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Aiiili Toddy: Land, Soilcty, People 49 BiNTou Sanankoua Maliaii Tiaditioiuil Music: Sounds Full of Meaning 51 Salia Male Modem Music in Mali 53 Mamoutou Keita Crafts and Development 54 Maiga Olimou Maiga Malian Textiles 55 MOUSSA KONATE Malian Architecture 58 L A S S A N A C I S S E The Future of Mali's Past 59 T E R E B A To G O L A Malian Cinema 61 YOUSOOUF COULIBALY illlil AboUBAKAR SanOGO Malian Cuisine 63 Samuel Sidibe n n d Bin to u Sanankoua For Further Information 66 SCOTLAND AT THE SMITHSONIAN Scotland at the Sitnthsonian 68 Nancy Groce Scottish History: The Culture and the Folk 73 E D WARD J . C OWAN Traditional Song and Music in Scotland 77 Margaret Bennett Scottish Dance 81 Stephanie Smith Paiuo in Scotland 83 Joyce McMillan Scottish Gaelic 84 Hugh C h tape Scots 86 Billy Kay Traditional Crafts in Contemporary Scotlaiui 88 Louise Butler For Further Information 92 GENERAL FESTIVAL INFORMATION Daily Schedules 96 Site Map 116 Evening Programs 118 Malian Cinenui on the Mall 120 Of Related Interest 120 Festival Participants 121 Festival Sponsors 132 Staff 135
The Festival: Doing the Public Good LAWRENCE M. SMALL SECRETARY, SMITHSONIAN INSTITUTION The Smithsonian has long been a force for good in our society by encouraging public knowledge of our historical, scientific, and cultural heritage. Given recent world events, the role the Institution plays is even more important. We need places where people of diverse backgrounds can gather together, learn from one another, and share in inspiring educational experiences. No better place exists than the Smithsonian Folklife Festival. Each year, more than one million visitors come to the National Mall to learn about the art, knowledge, skill, and wisdom of the American people and those of other nations around the world. Visitors interact directly with musicians, craftspeople, cooks, storytellers, workers, and other cultural exemplars. They leave the Festival with a better understanding and appreciation ot a broad range of cultural accomplishments and the people who achieve them—today, more than ever, this is a significant benefit. At the same time that cultural differences reinforce divisions among some nations, religions, and ethnic groups, the digital communications revolution has reduced the distances between aU nations. As the interactions among culturally diverse people increase, to be productive they should be based upon fact, not fiction, reality, not myth. In its own marvelous way, the Festival fosters respect for, and understanding of, cultural differences. This year, tradition-bearers fi-om Mali, Scotland, and Appalachia have gathered on the Mall, in what might first appear to be a puzzling juxtaposition. But a visit to the Festival will quickly reveal all sorts of cultural connections and relationships among them. Consider "old-time" and bluegrass music from Appalachia. Although often viewed as qumtessentially American, many of our American ballads came from Scotland, carried by settlers in the late 1700s. And the banjo, vital to both traditions, came from West Africa, from lands traditionally part of the Malian empire. The instrument was crafted and re-crafted by African Americans and became a central part of our musical heritage. In bluegrass bands you can hear a unique American story, the melding together of an African and European heritage. The connections do not stop in America. Scots back home, reflecting upon their emigrant experience, invented dances and called one "America." Mahan baUadeers, strumming their lutes and singing of their brethren, incorporated the enslavement experience into their repertoire of historical tales. Cultural connections go well beyond home. The bluegrass band from East Tennessee State University includes students from around the world and performs for fans in Japan. Pipe bands play Scottish music all over the world—from official functions in Bermuda to weddings in India. Culture—creative, adaptive, enjoyable, and educational—has the power to unite disparate people the world over. The Festival, made possible by the gracious participation of our invited friends from Mah, Scotland, and Appalachia, and of visitors to the Mall, is a wonderful demonstration of this power. We at the Smithsonian are proud to take up this role and invite you to share in it.
Page 1: SMITHSONIAN FOLKLIFE FESTIVAL SCOTL
Page 4 and 5: The annual Smithsonian Folklife Fes
Page 7: Table of Contents The Festival: Doi
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 54 and 55: Burkina Faso. It is played on diffe
Page 56 and 57: Malian crafts are a legacy from the
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the garment, and ornamentation 56 s
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4 *^ '*
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ack into the Sahara and Sahehan zon
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increasing popularity of television
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— Certain dishes are linked to pa
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ft J ncK DjeDje, Jacquehne Cogdell,
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I Scotland at the Smithsonian is pr
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— John o'Groals OUTER HEBRIDES {W
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Scottish History: The Culture and t
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Much of contemporary Scottish tradi
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— 1 Traditional Song and Music in
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. . throughout occasional dance in
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j^ ,. V ẏ 7 Traditional Scottish
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— Panto in Scotland JOYCE MCMILLA
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— 85 The prehistoric Callanish St
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The makars ar also pairt o a proces
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have a direct connection with worki
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(Outer Hebrides) can still visit sn
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Moore, Maggie. Scottish Step Dancin
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General Festival Information FESTIV
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^^1:30 S^ 3:00 Talking Tree 12;00 Y
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Scotland at Smithsonian the 3:00 Sc
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Scotland at Smithsonian Feis Stage
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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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