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Burkina Faso. It is played on different occasions connected to the hunters' lives, at home or in the bush: the buna! and flmerals of great hunters, entry into the village of large game trophies, festivals of the hunters' brotherhood, baptism of the child of a member of the brotherhood, welcome of ofEcials, and every other form of hunters' gatherings. These occasions bring into the open relations with occult forces, the magical powers between hunters and between musicians and hunters; they are high-stakes musical events whose outcome is not known in advance. The most dangerous tests of magic and miracle-working are performed to the sounds of specific music. The donso n'goni singer evokes a summoned hunter's exploits while exhorting him to further feats; the hunter is tempted to accomplish them on the spot, by making wild animals appear and killing them. If he does not succeed in this, the hunter promises the singer the thigh, shoulder, or tail of an animal that he wiO go out and kiO the next day, week, or month. These pubhc exchanges between the musician and the hunter are touching: the musician recalls to the hunter his past exploits, the hunter alternately recognizes his accomplishments and the challenge to honor the new promise that the situation has incited him to make. Xylophone (biilafoii) music is another very popular genre throughout southern Mali. Accompanied by the koni (21 -string chordophone), jcnibe (large drum), or other drum, it is played for baptisms, marriages, and popular musical evenings whose sole purpose is entertainment. It is played as well at annual festivals for village agricultural associations. These are grand moments of gathering and celebration tor young boys and girls from a village or group of villages. Xylophone playing also lends itself well to dance contests. Takamba music is a popular musical genre from the north of Mali. Men and women, seated or standing, dance to it at baptisms, marriages, and popular celebrations. The dance is characterized by graceful movements pertbrmed with the hands, eyes, (Top) Drummers perform at a puppet masquerade in Kirango. Photo © Mary Jo Arnoldi (Middle) Siramori, a celebrated woman gnot, sings a patron's praises. Photo © Barbara Hoffman (Bottom) Musicians in northern Mali perform on the bowed lute and drums. Photo © National Museum of Mali and body, and augmented by richly embroidered grands boubotis. The primary value of music lies not only in its harmony in musical terms, as pleasing sound, but also and especially in its relation to lite. For Malians, this latter function of music often takes precedence. The saying "It is not the song that is good, it is its meaning that is good" eloquently encapsulates this thought.
w^n* iJiHiiiKm. Mali is known throughout the world for the dynamism of its culture and the wealth of its musical patrimony. Stars of international renown such as Salif Keita, Ali Farka Toure (right), Oumou Sangare (below), Habib Koita, and others have made Mali a flourishing seedbed for music. Over two thousand Malian musicians have recorded at least one album, thus providing radio stations and the national television station with abundant material for locally produced programs. The Malian government itself sponsors several modern bands as well. Modern music is played with Western instruments such as the guitar, the piano, and the accordion, which made their way to Mali during the colonial era. In the colonial African army, soldiers formed musical groups called "Gobbles." After their demobilization, the conscripts— inspired by the music—returned home with old guitars and accordions and formed their own bands. All the cities in Mali with military barracks had one or two bands. The repertoire of these first bands consisted of Western classics such as waltzes, marches, and rock, played on brass, wind, and percussion instruments. The wild popularity of rock obliged African musicians to adopt the adapt the country's musical heritage to modern instruments. It was the boom era for modern bands in Mali. In addition to the national ensemble, almost every neighborhood and school had its own small band. Among them were Pionnier Jazz, Askia Jazz, L.T. Band, and the Orchestre du Lycee des Jeunes Filles. Every major city also had a musical ensemble. The best musicians of a particular region formed a regional group. The decade of 1970 to 1980 marked the heyday of the "band era," with such giants as the Ambassadeurs du Motel, the Rail Band, the Las Maravelas del Mali (now Badema National), the Biton of Segou, the Kanaga of Mopti, the Kene-Star of Sikasso, and the Mystere Jazz of Timbuktu. With the advent of democracy, regional and local groups, which were all sponsored by the government, slowly disappeared and were replaced by numerous independent bands. This new freedom allowed many young talents to blossom, and made possible the exportation and profitability of Malian music. Today, music is Mali's third most important export commodity after gold and cotton. Albums by stars such as Toumani Diabate, Oumou Sangare, Salif Keita, Ali Farka Toure, Kar... Kar, Rokia Traore, Abdoulaye Diabate, and Neba Solo are sold all around the world, making Mali a major center of the international entertainment industry. Malian music has thus moved beyond the traditional to embrace the global. Reggae, rap, and hiphop have become the genres that have attracted youth, because through these they can express their concerns about such social problems as unemployment, pollution, and corruption. Mali also now has a music video industry, with "Top Etoile," a nationally televised music show, as its outlet. Today, music is no longer the preserve of griots; the profession is now open to all those who have the talent and perseverance, making Malian music a synthesis of melodies, rhythms, and tempos—the very stuff of a multiethnic culture. electric guitar, which in turn enhanced the bands' technical possibilities. A few years after Mali's independence in 1960, the new cultural orientation of the government dictated that bands /A' Publicist at the Maison des Jeunes.l
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SMITHSONIAN FOLKLIFE FESTIVAL SCOTL
Page 4 and 5: The annual Smithsonian Folklife Fes
Page 7 and 8: Table of Contents The Festival: Doi
Page 9: The Festival: Doing the Public Good
Page 12 and 13: — a singular, global, mass coniii
Page 14 and 15: The 2003 Smithsonian Folklife Festi
Page 16 and 17: — Appalachia Heritage and Harmony
Page 18 and 19: Virginia, is one of the best known.
Page 20 and 21: A mural by Tim White, in Bristol, T
Page 22 and 23: string bands of note were Charlie P
Page 24 and 25: Carolina, who learned many of her s
Page 26 and 27: — 1 riate •KM ''&L'X^'Ttyi«iFi
Page 28 and 29: - 26 Appalachia, Where Tradition an
Page 30 and 31: 28 and Latin America. They are addi
Page 32 and 33: Native American Traditions in Appal
Page 34 and 35: 32 OF APPALACHIA of cultural histor
Page 36 and 37: ^, — 34 or "Dive for the Oyster."
Page 38 and 39: 36 Pnolo by Jirri Higgins Library o
Page 40 and 41: . 2000. . ^^FORMATION Blue Ridge Mu
Page 42 and 43: Mali From Timbuktu to Washington /.
Page 44 and 45: universities in the United States,
Page 46 and 47: A woman [ in Timbuktu. Knotograpn b
Page 48 and 49: — From Golden Age Empires to Inde
Page 50 and 51: The French had hardly been welcomed
Page 52 and 53: \ constitution brought about the Th
Page 56 and 57: Malian crafts are a legacy from the
Page 58 and 59: the garment, and ornamentation 56 s
Page 60 and 61: 4 *^ '*
Page 62 and 63: ack into the Sahara and Sahehan zon
Page 64 and 65: increasing popularity of television
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Page 68 and 69: ft J ncK DjeDje, Jacquehne Cogdell,
Page 70 and 71: I Scotland at the Smithsonian is pr
Page 72 and 73: — John o'Groals OUTER HEBRIDES {W
Page 75 and 76: Scottish History: The Culture and t
Page 77 and 78: Much of contemporary Scottish tradi
Page 79 and 80: — 1 Traditional Song and Music in
Page 81 and 82: . . throughout occasional dance in
Page 83 and 84: j^ ,. V ẏ 7 Traditional Scottish
Page 85 and 86: — Panto in Scotland JOYCE MCMILLA
Page 87 and 88: — 85 The prehistoric Callanish St
Page 89 and 90: The makars ar also pairt o a proces
Page 91 and 92: have a direct connection with worki
Page 93 and 94: (Outer Hebrides) can still visit sn
Page 95 and 96: Moore, Maggie. Scottish Step Dancin
Page 97 and 98: General Festival Information FESTIV
Page 99 and 100: ^^1:30 S^ 3:00 Talking Tree 12;00 Y
Page 101 and 102: Scotland at Smithsonian the 3:00 Sc
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Kora players perrorm at 6 p.m. at t
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Malian Foodways
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Scotland at Smithsonian the Feis St
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Dogon dancers at 12:30 p.m. at ttie
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Scotland at the Smithsonian Feis St
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2:45 Growing Up m Mali 113 3:30 Bab
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Scotland at the Smithsonian Feis St
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[ ] ) \ I I i ; i 117 NATIONAL MUSE
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— Saturday, July 5 Beautiful Beyo
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Festival Participants Laura Boosing
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The New Southern Ramblers (with Ral
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N'Goussonn, Koulikoro Salif Keita,
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Pottery Shoemakiiig TRADITIONAL MED
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Fiti Moore, Diitikeld DANCE POETRY/
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Tapestry Weaving Dovecot Tapestry W
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Special Tixanks Sam Adams. Tiie Mou
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staff SMITHSONIAN INSTITUTION Lawre
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Tourism Task Force Special thanks t
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• III SMITHSONIAN FOLKWAYS RECORD
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Smithso >lklife Festiv,
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