Bringing Americans together is - American Airlines is proud to one of the things suppolt a Bicentennial project that's also about bringing we do 1- - - 1. Americans together- the Festival of American FOI klife. Different people coming together for a common purpose - to live, to work and to play- is a magnificent human enterprise. It's at the heart of our heritage, and it's the reason why we have faith for the future. We, the more than 35,000 people of American Airlines, will be doing our best by helping the Festival get around the country. And by encouraging Americans every where to visit it. r d r SMlTHSONlAN INSTITUTION NATIONAL PARK SERVICE Sponsored by AmericanAirlines f General Foods Foreword The Cover The living art that the American peo- ple make of their own experience is not taught in our educational institutions, performed in our concert halls or housed in our museums. Folk songs and dances may be taught in schools and interpreted by professionals in concerts; material culture appears in museum exhibitions and collections, but living folkways are drenched with the rich, vital style which only the living tradition bearers themselves can impart to the performance of a song, to the execution of a complex craft technique, to the telling of a tale. The Festival cele- brates folk cultures as they persist in thousands of styles among millions of people who inherited folkways as part of their life styles. The Festival was established in 1967 by Secretary Ripley with the phrase: "Take the instruments out of the cases and make them sing." The Smithsonian had the objects; the mandate was to find the people who create and use them. Our quest has been neither demo- graphic nor ethnographic. The search is to locate people who are strong living practitioners of music, food, dance and craft traditions. Much of the material demonstrated and performed at the Festival is heard regularly in homes and backyards, com- munity halls and churches across the country. Most of the material is per- formed unreflectively, some is taken for granted by the participants them- selves, and some is treasured. Among communities of sacred harp singers everyone can lead the singing and read the shape notes, even young- sters. But each group has one leader who can lead and read better than the rest. The Karpathos Greeks in Balti- more may have good lyra players and pipers of their own, but they may send to Canada for a virtuoso when a big wedding is in the offing. Each community has its own values, recognizes its own cultural leaders and living treasurers. It takes a bit of cultural detective work for us to identify the community values and reflect them accurately. More than 50 field surveyors have helped bring together this year's 900 participants. The role of the Festival is to find, encourage and celebrate the cultural minorities that make up the American majority. The separate programs are conven- ient but overlapping groupings: we are all Working, Regional and Ethnic Ameri- cans who have participated in family and children's folklore. The Festival is the place for you to meet the champions of these traditions but also to contri- bute. The National Park Service and the Smithsonian Institution invite you to participate in this event bringing to it your own songs, stories, dances, recipes, superstitions and jokes at the same time that you come prepared to learn those of others. James R. Morris Director, Division of Performing Arts Ralph Rinzler Director, Festival of American Folklife For a century and a half the train has been a powerful symbol. Its impact on folk creativity has been as dynamic as has its effect on the transportation industry. At this year's Festival it serves as an appropriate symbol, unifying the six program themes. It is a folklore image that originates in Working American's area, but affects us all. Regional Americans are descendants of some who came to this country to build "the iron road." As a unifying force, the train joined the two coasts bringing people together. As a dividing force, it cleaved the prairies, decimating the buffalo, pushing Native Americans from ancestral lands to narrowly defined reservations. The train was a passage to freedom for Blacks, the source of song and lore for poets and bards. At the Festival Mrs. Elizabeth Cotten, the 82-year old singer-guitarist will sing her childhood composition, "Freight Train," a beloved folk song now heard round the world. Other songs of transportation will be shared in the Working Americans area where railroaders will also tell stories and demonstrate skills. The train is a focus, generating heroes, heroines and dreams. Cover photo by Lightworks. Contents: Foreword 2 The Festival: Theater of Action by S. Ditlon Rlpley 3 The Festival: Living History by aery Evwhardt 4 Working Americans 5 Rail Lore by Amhie Green 7 Regional Americans 9 The Regions of the U. S. by Mack McGonnick 12 Children's Folklore 14 Family Folklore 16 General Information: Programs 17 Highlights: June 25 18 June 26 20 June 27 22 June 28 24 June 29 26 , Festival Map 28 July 2 30 July 3 32 July 4 34 July 5 36 July 6 38 General Information: Services 40 Old Ways in the New World 41 African Diaspora 48 : The Wf ld Family of Stringed j Instruments by Tom Wnnum 48 I Old Ways in the New World: On Tour 49 Native Americans 50 , What's Your Indian Language I.Q.? 53 Komi Haynes 53 Supporters 54 r Staff 55 i t @ Smithsonian Institution rszs 1 e The Festival: Theater of Action Eight years ago the Smithsonian started the annual summer Festival of American Folklife involving live per- formers. They demonstrated to visitors on the Mall that a museum exhibit might consist of tools or instruments tem- porarily laid aside, but not obsolete. The persistence of crafts, of cultures that involve making, using and playing with such tools or instruments, needed to be underscored, and our theater of action was the museum. I venture to think that there is a close relationship between what our Festival (June 2526 and July 2%) has been seek- ing to express and some of the newly recognized striving9 encompassed in the terms "cultural diversity" or "plural- ism." In the Folklife Festival we rejoice in the annual recognition of the persist- ence of "Old Ways in the New World," as we call it -the perpetuation of national and family folkways, whether they be- long to so-called minorities or are trans- mitted customs from all over the world. In the same way, we have brought Native Americans to the Mall to demon- strate the resurgent Indian population's concern with enduring crafts and rituak, while our "African Diaspora" celebrates the music, body movement and life- styles of Blacks on three continents. In a typical large American city such as Philadelphia there are perhaps 30 sub- cultures, whose practitioners jealously perform Polish fotk dances, eat Greek food or preserve tribal music. There is in mankind today a fear of the loss of identity. We fear that union of megastates and megacorporations The Festival: Living History which for efficiency's sake would mold us all-our thoughts as well as our actions-to a new life where differences between groups would be smoothed out. Communications, education and international economics would grad- ually wipe out group differences. In the United States we still recognize cultural diversity or pluralism. In the United Nations, nationalism is rampant. Nationalism is a political extension of the individual's yearning for the family, the clan, the tribe. Is it any wonder that the persistent quest for identity surfaces in nationalist (i.e. tribal) strivings in India? Nagas prefer to keep themselves identifiable as Nagas. Persistent tribal patterns in Africa, religious patterns in Northern Ireland, nationalist actions in the Middle East all have a close correlation with the persistence of folk cultures and tribal or clan relations. I suspect that the continuing tensions in the Middle East would be placed in clearer perspective if they were understood to have strong folk roots far deeper than economics or even religion. Recent experience in the less developed parts of the world shows that fear of the iron fist can only tem- porarily still these folk strivings. Inter- national law and order, lacking even an iron fist, has failed to control inter- national anarchy. Perhaps there is an- other way through understanding and accommodating the basic human fears of loss of identity, and the basic per- sistence of folkways. Forthese are urges so strong as to confound the planners, let alone the diplomats. In view of the harmony and delight that our Folklife Festivals produce, are our museum experiences perhaps tell- ing us something that we should hearken to in a larger theater? Secretary, Smithsonian Institution as high as 35 million. Those Americans fortunate enough to visit Washington this year will share in "the great national family reunion" represented in the ninth annual Festival of American Folklife. We in the National Park Service are proud to be a part of the Festival and believe it represents what thefolkof America are all about. . . where they come from and their own unique contributions to our way of life. In a sense this Festival epitomizes the Bicentennial. We are pleased to be part- ners with the Smithsonian Institution in bringing to the Mall this collage of cultures. In national parks throughout the United States Americans and foreign visitors can see re-creations of incidents ! and the folkways of early Americans. I From our great western parks to those along our eastern shore, the dwellings and lifestyles of the earliest Native Amer- icans and the "discoverers" of the new world are preserved or re-created. These In this year when we are preparing to celebrate our nation's Bicentennial in 1976 many of our efforts are being di- rected toward reviewing, interpreting and displaying the contributions made by all our peoples to the political, tech- nological, cultural and social develop- ment of our country. Throughout the nation appropriate activities will be staged in 1976 to com- memorate the people and events that made our history. Obviously, not all Americans will be able to visit all these sites. However, millions of Americans will visit our nation's capital this year and next. The estimates on the number expected during the Bicentennial reach living history lessons provide for Amer- icans a deeper feeling for their land. The 1975 Festival of American Folk- life represents one of the biggest living history programs ever presented on one sjh But it still will not surpass the Festi- val planned for 1976. The National Park Service is indeed delighted to be a sponsor of this year's program, looking forward to its culmination in the Bicen- tennial Festival next year. Gary Everhardt Director, National Park Service Whenever people or goods are moved from one place to another, transporta- tion workers load it, haul it, tow it, truck it, fuel it, service it, and keep it rolling. Towboat deckhands don work vests and prepare the rigging for a midnight turn of grain and coal-filled barges coming up-river from Cairo bound for St. Louis; air traffic controllers carefully plot alpha-numeric readouts of traffic above D.C.'s National Airport; the yard en- gine at a midwest classification yard "shoves" a train of boxcars toward the hump as a brakeman cuts cars bound for several eastern destinations; a com- missary cook fries sixty steaks for a flight from Kansas City to Los Angeles, while an inspector cautiously reads the oil on a 747 wing strut before buying the work of the day crew; and a sleeper team stops at White's for a cup of hun- dred mile coffee before making the South Charleston terminal with a load of 84 bills. This year the Working Americans section presents the skills and lore found within the work days and nights of transportation workers. The goal of this area is to put names and faces in place of services and machinery, to ap- proximate as closely as possible the actual work place, the human feelings and the tone of the occupation. By focusing on the skills, styles, stories, jokes, beliefs and customs of contem- porary workers, the Festival reveals the similarities and differences of occupa- tional backgrounds. This presentation is the result of extensive planning and cooperation among the AFL-CIO, the U. S. Department of Labor, the Smith- sonian Institution and its folklife schol- ars, the National Park Service, and transportation workers throughout the country. The Exhibit Visitors to the Working Americans section of the Festival will have three areas in which to share the occupa- tional folklore and skills of workers in transportation. The first presents simu- lated work sites which will include areas for bulk freight trucking, maritime skills, airline maintenance, and rail- road maintenance of way. The second will be devoted to the performance of stories, jokes, personal experiences and other narrative expressions of trans- portation workers. The Working Amer- icans stage will feature the performance of songs and music growing out of the work experience. The third area is the Learning Center. Here photographs of skills in the work environments, video- tapes and sound recordings taken on- the-job can be experienced by the Festival visitor. By presenting the sights and sounds of work not simulated or transportable to the Mall, such as the scale of a 747 overhaul bay, the massive weight and power of a modern towboat, the complexities of a railroad classifica- tion yard and the ordered confusion of an aircraft factory, a more complete understanding of the other Working Americans areas will be possible. Reg- ular workshops and scheduled discus- sions will deal with such topics as the safety considerations in these occupa- tions, the twenty-four hour work rhythm of transportation workers and the simi- larities and differences found in the movement of people and goods by various transportation occupations. Air Traffic Controllers Air traffic controllers regulate the flow of vehicles through the roadways of the skies. Their work place is a dimly- lit room filled with radar screens and electronic communications equipment, but their actual area of responsibility is a three-dimensional piece of airspace. Each controller watches a particular volume of air, located geographically Machinists skills and the ways in which workers relate to each other, to their tools, materials and products generate group awareness. by map coordinates, bounded at the top and bottom by specific altitudes and continually changing due to the com- plexities of moving aircraft and weather conditions. A controller tracks and ad- vises the pilot in his sector and then "hands him off" to afellow controller as the plane passes into another area. Visitors will see demonstrations of this three-dimensional chess game and hear accounts of the interesting and dramatic events arising from the occupation. Commercial Aircraft Machinists and Maintenance Workers There are two basic kinds of passen- ger-carrying aircraft being manufac- tured and flown in this country-the smaller corporate and private planes produced by the general aviation indus- try, and the large commercial jets operated and maintained by the major airlines. This portion of the Working Americans section seeks to explore the general aviation field by presenting the skills involved in the fabrication of a single-engine airplane's nose piece on the spinning lathe, the sub-assembly of fuselage and control panel sections and the machining of aluminum gears and parts. The commercial aircraft presen- tation will present repair and mainten- ance of an engine pylon section from a 727 aircraft, the recycling of parts which are taken down and rebuilt by hand by a "junkman" and the constellation of skills involved in the repair and main- tenance of the small jet engine now found on most 727's and 747's-the auxiliary power unit (APU). Workers in both the general aviation and com- mercial fields will also share their unique occupational lore-onewhich combines the excitement and mystery of airplanes with a distinct pride and confidence in their work. Railroad Workers One of the most pervasive occupa- tional and cultural symbols in America, the railroads and the people who work on them, will also be featured in this year's Festival. A four car display, track laying and maintenance of way skills area, signaling area and a mock-up locomotive engine will become staging areas for skill demonstrations, story- telling and singing sessions by contem- porary railroad workers. Workers in Trucking Although the truck driver recently has captured the attention of the popular media, his or her relationship to the dispatcher, dockworker, yardman and mechanic in the hauling of freight has been less clearly understood. To elabo- rate on the interrelationships of con- temporary trucking a working break bulk loading dock is a staging area for dockworkers, drivers, dispatchers and mechanics to display and discuss their skills. A mock truck stop, complete with 100 mile coffee, stories of jack-knifed rigs, narrow escapes and a jukebox filled with truckers' music is another demonstration area. At both the skill area and the Working Americans stage, truckers will sing the songs of the dock and the road. A feature presentation will be a truckers Roadeo on June 28 and 29 performed by members of the Washington, D. C. Trucking Association. Since its inception in 1937, the Roadeo has served the trucking industry by spotlighting the skill of the professional truck driver. Drivers compete on written safety tests, inspections for equipment defects and the most exacting test-the obstacle course. Deep Sea and inland Boatmen The past experiences of inland boat- men and deep sea sailors have gen- erated a lively repertoire of folklore. Today, however, the size of supertankers and line boats pushing bulk cargoes through inland waterways has added a dramatically increased scale to the work environments of these men and women. Consequently, it has not been possible to bring actual working vessels to the Festival. However, timberheads, cavils, and buttons can and have been placed on the Mall to illustrate rigging, tying off, knot tying, and splicing skills. Storytelling sessions, monitoring of boat-to-boat communications, singing, and signaling will also be offered in appropriate skill areas and on the Work- ing Americans stages. Smithsonian Museum Exhibits There are also many permanent and temporary exhibits in the Smithsonian's Museums of History and Technology and Air and Space that provide visitors with an opportunity to increase their knowledge of the people and equipment involved in transportation-both past and present. The ficst floor of. the Museum of History and Technology contains permanent exhibits of farm machinery, road vehicles (including a 1930 Mack Truck Bulldog and a rare 191 2 Knox tractor), American merchant shipping, and a railroad hall that in- cludes a PS 4 Pacific type locomotive, the Southern Railway's No. 1401. The 1;orth hall of the Arts and Industries Building and the quonset hut on Inde- pendence Avenue feature aircraft and air technology from the first flying ma- chines to the sophisticated equipment used in our space program and will be open through September 1,1975. Participants Members from - Air Traffic Control Association President: Joseph P. O'Brien Brotherhood of Locomotive Engineers President: Burrell N. Whitmire Brotherhood of Maintenance of Way Employes President: Harold C. Crotty Brotherhood of Railroad Signalmen of America President: Charles J. Chamberlain international Association of Machinists and Aerospace Workers President: Floyd E. Smith International Brotherhood of Teamsters, Chauffers, Warehousemen and Helpers of America President: Frank E. Fitzsimmons Seafarers international Union of North America President: Paul Hall United Transportation Union President: A1 H. Chesser District of Columbia Truck Roadeo Chairman: Gerald F. McCully American Federation of Musicians Hal C. Davis, President in cooperation with THE MUSIC PERFORMANCE TRUST FUNDS Kenneth E. Raine, Trustee Music Performance Trust Funds The music for this occasion is provided by r ' grant from the Music Performance Trust Funds, a public service organization created and financed by the Recording Industries under agreements with the American Federation of Musicians. John Benson: Singer, fiddler Saul Broudy: Singer, guitarist, harmonica pkyer Mickey Clark: Singer, guitarist Elizabeth Cotten: Singer, guitarist John Jackson: Singer, guitarist Louis Kilien: Singer, concertina player Lewis London: Singer, dobroist Bruce Phillips: Slnger, guitarist Jim Ringer: Singer, guitarist Bodie Wagner: Singer, guitarist Gerret Warner: Singer, guitarist Jeff Warner: Singer, guitarist, b The skills of the seafarers - "Tying off" a hawser on the bow of a towboat-are demonstrated by Working Americans. Rail ore by A~CM. oreen For a century and a half American railroad workers have created folklore- songs, stories, styles-to cloak their lives. These on-the-job expressions by hoggers, snakes, and tallowpots as well as by baggage smashers, brass pound- ers, and car knockers were natural ex- tensions of work, much like greasy overalls or telegrapher's green eye- shades. In the most direct sense, a spikedriver's chant or a fireman's elegy to his dead engineer was a verbal or musical form which helped members of a distinct occupational group define their social and economic roles. Rail craftsmen see locomotives, ca booses, roundhouses, or track-sections as other mechanics view their personal work sites. Simply stated, one earns a living at the throttle or on the section. All human work is decorated by some artistic embroidery and railroading is richer than most kinds of work in thi! decoration. Had rail lore remained the esoteric possession of only a special work force, it would have resembled the hidden culture of ironworkers or shipwrights- known chiefly within tight vocational bounds. But the lore of trains spread beyond the industry. America has carried on a fifteen- decade love affair with iron horses and long steel rails. Obviously, train folk- lore was not the limited creation of railroad workers, for it was also formed and extended by individuals within I other callings. Indeed, no other voca- tional lore, including that of cowboys and sailors, is as etched into the Ameri- can character as rail lore. For most non-railroaders the train is - - Dr. Archk Qreen,a member of the executive board of the American Folklore Society, is the author of "Only a Miner." He will be teaching in the graduate program at the University of Texas in the fall. "No other vocational lore including that of cowboys and sailors is as etched into the American character as rail lore." an omnipresent emblem. Further, it is a multi-faceted symbol: power, conquest, love, loneliness, resignation, escape, adventure. Not everyone knows the deafening clang of the roundhouse boilermaker's hammer; not everyone understands the beckoning callboy's ritualistic duty. Yet all have been touched by rail lore. To live outside the railroad craftsman's domain does not make one immune to his expressive life. Plainly, the "Orange Blossom Spe- cial" is not an instrumental piece played only for railroaders. To hear and see the folklore of others requires some problng, some analysis as a prelude to appreciation. Perhaps the best handle in dealing with rail lore is to appreciate the dual nature of the material -functional and symbolic. Di- rectly, the simplest figures of technical speech such as "flagging" and "high- balling" sewed to pacework. Traditional slang is a tool to facilitate work itself; job talk also sets old-timers apart from apprentices, and both from non-initi- ated outsiders. When those in other callings respond to a rail composition it is largely be- cause of the train's symbolic purpose. Two stanzas describing similar physical movement make the point effectively: I'm a walkin' down the track, I've got tears in my eyes, Tryin' to read a letter from my home. I'm goin' home on the mornin' train, I'm goin' home on the mornin' train. I'm goin' home, I'm goin' home, I'm goin' home on the mornin' train. The first, part of a bluesy lament, deals with earthly love and deep alienation. Although this lyric folksong is often titled "Nine Hundred Miles" it is as much a comment on social as it is on spatial distance. The second opens an old spiritual concerned with the meta- phoric journey after death. The iron horse's trail across the United States is marked in cartographer's signs. Cross ties are a few inches apart, while trestles and tunnels may be hun- dreds of miles apart and an S.P. reefer on a Maine siding is a continent away from home. But our nation's span is also found in the imagination, not meas- urable by geographic codes. It is when we non-railroaders are caught up by a trainman's story that we begin to meas- ure it against our experience, our personal sense of time and place. Here, of course, we try to assimilate rail lore and give it non-occupational meaning. To some extent we all identify with Casey Jones' heroism or John Henry's vitality. Likewise, we are amused when we first learn that trains have nick- names! The Richmond, Fredricksburg and Potomac is also the Run, Friends and Push. We enjoy incorporating train talk into casual speech. "Sidetrack," "doubleheader," and "cannonball" are fluid words widely used today in many contexts. In our travels it is still fun to find "Kilroy Was Here" scrawled on rocks and signposts. It is also pleasurable to know that Kilroy's hoary predecessor was a fancy calligraphic figure, J. 8. King, chalked onto boxcar walls: Who in the h--- is J. 6. King? , You see his name on everything! On boxcar high, and flatcar low, You see his name wherever you go. Within the limited scope of a festival booklet, one can note but a few ex- amples of the innumerable types of rail lore: superstitious beliefs about ghostly trains, watertank graffiti, craft initiation pranks, mournful ballads exorcising grief from accidental deaths, language of flags, lights, and hands to supple- ment speech. The list is endless but two customary practices demand attention. Industrial folklore does not gloss over work trauma. When freight cars were coupled by hand with link-and-pin de- vices, boomers would directly ask yard- masters for work. These bosses, in turn, asked brakemen and switchmen to hold up their hands in place of written ref- erences or service letters. If the appli- cant had fingers missing, this certified that he was an experienced worker and not a greenhorn. One response to hazardous and on- erous work was trade unionism. Rail- roaders were organizing unions early, and engaged in serious s_trikes during 1877 and 1894. Strikers were frequently dealt with violently and were also black- listed. Such job discrimination led boomers to develop the custom of using their brotherhood (union) paid-up cards as "pie-cards." Hence, member- ship cards became meal tickets to gain food, rides, or shelter from other union brothers. Even the simplest traditional act can be viewed at several levels of meaning. Before diesel fuel supplanted coal, engineers and firemen would knot red bandanas around their necks to keep from being burned by showering cin- ders. Was this only a protective act? Could these workers also have be- decked themselves with a bit of the fire's very color in order to assert their control over an elemental and mys- terious power? The train itself -steam engine, rattling gondola, luxurious sleeper- is an im- mensely complex machine as well as a symbolic subject/object in American folklore. Gifted storytellers and folk- singers have had decades to polish their narratives and melodies against shining drive wheels. They have also had appropriate settings in which to perform for their peers. The faded wall- paper in many a boarding house was but one backdrop where a conductor could hone a savory anecdote into a traditional tale. Who has no memory of depot crews sitting on their baggage cards, "taking five" to pass along jests while waiting for the train's arrival? When rough-handed construction stiffs of every color and nation laid America's rails, they also fused the noise and pulse of their work into folk- lore. Whistle moans, wheel clicks, me- tallic screeches, and engine roars were all humanized by warm emotion. We still hear these transformed sounds when harmonica and fiddle wizards grace the concert stage or festival platform The Festival of American Folklife is but one kind of a presentation that draws on work-centered culture. Ideally, the Smithsonian lnstitution provides for interaction between carriers of tra- dition and members of the larger so- ciety. Specifically, our Festival sets a particular scene where citizens from all walks can closely watch other working people. In such an arena we begin to comprehend industrial folklore. As we hear men and women at work we pull their speech patterns into our own ex- perience, and we relate their zeal to our personal aspirations. Many years ago, Pullman porters between runs would lay over in bleak company dormitories. Talk fests filled in time and established brotherhood. These sessions were not identified by the name of the terminal-point dorm, but, rather, by the term "Baker Heater League," named after a long-obsolete Pullman car-heating-apparatus.' Figuratively, the Festival of American Folklife is an extended "Baker Heater League" in which we all relive each other's excitement in work well done, or attempt to accommodate some of the pain also found on the job. Hopefully, as we see and hear ephemeral rail lore on the National Mall, we will perceive it both as a functional badge of craft skill and as a symbolic signal light in the American imagination. Books Beck, Horace. Folklore and the Sea. Mid- dletown, Connecticut: Wesleyan University Press for the Marine Historical Association, Inc., Mystic Seaport, 1973. Botkin, Ben, and Alvin F. Harlow. A Treas- ury of Railroad Folklore. New York: Bonanza Books, 1953. Doerflinger, William Main. Songs of the Sailor and Lumberman. New York: Macmil- Ian, 1972. Gilbert, Glen A. Air Traffic Control: The Uncrowded Sky. Washington, D. C., Smith- sonian lnstitution Press, 1973. Hubbard, Freeman H. Railroad Avenue: Great Stories and Legends of American Railroading. New York: Whittesley House, 1945. Knox, Jack. Riverman. New York: Abingdon Press, 1971. Tak, Montie. Truck Talk. Philadelphia: Chilton Book Company, 1971. Records The Ballad Hunter, Part VIII, Work Songs for Rail Tamping and Track Laying. Library of Congress L52. Curless, Dick. Dick Curless. Capitol Rec- ords ST-1 11 19, ST-1 1087. Dudley, Dave. Truck Drivin' Son-of-a-Gun. Mercury Records 61028. Haggard, Merle and the Strangers. Same Train, Different Time. Capitol RecoTdsSWBB- 223. Railroad Songs and Ballads. Library of Congress L61. Rodgers, Jimmie. Train Whistle Blues. RCA Victor LPM-1640. Simpson, Red. The Very Real Red Simpson. Capitol Records ST-1 1093. Sovine, Red, or Mote and Napier. Best of the Truck Driver Songs. Starday 454. Songs and Sounds of the Sea. National Geographic Album 07705. Trucker Stars. Hilltop Records JS-6134. Railroad yardmen prepare a coal car for freight classification. Their occupation generates skills, songs, jokes, customs and costumes shared at the Festival. Americans have traditionally drawn a large share of their identity from the regions in which they live and work. For the past seven years the Festival of American Folklife has featured the tra- ditions of a single state. This year we expand on this format by presenting a multi-state region on the one hand and an intrastate region on the other: The traditional crafts, music, danrs and cooking that distinguish the Northern Plains and the California Heartland will bfgatured. Wl in advance of the Festival field surveyors working with folklorists in the featured regions covered thousands of miles and interviewed hundreds of po- tantiai participants to identify the most articulate spokesmen and genuine tra- ditional performers, [ The firs week of this Festival focuses an the m p l e of the Northern Plains {Nmh Khkota, &mh Dakaw, aciabrmka and ~~~, ~grtl~ularly on the ornupa- i, tisrrsrl f V w i s % relart?aaf to $gflcrultu?e and EL W "ig the region tha is C#aJM tit& "BIB " end Indudes the bi&@Mffu! bUit lonely prakje. ftre economy of the area is based on grain crops, feed crop, and livestock produc- tion. The geagrqhy of the area is wick, flat e x p a m blanketed by long, deep winters. Tho ~ett lers of this region lerarned to be self-sufficient, skilled ustwo of every shred of available ma- terial; e.g. they comtructd ha from prairie sai and Wed hay ss stitutss for conventional butkitng m- terials unavattable to them. Thw were original re-cyclers, particularly h ft3gd preparations and crafts. The Fwtival pmsantation will reptw~. sent th@ agriculture of the area byww in$ ~n site wheat, the p . 7 i . n ~ ~ w n crop, alfalfa, a pr GW, crrod aome typical ptai r S ~ ; g 8 sorghum and sun flowera LIvabt~k wiil be grazing on the Mall antl wfll be m d in dernomtratlons of fmardimg techniques. Vlsltors will see varietie~ of ttlJre8Srlng from indlwldual m&hua4 taohniques to modm mechmical m b i n m . A daily mto~ pull .oontest will demcvns@ate net bnly the all#i of t#m tanners in opsrating Wpment, but aka the pride they 'tab In power @f their wn ~ ~ t l l l y maintained rns&irrery. mElgi&w, m f t m e n and cooks can by Simply doit99 it. are associated oc- mestic crab. For related crafts are maintenance, awc- timwering, leatherworking, btacbrnlth- Ing, wagonmaking and repair and metal working. Regular roundups, never 9 to 5 operations, are a typical part of the way of life on the Plains. Key ornupa- tional skills related to livestock inelude how handling, sheep shearing, and ropework The domestic orafta that flourish in this m a n can be charactedtad a$ functional but dwcbrative: p b w quilts, braided and rag rugs, corn husk and rag Boll% t o p eamd from lohips* mIse- rnsrkm, wtiEmmy diddlm. TI34 pm51ing obpec-tb d PMns .araft8mMftJ k tg wmthinlg berautStul aab W u l mce el* ww oommon@ u& In t&e Uosthanr PIalns bfom t h ~ mmbine. Qld and new thesJ1ing twhn&m &m demonstrated at the FestIvcPi. tinguished for their ability to .stret& a seasonal crop into a year's food supply. The Festival cmkbook feature@ such regional epecialtlw as blood pudding, sauerkraut and fruit p rwwm. Cooking will be demonstrated and sampled Qaily. O a n m were the primary way of bring- ing people together in ttra region. Stor1m are told of oouples traVding hundreds of miles to attefld a 8o@W daniee. Festival visitom csur see and participate in a variety of foik daPt@lng by different ethnic groups, Q e m , Scatrbinavian, UkMnian add &&I, who settled in the flrrlns. Narthern Phirl$ mu& Is charraoteris- tically p s r f o ~ n ~ d on In&mrnmts p- tied in jml&lm. The t W e k California Heartland "I suppose the whole country has something in common, but about every hundred miles or so there is a change. The terrain itself changes, and the crops, weeds, grasses and trees, and the way of the water maybe. Not to men- tion the people, and how they stand, and walk, and talk, and what they think they're doins." The quote is by William Saroyan, a writer who came out of the California heartland that is the featured region for the second week of the '75 Festival. The character of his region is expressed by its flamboyant image, di- verse landscape, and - of utmost im- portance-a 'Mediterranean' climate that makes outdoor living so joyously possible. It is also an area rich in ethnic communities and many of those com- prising the population of the heartland will be featured. Mexican-American muralists from the East Los Angeles community will com- plete a mural depicting their contribu- tion to the Festival. Paper flower making and pinata making will be demonstrated and taught to visitors, as will masa grinding, tortilla and tamale making. Chinese-Americans from the San Francisco area will perform a shadow puppet play twice daily. Included in the performance is a demonstration and explanation of the puppet figures. Var- ious crafts including kite-making and the construction of paper ribbon fish will invite audience participation. Three traditbnal games, an early form of yoyo, shuttlecock and cat's cradle will also be demonstrated and taught. From the Portuguese-American com- munity of California comes Jaseph Silva, prominent tuna boat designer, whowill demonstrate boat design and iC lustrate model testing methods in the reflecting pool. Portuguese-American fishermen will demonstrate net and lyre mak4ng accompanied by .ttediticnad sea chanteys. A highlight of the Portugultrist, community is the "Fests da Espiritu Santu" a celebration involving a parade of decorated cows, ceremonial milking, a milk and bread feast and a tradit iwl contest between solo singers who im- provise verses. On July 2,3, and 4 Psrtu- guese sweet bread preparation, paper flower decoration, milking dem~nspla- tions and rehearsals of the chamaritas, the traditional Portuguesesquare dance, will be demonstrated and taught. Unique to San Francisco is the tradi- tion of cable car bell ringing. Cable car gripmen will announce each ses- sion at the main California stage and - dance floor, amd will compete for the bell ringing championship. From the Mediterranean-American community a Greek father and son will demonstrate traditional woven straw beehive construction and will give in- formation on bee-keeping and the agricultural use of bees. There will also Gab& oar be# ringing has become a Sm FmWm ImdRian. A1 Owison, thrp Wgn5ng @AampSan md other expem &!I demonstrate their skiIIs July a-6. be Armenians who will weave rugs and spin wool. The joys of ~ociable dancing will be shared by square dances, Portuguese chamaritas, Phillippine tinakling and an evening of waltzes. Visitors to the Festival will be able to sample Chinese, Mexican, and Portu- guese cuisine. There will also be ex- amples of soto singing by Portuguese, Anglos, French, and Black singers and group singing by Molokans, Anglos, Chicanos and Blacks. The basic himan urge to sing and dance is express~d in the various song and dance traditions found throughout the region from San Francisco to Los Angeles to the San Joaquin Valley, the area we call the heartland. Participants Northern Plains Margaret Anderson: Slnger, cook August Anhelu k: Musician Leslie Anheluk: Dancer James Baker: Dancer Emerson Baker: Singer Norman Baker: Singer Wade Baker: Dancer Donna Baran ko: Dancer Ann Basaraba: Singer Roy Basaraba: Singer Lydia Bears Tail: Beadworker, cook & Saunders Bears Tail: Dancer Linea Bgggs: Bobbin lace maker Connie Burian: Dancer Laudie Burian: Musician Lewis Calwell: Horse trainer Alvin Campbell: Fiddler Marlys Ciscar: Singer George Crow Flies High: Agricultural implement maker, dancer Dan Dasovich : Musician Danny Dasovich: Musician George Dasovich: Musician Peter Drakulich: Musician Frances Driver, Jr.: Dancer Harold Edwards: Sheep shearer Jeanette Evoniuk: Dancer Johnnie Evoniuk: Dancer Laurence Evoniuk: Singer Matt Evoniuk: Dancer Matt Evoniuk, Jr. : Dancer Pearl Evoniuk: Dancer Jade Foss: Fiddler Dean Fox: Dancer Celia Fliginger: Cook George B. German: Singer Hilda Ooering: Quilter Aaron Ooertzen: Mandolin player Dick Goertzen: Mandolin player Jacob Goertzen: Mandolin player Delwayne Good Iron: Singer, war bor maker Velda Graber: Soap, sauerkraut makg Darrell Griff ith: Horse handler Rose Hand: Cook, quilter John Hanzek: Musicjan' Elrnus Henderson: Seddle, harness n Lyle Henderson: Saddle, harness mal Mabel Howling Wolf: Cook, quilter Leslie Jeffery: Cattle crew Margie Jeffery: Ranch cook Mitchel Jeffery: Cattle crew William Jeffery, Jr.: Cattle crew foreman Betty Johnson: Rosemaler Edward Johnson: Singer, musician Esther Jorgensen: Cook Awella Kenaston: Musician Robert Kenaston: Musician Roger Kenaston: Musician Mary Ann Krush: Singer Kathleen Laible: Cpnner Ann Lanon: Cook Bill Larson: Fiddler Luella Loganbill: Quilter Glenn Lornev: Tractor pull Eugene Mack: Dancer George Mack: Dancer Joyce Mack: Dancer Verna Mack: Dancer Don Malnourie: Singer Ben Makaruk: Singer Marie Makaruk: Singer Bill Mastel: Musician Mack Medakovich: Musician Merle Messing: Tractor pull Alex Morin: Dancer, singer Bill Nameniuk: Musician Debbie Painte: Beadworker, shawl maker, dancer Agnes Palaniuk: Singer , Billy Palaniuk: Dancer Fred Penner: Musical saw player D. Peter Plechas: Musician , Agnes Poitra: Dancer I Leon Poitra: Dancer j Harry Porter: Sheep shearer Ken Putnam: Fiddler I Jean Roberts: Corn Husk Doll maker Wayne Robinson: Sausage maker I Alton Schlag: Musician 1 James Schwab: Musician I Larry Schwab: Musician Mrs. Billy Short: Cattle Crew Dennis Short: Cattle Crew I Marlene Sitting Crow: Cook, dancer ' Murphy Sitting Crow: Bustle maker, dancer I Johnny Smith: Auctioneer 1 John Stratman: Agricultural spokesman I Wilhelmine Thue: Cook Joe Trottier: Musician Mary Wallette: Dancer, cook Earl Waltner: Blacksmith Douglas D. Weber: Musician Gene Weisbeck: Musician Donna Wilkie: Dancer, cook Edward Wilkie: Dancer Helen Wilkinson: Quilter Hugo Wuebben: Carver Alice Yellow Wolf: Beadworker Bert Yellow Wolf: Singer Joe Zacharias: Accordion Marie Zaste: Dancer, cook Donna Kordon: Dancer Lewis Caldwell, a resident of South Dakota, will demonstrate the technique of breaking workhorses in the Regional American area. California Heartland Leslie W s h a : Dancer JuatrAtwarado: Pregonero, guitarrista, jaranero Manuel Azevedo: Caller, dancer, singer Nora Bogdanoff: Molokan Singers David Botello: Muralist Jane Botieff: Molokan Singers William J. Botieff: Molokan Singers Alfonso Chavez: Charro Kate Chernekoff: Molokan Singers Peter Chernekoff: Molokan Singers Jeoffrey Chiang: Special Chinese Consultant Vivian Chiang: Co-Ordinator Richard Ching: Chinese Yo-Yo, Shuttlecock, Cat's Cradle Dai T. Chung: Musician, Shadow player Marilyn Cunningham Cleary: Fiddler Ear! Collins: Fiddler Nemo Concepcion: Yo-Yo demonstrator Danny Cruz: Charro Jack Cunningham: Fiddler Van Cunningham: Fiddler Antonio Garcia Da Rosa: Mandolin player Leonel Garcia Da Rosa: Mandolin player Al Figueroa: Singer/guitarist Carmela Figueroa: Singer Alex A. Galkin: Molokan Singers Juan Gandara: Charro Vice President, La Altena Alicia Gonzalez: Paper Crafts Guadalupe D. Gonzalez: Paper Crafts, cook Jose Luis Gonzalez: Muralist Rebecca Gonzalez: Paper Crafts, cook Blanche Gonzalez: Crafts. cook Kenneth M. Hall: ~ a n d o l i n Player Marta Louise Hall: Musician Assistant Fermin Herrera: Harpista Jorge Herrera: Jaranero Maria Isabel Herrera: Jaranera, requintera, dancer Chi-mei Kao Hwang: Chinese Craft Assistant Hubert Isaac: Drummer Rinold Isaac: Dancer Andrea Ja: Shadow player Robert Ernest, Lee Jeffery: Blues pianist Kate Kalpakoff: Molokan Singers Craig Ernest Kodros: Bee hive maker Geroge Harry Kodros: Bee hive maker Anna Koh: Northern Chinese cook David Koh: Assistant Northern Chinese cook Jim A. Korneff: Molokan Singers Julia Lazar: Baker, spinner Robert Lazar: Dancer Calvin E. Long: Tinker Pauline Loo: Chinese craft assistant Francisco Macias: Charro male ~ar t inez : Muralist Heli Medeiros: Singer Nellie Melosardoff: Molokan Singers Anna Mendrin: Molokan Singers John Mendrin: Molokan Singers Jonnie Kay Neavill: Fiddler David Page: Uilleann Bagpiper Sara J. Patapoff: Molokan Singers Jack Pavloff: Molokan Singers Director Mary J. Pavloff: Molokan Singers Dolores Pequeno: Singer George M. Prohroff: Molokan Singers Pamella Ramsing: Shadow player Rigoberto Rincon: Charro President, La Altena Victor Romero: Guitarrista, vihuelo Juanita Saludado: Singer Paul Saludado: Singer, guitarist Roy J. Samarin: Molokan Singers Don Jesus Sanchez: Violinist Surma D'Mar Shimun: Dancer Joe L. Silva: Festa Coordinator, dairyman J o d V. Silva: Tuna Boat Designer Manuel Silva: Guitarrista Mary Silva: Cook, flower maker Julia Silveira: Guitarrista Rafael Furtado Simas: Violinist Rosa Maria Simas: Dancer, baker Jogo Soares: Singer Shirley Sun: Presenter Araks Talbert: Baker, spinner Anna Tarnoff: Molokan Singers Smith Tester: Banjo player Eugene Ung: Assistant Southern Chinese Cook Maizie Ung: Kite Making, paper folding, ribbon fish demonstration Agostinho Valim: Singer Laurindo Valim: Dancer Moses A. Volkoff: Molokan composer Ossie White: Guitarist Roscoe White: Fiddler Margaiet L. Wong: Southern Chinese cook Judy Woo: Assistant Shadow player Jesse Wright: Singer Jimmy Wright: Singer Walter Wright: Singer William Wright: Singer Annie Zolnekoff : Molokan Singers Paul Zolnekoff ; Molokan Singers Francisco Carrillo: Guitarrista Manuel Vasquez: Requintero The Regions of the United States: An Inevitable Approach by Mack McCorrnlck There is, at Anaconda, Montana, a great towering smokestack that pokes up from the snow covered hills. It can be seen for miles, a thick blunt mark against the big sky. They say around there that their smokestack is so big the Washing- ton Monument would fit inside it. That giant artifact plus the copper mines and smelter it represents, when seen in combination with the miles of wire-fenced and rail-fenced fields of wheat, offer even the most casual tour- ist an overwhelming sense of the region. At a local restaurant the menu lists a Cornish "Cousin Jack" meat pie; the counter is lined with working cattlemen; a poster at the cash register announces next weekend's timber carnival and logging contest close by in Idaho. Moving from one part of the nation to another the observer is aware of the changing regions. The physical terrain varies, the climate, the crops, the look of the cities is different. The spoken - Mack McCormick is a consultant responsible for conceptualizing research and presentation plans for the Regional Americans program of the Festival. He is a folklorist who has made documentary recordings and studied regional lifestyle in over 800 counties throughout the United States. Photo by Mack McCormick word changes markedly. The passerby becomes aware that in each area he is witnessing a distinctive combination of human textures set against the land. The mosaic is, in part, due to the land itself-the use made of it, the wealth it offers, the response it evokes. And, too, it is many subtle things: the way people greet a stranger, the kind of jokes told, the local games, the foods that prevail and countless other charac- teristics that combine to give - one a sense of the region. The passerby'ob- serves it, the native and resident are part of it. We are all aware of the regions, yet it is a troubling matter to attempt to define what a region is. There are many sets of facts from which to generalize a definition: settle- ment patterns and the distribution of barn types; centers of musical style or clusters of traditional craftsmen offer sets of facts. The natural features, the manufacturing districts, the agricul- tural regions, the urban belts offer yet other sets of facts. Cultural geographers often work with large regions, providing broad generali- ties about the cultural landscape that give us as few as four or five regions tor the entire nation. On the other hand, the folklorist tends to think in terms of specific communities: the Little Dixie area in Missouri, the Cajun people of the Louisiana bayous and rice prairies, the Vanderpools of northeastern Penn- sylvania. We can focus on a particular trait- the folkways of the Sea Islands or the persisting tradition of Sacred Harp sing- ing in a few places-or we can general- ize about the human character of the entire Tidewater South. What results then is a series of over- lapping regions, each formed and shaped by different concepts. They are not in agreement, but there are har- monies that tend to occur as one leafs through what seem at first contradictory sets of facts. There are recurrent pat- terns, consonances as well as contrasts, and from this stream comes our chief sense of regionality. II The members of the Sons of Colum- bus Hall at Aliquippa, Pennsylvania are culturally linked with the Italian com- munity at Tontitown, Arkansas. Yet, at the same time each group is part of its region. The game of bocce they play on weekends may be identical, but the style of dress, the kind of work they do, even the shadings in the Italian they speak have to do with the place where they live. One is steel town, the other a community of gentle hills filled with vineyards. Aliquippa is part of the industrial belt that runs through the Ohio River Valley; an unmelted, unhomogenized region, almost southern hill country but part of those northern towns where people are steel workers and glass blowers. Lulla- bies are heard in at least ten languages., Tontitown is in the Ozarks; the people are farmers. Signs in the grocery store tell about dances where country rock bands vie with a vigorous string band tradition. On occasion, poke salad is part of the diet. In good weather the congregation of a nearby church will hold a brush arbor "sing." Next year, in a summer-long se- quence, the Festival of American Folk- life will look at all the regions of the United States with programs that touch upon the uniqueness of each major re- gion, the human textures that charac- , terize it and set it apart. For our definition of what makes a region we are contemplating a fresh yM inevitable approach. As opinions and Berkeley and Los Angeles: University of California Press, 1959. Dwyer, Richard A., Richard E. Lingenfelter, and David Cohen. The Songs of the Gold Rush. Berkeley and Los Angeles: University of California Press, 1964. Gudde, Erwin G. 1000 California Place Names. Berkeley and Los Angeles: University of California Press, 1971. Kroeber, Theodora. lshi in Two Worlds. Berkeley and Los Angeles: University of California Press, 1971. Lee, Hector. Tales of California. Logan, Utah: Utah State University Press, 1974. Miller, Elaine. Mexican Folk Narrativea from the Los Angeles Area. Austin, Texas:- University of Texas Press, 1973. Moore, Willard B. Molokan Oral Tradition: Legends and Memorates of an Ethnic Sect. Berkeley and Los Angeles: University of California Press, 1973. Schneider, Gretchen A. Pigeon Wings and Polkas: The Dance of the California Miners. New York: Johnson Reprint Co. 1969. Taylor, Archer. Proverbial Comparisons and Similes from California. Berkeley and Los Angeles: University of California Press, 1954. Out of print. Western Folklore is a quarterly journal published by the California Folklore Society that is devoted to international folklore scholarship. However, many articles on Cali- fornia folklore appear in its pages. Persons interested in subscribing can do so by con- tacting the Secretary-Treasurer, California Folklore Society, University of California Press, Berkeley, California, 94720. The So- ciety also publishes a newsletter titled From the Sourdough Crock. Records Alexander, Dave. The Dirt on the Ground. Arhoolie 1071. Alexander, Dave. The Rattler. Arhoolie 1067. Country Blues in California, 1947-1954. Muskadine Mus. 103. Evans, Virg. The Flying Fiddler. American Heritage AH 10-346. Kenny Hall. Philo 1008. Kenny Hall and the Sweets Mill String Band. Bay 727. Oakland Blues. Arhoolie 2008. Robinson. L. C. "Good Rockin." Ups and Down. Arhoolie 1062. Vern and Ray. Sounds from the Ozarks. Old Homestead 10001. Several of the Library of Congress Archive of American Folk Song recordings contain material collected in California, some of it indigenous and some by informants from outside the region who were taped in Cali- fornia. The following albums all have one or more numbers by traditional musicians from California. American Fiddle Tunes. AAFS L62. American Sea Songs and Shanties I. AAFS L26. American Sea Songs and Shanties 11. AAFS L27. Anglo-American Shanties, Lyric Songs, Dance Tunes and Spirituals. AAFS L2. Anglo-American Songs and Ballads. AAFS L12. - -. Anglo-American Songs and Ballads. AAFS L20. Anglo-American Songs and Ballads. AAFS L21. Child Ballads Traditional in the United States I. AAFS L57. Child Ballads Traditional in the United States 11. AAFS L58. Railroad Songs and Ballads. AAFS L61: Songs and Ballads of American History and of the Assassination of Presidents. AAFS L29. Songs of the Mormons and Songs of the West. AAFS L30. Versions and Variants of Barbara Allen. AAFS L54. Volunteer, Sophie Ripley (left) teaches corn shuck doll making in the Children's crafts tent. The children's area was created to celebrate children's folklife-those things that children teach each other and pass from one generation to the next through friends and siblings. Some of these traditions are demonstrably hundreds of years old. Some are fairly recent and are spreading voraciously. To demonstrate children's folklore, young participants have been selected in cooperation with schools, scout troops and camps from the District of Columbia, Maryland and Virginia. Fes- tival visitors are invited to join partici- pants in presentations in the crafts tent, game ring, hil l and sand area and around the stage. Crafts Tent Children's folklore includes aspects of material culture: not only items which are made like slingshots, dolls and paper airplanes, but also items which are collected, traded, bought or won like comics, trading cards, toys, rocks, stamps and coins and other precious possessions like records, transistor radios, bicycles, jump-ropes, balls and favorite clothes. Money is also impor- tant and children have many ways of acquiring and spending it. In the Crafts Tent participants can make cootie catchers, water bombs, airplanes; dolls from corn husks, yarn, paper, clothes- pins and material; carve, whittle, draw, and learn crafts from other areas of the Festival. Folk artists who specialize in drawing stories about their heroes, battles, games, and other aspects of their lives will participate. Games Games tend to predominate among children's activities. They take many forms and are subject to seasonal use and constant change. Mable Hillary will lead visitors in ring games, supersti- tions, stories and other aspects of Black culture. Stu Jamieson will be teaching Southern "play party" games involving dance sets and circles, typical of the rural south. Paul Ofori-Ansah, a Ghana- ian participant will teach traditional games of Ghana. Iroquois children will share their games. Tree house activities, ball games, Hideand Seek, Kickthe Can, Red Rover, Tag and Mother May I will be played in the game ring. Stage On the children's stage, children will demonstrate jump rope rhymes, ring games, clap games, drumming, danc- ing, singing, play parties, cheer leading and sparring. Children's lore, like games, takes many forms and serves many purposes. Children pass on superstitions, cures, ways of divining, game rhymes, TV and movie plots, songs, parodies, gossip, secrets and humor. Assisted by special- ists in children's folklore from the Uni- versity of Texas, participants in the Folk Swap Tent will tell elephant jokes, "knock-knocks," "mother-mothers," moral stories, parodies, riddles, secret languages, tongue twisters, ghost stories, and other special areas of lore. One of the participants from Washing- ton, D. C., known among his peers as an electrifying storyteller, will demon- strate his art. No children's folklore area would be accurate if it did not reflect the reality that children's folklife is not all sweet- ness and light. Children have feared and forbidden places, a caste system, secrets and taboos. Two distinct areas are disapproved of by adults. First, there is the folklife that turns classrooms into battle grounds: stealing, making weap- Harry Curtis of Washington, D. C. contribu form of children's folklore. ons and toys; unauthorized reading such as notes, comic books, slam- books; harassing substitutes. Second, there is the folklore of taboos, a large repertoire of gross jokes, riddles, stor- ies, ranking, toasts and dozens; games like "doctor" and the activities of court- ing which explore, detail and celebrate the taboos of our society. In the Folk Swap tent parents, teachers and chil- dren can discuss their concerns about disapproved behavior. The children's area is not for baby- sitting but rather a place where adults may learn from children and where children may have a good time. Books Abrahams, Roger D. Jump Rope Rhymes, a Dictionary. Austin, Texas: University of Texas, 1969. Brewster, Paul G. American Nonsinging Games. Norman, Oklahoma: University of Oklahoma, 1953. Gomme, Lady Alice B. Traditional Games rted this epic drawing typical of a of England, Scotland and Ireland, 2 vols. New York: Dover Press, 1964. Herron, R. E., and Brian Sutton-Smith, eds. Child's Play. New York: Wiley, 1971. Jones, Bessie, and Bess L. Hawes. Step I t Down. New York: Harper and Row, 1970. Newell, William Wells. Games and Songs of American Children. New York: Dover Press, 1963. Opie, lona and Peter. Children's Games in Street and Playground. Oxford: Oxford Uni- versity Press, 1969. Opie, lona and Peter. The Lore and Lan- guage of School Children. Oxford: Oxford University Press, 1959. Sutton-Smith, Brian. The Folk Games of Children. Austin, Texas: University of Texas Press, 1972. Films Hawes, Bess. Pizza Pizza Daddy-0. Edu- cational Media Center, Berkeley, California. Playstreets. Blackstar 1957. Records Schwartz, Tony. Zing, Zing, Zing. Folkways Records 7003. Children's Folklore Groups: Barrie Camp Bells Mill Elementary School Brent Elementary School Brightwood Elementary School Buraundv Farm Country Day Camp canterbury School Center Branch YMCA Edmonds Elementary School Friendship House Frost Junior High School Girl Scouts-Port Byron, Illinois Girl Scouts-Roseville, Michigan Girl Scouts-Troop 1466 Green Acres Camp Hardy Elementary School Knoxville, Tennessee County Schoo Lafavette Recreation Center ~anGon Camp for Boys Metropolitan Police Boys Clubs Metropolitan Police Girls Club Parkland Junior High School Pinev Branch Middle School Ross Elementary School Sligo Junior High School Takoma Elementary School Travillah Elementary School Valley Mill Camp Watkins Elementary School Individuals: Helen Englar: Quilter Stu Jamison: Folklorist Bessie Jones: Folklorist Vanessa Jones: Folklorist Paul Ofori-Ansah: Folklorist Claude Voder: Whittler one great novel, or so the saying goes. tographs, or the man on the park bench ~ i e r e is atouch of thefriendly stranger in each interviewer at the Family Folk- lore tent. But unlike that friendly stranger, the interviews heard in the tent amount to more than scattered reminiscences. At last summer's Festival, we heard of human experiences in forms which best express them-family stories, family names and expressions, family jokes and traditions. Taken together, this material often becomes the stuff around which a family celebrates itself. As one of last year's festival-goers put it, family folklore is a kind of glue. "You remember things that you did together," the same informant had said. "I think it's an attempt to dust off, get rid of the cobwebs on memories which were pleasant. It isn't a particular story or a particular event so much as an attempt to get everybody on th: same wavelength. "We've always had dogs in our family," he went on. "And a lot of the things we do seem to get back to, 'do you remem- berwhen such and such a dog did this.' " He was not the only .festival-goer to talk with us about the relationship between the dog and family folklore: "When I was 12 or 13 1 got a dog and his name was Snoopy. And my sister and I had always fought with each other a lot-she's 5 years younger than me. But somehow when the dog came, we became friends through the dog. We developed a full language around him, about 112 names! There were a series of about 6 years when these names evolved into a whole culture." He then went on to say that the dog is In the Family Folklore tent, festival- goers share stories, names and expressions, heroes, and holiday traditions. Visitors find themselves celebrated as "folk. " now called "Chi"; "I think it's an ab- breviation of Chimain which wasa name that came out of Chudy-Chimain which is a name that came out of Chudy which is a name that came out of my sister's best friend in kindergarten whose name was Judy." The Family Folklore Program was be- gun in 1974 for the purpose of collect- ing the lore of the festival-goers at the Festival of American Folklife. A simple turn-about took place in our tent: the festival-goer who came to see the cele- brated folk on the stages at Family Folk- lore found himself celebrated as the "folk." Close to 300 interviews were con- ducted with persons at the Festival. For those of us on the other side of the tape recorders was unfolded a whole pan- orama of American li\e. Family stories seemed to express America's fascina- tion with what is often depicted as her notorious past. As many times as there were heroes, there were anti-heroes. A person who did not realizetheamount of imagination that mixes with fact to produce an item of folklore, might think it was a veritable gallery of rogues that "great-grandfatherandgrandmothered" those interviewed at Family Folklore- horse thieves, cowards, courtmartialed generals. "I should probably tell you about my great-great grandfather being killed by the Indians," one informant ex- plained. "There were about 11 Texas Rangers-and he was one of the Rangers -and one Indian. And the Indian got about six or seven of them before they finally got him. So that's one of the not- so-brave things in the family." Whereas family stories represent one way in which families "image" them- selves verbally, family photographs rep- resent the way this is done visually. But while family stories seem to portray events as they were or indeed as worse than they were, family photographs seem to portray them as they should have been. Family photograph albums preserve the best of life-the birth of the baby, his first steps, birthdays, graduations, weddings, golden wedding anniversaries. . . . I t is in the nature of human expe- rience, of the interplay of time and hu- man life, to bring the past to bear upon the present and to make the present memorable for the future. This year the Family Folklore Program is expanding to include home photog- raphy as a form of folklore. In addition to interviewing festival-goers, we are presenting a chronicle of the American life cycle as it is depicted in home movies and family albums. Another new kind of material which brings the past to bear upon the pre- sent is perhaps best called "reminiscent history." The self-imaging of families, both in stories and photographs, is concerned with the preservation of the personal experiences of family mem- bers. A portion of these personal ex- periences, however, is shared cultural experience. This kind of story might include reminiscences about one's grandfather in the Civil War, or of one's father having eaten one of the first ice cream cones at the 1904 World's Fair, or of one's self having attended Wood- $ stock. In photographs they might in- clude home movies of Dwight D. Eisen- hower in a motorcade, a photo of an old snow plow, or, as one family wrote to us, a photo of "the first Third Avenue Ele- vated train leaving the northernmost 241st Street station in the Bronx." The Family Folklore Program will collect this kind of material at the Festival with the hope of expanding it into a living his- tory project for the Bicentennial. In the home movies and albums at the Family Folklore tent we hope you will see a reflection of segments of your own lives, and in the interviews we hope you will share some of them with us. Basket makers will be working in the Native Americans area. This Mohawk the New World area the Manteos, a Sicilian Puppeteering Family, will per- form a medieval epic at 2 and 4 p.m. daily July 2-6. Concessions are representative of the spirit and diversity of the Festival, and offer ethnic foods, crafts, books, phono- graph records and children's ethnic toys for sale. Ethnic food concessions are located mainly in the Old Ways in the New World and African Diaspora areas; books and records are available he Festival 11 a.m. to 5 p.m. in the Native Ameri- in Learning and at main by day and cans, Regional Americans, African Dias =Ies areas Gentrally Toys are trip along the northside Of the Reflect- ing Pool. The Native Americans area features Indian foods and crafts bread, tortillas, pasta and more. Famlly Folklore will be interviewing festival-goers about family stories, rrn's Folklore is presented daily Children's area. Continuous ac- include the games rings folk are held daily to each Center. swap tent, crafts areas, hill and sand castle building, hay ring, dancing, Native Ameri- Festlval Theaters offer film and live drumming, jump rope rhymes, ring , and dancing on the Children's "Home Movies- the American Folk Art" Check local listings for the NPR member station in your area for broadcast times- are held daily tions at 12 and 3~30. In the Old Ways in Special Program Information: The Regional Americans area will feature tractor pulls daily at noon and 3 p.m., June 25-29; Charros, Mexican cowboys, will demonstrate their skills daily at 11 and 4, July 2-6. Events in the California heartland area will be signalled by the ringing of the cable car bells. Working Americans will feature a T~uck- ers' Roadeo on Bacon Drive all day Saturday, June 28 and Sunday, June 29. The Fourth Annual Fiddlers' Conven- tion and Contest will be held Saturday, July 5 beginning at 11 a.m. Daisy Barnwell Jones, a self-proclaimed "hillbilly" lady has lived in Washington for more than 40 years, but continues to think of Chimney Rock, North Carolina as her home. As she told the famSly folklore interviewers: "I have travelled part of the earth and been a part of some of its greatest institutions, but my heart has never left the land of my father." For detailed information consult call-boards at each stage. c., concert; d., discussion; w., workshop For detalled lnformatlon consult call-boards at each stage. c., concert; d., dlrcusbion; w., workshop IN THE NEW WORLC CRANSCC I , . I 1 For detailed information consult call-boards at each stag --.-rkshop For detailed Information consult call-boards at each stag Or , u ,, I- LJ)5 ,;:,:g ,"*..," * c., concert; d., discussion; w., workshop .&&w#h%d&hM &,&rd /IS * I For detailed information consult call-boards at each stage. c., concert; d., discussion; w., workshop Tuna Boat Testing For detailed information consult call-boards at each stagc c., concert; d., discussion; w., workshop WORKIN REGIONA FESTIVAL \MERICANS \MERICANS aMERlCAN STAGE , + 1.- 1- . . - . I a I - Drly 3 P SAmDmDLmDmAa. a wm --- mm-- b For detailed lntormatlon conrult call-boards at each stage. c., concert; d., dlscusslon; w., workshop For detailed lnformatlon consult call-boards at each stage. c., conceri; d., dlscusslon; w., workshop JAPANESE . .. . . . For detailed Infor~natlon consult call-boards at each Stape. ., . ./ . , 1" '&' ..ri t c.. concert; d.. discussion; w., workshop For dehlPed information con$uR call-bards at snch stage. c., concert; dm, dlaussion; w., workshop GeseraI i~~fornlatior: Services Speclal Transportation Electric vehic- Park and Ride Services: ular transportation will be available for use by elderly and handicapped people along a fixed route of the Festival. Check with route maps at lnformation kiosks. Parking There will be no public park- ing provided at the Festival site. The use of bus transportation is recommended. First Aid The American Red Cross is operating a First Aid Station in the Ad- ministration compound near Independ- ence Avenue. lnformation kiosks will direct visitors. The nearest Emergency Hospital facility is located at George Washington University Hospital, six blocks north of the Festival site at Wash- ington Circle. Lost Children Lost children will be taken to the area operated by the U. S. Park Police and the American Red Cross. Parents should call for them there. National Park Service technicians Soldiers' Home Parking Lot - Monday through Saturday take bus #80. Buses run every 20 minutes. Use stop at 19th & Virginia Avenues, N.W. Sundays take #81 to 19th & G Streets, N.W. Carter Barron Parking Lot-Buses run every 10 minutes. Take bus #B-9 to 13th & Pennsylvania Avenues, N.W. (Valid Monday through Friday) Columbia Island - (off George Wash- ington Parkway near 14th Street Bridge). Buses run Monday through Friday. Take bus #11 B; it leaves every hour on the hour. R.F.K. Stadium-Buses run every 10 minutes. Take bus #40 or #42 to 14th & H Streets N.W. Transfer to #80 (runs every 20 minutes) and continue to stop at 19th &Virginia Avenues, N.W. Shuttle Shuttle busservice from the North Park- ing Lot of the Pentagon is scheduled. For specific times call the National Park Service, 426-6700. and rangers will assist. There will be no paging on Public Address Systems. The lost children area will be in the vicinity cles may be turned in to any of the In- formation kiosks. Rest Rooms There is a permanent rest room facility located near 17th Street at the east end of the activity area. Other facilities are located at strategic points throughout the Festival site. Bicycle Racks Bicycle racks are lo- cated on French Drive. Bike owners must provide their own locks and/or chains to secure their bikes. skills in the Old Ways in the New World area. A fiddle-maker from the Northern Plains will be at work in Regional America. At right are photos of a Mexi- can guitar-maker as (top) he studies the plan; (middle) he bends the sides against a heater into the typical curves and studies an elegant motif; (below) the interior of the guitar before the back is put on showing sound hole and details of construction, and final touches put to bridge. Photos by Toshi Seeger. of the Administration tent. Instrument-making, a tradltlonal skill Lost and Found Articles Lost articles demonstrated at the Festival. This year may be claimed at the Administration a Mexican harp-makerand German tent at the end of each day. Found arti- Hackbrett-maker will carry on their "Human beings are movers and wan- derers. Spanning oceans, crossing continents, they search always for that better place to be. And as they go, they carry with them not just clothing, not just furniture, but memories, habits, songs, customs, ways of doing things- all the storehouse of shared knowledge that will help make their new homes familiar and comfortable. These, then, are the Old Ways in the New World: the hand, heart and mind skills that people from a hundred parts of the globe have brought with them as their gift to a new homeland." More than 90 percent of all Americans recognize themselves as heirs to cultural traditions brought to this country from other parts of the world. This year the Festival features six of the many ethnic and nationality groups that have en- riched the American mosaic of culture. In the Bicentennial celebration, more than 30 will participate. The central theme of these presenta- tions is celebration. Individuals and groups who serve their communities through singing, dancing, providing instrumental music, telling stories, or preparing food for these gatherings are brought to the Festival from ethnic communities in the United States and from their parent nations overseas. The 1975 presentations feature Ger- man and Lebanese traditions June 25- 29, and Japanese, Mexican and Italian traditions July 2-6. Germany- Weddings The German presentation focuses on the music, dance and foodways as- sociated with weddings-a celebration that involves whole communities in customs that have been practiced for hundreds of years. German-American musicians from a German-Russian community in Scotts- In Langenschiltach, Germany, the village of Blaskapelle plays for wed- dings and other special events. Several dancers, pictured here wearing the traditional wedding crown, will be accompanying the band members to the Festival. bluff, Nebraska, play traditional wedding music on a combination of instruments: a hammered dulcimer or Hackbrett, accordian, trombone, and bass guitar. Other music will be performed by a German-American brass band from Freistadt, Wisconsin, and an eight-piece band from Fredericksburg, Texas. From Schleswig-Holstein in northern Germany a six-piece band will perform wedding dance music. Bavarian wed- ding music will be played by three musicians from Munich who use Hack- brett, Zither and guitar. Blaskapelle upon the more traditional parts of their (brass band) musicians and dancers repertories to demonstrate ties with from Baden-Wurtemburg will perform other styles of Lebanese music on the wedding music from their region and program. will display a traditional wedding crown Each day's activities will resemble a worn by their village brides. haflah, or Lebanese party with music, Wedding foods will be demonstrated; song, food and dance. Dancers from bratwurst and other traditional Ger m Marjayoun and Mtein, Lebanon, and foods will be prepared for sale Springfield, Massachusetts will teach Lebanon - Haflah Festival visitors the dabke and other village group dances that are a basic Lebanese "Old Ways in the New part of haflahs in both the Old and New World" will reflect the diversity of tradi- Worlds. tional music and dance, urban and vil- The sacred dimension of Lebanese lage, sacred and secular. Two urban music will be shown by vocalists sing- cabaret orchestras, one from Lebanon, ing choral songs sacred to Lebanese one from the United States, will play Christians. nay, 'ud, rebab, qanun, and darbukkah Festive foods including kibbe, taboo- to accompany singing and solo dancing leh, and ma'moul will be cooked and that have made the nightlife of Beirut available for sale, along with a cook- famous. Cabaret performers will draw book of traditional recipes. ltalian puppeteer Michael Manteo will perform the medieval epic, Orlando Furioso daily at 2 and 4 p.m. in the Old Ways in the New World area, July 2-6. Japan - Summer Festival A Natsu Matsuri, or summer festival, provides the frame within which Japa- nese music, dance, crafts and foods are presented. Japanese-Americans from communities in Seabrook, New Jersey, New York, Philadelphia, Chicago, and Washington, D. C., together with folk artists from Tokyo and Mihara, a small seacoast city in Hiroshima Prefecture, will create festive and colorful celebra- tions daily, culminating in a major Obon Odori in the Plaza on July 5. Folk dancing including Minzoku- Buyo (folkloric dance) and regional Bon-odori (dances for the Larftern Festival) from Japan will be demon- strated daily. Of special interest are the traditional Japanese instruments, taiko, flute, small brass gong and samisen, that will be used to accompany the singers and dancers. Japanese-American musicians will perform on the koto, a traditional stringed instrument. Crafts 'related to festivities, Ikebana (flower arranging) and origami (paper folding) will be demonstrated, as will calligraphy, kimono-making, zabuton- making and kite-making. Judo, the art of self-defense, will be demonstrated by men and women. At Japanese festivities food is not only delicious but attractive as well. Artistic food arrangement, sushi-mak- ing and mochi-tsuki (the traditional preparation of mochi) are part of the presentation. Japanese foods are for sale as well as a traditional Japanese cookbook, which will enable visitors to practice at home what they learn here. Italy- Festa Italian-Americans from neighbor- hoods in the New York metropolitan area will join counterpart participants from ltaly in activities traditionally as- sociated with saint's day celebrations, scampagnate, carnivale and other special occasions. Music is of special importance in these presentations, as it has been in the immigration experience. An ltalian ballata, "Mother, mother give me my dowry/For to America I want to go," was a refrain heard from one end of the ltalian Peninsula to the other. It speaks of the dreams of social and economic fulfillment that motivated emigration and together with its hundreds of varia- tions is known as "the emigration song." Performers from Northern and South- ern ltaly will sing Calabrian ballads and serenades in harmony; robust osteria songs of Trento; tralaleri from Luguria; canzoneve Napo1itar)e from Naples, Visitors will hear the cries of street vendors and the sounds of tambourines, bagpipes, scrapers and accordions, instruments native to many regions of Italy. A Sicilian family from Brooklyn will operate marionettes in dramas based on the Song of Roland (Orlando Furioso) epic. A Neapolitan burattinaio will pre- sent simpler hand puppet dramas. Visitors are invited to play and watch ltalian games including bocce and morra; to exchange jokes, riddles, stor- ies and proverbs in the special discus- sion center; and to sample pasta, polenta, pastries, breads, sausages and the other traditional ltalian foods which will be demonstrated and sold. The Mexican Plaza, traditional center of social activity moves to the Festival. Participants Mexico -The "Plaza" Mariachi musicians from Mexico join Mexicans and Mexican-Americans cultural cousins from the U. S. to will share the Hispanic-American stage celebrate shared musical heritage July the second week of the Festival in a 2-6 in the Old Ways area. program that attempts to seek out the through parts of the Southwest, will roots of those music traditions most be performed by Mexican-American popular among Mexican-Americans in musicians and dancers from that area the United States. ' of the United States. Heavily influenced Visitors to the Festival of American by the polkas, mazurkas and schot- Folklife will be able to compare the tisches of the GermadBohemian set- styles of the mariachi music that now tlers in Texas, the music is performed thrives in Mexico and in the United by accordion, guitar and occasionally erformed, by cow bells, cow horns and block two groups, one from California and from the percussion section. another from Jalisco, Mexico, will play A musical tradition gaining in pop- the contemporary styles enjoyed on ularity among Mexican-Americans is both sides of the border. A third group, the jarocho of Southern Vera Cruz. An Huichol Indians, will present an in- ensembleoffiveperformersfromMexico digenous version. will play the harp-dominated music Thenorteiiostyle,alively, rusticsound and execute the complex footwork of that flourished in Texas and spread thedances. - - - - German Gretel Gross Trio: Hans Eibl: Zither player Margarete Gross: Hackbrett player Gottfried Keck: Guitar player Die Holsteiner: Gregor Otto: Leader Karl-Heinz Kler, Musician Hans-Joachim Knoof, Musician Rijdiger Konig, Musician Walter Siwek, Musician Paul Gottfried Zulauf, Musician Langenschiltach Blaskapelle: G. -F. Weber-Benzing : Band leader Gudrun Epting: Dancer Hans Epting: Dancer Margot Epting: Dancer Walter Epting: Dancer Mathias Hildbrandt: Bass tuba player Mathias Kieninger: Horn player Andreas Muller: Dancer Bernd Muller: Dancer Doris Muller: Dancer Alfred Weisser: Tenorhorn player Gerd Weisser: Clarinet player Walter Weisser: Trumpet player Mrs. Waltraud Weisser: Dancer Konrad Kostin: Folklorist Ulrich Tolksdorf: Folklorist German American Alte Kameraden Band, Freistadt, Wisc: David Baumann: Baritone, trumpet player Donald Boehlke: Drummer Norman Boehlke: Trombone player Roland Braun: Clarinet, zither player Mervin Browne: Clarinet player Karl Ebenhoch: Dancer Elroy Ernst: Trombone player Franklin Evens: Drummer Earl Hilgendorf: Baritone, trumpet, fliegel horn player Franklin Klug: Bass tuba player David Balsiger: Trumpet player Harold Pipkorn: Baritone horn Louis Rittschof: Clarinet player Harold Schoessow: Trombone player Elmer Schreiber: Trombone player, singer Donald Silldorff: Trumpet player Wilmer Wetzel: Trumpet player Pehl's Oompah Band, Fredericksburg Texas: Henry Frantzen: Saxophone player R. L. Frantzen: Trumpet player Anthony Hartmann: Drummer Sidney Henke: Saxophone player Hugo Klaerner: Alto horn player Arthur Klein: Accordion player Albert Meier: Bass horn player Felix Pehl: Trumpet player Bob Schmer's Polka Play Boys: Albert Fahlbusch: Hammered dulcimer player Roger Fahlbusch: Bass guitar player Andrew M. Gentry: Trombone player Robert H. Schmer, Accordion player Lebanese American Antoinette Arida: Dancer Radie Bonemery: Dancer Edward Denny: Dancer Ali Elhage: Dancer Ethyl Anna Habib: Dancer Joseph George Habib: Dancer Baha lssa: Dancer Hugo Klaerner: Edmond Lahage: Dancer S. Kweilin Nassar (Ms.): Dancer Laurice Peters: Singer Jihad Racy: Oud, Buzuk, Nay & Rebab player Ray Rashid: Darbukkah player Louis Shelby: Violinist James Soffan: Dancer Khazma Soffan: Dancer Mr. & Mrs. Mohammed Soffan: Dancers Samira Hadad Tamer: Dancer Ahmad Zebian: Dancer Samir Zebian: Dancer Nazih Zebian: Dancer Japanese American Minyo Dance Group: Susan Matsumoto Brown: Minyo dancer Donna Endo: Minyo dancer Doris Endo: Minyo dancer Toshiko Hieshima: Minyo dancer Elaine Ichikawa: Minyo dancer Michi Ichikawa: Minyo dancer Grace Kono: Minyo dancer Kiyo Kunisada: Minyo dancer Sharon Miyata: Minyo dancer Violet Mizuki: Minyo dancer Shizuko Ogawa: Minyo dancer Phyllis Taketa: Minyo dancer , ;,*.;*>#, . . , - .. The "Afrtoan DkpwU" m c e p t e m ~ J W~&MIS+CO f m A W , tM C a r f W and the U M ~ . Arabbers or street vendors from Baltimore have been an im~ortant Dart of the The term "Afrhn to dispefsion thmwglr the stave trade of African PIK)@~ and cuitum. In its second @ar, the Festival's 'Wrican Diwpora" program continues to m- phaske th aptrengtha, of one of Amsr- ica's most vi'tal ethnic groups, the Biack ARlgrIms. The organizing principk ie to document thase aspects of culture that link Blmk AtnB)ricans to Africa, the mother continent, via the Caribbean Isbands and Latin America, Artists and craftqwple were invited to this Festiv~l from the African natfon of Ghana, the Caribbean nations of Jamaica and Haiti, and from cities across the United Stafes. Presentatbrls represent basic societal activities-wgnhip, family, and trade. Worship Wivitiear by all participants tar@ p l ~ on an altar &ng that Is a pr05atypa d a-I U.S. church. Trade acthities take place in a typical Carib- bean market place. An Afric~n house, the traditional center of family activitiw, becomes the d n g for small group prewntations whtch allow for intimate interchange between participants and viskrs. Workshops will establish the famify of euttural experiences linked by cam- ' mon origins;. -For example, a music workshop on the Black American bluw form will present the urban blues of "Hounddog" Taylor, the country blues of Bukka White, and the comparable Africgn musk of Selisu Mahama from northern Ghana. The vocal and instru- mental continuum heard in these forms will be strengthened by the music of a group of Black Csjuna from southwest- ern Louisiana Mahama's instrument, the gonje, is of the violin or fiddle fam- ily; Fontenot of the Cajuns plays the fiddle; the guitar sounds of Bukks! White Graft presentations will desnowtrate a direct link between traditions in the U. S., the Caribbean and Africa. Hair prepamtiens have carded owrr wiWout change from UrEcrr. Cornrowing or Mi+ braiding and hair threading, part of a rich revival presence sweeping Black American communities, will be demon- strated by a Black American and a Ghanaian hair dresser. Basketweavers from M t Pleasant, South Carolina, work- ing with sea grass and split palmetto in woven coils, will sit beside arafts- people from Ghana and Jamaica as they use comparable materials and tech- niques to produce similar baskets. In the garden behind the African houm, foodstuffs common to the Black community such as okra, turnip$, and root vegetables will be growing. In the food demonstration area many of them foodstuffe will be usgd in verxpiom af recipespreparedbycookfrom Chicago, Ill., Accra, Ghana, and KIngbtoln, Jamaica Cultural presmtations, chlldnern's games, cooking, and sacred cermo- nies, will express the comrnonaihy of experiences of Black peoplq. The lan- guwes heard throughout the a m - English, French, Spanish, and the Afri- can kngumless of Twf, C4a, and Dagbani - reflect the historica1 dk- persion o *. To supplement the lhtg pr;esentiEtions movies, filmstrips, photographic ex- hibits, lectures, book and rewrds will be used. The performing artists and crafts- people of the African Dimporn expregs the unity within divefsity that cbrzw- terizes African culturn w h e m it exists. Musicians, dancers, woks, woodcarvers, haird basket- we8wrrs and fishnet makers irom thres Festival for several years as much for their fresh fruit and gayly decorated and "~ouiddoa)" Taytor rep t a conti- represent urban and rural, carts, as for their significance as living folklore. ~harige in sMnq instrument, but not in secular and sawed, home end cam- Photo @ Roland Freeman use or quality of musical erownt3. munity actlvitiea of Black people. 46 Elizabeth and Beatrice Coakley: Basket lows Express: Black American dancers harles Freeney: Cook Anna Fuller: Hairbraider Linda Goss: Storyteller William Hines: Streetsinger Walter Kelly: Arabber (fruit vendor) f lora Molton: Streetsinger Rufus Pinckney: Fishnet maker Rev. Leon Pinson: Gospel singer, guitarist Rising Star Fife and Drum Band: Napoleon Strickland: Fife player Bernice Turner: Drummer Otha Turner: Drummer G. D. Young: Drummer Charles Sayles: Streetsinger, Blues harpist Sweet Honey in the Rock: Acapella female Evelyn Harris: Singer Pat Johnson: Singer Carol Maillard: Singer Bernice Reagon: Singer Louise Robinson: Singer Randy Weston: Jazz pianist Wiregrass Sacred Harp Singers: Black American Sacred harp musicians Freelows Express: Black American dancers Theodric Erskine Lester Brooks Michael McKinstry Hulie Reynolds Big Walter Horton and his Blues Band: Chicago urban blues band Walter Horton: harmonica player S. P. Levy: drummer Richard Molina: bass player Bo Tunestam: guitarist St. Helenas Island Community Center Singers: Black American traditional sac1 musicians Harold Lawrence Ezekial Cohen Roberta Simmons Henry Simmons Carol Bowles Joe Bostic Elsie Hamilton Caroline Bowles John Shine: blues guitarist FOREIGN Jamaica Kumina Group: Elizabeth Alexander Beatrice Bonner Donald Carty Maureen Ellis: Clifford Flemmings Roy Francis Bertram Kelly Clinton Kennedy Imogene Kennedy Maroons: George Sterling Marie Harris Charles Aarons Josephine DaCosta Mento Band: Theodore Miller: Violinist Gerald Miller: Thumb piano Jocelyn Power: Drummer Adam Roach: Banjo player, guitarist Joseph Salmon: Drummer, cow horn player Craftspeople: Claudia Nelson: Basket weaver Una Griffith: Cook Celeste Robinson: Cook Zachaeus Powell: Woodcarver Peggy Warmington: Chaperone Ghana Wulomei: Nii Ashitey: Leader, drummer, flutist Nii Adu: Bass drummer Nii Acquah: Assistant leader, guitarist Nii Yarboi: Congo drummer Nii Annoh: Marakash player Nii Namale: Dancer Nii Nortey: Singer ,e d Nii LacLai: Singer Naa Adei: Dancer, vocalist Naa Amanua: Lead vocalist Kwaa Mensah and Group: Kwaa Mensah: Leader, vocalist, guitarist Kwaku Moses: Roso roso player, singer Kwaku Abebrese: Clappers, singer Kodro Andam: Congo drummer Waku Benyin: Donno (hour-glass) drummer Abronpa K.: Drummer Salisu Mahama and Group: Salisu Mahama: Leader, gonje player, singer M. D. Sulley: Dancer, interpreter Asumanu Iddrisu: Gonje player lddrisu Salisu: Rattle player Amadu Iddrisu: Rattle player Salifu Alhassan : Dancer Saka Acquaye: C ~ l t ~ r a l epresentative Haiti Yvonne Dorlette: Dancer Marie Helene Gerbier: Dancer Jean Edner Guerrier: Dancer Helene Jeanis: Dancer Andre Jeanty: Dancer Fritz Jolicoeur: Dancer Aline Jules: Dancer Herve Maxi: Dancer Anne Alourdes hurat: Dancer Jean Alphonse: Drummer Edner Cherisme: Drummer Andre Duplan: Drummer Julien Nemorin: Drummer Altemat Ulysse: Drummer Marie Bastianie LaGuerre: Singer Marie Ernicia LaGuerre: Singer Antalcidas Murat: Singer Claudette Pierre-Louis: Singer Ensemble Meringue: Dieujuste Dorlette: Contrebasse Eddy Dorlette: Saxophone Lehem Biral Felican: Saxophone Adonys Joseph: Trompette Roland C. Montreuil: Accordeon Dr. Michael Lamartiniere Honorat: Cultural Representative And& Narcisse: Group leader The bottleneck style guitar playing and the powerful voice of Flora Molton, Lady Streetsinger, have been heard on the streets of Washington, D. C. since the 1940's. The World Family of Stringed lnstt'~ments by Tom Vennum Students of music as well as Festival visitors have the opportunity to hear a number of the world's musical instru- ments performed here, many of which will be new to them. Of particular in- terest is the wide variety of stringed instruments. As a group they are called chordophones (from the Greek words for string and sound) to distinguish them from other principal divisions of musical instruments: membranophones (drums with skin heads), idiophones (most other percussion), aerophones (winds and reeds), and electrophones (electronic instruments). By definition, a chordophone has at least one and usually several strings stretched parallel to each other between two pointson the body of the instrument. Often, one or two bridges are used to raise the strings from the instrument, allowing them to vibrate freely. These bridges may be fixed near the ends of the strings, as on the guitar, or are occa- sionally moveable for tuning purposes, as on the Japanese koto. The tonal range of a chordophone, how high or low it can play, depends on the number of strings and their various lengths, thicknesses, and de- grees of tension. So that each string may be adjusted to the proper tension, it is attached to some sort of tuning peg, or pin, which is turned until the string sounds the correct pitch. Performers of chordophones may be seen adjusting these pegs and testing the strings' pitches before playing. If the instrument has only a few strings, as does a violin or guitar, the tuning pegs are usually of wood and can be turned easily by hand, but instruments which have a large number of strings under greater Mr. Vennum is an ethnomusicologist who wrote his dissertation on American lndian music at Harvard University. He is a con- sultant on musical presentations in the Old Ways in the New World area of the Festival. Lebanese instrument-maker plucks an 'ud in a workshop filled with stringed instruments: 'ud (lute family), guitar, ganun (zither family), kemange (violin family). For listing of instruments found in Old Ways area see page 44. Photo courtesy National Geographic Society. tension may require a metal key, like a clock or rollerskate key, to turn the tuning pins, or even a special wrench in the case of the piano. The body of a chordophone serves to amplify the sound of the strings when they are made to vibrate. The shape of this resonating body, which is often determined by the number and length of the strings, further decides the clas- sification of a chordophone, as does the location of the strings in relation to the instrument. When the strings stretch fully across a surface, called a soundboard, the chordophone belongs to the family of zithers. If the soundboard surface is flat, such as on the German Zither and Hackbrett, the instrument is a Board Zither; if long and slightly curved, such as on the Japanese koto, the chordophone is a Long Zither. Stringed instruments with necks projecting from their bodies belong to the Lute family. Among the lutes in this year's Festival are the Panamanian mejorana, the Japanese samisen, the Lebanese rebab and 'ud, the large num- ber of guitar types performed by the Mexican mariachi band, and violins and fiddles of several sizes, including the double bass of the German bands, and the Huichol lndian fiddle. Chordophones whose strings are perpendicular to the soundboard are classified as Harps. The Mexican arpa, as featured in the jarocho ensemble from Vera Cruz, is the Festival's only representative from the harp family. Because strings may be made to sound in one of three principal ways, the manner in which they are set into vibration is yet another means of deter- mining a chordophone's classification. The strings may be bowed (the Huichol fiddle, the Lebanese rebab), hammered (the German Hackbrett and the piano), or plucked. (Strings can be plucked individually or strummed as a group, using either the fingers, as with harps, or some sort of pick. The Japanese samisen player uses a large triangular pick, the German Zither and Japanese koto players wear picks formed into rings on one hand, etc.) Thus among the Board Zithers one distinguishes between those which are plucked, called psalteries (the Lebanese qanun, the German Zither) and those which are hammered, called Dulcimers (the Ger- man Hackbrett). Interestingly enough, popular names for string instruments sometimes ignore such distinctions in manner of performance. Because the American Appalachian "dulcimer" is usually plucked, not hammered, it is not really a dulcimer, but rather a psaltery, just as an English horn is not really a horn but a double-reed instrument belonging to the oboe family. The world family of chordophones, unified by a common means of sound production - the vibrating string - is nevertheless capable of many different sounds, from the robust strumming of the rhythm guitars in the Mexican mariachi sound to the quieter sounds of the plucked zither. The Festival is a good time to compare these. Old Ways in the New Following their participation in the Festival in Washington, performers from eight foreign countries are sched- uled to tour to 40 cities across the United States through the Smithson- ian's Touring Performance Service. "Old Ways in the New World: On Tour" began in 1973 with the participation of 49 Tamburashi singers, dancers, and musicians from Yugoslavia. Serbo- Croatian Americans joined with the touring performers in a unique cultural exchange that involved five commu- nities on both a personal and an artistic level. The enthusiastic response generated by the pilot tour resulted in an extended program during the summer of 1974, when participants from seven countries traveled to eleven states. A welcome reception by the Mayor of Cleveland, informal festivals and workshops in Spokane, a formal presentation at the United Nations are some of the activities that took place on that tour. Letters of enthusiasm followed each community's participation in the program. A spokes- person from Katherine Dunham's Per- forming Arts Training Center in East St. Louis, Illinois said, "For our com- munity, it wassomething of a miraculous and wonderful event. The interchange possible with children, adults and families was of tremendous value to East St. Louis." Requests for participation in the 1975 "Old Ways" tour program have come from a variety of sources: Bicen- tennial commissions, parks and re- creation departments, human resources committees, museums, and the ethnic communities themselves. Exciting activities await the arrival of the foreign folk performers. In some cities the "Old Ways" participants will be incorporated into existing festivals, as in the case of "Summerfest" in Milwaukee. Other World: On Tour cities have created festivals around the "Old Ways" presentation; two city- wide festivals in Philadelphia will fea- ture performances by the touring groups. A festival in Lincoln, Nebraska has been planned for the German per- formers, as well as picnics and dances in small neighboring communities. Italians will join in the festivities at an outdoor celebration held in their honor by the town of Hempstead, New York. In Wichita, Kansas, students from Ghana have joined the Bicentennial Commis- sion in planning the Ghanaian participa- tion in the Black Arts and Heritage Festival. St George Orthodox Church will serve as the focal point for the com- munity activities when the Lebanese folk performers travel to El Paso, Texas. Since its beginning in 1.973, the "Old Ways in the New World: On Tour" has involved an expanding number of foreign countries and American com- munities. Forty engagements in 1975 and 200 in 1976 as part of America's Bicentennial celebrations will reac- quaint thousands of Americans with their cultural cousins and will give even more Americans a basis for an under- stariding of the ethnic heritage of their neia h bors. 1975 Tour Schedule Lebanon: Toledo/Cleveland, July 1-4; Kalamazoo, July 8-10; Philadelphia, July 11-12; Denver, July 13-15; Los Angeles. July 16-17; El Paso, July 18-20. Ghana: Buffalo, July 8-10; Philadelphia, July 11-13; Oakland, July 15-17; Los Angeles, July 18-20; Hawaii, July 22-24; St. Louis, July 25-27; Peoria, July 29-31 ; Wichita, Aug. 1-3. Mexico: Indianapolis, July 8-10; Louisville, July 11-13; St. Louis, July 15-17; Philadelphia, July 18-20; Salt Lake City, July 22-24; Los Angeles, July 25-27; Albuquerque, July 29-31; El Paso, Aug. 1 3 . Japan: Milwaukee, July 8-10; Middleburg, Vt., July 11-13; Baltimore, July 15-17; Philadelphia, July 18-20; Los Angeles, July 22-24; San Francisco, July 25-27. Italy: Los Angeles, July 8-10; New Orleans, July 15-17; Hempstead, July 18-20; White Plains, July 22-24; Baltimore, July 25-27. Germany: Lincoln, Neb., July 1-3; Hettinger, N. Dak., July 4-6; Baltimore, July 8-10; Philadelphia, July 11-13; Montgomery, Ala., July 15-17; Louisville, July 18-20. Jamaica/Halti: Atlanta, July 8-10; Milwaukee, July 11-13; Staten Island, July 15-17; Philadelphia, July 18-20; St. Louis, July 22-24; Benton Harbor, Mich., July 25-27. 'Tour schedule subject to chanae. In a national outreach program the Smithsonian Institution tours participants from foreign countries to American cities following the Festival. This year 40 cities will be on the tour. Yugoslavian participants view Niagara Falls, during the 1973 tour. Never before has the Native American Festival presentation been so closely ipterrelated to American history. The focus for the 1975 presentations is the Six Nations of the lroquois Confederacy: the Mohawk. Cayuga, Oneida, Onon- daga, Seneca, and Tuscarora, tribal groups whose government has been in effect for hundreds of years and served as e model for our federal system. The Grand Council directly influencBd the creation of the Articles of Confederation and the Constitution of the U. S. Cana- satego, Chief of the lroquois, is recorded a9 advising the Colonial Governors meeting in Lancaster in 1744: "Our Wise Forefathers established Union and Amity between five nations. This has made us formidable: this has given us great Weight and Authority with our neighboring Nations. We are a powerful Confederacy; and by your observing the same Methods our Wise Forefathers have taken, you will acquire such Strength and Power. Therefore, whatever befalls you, never fall out with one another." Benjamin Franklin did not miss the point. "It would be a strange thing," he advised the Albany Congress in 1754, "if Six Nations of ignorant savages should be capable of forming a scheme for such an union, and be able to exe- cute it in such a manner as that it has subsisted ages and appears indissolu- ble; and yet that a like union should be impracticable for ten or a dozen English colonies, to whom it is more necessary and must be more advanta- geous, and who cannot be supposed to want an equal understanding of their interest." The Grand Council of the lroquois Confederacy will be discussed in work- shops in the Learning Center where a history in photographs is on display. Among other areas, agriculture, ar- chitecture, crafts, members of the chitecture, crafts, members of the lroquois are a major force in the la- crosse industry-from creating sticks to providing the athletes. Lacrosse will be played in competition in the Native Americhns area dailv. A cham- pionship tournament is sc6eduled for Sunday, July 6 at 230 pm. Lacrosse stick making will be part of the crafts demonstrations along with silver smith- ing, wood and bone carving, basketry and beadwork. Crafts will be available for purchase in the crafts sales area. Singing and dancing will take place daily. Friday eveningsvisitors are invited to participate in social dancing. The Friendship dance, round dance, rabbit dance and stomp dance will be demonstrated. Native American food to be demon- strated and sampled include fry bread, corn and sassafrms tea. Iroquois orators such as Irving Pow- less, Sr., Irving Powless, Jr., Huron Miller (whose prayer appears below), Elwood Green, Oren Lyons and Rick Hill will be discussing the clans and nations, the formation of the Confeder- acy, wampum, food, sports and games. In the Learning Center will be partici- pants from various other Eastern Indian tribes who will relate their influence on Corn Husk is used in many of the crafts of the Iroquois. Here braids of corn husk are sewn together into a mask. the settlers, beginning in 1620 when the Wampanoag tribe welcomed the Pil- grims (in English), provided food for them during the first difficult winter on the New England coast, and then shared the first Thanksgiving. Tesquanto (Squanto), the Wampanoag Chief and inter-cultural go-between whose role was so crucial to the survival of the early Pilgrims, is known to many school children. His direct descendent, Komi Haynes, will retell the story of her tribe's role at the Native American Learning Center. The Wampanoag tribe introduced the Pilgrims to corn, a Native American product Festival presentations will trace the role of maize from crop throuah harvest; from food in soups and breads, to the use of husks by the craftsmen in toys, dolls and ceremonial masks. The Narragansett Indians, or "praying Indians" as they came to be called, occupied the state of Rhode Island. They welcomed Roger Williams when he was forced to flee Massachusetts. Their interdenominational church is pictured in the Learning Center. Tri- bal representatives Mary Brown and Alberta Wilcox will talk about the ar- chitectural contributions and the history of the people. The Passamaquoddy from Maine are known for their intricate quill work and importance as trappers and fishermen to the early settlers. Tribal represen- tatives will discuss their role in American history. Other Native Americans who will participate in discussions are from the Shinnecock tribe of Long Island, New York; Indian Mountain Lookout Inter- tribal Native Americans, New York; the Lumbee, Haliwa and Cohariefrom North Carolina; Catawba from South Carolina; Tunica-Biloxi of Louisiana; Chippewa of Wisconsin and Potowatomi of Michi- gan. These participants are all members I of the Coalition of Eastern Native Amer- icans (CENA) an organization whose purpose is to identify and assist in the socio-economic and organizational development of Eastern Native Ameri- cans. CENA includes non-reservation, urban and federally recognized tribes and groups. NORTH AMERICAN INDIAN PRAYER Creator of earth whose voice I hear in the wind Whose breath gives life to all the world- hear me. I have and many of my people have become lost in the turmoil of this world. So humbly I appeal to you for help for I need your guidance, I need your strength and wisdom. Oh Creator of earth-Teach me to walk along the narrow path. Open my eyes-so that I may behold a red and purple sunset. Teach me to respect many things you have created And make my ears eversharp so to hear your voice. Help me to learn again all the wonderful things you have taught to my great grandfathers And the lessons you have hidden in every flower, in every leaf and rock. Oh Creator of the earth, I seek your strength - not to be superior to my brother, but to be able to fight my greatest enemy, the evil within myself. Help me to be forever ready to come to the land of heaven with clean hands and L steady eyes So that when my life fades away from this earth - that I walk on like a beautiful sunset. I The heart that you have given me may come back to you without shame or fear. DANAEHO '1 968' "Chief Hiawatha" Huron S. Millel Elwood Green, Canadian Mohawk, is one of a long line of Iroquois Silversmiths which began before the American Revolution. Corn husk masks, l ike this Whistler, represent a class of spiritual beings which aid the Iroquois in healing and curing ceremonies. Participants Six Nations: Iroquois partic Cayuga Sam Crogan: Lacrosse player Alisa Mike: Dancer Nancy Poodry: Beadworker Bill Printup: Lacrosse player Dean Printup: Lacrosse player Elwood Printup: Lacrosse player Gene Printup: Lacrosse player Elizabeth Silversmith: Cook Mohawk Mary Adams: Basket maker Mike Adams: Basket maker Elwood Greene: Silversmith David Hill: Lacrosse player Stanley Hill: Bone carver Woody Hill: Dancer Allan Jock: Dancer Marshall Joseph: Wood carver Isabelle Skye: Cornhusk worker Beatrice Thomas: Dancer Russell Thomas: Dancer Margaret Terrence: Basket maker Cam Wilson: Bone carver Marge Wilson: Cook Wanda Wilson: Dancer Oneida lrving Chrisjohn: Cornhusk worker Mrs. Chrisjohn: Cornhusk worker Onondaga Paula Babcock: Dancer Kevin Hill : Lacrosse player Martin Jimmerson: Dancer Angie Miller: Dancer Huron Miller: Singer, discussant Barry Powless: Dancer lrving Powless, Sr.: Discussant Irving Powless, Jr.: Discussant Nancy Powless: Dancer Jacob Skye: Dancer Perry Williams: Dancer Debbie Williams: Dancer Ruby Williams: Dancer Guy Williams: Dancer Tim Williams: Dancer Seneca Herbert Buck: Singer Lydia Buck: Dancer - Sadie Buck: Dancer Herb Dowdy: Singer Fidelia George: Dancer Diosa Hill: Dancer Helen Harris: Dancer Linda Harris: Dancer Steve Harris: Dancer Elijah Harris: Dancer Marty Jamerson: Dancer Darwin John: Dancer Edith John: Cook Coleen Johnny John: Dancer Kevin Johnny John: Dancer Mike Johnny John: Dancer Richard Johnny John: Singer Vera Miller: Cook, beadworker Ken Poodry: Cradleboard maker Eddie Scott: Dancer Elmer Shongo: Dancer, cook Corbett Sundown: Discussant Lloyd Thomas: Dancer Marlene Thomas: Dancer Hazel Thompson: Dancer Phillip Thompson: Dancer Tuscarora Joe Chrysler: Lacrosse player Orzey Cusick: Lacrosse stick maker Emma Greene: Cook Alvis Hewitt: Cook manager Rick Hill: Discussant Nina Jacobs: Dancer Phillip Jacobs: Lacrosse player Bob Patterson: Lacrosse player Kevin Patterson: Lacrosse stick maker John Patterson: Lacrosse stick maker Helen Printup: Cook Mary Rickard: Lacrosse stick maker Ellene Rickard: Lacrosse stick maker Noreen Shongo: Cook Ron Smith: Lacrosse player Wilmer Wilson: Discussant Coalition of Eastern Native Americans Participants Aroostook Association Terry Polchies: Discussant Catawba Roger Trimnal: Discussant Chippewa ~a lb ies 'Ba ikbr id~e: Discussant Elizabeth Cadotte: Discussant What's Your lndian Language I.Q.? Komi Haynes Linda Lynch: Discussant Archibald Lynch: Discussant I H.rsanamisco Louise Wilcox: Discussant Indian Mountain Lookout Inter-Tribal Nave Americans Asenith 0. Vogt: Discussant Arlene Locklear: Discussant I June Sampson: Discussant W. J. Strickland: Discussant Alberta Wilcox: Discussant Mary Brown: Discussant Joe Winchester: Discussant Leroy Wesaw: Discussant Eva Smith: Discussant ; Alice Franklin: Discussant Tunlca Blloxi Rose Marie Pierite Komi Haynes: Discussant 1. On the continent of North America there are about 200 American lndian languages still spoken. True False 2. One American lndian language has more than 100,000 speakers. True False 3. Most American lndian languages have a very limited number of words and communications must be helped along by sign language and gestures. True False 4. In Arkansas and Texas in the 1880's a higher percentage of Western Cherokee than of whites were literate in English. True False 5. American lndian languages have no literature. True False Answers 1. True. This is an estimate based on a survey made in the early 1960's. 2. True. The Navajo language has more than 100,000 speakers. 3. False. No native speaker of any hu- man language has to "eke out his limited vocabulary with gestures or sign language." The Plains lndian sign- language was a system developed to be used in contact with those who spoke other languages, just as various trade languages are used (one such among American Indians was the Chinook jargon). 4. True. By 1819 a Cherokee named Wampum - The Grand Council of the Six Nations is composed of the Clan chiefs from each of the Six Nations. The number of chiefs in the Council is set at fifty, divided unequally among the Nations. Although each nation has a different number of representatives on the Council, each Chief is equal in the Council as represented by the fifty strands of wampum in the "Chiefs Wampum." Sequoyah had perfected a syllabic writ- ing system for his language and by 1830 about 90 percent of the Cherokee were literate. Reading and writing became highly valued among Cherokee, so it is not surprising that many of them should have learned to read English as they learned to speak it. At the same time the settlers often had no opportunity to learn to write. 5. False. Even if literature is limited to written materials this would not be true a S many groups have now collected their myths and songs in written form. The major literature of the American lndian lies in the rich and vast body of myths, orations and songs. This oral literature is very much alive. Answers to questions 1 and 2 are taken from Chafe, Wallace "Estimates Regarding the Present Speakers of American lndian Len- guages" International Journal of American Linguistics. Answer to question 5 from Walker, Willard, "Notes on Native Writing Systems and the Design of Native Literacy Programs" An- thropological Linguistics, May, 1969. Ideas for questions from "Navajo Basic Course" Robert Blair, Leon Simmonsand Gary Wither- spoon. Books Colden, Cadwalader. The History of the Five Nations Depending on the Province of New York. Ithaca: Cornell University Press, 1958. Great Seal Books. Foreman, George. The Five Civilized Tribes. Norman, Oklahoma: University of Oklahoma Press, 1934. Morrisseau, N. Legends cf My People, The Great Ojibway. Toronto: Ryerson, 1965. Tamarin, Alan. We Have Not Vanished. Follet, 1974. Wilson, Edmund. Apologies to the I r~qu~iS. New York: Farrar, Strauss, and Cudahy, 1959. Records Iroquois Social Dance Songs 1, 2, 3. Iro- crafts: Ontario, Canada, 1969. One of the younger and historically conscious participants at the Festival is Komi Oweant Haynes, the seventeen year old daughter of Shirley Dawson Haynes and Tesquantum (Wild Horse) Haynes. Squanto Haynes is the son of the latechief Tesquantum of the Wampa- noag Indians and Daisy Mingo Haynes, who is now 82'years old and who at- tended Carlisle lndian School with Jim Thorpe. The Haynes family has resided con- tinuously in the Massachusetts area since the 1600's when the earlier Chief Squanto played such an important role in the survival of the Pilgrims. Tesquantum has taught his daughter, Komi many of the traditional Wam- panoag chants and dances that have been handed down from generation to generation, as well as many interesting lndian legends, some of which will be retold in the Learning Center in the Native American area on Wednesday, July 2 at 11 a.m. The menusserved in the Haynes fam- ily continue to be basically the same as those of 300 years ago: corn, beans, sea food, oysters, clams, crabs, lobsters and all types of fish. Working Americans AFL-CIO Department of Labor Department of Transportation Old Ways in the New World American Revolution Bicentennial Administration The Government of Germany The Government of Japan, Tokyo The Japan Foundation The Government of Lebanon The Government of Mexico Working Americans American Trucking Associations, Inc. President: William A. Bresnahan Association of American Ranroads President: Stephen Ailes Buddah Music. Inc. President: Bob Reno Combine Music, Inc. President: Fred Foster Fred Rose Music, Inc. President: Wesley H. Rose Fruehauf Division President: Robert D. Rowan lnternational Association of Machinists and Aerospace Workers- District 142 Preeident: Quenton Kerr lnternational Association of Machinists and Aerospace Workers- Local 1850 President: Earl Wheeler Jacobs Transfer Company President: H. Lindley Gru bbs Newkeys Music, Inc. President: Jack J. Key Railway Labor Executives Association Chairman: C. J. Chamberlain Realco Services, Inc. President: R. E. Budorick Safetran Systems Corporation President: Robert J. Wyland Trans World Airlines, Inc. President: F. C. Wiser Turnpike Tom Music President: Bob Reno Washington, D. C. AreaTrucking Associa President: Sarah F. Carl Children's Folklore American Art Textile Print Co. Bernard Screen Print Corp. Boise Cascade Bucilla Yam Co. Ralph Coderre Central Mass. Joint Board Textile Workers Union of America Colorite Textile Print Works Dannemann Fabrics Design and Production Inc. Eastern Piece Dye Works The Felter's Co. G Street Remnant Co. Galligher and Hughely M. S. Ginn and Co.-George F. Muth Co. Div. Hechingers The Hecht Company Johnson&Johnson Kool-Aid Lowers Lucile Originals James McKnight Newarkcentral and So. Jersey Joint Board Textile Workers Union of America Mill End Shops Murry Moreno Local 1790 Textile Union of America Prints Almo, Inc. Princeton Textile Corp. Ruby Ray Printers Ronnie Lace Works Strosnider Hardware Tonka Toys Girl Scouts Troupe 2533 Regional Americans U. S. Department of Agriculture Beltsville Agriculture Research Center U. S. Navy Naval Ship Research and Development Center Ship Performance Department National Tractor Pullers Association lnternational Harvester Agricultural Equipment Division San Francisco Public Utilities Commission Municipal Railway, Cable Car Division United Transportation Union Southern Pacific Transportation Company Southern Railway System Campbell Industries Springfield Farm, Middieburg, Virginia Vaughn i% Bushnell Manufacturing Co. Vermont American Corp. The Warren Group Cincinnati Tool Div. Woodward and Lothrop African Diaspora Embassy of Ghana Embassy of Haiti Embassy of Jamaica Museum of African Art Julian Euell, Asst. Secretary for Public Service, Smithsonian lnstitution Dr. Roy Bryce-Laporte, Director, Center for Ethnic Studies, Smithsonian lnstitution Dr. Edward Solomon Ayensu, Chairman, Dept. of Botany, Smithsonian lnstitution Mrs. Dinah Ameley Ayensu Old Ways in the New World ~ m e r i c a ~ ~ m b a s s ~ in Germany American Embassy in ltaly American Embassy in Japan American Embassy in Lebanon American Embassy in Mexico Dr. Suad Joseph Special Thanks Jim Crowe Jim Buckler Jack Monday M. N. Christiansen Kenneth Young Constance Minkin Linda DuBro Gestalt Associates Guardian lsaphone Corporation Drums Unlimited Working Americans Daniel M. Collins Daniel W. Collins Richard Conn Walter Davis William J. Mullin Peter Seitei Dorothy Shields Regional Americans Great Plains Wheat, Inc. Ellsworth Brown, Dacotah Prairie Museum David Hartley, Robinson Museum David , Beburt , N.D. June Sampsan, W. H. Over Dakota Museum Arthur Leno, Germans from Rurraia Historical Society William Kwh, Kansas State University Children's Folkbre Ann Mitchell Old Way* in the New World Embassy of Gennany Embassy of ltaly Embagsy of Japan Embassy of Lebanon Embassy of Mexico Ambaaador Jesus Cabrera, Directory Jefe, Asuntog Culturales, Secretaria de Rela- ciones Exteriores, Mexico lnstituto Nadonal de Antropologfa e His- torla, Mexico Dr. Guillenno Bonfils, Director General Irene Vasquez Mu- Nazionale delle Arti e Traditioni Popolare, Rome Dr. Jacopo Recupgro, Director Dr. Annabella Rossi. Anthropologist Bicentennial Committee, Beirut Dr. Konmd ICdstlin, Volkskunde Seminar, UniVwSity of Kiel Dr. Ulrich Tolksdorf Japan Foundation, Tokyo Mr. Yamaji, Folklore Consultant Ms. Nogarni U. S. Dep&rtment of State Sean Holly Mioheel Metelits Paul Storing Albert Baff Mary J. Derinie UM. Wrrshington, D. C. JulM Antunes Irving SabfDsky Ted Liu Diane Stanley Corinne Hedistdan, US@, Beirut, Lebanon Richard Arndt, UMS. Ram$, W y MiGhd Weyl. U W , Bonn, Gemany Frank 5. L l n d m , USIS, Toyko. Japcln J e w Inman. USIS, Mexico CW, Mexlco International VisiWra &mice Council BwldhM Chu [ cb of America BuddhistChumhs9 of Seabrook, N.J., New York City, Washington, D. C., Chicago Manabu Fukuda Japanese American Citizens League, National Office Japanese American Citizens League, Washington, D. C., Seabrook, N.J., Phila- delphia Chapters National Organization of Arab-Americans Cynthia Hamra Hightower Samira Haddad Tamer Betty Pipkorn Mary Fahlbusch National Council de la Raza Roberto Oliva Elvira Crocker League of United Latin-American Citizens Ada Pena Belia Ceja Lupe Aguirre Marie Ortega Genevieve Della Noce American Italian Bicentennial Commissign, Inc. I1 Progresso, Generoso Pope, Publisher Alessandro Giglio Renzo Sacerdoti Giorgio Padovano Rose Gatto Ralph Costantino Assemblyman Michael Pesce Reverend John C. Sorrento Joseph Schweighardt Commissioner Dominic R. Massaro Calogero Cascio Professor Giuseppe Cardillo Father Silvano Tomasi Father James Kelly William DuChessi African Diaspora Edward Pancoast, Graham French, USIS, Accra, Ghana Roberta Jones, USIA, Washington, D. C. John Twitty, USIS, Kingston, Jamaica Dorothy Stansbury, Eric Weaver U. S. Department of State Fritz Jean-Baptiste, Haitian Tourist Bureau D. C. Black Repertory Company Robert J. Nash, F.A.I.A. 8 Associates Native Americans arand Council of the Six Nations "Long Island Forum" U. S. Department of Agriculture National Anthropological Archives 'U. S. Department of Commerce Coalition of Eastern Native Americans Native American Center for the Living Arts. Georgetown University Athletic Department Lumbee Regional Development Corp. John Stevens, Passamaquoddy Tribal Governor "Akwesasne Notes," Rooseveltown, N.Y. Thanks Working Americans Frank "Scottie" Aubusson Bob Beckham Dominic Berta W. D. Best R. Dan Birt Richard Briggs Hazel Brown Richard Buttenheim The Public Library of Cincinnati and Hamilton County, Inland Rivers Library Norm Cohen Paul Coker Gordon Cole Jerry W. Cosley Paul Dayhoff James Drouillard Jay Fisher Roalia G. Furr Roland Grayson William J. Harris Joseph Hickerson Nat Howard Harry Hubbard Andrew W. Johnson William Jolley Leroy Jones Paul Jones Ted Lavelle John Luyks James Mathias Peter McGavin John McGill C. M. Mclntosh William G. Mclntyre Charles Mollard Visitor participation is built into all Festival activities, singing, dancing food and crafts. Participatory folk dancing can be found in all areas. Bob Moore Stuart Orange Gerald Parsons Terry Prott Joseph Quesenberry John N. Ragsdale Ill Albert F. Rebold Edwin M. Schmidt Loren Scott Gladys Seigel Walter Shea Richard Spottswood John Sulko Clair Umberger Ukited Transportation Union Records, Labor Management Documentation Center, Cornell University Joseph Wall Wayne State University Labor Archives Joseph H. Witt Harold C. Wood John Ziereis Staff National Park Service Director: Gary Everhardt Deputy Director: Russell E. Dickenson Director, National Capital Parks: Manus J. Fish, Jr. Deputy Director, National Capital Parks: John A. Townsley Assistant to the Director, Public Affairs, NCP: George Berklacy Chief, Central Maintenance Operations: Roger Sulcer Facilities Manager: James Rubin Maintenance Supervisor: George Mahaffey Supervisor, Grounds Crew: Joe Terrell Supervisor, U. S. Park Police: Sgt. Michael Barrett Technical Services Coordinator: Nino Vaghi Technical Advisor: John Hoke Chief, Central Visitor Services: Doug Lindsay Festival Coordinan 7d Duff y hsonian Institution Participant Coord.: Noelle Prince Phi l~p Sonn~chsen Volunteer Coord.: Dennis Harr~s Advisory Group: Conrad Arensberg, Svatava V. of Performing Arts Presenters: Kenneth S. Goldstein, Arch~e Jacobson, Alan Lomax, David McAllester Green, Teresa Pyott, Andy Wallace Production Staff: Joe Biderman, Naom~ Administration Production Staff: Ken Smeltzer, Susan Ka~tz, Conn~e Lee, Gabr~el Chr~stov, Jan~e Director: James Morris Sivard, Chris Prandon~, Adam Lewis, Beers, Adel~ta Wallace, Terry Reed, Guldo Deputy Director: Richard Lusher Stephan~ Altomare, Michaela Clancy, Adelph~, Jan Raabe, Bonn~e Hoke, Roberta Festival Director: Ralph Rinzler Bill Spauldlng Hantgan Festival Deputy Director for Administration: Robert Byington Regional America African Diaspora Consultant, Bicentennial Planning: Mack Administrator: W ~ l l ~ a m K. McNe~l Program Coord.: Rose Lee Horn McCormick Research Coordinator: Charles Camp Folklore Specialist: Bern~ce Reagon Administrative Officer: Ernestine Potter Participant Coordinator: D~ana Parker Learning Center Coord.: Sylvia Jacobs Operations Officer: Alan Lester Northern Plains Researchers: Metha Berc~er, Participant Coord.: Llnn Shaplro Special Asst. to Director: Ruth Jordan John Carter, Carey Cook, Larry Danlelson, Volunteer Coord.: Janet Harr~s Fiscal Officer: Isabelle Jasper S~ster Stephan~e Dolyn~uk, Karen Field Researchers, African Diaspora Art Director: Janet B. Stratton Heinzman, Lynn Ireland, Constance Kane, Advisory Group: Roy Bryce-Laporte, James Festival Site Designec Ken Dresser Jens Lund, Janet McDonnell, G ~ n a Early, Leonard Go~nes, Pearl Will~ams Newbold, Douglas Parks, Marjor~e Sackett, Jones, Worth Long, Fela Sowande, A. B. Production Manager: B. C. May Earl Sampson, Darrel Sawyer, Dorothy Spellman, Ron Smlth, Carol Malllard, Asst. Prod. Manager: Peter Reiniger Shonsey, Scott Sorensen, Kenneth Jane Sapp Chief Public Information: Susanne Stewart, Sherry Stoskopf, Robert Production Staff: Anifer Baker, Vernard Thompson, Robert Webb Gray, Joy Hooks, Arthur Jones, Fred California Research Staff: Le~tch, Nlck Meyers, W. L. Pettaway, Coordinator: Bess Lomax Hawes Marlo R~vera, Chester Simms, Ken Assistant Coordinator: Barbara Lapan Rahm Smeltzer, Jay Stewart, Frank Yates Music Coord.: Frank Proschan Researchers: Just~n Bishop, Joyce P. Bynum, Nlcola Marguerite Deval, Nlcholas Hawes, Volunteer Coord: Susan Tipping M~chael Korn, Mar~lyn Salvador, Dan Tour Program Concessions: Saul Baran, Betty Beuck Sheehy Chief Stage Manager: Linda Ryan Touring Performance Services Director: Advisors: Production Crew: Jim Moon, Kelly Myatt, Stephen P. and Ethel Dunn-Molokan Mark Mason Susan Anderson, John Stewart, Harold presentation Ethnic Tours Coord.: Pat Gebhard Closter, Paulette Desell, Terry Wise, Elaine M~ller- Mex~can-Amer~can Production Staff: Norma Graus, Sally Roff- Christophili Constanopoulos, Mark Hubel, presentation man, Cynthia H~ghtower, Elena Scott Anne Marie Kuehling Joanne B. Purcell- Portuguese presen- Production Staff: Chris Atkins, Kim Baer, tation Native Americans Nancy Burstein, Lynn Cilinski, Eva Elliott, Production Staff: Scott Brouard, Giul~ana Program Coordinator: Lucllle Dawson Michael Gehron, Brock Holmes, Allison Busch, Peter Byrne, Lisa Cherkasky, Asst. Program Coord.: Thomas Kavanagh , Hope, Jennifer Hope, Kim Jacobson, Steven Jarrett, Dorothy Neumann, James participant coord.: Abby Watkins , , Frances Klapthor, Betse Lanier, Sarah Rikoon Volunteer Coord.: Joy Silverman Lewis, Howard Marshall, Anne Mercer, Consultant: Rayna Green Native Americans Advisory Group: Alfonso Lisa Mercer, Joseph Perez, Pam Ortiz, LOUIS Bruce, Barre Toelken, Clyd~a Terlesky, Andrea Westman Old Ways in the New World Nahwooksy, Dell Hymes, Rayna Green, Students-in-Training: Valerie Whitney, Program Coord.: Shirley Cherkasky Willlam Sturtevant Sherri Lisa Tucker, Theresa Shellcroft Asst. Program Coord.: Sandra Tussing Production Staff: Dan B~gbee, Carey Vicentl, Anne Evans Asst Program Coord: Suzanne Cox James Councll, Reaves Nahwooksy, Ethnomusicologist: Thomas Vennum Working Americans Ellsworth Stanton, Mary Jane Vanden Berg Participant Coord.: Chr~s Bartholomew Robert Lauderdale Program Coord.: Shirley Askew Fieldworkers: Anna Lomax, Anthony Shay, Discussants: Gladys Addlson, EDA; Field Research Coord.: Robert McCarl Miiko Toelken, Roger Welsch, Ernestine Roxanne Flanagan, AMEP, Cathy Clark, Asst. Program Coord.: Susan Donahue Perrie, Elizabeth Mathias, Ronald Smith, CETA, Georgian Gavln, ONAP 56 Children's Folklore Program Coord.: Kate Rinzler Asst. Program Coord.: Barbara Melnicove Area Supervisors: Jean Alexander, Margaret Brady, Andrea Meditch, Danielle Raener, Albert Segal, Dorothy Stroman Production Crew: Cindy Robinson, Sarah Seaver Family Folklore Folklore Specialists: Steven Zeitlin, Holly Cutting-Baker, Sandy Gross, Amy Kotkin, Jack Santino, Mark Workman, Caroline Mitchell, Laurie Gross Film Director: Ernst Star Photographic Specialist: Amy Kotkin Smithsonian Technical Services Liaison, Office of Facilities Planning and Engineer Service: Jerry Shelton Director, Office of Plant Services: Ken Shaw Chief, Communication and Transportation Division: John Moreci, Steve Bullock, Leon Doane Craft Services: Div. Chief, William Wells, Buck Goodman, Paul Wills, William Sonntag, William Janes, Jack Denbow, Charles Gallagher, Paul Haas, Samuel Steinour A special thank you is extended to all Smith- sonian lnstitution staff and volunteers who help in so many ways. Their spirit of coopera- tion and good humor contribute enormously to the success of the Festival of American Folklife. Without their assistance, prior to, during and after the event, the Festival could not be presented. Festival Program Book Editor: Susanne Roschwalb Art Director: Janet B. Stratton Production Assistants: Nancy Horrell, Marc Cheshire Typesetters: General Typographers, Artisan Type Printer: Fontana Lithograph Text pages of the program are printed on 6@/0 reclaimed fibers.