol and they talk tothree men on the porch of a country grocery store.And they begin, each of them, by asking ques-tions of themselves: Wonder if we can find someone who knows thatclassic bit of Americana with the lines I read the evening paper until at last I saw?Ten thousand men were wantedin the State of Arkansas.And then what about the song about that trainthat runs straight as the crow flies, the one thatgoes "Flying Crow" takes water in Texarkana,heads out for Ashdown . . . "Flying Crow" got a red and a greenlight behindThe red means trouble?the greenmeans a rambling mind!Or could we find a team that can do that dia-logue with the familiar punch line. "That road don'tgo nowhere? it just lays right there."Each one marshals his questions, and finds there'sloo much to be learned, too much to ask, too muchto wonder about:Are there lumber-loading contests down aroundEl Dorado?What about rope tricksters and rodeo riders upat Conway?And what of the Swiss community at Altus?What will Helena offer? Dumas? Search? Mope?lonesboro?Who around Harrison makes acorn coffee andties his fences with vine ropes?What of tales of Stackolee and men who canhew timbers with a broadax?What of Ozark fiddling families and Delta blues-men?are they to be found?What of a congregation with one great soaringvoice?Is there a chairmaker, a knifemaker, a quiltmakeror a man whose hands can shape a barrel?Are there ragtime piano players in Texarkana ? Scott Joplin's hometown? Is there a blues band inWest Memphis? Or a western swing combo inFort Smith?What became of the Pearl Dickson who recorded "Little Rock Blues" in 1928, and what of the Arkan-sas Barefoot Boys who recorded that piece "BentonCounty Hog Thief?"What of the roots of such people as Sister RosettaTharpe and )ohnny Cash? What's to be found intheir home communities?What of some kids who play hambone?Is there a gaggle of ladies who'd like to comeand cook a church supper for thousands?What of the storytelling families that RichardDorson found in Pine Bluff?And what of the mountain people who gaveVance Randolph his four-volume treasury of songs?Is there a puppet show? Or a group of clog-dancers?Are there adults who play marbles and old menwho while their time playing croquet in the townsquare and children whose sly fingers will twista bit of string into a "cat's cradle" and is there ahorny-handed fellow who splices cables for theMississippi River boats?In a bountiful state like Arkansas, there are too many questions. Only some of them can beanswered.You knock on doors. You talk to people and theytell you about their neighbors. And you go andtalk to them about spending the Fourth of July inWashington.Gradually it comes together.The questions are merely words, but the answersthey bring are the people themselves?those whojourney this long way to sketch for us a picture ofArkansas folklife. Mrs. Grace L. Wilson and her granddaughter;Marvell, Arkansas. Putting finishing touches on arecently completed quilt.Photo by Mack McCormick Pokeweed (Phytolacca americana L.)by M. I. Harvey, illustrator.APPETIZING TRADITIONS OF ARKANSASby Ruth Moore Malone, Editor:Holiday Inn International Cook and Travel Book(sixth edition)Where to Eat in the Ozarks?How it's CookedSwiss Holiday Recipes (Ozark Wine Recipes)Dogpatch Cook Book (Dogpatch USA) A mess of "salit," clipper gourd hoecake, hamand sweet 'taters, catfish and hushpuppies, wildduck with rice dressing, chicken and dumplings,buttermilk biscuits, sorghum gingerbread, hill coun-try wedding cake and dozens of other recipes reflectthe heritage of Arkansas. The people who live ineach part of the state have shared recipes for thiscollection. Some were handed down by word ofmouth from generation to generation. Others wereculled from old files. Included are cherished secretsfrom the yellowed pages of treasured "receiptbooks." Pioneer Arkansas Wedding Stack CakeA favorite wedding cake in early days when sugar wasnot plentiful was the stack cake. Folks going to a weddingeach took along a thin layer of sorghum cake to add tothe stack making the bride's cake. A bride took greatpride in the height of her cake for It meant she had manyfriends If her wedding cake was high. Some say thefooted cake stand became popular because It would makea bride's cake appear to be tall even If she did not haveenough friends to bring stack layers for a high cake. Thebride's mother furnished applesauce to go between eachlayer. Sometimes frosting was used to cover the top.Stack CakeThis recipe for stack cake layers Is similar to a richcookie dough1'/2 cups sifted flourV2 teaspoon saltV4 cup sugar (Vz sorghum, V2 sugar)V2 cup shortening2 heaping teaspoons milkV2 teaspoon baking powder '/2 teaspoon soda1 egg1 teaspoon vanilla Sift together flour, baking powder, salt, soda and sugar.Cut In shortening until mixture looks like coarse meal.Blend In egg, milk and vanilla. Divide dough into 3 parts.Roll out on floured board. Cut size of round cake pan ordinner plate. Place on ungreased cookie sheet, and bakeat 375 degrees for 8 minutes. Central Arkansaswild duck and rice dressing German potato saladcatfish and hushpuppies German cole slawstrawberry shortcake sweet potato puddingrice puddingCentral Arkansas where rice fields attract thousands ofwild ducks.Roast Wild DuckPrepare duck for roasting in the same way other fowlare prepared. Wash well and place in pan of cold saltedwater for 1 to 2 hours. Wash again and place in smallroaster. Stuff cavity of duck with apple or carrot. Eitherof these will absorb some of the wild taste. Season withsalt and pepper. Cover breast with butter or thin slicesof salt pork or bacon. Add 1 cup of water. Cover roaster.Cook in 450 degree oven. For rare duck allow 20 to 30minutes. For well done duck allow 45 minutes to 1 hour.Take off roaster top to brown duck during last fewminutes. Make gravy after removing duck. Add table-spoon flour to part of pan drippings and blend. Brown alittle then add 'A to 1 cup water and cook until thickened.Serve with Arkansas rice dressing and fresh apple orgrape jelly.Arkansas Rice DressingHeat 1 tablespoon cooking oil and 1 tablespoon flourover low flame until brown. Add 2 cups duck or chickenbroth and cooked, chopped duck giblets. Add 1 choppedonion and 2 tablespoons chopped parsley. Simmer for 20minutes, then mix with 4 cups cooked Arkansas rice.Heat well. Some of the dressing may be placed in duckcavity opening when top of roaster is removed to brownduck.Catfish and HushpuppiesThe streams and rivers of Arkansas teem with catfish,goggle eye, trout, perch, and bass, so fish dinners arepopular. Arkansas folk like to fry fish outdoors in bigkettles of hot lard or cooking oil. Fresh caught fish arecleaned and washed well, then dried and dipped in corn-meal. (Dipping fish in flour is blasphemy!) Fish aredropped in hot oil and cooked until done. The cookingtime depends on size and thickness of fish (or piecesof fish.)Hush Puppies2 cups cornmeal 1 egg, beaten2 teaspoons baking powder 2 tablespoons grated onion1 teaspoon salt 1 cup milk, scaldedSift dry ingredients. Add onion and hot milk, then theegg. Shape in finger lengths or drop by spoonful in lardwhere fish was fried. Drain on paper. Fresh groundcornmeal is best.Strawberry ShortcakeStrawberries are grown in many sections of Arkansas,but there are strawberries in the north central area thatare excellent.Wash and hull fresh strawberries. Save a few to decoratethe shortcake, and mash the rest, adding sugar to taste.Let set for at least 30 minutes before using so sugar willdissolve in juice. With pastry blender cut 1 cup flourand 1 stick butter. Moisten with 2 tablespoons ice water.Roll out as for pie. Cut in circles about size of saucerfor tea cup. Place on cookie sheet. Prick and bake at450 degrees for a few minutes until golden. (Watchclosely as they burn easily!) Place circle on plate addingberries and sweetened whipped cream. Place strawberryon top of each serving. If no Cream is desired, addanother circle on top of first circle and berries, thenspoon berry juice over top circle. North Arkansasmess of salitfried chickendipper gourd hoe cakeold water mill Buhrcornmeal bread mountain troutOzark apple puddingOzark winesItalian spaghettipeach preservesNorth Arkansas has free flowing rivers, mountain streams,lakes, and the picturesque Ozark Mountains. Mess of SalitThe best time to pick a mess of salit greens is in the earlymorning while they are moist with dew and before thesun has risen enough to make the picker uncomfortable.The only tools needed are a case knife and a basket.Some of the better known greens to look for are lamb'sciuarter, dandelions, old hen and chicken, plantain, henpepper, narrow leaf dock, mouse ears, spreckled breeches,old sage, wild lettuce, poke, wild mustard and watercress.The secret of a good mess of wild greens is knowing howto blend them before putting them on to cook. A realwild-green picker uses extra care in mixing, so the greenswon't be too slick from using too much poke or too hotfrom too much wild mustard. Wash greens thoroughlyand place in iron pot with water. Add ham hock or hogjowl and seasonings to taste. Let come to boil, then sim-mer turning gently with fork while cooking. Cook waterlow unless "potlikker" (soup to be served separately) isdesired. Ozark Fried ChickenClean each chicken to be fried and cut at joints. Washwell and dry. Place in paper sack with flour and season-ings of salt and pepper. Place chicken in cooking oil orshortening which is at least 1 inch deep (or more) andis hot. Add chicken to pan and do not crowd. Cooklarge, thick pieces together. Place lid on skillet or panand let brown before turning. Cook after turning untilchicken is done, lowering heat as necessary to keepchicken golden brown when cooked. After all the chickenis cooked and is drained, pour off all of grease except 2to 3 tablespoons. Add flour and blend. Add hot sweetmilk and cook until thickened for cream gravy. (Thesecret of perfect fried chicken is clean, fresh fat orcooking oil). Ozark Apple PuddingThe Ozark region is apple country, so many dishes havebeen made using the delicious fruit.1 egg beaten until thick and lemon colored% cup sugar 'A to 'A cup flour 'A teaspoon salt1 '/2 teaspoons baking powder1 cup raw apples (peeled and chopped)V2 cup nuts (preferably Ozark black walnuts)Add sugar gradually to beaten egg. Sift flour, salt andbakmg powder together. Add to egg mixture. Fold in^apples and nuts. Pour into well-buttered pie pan. Bakeat 350 degrees for 30 minutes, or until crisp. The puddingwill rise, then fall a little. Serve with whipped cream. .fp Sorrel (Rumex acetosella L.)by M. H. Harvey, illustrator. 11 12 South Arkansassorghum gingerbread Creole pralinescountry ham and red eye gravy shrimp Creolehominy grits pound cakecandied yamsSouth Arkansas, nestled in the piney woods, bordersCreole country.Sorghum Gingerbread '/2 cup sugar 1 teaspoon soda '/2 cup butter and 1 teaspoon cinnamonshortening mixed '/z teaspoon cloves1 egg, beaten 1 teaspoon ginger1 cup sorghum (or molasses) 'A teaspoon salt2'/2 cups sifted flour 1 cup hot waterCream shortening and sugar. Add egg, sorghum, thendry ingredients which have been sifted together. Addhot water last. The batter is soft, but it makes a finecake. Bake in moderate oven at 325-350 degrees ingreased shallow pan. Serves 15 people.Country Cured Ham and Red Eye GravyHeat a heavy iron skillet and grease lightly with ham fat.Place ham steaks in skillet and cook quickly. It is bestnot to crowd meat. Sear on both sides, turning once.Do not overcook, but if slices are thick a little watermay be added to let ham cook until done withoutbrowning too much. Remove ham to hot serving plate.Pour 1 cup of water in skillet and stir well to get all ofdrippings. A little strong black coffee may be used forpart of the water, to make gravy darker and flavor richer.Country cured Arkansas ham is a real treat. In oldendays wild razorback hogs were often used. Today thechoice hogs of the state are used, and there are a numberof excellent places to obtain hams and bacon.Hominy GritsEarly Arkansas cooks had to make their hominy beforegrinding it, to make hominy grits that can be boughtprepared today. Hominy was made by boiling wood ashes(1 gallon for 30 minutes) with plenty of water. This wasallowed to stand until it settled, then drained into aniron kettle. Last, 'A gallon of white corn was added andboiled for 1 hour. Then it was washed in clear cold waterand the process was repeated until the water was almostclear. Then the corn was cooked until tender (about 6hours). Next the corn was spread out on a dry clothto dry and later was ground for grits. Grits is coarse andmakes many excellent dishes. Hominy is excellent servedwith butter.1 cup hominy grits5 cups boiling water1 teaspoon saltStir grits slowly into boiling, salted water in heavy sauce-pan. Return to boil. Reduce heat and cover. Cook slowlyfor 30 minutes, stirring occasionally. Serve with butter,salt and pepper, red eye gravy, or as a cereal with milkand sugar. Serves six. Eastern ArkansasFourth of July picnic barbecuecawn puddin' peach picklewhite fruit cakechess piechicken 'n dumplingscracklin' bread andcrowder peasbuttermilk biscuitspeach brandyEastern Arkansas, with the mighty Mississippi River asthe state boundary line, is a land of rich delta plantationcountry.Fourth of luly Picnic BarbecueCelebrations that include all day picnics have alwaysbeen popular in Arkansas. This is especially true in thepastern part of the state where plantations make distancesbetween neighbors far. All day get togethers are days setaside for friends to come from far and wide to visit.Often a Sunday School picnic on the bank of a river is aday for people to become better acquainted. Sometimespoliticians speak at "a dinner on the ground." It does notmatter what the occasion may be as long as the food istraditionally done?an old time barbecue. The day beforethe celebration pits are dug and hickory wood cut sowhole hogs or large pieces of meat may be slowly bar-becued over live coals to make the best barbecue in theworld. Some barbecue sauce recipes have been passeddown from father to son for several generations, and thereare old black men who are well known over the state fortheir talents in preparing a perfect barbecue. The sauceis basted on the meat over a long period of time. Gen-erally this is done with a mop made of a clean clothtied on a long stick. This is dipped generously into thesauce and then spread over the meat.Barbecue Sauce '/2 pound butter1 pint water 'A cup vinegar1 teaspoon dry mustard 1 tablespoon hot sauceor Tabasco1 tablespoon black peper1 tablespoon paprika1 to 2 tablespoons sorghum 1 onion, chopped fine(or brown sugar) 1 tablespoon salt1 to 2 tablespoons 2 tablespoons chile powderWorcestershire sauce '/2 teaspoon red pepperCombine ingredients and simmer over low heat for 40minutes to 1 hour. Stir occasionally while cooking. Sauceis sufficient for 12 pounds of meat or more.Cawn Puddin'7 to 8 ears sweet corn (cut corn off cobs)5 to 6 whole eggs (beaten slightly)IV2 to 2 cups creamsugar and salt to tasteButter heavy casserole well. Pour in corn mixture in ordergiven above. Place casserole in pan of hot water, andcook in 400 to 425 degree oven. After pudding has cooked15 minutes, stir so corn will mix through pudding. Cookuntil pudding sets (about 45 minutes to 1 hour). If mixtureseems too thick before cooking, add more milk. Western ArkansasBrunswick stewsquaw breadwatermelon rind picklefresh fruit cobblerWestern Arkansas is well fried okrapumpkin pie or cakepersimmon puddingIndian puddingknown for its famous hotsprings, Ouachita Mountains, Indian mounds, game pre-serves and old river ports.Brunswick StewChurch suppers, bazaars and Brunswick stcvv go togetherand always have in Arkansas.Cook 4 squirrels or 1 fat hen until tender and ready tofall off bones. (Squirrel and chicken may both be usedfor excellent flavor). Remove meat and cut in pieces. Cut4 pounds Irish potatoes (peeled) into cubes. Cut up 1pint okra and 3 large onions. Place in large kettle withwater. Add 1 pint corn, 1 pint tomatoes, 1 can tomatopaste, 'A bottle Worcestershire sauce, 'A pound unslicedbacon (take out before serving stew). If only squirrelsare used, add 'A pound butter. Last, add juice of 1 lemonand season to taste. Add meat and stock. Cook over lowheat for 2 to 3 hours. Add more water if stew is too thick,but it should be quite thick. Stir with long handled spoonoccasionally to keep stew from scorching. Makes about4 quarts or more.Squaw Bread3 cups flour IVj cups milk3 teaspoons baking powder deep fat1 teaspoon saltCombine flour, baking powder, and salt. Add enoughmilk to dry mixture to make biscuit dough consistency.Roll out on floured board ''h inch thick. Cut into 2 by3 inch squares. Cut hole in center of each. Fry in deepfat. Serve while hot. Allow 1 cup flour for each 3 to 4persons.Watermelon Rind PickleDice rind of watermelon in small pieces. Soak in mildsalt water overnight. Drain, soak in fresh water 2 hours.Drain. Have ready for every pound of rind: 1 cup water,1 cup cider vinegar, 2 cups sugar, 3 inches stick cinna-mon, and 8 cloves without heads. Tie spices in bag.Place in kettle with other ingredients. Boil 5 minutes.Add drained fruit. Boil for 30 minutes or until clear.Remove spice bag. Place rind in jars, cover with vinegarmixture and seal.Some of the finest watermelons are grown in this pari ofthe state so this recipe to use the rind is a favorite.Persimmon PuddingWait until after the first frost before gathering persim-mons. Rub 1 quart of real ripe persimmons throughcolander with1 pint of sweet milk 1 teaspoon cloves1 cup butter 1 teaspoon cinnamonVh cups sugar 1 teaspoon nutmeg 3 well beaten eggs 'A teaspoon ginger and3 cups flour allspice (equal amounts)Cream butter and sugar. Add persimmon mixture andeggs. Add flour which has been sifted with rest of dryingredients. Place in well buttered dish and bake in slowoven (300 degrees) for Vh to 2 hours. Receipes not included in the text may be obtained bywriting to Mrs. Rurth M. Malone; 7 River Ridge Road,Little Rock, Arkansas 72207, or horn Where to Eat inthe Ozarks, a Pioneer Press publication. Little Rock,Arkansas, 7964. Dandelion (Taraxacum officinale)by M. I. Harvey, illustrator. 13 THE COOPER Text and photos byMack McCormick A village, a town, a city . . .They imply a people who have learned to store foodfrom one season to the next.A people who make pots and boxes and jugs.A people whose skills may include the impressiveart of the cooper:The man whose hands can make a barrel. Setting up the barrel.Wide and narrow staves are set alternately. The bilge and head rings are set (these areused in the assembly, later replaced by hoops).The inner rim of the barrel (known as thechime) is beveled with a chamfer knife. The barrel is turned over and the staves atthe opposite end are pulled into shapeusing a loop of cable drawn up by a windlass.A quick burning fire chars the barrels (whenthey're to be used for whiskey) midway inthe assembly. The bilge hoops are set. "Working it off" as Joe Catlett calls it . . .Here he finishes the grooves and gets readyto fit the heads in place.The last step is driving the head hoops intoposition, thus tightening the whole barrel. THE CHAIR MAKERSText and photos byMack McCormick 16 Tradition is very often a family matter.Mothers teach daughters to cook; fathers instructsons; and nearly every musician talks of an unclewho started him off.Or take the case of some chair makers from themountain valleys of Arkansas: ? Dallas Bump learned to make chairs from hisfather and has taught his own son. ? Charles Christian married into a family of chairmakers and learned from his father-in-law.The familiar rockers and porch sitters they make aresimple pieces, wrought from native woods?forth-right in design and bearing the tool marks of menwho touch and treasure each piece of their work. A wedge-shaped knife known as a frow istruck with a maul to rive or split out thirough timberThe pieces are turned in a lathe The completed pieces are kiln dried . . . . . . and then bored. And quickly assembled. Even though they'venever met. Dallas Bump (seen above right)and Charles Christian (seen opposite) sharenot only a tradition but a vocabulary; Theycall the horizontal cross pieces "rounds"not rungs. For the seat, white oak is dressed down . . . . . . and then a split knife cuts the oak intothin, pliable strips.The splits are woven to form the seat.This is Dallas Bump's melhod. CharlesChristian prefers using hickory bark?(hesoft under-bark of hickory which he gathersin giant balls?for weaving his chair seats. A six year program displaying aspects of Indian American life is Initiated atthis year's Festival; climaxing witti a large, nationally representative event forthe Bicentennial in 7976. The programs will concentrate annually on aregional, in depth v/ew of Indian cultural materials. Crafts, dance, music andfoods plus an exchange of ideas on major aspects of Indian life comprisethe programs.This year, Indians of the Southern Plains are featured in a series ofpresentations directed by Mrs. Clydia Nahwooksy. The following articlesprovide some background on these programs: Dr. Ewers' article on the groupsof the Southern Plains and Mrs. Joanna Scherer's review of Smithsonianresearch on American Indian traditions.Ralph Rinzler THE SOUTHERN PLAINS INDIANSby John C. EwersSenior Ethnologist, Department of AnthropologyNational Museum of Natural History More Indian tribes live in Oklahoma than in anyother state. Many of them are descendants of tribes-men who lived on lands east of the Mississippi, andwho were removed to the old Indian Territory thatlater became Oklahoma as white settlements ex-panded westward during the early and middle years of the nineteenth century. In their new homes, theybecame neighbors of the Southern Plains tribes whohad long lived on the Oklahoma grasslands.What is now Oklahoma was Indian country whenthe Spanish explorer Coronado passed through thearea in 1541 in his search for the fabulous cities ofQuivira. He met Indians who hunted buffalo onfoot, and who transported their portable skin-covered tepees and household goods on ingeniousA-shaped drags pulled by dogs. By the time theUnited States acquired Oklahoma as part of theLouisiana Purchase in 1803, the Indians of the regionowned large herds of Spanish horses. They wererecognized as some of the best riders in the world,killing buffalo from horseback with bows andarrows or lances, and raiding distant enemy camps.No tribes of the Old West were more daring oraggressive than were the Comanche, Kiowa, andApache of the Oklahoma region.For decades they prevented the white settlementof the Southern Plains, and raided far into Mexico.Then, in the middle 1870's, their staff of life, thebuffalo, was exterminated. The Indians had nochoice but to settle on reservations and to dependon the government for the necessities they prev-iously had provided for themselves.Only in recent years, since World War II, has thelast generation of Southern Plains Indians that re-membered life in buffalo days disappeared. Theirdescendants live in wooden houses, go to schools,shop in towns, travel by automobile, and usuallydress much like other rural people in Oklahoma.But they have not lost their traditional skills. Theseare expressed in finely dressed buckskin clothingworn on ceremonial occasions, in picturesque dollsillustrating traditional costumes and accessories, incolorful beadwork, featherwork, and carving, andin other handicrafts.None of their arts is more popular among theIndians of Oklahoma than are music and the dance.When Indians of all ages gather from far and nearfor a pow-wow, they indulge in their common lovefor singing and dancing, and find relief from thetensions of modern life. They compete with oneanother in the beauty of their costumes and theliveliness of their dancing. While older men singand drum, the sprightly younger ones, gorgeouslybefeathered and painted, perform their intricate,fast-stepping dances. When one sees them dancinga war dance one is reminded of some of the paint-ings of Plains Indians by George Catlin, paintedfrom life nearly 140 years ago. And when one seesthe small children giving charming imitations of theyoung men's actions, one realizes that he is observ-ing an American tradition that is immeasurably old,but still very much alive. Frances Densmore, working with the Bureau ofAmerican Ethnology in the field of Indian music, is shownwith Mountain Chief, a Blackfoot, who is listening to asong and interpreting it in sign language. Her recordingsare now in the Archive of Folk Song at the Library ofCongress. The scene was photographed by Harris andEwing in front of the original Smithsonian building inMarch 7916. (Negative NAA 55,300)Pholo^rapFis from tfie Smitlisonian Institution National Anthropo-logical Archives. THE HISTORY OF AMERICAN INDIANRESEARCH AT THE SMITHSONIANby Joanna Cohan Scherer!\^useum Specialist, Smithsonian institutionNational Anthropological Archives The study of North American Indians was one ofthe original interests of the Smithsonian Institution.In fact, the first scientific report it published dealtwith Indian remains in the Midwest. Such contri-butions by the Institution to the study of man wereearly and vital, and had much to do with the de-velopment of anthropology in America. Today, be-cause of the unique material in its anthropologyarchives, the Smithsonian continues to be a primesource of information for scholars and others seek-ing knowledge of the original Americans.In 1847, one year after the Institution wasfounded, the Smithsonian Board of Regents de-clared its interest in "ethnological researches,particularly with reference to the different races ofmen in North America, also explorations andaccurate surveys of the mounds and other remainsof the ancient people of our country". The Regentsalso proposed the publication of a series of scien-tific reports. The first accepted for publication was "Ancient Monuments of the Mississippi Valley", byE. C. Squier and E. H. Davis. It was published in1848 in the Smithsonian Contributions to Knowl-edge.In the 1850s and 1860s, the Institution's principalrole in anthropology was as the recipient of speci-mens from various parts of the world, as well asarcheological, linguistic, and ethnological materialfrom North America. One of the early contributorsto the anthropological collections was George Cibbs,whose interest in Indian languages led him to beginthe collection of Indian vocabularies. Another waslames Swan, who collected Northwest Coast Indianartifacts. Charles Bird King's paintings of Indiandelegates to Washington became the nucleus ofthe National Indian Portrait Gallery. The Smithsonian's interest in Indian studies wasgiven impetus in the 1870s partly as a result of theCentennial Exhibition at Philadelphia in 1876. Forthis, several government agencies received ap-propriations to gather material illustrating nativeAmerican cultures. The Smithsonian, with its largecollection of Indian artifacts, was put in charge ofpreparing the exhibits. When the exhibition ended,all of the collections were sent to the Institution.Frank H. Gushing, Charles Rau, and Edward Fore-man, who prepared and installed the AmericanIndian collections at the exhibition, became the firstpermanent anthropological staff of the United StatesNational Museum at the Smithsonian.The principal focus of American Indian researchat the Institution resulted from the efforts of MajorJohn Wesley Powell. Major Powell, a one-armedCivil War veteran, was a dynamic man?a teacher,administrator, geologist, and ethnologist, and prob-ably one of the most influential scientists in Wash-ington in the 1870s. He organized and participatedin the first scientific expedition down the ColoradoRiver through the Grand Canyon in 1871 and was afounder of the United States Geological Survey. Hewas also a founding member of the National Geo-graphic Society and of the Anthropological Societyof Washington. Among his many dreams was thedesire to "organize anthropologic research inAmerica." By doing this he hoped to elevate thestudy of Indian cultures from the realm of curiosityand to correct numerous errors of earlier publica-tions.It was Major Powell, more than any other indi-vidual, who prodded Congress into creating afederal bureau to study the rapidly changing Indiancultures. In the early 1870s Congress had made appropriations for an expansion of western explora-tions under the direction of the Smithsonian. Theresulting United States Geographical and Geologi-cal Survey of the Rocky Mountain Region includedprovisions for Indian studies. It was put under thedirection of Major Powell, then fresh from hissuccessful Colorado River expedition. In July 1874when the Survey was transferred to the Departmentof Interior, anthropological research was givengreater emphasis. The Smithsonian supported thisby transferring its ethnological and linguistic manu-scripts to the Survey. This was in keeping with theInstitutions's policy of not duplicating the workanother government agency could do. In March1879 Congress established an appropriation for aseparate bureau to study the history, languages, andcultures of North American Indians. The Bureau ofEthnology, later renamed the Bureau of AmericanEthnology, was made a branch of the Smithsonian,and Major Powell became its first director. There-after, until 1965 when the Bureau was absorbedinto the Smithsonian Office of Anthropology, an 20 Frank H. Gushing, who was adopted into the Macawclan at Zuni Pueblo, and given the name of Tenatsali orMedicine Flower. He became a prominent member oi thetribe, and at its request wore Zuni clothing. Photographedby John K. Millers at Zuni Pueblo about 1880.(Negative BAE Portraits 22)Indian Images: Photographs of North American Indians1847-1928, an exhibition of photographs from the NationalAnthropological Archives is on display in the Rotunda ofthe National Museum of Natural History. These photo-graphs have been selected from the collection of approxi-mately 50,000 black and white negatives and prints relat-ing to the more than 350 Indian tribes of North America.This collection includes portraits of individuals, as well aspictures illustrating clothing, house types, ceretvonies, andcrafts such as weaving, basketry, and potterymaking. Printsmay be ordered through the Smithsonian Institution Na-tional Anthropological Archives, Washington, D.C. 20560.A catalog of the exhibition may be ordered through theSmithsonian Institution Museum Shops, Washington, D.C. annual appropriation was made by Congress forits research.Although the permanent staff of the Bureau andthe Museum was small, the personnel possessed theskills of ethnologists, linguists, and archeologists. Inaddition, a number of other persons working invarious parts of the country collaborated with theBureau and the Museum and were encouraged tocollect data. As a result, vocabularies, texts, gram-matical notes, maps, transcriptions of native music,native drawings and paintings, photographs, anditems of material culture, such as baskets, clothing,and weapons, were deposited at the Smithsonian.These contributions came from government officials,army personnel, doctors, teachers, and missionaries,as well as from staff members. The ethnological andlinguistic manuscripts on Indians became the con-cern of the Bureau, and the artifacts were cata-logued, maintained, and displayed by the NationalMuseum.The vast accumulation of data pertaining to theyoung science of anthropology created a need forspecialization. This was reflected in the formationof a new division within the Smithsonian, theDivision of Physical Anthropology, formed in 1903and headed by Ales Hrdlicka. Hrdlicka was inter-ested in the racial history and unity of the AmericanIndian, especially in the study of early man inAmerica. This led him to carry out extensive re-search in Alaska. Also under his direction, measure-ments, casts, and busts were made of many Indiandelegates who visited Washington.It was essential that an archives be established totake custody of this collection of unique data. Thematerial resulting from the early field work of pro-fessional and amateur anthropologists was collectedand catalogued, at first on an informal basis. Someof the work of contributors such as Major Powell,Otis T. Mason (famous for his studies of basketry),William H. Holmes (whose interests were art andtechnology), Francis La Flesche (an Omaha Indian), I. N. B. Hewitt (who was part Iroquois), Hrdlicka,and others had been published in the Bureau Bulle-tins and Annual Reports and other Smithsonian andNational Museum publications. However, significantportions of the data remained unpublished. It wasthe responsibility of the Bureau archives to main-tain the collection over the years and to make dataavailable to qualified researchers. In addition, thestaff of the archives has handled numerous in-quiries from the public about Indian life andpersonalities.The archives are now designated the SmithsonianInstitution National Anthropological Archives. Thecollection is being expanded to reflect the entirerange of interests included in the science of anthro-pology, and now includes photographs and manu-scripts from Africa, South America, Oceania and theNear and Far East relating to ethnology, linguistics,archeology, and physical anthropology. However,the material relating to North American Indians re-mains the most important segment of the collection,and continues to provide an unequalled store ofknowledge for scholars and others studying the firstAmericans. SPONSORS AND We would like to thank the following organizations and individuals for their interestCONTRIBUTORS ^"*^ contributions to the 1970 Festival of American Folklife. Without their generoussupport the Festival could not have been produced.SPONSORS Honorable Winthrop Rockefeller, Governor of ArkansasArkansas State Parks Recreation-TravelCrossett Art LeagueThe Arkansas ParticipantsArrow, Inc.Oklahoma State SocietyPhillips Petroleum Co.Mobil Oil CorporationUnited States Department of CommerceUnited States Department of the Interior, Bureau of Indian AffairsUnited States Department of LaborThe Southern Plains Indian ParticipantsAlabama State Council on the Arts and HumanitiesAlabama ParticipantsDairy Industry Committee of Greater Metropolitan WashingtonDairy ParticipantsCONTRIBUTORS Evelyn BirdMr. and Mrs. Daniel BondareffNancy L. ButrickMr. and Mrs. Donald ClearyGilbert C. Covaco?Coimbre SocietyGeorgia Marble Co., Tennessee Division, Member Marble Institute of AmericaNancy D. GolandCal. C. HerrmannErwin J. and Philine R. LachmanMr. and Mrs. Allan I. MendelsohnLouise Tompkins ParkerPortuguese Cultural Society of Greater Fall River, MassachusettsCecilia M. RoseMary Katherine SandersJanet N. SpikerNancy L. StreetYeonas CompanyTHANK YOU TO Mrs. David AchesonTom AhrensAmerican Indian Institute, University of OklahomaBoy Scouts of America, Fairfax Chapter Order of the ArrowDepartment of Health, Education and Welfare?Indian Health ServiceForestville Stables, Clinton, MarylandHappy Valley BoysICON Inc.; Fred Day, Pattie Pearson, and Charlie ThompkinsLadies Committee of the AssociatesLarry LissnerNational Council on Indian Opportunity, Office of the Vice-PresidentNational Milk Producer's FederationNational Park ServiceShakespeare Summer Festivallames StokesberryElaine TamaniniUnited States Department of AgricultureUniversity of Maryland, College of AgricultureJames WahpepahDr. Allen H. WoodSPECIAL THANKS TO the Offices of the Smithsonian and tg the many volunteers without whose assistance,both prior to and during the event, the Festival of American Folklife would have beenan impossibility. 21 DAYTIME PROGRAMSARKANSAS AREA CENTRAL AREA INDIAN AREA DAIRY AREA Daily Ballad Swap Sacred Harp singing Scl Sacred Harp Dpen Sing Nighhy8 p.r|). except July 4. Dairy Worhshop? Oemonslrjtioan Dairy Participants mterviewe EVENING PROGRAMS aii )rograms at Sylvan Theater, 8:00 p.m. Nightly pow pow central mall area, 8 p.m. except July 4.Wednesday July 1 Ethel Raim and Mike Seeger, MCsSquare DanceOld Time Fiddler's Club of Rhode IslandBogan-Martin-Armstrong BandElizabeth GottenGeorgia Sea Island GhildrenLebre and Pimenlal FamiliesRalph Stanley and the Clinch Mountain BoysChinese American Youth Club Dragon DancersAddington and Carter FamiliesThursday, July 2 Norman Kennedy and Jim Rooney,MC'sSquare DanceSacred Harp SingersJohn JacksonWard-Brewer String BandHappy Valley BoysBlue Ridge Mountain GloggersWatson FamilyFriday, July 3 Ralph Rinzler, and Topper Carew, MCsSquare DanceNorman KennedyPennywhistlersJerry RicksNew Lost City RamblersAntonio MosqueraThe BluesJerry RicksMance LipscombSleepy John EstesHammy NixonJames Yank RachelArthur CrudupBooker WhiteJoe Willie Wilkins Blues BandSunday, July 5 music from the ArkansasIntroduction: James R. MorrisJimmy Driftwood and Tommy Simmons, MCsChildren's Came GroupJudy ClemonsonGleta DriftwoodCopeland Family BandOhien and Retha FendleyOilie GilbertLoving SistersParrish and Emberton FamiliesCaroline RainboltAlmeda RiddleSimmons FamilyAvey-Mize-Shannon String BandBlair FamilyIra Tillman FamilySherman WardPhyllis Whitfieldloe Willie Wilkins Blue Band Special thanks to the National Park Service and the Shakespeare Summer Festival for the useof the Sylvan Theater for the Evening Concerts. FESTIVAL WORKSHOP Jay Anderson Guthrie MeadeAND CONCERT MCs Joe Dan Boyd Ed MorrisTopper Carew Hoyle OsbornMike Cooney Ethel RaimJosh Dunson Jerry RicksJoe Hickerson Jim RooneyAlan Jabbour Bob SigginsNorman Kennedy Dick SpottswoodWorth Long Happy TraumReed Martin Jesse WinchMack McCormick Don Yoder 23 NATIONAL MUSUEM OFHISTORY AND TECHNOLOGY WASHINGTON MONUMENT NATIONAL MUSEUM OFNATURAL HISTORY DEPARTMENT OF AGRICULTURE NATIONAL MUSEUM OFNATURAL HISTORY T^ NATIONAL MUSUEM OFHISTORY AND TECHNOLOGY 0^ ,\Nl^. vJ\f^p^\ ,?/'" Barrel Race iiifli"*' ?SN^. vv^^j O^aw^y :^^Arear- ^^ ^^. Crafts TO CAPITOL ^3ftSi^mT^ /^, Indian Area .ra/fs Craft bneraj ^--'\- r,Teepees ^'^ r -"''^^'' A /^ ""1^ ' >^taq^^ Washington Monument .Sylvan Theater (evening conceitsJ* onsfltu T&rj^j^ Sfsgef