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39th ANNUALSMITHSONIAN FOLKLIFE FESTIVALFood Culture USAForest Service, Culture, and CommunityNuestra Música: Music in Latino CultureOman: Desert, Oasis, and SeaJUNE 2 3 -July 4, 2005WASHINGTON, D.C.

The annual Smithsonian Folklite Festival bringstogether exemplary practitioners ot diverse traditions,both old and new, trom communities across theUnited States and around the world. The goal of theFestival is to strengthen and preserve these traditionsby presenting them on the National Mall,so that the tradition-bearers and the public canconnect with and learn trom one another, andunderstand cultural differences in a respectful way.Smithsonian InstitutionCenter tor Folklite and Cultural Heritage750 9th Street NWSuite 4100Washington, DC 20560-0053www.folklite.si.edu© 2005 by the Smithsonian InstitutionISSN [056-6805Editor: Carla BordenAssociate Editors: Frank Proschan, Peter SeitelAn Director: Denise ArnotProduction Manager: [oan ErdeskyGraphic Designer:ECrystyn MacGregor ConfairDesign Intern.Ann BlewazkaPrinting Stephenson Printing Inc., Alexandria, Virginia

SMITHSONIAN FOLKLIFE FESTIVALThe Festival is supported by federally appropriated funds; Smithsonian trust funds; contributions fromgovernments, businesses, foundations, and individuals; in-kind assistance; and food, recording, and craftsales. The Festival is co-sponsored by the National Park Service. General support for this year's programscomes from the Music Performance Fund, with in-kind support provided by Motorola, NEXTEL,WAMU 88. s FM.WashingtonPost.com, Pegasus Radio Corp., and Icom America. The 2005 SmithsonianFolklite Festival has been made possible through the generosity of the following donors.Lead SupportMinistries of Heritage and Culture, Tourism,Information, and Foreign Affairs of OmanUSDA Forest ServiceWhole Foods MarketFounding SupportWallace Genetic FoundationSilk SoyNational Forest FoundationNational Endowment for the ArtsHondaHorizon Organic DairyUnited States Department of AgricultureMajor SupportNEXTELChipotle Mexican GrillGuest Services. Inc.Honest TeaJean-Louis Palladin FoundationThe American Chestnut FoundationV.mns SpicesFarm AidJoyce FoundationIBMThe Rodale InstituteSmithsonian Latino Initiatives FundUnivisionMajor In-kind SupportKitchenAidZola/Star Restaurant GroupCollaborative SupportWashington, DC Convention and Tourism CorporationCulinary Institute of AmericaMiddle East Institute/Washington, D.C.Ministry of External Relations of MexicoMarriott InternationalRadio BilingüePublic Authority for Crafts Industries of OmanSMITHSONIAN FOLKLIFE FESTIVAL

—CONTENTSThe Festival's Timely Appeal 7LAWRENCE M. SMALLCommerce for Culture: From the Festival andFolkways to Smithsonian Global Sound 9RICHARD KURINWelcome to the 200s Smithsonian Folkhte Festival 15DIANA PARKERFood Culture USA: Celebrating a Culinary Revolution 17JOAN NATHANForest Service, Culture, and Community 31TERESA HAUGH AND JAMES IDEUTSCHNuestra Música: Music in Latino Culture—Building Community 48DANIEL SHEEHYNuestra Música: Music inDANIEL SHEEHYLatino CultureConstruyendo comunidad 54Oman: Desert. Oasis, and Sea 61RICHARD KENNEDYCraft Traditions of the Desert, Oasis, and Sea 66MARCIA STEGATH DORR AND NEIL RICHARDSONAn Omani Folktale 74ASYAH AL-BUALYSMITHSONIAN FOLKLIFE FESTIVAL

Music and Dance in Oman 77OMAN CENTRE FOR TRADITIONAL MUSICKHALFAN AL-BARWANI, DIRECTORGeneral Festival Information 81Festival Schedule 84Evening Concerts 94Related Events 95Festival Participants 97Staff 121Sponsors and Special Thanks 124Site Map 130-131SMITHSONIAN FOLKLIFE FESTIVAL

—THE FESTIVAL'S TIMELY APPEALLAWRENCE M. SMALL, SECRETARY, SMITHSONIAN INSTITUTIONWelcometofour programsthe 2005 Smithsonian Folklife Festival! This year we feature[ 7IOman: Desert, Oasis, and Sea; Forest Service,Culture,and Community; Food Culture USA; and Nuestra Música: Music inLatino Culture. Now in its39th year, the Festival once again presentsa sample of the diverse cultural heritage of America and the world tolarge public audiences in an educational, respectful, and profoundly democratic way on theNational Mall of the United States. True to form, the Festival illustrates the living, vital aspectof cultural heritage and provides a forum for discussion on matters of contemporary concern.For the first time, the Festival features an Arab nation, Oman. Oman is at the edgeof the Arabian Peninsula, both geographically and historically situated between EastAfrica and the Indian Ocean. Trade routes, frankincense, silverwork, Islam, a strategiclocation, and oil have connected it to the cultures of the Middle East, Africa, Asia, theMediterranean region, and beyond. Contemporary Omanis live poised between a longand rich past and a future they are in the midst of defining. New roads, hospitals, schools,businesses, high-tech occupations, and opportunities for women are developing alongsidetraditionally valued religion, family life, artistry, and architecture. Omanis are wellaware of the challenges of safeguarding their cultural heritage inan era ot globalization.The Festival program provides awonderful illustration of the approaches they have takenand enables American visitors and Omanis to engage in open, two-way interchange.During the Festival, the U.S. Department of Agriculture Forest Service celebratesits 100th anniversary. Programs in previous years have illustrated the traditions of WhiteHouse workers and of Smithsonian workers. This Festival examines the occupationalculture of Forest Service rangers, smokejumpers, scientists, tree doctors, and manyothers devoted to the health and preservation of our nation's forests. They are joinedby artists and workers from communities that depend upon the forests for their livelihoodor sustenance. The Festival offers a wonderful opportunity tor an active discussionof the significance of our national forests and rangelands to the American people.Food Culture USA examines the evolution of our nation's palate over the pastgeneration. New produce, new foods, new cooking techniques, and even new culinarycommunities have developed as a result of immigrant groups taking their placein our society, the riseof organic agriculture, and the growing celebrity ot ethnic andregional chefs on a national stage. A diversity ot growers, food inspectors, gardeners,educators, home cooks and prominent chefs share their knowledge and creativity asthey demonstrate the continuity and innovation in America's culinary culture.SMITHSONIAN FOLKLIFE FESTIVAL

We also continue our program in Latino music this year with a series of evening concerts.Last year's program drew many Latinos Co the National Mall, helping the Smithsonian reachout to amajor segment of the American population. Audiences were thrilled by the performances,aswere the musicians who presented their own cultural expressions and thus helpededucate their fellow citizens of the nation and the world. Smithsonian Folkways releasedrecordings ot three of the groups, and one later went on to be nominated for a Grammyaward. This year, Smithsonian Folkways will hopefully continue that tradition with additionaltalented musicians from New York, Washington, D.C., Chicago, Puerto Rico, and Mexico.The Festival has provided an amazingly successful means of presenting living cultural traditionsand has been used as a model for other states and nations. It has also inspired other majornational celebrations. Last year, the Festival's producer— the Center for Folklife and CulturalHeritage—organized two major benchmark events. Tribute to ¡i Generation: The National Worldllin // Reunion drew more than 100.000 veterans and members of the "greatest generation" tothe Mall to celebrate the dedication of anew national memorial. Through discussions, performances,interviews, oral histories, and the posting of messages on bulletin boards, members ofthat generation shared their stories with some 200,000 younger Americans. It was a stirringand memorable occasion. Months later, the Center organized the Native Nations Procession andFirst Americans Festival tor the grand opening of the National Museum of the American IndianThis constituted perhaps the largest and most diverse gathering of Native people in history,ashunts from Alaska and Canada marched down the Mall along with Suyas from the Amazonrainforest, Cheyennes marched with Hawaiians, Navajos with Hopis, to claim their respectedplace inthe hemisphere's long cultural history. Over the course of the six-day celebration,some 000,000 attended concerts, artistic demonstrations, dances, and other activities andlearned a great deal about the living cultural heritage of America's first inhabitants.The Festival and the other national events inspired by ithelp represent the cultural traditionsot diverse peoples of this nation and the world to a broad public. The Festival is a uniqueexperience, both educational and inspiring, and one 111 which you, as a visitor, are wholeheartedlywelcome to participate. Enjoy it!SMITHSONIAN FOLKLIFE FESTIVAL

COMMERCE FOR CULTUREFrom the Festival and Folkways to Smithsonian Global SoundRICHARD KURIN, DIRECTOR,SMITHSONIAN CENTER FOR FOLKLIFE AND CULTURAL HERITAGEOneof the amis of the Festival isto promote the continuity of diversegrassroots, community-based traditions of Americans and people ofother countries. To do this, the Festival relies upon several methods[9]that demonstrate the value ot such cultural traditions. First, theSmithsonian invites members ot regional, ethnic, and occupationalcommunities to illustrate their artistry, skill, and knowledge at the Festival on theNational Mall. The symbolicvalue ot the setting and theinvitation by the nationalmuseum help convey theprestige accorded to the traditionand its practitioners.Second, we place Festivalparticipants in the positions ofteachers, demonstrators, andexemplars of the tradition.Providing astage for participantsto address their fellowcountrymen or citizens ot theworld m a dignified way onthe salient issues bearing ontheir cultural survival not onlyhelps visitors learn directlyabout the culture but alsoengenders aprofound respectfor it. Additionally, the officials,crowds, and publicity attendingthe Festival signal that theCraftspeople and artisans sell their goods at the Haitian Marketat the 2004 Festival, bringing much-needed income back home.prestige and respect are widespreadand important. Finally,commerce too plays a role. It Festival visitors buy food, music, crafts, and booksitshows that they value the culture produced by participants and members ottheir communities. Commerce has always been part ot the Festivaland part otour larger strategy to encourage the continuity of diverse cultural traditions.SMITHSONIAN FOLKLIFE FESTIVAL

Culture and CommerceCommerce has been intimately connected toculture for tens of thousands of years. Longbefore the invention of nations and money,to the importance of commerce in culturalproduction. As Food Culture USA illustrates, thephenomenon of commercial cultural exchangeisnot just a thing of the past. American culinaryand even before humans had settled invillagesculture has been immeasurably enriched byand cultivated crops, communities traded andimmigrants arriving over the last four decades.exchanged foodstuffs, stone tools, and valuableTheir presence has resulted innew foods, new10]minerals. Since then, no single people, country,or community has bv itself invented anew allof itsfusions, and new adaptations, as well as the growthof small businesses Family-owned restaurantsbecome centers of continuing cultural expréscultural products. Rather, cultures everywherehave depended upon an infusion of foods,sion, extending culinary traditions while atthematerial goods, songs and stones, inventionssame time helping promulgate new "tastes" forand ideas from others. So main1of the thingscustomers and neighbors. Similarly, Latino musicwe associate with particular cultures— tomatoeshas found vitality in contemporary America,with Italians, paper with Europeans, chiliswithnot only within its home community but alsoIndians, automobiles with fapanese, freedomwithin a larger market. That market has ensuredand democracy with Americans—areactu-new audiences and anew generation of musi-ally results of intercultural exchange. Much ofit has been of a commercial nature—whetherby barter or sale, borrowing or theft, donecians gaming broad recognition and attendanteconomic benefits. The cultural traditionsevident in and surrounding our forests are alsofairlyor through exploitation. Of course notbound up with economic relationships I oggers,all commercial exchange is tor the good.Sometimes commerce has led to the commodificationof things that should not be assignedmonetary or exchange value, eg .people, ashas been the case with slavery and human trafficking.Other items subject to commercialforesters, scientists, conservationists, artists, andothers are engaged in efforts to both exploit theforests commercially as well as preserve themCommerce is not only inherent in culturaltraditions featured at the Festival but also is partof its very structure. It has been so since theexi hinge—arms and drugs, for example—maybeginning. Ralph Rmzler, the Festival'sfoundinghave terrible, deleterious effects. Still, whilethere may be main' reasons to create andproduce goods and services— utility, tradition,prestige, and pleasure among them— exchangevalue certainly provides an incentive to do so.Commerce inand at the FestivalThe link between culture and commerceisamply illustrated at the Festival tins year.Many Omani traditions arise from an activeeconomy that connects the desert, oasis, andsea, and also connects C 'man to eastern Africa,India, the Middle East, and the Mediterranean.Frankincense, silver, jewelry, and the amazingboats— the dhows—that transported them, pointdirector, came to the Smithsonian from theNewport Folk Festival, where he encouragedmusicians and artisans to find new audiences andsources of income tor their art. Rmzler recognizedthat musicians had to make a living. Inn;oos he produced several albums for FolkwaysRecords and managed traditional music iconsDoc Watson and Dill Monroe. He thought thattheir skill and repertoire deserved attention andmerited commercial reward and appreciationFhe same impulse led him to team up withpotter N.mcN Sweezy and Scottish weaverNorman Kennedy to start Country Roads mCambridge, Massachusetts. This enterprise soldthe weavings, woodcarvings, baskets, ,\nd othertheSMITHSONIAN FOLKLIFE FESTIVAL

[ii]The food concession for the Mela at the 1985 Festival increased the popularity of Indian cuisine in theWashington, DC, metropolitan area and led to many restaurants, among them Bombay Bistro andIndique, which are directly operated by personnel associated with the 1985 program.crafts oftradition.il artisans and also aided manySouthern potteries, like Jugtown, to gam renewedand expanded commercial viability. As Festivaldirector, Rmzler would rent a truck, pick upcrafts from Appalachia, sell them on the Mall, andreturn money and respect to regional craftspeople.We continue this practice at the Festival,selling participants' crafts in our Marketplace ata very low mark-up. The idea is to encouragecraftsmanship by having audiences recognizeit as financially valuable. It is also why weDeveloping Commerce for CultureThe role of commerce m safeguarding diversecultural traditions is increasingly recognizedaround the world, particularly giventhe ascent ofwhat might be termed the"cultural economy."UNESCO, the UnitedNations Educational. Scientific, and CulturalOrganization, is currently developing a newinternational treaty on the topic tor considerationby its General Assembly in October 200s.The draft convention addresses the issue ofencourage musicians to selltheir recordings,cultural survival inthe face of globalizationcooks to sell their cookbooks, and so on. And itiswhy we select restaurateurs or caterers fromthe communities featured at the Festival tooperate food concessions and serve a culturallyappropriate menu. We are fostering exposureand knowledge for an important aspect ofculture, and also supporting the continuity ofpractice for those who carry these traditions.Itrecognizes the immense commercial value ofcultural products of varied types—from songsto books, from fashion motifs to films. Amongthe many positive provisions to encouragea diversity of cultural activity, it would alsoallow nations to make policies to restrict theln-flow of cultural goods and services thatmight jeopardize their own threatened orSMITHSONIAN FOLKLIFE FESTIVAL

endangered cultural traditions. The treaty offers.1 means oí gaming an exception from freeot cultural products between societies, orinvest the responsibility for cultural creation mtrade policies, thus increasing the commer-government agencies, itseems quite sensiblecialbenefits to homegrown cultural productsto marshal resources, invest inlocal cultural1-1while restricting cultural imports. For some,this particular provision is a legitimate way toprotect the diversity of national culture frommassive globalization. For others, it is a meansot limiting the tree flow of goods, services,and ideas through misguided protectionism.capacity building, encourage the developmentot cultural industries, and support amore robust, diversified world cultural market.Examples ot contemporary homegrowncultural industries abound. The Indian filmindustry, Bollywood, which at first imitatedHollywood, has developed itsown styles andThe motivation for the draft conventionis understandable, as local and regionalsocieties find themselves overrun \\ nliwidespread c ommercial success. Worldwide,Chinese restaurants, initiated and staffedproducts created and distributed by aglobal.by diasporic communities, tar outnumbercommercially produced, mass culture to theperceived detriment ot their own. To some, themultinational corporations are the bad guyswhose appetite tor greater market penetrationmust be stopped by national governments. Toothers, those governments are the problem,as a tree market, albeit one dominated bymultinational corporations, is more hkcb topromote freedom ot choice and a better life.Between restrictive protectionism andlaissez-faire tree market economics is perhapsathird way, more akin to the approach historicallyenacted at and through the Festival. Thislocates agency in people and communitieswho themselves have the power to act,

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among others, to continue to develop the located in the museum world, the culturalWeb site's content. Shortly, other archives and heritage they represent is not something dead,institutions will be united to participate.or frozen, or stored away for the voyeuristicImportantly, the fact that artists benefit gaze ot tourists or the idiosyncratic interestfrom Smithsonian Global Sound is not lost ot scholars. Rather, we regard that heritage ason users. "I like the tact that artists get their something living, vital, and connected to thedue." offered one. This is an exciting moment identity and spirit ot contemporary peoples,wherein we tan help artists the world over all trying to make their way in a complicatedshare their know ledge and artistry with others, world today. Making that way takes mam things,contribute to ongoing cultural appreciationincluding money. To the extent that we can useand understanding, and secure needed income. commerce as a means tor people to continue toEven though the Festival, Smithsonianturn their experience into cultural expression.Folkways, and Smithsonian Global Sound are and benefit from it, the better ott we all will be.SMITHSONIAN FOLKLIFE FESTIVAL

1WELCOME TO THE 2005 FOLKLIFE FESTIVALDIANA PARKER, DIRECTOR, SMITHSONIAN FOLKLIFE FESTIVALhis summer marks the 39th time we have had the honor of bringing together people fromcommunities across the United States and around the world. The Festival has been calleda magical event, because when we bring together so many exemplary practitioners otcultural and occupational traditions, amazing things can happen. In order to make your|experience a memorable one, let me suggest some things we have learned over the years.Talk to the participants. The Festival is quite different from other Smithsonian exhibitions 111 thatthe artists are here for you to meet. Whether they are Omani embroiderers, bomba and plena musicians,smokejumpers or chefs, they are all accomplished artists. And you will probably not get a chance to learnfrom their like, face to face, ever again. They are the best in the world at what they do. and they haveagreed to come to share their knowledge with you. Don't let this opportunity pass you by.Read the signs and the program book. They can provide insights into the cultures you areexperiencing and the people you are meeting and help you ask questions. You will also rind schedulesand site maps that can help vou plan your visit. Finally, the program book listsand recordings that can expand your experience and knowledge.related activities, books,Pick up a family activities guide to help younger visitors participate in the Festival.Eachprogram has activities to help kids gam more from their Festival visit. A fun reward is available in each area toencourage young ones and help them take the experience home, where the learning can continue.Take your time. Listen and ask questions at the narrative stages. Join in a dance or a game. Take noteof a recipe from a cuisine that is new to you.Be aware of Festival visitors around you. Spaces near the front of music stages and food demonstrationareas have been reserved for the use of visitors in wheelchairs, and those reading sign-languageinterpreters. Please help us keep the spaces open for these visitors.Visit the Marketplace. The Festival is free, and the Marketplace helps support it as well as the workof traditional artists. Having traditional artists' work in your home can extend part ot the Festivalexperience year round. And be sure to visit the Smithsonian Global Sound tent too.Wear sunscreen and drink plenty of water. Washington summers can be brutal. Don't get soengrossed in the experience that you forget to take care of yourself. And itdn electrical storm arrives,leave the Mall immediately. Before 5:30 p.m., go into an adjacent museum; after that time, go downinto the Metro entrance. The Mall is a dangerous place in a lightning storm.Eat at Festival concessions. The food reflects the cultures presented at the Festival, and can expandyour culinary horizons. You may discover something you really love.Visit us in the off season. Go to our Web site, www.folklife.si.edu. Photographs, recipes, and activitiesfrom this year's Festival will be available. And please let us know what you think ot the Festival. We areconstantly striving to improve it, and your opinion matters to us. Thank youfor coming, and enjoy your visit.SMITHSONIAN FOLKLIFE FESTIVAL

FOOD CULTURE USACelebrating aCulinary RevolutionJOAN NATHAN[17]Inthe summer of 2001, when I was beginning to think about a FolklifeFestival program devoted to food, the Smithsonian's National Museum oíAmerican History added Julia Child's kitchen to its exhibits, alongside someof the country's icons such as Thomas Edison's light bulb and the first Teddybear. At the opening reception for the exhibit, guests were served not theFrench dishes that Julia introduced to the United States, but a stunning menu ofAmerican food including seared bison filet with pepper relish and pappadam, purpleCherokee tomato tartlet with goat cheese and herbs, and a local organic sweettomato tart with basil and ncotta gelato.This meal was a patchwork of healthy,natural, spicy foods from different cultures that we Americans have embracedin the forty years since Julia published her firstbook. While, in one sense, Julia Child's kitchenrepresented the popular American introductionto French cooking, the reception menu showedthat its counters, appliances, and utensils had alsocome to symbolize a series of broader trends—anincreased interest in the craft of food in generaland in foods that could be considered American.The decades following the publication ot JuliaChild's Mastering the Art of French Cooking in 1961and the debut of her television show were a timeof momentous change in American tood. Duringthose years, the introduction of ethnic and regionaldishes to the American palate had opened ourChef Janos Wildergathers a bounty ofradishes at a farmnear his Tucsonrestaurant. Like anincreasing numberof American chefs,Wilder works closelywith growers toensure that he hasthe freshest, besttastingingredients.mouths and minds to a broader array ot tastes; agrassroots movement for sustainability had returnedmany to the world of fresh, seasonal produceknown to their ancestors; and chefs and cooks hadbecome explorers and teachers of diverse traditionsin food. This period has been called the AmericanFood Revolution. Whatever it is, this is the besttime in history for American food. For those whoThis article is adapted fromJoan Nathan'sforthcomingThe New American Cooking (Alfred A. Knopf).

Workers harvest artichokes at Ocean Mist Farms in California American agriculture depends on the skillsof migrant laborers, who continue to struggle for economic rights and adequate working conditionstake the time to cook at home or to dine outin ethnic and independent restaurants, the foodisthought out and delicious. We have artisanalc heese makers, local organic farmers, even moregreat grocery and ethnic stores than most of usever dreamed of. The world is at our fingertips,and it is a pleasure to cook. The very nature ofAmerica has become global, and this is reflectedin our food. Chef Daniel Boulud calls today'scooking "world" cuisine. He is not very far offT his revolution has come at a time whenmuch ot the news about food is less encouraging.During a visit to the Missouri countryside,1 stopped m at a mega-supermarketin a small town surrounded by farmland. Tomy surprise, m the midst of fieldsof freshstrawberries and fish streams overflowing withtrout, I found that everything in the marketwas plastic and processed. 1 thought aboutthe author Barbara Kingsolver's comment,"Many adults. I'm convinced, believethat food comes from grocery stores."In a similar vein, my son 1 )avid, whendiscussing the "American" book on whichthis Festival program is based, s.nd that 1 haveto include Cheese Whiz and McDonald's.No, Idon't. We know about the downside ofAmerican food today—the growing powerot fastfood chains and agribusiness, peoplenot eatmg together as a family, food thatisdenatured, whole processed microwavemeals, and the TV couch potato syndrome.1 have instead focused on the positive. Inpreparation tor my forthcoming book. The NewAmanan Cooking, and the Festival 1 have crisscrossedthis country from California to Alaskaand Hawai'i to New England and have enteredkitchens, farms, processing plants, and restaurants,seeking out the recipes and the peoplewho have made American food what it is today.1 have tried to show a fair selection ot what1 have seen, interviewing people in 40 statesthroughout our great country. 1 have brokenbread in the homes of new immigrants suchas Hmongs of Minnesota and Ecuadoreans inNew [ersey. 1 have noticed how, at Thanksgiving,the turkey Atid stuffings have been enhancedby the diverse flavors now available in thiscountry. Accompanying the very Americanturkey or very American Tofurky will be springrolls, stuffed grape leaves, or oysters, all holidayfoods from an assortment of foreign lands.That is American food today.SMITHSONIAN FOLKLIFE FESTIVAL

varieties of cilantro, peppers, yams, epazote, andhoney melon; and cramped aisles with chestnutand ginger honeys as well as brisket cut for stirfry,fajitas, and Korean hot pots. In Newark'sIron District, once home to Portuguese immigrants,the demographics are changing. DuringLent, I visited the 75-year-old Popular FishMarket. Brazilian immigrants had their pick oteel. clams, corvina, frozen sardines, lobsters, andbaccalhau (dried cod) piled in wooden crateswith a sharp chopper at the end. so that shopperscould cut off the fish tails. At the foodconcession at the University of California atSan Diego students can choose among Pekingduck, barbecued pork, and Mexican wraps.In New York one can see pedestrians noshingon vegetarian soul food, Chinese Mexicanfood, and Vietnamese and Puerto Rican bagels.Brighton Beach, Brooklyn, has turned into aLittle Russia with Cyrillic writing in shopsand restaurants. Chinatown in New York Cityisrapidly swallowing up what used to be LittleItaly. This kaleidoscope is a portrait of Americatoday—ever changing, spicier, and more diverse.[19]DIVERSITYMore than at any other time in our history,America's food has become a constantly changingblend of native and foreign ingredients and techniquescoupled with the most amazing ingredientsof all—American ingenuity and energy. TheCivil Rights Movement spurred Americans toexplore their rich African-American and NativeAmerican traditions. In 196$ a new ImmigrationAct lifted the quotas on immigration trom mainnon-European countries, contributing to anincrease in immigrants trom Latin American,African, and Asian countries. People tromIndia, Thailand, Afghanistan, and Lebanonbrought their culture in the way of food.This unprecedented wave ot immigrationmade the United States more multicultural thanever before. The figures tell the story: in 1970,of the 4 percent of foreign-born Americans,half came from European countries. Between1990 and 2000, over 6.5 million new immigrantscame to this country, resulting 111 32percent of the growth in the total U.S. populationover the same period. At 11percent, theproportion of immigrants in the United Statespopulation is the highest it has been in sevendecades. Of these, half are from Latin America,and almost all the rest are from countries noteven mentioned in the 1970 U.S. Census,such as Vietnam, Thailand. Afghanistan, andThis diversity has led to interesting juxtapositions.The Asian lettuce wraps I ate at alunch break with Cambodian refugee farmworkers in Massachusetts I've also seen atChill's and Cheesecake Factories. In Lajolla,California, Mexican workers eat Chinesefood while making Japanese furniture. HomeLebanon. As Calvin Trillin aptly wrote inthecooks frequently integrate dishes from diverseNewYorker, "Ihave to say that some serioustraditions into their menus, making personaleaters think of the Immigration Act of [965 astheir very own Emancipation Proclamation."This increased cultural and ethnic diversitycan be found across the country. An hour's drivemodifications and adding their own uniquepersonality to traditional dishes. One resultis that an Indian mango cheesecake is now asAmerican as Southern pecan pie. In the West,from that Missouri supermarket and its packaged,hummus isnow often made with black beans.processed goods, on St. Louis's loop alongside aStarbucks café and beer and pizza joints, wereEthiopian, Japanese, Lebanese, Persian, andThai restaurants. This street, in the heartland ofAmerica, could have been 111 Washington, D.C.;Berkeley, California; or Boston, Massachusetts.The De Kalb Market in Atlanta and the WestSide Market in Cleveland are tilled with endlessFor my own family, Imake pasta withpesto and string beans one day, Moroccanchicken with olives and lemon another, andMexican fajitas still another. My family's"ethnic" dishes might have less bite than theywould in the Mexican or Thai community,but our meals are a far cry from those ot mychildhood, when each day of the week wasFOOD CULTURE USA

—assigned aparticular dish—meat loaf, lamb chops, fish, roastchicken, spaghetti and meatballs, roast beef, and tuna casserole.Italian-American Jimmy Andruzzi, aNew York fireman whosurvived the World Trade Center tragedy, isthe one who cooksAmerica's foodhas becomeaconstantlychanging blendoí native andforeign ingredientsand techniquescoupledwith the mostamazing ingredientsoí allAmerican ingenuityand energy.all the meals in his firehouse at 13th Street and Fourth Avenue.Unlike his mother's totally Italian recipes, his are more Italian-American and just American. He cooks in between calls for firesand bakes his mother's meatballs rather than frying them. AnIndian woman married to a Korean man living in WashingtonHeights, New York, is a vegetarian. She makes a not-so-traditionalgrilled cheese sandwich with chickpeas, tomatoes, and theIndian spice combination, garam másala. Because there is notmuch cheese 111 India and that used is not so tasty, the "sandwich"as it existed in India contained no cheese. Since immigratingto America, she has added cheddar cheese to her recipe.These diverse traditions haw also changed the way Americanseat on the run. Quesadillas, dosas, and empanadas are eaten quicklyby busy people. With mass production, thev have become everydayfood m this country." These were foods that took time, individuallymade, and are ironically harder to prepare at home but easierin mass production," said Bob Rosenberg, a food consultant andformer CEO of Dunkin' Donuts. for example, California-bornGary MacGurn of the East Hampton Chutney Company spent 12years in .\n ashram in India before opening a small carryout in EastHampton, New York Gary's paper-thin white lentil and rice-baseddosas, which he loved while living 111 India, are tilled with such"cross-cultural- American" ingredientsasbarbecued chicken, arugula,roasted asparagus, ami teta cheeseAt the same time, traditions persist.Delicious authentic [amaican rumcakes, perfected bv awoman amiher daughter who have not changedthen[amaican blend tor Americantastes, have more "kick" than thosefrequently eaten inthis country.While many people bring traditionalrecipes out tor special occasions, thiswoman features her [amaican ruincake at her restaurant 111 Brooklyn.Sally Chow cooks asteak, string bean,and tofu stir-fry inMississippiSMITHSONIAN FOLKLIFE FESTIVAL

GRASSROOTS SUSTAINABILITYSupplying the creative cooks, urban markets,and rows of ethnic restaurants are an expandinggroup of innovative growers. Over the lastfour decades, farmers such as Ohio's Lee Jonesand his Chef's Garden have pioneered newmodelsfor agriculture. During that period,for cultural, culinary, environmental, health,and economic reasons many diets, environmentalists,and growers became advocates[21for locally grown, seasonal, sustainable, andorganic food. Today, these models ot agriculturehave entered the mainstream throughgrocery stores, farmers markets, and restaurants,altering the American food landscape.The backdrop for this shift in growingmethods is the consolidation ot American agriculturefrom family farms to a corporate, chemicallybased commodity model. During the middleof the 20th century, the American family farmfellinto steep decline under pressure from .\nexpanding national food market. Chemical fertilizers,mechanization, and hybrid seeds engineeredto resist disease and increase vields allowed farmersto produce more food. Highway transportationFour Season Farm in Harborside, Maine.We allknow that Americans did not alwayshave such broad tastes. As one person told me, "1was so glad that there was intermarriage into myNew England family, because the food had toget better." No longer can a sociologist write asPaul Fussell did in his 1983 book Class:A Cuidethrough the American Status System, "Spicy effectsmade iteasier to ship food great distances withinthe United States. Combined, these factors tiltedAmerican agriculture to a commodity productionmodel that favored uniformity, transportability,and high yield. This model developed atthe expense of crop diversity and small-scale localproduction—more common modes ot agriculturethroughout the 1 Nth and [9th centuries.Over time, the commodity model shiftedreturn near the bottom of the status ladder,control from farmer to processor. With alargewhere 'ethnic' items begin to appear: 1'ohshnumber of tanners producing the same cropssausage, hot pickles and the like. This istheacross the country, processors— companies thatmain reason the middle class abjures such tastes,believing them associated with low people,non-Anglo-Saxon foreigners, recent immigrantsand such riff-raff, who can almost always beidentified by their fondness tor unambiguousturn corn into corn chips, tor example—hadmain suppliers from which to choose. Asfarmers achieved higher and higher yields, pricessank. This spurred a continual consolidationof farms as family farms went bankrupt underand un-genteel flavors." Today, Americans likethe strainof higher equipment costs and fallingithot (in varying degrees), and Asian stir-tryvegetables and rice are as American as grilledsteak, baked potatoes, and corn on the cob.commodity prices. Larger corporate farmscould sustain greater levels of capital investment111 machinery and survive on high volume.FOOD CULTURE USA

I--IPot Pie Farm manager Elizabeth Beggins sells organicvegetables, garlic, onions, herbs, and cut flowers atthe St. Michaels FreshFarm Market in Maryland.Hmong farmers are thriving, selling theirfresh produce at the Minneapolis andSt Paul farmers markets.Critics argued that while these largecorporate farms raising single commoditiesmight have been good at supplying singlecrops to faraway producers, they underminedrural ways of life, environmental quality, andfood diversity. Over the course of the secondhalf of the 20th century, more and moreAmericans have agreed. They have becomeand other herbs. In Maryland, West Africantanners grow chilis. With the number ot Asianimmigrants rising sharply 111 Massachusetts, theUniversity ot Massachusetts^ extension servicehas w uiked with tanners to ensure that vegetablestraditional to Cambodian. Chinese, and Thaidiets are available through local fanners markets.1 he organic farming movement is anotherincreasingly interested in a more diverse foodtrend that has played amajor role. The rootssupply and are more engaged in questioningwhat is retened to as their food chain—thepath their food travels from farm to table.ot modern organic tanning are 111 a holisticview ot agriculture inspired by British agronomistAlbert Howard, whose An AgriculturalSeveral trends have supported areturn toTestament conceived ot soil as a system thatdiversity and sustainability.The wave of recentimmigrants from countries around the worldhas brought their food-growing traditions tothe United States. Small-scale growers havesought new models of agriculture in order toremain economically viable and to promoteneeded to be built over time. Nutritional andgood-tastmg food would come from healthysi>il I loward's ideas were popularized in theUnited States in the middle of the 20th centuryby J.I.Rodale and his son Robert Rodalethrough their magazines and organic gardeningthe crop diversity on which the diverse dietsguides. In the[960s, the counterculture readoutlined above depend. The increased diversityof American food can be seen in crops that areplanted inhome gardens and on farms. In San1 )iego, ( 'alifornia, Vietnamese gardens coverfront lawns with banana trees, lemonerass,Rodale and saw organic tanning as a way toorganize society in harmony with nature and111 rebellion against industrial capitalism.At the same time, the Peace Corps andthe declining cost ot travel abroad "ave manySMITHSONIAN FOLKLIFE FESTIVAL

Americans a window onto cultures and foodways in tarawaycountries, leading them to question the distant relationshipbetween themselves and the growing ot their food. Like JuliaChild, others had become fascinated with French cooking whenliving in Paris. While Julia strove to demystify academic Frenchcooking for an American audience, Montessori-teacher-turnedchefAlice Waters brought French provincial traditions of buyingfresh ingredients locally and sitting down for leisurely mealsback to the United States. On her return from France, whereshe spent a year traveling, she opened the northern Californiarestaurant Chez Panisse. It became the center ot a movementto serve only locally grown, seasonal, sustainable food.By featuring new ingredients such as baby artichokes andcultivated wild mushrooms such as portabellos and shiitakeson cooking shows, in cookbooks, and in restaurants, chefs havebrought them to the attention of the public. When peopletaste them, they want to know how they can cook them andwhere they can find them. This newdemand helps to support more farms.Today, Ocean Mist and PhillipsMushrooms, tor example, cateringto customers' requests, have offeredthese products to the retail market.At the same time, local craftproduction began to flourish as artisansreturned to traditional methodsand consumers became increasinglyToday Americancheese is beingmade in boutiquecheese-makingplaces all overthe country—onthe farms whereanimals are milkedby hand—insmall batchesand by traditionalmethods..23.enamored of the tastes that result.In France you get French cheese. InEngland you get English cheese. InHolland you get Dutch cheese. TodayAmerican cheese is being made inboutique cheese-making places allover the country—on the farms whereanimals are milked by hand— in smallbatches and by traditional methods.Similarly, with boutique oliveoil makers sprouting up all overCalifornia, Americans no longer have to go to Italy for estatebottledextra-virgin olive oil. Although we have always hadSpanish olive oil, now we have American olive oilfrom Italianolives raised in California. Pomegranates, plump and red. andmangoes, in so many guises, once brought in from abroad forethnic populations, are now being grown in California andFlorida. And artisanal chocolate maker John Scharffenbergerisgiving European chocolates a run for their money.Andy and Mateo Kehler,cheese makers in Greensboro,Vermont, have approximately1 50 head of cattle from whichthey make their highly soughtaftercheeses. Mateo traveledthrough England, France,and Spain learning to makecheese from cheese masters.FOOD CULTURE USA

ISustainable farmers such as Eliot Coleman are proving that locally grown food is viable in allclimates. Here, Coleman harvests lettuce at his Four Season Farm in Harborside, MaineThe host of companies specializing in craftand sustainable production keeps expanding. Steve)emos, founder oí Silk Soy, started out makingsoy milk at a local fanners market in Boulder,< ni. irado. Michael Cohen started peddling tempeliin 1974 by a 25-year-old hippie and sixtunecollege dropout named |ohn Mackev.who opened the Safer Way, then one ot 25health food stores m Austin, Texas. Today,while most ot those other 24 health foodstores are defunct, Sater W.iv has grown intofor Lite Lite, abrand now owned by ConAgra. Henthe largest chain ot grocerystores with anCohen and [erry Greenfield propelled then peaceand love ice cream to the mainstream. StonyfieldFarm yogurt, Annie's Homegrown pasta, and( alitornia's Earthbound Farms all sell throughnational chains. ( lone are the days of unappetizingmacrobiotics, brown nee, and totu. A wholeindustry has arisen making veggie burgers andmeatless sausage and salami, Tofurkys tor vegetarianThanksgh ing dinners, and "not dogs" and "phonybaloncv" all out or soy. While 25 years ago healthconsciousness was the domain of the counterculture,and vegetarianism and food coops were a signot pacifism, today they have become mainstream.An increasing number ot companies andretailers have pioneered nationwide markets.organic slant in the country. Whole Foods,with [65 stores coast to coast, are in mainplaees where there is rarely a hippie in sight.The retailer is now the leading outlet foragrowing number of national brands thatshare the store's commitment to health andsustainability. Whole Foods has also spurredother supermarkets to stock their shelveswith a growing number ot organic products.This combination ot environmental stewardship,flavor, and health is quietly buildingup around the country in schools, neighborhoods,and cities. As globalism increases inour kitchens and supermarkets, there iscountervailing trend of people who want toa1 he health-food mass movement was startedsee what can be produced intheir area ot thecountry. Most people realize, ot course, thatSMITHSONIAN FOLKLIFE FESTIVAL

eet from totally or partially grass-fed cows.And we are starting to ask questions aboutthe way these animals were raised. Do theycome from a family farm? Are they fedorganically? What does "natural" mean'coffee and chocolate need warmer climatesthan America otters, but an increasing numberof them are looking regionally rather thannationally for food to eat. Farmers markets,schools, and chefs have been at the forefrontof thismovement. Eliot Coleman, forBut the move to sustainable growing goesexample, a farmer in Maine, has come up withan enclosed, natural environment in whichfurther, bridging community, environmentalresponsibility, and taste. As grower Lee Joneshe can raise foods all year long. Followingsaid at arecent summit on the American foodhis lead, restaurants like Stone Barns inPocantico Hills, New York, are using thesystem. Many college food services, spurredrevolution, "The best farmers are looking ata way to go beyond chemical-free agriculture,they are looking at adding flavor andby Alice Waters and others, serve local applesatimproving the nutrient content. They arein the tall, labeling the varieties. Collegefood service administrators are increasinglygoing back to farming as it was five generationsago. It's truly a renaissance—there is nowvisiting farms and farmers so that they canachance tor small family farms to survive asmake connections. The American Universityin Washington, D.C., for example, not onlypart of thisnew relationship with chefs."serves local cheeses, but its administratorsvisit the farms from which the cheeses come.American consumers are demandingagreater variety of food, and they want toknow where their food comes from andhow itwas produced. Today we can getEliza Maclean raises heritage Ossibaw pigs outsideof Chapel Hill, North Carolina. She is just one of anincreasing number of growers who are helping topreserve the biodiversity of American food.FOOD AS EDUCATION:PASSING IT ONWhen my mother started to cook, she usedthe Joy of Cooking and the Settlement Cookbook,period. Since increased diversity, sustainability,and craft production have brought enthusiasmand energy to American food, there has been anexplosion of information about food. Accordingto the Library of Congress, in the past 30 yearsthere have been over 3,000 "American" cookbookspublished, more than in the 200 previousyears. At the same time, the number of cookingshows has ballooned. In the early19x0s, betweentelevision and the discovery of chefs innewspapersand cookbooks, something was happening.The firefighters at one of Chicago's tirehousesand shrimp fishermen in the bayous of Louisianawouldn't miss [uliaChild's show for anything,except maybe a tire. It was only after shebrought American chets onto PBS that the FoodNetwork took oft with aseries ot chefs whowould become household names—WolfgangPuck, Emeril Lagasse, and Paul Prudhonime.Now, Americans tune in, buy their cookbooks,and then seek out their restaurants. Chefs haveclearly become both major celebrities and majorinfluences in the way many Americans cook.FOOD CULTURE USA

"IThe numberof programsdesignedfor childrenhas swelledin the pastdecade alone.However, Americans are learning about food traditions in other ways.Founded in Italy in [986, Slow Food was organized in response to thesense that the industrial values of tasttood were overwhelming food traditionsaround the globe. As restaurants like McDonald's entered markets,they torced producers into their system of production and standards. Thisreduced biodiversity, promoted commodity agriculture, and underminedhospitality. Slow Food, in contrast, would document traditions and biodiversityand work toward protecting and supporting them. The InternationalSlow Food movement now has over 83,000 members organized intonational organizations and local "convivía" that celebrate the diversity andculture of their local foods. Slow Food USA has recently partnered with anumber ot other organizations—American Livestock Breeds Conservancy,Center tor Sustainable Environments at NorthernoArizona• University, Chefs Collaborative, Cultural Conservancy,INative Seeds/SEARCH, and Seed Savers Exchange— inaprogram called Renewing America's Food Traditionsew(RAFT). RAFT aims to document traditions, produce.and animal breeds, and then help their growers to developnew markets so that they become economically viable.Farmers markets and produce stands giveconsumers direct contact with tanners, allowing themto ask questions and learn about what is in season.Personal relationships help to create acommunitybond between growers and eatersThere are alsoopportunities tor people to become more directl)invoked 111the growing ot their tood. Local farmscalled CSAs (community supported agriculture)that are supported by subscribers who pay moneytor .1portion ot the farm's produce and who alsowork periodically planting, weeding, and harvestinghelp people learn about the source ot their tood.rhe number ot programs designed tor children hasswelled inthe past decade alone. Probably the bestknownprogram is Alice Waters's The Edible Schoolyard111 Berkeley, California. Begun 111 1994. the programisdesigned to bring the community and experientialethos of the locally grown-sustainable movementto middle school students. Seeing tood ascentral toStudents harvest kale atbuilding individual health, fulfilling socialrelationships, and communityThe Edible Schoolyard inBerkeley, California, and(opposite) the WashingtonYouth Garden at theU.S. National Arboretumin Washington, DC.lite, The Edible Schoolyard teaches children to plan a garden, preparesoil, plant, grow and harvest crops, cook, serve, and eat— in its phrasing,food "from seed to table.'' Students collaborate in decision-making on allaspects ot the garden. Working closely with the Center for Ecoliteracy,The Edible Schoolyard teachers have been on the forefront ot designinga curriculum that can place food at the center ot academic subjectssuch as math, reading, and history in order to "rethink school lunch."SMITHSONIAN FOLKLIFE FESTIVAL

a27Similarly, the Culinary Vegetable Institutein Huron, Ohio, has launched Veggie U toeducate food professionals and the generalpublic about vegetable growing and cooking.Recently, it has developed a curriculum forschools that will soon be m Texas systems.The Center for Ecoliteracy has developed adetailed "how-to" guide for school systemsto follow in creating their own programs.Spoons Across America, sponsored by theAmerican Institute of Food and Wine andthe |ames Beard Foundation, sponsors DaysofTaste in schools across the country. Localprograms also abound. In Washington, D.C.,Brainfood teaches children about life skillsthrough food activities after school and duringthe summer. The Washington Youth Gardengives children from the Washington, D.C.,public schools hands-on experience gardeningand then cooking their harvest. Programslike these are growing across the country.Then, of course, there is the timehonoredway of passing traditions on in familykitchens and on family farms. Hopefully, manyof these more formal programs remind cooksand growers to explore their own family traditionsand the foodways of those around them.This food revolution is about growing andcooking traditions and their adaptation to newcircumstances. It is about finding—amid a landscapedominated by pre-packaged goods—closer association with processes such as soilpreparation, harvesting, and cooking thatprevious generations took for granted. And itan awareness oí what a meal is, and how mealtimeis a time to slow down, to listen, and tosavor food. Perhaps most importantly, it is aboutsharing these things—or passing them on.This sharing and understanding taketime that today's busy schedules frequentlydon't allow. However, many are realizingthat the richness of shared experiencesinvolving food is too precious to give up.Thev think about the taste of afresh carrotpulled from a garden on a summer atternoonor a meal savored with family and friends.The food revolution that we celebratelooks both backward and forward: backwardto long-held community traditions ingrowing, marketing, cooking, and eating;forward to innovations for making thesetraditions sustainable and passing them on tofuture generations. It depends on nurturinga physical environment that supports diversity;sustaining the know ledge needed tocultivate that biodiversity; and passing ontraditions of preparing and eating. Together,these traditions are the foundation otmuch of our shared human experience.Everyone has to eat; why not cat together?isFOOD CULTURE USA

.hadSALAD GREENS WITH GOAT CHEESE, PEARS, AND WALNUTSThis recipe comes from Joan Nathan's The New American Cooking,to be published in October 2005 by Alfred A. Knopf.One of the most appealing recipes to come out of Alice Waters's Chez Panisse Restaurantin Berkeley, California, is a salad of tiny mache topped with goat cheese. How revolutionarythis salad seemed to Americans in the 1 970s! How normal today.[28]Alice got her cheese from Laura Chenel, a Sebastopol, California, native who was trying to liveoff the grid,raising goats for milk. The same year Chez Panisse really caught on, Laura went toFrance to learn how to make authentic goat cheese. When she came back, she practiced whatshe had learned, and it wasn't long before a friend tasted her cheese and introduced her toAlice. "All of a sudden the demand was so great," Laura told me, "that Ito borrow milkfrom others." Beginning with its introduction at Alice's restaurant at the right moment in 1979,the goat cheese produced at Laura Chenel's Chevre, Inc., became a signature ingredient in thenewly emerging California Cuisine. Today, artisanal cheese (made by hand in small batcheswith traditional methods) and farmstead cheese (made on the farm where it is milked) makeup one of the largest food movements in the United States. Chevre, Inc., has become synonymouswith American chévre, and Laura stilltends her beloved herd of 500 goats herself.Vi cup walnuts1Preheat the oven to 3504. Spread some of the goat1 teaspoon Dijon mustard2 tablespoons balsamic vinegarVt teaspoon sugar2 tablespoons walnut oil2 tablespoons canolaor vegetable oilSalt and freshly groundpepper to taste2 ripe Bosc pears5 ounces goat cheese6 slices French bread,cut in thin rounds8 cups small salad greensdegrees. Spread out thewalnuts in a small bakingpan and toast them in theoven untillightly browned,5 to 7 minutes. Take thewalnuts out of the oven,but leave the oven on.2. Mix the mustard with thevinegar and Vi teaspoon ofsugar in a large salad bowl.Slowly whisk in the walnutand canola or vegetableoil.Season with salt andpepper to taste. Set aside.3. Cut 1 pear into thinrounds. Peel and corethe second pear, slice itinhalf lengthwise, andcut into thin strips.cheese on the rounds ofFrench bread and top witha pear round. Then spreadsome more cheese on topof the pear. Bake in theoven a few minutes, untilthe cheese has melted.5. While the cheese is baking,add the salad greens tothe salad bowl with thethin pear slices and tossgently to mix. Divide thesalad among 6 to 8 plates.6. Place the hot pear-cheeserounds on top of thegreens, scattering thewalnuts around and serve.Yield: 6-8 servingsSMITHSONIAN FOLKLIFE FESTIVAL

. 2001SUGGESTED READINGBelasco, Warren. 1989. Appetitefor Change:How the Counterculture Took over the Food Industry,1966-1988. New York: Pantheon Books.Brenner, Leslie. 1999. American Appetite:TheComing ofAge of a Cuisine. New York: Avon Bard.Fitch, Noel Riley. 1997. Appetite for Life:Tlie Biography oj Julia Child. New York:Doubleday.Franey, Pierre. 1994. A Chef's Tale:A Memoir of Food, France, ami America.New York: Alfred A. Knopf.Gabaccia, Donna R. 1998.We Are Wliat WeEat: Ethnic Food and the Making oj Americans.Cambridge, Mass.: Harvard University Press.Halweil. Brian. 2004. Eat Here: ReclaimingHomegrown Pleasures in a GlobalSupermarket. New York: WW. Norton.Hess, John L., and Karen Hess. 1997. TheTasteof America. New York: Grossman Publishers.Schneider, Elizabeth. 1998. UncommonFruits & Vegetables:A CommonsenseGuide. New York: William Morrow.to. I egetables from AmaranthZucchini:The Essential Reference. NewYork: Morrow Cookbooks.Trager, James. 1995. The Food Chronology: A FoodLover's Compendium oj Events and Anecdotes fromPrehistory to the Present. New York: Henry Holt.JOAN N AT HAN, guest curator of Food CultureUSA, is the author ot numerous cookbooks,including Jewish Cooking in America, which wonboth the James Beard Award and the IACP/JuliaChild Cookbook of the Year Award. She has beeninvolved with the Smithsonian Folklife Festival asa presenter, participant, and researcher for over 25years. The Food Culture USA program is inspiredby the research she conducted for her cookbook,Tlie New American Cooking (Alfred A. Knopf,October 2005).All photographs courtesy ofJoan Nathanunless noted otherwise.[29]Lappé, Francis Moore. 1971. Diet for a SmallPlanet. New York: Ballantine Books.Oldenberg, Ray. 1989. The Great GoodPlace: Cafés, Coffee Shops, CommunityCenters, Beauty Parlors, General Stores, Bars,Hangouts, and How They Get Yon Throughthe Day. New York: Paragon House.\'PW^IPollan, Michael. 2001. The Botanyof Desire: A Plant's Eye I lew of theWorld.New York: Random House.Reardon.Joan. 1994. M.F.K. Fisher, JuliaChild, and Alice Waters: Celebrating the Pleasuresof thcTable. New York: Harmony Books.Schlosser, Eric. 2001. Fast Food Nation:The Dark Side of the Ail-American Meal.New York: Houehton Mifflin.FOOD CULTURE USA

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FOREST SERVICE, CULTURE,AND COMMUNITYTERESA HAUGH AND JAMES I.DEUTSCHMurray was in the fifth grade,WhenLezlieshe took a class outing to the nearby[3iGifíbrd Pinchot National Forest insouthwestern Washington State. "My bestfriend's father was a ranger, and he tookour class out into the forest and talked to us about the treesand everything that was a part of that environment. It reallystuck with me." Now an interpretive naturalist and director otthe Begich, Boggs Visitor Center at Portage Glacier m Alaska'sChugach National Forest, Murray has always cherished thatearly turning point in her life. "Every day I pinch nvyselt whenI get up," she explains. "I'm in the most beautiful place in theworld. I'vedone a lot of traveling, soIcan say that and really mean it."In many ways, Murray's story isnot unusual for those who live andwork in the forests, whether publicor private, m the United States.Growing up near a forest, or havingarelative who has worked outdoorswith natural resources, seems toinfluence one's choice of career path.Take, for example, Kirby Matthew,a fourth-generation Montanan whogrew up near the Trout Creek RangerStation in Montana's KootenaiNational Forest. His father workedas a logger and then with the ForestService, so it was natural tor Kirbyhimself to enter the Forest Service,where he has "a history." He nowworks for the Forest Service'sHistoric Building PreservationTeam in Missoula, Montana.Lezlie Murray leads a group ofvisitors on a trail to Rainbow Falls inAlaska's Tongass National Forest.

—3 3]OCCUPATIONAL CULTUREThe 2005 Smithsonian Folklife Festival programForest Service,Culture, and Community presentsoccupational traditions from the USDAForest Service, an organization celebratingits centennial, as well as other forest-dependenttraditions from the cultural communitiesit serves. Approximately too participantsare on the National Mall to share their skills,experiences, and traditions with membersof" the public; they include tree pathologists,wildlife biologists, landscape architects,historic horticulturalists, botanists, bird banders,archaeologists, environmental engineers, firefighters,smokejumpers. recreation specialists,backcountrv rangers, wooden vers, basketmakers, quilters, instrument makers, musicians,poets, storytellers, and camp cooks.Forest Service,Culture, and Community buildsupon previous Folklife Festival programs thathave examined occupational traditions, suchas American Trial Lawyers in [986, Wliite HouseWorkers in 1992, Working ¡11 the Smithsonian in[996, and Masters oj the Building Arts in 2001.Every occupational group including cowboys,factor) workers, farmers, firefighters, loggers,miners, oil workers, railroaders, security officers,even students and teachers—has itsowntraditions, which may have a variety of forms.One such form is the use oí a specializedvocabulary. For instance, city doctorsmay refer to malingering hospital patientsKennebec River in central Maine; pranks andjokes, which are often directed at the newestrookie; stones and personal remembrancesntwork incidents or characters; and a wideassortment ot customs and superstitions. Whattolklonsts at the Smithsonian try to understand,as they identify and ask questions aboutdifferent occupational traditions, are the skills,specialized knowledge, and codes of behaviorthat distinguish a particular occupationalgroup and meet its needs as a community.Another way ot looking at occupationalculture is to see it as a part ot a particularcompany, agency, or organization. As [amesQ. Wilson observes, "Every organization hasa culture, that is, a persistent, patterned wayof thinking about the central tasks of andhuman relationships within an organization.Culture is to an organization what personalityis to an individual. Like human culturegenerally, it is passed on from one generationto the next. It changes slowly, if at all."The tooth anniversary of the USDA ForestService in 2005 provides a splendid opportunityfor understanding and appreciating itsorganizational and occupational cultures.The occupational culture of theUSDA Fotest Service is representedby a diverse group of workers.as gomers,perhaps an acronym for "(let Outot My Emergency Room"; loggers intheNorthwest refer to blackberry ¡am as beatsignand hotcakes as saddle blankets; and academicsrefer to then' doctoral degree astheir union card,and books as tools of the trade, as if to suggestthat their ivory-tower realm has the same rigorand robust organization asthe factory floor.Inother cases, occupational traditions takethe form of specialized tools, gear, and clothingworn by members ot the occupational group;ballads and folk songs, such as "The [am onGerry's Rock," which tells oi a tragic accidentthatoccurred when floating logs jammed on theSMITHSONIAN FOLKLIFE FESTIVAL

FOREST SERVICE HISTORYThe origins of the Forest Service go back to themid- to late 19th century, when natural resourceswere in high demand throughout the country.Homesteaders wanted land, miners wantedminerals, and everyone wanted timber. Peopleoften took what they wanted with little regardfor the impact on the environment or for thefuture state of our natural resources. However, in1891, realizing the need tor greater control over3 3our forests, the U.S. Congress passed the ForestReserve Act, which authorized the President toestablish forested public lands in reserves thatwould be managed by the General Land Office(GLO) in the Department of the Interior.One of the first employees of the GLO wasGifford Pinchot (1865— 194.6), a Yale graduatewho not only had studied forestry inFranceand Germany but was also a personal friend ofPresident Theodore Roosevelt. (Pinchot was tobecome the namesake for the national forest that[960s.)Believing that professional foresters in thenaturalist Lezlie Murray visited in theDepartment of Agriculture and the forests theycared for should both be part of the same federalagency, Pinchot convinced Roosevelt in 1905 toapprove the transfer of the forest reserves fromthe Department of the Interior's GLO to theDepartment of Agriculture's Bureau of Forestry.As a result of this Transfer Act, 63 million acresof land and 500 employees moved to the USDA,and a corps of trained foresters was assignedthe work of conserving America's forests, withGifford Pinchot as the first Forest Service Chief.On July 1, [905, the Bureau of Forestry wasrenamed the Forest Service, because Pinchotbelieved the new title better reflected themission of the agency as being one of service.From 1905 to 1907, in spite of oppositionfrom local governments and the timberindustry, Pinchot and Roosevelt added millionsof acres to the forest reserves. Congress reactedin1907 by passing an amendment to theagricultural appropriations bill, taking awayfrom the President the power to create forestreserves and giving it instead to Congress. InAccording to Gifford Pinchot, first Chief of theForest Service,"Our responsibility to the Nation isto be more than careful stewards of the land; wemust be constant catalysts for positive change."that amendment, forest reserves were renamednational forests,leaving no doubt that forestswere meant to be used and not preserved.While most of the new national forestswere in the West, the passage of the Weeks Act111 1911 allowed for the acquisition of lands inthe East to protect the headwaters of navigablestreams. With that, the National Forest systembecame more environmentally diverse. BecausePinchot was convinced that the people who haddecision-making powers over forests should livenear the lands they managed, the Forest Serviceset up district offices 111 California, Colorado,Montana, New Mexico, Oregon, and Utah.Forest supervisors and rangers were given adegree of flexibility with their finances, and theybecame the voice of the Forest Service in thelocal communities. Later, districts were added torAlaska, Arkansas, Florida, and the Eastern states.Today, in 2005, the National Forest systemincludes isS national forests and 20 nationalgrasslands, and it encompasses 193 million acresof land m 42 states, the U.S. Virgin Islands, andPuerto Rico. This total acreage (roughly 300,000square miles) is larger than the entire state ofTexas, and comparable in size to the states ofNew York, Pennsylvania, Ohio. Indiana, Illinois,and Wisconsin combined. With nearly 38,000FOREST SERVICE, CULTURE, AND COMMUNITY

employees, the USDA Forest Serviceislarger than any other land-managementagency, including the Bureau ofLand Management (roughly 11,000employees), National Park Service(roughly 20,000 employees), and Fishand Wildlife Service (roughly 9,000employees), alloí which are part ofthe Department of the Interior.THE STATUS OF THE NATIONALFOREST SYSTEM TODAYFor the past100 years, the missionof the Forest Service has often beendescribed inPinchot's words as conservationfoinumbei 111the greatest good oj the greatestthe long run. However, theidea oí what is the greatest good canchange. Accordingly, the Forest Servicehas had to deal with many stronglyheld opinions about how nationalforests should be managed and used.Employing a concept of multiple use,and thus differentiating itself fromother land management agencies, theForest Service has tried over the yearsto accommodate awide variety ofuses for the forests and grasslands itmanages: timber, grazing, recreation,wildlife, and watershed protection.The relative value of extractingresources from national forests oftenchanges with current national events.For instance, after World War IF thedemand tor wood surged as AmericanGIs returning from the war needednew housing for their families andasthe United States was helping torebuild [apan.As a result, the ForestService was pressured to exchangeolder, slow -growing timber standstor younger, taster-growing trees.Golden Aspen trees in Idaho'sSawtooth National Forest.SMITHSONIAN FOLKLIFE FESTIVAL

[35]A forest ranger in 1910 poses while carrying hisheavy equipment load. After passing a writtenexamination, rangers had to endure hardships andperform labor under trying conditions.In1919 Helen Dowe was one of the earlyfire lookouts in Colorado's Pike NationalForest, scanning the landscape for smokeand signs of fire belowWood and other forest products are stillin demand, and the Forest Service mustsearch for the best ways to balance social,economic, and ecological demands.The forests have additional value ashomes to countless species of fish, birds,other wildlife, and plants, some ot which arethreatened or endangered. Forest Serviceemployees must look tor ways to protecthabitat while providing places for the publicto view plants and wildlife with minimal environmentalimpact. Fresh water from nationalforests and grasslands teeds into hundredsot municipal watersheds across the country,thereby providing clean drinking water tonearly do million people. And as the nationbecomes increasingly urban, people look totheir national forests as places tor fun andrecreation. They want somewhere they cancamp and hike, breathe fresh air, sit underORIGINAL FOREST RANGERSON THE JOBAs the multiple-use mission ot the agencyevolved, so did the Forest Service workforce.In the newly minted Forest Service ot 1905.allemployees were men. Rangers were custodiansof the land and proudly donned newuniforms with Forest Service shields, rodeon horses, carried guns, and wore hats. Theywere paid $60 per month and had to furnishtheir own equipment and pack animals.To be hired as .1 forest ranger, a man hadto have both scientific knowledge and practicalskills. He had to know about forestry, ranching.livestock, lumbering, mapping, and cabin building.In addition, he had to demonstrate that he couldsaddle and ride a horse, pack a mule, use a compass,and shoot a rifle. Some applicants were evenasked to cook a meal. In 1905, all Forest Servicethe shade ot trees, and listento birds sine.regulations could be contained 111 a single 142-FOREST SERVICE, CULTURE, AND COMMUNITY

I[3 6]page book, which could fit in the rangers shirtpocket. By contrast, todays Forest Service manualstillmany bookshelves and computer disks.In the early days, forest rangers and thenfamilies lived in isolated places. They wentwhere they were assigned, often on shortnotice. Their wives cooked, kept watch infirelookout towers, and took care of any visitorswho showed up at the doorstep (the ranger'shouse was usually the last one at the end of avery long road). Families learned to be selfsufficient,manage without electricity, and enjo)the adventure of living close to the land. Manychildren grew up believing this way of life wasthe norm, and learned to love and appreciate theoutdoors. The forest ranger by necessity becamepart of the community where he lived. Theranger developed working relationships withthe local ranchers, loggers, hunters, and fishermen.He was responsible for enforcing rules,issuing permits, and maintaining boundaries.The roles played by these early forest rangersforeshadowed the organizational culture andstructure of the agency we see today. In the 2 1stcentury, regional foresters, forest supervisors, anddistrict rangers are vences of authority in localcommunities, and are supported by a diverseworkforce ot men and women that includeswildlife biologists, fishery biologists, hydrologists,mineral experts, engineers, researchers, ecologies,forest planners, computer programmers,entomologists, firefighters, and other specialistsFORESTRY—GROWING TREESUnlike some other natural resources that areused once and then lost, forests are entitiesthat live and breathe, and can be renewed.Forest ecosystems can be maintained throughgood management, making the best use ofscientific research, such as ensuring naturalregeneration or planting seedlings to replacethe trees that have burned or have been cut.Professionalforesters use mam tools inmaintaining forest health. For example, theytake core samples and count annual ringsto help them understand how old a tree is,and to get a glimpse of the tree's life cycle.Foresters study how crowded trees are. howmuch undergrowth is present, and what kindof wildlife is dependent on the local habitat. AsSaul Irvin.a ranger with the florida DivisionotForestry, explains, "We plant trees, we marktrees, we control burn [intentionally settinga fire for prescribed purposes], we do everythingit takes to keep the forest growing."After a fire in 1936 in Montana's Lolo NationalForest, workers re-planted Ponderosa Pinetrees in an effort to rehabilitate the forest.CONTROLLING FIRESAt the beginning of the 20th century, manyprofessional foresters were trained 111 Europe,winch did not prepare them for the monumentaltiresthat used to sweep the NorthAmerican continent. Early settlers tendedto let large fires burn to clear the land forgrazing, but. as populations increased, peoplestarted looking at the threat of fire in adifferent way, and the control of tires becameamajor part of the Forest Service's work.After a million-acre tire in Washingtonand Oregon claimed 38 lives 111 1902. theForest Service became more systematic mits approach. It stationed people in lookouttowers, hired firefighters, and after World War Ihired Army pilots to spot firesfrom the air.he Civilian Conservation Corps was enlistedSMITHSONIAN FOLKLIFE FESTIVAL

. . [The[3 7]Fully suited, these smokejumpers in 1952 practice parachute-steeringmaneuvers while also strengthening their arm and shoulder muscles.during the 1930s to tight fires throughoutthe West. In1940, Rufus Robinson and EarlCooley became the world's first smokejumpers,parachuting into Idaho's Nez Perce NationalForest. Today, airplanes and helicopters drop notonly firefighters and equipment on tire linesbut also water and tire-retardant chemicals.Forest Service researchers are very proactivein studying fire and how it affects forestsm the long run. They consider whether it isbetter to stop firesfireor let them burn and howmight actually improve wildlife habitatand encourage the growth ot new trees. Fireresearchers manage torests to make them moreresilient to wildfire by removing underbrushand excess trees that literally add fuel to the tire.Sometimes they even use tire as a prescriptionto restore health to a forest that is overgrownor has the potential to burn out ot control.The history ot fire prevention intheForest Service is as old as the agency. Formany employees, their first job was keepinga 360 o vigil from a tire lookout tower, oftenspending their days m solitude. While lookoutsdo have contact with the outside world, theyhave had to find ways to fill their time. Theymight be found playing the guitar, writinga novel, or even riding an exercise bike.Donna Ashworth of Arizona has spent 26consecutive seasons on lookout tower duty.Ashworth doesn't feel alone when she ism the lookout tower, however, because she issittingconnected to others via radio. She describes herjob poetically:"! never get tired of it. It's alwaysbeauty. It's always the drama in the skyI live m the air. I can see 60, So. 100 miles."Ot course, lookouts are only onepart of the fire workforce. Others, suchas smokejumpers and firefighters, experiencefire from a very different perspective.As Kelly Esterbrook, a former smokejumperfrom Oregon, observes, "You definitelyhave to like to be physical. You just don'tget through the training program if youdon't enjov it. You have to like adventure.It's probably the best job I've ever had."Firefighters enjoy the challenge and thecamaraderie of the work. Linda Wadleigh. .1fire ecologist from Flagstaff, Arizona, beganas a forester but ended up as a firefighter.Wadleigh recalls, "Here I was a forestry major,and I decided I had a real love for fire. I wasraised a forester, but I was baptized in tire."She describes firefighting as compelling."Being called on a fire is one ot the strangestexperiences. .love ot tiretightmg] isa genetic disorder. . . . Once you smell thesmoke, it brines out the flaw in your DNA."FOREST SERVICE, CULTURE, AND COMMUNITY

ká.!i- .>!mKPA backpacker sets up camp at Buck Creek Pass in the Glacier Peak Wilderness of Washington's OkanoganNational Forest There are more than 450 trails here, and most are not completely snow free until mid-August.HIMANAGING RANGELANDSIn addition to protecting forests and rightingtires, the Forest Service also oversees themanagement ofrangelands and grasslands.Ranchers depend on Forest Service grazingpenults to provide forage for then cattleand livestock. The Forest Service works tomeet the needs of the ram hers, while at thesame time insuring that rangelands remainhealthy and available to future generations.Ranchers are not the only ones who enjo)what national grasslands provide. Visitorscome tor hiking, hiking, camping, hunting,fishing, and canoeing. The scenic beauty ofnational grasslands is an inspiration to photographers, birdwatchers, and Sunday drivers.Wildlife enthusiasts visit to catch a glimpseof vvhitetail deer, prairie dogs, prairiechickens, grouse, and butterflies.Managers have long realized that the wellbeingof forests and grasslands depends largelyon the health of the soil and the presenceof water. To grow plants and trees, they looktor vvavs to maintain healthy soil, match theright species to the soil, and prevent erosion.Especially in more arid areas of the West, theamount of rainfall is vital. Chuck Milner. arange specialist m Oklahoma's Black KettleRanger 1 )istrict, notes how "w hen it rams,everybody looks smart; when it doesn'tram, then you can't do anything right."SMITHSONIAN FOLKLIFE FESTIVAL

PROTECTING WILDLIFE HABITATSForest Service wildlife k>iologists are concerned with careful managementand conservation practices, and their efforts have broughtspecies like whitetail deer and wild turkeys back from the brink ofextinction. Wildlife biologists also deal with the concept of multipleuse, trying to balance public demand tor hunting opportunities withthe desires of others who prefer to watch or photograph animals intheir natural environment.Wildlife biologists consider it imperative to look at an ecosystemas a whole. Jame Agyagos from the Red Rock Ranger District inSedona, Arizona, avoids over-specialization. "The beauty of thejob is not becoming too focused and honed in on one species,but learning a little bit about everything around you."The importantaspects of her work are '"recognizing when there's a breakin the link somewhere, how our activities might be affecting theworkings of the system, and how we can change our managementto bring those workings back to their proper condition."Wildlife biologists work to increase their knowledge of wetlandhabitats, of the different species that depend on dead and dying trees,of the effects of fire on wildlife habitat, and of the crucial role playedby old-growth trees. Biologists use tree thinning and tree planting asways to increase the food supply forwildlife. They study questions such ashow owls depend on old-growth treespecies and how migrating salmon arcaffected by sediment and temperaturein streams. Their work isvitalbecause national forests and grasslandsprovide 80 percent of the habitat forelk, bighorn sheep, and mountaingoats 111 the continental 4s states, aswell as 12 million acres of waterfowl'The beauty ofthe job is notbecoming toofocused andhoned in onone species,but learning alittle bit abouteverythingaround you."Janie Agyagos3 9Jhabitat, 2.Smillion acres of wild turkeyhabitat, and habutat for 250 speciesof Neotropical migratory birds.The Nootropics are the region ofthe New World that stretches southwardfrom the Tropic of CancerForest Service researchers work tomaintain healthy habitats for bothplant and animal species.FOREST SERVICE, CULTURE, AND COMMUNITY

--^i'liunterw eight jihI ...itl jibAAAAAAAAAAAAAAÁÁAAAAAAyWVWWX,[40]The leafy tops of tall trees in an old-growth forest form a canopy, a nurturing shelter for the life below Canopycranes allow scientists to research this hard-to-reach environment. There are currently 10 canopy cranes aroundthe world, but the Wind River Canopy Crane in Washington State is the tallest at 282 feet, and covers six acresunder its swing. Illustration by Bob Van Pelt, courtesy Wind River Canopy Crane Research FacilityTREE DOCTORSMany Forest Service scientists arc ac tivcbinvolved in research to promote the health oítrees and other plants, covering the fields ofbotany, chemistry, ecology, silviculture, plantand animal interactions, vegetation dynamics,invasive plants, insect population, and moleculargenetics These researchers often act as treedoctors, tackling threats to plants and trees innational forests and grasslands, and employinga variety of tools. |ust as your personal physi-( 1 .1 1 1 has to look at your entire body and lifestyleto understand your health problems, treedoctors need to look at the forest as a whole.For example, the Pacific NorthwestResearch Station and GifFord Pinchot NationalI orest work 111 partnership with the Universityof Washington to conduct research at the WindRiver Canopy Crane. From the gondola of a250-toot (25-story) crane, employees such asKick Meinzer and David Shaw conduct experiments111 the canopies ot trees as tall as 220 feet.They look at the place where the forest is opento the sky, because that's where trees bud andphotosynthesis occurs. Scientists study the effectot lichens and fungi, and measure the effectsof pollutants on trees. For Meinzer, the canopycrane provides an opportunity for understandinghow plants work. "A lot ot people tend to regardplants as inert objects, and they're surprisedthey have aphysiology. But when you reallyget into it. it's amazing how complex and howintegrated plants are. That's what fascinates me."DEVELOPING FOREST PRODUCTSScientific research often contributes to thedevelopment ot new forest products. Theforest product that most often comes tomind is lumber, but there are a number otnon-timber forest products as well, winch areused by the residents ot forest communities.Examples include foods such as mushrooms;medicinal plants such as ginseng and ginkgo:floral products that include moss, vines, ferns,and evergreens; and the wood used in decorationsand crafts. In some places, non-timberforestproducts provide more employmenttor a local community than timber cutting.SMITHSONIAN FOLKLIFE FESTIVAL

Overgrown, a dense forest can burn likematchsticks in a wildfire, but it can be thinned,and the thinned materials can be used forawinery ot products. The Forest ProductsLaboratory, established in iyio in Madison,Wisconsin, is the nation's leading woodresearch institute, studying various aspects ofpaper making, wood preservation, and recycling.Their research has helped increase theaverage lumber yield per log from 25 percentto 60 percent, extended the life of railroad ties,and developed protocols for the U.S. PostalService to make no-lick stamps recyclable.PRESERVING OUR HERITAGEWhile many Forest Service researchers arelooking to the future, another section ot theagency's workforce is actively involved inpreserving the past and connecting people'shistory to the land. As described by the ForestService's National Heritage Strategy, "Waitingsilently in the mountains, canyons, and rivervalleys of our national forests and grasslandsare the remnants of past cultures that confrontus and remind us of the centuries-old relationshipbetween people and the land. TheseENFORCING THE LAWThe Forest Service Law Enforcement andInvestigations (LEI) staff has the overall job ofupholding the laws and regulations that protectnatural resources. Law enforcement personnelprotect natural resources, people, and property,often working in partnership with local, state,and other federal law enforcement offices.As Berneice Anderson, a Regional PatrolCommander based in Milwaukee. Wisconsin,explains, "A lot ot people think that everyonewho visits the forest is out to have a very goodafternoon or weekend, enjoying the naturalresources and the scenery. And that's what wehope tor, but we also know that at any giventime we have to be prepared tor the thingsthat are negative." As a result, LEI officers maybe called upon to investigate crimes such astimber theft, arson, or the illegal cultivation ofmarijuana on national forest lands. They alsoprotect archaeological sites, investigate vehicleaccidents, provide first aid, educate the public,and assist in search and rescue operations.The duties of LEI officers can be lifethreatening. For this reason, Andy Coriell,Patrol Captain on Oregon's Mount Hoodheritage resources hold clues to past ecosystems,add richness and depth to our landscapes,provide links to living traditions, and helptransform a beautiful walk 111the woods intoan unforgettable encounter with history."Empowered by the National HistoricPreservation Act ot 1996, archaeologists andother heritage specialists locate artifacts andhistorical sites in order to preserve and protectthem from road construction, prescribedburning, and vandalism. Artifacts that arelocated and protected include pottery, baskets,ancient tools, rock paintings and petroglvphs,and, in some cases, prehistoric dinosaur bones.Jeff Bryden and Flash, a Chesapeake Bay Retriever,make a great law enforcement team. Flash is thefirst dog in the Forest Service trained to detectcontraband fish and wildlife, instead of drugs.Flash can also track lost visitors.FOREST SERVICE, CULTURE, AND COMMUNITY

—4-"The essentialpiece isto capturepeople's interestm stories and art,the cultural expressionsthat comefrom the heartand the headsof the people."Rita CanttiNational Forest, is glad to have what he desenlies as superiorequipment on the cutting edge of technology. "I don'tgo to work ever without a bullet-proof vest on. We carrysemi-automatic weapons, handcuffs, pepper spray, baton, radio,and pretty much anything else you can stick on aJefibelt."Bryden, the lead law enforcement officer on Alaska'sChugach National Forest, finds one- of his greatest assets to behis canine (K-9) partner. Flash, a Chesapeake Bav Retriever thathas completed rigorous training and wears its own Forest Servicebadge. Like main' employees, Bryden dreamed of working for theForest Service from a young age.'Tretty much, I'm doing what Iplanned on doing my entire life. When Iwas knee high to a gopher,1 planned on working 111 natural resource law enforcement."< ¿•'«TOflanBj SEEKING INSPIRATIONFROM THE FORESTSFor centuries, artistshave been captivatedby the beauty of the mountains, lakes,streams, woods, and wildlife found 111 ourforests and grasslands Clifford Pinchot,the firstChief of the Forest Service,was inspired to the conservation causethrough the 19th-century paintings ofthe Hudson River School that showedscarred mountains 111 the Northeastdevastated by logging and farming.Jim Denney, DistrictFacilities Manageratinthe McKenzie River Ranger StationOregon's Willamette National Forest,is a contemporary artist who shares thesame spirit asthe Hudson River SchoolRita Cantu works for theForest Service as an interpreterand environmental educator,but she is also a storyteller,songwriter, and singer whoplays more than a dozeninstrumentspainters in depicting the changes thathave taken place 111 the landscape. Oneinteresting historical coincidence, according to I )ennev, is that"111 the mid- 19th century, there was a merchant 111 New York whocollected works by the Hudson River painters. Cine painting calledHuma Mountain by Sanford Clifford depicted a clear-cut with a littlecahm in the middle of it. The merchant who bought the paintingwas James Pinchot, and he named Ins son after that painterCliffordPinchot, who became the father of the Forest Service."Traditional artists and crafters have long had aclose relationshipto forests and the materials that they provide. Forest Service archaeologistshave discovered baskets made from spruce roots that are asold asthe earliest civilizations on the North American continent.Weavers today stillmake baskets out of roots, vines, and branches.SMITHSONIAN FOLKLIFE FESTIVAL

4.1>Working for the Forest Service since 1966, Jim Hammer uses pack animals to haul his equipment ashe constructs and preserves trails in Washington's Okanogan and Wenatchee National Forests.Other crafters collect wood, antlers, beeswax,quills, acorns, flowers, twigs, bark, moss, andpine resin to create their arts, crafts, and householdobjects. Woodworkers use forest productsfor a variety of items that run the gamut frompiece is to capture people's interest in stonesand art, the cultural expressions that comefrom the heart and the heads of the people."COOKING AND CAMPINGintricately carved figurines to musical instrumentsand canoes. For instance, Nathan Jackson,a Tlingit woodcarver from Ketchikan, Alaska,has received the prestigious National HeritageFellowship from the National Endowment forthe Arts for his totem poles, clan crests, masks,canoes, and carved doors, all made withinthe traditions of the Tlingit people. When hecarves something, it is intended ro be used, notleft on display. For example, "A canoe is justa boat." he explains, "but it gets you to thinkabout what our people used to do, and howthey put good material to good use. Then thiscanoe becomes an extension of our culture."Forest Service employee Rita Cantú fromSome art isedible, such as pies, jams, andmedicine that have been made from wildfoods and herbs. From the earliest days of tentcamping, cooks have enjoyed making mealson open fires. The love for camp cooking hasnot disappeared, and the National Museumof Forest Service History recently published acookbook with traditional Dutch oven recipesthat have been used in the field by rangers andfire tower lookouts (see Suggested Reading).Jim Hammer, Trails Coordinator on theMethow Ranger District in Washington State,recalls the typical breakfasts (with distinctivenames) that might be eaten by the crew. "If youArizona works with the Conservation andwere with an old packer, like old BillImes, you'dthe Arts program to connect communitiesto nature through the arts. The program usesartists, dancers, writers, musicians, storytellers,have spotted dog [i.e., oatmeal] along with whateverelse you had. And with a couple of the oldpackers, the only variety you'd ever have fromand poets to tellthe story of the growth ofbacon, eggs, and hotcakes was eggs, bacon, andconservation policy in the United States. "It'snot enough just to manage our resourceswherever they might be, separate from thecommunities," Cantu maintains. "The essentialhotcakes. It all the animals were in and breakfastwas ready, we'd have one old boy that'd hollerout, 'The dog's gut a spotl'That meant breakfastwas ready and you'd better be getting up."FOREST SERVICE, CULTURE, AND COMMUNITY

I44cutDUTCH OVENONE-POT MEALThomas M. Collins of North Ogden,Utah, retired Forest Service employeeIngredients1 Vi to 2 pounds of small to mediumred potatoes, washed and unpeeled]2 medium heads of cabbage,in wedges3 onions, quartered8 ears of sweet corn on the cob,cleaned and broken in half2 pounds of smoked kielbasa or othersmoked ring sausage, cut into quarters1 quart waterPlace the potatoes on the bottom ofa 12-inch Dutch oven and layer asfollows: cabbage, onion, corn, andsausage. Add water and cover tightly tokeep in moisture. Cook for about onehour, with 10 to 12 charcoal briquetteson the bottom, replacing charcoal asneeded. The smoky juice from thesausage drips down through the otherfood and gives it a good flavor. Servefrom the Dutch oven, or transfer someof the top layers to other containersfor easier access to the potatoes on thebottom. Season to taste. Serves 6 to 8.Rock climbing, hiking, and rappelling are just a few methodsfor bringing people closer to nature in the national forestsPROMOTING RECREATIONRecreation takes many tonus. In communities around thenation, families can join in Forest Service programs thatteach them not only how to fish, but also how to protectfish habitats, protect water quality, operate a boat safely,and practice the principles of catch and release. Enthusiastscan go hiking, biking, bird watching, horseback riding,hunting, skiing, sledding, ice skating, snow shoeing, snowboarding,rock climbing, canoeing, surfing, diving, swimming,or camping— to name a tew. The Forest Servicemaintains trails that range from short nature hikes forphotographers to rugged backcountry trails for backpackers.Thomas Collins explains: Igot this recipeMan\rtrailsare accessible to people with disabilities.from a horse packer in Montana. It isprobably derived from the old cream-candinners that were used by early settlersinNew England and the Midwest whenfeeding large numbers of workers atgrain-threshing bees and other workparties. The food was layered in severalfive-gallon cream cans With the lids on,they were put on the coals of a woodfire to cook. When serving, the food wasgenerally separated. The cook took themeat out (different kinds of smoked meatcould be used), cut it up, and served it soeveryone received some meat. This onepotmeal was a natural for Dutch ovens.Reprinted with permission from CampCooking. WO Years by the NationalMuseum of Forest Service History.Main' people have long recognized the need toleave parts of America undisturbed by humans. The firstwilderness areas in the United States were establishedby the Forest Service in 1920; since then, close to 100million acres of wilderness have been added to the system.The United States has far more acres of wilderness setaside than any other country in the world, and in 2004celebrated the 40th anniversary of the Wilderness Act.In wilderness areas, visitors are united to come, butnot to remain. Programs such as Leave No Trace teachwilderness visitors to pack out their trash, use lightweightstoves instead of making fires, stay on designated trails,control horses, and leave cultural and historical sites alone.1 he forest Service has a cadre of employees whose jobisto talk about the value ot forests, wildlands, and nature.Interpretive naturalists and backcountry rangers are foundSMITHSONIAN FOLKLIFE FESTIVAL

in state-of-the-art visitor centers as well as on remote backcountry trails.They share scientific knowledge m ways that people can understand.Francisco Valenzuela, a recreation planner for the Rocky Mountain Regionin Colorado, expresses one of the pleasures of the job: "It's really nice to seepeople enjoy themselves, going out in nature and getting close to it, appreciatingit, moving to help support it—and not necessarily doing damage to it. It'sreally great to be part of the Forest Service team and help create these things,because I think they're going to be on the land for many centuries to come."FACING CHALLENGES FOR THE FUTUREAs the current Forest Service Chief Dale Bosworth makes clear, the job ot taringfuture challenges is an enormous one (see page 46). But as the Forest Servicebegins its second century, the participants in Forest Service, Culture, and Communitydemonstrate at the 2005 Smithsonian Folklife Festival that there is already a longtradition of caring for the land, serving the public, and meeting these challenges.For instance, the Forest Service has an ongoing mission to educate teachersand children, connecting people to the land through conservation education.Such education increases public awareness and understandingThe ForestService hasan ongoingmission toeducateteachers andchildren,connectingpeople to theland throughconservationeducation.45of the interrelationships innatural systems. Natural resourceprofessionals teach in classrooms or lead field trips. Similarly,Smokey Bear and Woodsy Owl have become national symbols- t111 fire-prevention and conservation campaigns.As this essay has indicated, the men and women who work111 our forests and rangelands have very special connections tothe land and its natural resources. They understand the science,the history, the technology, the art, and the traditions of forestservice, culture, and community. They also recognize the valuesinherent in the work they do. As environmental psychologistHerbert Schroeder explains. "A tree is a living organism. Youcan see it grow, and it grows slowly over a period ot years.You can develop a bond, a sense of connection over that longperiod of time. . . . If there's a tree on a person's property, theyhave contact on a continuing basis. If the tree happens to beone of those planted by your ancestors, that provides a connectionwith your family. And you also have a connection with thefuture. You can think about how that tree will be appreciated byyour grandchildren or great-grandchildren.""Our national forests will be here one hundred yearsfrom today,'" adds Joe Meade, supervisor of Alaska's ChugachNational Forest. "And as we move into thisnew century, our national forestsare going to be incredibly important. ... In the Lower 48 [states], because otpopulation growth, the national forests are becoming the place to escape, torecreate, and to get away. The more and more our population grows, with moreSmokey Bear hasbeen an importantsymbol of wildfireprevention since 1944.and more green space lost, the more valued our public lands will be and willcontinue to be for all time." Following the example set by Gifford Pinchot 100years ago. these men and women are stillof the greatest number in the long run."seeking to provide "the greatest goodFOREST SERVICE, CULTURE, AND COMMUNITY

—FUTURE CONCERNS FOR PUBLIC LANDSIn January 2005, a Forest Service Centennial Congress was held in Washington, D.C., tocommemorate 100 years of conservation and to open a dialogue with others about thechallenges and opportunities that will face the Forest Service in the next 100 years. At thatcongress, Chief Dale Bosworth outlined some of the current challenges to conservation:" Dealing with a growing population. In the last 100 years, the United States more thantripled its population to 275 million. By the turn of the next century, the U.S. populationmay reach 571million. Expressing the changing face of America. Although conservation belongs to all citizens,the face of conservation has traditionally been rural and white. As the U.S. populationbecomes ever more urban and more ethnically diverse, the Forest Service needs to givew Supporting our land ethic with a rational consumption ethic. The UnitedAmericans from every background more opportunities to participate inconservation.States is the largest wood-consuming nation on earth, and consumption keepsexpanding. At the same time, most Americans don't want any changes in the landscapeor any commercial operations on public land. If Americans truly believe ina land ethic, they must also reduce their consumption of natural resources.A Restoring our fire-adapted forests to something more resembling their conditionat the time of European settlement. Many of the Forest Service's most pressingproblems are related to fire and fuels in forested landscapes that, by their very nature,are dynamic. The goal therefore is not to keep landscapes unchanged for all timewhich is impossible—but to restore (or at least to account for) the dynamic ecologicalprocesses (including fire) through which our forested landscapes evolved.Responding to the realities of a global economy in a culturally diverse world. Oneof those realities isthat invasive species are moving around the world with growing ease.This is a huge threat, not only to native ecosystems, but also to our financial resources.* Better managing outdoor recreation. We are in growing danger of loving our public landsto death. In2001, there were over 214 million visits to national forests and grasslands. Bythe end of the 2 1 st century, that number is expected to double. The Forest Service must finda way for visitors to get the high-quality experiences they want without compromising thehealth of the land or the ability of future visitors to get those same high-quality experiences.* Restoring the health of many watersheds and repairing a deteriorating infrastructure.There is a large backlog of watershed restoration projects on national forest lands, as well asthousands of deteriorating culverts to replace, roads to restore, abandoned mines to reclaim,vegetation to treat,and many deferred projects for maintenance and ecological restoration.Understanding and coping with long-term and large-scale climate changes. Climatechange at various scales is undeniable, and it has momentous social, economic, andecological implications. For example, the West is much drier now than 30 years ago.rWorking better together across boundaries on a landscape scale. Partnershipsand collaboration are absolutely crucial for the Forest Service, particularly forbetter engaging its various publics in managing national forest land.SMITHSONIAN FOLKLIFE FESTIVAL

47WORKS CITED ANDSUGGESTED READINGByington, Robert H.,ed. 1978. WorkingAmericans: Contemporary Approaches to OccupationalFolklife. Smithsonian Folklife Studies 3 . LosAngeles: California Folklore Society.Williams, Gerald W. 2000. The USDAForest Service:The First Century. Washington:USDA Forest Service, Report FS-650.Wilson, James Q. 1989. Bureaucracy:What Government Agencies Do and WhyThey Do It. New York: Basic Books.King, R.T. 1991. The Free Life oj a Ranger: ArchieMurchie in the U.S. Forest Service, 1929-1965. Reno:University of Nevada Oral History Program.McCarl, Robert. [986. "Occupational Folklore."In Folk Groups and Folklore Genres.AnIntroduction, edited by Elliott Oring.Logan: Utah State University Press.Miller, Char, and Rebecca Staebler. 2004.The Greatest Good: woYears of Forestry in America.2nd ed. Bethesda: Society of American Foresters.National Museum of Forest Service History. 2004.C,i/»;i Cooking, ¡ooYears, 1905-2005. Salt Lake City:Gibbs Smith.Steen, Harold K. 1976. The I IS. Forest Sanee:A History. Seattle: University of Washington Press.U.S. Department of Agriculture. 2005. tooYears ojGreatest Good. Washington:Conservation... for theUSDA Forest Service, Report FS-8l9, www.fs.fed.us/centennial/products/documents/ 100-booklet.pdfTERESA HAUGH iseditor of the ForestService's regional newsletter in Alaskaand interviewed prospective participantsfor this year's Folklife Festival. Beforemoving to Alaska she worked in themedical field in Georgia and Alabama.JAMES I. DEUTSCH is the curator of the200s Festival program Forest Service, Culture, amiCommunity. He served as program curator forthe National World Wai II Reunion 111 May 2004,and has taught courses on American folklorein Armenia, Bulgaria, Germany, Kyrgyzstan.Norway, Poland, and the United States.All photographs courtesy oj the I 'SDAForest Service unless noted otherwiseFOREST SERVICE, CULTURE, AND COMMUNITY

NUESTRA MÚSICA: MUSIC INBuilding CommunityLATINO CULTUREDANIEL SHEEHY[48]Whatisthe meaning of music? One person's music mightbe another person's noise, devoid of significance. On thecither hand, a simple melody might tap into a deep veinot emotion, eall up a cherished memory, deepen spiritualdevotion, make the body move, or spur social action.When people endow music with meanings, associations, and values, they lenditpower — power to communicate, to move us, to transform our frame ofmind and our emotions. A common musical grounding can be used tostrengthen social connectedness, to bring people together incause, or to create symbols ot identity tor public representation.commonWhat, then, is the meaning ot música latina— Latino music? The title ofthe Nuestra Música— "Our Music"— program conveys two meanings. Oneis the feeling ot closeness that Latinos who share lite experiences, values, amiperhaps language teel when they sav. "This is out music "The other meaning,underscored by the symbol-charged setting of the National Mall inthe nation'scapital around the Independence I >av holiday, is that niíisiñi latina is adefining piece ot our nation's living cultural heritage. The storylineof the 200s Nuestra Música program is "Music BuildsCommunity"— how 1 atinos have used music to persevereas mexicanos, Chícanos, puertorriqueños, NewYoricans,cubanos, salvadoreños, centroamericanos, dominicanos, colombianos,Latinos, or another self-proclaimed label, in themass-media-driven, multicultural society ot the UnitedStates. In elaborating this theme, our greater purposesover the tour years of this project (2004-2007)are to spotlight grassroots música latina's beauty,texture, and centrality to our nation's cultural coreand to explore the main shades of meaning thatLatinos give music. Our special focus 111the 200sprogram is how Latinos use music and the values it carriesFor Nellie Tanco, veteran member of Los Plenerosde la 2 1 , the performance of Afro-Puerto Ricanbomba and plena inNew York City builds astrong sense of Puerto Rican identity.SMITHSONIAN POLK LIFE FESTIVAL

to build a coherent, positive sense of communityamong people ot specific cultural backgroundsand among the Latino population as a whole.Why ismusic important to the well-beingof Latino culture? How do Latinos use musicto build community? We can find part ot theanswer in the success story of how centuriesoldPuerto Rican musical traditions were putto use to strengthen contemporary PuertoRican identity and community cohesion.When Puerto Rican jíbaro people from therural island hinterlands flocked to the materialmecca of New York City in the middledecades of the 20th century seeking a brightereconomic future, they abandoned more thantheir bohíos (traditional country houses). Theyleft their music to languish at the margins otmodernity. Their sung poetry and home-grownstringed instruments were at the core ot theirSpanish heritage, introduced to the island beginningm the first decades of the [6th century.These centuries-old traditions were thoughtto be music of yesterday, not of tomorrow.Countercurrents to this trend, however,gathered momentum to form a riptide thatwould pull Puerto Ricans back to their musicalroots. The empty materialism and social alienationof city life left a cultural vacuum mwhich music that connected people to thefamiliar sounds of their past was welcome. Intothis vacuum strode "innovative traditionalists"such as Estanislao Martínez, known as "Ladi,"who helped set the standard tor the modernconjunto jíbaro "jíbaro ensemble," creating thesound ot two cuatros playing in harmony,six-stringed guitar, güiro (a gourd rasp), andbongos. Ladi's upscale jíbaro sound playedwell to Puerto Ricans both in the UnitedStates and at home on the island, and otherjíbaro groups such as Ecos de Borinquen, ledby Miguel Santiago Diaz, have continued thejíbaro legacy of creating music that speaks tograssroots tradition and community solidarity.When fellow Puerto Rican musician JuanGutiérrez relocated from the island to New YorkCity to work as a percussionist in Broadwaytheater orchestras, he found the antidote forhis feelings ot urban alienation 111 the music otAfro-Puerto Rican musicians in the New Yorkbarrio. He brought together some ot the best"street corner" percussionists and founded thegroup Los Pleneros de la 21, creating a soundthat interwove traditional African-derived bombaand plena music with contemporary soundsthat appealed to New Yoricans. Los Pleneros dela 21 became one of the most influential andcelebrated touchstones of Puerto Rican identityand sparked an explosion ot similar bomba and491Juan "Juango" Gutiérrez listens attentivelyto his fellow musicians as he lays downthe beat on his barriles drum for LosPleneros de la 2 1 's Smithsonian Folkwaysrecording, Para Todos Ustedes.NUESTRA MÚSICA MUSIC IN LATINO CULTURE

plena groups throughout the Northeast andbeyond. In addition to bringing arefreshedsound ot deep tradition to urban listeners, thegroup created new compositions that broughtPuerto Ricans together around current socialissues. One example is the piece "Isla Nena"with its retrain "Isla nena, perla cautiva; tupueblo te liberó de /./ marina" (Little girl island,pearl in captivity; your people liberated you¡o]from the navy) that celebrates the successfulprotests leading the U.S. Navy to abandon useof the island ot Vieques as atiring range.A fundamental cornerstone of community isthe family. Family, in turn, is otten fundamentalto passing on musical traditions, and musicmaking can be an important way ot keepingfamily ties strong .\nd music a lively, integrated,and relevant part ot community lite. In the cattlecountry ot the northeastern Mexican state ofSan Luis Potosí, tor example, the members ofthe trio Los Camperos de Valles, all acclaimedrepresentatives ot the Mexican son huastecomusical tradition, recall the importance ot familyconnections to having taken up their music.Violinist lociMonroy's grandfather Mateo wasa violinist, and an uncle ot his mother's playedguitar, especially at velorios, wakes. At the age oftwelve, Monroy started following his relativesand their musician friends around to parties atneighboring ranches and towns, learning bits andpieces ot how to play the traditional Huastecaninstruments, the jarana and huapanguera (smalland large rhythm guitars). Similarly, his colleagueGregorio "Goyo" Solano started learning jaranafrom his father at the age often. He followedhis violinist lather to local community tiestas.birthday parties, and baptism celebrations, wherehe was hired to play in Huastecan trios. "I gotinvoked m the musical scene, just listening atfirst. My father showed me little by little thebecame part ot the triofinger positions, and 1after having learned a little," he recalls. Likewise,group leader Marcos Hernandez started playingthe huapanguera professionally wath his uncleFortmo at the age ot fifteen. None of theseoutstanding musicians had formal training:The author interviews Los Camperos de Vallesin Ciudad Valles, San Luis Potosí, Mexico, forthe context-providing liner notes as vital to therecord-making process as the music itselfthey were first inspired and trained by theirfamily, the "conservatory ot traditional music."It it were not tor their strong family ties, thismasterful group ot traditional musicians wouldlikely not exist. In the Huastecan region, theson huasteco not only communicates a sense otidentity with the region's shared lifeways but,lor the musicians, carries strong associationswith family and with the "extended family"ofprofession.il Huastecan-style musicians.Another example ot how music buildscommunity is found in El Salvador's mountainous,agricultural Oriente (eastern)region.There, where small villages dot the ruggedlandscape, the centerpiece ot main town andfamily fiestas is the music ot a spirited, uniquelySalvadoran musical ensemble called chanchona.Chanchona literally means big sow, the localname given to the large stringed bass thatprovides the harmonic foundation tor the group.The chanchona emerged inthe latter halt of the20th century, borrowing repertoire from popularmusic from Mexico and other countries mVentral America. Over time a standard instrumentationot six or more members emerged,including chanchona, two violins, guitar, tumba(conga drum), and other percussion. Its grassrootssound focuses on the popular cumbia dancerhythm, fast-paced canción ranchera "countrySMITHSONIAN FOLKLIFE FESTIVAL

song," and slower, romantic bolero. When the chanchona strikes upits catchy dance rhythms and the singers launch into lyrics lacedwith local sentiment, it pulls people out of their normal routineand marks an emotional sense of special occasion. In the rest of ElSalvador, the chanchona marks the Oriente region as a distinct place,with its associations of country life and rural poverty. As millionsof Salvadorans migrated to the United States during and after thecivil strife of the 1970s and 1980s—today about one out of fourSalvadorans lives outside El Salvador—the music came to take onadded meaning. Just as Salvadorans uprooted from their homelandlost their self-grounding sense of place as they relocated to U.S. citiessuch as Miami, New York, Los Angeles, Houston, and Washington,D.C., in their newly adopted homes music took on a more intensesense of "home." Indeed, for many Salvadorans, especially those fromOriente, only a few seconds of the chanchona's music evoke a feelingof "being home" nearly as well as taking a several-thousand-mileplane ride back to El Salvador. In Washington, D.C., home to overa hundred thousand Salvadorans mainly from Oriente, the chanchonahas emerged as a prominentsymbol ot Salvadoran presence.The group Elíseo y su ChanchonaMelódica Oriental has performedevery Friday and Saturday nightsince 2001 at Judy's Restaurantin Washington, D.C.The group'sleader. Elíseo Gutiérrez, took upthe music of the chanchona in hishometown of San Alejo, La Unión,El Salvador, learning mamly fromhis father and brothers. At Judy's,his seven-member group performsa range of music that appeals toclientele from El Salvador, Honduras,Guatemala, Mexico, and other LatinAmerican countries. When theyplay for local Salvadoran weddings,birthday parties, and other celebrations,focus is on the cumbia andcanción ranchera repertoire favored among Salvadorans.While in many Latino communities music is a magnet that pullspeople together around familiar ideas of shared values and experiences,it is also used to construct new, forward-looking ideas otcommunity and mutuality of purpose. In Chicago, the group Sonesde México takes threads from many distinctive regional styles otMexican music, weaves them into contemporary sounds and freshcompositions, and creates a new musical fabric that is at once tradi-When peopleendow musicwith meanings,associations, andvalues, they lendit power — powerto communicate,to moveus, to transformour frame olmind and ouremotions.Karol Aurora de JesúsReyes sings with hermentor Miguel SantiagoDiaz during a recordingsession for the GrammynominatedJibaro Hastael Hueso: MountainMusic of Puerto Rico byEcos de Bonnquen.[51]NUESTRA MÚSICA MUSIC IN LATINO CULTURE

NUESTRA MÚSICA LAUNCHES NEW SERIESIn 2002, the Smithsonian's Center for Folklife and Cultural Heritageconceived the Nuestra Música: Music in Latino Culture project, a multi-yeareffort to document and to make accessible grassroots musical expressionsof the living cultural heritage of Latino communities in the United States.Smithsonian Folkways Recordings, the national museum's nonprofit recordlabel,sparked Nuestra Música by launching a series of 25 new recordings ofLatino music reflecting the diversity of Latino cultures and their generationsoldmusical creationsThese CDs in the series have been released to date:Jíbaro Hasta elHuesoMountain Music of Puerto flico by [cos de BonnquenCapoeira Angola 2Brincando na RodaSFW CD 40488El ave de mi soñar:Mexican Sones Huastecos byLos Camperos de VallesSFW CD 40512Havana, Cuba, ca. 1957:Rhythms and Songs of the OrishasSFW CD 40489Havana & Matanzas, Cuba,ca. 1957; Bata, Bembé,and Palo SongsSFW CD 40434Heroes & Horses: Corridos fromthe Arizona-Sonora BorderlandsSFW CD 40465Jibaro Hasta el Hueso:Mountain Music of PuertoRico by Ecos de BorinquenSFW CD 40506La Bamba: Sones Jarochosfrom Veracruz. Featuring JoséGutiérrez 3 Los Hermanos OchoaSFW CD 40505Latin Jazz: La Combinación PerfectaSFW CD 40802¡Llegaron Los Camperos'Concert Favorites of Nati Cano'sMariachi Los CamperosSFW CD 40517Luiz Bonfá: Solo in Rio 1959SFW CD 40483Matanzas Cuba, ca. 1957:Afro-Cuban Sacred Musicfrom the CountrysideSFW CD 40490Quisqueya en el HudsonDominican Music in New York CitySFW CD 40495Raices Latinas: SmithsonianFolkways Latino Roots CollectionSFW CD 40470Sí,Soy Llanero: Joropo Music fromthe Orinoco Plains of ColombiaSFW CD 40515Viento de Agua Unplugged:Materia PrimaSFW CD 40513¡Viva el Mariachi!: Nati Cano'sMariachi Los CamperosSFW CD 40459For more informationand other selections, visitwww.folkways.si.edu.BATA, BEMBÉ - PALO NGNATI CANO'S MARIACHI LOS CAMPEROSfir a* V*'¿4SMITHSONIAN FOLKLIFE FESTIVAL

tional and contemporary, rural and urban, oldand new. In Chicago, recent immigrants frommany regions ot Mexico live alongside youngand old Mexican Americans trom familiesrooted in Chicago tor the past hundred years.The enthusiastic reception of Sones de Mexico'smusic in Chicago reflects their success at bothcapturing the essence of Chicagoan Mexicanidentity and painting a positive musical pictureot how the contributions ot mexicanos tromdifferent backgrounds and age groups are allvaluable and mutually supporting cultural assets.Folk-rooted, popular dance music playsa special role in forging a pan-Latino senseof community.When nation-specific differencesin heritage—Mexican, Puerto Rican,Salvadoran, Colombian, and so forth—softenas new generations ot Latinos emerge and findcommon ground in American society, labelslike "Latino" take on greater relevance. Musicstores advertise recordings ot música latina,and nightclubs offer dance music appealingto many Latino backgrounds and interests.Especially in cities such as Washington, D.C.,where people ot many Latino nationalitiesshare similar social footing, dance promoters,club owners, and dance bands provide dancemusic that appeals to a range of Latinos.While the members ot Washington's [CJ Bandspecialize m Dominican merengue, for example,they might also play salsa, cambia, reggaetón,and other popular styles. This meeting placeot rhythms is also a pan-Latmo commons thatbuilds a sense of shared cultural and social life.Through these and other musical "windowson culture" that the Nuestra Música: Music inLatino Culture program presents and explores,we can find the fullest meaning ot music. Thismeaning goes far beyond mere sounds; it goes tothe heart of personal and social identity, to issuesof survival for immigrant communities adjustingto alien social environments, to constructing anew spirit ot community m an ever-evolvingworld. Music carries knowledge, meaning, affect.and spirit because people have endowed it withthese assets, because they consider it essential toenvisioning and living a normal lite in whichthey are genuinely themselves. Creative musiciansand communities constantly constructnew meanings tor music, meaning that serves asocial purpose as well as an aesthetic one. NuestraMúsica otters visitors to this "living exhibition"on the National Mall the opportunity to meetthe musicians and to learn more about theworld ot meaning behind the sounds, as wellas to sing the songs, to dance to the rhythms,and to experience the panorama ot diverseexpressions we call música lamia. The 200sinstallment ot Nuestra Música presents a seriesof evening concerts showcasing a variety ofLatino musical styles and cultures and exploringthe theme "Music Builds Community."[ 5 3 ISUGGESTED READINGOlsen, Dale A., and Daniel Edward Sheehy, eds.2000. Tlic Garland Handbook ot Latin AmericanMusic. New York: Garland Publishing.Schechter, John M. 1999. Music in Latin AmericanCulture: Regional Traditions. New York: Schirmer BooksSheehy, Daniel. 2006. Mariachi MusiiAmerica: Experiencing Music, Expressing Culture.New York: Oxford University Press.inDANIEL SHEEHY isan ethnomusicologist,curator, musician, and director of SmithsonianFolkways Recordings, the national museum'snonprofit record label. He has authoredand edited numerous publications on LatinAmerican music, as well as produced concerts,tours, and recordings ot musicians fromLatin America and the United States.All photos courtesy of Daniel Sheehyunless indicated otherwise.NUESTRA MÚSICA MUSIC IN LATINO CULTURE

NUESTRA MÚSICA: MUSIC IN LATINO CULTUREConstruyendo comunidadDANIEL SHEEHYTRADUCIDO POR CAROLINA SANTAMARÍA[5 4]¿m persona,a ^~ ~^| uál es el significado de la música? Lo que es música para unapara otra puede ser un ruido desprovisto de sentido.A Por otro lado, una simple melodía puede calar en lo profundo^"^ ~ alean/ando una vena emocional, evocar una memoria querida,intensificar la devoción espiritual, provocar el movimiento del cuerpo o estimular laacción social. Al otorgarle a la música ciertos significados, asociaciones y valores, laspersonas leconfieren poder— poder para comunicar, para conmovernos, para transformarnuestro estado mental ynuestras emociones. Una base musical en común puede serutilizada para fortalecer las conexiones sociales, para congregar a las personas en torno a¿Cuál CS elsignificadode lamúsica:Lo que esmúsica parauna persona,para otrapuede serun ruidodesprovistode sentido.una causa compartida, para crear símbolos de identidad en las representaciones publicas.¿Cuál es entonces el significado de música latina? El titulo del programa NuestraMúsica tiene dos significados. FJ primero se refiere a esa afinidad que los latinos, quecomparten experiencias de vida, valores yquizas el lenguaje, sienten cuando dicen "estaes nuestra música". El otro sentido, que resalta el simbólicamente cargado escenario dela Explanada Nacional en la capital de la nación alrededor de la conmemoración delDía de la Independencia, es que la música latina es una pieza que define la herenciacultural de nuestra nación. El argumento central del programa Nuestra Música del .iño2005 es "I a musua construye comunidad", y se refiere a la manera como los latinosen los Estados Unidos lian usado la música para seguir siendo mexicanos, chícanos,puertorriqueños, nuyoricanos, cubanos, salvadoreños, centroamericanos, dominicanos,colombianos, latinos o cualquiera otra etiqueta auto-referida dentro la sociedad altamentemediatizada v multicultural de los Estados Unidos. Al darnos a la tarea de elaborareste tema, nuestros principales propósitos a lo largo de los cuatro años que cubre esteprovecto (2004-2007) han sido destacar la belleza, la textura y la importancia de lasraíces de la música latina en el corazón cultural de la nación, y explorar los muchosmatices de significado que los latinos dan a la música. Nuestro programa para el 200sse ha enfocado en la manera en que los latinos usan la música y los valores que éstatrae consigo para construir un sentido comunitario más coherente ypositivo, entregentes con determinadas raices culturales, y entre la población latina en general.¿Por qué es tan importante la música para el bienestar en la cultura latina" ¿Cómo usanlos latinos la música para construir comunidad? Podemos encontrar parte de las respuestasen la historia exitosa sobre las tradiciones centenarias de Puerto Rico que sirvieron parafortalecer la identidad v la cohesion de la comunidad puertorriqueña. Cuando los libarosde la zona rural de la isla emigraron hacia la mitad del siglo XX a la meca material deNueva York en busca de un futuro económico más brillante, abandonaron mucho más quesus bohíos. Dejaron su música languidecer en los márgenes de la modernidad. Su poesíacantada v sus instrumentos de cuerda tradicionales estaban al centro de la herencia españolaSMITHSONIAN F0LKLIFE FESTIVAL

introducida a la isla en Lis primeras décadas del siglo XVI. Se pensaba que estas tradicionescentenarias eran solo eso, música del ayer y no del mañana.Corrientes contrarias a esta tendencia, sin embargo, cobraron velocidad para formar unmovimiento que arrastraría a los puertorriqueños otra vez hacia sus raíces musicales. El materialismo sin sentido y la alienación social de la vida urbana dejaron un vacío en el cual fuebienvenida una música que conectaba a la gente con los sonidos familiares de su pasado. Parallenar este vacío irrumpieron "innovadores tradicionales" como Estanislao Martínez, conocidocomo "Ladí", quien ayudó a configurar la agrupación típica para el modernoconjunto jíbaro, con el sonido de dos cuatros tocando en armonía, la guitarra deseis cuerdas, el güiro y los bongóes. El sonido jíbaro sofisticado de Ladí rueaceptado por puertorriqueños tanto en los Estados Unidos como en laisla, yotros grupos jíbaros como Ecos de Bormquen, liderado por Miguel SantiagoDíaz, han continuado con ese legado jíbaro de crear música que hace referenciaa la tradición y en pro de la solidaridad comunal.Cuando elmúsico puertorriqueño Juan Gutiérrez se trasladóde la isla a la ciudad de Nueva York para trabajar como percusionistaen orquestas teatrales de Broadway, encontró el antídotopara sus sentimientos de alienación urbana en la músicade los músicos afropuertorriqueños del barrio neoyorquino.Reunió a algunos de los mejores "percusionistas de esquina"y fundó el grupo Los Pleneros de la 21, creando un sonidoque entretejía las tradiciones de origen africano de la bombay laplena con los sonidos contemporáneos que gustaban a losnuyoricanos. Los Pleneros de la 21 se convirtieron en uno delos más influyentes y célebres puntos de encuentro de la identidadpuertorriqueña, desatando una explosión de grupos similaresde bomba y plena a través del noreste e incluso más allá. Ademásde entregar alos oyentes urbanos un sonido renovado venido delo profundo de la tradición, el grupo creó nuevas composicionesque reúnen alos puertorriqueños alrededor de problemas socialescontemporáneos. La pieza "Isla Nena" es un ejemplo, con surefrán "Isla nena, perla cautiva; tu pueblo te liberó de la marina"que celebra la exitosa protesta que llevó a la Marina Norteamericanaa abandonar el uso de la isla de Vieques como campo de tiro.Uno de los elementos fundamentales de la comunidad es la familiaLa familia es. a su vez, frecuentemente una pieza clave en eltraspaso detradiciones musicales de una generación .1otra. El quehacer musicalpuede ser una manera importante de fortalecer los lazos familiares yformar una parte activa, integrada y relevante de lavida comunitaria.Por ejemplo, en las tierras ganaderas del estado de San Luis Potosí, enelnoreste mexicano, los miembros del trío Los Camperos de Valles,aclamados representantes de la tradición musical del son huastecode México, recuerdan el importante rol que los lazos de familia hantenido en la conservación y continuidad de su música. Mateo, abuelodel violinista Joel Monroy, era también violinista, mientras que suLorena íñiquez es miembro de Sones de México.NUESTRA MÚSICA MUSIC IN LATINO Cl

"ILos Camperos de Valles son músicos reconocidos del son huasteco tanto en San Luis Potosí, Mexicodonde viven, como entre comunidades inmigrantes potosinas en los Estados Unidos y mundialmente.tío abuelo materno tocaba la guitarra, especialmentedurante los velorios. A los doceaños de edad Monroy comenzó a seguir a susparientes v a sus amigos músicos que tocabanen lastiestas celebradas en ranchos v pueblosDe la misma manera, el líder del grupo. MarcosHernandez, comenzó a tocar la huapanguerade manera profesional con su tío Fortino a losquince años de edad. Ninguno de estos magníficosmúsicos tuvo una educación musicalformal; fueron inspirados por primera vez ventrenados por sus propias familias, el "conservatoriode la música tradicional". Si no hubierasido por los tuertes lazos familiares, este maravillosogrupo de músicos tradicionales podríano haber existido. En la región huasteca, elson huasteco no solamente comunica unsentido de identidad con los estilos de vidaregionales, sino que además representa paravecinos, aprendiendo poco a poco a tocar loslosmúsicos una serie de tuertes asociacionesinstrumentos huastecos tradicionales, lajaranacon su familia y con la "familia extensa" dev lahuapanguera (guitarras rítmicas de diferentestamaños). Así mismo su colega Gregoriolos músicos profesionales del estilo huasteco.Otro ejemplo de cómo lamúsica construye"Goyo" Solano comenzó a aprender atocar lacomunidad se puede encontrar en las regionesjarana con su padre cuando tenía diez años. Solíaseguir a su padre violinista que acudía a fiestasmontañosas de laregion de Oriente en IISalvador. Allí, en donde pequeños puebloslocales de lacomunidad, fiestas de cumpleaños vse esparcen através del paisaje escarpado, labautizos donde era contratado para tocar en trioshuastecos. "Me fui enrolando en el ambiente dela música, primero oyendo.Y mi papá me decíapoco a poco las pisadas, v me fui integrando eneltrio después de haber aprendido un poco".pieza central de muchas de las tiestas familiaresv comunitarias es la música de un animosoensamble, exclusivamente salvadoreño, llamadochanchona. Chanchona es el nombre que sele k.\.\ [ocalmente al enorme contrabajo queprovee el fundamento armónico de la agrupación.La chanchona apareció en la segundamitad del sigloXX. tomando repertorio de lamúsica popular de México y de otros paísesde Centroamérica. Con el tiempo aparecióuna instrumentación estándar de seis o másmiembros que incline la chanchona— dosviolines, una guitarra, una tumba (conga) votros instrumentos de percusión. El origen deSMITHSONIAN FOLKLIFE FESTIVAL

su sonido surge del ritmo bailable de la popularcumbia, del ágil compás de la canción rancheray del más lento del bolero romántico. Cuandolachanchona empieza a tocar sus contagiososritmos bailables y los cantantes abordan sus letrasadornadas de sentimiento local, la gente se alejade la rutina diaria y la música marca el comienzode una ocasión especial dentro del panoramaemocional. En el resto de El Salvador, la chanchonaidentifica la región de Oriente como unsitio distintivo, con sus asociaciones de la vidacampesina y la pobreza rural. En la medida quemillones de salvadoreños comenzaron a nngrara los Estados Unidos durante y después de laguerra civil de los años 70 y 80 —todavía hoyuno de cada cuatro salvadoreños vive fuera deEl Salvador— la música terminó adquiriendonuevos significados. Justo en elmismo momentoen que los salvadoreños desraizados de su tierranatal perdían su sentido de pertenencia almudarse a ciudades como Miami, Nueva York,Los Angeles, Houston y Washington D.C., en susrecién adoptados hogares la música tomó sobresímisma un sentido más intenso de "'hogar". Enefecto, para muchos salvadoreños, especialmentepara aquellos de Oriente, solo unos segundosde música de chanchona evocan el sentimientode "estar en casa" casi tanto como el hecho detomar un vuelo de vanos miles de millas paravolver a estar en El Salvador. En Washington,D.C., donde están radicados más de cien milsalvadoreños provenientes en su mayoría delOriente, la chanchona se está conviniendocada día más en un prominente símbolo de lapresencia salvadoreña. Desde el 2001. el grupoElíseo y su Chanchona Melódica Oriental se hapresentado cada viernes y sábado en la nocheen elrestaurante |udy's en Washington, D.C. Eljete del grupo. Elíseo Gutiérrez, empezó atot .illamúsica de la chanchona en su pueblo natalde San Alejo, La Unión, El Salvador, aprendiendosobre todo de su padre y sus hermanos.En [udy's, el grupo de siete músicos ofreceuna amplia variedad de música que gusta a laclientela de El Salvador. Honduras, Guatemala,México, y otros países latinoamericanos. Cuandotocan para bodas, tiestas de cumpleaños yotras celebraciones salvadorenas.se enfocanen elrepertorio de cumbia y de canciónranchera favorecido entre los salvadoreños.[5 7]José Arnaldo Martínez Zayas con Ecos deBorinquen hace la armonía del segundo cuatro,elemento distintivo en lamúsica libara.Músico y especialista Juan Dies proporcionabien marcada la parte del bajo a su grupoSones de México con su guitarrón.NUESTRA MÚSICA MUSIC IN LATINO CULTURE

RAICES LATINASNUESTRA MÚSICA LANZA NUEVA SERIEEn 2002, el Centro de Tradiciones Populares y Patrimonio Cultural de laInstitución Smithsonian concibió el proyecto Nuestra Música: Music inLatino Culture,un esfuerzo de multiples años para documentar y haceraccesible expresiones musicales tradicionales del patrimonio culturalde comunidades latinas en los Estados Unidos.Smithsonian FolkwaysRecordings, el sello de discos sin fines de lucro del museo nacional, inicióSmithsonian Folkways Latino Roots CollectionNuestra Música con el lanzamiento de una serie de grabaciones nuevas demúsica latina que refleja la diversidad de culturas latinas y sus creaciones58]musicales. Estos son los discos que se han publicado hasta la fecha.Capoeira Angola 2:Brincando na RodaSFW CD 40488El ave de mi soñar:Mexican Sones Huastecos byLos Camperos de VallesSFW CD 40512Havana, Cuba, ca. 1957:Rhythms and Songs of the OrishasSFW CD 40489Havana & Matanzas, Cuba, ca.1957; Bata, Bembé, and Palo SongsSFW CD 40434Heroes & Horses: Corridos from theArizona-Sonora BorderlandsSFW CD 40465Jibaro Hasta el Hueso:Mountain Music of Puerto Ricoby Ecos de BohnquenSFW CD 40506La Bamba: Sones Jarochosfrom Veracruz. Featuring JoséGutiérrez & Los Hermanos OchoaSFW CD 40505Latin Jazz:/Llegaron Los Camperos!Concert Favorites of Nati Cano'sMariachi Los CamperosSFW CD 40517Luiz Bonfá: Solo in Rio 1959SFW CD 40483Matanzas Cuba, ca. 1957:Afro-Cuban Sacred Musicfrom the CountrysideSFW CD 40490Quisqueya en el Hudson:Dominican Music in NewYork City SFW CD 40495Raices Latinas: SmithsonianFolkways Latino Roots CollectionSFW CD 40470Si,Soy Llanero: Joropo Music fromthe Orinoco Plains of ColombiaSFW CD 40515Viento de Agua Unplugged:Materia PrimaSFW CD 40513¡Viva el Mariachi! Nati Cano'sMariachi Los CamperosSFW CD 40459La Combinación PerfectaSFW CD 40802Para más información y otras selecciones,visite www.folkways.si.edu.\\&&ABo.O»"»*"»!*SMITHSONIAN FOLKLIFE FESTIVAL

Mientras que en muchas comunidadeslatinas lamúsica funciona como un imán quereúne a la gente alrededor de ideas familiares devalores y experiencias compartidas, la músicaes también utilizada para construir nuevas ideasde comunidad y de propósito mutuo de cara alfuturo. En Chicago, el grupo Sones de Méxicoretoma cabos de muchos estilos regionalesde lamúsica mexicana para entretejerlos consonoridades contemporáneas y composicionesfrescas, creando nuevos tejidos musicales queson a la vez tradicionales y contemporáneos,rurales y urbanos, viejos y nuevos. En Chicago,inmigrantes recientes procedentes de muchasreglones mexicanas viven lado a lado con méxicoamericanosjóvenes y viejos pertenecientesa familias que han estado establecidas en laciudad desde hace por lo menos cien años. Larecepción entusiasta de la música de Sones deMéxico en Chicago refleja el éxito alcanzadoal lanzarse a capturar la esencia de la identidadchicagomexicana, e ilustra un positivopanorama musical alrededor de las contribucionesque los mexicanos de diferentes orígenesy edades hacen y que constituven aportesculturales valiosos que se apoyan mutuamente.La música popular bailable basada en raícestradicionales juega un papel especial en la consolidaciónde un sentido pan-latino de comunidad.Cuando diferencias nacionales específicas en suherencia— mexicana, puertorriqueña, salvadoreña,colombiana y demás— se van suavizando en lamedida en que van surgiendo nuevas generacionesde latinos que encuentran una base comúnen la sociedad norteamericana, etiquetas como"latino" adquieren una mayor relevancia. Lastiendas de música promocionan grabaciones demúsica latina y los clubes nocturnos ofrecenmúsica bailable que busca atraer diversos orígenese intereses latinos. Especialmente en ciudadescomo Washington D.C.en donde personas dediversas nacionalidades latinas comparten una basesocial similar, los promotores de baile, los dueñosde clubes y las orquestas ofrecen música bailableque atrae a un amplio rango de latinos. Mientraslos miembros de la banda |CJ de Washingtonse especializan en el merengue dominicano.por ejemplo, pueden también interpretar salsa,cumbia, reggaetón, y otros estilos populares. Estelugar de encuentro de ritmos es también unterreno pan-Latino común que construye unsentido compartido de vida cultural y social.A través de la presentación de esta y otras"ventanas culturales" musicales que el programaNuestra Música: Music in Latino Culture explora,podemos encontrar un más completo significadode la música. Este significado va muchomás allá de lo puramente sonoro; penetra en elcorazón de la identidad personal y social, en lamanera en que las comunidades inmigrantessobreviven y se adaptan a ambientes socialesdiferentes, en la construcción de un nuevoespíritu de comunidad en un mundo que estáen constante evolución. La música lleva consigoconocimiento, significado, afecto v espíritu,porque la gente la ha colmado con todos esosvalores, porque considera que la música esesencial para imaginar y vivir una vida normalen laque cada uno sea genuinamente quien es.Las comunidades y la creatividad de sus músicosconstantemente producen nuevos significadospara la música, significados que sirven propósitossociales así como estéticos. Nuestra Música ofrecea los visitantes de esta "exhibición en vivo"en la Explanada Nacional la oportunidad deconocer a los músicos y de aprender más acercadel universo de significados detrás de los sonidos,así como a cantar las canciones, a bailar losritmos, y a experimentar el diverso panoramade expresiones que llamamos música latina. Elsegmento de Nuestra Música en el 2005 presentaalpúblico una serie de conciertos nocturnosque ofrecen una muestra de la variedad de losestilos y las culturas musicales latinas explorandoeltema "la música construye comunidad".DANIEL SHEEHY es etnomusicólogo,curador, músico y director de SmithsonianFolkways Recordings, el sello musical sin finesde lucro del museo nacional. Es autor y editorde numerosas publicaciones sobre música deAmérica Latina como también productorde conciertos, giras y álbumes de músicade América Latina y de Estados Unidos.>'JINUESTRA MÚSICA: MUSIC IN LATINO CULTURE

IOMAN: DESERT, OASIS, AND SEARICHARD KENNEDYTheSultanate of Oman lieson the east coast of the Arabian Peninsula, facingthe Arabian Sea. Living at this crossroads between Asia, Africa, and theMediterranean. Omanis have developed a complex culture that draws on the"'Icountry's Arab roots as well as its long-standing contacts with India, East Africa,and the Middle East. For 5,000 years Oman has traded throughout the region.Its ships have sailed to Asia and Africa, and its caravans have traveled overland to the shoresof the Mediterranean, contributing to the country's surprisingly cosmopolitan history.Western geographical regions often separate lands that share boundaries or whosehistories are closely aligned. The Middle East and South Asia may seem worlds apart, butthe flight from Muscat, the Omani capital, to Mumbai (Bombay), India, is just a littletwo hours. Oman is not, as it sometimes appears, only a country on the edge of the ArabianPeninsula, but rather a land at the center ot an ancient and modern cultural and economicexchange. Omanis are proud ot but reserved about their important role in world history.Historically, itsgeography has posed both challenges and opportunities for Oman.Omani culture has been molded by the struggle to master the desert and seacoast both forsettlement and tor trade ot the rareproducts found there. Throughouthistory, Oman's copper, frankincense,dates, and petroleum have been prizedoutside the country, and, althoughoften difficult to extract and transport,these products have reachedancient markets in the Mediterraneanand India and modern marketsthroughout the world. Omanis havebeen master mariners ot the seas andskillful nomadic traders ot the desert.In the third millennium bce,copper mines in what is now Oman,likely the ancient trading centercalled Magan, provided this flexibleand important metal to the civilizationsof the Tigris and EuphratesRivers in the Middle East and theover(Left) Bait Al Ras, an oasis town.The map on the right shows Oman'strade routes throughout history.

Muscat, modern capital of Oman, has welcomed travelers for centuries.Indus River on the Indian subcontinent.Historical evidence suggests .1 regular trade byship and caravan. In the first millennium < 1,particularly during the Roman and ByzantineEmpires, the aromatic resin frankincense, likesilk from China, became a highly sought-afterluxury. Burning frankincense also became anecessary part of pagan and. later, [ewish andChristum ritual. Boswellia trees on the hillsidesot southern ( )man produce the finest frankin-Africans from the south all had profoundinfluences on the development ot Oman.( 'man entered a long period ot isolation inthe [9th century and has only recently reopenedits borders and reestablished its cosmopolitanperspective. Until 1970, there were few roads,hospitals, or schools anywhere in the country.Since [970, Mis Majesty Sultan Qaboos binSaid has specifically committed his governmentand itsresources to education, health,cense, and an extensive trade developed acrossthe Arabian Peninsula and through the RedSea One ot the Three Kings of the Christianbirth story was carrying this valuable aromatic.Early settlement by Arabs, probably comingfrom modern Yemen during the first millennium( 1. and the arrival and rapid acceptanceot Islam in the 7th century created a degree ofunification among the peoples ot the easternend ot the Arabian Peninsula. Nevertheless,the great Hajar Mountains separated peopleon the seacoast from those in the interior,and the vast expanse of uninhabitable landacross the center ot the country separated thepeoples ot the north and the south. As Omaninfrastructure, and the environment. He hasalso sponsored cultural preservation projectsthat recognize the fragility ot loeal traditions111 the tace ot globalization. Oman knows thatits place in world history has created a uniqueculture that deserves support. Encouragementot traditional music and crafts coupled withlaws to preserve local architecture and historicsites have been the hallmark ot policies thatvalue the past and also anticipate the future.The accession ot Sultan Qaboos bin Saidand the Omani people's firm belief inIslamhave united a people with broadly differentexperiences and histories. This culturaldiversity is reflected in Oman's three vastlyexpanded itstrade, outside cultural influencesdifferent environments— the desert, the oasis,were added to this internal diversity. Persiansfrom the north, Indians from the east, andand the sea. The country's complex culturereflects its people's responses to each.SMITHSONIAN FOLKLIFE FESTIVAL

DESERTThe deserts ot the Arabian Peninsula would bea hostile environment for a settled people. Butancient traders of frankincense flourished inthese dry lands by mastering the secrets of theirconstantly changing topography, and contemporarynomadic pastorahsts have retained thatmastery. Bedouin people have lived alongsidetheir animals and have learned to move them asweather and their need for water demand. Goats,sheep, camels, and horses provide meat, milk,hide, hair, and transportation for the nomadsand are the tocus of their economy. In Omanthe paths of some Bedouins also pass the coasts,particularly in the Sharqiyah region ot eastcentralOman. Here they fishand dry their catchto carry inland tor trade at oasis towns and toprovide teed for their animals. But whether theyare trading animal products or fish. Bedouins otthe Omam desert use their culture to maintainmobility and responsiveness to change. Bedouinsmake crafts that are lightweight yet sturdy. Theyweave clothes, camel trappings, and tents ofgoat and sheep's hair and dye them with localminerals and plants. Their weaving designsare distinctive and may signal tribal identity.They also weave containers of date palm leavesreinforced with leather. They make all productstor easy transport and mainly tor personaluse; in the past these items were rarely sold.Bedouins have always exchanged their animalsfor products available at the oases— -jewelry,weapons, tools, and cotton or silk thread.Bedouin celebrations that support the cyclesot nomadic lite are accompanied primarily bysinging and have borrowed littlefrom oasisculture. However, many nomadic people havebecome settled and have been profoundly influencedby oasis and even global culture. Today thenomadic population of Oman isvery small dueto the attraction of employment in the cities andoil fields. The influence ot the oil industry, whichbegan in the Omani interior in the late 1960s,has been dramatic. But some Omani nomadsstill travel with their animals, trade in the oasistow 11s. and produce their crafts—now as oftenas not for trade to interested city dwellers.Some Omani Bedouin families still travel by camel; however, most use trucks.OMAN DESERT, OASIS, AND SEA

OASISIhe oases of Oman have always been centers where farmers andmerchants from the coast meet and trade with nomadic Bedouins fromthe interior desert. Many oasis towns arose near passes on either sideof the Hajar Mountains inthe north. Built next to the wadis, or rivervalleys that seasonally bring water from the mountains, these oases wereable to support cultivation, particularly of dates. Their wealth and strategiclocation enabled oases to become mercantile centers that brought64]together settled people, nomads, and visiting traders. These fortifiedtowns, where copper vessels, fish, dates, indigo cloth, and camels aretraded, remain centers for contact between the desert and the sea.t 'rafts ot the oases use local and imported materials and represent influencesfrom throughout the region. Foreign traders brought gold, silver, and iron to oasistowns to supplement local copper 111 the production ot jewelry, weapons, and tools.I he\ sold silk and cotton that enabled local weavers to make finer cloth, and woodtor more elaborate architectural construction. Ideas also transformed the oases.Persians, tor example, brought knowledge ot irrigation that developed the elaboratefalajsystem to tunnel water to settlements. Today the oasis town provides access tothe products ot the 21st century—cars, TVs, cell phones, and computers. And as 111the past, itcontinues to be a place to exchange ideasthrough both formal institutions like universities andinformal meetings ot individuals.SEAThe seacoast has also been ameeting placethroughout Omani history. For millenniaOmani sailors have been famous tor their travelsthroughout Asia and Africa. Whether Sindbadot the tool Xifilih was .\n Omani is irrelevant;the widespread belief that he was reflects thereality ot many Omani sailors and merchants mthe Middle East and the Indian Ocean. Omanimerchants sailed to China inthe Nth century,and itwas an Omani who led the Portuguese explorer Vasco da (¡ama to IndiaQurayat fishermenin1498. The Omani seas continue to provide fishermen with their livelihood,cast their net from atraditional woodenhurí,an inshorefishing activity thatisrepeated dailyalong much ofOman's coastline.and. although most new ships now come from outside Oman, an effort is beingmade to revive its great shipbuilding traditions. On the shores of the city of Stir,a visitor caw see the reconstruction ot ancient dhows, and in Musandam, alongthe Straits oí I lormuz, traditional boats still actively fish 111 the local waters.Through this great maritime tradition, Oman has absorbed Indian,European, and African cultural influences. Many Omani communitieshave their roots inPersia, India, or Africa; Baluch, Gujarati, and Swahilican still be heard 111 homes throughout the Sultanate. And, not surprisingly,coastal music and dance are creative amalgams ot Arab, African,and Indian traditions—vitalelements ot Omani national identity.SMITHSONIAN FOLKLIFE FESTIVAL

THE FESTIVAL PROGRAMThe 200s Smithsonian Folklife Festival programon Oman features over ioo musicians, dancers,craftspeople, and cooks representing culturaltraditions trom the desert, oasis, and sea. Thedate-leaf baskets and decorative wool carpetsmade tor easy transport by nomadic desertpeoples provide a striking contrast to theheavy copper vessels and elaborate silverworkproduced by craftsmen in the oases, while proudshipbuilders demonstrate skills that have madeOmani ships renowned throughout the IndianOcean. The fabled frankincense that in someways represented to the ancient Mediterraneanworld what oil does to modern economies isstillgrown in the south and used throughout Oman.A section ot the program features a variety ofOmam adornments including aromatics suchas frankincense, as well as textiles and jewelry.Most Omam music accompanies dance andis present at celebrations ot all kinds around thecountry. People rejoice with music and danceat births and weddings, use them sometimesfor healing, and celebrate with them at timesof victory. Men's and women's dance is accompaniedby musical instruments that display thecultural influences ot the region—stringedinstruments trom India, wind instruments tromPersia, drums trom Africa, and even bagpipes(originally from Egypt but more recently playedby British military troops in residence in Oman)are allpart ot the sounds of Omam music.The 2005 program is the first to feature anArab nation at the Smithsonian Folklife Festival.Arabs and Arab Americans have participatedin past Festivals, but this program provides anopportunity to tocus on an Arab culture at atime when the Arab world isunfortunatelymuch misunderstood here. We hope the Omanprogram will dispel some myths about theregion and even include a tew pleasant surprisestor those knowledgeable ot the region.[65]NOTE ON TRANSLITERATIONArabic words that have been incorporated into English,including place names found in Webster's Dictionary, areprimarily written in their English form. Transliterationsof other words from the Arabic to the Roman alphabetare usually guided by Library ot Congress usage. Inmost cases, transliterations are made from ModernStandard Arabic words, not from words in Omamdialect(s). Diacritical marks are omitted unless they arean integral part ot the language. Readers will notice thefollowing two marks:(')An apostrophe to indicate the break in soundthat occurs in the middle of some Arabic words(') A single, inward-facing quote to represent the'ayn consonant which does not occur in EnglishSUGGESTED READINGAgius, Dionisius. 2003. Seafaring in the ArabianGulf and Oman.The People of the Dhow.London: Kegan Paul International.Callan, Lou, and Gordon Robison. 2000. Oman &the I 'titled Arab Emirates. Melbourne: Lonely Planet.The Journal ot Oman Studies, 1 bis. 1-12.197S-2002. Muscat: Ministry of Heritageand Culture. Sultanate of Oman.Ministry of Information, Sultanate ofOman: http://www.omanet.omOwtram, Francis. 2004. A Modern History of Oman:Formation of the State since 1920. London: I.B.Tauris.Stevens, Andre, 1990. Oman: Citadels between Sandand Sea. Winksele. Belgium: Terra Incognita.Wikan, Unni. 1991. Behind the I HI in Arabia: WomeninOman. Chicago: University of Chicago Press.RICHARD KENNEDY isthe curator ofthe 2005 Festival program on Oman andDeputy Director ot the Smithsonian Centerfor Folklife and Cultural Heritage. He has cocuratedFestival programs on the Silk Road.Tibetan culture, the Philippines, Russian music,Thailand, Indonesia, and Hawai'i. His Ph.D.isin South and Southeast Asian Studies fromthe University ot California at Berkeley.Hawley, Donald. 1984. Oman & ItsRenaissance.Second edition. London: Stacey International.All photographs courtesy oj the Omani Craft HeritageDocumentation Project unless noted otherwise.OMAN: DESERT, OASIS, AND SEA

CRAFT TRADITIONS OF THEDESERT, OASIS, AND SEAMARCIA STEGATH DORR AND NEIL RICHARDSON6 61Craftindustries have been .1 defining element of Omani cultural heritagefor more thans.ooo yens. In towns, villages, and desert campsthroughout the country, craftsmen and craftswomen continue to linkthe cultural past with the present. Their crafts express national identityand endow Oman with an unparalleled living heritage.Oman's craft traditions have evolved to meet utilitarian needs, but combinethe most basic of these—food, water, shelter, and safety— with the innate humandesire for self-expression through personal adornment and artistry. The traditionshave been further shaped by harsh climatic conditions, particularly the scarcity ofwater, which has had a strong overall influence on lifestyles, economic development,and settlement patterns in avaried landscape that includes desert, oasis, and sea.VOICES OF THE DESERT< For the Bedouin tribes of Oman's desert regions, survival has depended< .

6 8The coiled, leather-covered basket used bydesert dwellers for milking camels is lightweightand unbreakable, typifying the requirement forportability that underlies all Bedouin craftsmanshipYoung girls from a Bedouin family worktogether to braid the ends of a rugwoven by their mother.desert and display the weavers' ingenuity indepicting the world around them. Sources ofinspiration for designs include spindles and otherDATE PALMS AND SOUKS:OASIS TOWNS OF THE INTERIORweaving tools, kohl containers, combs, goats,Oasis town settlements bring litelizards, hud tracks, and the camel itself; mostand au unexpectedtableau of green to alandscape thathave been passed down from mother to daughterfor untold centuries. Other designs, such asscissorsand helicopters, are evidence of creativeinvention by new generations of weavers andisotherwise desolate and brown. The largestof these towns are characterized by elaboratesystems of defense that incorporate vvatchtowers,perimeter walls, fortified gates, and massive,illustrate the dynamic nature of crafts as avehicletor expression.multi-towered fortresses. These protect inhabitantsand the sources of water vitalto settlementOn the fringes of the desert are bustlingand the extensive cultivation of date palms.oasis towns where Bedouin lifestyleoverlapsThe date palm is, without question, thewith that of settled communities. Despitetheir allegiance to the desert, Oman's Bedouincommunities do, of necessity, maintain stronglinks to these towns. They make periodic visitsmost versatile of Oman's natural resources,and tor good reason it is known throughoutthe Arab world asthe "tree of life." Beyondits obvious value as a provider of food,to sellshelter, and fuel, it is the greatest source otlivestock, tribal rugs and trappings, desertpalmbasketry and other Bedouin products, andcraft material in the country. It has usefulapplications in seafaring, fishing, tanning.to purchase the work of market-based silverandcoppersmiths, silkweavers, embroiderersherding, trading, and general housekeeping.and other town-dwelling artisans, main ofwhom cater specifically to a Bedouin clientele.Virtually every part of the date palm isutilized by artisans. Leaflets are plaited intoSMITHSONIAN FOLKLIFE FESTIVAL

long strips and joined to make mats, baskets, and food covers.Fibrous material found at the base ot fronds is plied into rope andused to cushion loads on donkeys and camels. The central ribsof fronds are made into clothing fumigators or bird traps, or arelashed together to form panels for constructing dwellings, workshops,and livestock enclosures. Date stalks are split and made intorigid containers, while the dates themselves are added to indigodye vats and leather tanning solutions. Sharp spines projectingfrom the sides of fronds are used as needles by embroiderers. Trunksections are hollowed out to make cattle troughs, mortars, andbeehives, or cut lengthwise into quarters and used as ceiling beams.Any surplus material can be used by potters for tiring pottery.A focus of most oasis towns is the souk (marketplace), whichserves as a base for both the production and marketing of crafts.Carpenters, silversmiths, coppersmiths, and blacksmiths typically havepermanent workshops within the souk itself, while leather crattersset up temporary sunshades under whichthey work and offer leather goods for sale.The indigo dyers of Bahla, among the lastin the Arab world to use natural indigo,continue to work in traditional workshopswith large dyeing vats set into earthenfloors and dyed fabric drying on the rooftops.Souk-based crafts are characterizedby a high degree ot specialization andare typically learned through apprenticeship.Those artisans who work outside thesouk — potters, basket makers, weavers ofcamel and donkey trappings, and rose-waterproducers—sell their finished goods inthe souk directly or through middlemen.Artisanal communities in oasis townsdepend upon and support each other. Forinstance, leather tanners and indigo dyersuse earthenware vats made by potters.Large copper cauldrons are used formaking halwa, which is packaged in palmbaskets, and also tor distilling rose water,which is collected in other copper vesselsand poured from highly ornate silversprinklers. The workshops of carpenters,silversmiths, and potters abound withpalm-frond mats and hand-forged irontools, creating webs ot exchange amongcraftspeople that help maintain the viabilityof traditional artisanry in oasis towns.The date palm is,without question,the most versatileof Oman's naturalresources, and forgood reason itisknown throughoutthe Arab world as,,the "tree oí liíe.[69]OMAN DESERT, OASIS, AND SEA

70]COASTAL CRAFTSMANSHIPAND GLOBAL CONNECTIONSOman's seafaring heritage is legendary, andboat building— perhaps more than any othercraft industry—has had a fundamental impacton the course ot Omani history. The earliestwritten reference to the country, recorded onAkkadian clay tablets dating to 2520 BCE, pertainsto maritime trade and the emergence of Oman(then known as "Magan") as one ot the world'sfirstseafaring nations. Based on the export ofcopper from the north and frankincense fromthe south, earl} trade activity was a major catalysttor advances in boat-building technology.From these early times, Oman's boat-buildingindustry grew as part of a regional developmentot seafaring capability throughout the Gulf, theArabian Sea, and the Indian Ocean, a developmentcharacterized by transfers of technologyand trade in wood and other raw materials.Oman's early boat-building traditionshave been perpetuated inMusandam. wherethe sterns and bows ot double-ended vesselscontinue to lie stitched together with palmfiberrope and decorated with goatskinsand cowry shells. Boat yards in the coastalentrepot of Sur also remain active, withtraditional boat builders receiving commissionsfor vessels with the elegant transomsfavored by local fishermen. Virtually all of thetools and equipment used are of extremelyancient lineage. Among the most importantot these are the adze and the bow-drill.Oman's port cities have a history rich inseafaring tradition. For centuries, dhows set sailfrom Sur, Suhar, and Muscat fully laden withmerchandise from Oman—dried fish, dates,limes, copper, frankincense, horses, skins, honey,and pomegranates—as well as Gulf pearls andYemeni coffee. In the [8th century, more than(in percent of the total Gulf trade and halfthe produce ofYemen passed through Omaniports. In return, traders brought commoditiesthat were 111 short supply m Oman: wood,spices, rice, precious metals, silks, textiles,iron, horn, and tine porcelain ware. Theyalso brought new ideas and technologies.At a boat yard in Al-Ashkharah, a bow-drill is employed to fit ribsto the planked hull of a shu'i commissioned by a local fisherman.SMITHSONIAN FOLKLIFE FESTIVAL

[7i]A Bahía blacksmith, assisted by his sons, employs hot-forging techniques to make a steel knife blade.Many of the materials were importedto supply coastal cratt industries. Bronzeand iron contributed to the development otmetalworking — particularly tool making andweaponry production—while the gradual adoptionof silver and gold as regional currenciesencouraged the development of refined decorativetechniques tor weaponry and jewelry. Finehardwood brought a degree of sophisticationto the boat-building industry and permitted avolume of production that would have beenimpossible on the basis ot indigenous woodalone. The precious value of wood encouragedbeen gateways for new ideas, materials, andtechnologies, which have not only enriched thecratt heritage of coastal communities but alsofiltered inland via overland trade routes. At thesame time, Omani artisans, employing indigenousmaterials, techniques, and designs, havebrought their own interpretations and customsto the practice ot their crafts. The result is acaptivating synthesis, within which are discernibleArab, Asian, and East African influences.The resulting whole is a vibrant and uniquecratt culture that is resoundingly Omani.The souk in the capital city and port otthe development ot woodcarvmg into afineMuscat has a broader role than those in theart form that maintains its pride of place indoors, windows, and other decorative featuresof monumental and vernacular architecture.Embroiderers and pit-loom weavers benefitedfrom the import ot silk and other threads thatadd color and diversity to local costume.Towns such as Suhar, Muscat, Sur, andSalalah along Oman's coastline emerged as majorentrepots that boast a rich mixture of people,adecidedly cosmopolitan air, and a lively andvaried collection ot cratt traditions. They haveinterior. Although a center ot traditional craftsproduction, the souk also gathers cratt productsfrom all over the country—Bahla pottery,basketry from the Batinah, Sun embroidery andpit-loom weaving, tribal rugs and trappings, andNizwa copper and silverwork. All find an outletin the capital-area marketplace. Local women sellincense in the heart ot the souk, their mixturesspread before them to entice customers. Handembroideredqimmahs (men's caps), made inthe privacy ot the home or courtyard, are alsoOMAN DESERT, OASIS, AND SEA

[72]Although the oldismaking way forthe new, progress isstilla mantle wornlightly by a societythat retains a strongcommitment totradition, culture,and heritage.on otter, and special commissions are accepted for work to order.Contiguous with the various souks are artisanal workshops, wheresilver- and goldsmiths, weaponry makers, blacksmiths, leathercratters, carpenters, tailors, and hahva makers may all be found hardat work. It is evident, particularly in the gold and silver souks, thatmercantile prosperity and the cosmopolitan character of the capitalhave done much to encourage the production of luxury goods.The souks of the capital are outlets not only for consumergoods but also tor a broad range of imported raw materials usedby urban and rural artisans. Textile sellers offer fabrics from the FarEast, the Indian subcontinent, Africa. Europe, and the Americas,together with threads, trims, and other costume materials used byembroiderers and pit-loom weavers. Suppliers in the alleys behindthe gold and silver souk provide jewelers and khanjar (Omaniceremonial dagger) makerswith imported metals in ingotor nugget form, wire and sheetmetal in various gauges at highlycompetitive prices, dies, tools,scales, and crucibles from Pakistanand India, Omani leather, Indianteak, and arange of burnishing,soldering, and casting compounds.For the incense makers, perfumeand spice sellers otter fragrantingredients from the far cornersof the world—aromatic oils,woods, resins, rose-scentedwater, fixatives, and burners.The spice stalls also otter henna< powder and paste as well as2 dried limes, which are used as1afixative m henna mixtures.Although the old ismaking*i the new, progress isway foro- still a mantle worn lightly byThe secrets of one of the world'smost ancient crafts are containedin a small workroom in Bahla, oneof the last corners in the Arabworld where Indigo dyeing isstillintertwined with local cultureSuccessive generations of Omanisa society that retains a strong commitment to tradition, culture,and heritage. The extent to which Omani craft products continueto have utility in daily life is quite remarkable, as is the extentto which craft producers continue to equate challenge withopportunity m the practice of their craft. Craft skills continueto be passed down trom mother to daughter, father to son, andcontinue to be captivated by theOman remains among the few nations inthe Middle East withallure of the precious dyestuffa living heritage that remains relevant to both local populationsand visitors. There is every hope that the country cancontinue to broaden its horizons without forfeiting its past.SMITHSONIAN FOLKLIFE FESTIVAL

THE OMANICRAFT HERITAGEDOCUMENTATIONPROJECTRich and diverse, the craft industriesof Oman are among the mostimportant cultural traditions in theArabian Peninsula. Until recently,however, there had been littleresearch into this subject. When.73.itbecame apparent that the rapidmodernization of the Sultanatewould challenge the survival of thecountry's craft industries, the OmaniCraft Heritage DocumentationProject was initiated in1996 by HisHighness Seyyid Shihab bin TariqAn embroiderer 15 resplendent in her own hand-stitched finery inBilad Sur. She uses silk and metallic threads from India and Asia,and silk fabric woven especially for the Omani market.SUGGESTED READINGRichardson, Neil, .ind Marcia Dorr. 2003. The Craft Heritage of ( )man.Dubai: Motivate.MARCIA STEGATH DORR earned degrees in fine arts andeducation from the University of Michigan. She taught art andestablished an interior design firm in Ann Arbor before goingto live mThe Gambia with her family in 19X3. While there shecreated a West African artisans' co-operative. In1986 she moved tothe Sultanate of Oman, where her work in cultural preservationcontinued with a United Nations project to revitalize traditionalpottery production. Ms. Dorr is presently advisor to the governmenttor the adaptive re-use ot historic torts and castlesNEIL RICHARDSON was born in London and later movedto Australia, where he graduated from the University ofWestern Australia with a degree in business and marketing.He has worked in Oman since1989, specializing in heritagemanagement and the preservation of traditional cratt industries.In addition to his work on the documentation of traditionalcraft industries, he was a co-founder of the Omani HeritageGallery, a not-for-profit organization linking traditional Omaniartisans with contemporary markets tor their products..-4// photographs courtesy of the Omani Craft HeritageDocumentation Project unless noted otherwise.Al Said. Its aim has been to identifyand document the different typesof crafts in allparts of the country.From Xhejirz (ceremonial smallbladedax) makers of Musandamto the potters of Dhufar, hundredsof craftspeople have beeninterviewed, and their techniquesand products have been carefullydocumented and photographed.An important result of thisproject, the extraordinary twovolumework, The Craft Heritageof Oman, is a tribute to Oman'sartisans and the traditions theycreate. Authors Neil Richardsonand Marcia Dorr document theorigins and development of thecountry's craft traditions andartisan communities. They providea comprehensive region-by-regionrecord of the design and productiontechniques of the many and variedcrafts found across the Sultanate.This wide-ranging catalogue ofartifacts concludes with a review ofthe changing role of craft industriesin a rapidly modernizing society,making it the most significantpublication on the traditional craftheritage of southeast Arabia.OMAN DESERT, OASIS, AND SEA

AN OMANI FOLKTALEASYAH AL-BUALYOmani folk literature reaches all social classesTALE OF FADIL OR RAMADU74]and consists of different types of folk genres. Itincludes proverbs, which summarize human lifeexperiences, and folk songs, which groups ofpeople sing for special occasions such as weddings,birth celebrations, and Islamic festivals. In addition,itincludes narrative forms such as fables and otherfolktales, stories of lunar eclipses, jinn or spirittales, and sira, or tales that glorify a hero whomay or may not have been an historical figure.The following is an Omani folktale that,although told for entertainment, also containsthe complex dualities and recurring contradictionsof human relationships. The fable is titled "Taleof Fadil or Ramadu." Fadil is an Arabic malename that means "praiseworthy," and Ramaducomes from the word ramadi, meaning "gray."Once upon a time, there was a merchant who hadan only son named Fadil. Fadil's mother died whenhe was an infant. His father remarried a womanwho hated Fadil and always tried to get rid ofhim so that she could have the full attention andlove of his father. Fadil had a horse named Insiyah(from ins, meaning "human beings, "a nameoften used in Omani folklore for a domesticatedanimal that possesses human qualities).A merchant, Fadil's father was away fromhome from early morning till late evening.During his father's absence, the stepmotherwould abuse Fadil by starving, cursing, andhitting him. When she would send Fadil to thekuttab, the Koran (Qur'an) school where herbrother was the teacher, he would continue totorment Fadil by hitting and humiliating him.One day, while the stepmother and herbrother were planning to rid themselvesof Fadil for good by killing him, the horseInsiyah listened attentively, and later gaveFadil full details of this conspiracy.On the following day, the stepmother, whohad always neglected Fadil, offered him a cleanplate fullof food. Fadil knew that the food hadbeen poisoned, and so he refused and ate fromthe saucepan in the kitchen, saying he wanted toleave the good food for his stepmother.Then he refused to wear a clean shirt offeredby his stepmother, because he knew that it toohad been treated with poison. He picked the shirtup with a stick and burned it in the garden, sayingthat his father would buy him a new shirt.The stepmother and her brother suspectedthe horse Insiyah of informing Fadil of their plansand decided to get rid of the horse.Inher third deceitful act, the stepmotherpretended that she was seriously ill and slept allLike the hero Fadil, many Omanis havea close relationship with their animals.Horses are especially valued.***i.

—Iday. She put dry bread and dry date-palm leavesunder her mattress. When her husband returnedin the evening, she tossed and turned, producingsounds like broken bones as the bread and leavessnapped. She was trying to convince her husbandshe was suffering with fever pain in her bonesThere, over the course of several episodes,Fadil was able with his horse's help to save theemir and his emirate from a cruel king whointended to conquer the emirate and marry theemir's daughter by force. Eventually, Fadil marriedthe princess and lived happily ever after.and mumbled to him that the doctor prescribed ahorse's liver to cure her.When the husband hesitated, she immediatelysaid she understood that slaughtering the horseInsiyah would pain his son, who was so greatlyattached to the horse. The husband's responsewas that she was more important than the horse,which could easily be replaced with another.At dawn, Fadil discussed this new conspiracywith his horse Insiyah. They agreed that while Fadilwas at school, Insiyah would neigh three timesfirst when dragged from the stables, second whenreaching the slaughtering area, and the third timewhen being prepared for slaughter.When Fadil heard the first neigh, he askedhis teacher for permission to go home, but theteacher refused. At the second neigh, Fadil askedfor permission to go out for a drink, but theteacher refused again. But on the third neigh,Fadil slipped by the teacher and ran out of theclass to the slaughtering place, where his fatherwas preparing to killInsiyah.The astonished father explained his intentionsto Fadil. Fadil humbly asked his father to grant hima final farewell ride on the horse. His father agreedbut asked Fadil to return as quickly as possible,because of his stepmother's suffering.Fadil jumped on Insiyah and rode away farfrom home. He wrote to his father informing himof his wife's mistreatment. He then returned brieflyto satisfy his father's yearning for him but left againand continued to write more details. The fatherrevealed his knowledge to his wife only when Fadilinformed him of his wife's pretended illness.But it was too late. Fadil had alreadyreturned and left for the third time. He crossedseveral deserts and settled in a wealthy emirate,disguising himself as a poor servant by spreadinggray ashes on himself, which caused the localpeople to call him Ramadu.Such tales share many features with folkliterature from around the world. For example,as much as the Omani tale represents Omanisociety, its structure is not unlike the tales ofmany other nations. But this particular fablearticulates profound concepts connected toOmani ethics—beginning with the namesof itseponymous hero, Fadil and Ramadu.These indicate the boy's embodiment ofbravery, self-sacrifice, and unselfishness.Fadil's departure from home at a veryyoung age reflects an Omani value onadventurous, courageous behavior that facesthe unknown for the sake of achieving a loftygoal. Fadil embodies an ideal Omani, whocan overcome disappointments in life suchas the cruel treatment of the stepmother andher brother, the Koran teacher, who shouldhave been models of exemplary behavior.The Omani people encourage perseverance.This theme is confirmed by a common proverb tothe effect that any action should be performedat least three times to achieve perfection.In other words, repetition is necessary forsuccess. This was expressed in our fable bykey incidents being repeated three times.In Omani society and many others, humannature searches for complete happiness.Therefore, it is not surprising that our fableends with a happy ending in which Fadil andthe emir's daughter share love and marriage.ASYAH AL-BUALY isAssistant Professor in theDepartment of Arabic Literature and Language,College of Arts and Social Sciences, Sultan QaboosUniversity. Born in Zanzibar, she holds a Ph.D.from Cairo University and has published a numberof scholarly and popular articles on literatureand the arts.75IOMAN: DESERT, OASIS, AND SEA

y%aMUSIC AND DANCE INOMANOMAN CENTRE FOR TRADITIONAL MUSICKHALFAN AL-BARWANI, DIRECTORAllof Oman's traditional music is sustained byoral transmission between generations, andeach region has its own unique forms. Songs[77]and dances are performed during festivals andceremonies throughout the country. Songs varyfrom region to region, north to south, from one environment toanother. Songs of desert, oasis, and sea differ in purpose, content,and instrumentation.Desert songs often praise the sturdiness of the camel. Altaghrud,sung while riding camels, encourages both animal andrider. It is a group song with words that do not change fromplace to place. Al-tariq is a Bedouin song sung either whileriding acamel or seated on the ground. Two singers perform itin alternating verses. This song praises the she-camel and reflectsa slower pace of the camel in contrast to al-taghrud, whichmimics the camel traveling at afaster pace. Much of Bedouin«W7lsong is unaccompanied.In many ways a dance of the oasis, although performed inmost areas, al-razhah is characterized by its use of the sword and itsexchange of poetry between men. Men leap into the air, carrying/V£lVa heavy sword, and must not falter upon landing. The men alsothrow the sword into the air and catch it as it comes down—show of strength and prowess. Years ago, al-razhah was used toannounce the onset of war or victory, to muster troops, or tomediate between warring factions. Today it is used as a welcometo and celebration of His Majesty Sultan Qaboos bin Said. Thedance has three slow rhythms, but upon a call from the drum,the men perform sword displays, the aim of which is to hit one'sopponent on the left thumb. If no side is a clear winner, then anelder of the tribe cuts the air between them, terminating the tight.VSea songs reflect sailors' duties during preparation of theship for departure, during the voyage, and upon itsreturn.There are many types of sea songs. One, shilat al-hamul (TheSong of the Porters), is performed when loading goods ontoDancers rehearse for an 'id al-adhacelebration in the Saham district.OMAN DESERT, OASIS, AND SEA

THE OMAN CENTREFOR TRADITIONALMUSICTraditional Omani songs anddances are woven togetherwith modern Omani music intoa rich tapestry of the country'smusical heritage. Recognizing[78]that Oman's present-daycultural achievements arerooted in a past with ancientbeginnings, His Majesty SultanQaboos bin Said directed thatthe country's musical heritagebe collected and documentedto ensure its preservation forfuture generations. The OmanCentre for Traditional MusicAl-tanq is performed by Bedouins who sing to each other whilethey ride camels and when they are seated on the ground.(OCTM) was established in1984 with this purpose.the ship and also to pray to God for sate passage during theirSince its inception, thejourney. Other songs include nasa al-sharal(Raising the Sails),Centre has documentedmore than 80 percent ofOman's musical traditions. Itincludes more than 24,000photographs, 725 audiovisualrecordings, a large numberof sound recordings, and adigitized database of thesematerials. The Centre's approachiscomprehensive because,in Oman, music is part of atraditional lifestyle in whichhealing, fishing, planting,and other kinds of work playprominent roles. The Centre hasidentified more than 130 differentforms of traditional music inOman, grouping them into fourmain types: sea shanties andfishing songs, celebration songs,Bedouin music, and mountainmusic. In 2002 the Centre wasgiven an award by UNESCO'sInternational Music Council inrecognition of its role in thein which each sail has its own part, differing from the othersin tempo and text. Al-hambal is a song performed by sailorson their way to the al-razhah dance. Two drummers lead theprocession walking backward to face the marching participants,encouraging them to show then bravery and courage.Many dances are performed only m certain regions or at specificcelebrations. The Musandam region m the north, tor example, hasven distinctive songs. Al-nnvah is unique to mountain-dwellingBedouins in this region and involves eight to ten drummers whomove forward, backward, and then m a circle. Its verses pertainto different times of the day. The first, al-sirah, is performed in themorning; al-sadai is performed mid-morning; al-rawah at noon:and al-siriya m the evening. This song is heard mainly at weddings,religious festivals, and on official holidays. Wayliyah al-nisa is adance performed by women inIbri, m the central Dhahira region.Groups of women, each placing her right hand on her neighbor'sshoulders, move around in unison. Each woman shakes a silverrattle, which she holds in her tree hand, to mark the simplerh\ thm. When the leader of a group gives her rattle a long shake,the women change places .\nd form circles. Singing and drummingaccompany the dancing. Al-tayminah is a traditional song ofthe central Dakhliyah, sung as a child learns the Koran (Qur'an)by heart. The children of the local school gather m a processionbehind the teacher who reads a passage from the Koran. At thepreservation of Omani music.end of each verse the children reply "Amin" (Amen) inunison.SMITHSONIAN FOLKLIFE FESTIVAL

In the southern Dhufar region, al-bar s a isperformed as a celebration of youth by twohis original position. A stipulation of performingal-dan is that all men must go barefoot. Anyonedancers, each holding adagger in his rightfound wearing sandals is punished with a fine.hand and his shal (waist wrap) in his left hand.The characteristic movement ot al-bar'a ispowerful one-tooted leap into the air. Thetwo dancers move in a synchronized series otsteps, advancing and retreating as they makefullcircles. At a particular moment, bothdancers bow down before the musicians toallow soloists to come forward and sing.Al-mawlid is a song ot celebrationperformed on the Prophet's birthday, atweddings, when moving to a new house, orcuring the sick. This dance has aa second in command (shawush), and aleader (klialifah),areciter(i/iin).The klialifalt's succession is hereditary, andthe qari is usually a scholar. Al-dan song anddance involves two parallel rows ot participants.Raqs al-nisa (Women's Dance) is one of themost frequently performed dances in its homeregion. Bedecked in gold, women move inpairs among the seated participants with small,measured steps. When they have circled the area.they sit down to allow the next pair to dance.Music in Omani society plays a role atevery stage ot a person's lite.From birth, tocoming of age and marriage, during professionallife, and finally in death, an Omani isaccompanied by traditional arts that express joyor pain or simply help with everyday work.SUGGESTED READING/LISTENING[79]Drummers continually approach the rows, untila dancer steps out from his row to perform aEl-Mallah, issani. 1998,Tutzing: H. Schneider.< )mani Traditional Music.solo. Beating their drums, the drummers thenchase him through the dance until he returns toThe Music q) an Ancient Civilization: The Sultanate qjOman, (CD). 1994. Muscat: Ministry of Information.The traditional al-razhah dance displays a performer's courage, swordsmanship, and poetic skills.Al-razhah used to announce war or victory. It also would provide a way for men to express their demandsto their leaders. Today al-razah is performed at weddings, holidays, and to welcome an honored visitor.

GENERAL FESTIVAL INFORMATIONFESTIVAL HOURSThe Opening Ceremony tor the Festivaltakes place at the Sounds ot the ForestMusic Stage at n a.m., Thursday, June 23.LOST & FOUND/LOST PEOPLELost items or family members should bebrought to or picked up from the Volunteer tentlocated near the Smithsonian Metro Station onThereafter, Festival hours aren a.m. tothe Mall at Jefferson Drive and 12th Street.5:30 p.m., with special evening events. Seethe schedule on pages 84-94 for details.FESTIVAL SALESVisitors may purchase Middle Eastern andother program-related lunches, snacks, anddinners from Festival food concessions. Avariety ot objects produced by Festival artisansand a selection of related books andrecordings will be available at the FestivalMarketplace on the Mall-side lawn ot theFreer Gallery ot Art. Smithsonian Folkwaysrecordings will also Lie available there.PRESSVisiting members of the press shouldregister at the Press tent located near theSmithsonian Metro Station on the Mallatjetterson Drive and 12th Street.FIRST AIDA first aid station is located near theSmithsonian Metro Station on the Mallat [etterson Drive and 12th Street.METRO STATIONSMetro trains will be running every day ot theFestival. The Festival site iseasily accessiblefrom the Smithsonian and Federal TriangleStations on the Blue and Orange Lines.SERVICES FOR VISITORSWITH DISABILITIESLarge-print and audio-cassette versions of thedaily schedule and audio-cassette versions ofthe program book and signs are available at theFestival Information kiosks and the Volunteertent. Other formats are available upon request.Volunteers are on call to assist wheelchair users.Audio loops to assist hard-ot-hearing visitors areinstalled at the music stages. Service animals arewelcome. American Sign Language interpretersare available on site; the Festival schedule indicateswhich performances and presentations areinterpreted (»5tíP). On Thursdays and Saturdays,programs in Food Culture ]SA\ l Beyond theMelting Pot tent will be captioned (oc).[8iRESTROOMS & TELEPHONESTHUNDERSTORMSThere are outdoor facilities tor the public andIncase of a severe rainstorm visitors shouldtor visitors with disabilities located near allof the program areas on the Mall. Additionalrestroom facilities are available in each of themuseum Laiildmgs during visiting hours. Publictelephones are available on the site, oppositethe National Museums of American Historyand Natural History, and inside the museums.go inside a museum. It museums are closed,visitors should go into the Metro Station.Summer rainstorms are usually brief, andoften the Festival resumes operations withinan hour or two. In the event ot a severethunderstorm the Festival must close.Do not remain under a tent or a tree!Inthe tradition of Omani hospitality, welcome to the Festival!GENERAL FESTIVAL INFORMATION

ecosystems, identification of plants and trees,woodcarving, painting, basket weaving, quilting,instrument making, paper making, law enforcementmethods, archaeological fieldwork, use oftraditional tools, firefighting and smokejumpingtechniques, tire lookout practices, walks throughthe Interactive Forest, and building homeswith modern and efficient wood products.Oman: Desert, ( fosis, and Sea: Shipbuilding, traditionalmasonry, basketry, wool and silk weaving,indigo dyeing, camel handling, pottery, silverjewelry making, copper- and blacksmithing,incense and perfume making. Islamic calligraphy,traditional embroidery, and leatherworking.MARKETPLACE EVENTSFriday, June 24, 3-4 p.m.Nuestra Música Performances and CD SigningsLos Camperos de Valles and Sones de MexicoDutch oven chili cook-offONGOING FESTIVAL PRESENTATIONSSaturday, June 25, 3-4 p.m.Nuestra Música Performances and CD SigningsLos Camperos de Valles and Ecos de BorinquenIn addition to the daily scheduled performances,there will be ongoing demonstrationsin the individual program areas.Sunday, June 26, 1-2 p.m.Oman Book SigningMarcia Dorr and Neil RichardsonFood CultureI 'SA: Cheese making, cacaoSunday, June 26, 3-4 p.m.cultivating and chocolate making, coffeeNuestra Música Performance and CD SigningLo>s de Borinquengrowing Mid roasting, spice sourcing, sustainablegardening and tanning, gadget and utensilcollecting, recipe exchanging, chili roasting,Saturday, July 2,1-2 p.m.cooking demonstrations, professional kitchendemonstrations, tofu making, dairy tanning, teagrowing and making, winemaking and vide ulture,barrel making, youth gardening programs,barbecue, and community food celebrations( lin.in Booh SigningMarcia Dorr and Neil RichardsonSaturday, July 2, 3-4 p.m.Nuestra Música Performances and CD SigningsElíseo y su Chanchona MelódicaForest Service,Culture, and Community: WildernessOriental and Los Pleneros de la 2\survival skills and techniques, hiking and trailsafety, riding all-terrain vehicles, packing andcamping skills, traditional cooking methods,bud identification, stream and river flow,Sunday, July 3, 3-4 p.m.Nuestra Música Performances and CD SigningsLos Lleneros de la 21 and [CJ Bandcanopy crane research, interdependence ofLook loicookbook signings too!SMITHSONIAN FOLKLIFE FESTIVAL

[8:Visit the Oman Adornment Pavilion to learn about traditional natural cosmetics.ESPECIALLY FOR CHILDRENAND FAMILIESYou can discover the mystery recipe ingredient,become a junior forest ranger, and followSindbad the Sailor through the desert, oasis,and sea of Oman with the Family ActivitiesGuide, which encompasses all three programs.Each program has a reward for completingtheir guide questions. The guide is availabletree ot charge trom every Festival Informationkiosk and at the following locations in theprograms: Food Culture I SA, J at the PottingShed; Forest Service, Culture, and Community, atthe Family Activities Tent; and ( )man: Desert,Oasis, and Sea, in the Learning Center.California, which includes information aboutplant varieties, sustainable gardening, and freshproduce. Find out what chefs feed their familiesat the Beyond the Melting Pot, Carden Kitchen,and Home Cooking tents. Meet the farmers inthe Tradition and Adaptation area who can tellyou about growing our food and selling it tolocal markets, communities, and restaurants.Forest Service,Culture, and Community: Learnhow to cook outdoors, create a naturejournal, design a nature quilt square, see howto build a bird box, and try your hand atidentifying trees and plants. Check the dailyschedule m the Family Activities Tent.In addition, families will enjoy thefollowing features ot the programs:Food Culture USA: Learn about growing yourown vegetables and fruits at the giant Edible< )man: Desert, Oasis, and Sea: Play traditionalOmani games or beat your ownrhythm on an Omani drum. Then learnhow to decorate a friend's hands withhenna, or try writing your name in Arabic.Schoolyard. This garden showcases Alice Waters 'sCheck the schedule signs infront of therenowned food-education project inBerkeley,Al Maidan and the Adornment Pavilion.GENERAL FESTIVAL INFORMATION

2:00IIIVorkshopFESTIVAL SCHEDULE (Programs are subject to change)Thursday, June 23 Festival Opening Ceremony at n o'clock on the Sounds of the Forest St,WFood Culture USABeyond the Melting PotForest Service, Culture,and CommunityOmanOasis,Desert,and Sea8 4|oc12:00 Sheila I ukinsoc 1:00 Brad OgdenTom Bivins withNova Km: andLes Hookoc 3:00 Charlie Palmeroc 4:00 Auhc BunyarataphanSounds of the Forest Stagei?j11:00 Opening Ceremonyí^12:00 Rita Cantu1:00 Rulers in the Dirt2:00 Patrick Michael Karnahan3:00 ( Chuck Milner4:00 I he Fiddlin' I orestersMagan Stage12:00 Al Majd Ensemble12:45 Qurayat Ensemble1:30 Suhar Ensemble2:30 Al Majd Ensemble3:30 Qurayat Ensemble4:30 Suhar EnsembleGarden Kitchen¿%12:00 Marion Speai1:00 |immy Andruzzi2:00 John Phillips3:00 Sheila Lukins4:00 Mark Federmanand Herman VargasCommunity Stage12:00 I ogger Poetry and Song1:00 Women of the ForestServiceif 2:00 Fighting Forest I ires3:00 Inspirations from theForestAl MaidanÉ5T12:00 Music Workshop12:45 t 'main Stories1:30 Dance Workshop2:15 ( hnani ( lames3:00 Calligraphy and Language3:45 ( 'main < lamesHome Cooking12:00 Mark Federman andHerman Vargas1:00 Najmieh Batmanglij2:00 Marion Spear3:00 linunv Andruzzi4:00 I aw Enforcement in the21st t'enturc5:00 Forest Service FamilyCamp Foodways12:00 Wilde rafters1:00 ( looking in the Field4:30 Desert TraditionsOasis Kitchen12:00 Omani LunchBef 2:00 All about Halwa2:45 Food from the Desert3:45 ( offee, Dates, and4:00 John Phillips2:00 I>uti li < >ven IJelightslospitaliryAround the Table3:00 ( Cooking ( Catfish4:45 Meaning of Halal12:00 Passing It < hi:Cookbook Writing1:00 Sustainability andMarketing: OrganicStandards£9 2:00 Recipes foi a Slew Landí"f 4:00Immigrant Cooks3:00 Passing li On:FamiK RecipesSustainable MenusEdible Schoolyard Ramada12:00 Food fm Tlwuglit:( Children's Education1:00 Garden C Crientation2:00 llii Conversationtf 4:00 Plants ¡nJ I )yes5:00 I >utch Oven I MightsFamily Activities Tent(.Ingoing events tor young peoplethroughout the day, including:smg-alongs, storytelling, craftdemonstrations, career counseling,and nature awareness programsCheck the schedule board in troutof the FamiK Activities lent tordail) event information.Interactive ForestOngoing activities throughout theday in this forest-like learning environment,|om rangers, naturalists,and others for guided tours throughAdornment Pavilion12:00 ( hii.ui {domed: Men andBoys' Regional Press12:45 Workshop HennaVcoration1:30 < )man Adorned: Womenand C in Is' Regh milIress2:15 Adorning Ships of theI desert Ships of the Sea3:00 IMaking Si entsAroma as AdornmentSef 3:45 Dressing the Horn*and SeaI )esert, t >asis.icf 4:30 Diversity in Omani DressContinues: Lunch [ablethe Interactive Forest Check thePartic ipantsschedule board outside the Forest3:00 [mpro\ ing SchoolLunches4:00 A I lay in the Kitchenfor d.nKe\ent information.*>cy induati i imerican Sign Iititi rpreted programoc denotes captioned performanceSMITHSONIAN FOLKLIFE FESTIVAL

Friday, June 24 (Programs are subject to change)Nuestra Música Evening Conceit ¡it 5; ;i> on the Sounds of the Forest StageFood Culture USABeyond the Melting Pot¿xj11:00Mara Cámara12:00 Charlie Palmer1:00 Karen MacNeil2:00 Tom Bivins with NovaKim and Les Hook3:00 Cesare Lanfranconi4:00 Melissa KellyGarden Kitchen11:00 John Phillips12:00 John and Anthony Uglesich1:00 [immy Andruzzi2:00 Najmieh Batmanglij3:00 Karen MaeNeil4:00 Manon SpearHome Cooking11:00 Mark Federman andHerman Vargas12:00 Jimmy Andruzzi6$ 1:00 Melissa Kelly2:00 Nahid Mohamadi3:00 John Phillips4:00 Mara ( 'amaraAround the Table11:00 Recipesfor o New Land:Immigrant Cooks12:00 Passing It On .-Biodiversityand Food Traditions1:00 Sustainable Business2:00 Traditional Crops in NewSoil: Immigrant Growerst»f 3:00 Links in the Food Chain:£qj 4:00Food SafetySustainable GrowingEdible Schoolyard Ramada11:00 Garden Orientation12:00 Foodfoi Thought: Children'sEducation1:00 (¡arden Orientation2:00 The Conversation Continues.Lunch Table Participants3:00 Improving School Lunches4:00 A Day 111 the KitchenForest Service,and CommunityCulture,Sounds of the Forest Stage£gf11:00 Keith Bear12:00 Riders 111 the Dirt1:00 The Fiddlin' Foresters2:00 Rita Cantú3:00 Cindy Carpenter4:00 Patrick Michael Karnahan£9 5:30 Evening ConcertNuestra Música:Music in Latino CultureThe Mexican SonCommunity Stageí^11:00Bud Watching and Research12:00 Wildlife Encounters1:00 Forest Folklore2:00 The Greatest Good3:00 Threats to the Forest4:00 Community Relations£0 5:00 Logger Poetry and SongCamp Foodways11:00 Dutch Oven Delights12:00 Wildcrafters1:00 Cooking in the Field2:00 Dutch Oven Delights£gr 3:00 Cooking Catfish4:00 Plants and Dyes5:00 Dutch Oven DelightsFamily Activities TentOngoing events tor young peoplethroughout the day, including:sing-alongs, storytelling, craftdemonstrations, career counseling,and nature awareness programs.Check the schedule board infront of the Family Activities Tenttor daily event information.Interactive ForestOngoing activities throughout theday 111this forest-like learning environment,loin rangers, naturalists,and others for guided tours throughthe Interactive Forest. Check theschedule board outside the ForestOman: Desert,Oasis,and SeaMagan StageÍ>

Rhythm,Saturday, June 25 (Programs are subject to change)Nuestra Música Evening Concert at s: ¡c> on the Sounds of the Forest StageFood Culture USABeyond the Melting PotForest Service,and CommunityCulture,Oman: Desert,Oasis, and Sea8 61oc 11:00oc 12:00Marion SpearSteve Raichlenoc 1:00 Todd < ¡ray2:00 Kaz ( >kochioc 3:00 Janos Wilderoc 4:00 loin Bivins with NovaGarden KitchenKmi .iiui 1 es 1 look11:00 John Phillips12:00 Janos Wilder£>qf 5:30 Evening ConcertNuestra Música:Music in Liuino CultureMusic and PoetryCommunity Stage11:00 Inspirations from the I orest12:00 Piles from the Woods% 1:00 Why [Joined the USDA2:00 Music .1 oresl Sen ii eand Natureif 3:00 Forest Servic e Icons4:00 l a\\ Enforcement in the2 1st ( 'entui \£} 5:00 Water in the 1 .nestsCamp Foodways11:00 Dutch Oven I12:00 WildcraftersMights1:00 Cooking in the Field2:00 I iutch Oven Delights3:00 l ooking ( attish4:00 Plants and Dyes5:00 Duti li ( )ven I ielightsMagan Stagefy11:30 Qurayat Ensemble12:30 Al Majd Ensemble1:30 Suhar Ensemble2:30 Qurayat Ensemble3:30 Al Majd Ensemble4:30 Suhar EnsembleAl Maidan12:00 ( )mani Games12:45 ( )mani Stories1:30 Dance Workshop2:15 l 'mam ( ..unes*Sf 3:00 Maritime Traditions3:45 Music Workshop4:30 Calligraphy and LanguageOasis Kitchen12:00 I ood from the Sea£

Sunday, June 26 (Programs are subject to change)Nuestra Música Evening Concert at5:30 on the Sounds of the Forest StageFood Culture USABeyond the Melting Pot£^11:00Mark Federman andHerman Vargas12:00 LisaYockelson1:00 |osé Andrés2:00 Frank Morales3:00 Fabio Trabocchi4:00 Mara CámaraGarden Kitchen11:00 Charles Phan12:00 Plana My Trail£cj 1:00 Susan Belsinger2:00 LisaYockelson3:00 Aulie Bunyarataphan4:00 Diana My TrailHome Cooking11:00 Brenda Rhodes Miller12:00 Marion Spear1:00 Mark Federman andHerman Vargas2:00 Marion Speartef 3:00 Charles l'han4:00 lose AndrésAround the Table11:00 Recipesfoi ,1 New Land:Immigrant ( \>nks12:00 Links in the Food Chain:Food Safety1:00 Global Exchange.Local Values2:00 What'i In Season:Farmers Markets3:00 National Markets,Sustainable Foodstcf 4:00 Local Food, Local EconomyEdible Schoolyard Ramada11:00 Garden Orientation12:00 Food foi Thought:Children's Education1:00 Garden Orientation2:00 The Conversation Continues:Lunch Table Participants3:00 Improving School Lunches4:00 A Day in the KitchenSlow Roast13mner on the GroundsForest Service,and CommunityCulture,Sounds of the Forest Stage£^11:00Cindy Carpenter12:00 Chuck Milner1:00 Rita Cantú2:00 The Fiddlin' Foresters£$ 3:00 Patrick Michael Karnahan4:00 Riders in the DirtSsf 5:30 Evening ConcertNuestra Música:Musk inJíbaro MusicCommunity StageLatino Culture11:00 Wildlife Encounters12:00 Community RelationscÉcj 1:00 Accessibility in theOutdoor Environment2:00 Women of the ForestService3:00 Diversity in the ForestSen it eogger Poetry and Song4:00 Itxf 5:00 The Greatest GoodCamp Foodways11:00 Dutch Oven Delights12:00 Wildcrafters1:00 ( Ooking in the Field2:00 Dutch Oven Delights3:00 ( onking Cattish4:00 Plants and Dyes5:00 Dutch Oven DelightsFamily Activities TentOngoing events for young peoplethroughout the day, including:sing-alongs, storytelling, craftdemonstrations, career counseling,and nature awareness programs.Check the schedule board infront of the Family Activities Tentfor daily event information.Interactive ForestOngoing activities throughout theday m this forest-like learning environment.|oin rangers, naturalists,and others for guided tours throughthe Interactive Forest. Check theschedule board outside the Forestfor daily event information.Oman: Desert,Oasis,and SeaMagan Stage

)avidi nestMonday, June 27(Programs are subject to change)Food Culture USABeyond the Melting Pot11:00 Marion Spear12:00 Food Iraditions[88] 1:00 Carole Greenwood2:00 Mark Furstenberg£ Lunch fableTin Kip. ints3:00 Improving SchoolLunches4:00 A I >.i\ in the KitchenForest Service, C ulture,and CommunitySounds of the Forest Stage11:00 Patrick Michael Karnahan12:00 I he Fiddhn' Foresters£ef 1:00 Riders in the I2:00 Keith Bear)irt3:00 l lindy t 'arpenter4:00 ( huck MilnerCommunity Stage11:00 I ighting I orest Fires12:00 Research Matters1:00 I. lies from the Woods2:00 I / ifetime in the Woods:A Iove Stor\£? 3:00 l he Greatest Good4:00 IService Familyt"f 5:00 Heritage MattersCamp Foodwaysfj11:00l )utch Oven Delights12:00 Wildcrafters1:00 t looking in the Field2:00 Dutch Oven Delights3:00 Cooking Catfish4:00 Plants and I )yes5:00 Dutch Oven DelightsFamily Activities TentOngoing events for young peoplethroughout the day, including:sing-alongs, storytelling, craftdemonstrations, career counseling,and nature awareness programs.Check the schedule board in frontof the Family Activities lent fordaily event informationInteractive Forestlingoing activities throughoutthe day in this forest-likelearning environment, [oinrangers, naturalists, and othersfor guided tours through theInteractiveForest. Check theschedule hoard outside the forestfor daily event information.Oman: Desert,Oasis,and SeaMagan Stage11:30 Suhar Ensemble12:30 Qurayat Ensemble1:30 AJ Majd Ensemble2:30 Suhar I nsemble3:30 Qurayat Ensemble4:30 AJ Majd EnsembleAl Maidan£?12:00 Calligraphy andLanguage12:45 Dance Workshop1:30 ( )mani (¡ames2:15 ( )m.mi Stones3:00 Musi, Workshop3:45 t )asis I raditions4:30 ( )mani GamesOasis Kitchen12:00 All about Halwa12:45 Food of the OasisBe§ 1:45 Spicing in Oman2:30 Got'fee, I >ates, andHospitality3:30 Ramadan MealAdornment Pavilion12:00 Head t loverings andJewelry12:45 Workshop: Fragrance asAdornment1:30 Women's DressTraditions of the South2:15 Men i Dress:Traditions of the South£y 3:00 Workshop: Henna3:45 I hvssing Ships, t laméis,.\i\i\Horses£>y 4:30 Transition to Modernity:£>cf mdicah•Omani Fashion I )esignAmerican S*;gn /interpreted preigramSMITHSONIAN FOLKLIFE FESTIVAL

lThursday, June 30 (Programs are subject to change)Sounds of the Forest Evening Concert at 5:30 on the Sounds of the Forest StageFood Culture USABeyond the Melting Potoc 11:00 Gilroy and Sally Chowoc 12:00 Roberto Donnaoc 1:00 Emeril Lagasse2:00 Ed LaDouoc 3:00 Todd Englishoc 4:00 Food TraditionsGarden Kitchen11:00 Food Traditions12:00 Sudhir Seth£

1:00IIlamFriday, July 1 (Programs are subject to change)Ralph Rinzler Memorial Concert at 5:30 on the Sounds of the Forest StageFood Culture USABeyond the Melting PotForest Service,and CommunityCulture,Oman: Desert,Oasis,and Sea90|11:00 Douglas Anderson12:00 Michel RichardEd LaDou2:00 Gilroy and Sally Chow3:00 I uii.i Bastianich4:00 Moron OuattaraGarden Kitcheni%11:00 AnnAmernick12:00 Carol Reynolds1:00 Suvir Saran2:00 Michel Richard3:00 Eric Ziebold4:00 Carol ReynoldsHome Cooking11:00 Food Traditions12:00 Ann Amernick1:00 Steve Herrell2:00 Morou < Juattara*gp 3:00 Ed LaDou£sf 4:00 Gilroy and Sail) I howAround the Table11:00 Passing It ( >nBiodiversity and FoodTraditions12:00 Global Exchange, I ocalValuesSounds of the Forest Stage*y11:00£fPatYork12:00 I he Fiddlin' Foresters1:00 Rita Cantú2:00 Keith Bear3:00 Patrick Michael Karnahan4:00 ( hack Milner5:30 Evening ConcertRalph Rinzlei MemorialConcert: Beautiful BeyondCommunity Stageégf11:00 Inspirations from the Forest12:00 ( lowbo) Poetn1:00 Legacy of Gifford Pinchot2:00 Forest Service Iconst»3 3:00 Music, Rhythm, and Nature4:00 Law Enforcement inthe 2 1stCentury5:00 Wildlife EncountersCamp Foodways11:00 Dutch Oven Delights12:00 \\ ildcrafters1:00 ( ooking in the Field2:00 I (uteri ( >ven I ielights3:00 ( Poking cattish4:00 Plants and I )yestmani£9 1:00 National Markets,Sustainable Foods2:00 I inks in the Food ( 'ham3:00 Passing It ( hi( ookbooks4:00 Sustainable ( ¡row ingEdible Schoolyard Ramada11:00 Garden Orientation12:00 Food for Thought:( Ihildren's Educ ation1:00 Carden ( )nentation2:00 The < ConversationContinues. Lunch TabicParticipants3:00 Improving SchoolLunches4:00 A I Jay in the KitchenFamily Activities TentOngoing events tor young peoplethroughout the day, including:sing-alongs, storytelling, craftdemonstrations, career counseling,and nature awareness programs( he. k the schedule board introut of the Family Activitieslentfor daily event information.Interactive Forest( ingoing ac tivities throughoutthe day in this forest-likelearning environment. |oinrangers, naturalists, and othersfor guided tours through theInteractive Forest Check theschedule board outside the Foresttor d.ulv event informationTraditions of Men'sIress12:45 Northern O111.1111traditions of Women'sI )ressí»3 1:30 Workshop: Face Masks2:15 < )man Adorned:dressing the Home3:00 ' hnan Adorned( nils to Women.Boys to Men3:45 Workshop: Henna£

ISaturday, July 2(Programs are subject to change)Nuestra Música Evening Concert aty.30 on the Sounds of the Forest StageFood Culture USABeyond the Melting Potoc 11:00oc 12:00Douglas AndersonRis Lacosteoc 1:00 Suvir Saran2:00 Frank Moralesoc 3:00 Paul Prudhommeoc 4:00 Patrick O'ConnellGarden Kitchen11:00 Maria Gooriah12:00 Steve Herrell1:00 Patrick O'Connell2:00 Hi Soo Shin Hepmst.ill3:00 Carol Reynolds4:00 Gilroy and Sally ChowHome Cooking11:00 Hi Soo Shin Hepinstall12:00 Gilroy and Sally Chow1:00 Ed LaDou2:00 Ak.ish.i Richmond£9 3:00 Food Traditions4:00 Ed LaDouAround the Table11:00 Recipes for a New Land12:00 Passing It On: SustainingTradition£ef 1:00 Sustainability2:00 Global Exchange3:00 Link-, in the Food Chain4:00 Sustainability:Organic StandardsEdible Schoolyard Ramada£cp11:00Garden Orientation12:00 Food foi Thought:Children's Education1:00 Garden Orientation2:00 The ConversationContinues:Lunch Table Participants3:00 Improving Schoolmulles£ej 4:00 A I )ay in the KitchenSlow RoastArgentinean AsadoForest Service, Culture,and CommunitySounds of the Forest Stage11:00 Chuck Milner12:00 Patrick Michael Karnahan1:00 Keith Bear2:00 Cindy Carpenter3:00 The Fiddlin' Foresters4:00 Rita Cantil£af 5:30 Evening ConcertNuestra Música:Music 111 Latino CultureCommunity 111NewYork and WashingtonCommunity Stage¿5^11:00 Threats to the Forest12:00 Cowboy Poetry1:00 Education in the Forests2:00 Fighting Forest Fires£•3 3:00 .-1 Lifetime in theWoods:A Love Story4:00 Forest Service Family£cf 5:00 Heritage MattersCamp Foodways11:00 Hutch Oven Delights12:00 Wildcrafters£rj 1:00 < looking in the Field2:00 Hutch Oven Delights3:00 ( looking Catfish4:00 Plants and Dyes5:00 Hutch Oven DelightsFamily Activities Tent( ingoing events for young peoplethroughout the day, including:sing-alongs, storytelling, craftdemonstrations, career counseling,and nature awareness programsCheck the schedule board infront of the Family Activitieslent tor daily event information.Interactive ForestOngoing activities throughoutthe day in this forest-likelearning environment. JoinLingers, naturalists, and otherstor guided tours through theInteractive Forest. Check theschedule board outside the Forestlor daily event information.Oman: Desert,Oasis,and SeaMagan Stage.91£f 11:30 Qurayat Ensemble12:30 Al Majd Ensembleoc denotes captioned performance1:30 Suhar Ensemble2:30 Qurayat Ensemble3:30 Al Majd Ensemble4:30 Suhar EnsembleAl Maidan12:00 Omani Games12:45 Omani Stories1:30 Dance Workshop2:15 Omani Games£

)utchSunday, July 3(Programs are subject to change)Nuestra Música Evening Concert at¡:jo on the Sounds of the Forest StageFood Culture USABeyond the Melting Pot11:00 HiSooShmHepinst.il]12:00 Fabio Trabocchi[92] 1:00 Ed I al >ou2:00 LisaYockelson3:00 Suvir Saran4:00 Gilroy and Sally (howGarden Kitchen11:00 Akasha Richmond12:00 Maria ( looriaht"j 1:00 Paul Prudhomme2:00 Carol Reynolds3:00 Ed LaDou4:00 I larol ReynoldsHome Cooking11:00 Steve Herrell12:00 I isaYockelson1:00 Gilroy and Sally Chow2:00 Hi Soo Shin Hepinstallf=f 3:00 Food Traditions4:00 Maria GooriahAround the Tablef>gp11:00 Traditional Crops in NewSoil:Immigrant Growers12:00 Passing II ( >nSustaining Traditions1:00 Global I «change2:00 What's In SeasonFarmers Markets3:00 National Markets,Sustainable Foods£•

Monday, July 4 (Programs are subject to change)Hootenanny at ¡ o'clock on the Sounds of the Forest StageFood Culture USABeyond the Melting PotForest Service, Culture,and CommunityOman: Desert,Oasis,and Sea4^11:00 Brenda Rhodes Miller12:00 Jose Andrés1:00 Paul Prudhomme2:00 Food TraditionsSounds of the Forest Stage11:00 Cindy Carpenter12:00 Rita Cantú1:00 Patrick MichaelMagan Stage11:30 Suhar Ensemble12:30 Qurayat Ensemble1:30 Al Majd Ensemble[933:00 Steve Herrell4:00 Ed LaDouKarnahan2:00 Chuck Milner2:30 Suhar Ensemble3:30 O ura y at EnsembleGarden Kitchen3:00 Keith Bear4:30 Al Majd Ensemble11:00 Nongkran Daks12:00 Suad Shallal1:00 Carol Reynolds2:00 Gilroy and Sally Chow3:00 Hi Soo Shin Hepmstall4:00 Jose AndresHome Cooking11:00 Gilroy and Sally Chow12:00 Hi Soo Shin Hepinstall1:00 Ed LaDou2:00 Akasha Richmond£

EVENING CONCERTSSounds of the Forest StageAll concertsare sign language interpreted.Friday, June 24, 5:30-9 p.m.Thursday, June 30, 5:30-9 p.m.Comanche Hymn SingersThe Mexican SonSounds oj ilii' ForestMaria Nauni (Comanche)1 os Camperos deKeith BearVince Redhouse (Navajo)>4]Valles, MexicoSones de México, ChicagoRita CantúRiders in the DirtSaturday, July 2, 5:30-9 p.m.Patrick Michael KarnahanCommunity inNewSaturday, June 25, 5:30-9 p.m.Chuck MilnerYork and II 'ashingtonMusic and PoetryThe Fiddlin' ForestersElíseo \su Chanchona1 os Camperos deCindy t larpenterMelódica Oriental,Valles. MexicoShawnee Forest NewWashington, D.C.Ecos de Borinquen,Century Children's ChoirLos Pleneros de laPuerto Rico21, New YorkFriday, July 1, 5:30-9 p.m.Sunday, June 26, 5:30-7 p.m.Ralph RmzlerSunday, July 3, 5:30-9 p.m.[íbaro MusicMemoria] ConcertThe Dance SceneEcos de Borinquen,Beautiful BeyondLos Lleneros de laPuerto RicoMark and NancyBrown21, New York(Eastern Band Cherokee)|CJ Band, Washington, D.CJoel Monroy Martinez of Los Camperos de VallesPatrick KarnahanSMITHSONIAN FOLKLIFE FESTIVAL

'RELATED EVENTSFood Culture USAExhibitionBon Appétit! Julia Child'sKitchen at the SmithsonianOngoingNational Museum ofAmerican HistoryFirst floor westFilmsSaturday, June 25,to Sunday, July 3National Gallery of ArtMarcel Pagnol's1930s FannyTrilogy—consisting of Marius,Fanny, and César—presents agentle portrait of the inhabitantsof the old Provencal portof Marseilles, including Panisse,the warmhearted widowei andsailmaker (and. by design, thenamesake ofAlice Waters 's famousrestaurant Chez Panisse). Mariuswill be shown June 25 at 2 p.m.and [une 2d at 4 p.m. Fannywill be shown July 2, and Césaiwill be shown July 3. For moreinformation visit www.nga.gov.Food Culture in the CityContinue your exploration otFood Culture USA throughoutthe nation's capital with spe< 1.1Idinners, events, and talks featuringtop local and visiting dietsalong with growers. For fulldetails, visit www. Washington,org or call (202) 789-7000.Forest Service,and CommunityConcertsThe Kennedy Center'sCulture,Millennium Stage will featureconcerts by Festival participantson the following evenings,trom (1 to 7 p.m. Concerts arefree and open to the public.Saturday, June 25Riders in the DirtAnne Alford[oanna Booser|udv HaiglerGayle HuntMonday, June 27The FiddlinForesters|ane LecheTom McFarlandJim MaxwellLynn YoungThursday, June 30Nature ami HarmonyShawnee Forest NewCentury Children's ChoirCindy CarpenterSaturday, July 2Musii of the WestPatrick Michael KarnahanChuck MilnerSunday, July 3Musk of tlwRita CantúKeith BearEarthFilmJune 24 and July 1, 12 noonJune 25-26 and July 2-4, 2 p.m.Baird AuditoriumNational Museum ofNatural HistoryThe 1 Greatest Good (2005), atwo-hour documentary film,tells the complete history ot theUS] >A Forest Service throughinterviews, archival footage,and new cinematography.Forest Service Open HouseLearn more about the USDAForest Service by visiting theI 1 nest Service InformationCenter inside the Sidney R.Yates Building, 20114th StreetSW. You can see an animatronicSmokey Bear, explore a 19SOSeiaranger cabin, and enjoyaspecial display of historicalphotos that highlight life in thenational forests and Grasslands.The Information Center is open8 a.m. to s p.m. weekdays, 9 a.m.to 4 p.m. weekends and holidays.Forest ServiceUnveiling CeremonyFriday, July 1, 2 p.m.I he unveiling of a survey markerto commemorate the USDAForest Service's100th anniversarywill take place on the west sideof the ¡amie L.Whitten Building,1400 Independence Avenue SW.9 5United States Department ofAgriculture Visitor's CenterLocated on the National Mall(Jefferson Drive). Washington, DC.Open Monday-Friday,9 a.m. to 3 p.m.RELATEDEVENTS

theRELATED EVENTS[96]Nuestra Música:Music inConcertsLatino CultureThursday, June 23, 7 p.m.Cultural Institute of Mexico2829 16th Street. NWWashington, DC 20009A free concert features the trio[os Camperos de Valles humCiudad Valles, San Luis Potosí,presenting the Mexican son huastecoLimited space available. For informationtall (202) 728-1628The Kennedy Center'sMillennium Stage will featureconcerts by Festival participantson the following evenings,from 6 to 7 p.m. Concerts aretree and open to the public.Sunday, June 26Los( lamperos de I aliesFriday, July 1Los Plenews de la 21Oman: Desert, Oasis, and SeaExhibitionCaravan Kingdoms:Yemen and the Ancient Incense TradeJune 25-September 18, 2005Arthur M. Sackler ( .aller\Smithsonian InstitutionFor over a thousand years, from around 800 BCE to 600 Cl ,kingdomsof Qataban, Saba (biblical Sheba), and Himyar grew fabulously wealthyfrom their control over the caravan routes of the southern Arabianpeninsula and. in particular, from the international trade in frankincenseand myrrh. Excavations at the capitals ot these ancient kingdomshave yielded spectacular examples of architecture, distinctive stonefunerary sculpture, elaborate inscriptions on stone, bronze, and wood,and sophisticated metalwork. For the first and only tune in NorthAmerica, Yemen's stunning artistic heritage will be examined in a majorinternational exhibition organized by the Arthur M. Sackler Gallery.Drawn from the collections of the Republic ofYemen, the AmericanFoundation for the Study of Man. the British Museum, and DumbartonOaks, this exhibition of approximately 200 objects explores the uniquecultural traditions of these ancient kingdoms. It gives special emphasisto the rich artistic interaction that resulted from overland and maritimecontacts linking the southern Arabian peninsula with the easternMediterranean, northeastern Africa, and south and southwest Asia.Los Pleneros de la 21 will perform on the Kennedy Center Millennium Stage on Friday, July 1, at 6 p.m.SMITHSONIAN FOLKLIFE FESTIVAL

FESTIVAL PARTICIPANTSFood Culture USACheeseaffinity for farming and cheesemaking is hereditary; his paternalgrandfather emigrated to an Iowa(powder, butter, chocolate) underitsown management. El Ceibowas also quick to recognize theMelanie Cochran, KeswickCreamery, Newburg, Pennsylvaniadairy farm from Switzerland, whereprior generations had been dairyimportance of organic farming.As far back as 19X7 it converted aMelanie Cochran makes aged,raw milk cheese at Keswickfarmers 111 the Alpine foothillsoutside Chür.large part of its cocoa productionoperations to organic proce-Creamery's no-acre farm inthedures, and in[988 organically[97]Cumberland Valley. The farm hasCesare Marocchi,certified cocoa was marketed45 [ersey cows that rotation. illygraze. Keswick produces cheddar,Chevy Chase, MarylandCesare Marocchi was born inand exported throughout theworld for the first time.Wallaby, Dragon's Breath, feta,Italian herb feta. feta de Provence,tomato & basil feta, and (seasonally)Carrock and Calverly.Castel Forte, Italy, and came tothe United States as an Italiandiplomat. Instead of returning toItaly, he went into business with aCoffeeMshikamano Farmers Association,Mbeya Region, TanzaniaAllison Hooper,llebsterville, VermontAllison Hooper started theVermont Butter & CheeseCompany with Bob Reesein 1984. She learned artisanalfriend and started the Washingtonrestaurant Vice. Marocchi was oneof the first in the Washington areato make fresh mozzarella fromcheese curd. He owns Marcella'sRestaurant in Chevy Chase.Mshikamano Coffee Group is.1 cooperative of approximately300 farmers in five villagesin the southern highlands ofsouthwestern Tanzania, nearZambia. Founded in 1995 byDavid Robinson, m partner-t heese making as a collegestudent studying in Francein the late 1970s. Located 111Websterville, their companybuys its goats' and cows' milkfrom a network of local farms.Rob Kanfelt, NewYork, NewYorkAs owner of Murray's CheeseShop, the famous GreenwichVillage gourmet food store,Rob Kaufelt travels throughoutMaria Moreira,Lancaster, MassachusettsMaria Moreira, whose familyimmigrated to the UnitedStates from Portugal in the1960s, farms and makes cheese.Morena also teaches sustainablepest management to Hmongfarmers as part of a program toprovide land, skills, and accessto markets in Massachusetts.ship with rural farming families,Mshikamano provides coffee toSweet Unity Farms, an independentbrand established byRobinson. Sweet Unity Farmsbegan selling its coffee internationallyin[999. Mshikamanorecently received investmentcapital from the AfricanDevelopment Foundation tofinance the expansion of itsproduction and enhance its inter-Europe and America in search ofnew and exotic cheeses. He is .mactive member of the Amerit .111Cheese Society, and his dedicationto cheese retail has earnedhim a medal from France'sGuilde des Fromagers.As he says,"Remember... Cheese Rules!"Mike Koch, FireFly Farms,Bittinger, MarylandKoch and his partner Pablopurchased the 130-acre farm 111 [997Wendy ll'icbe, Orange, I 'irginiaWendy Wiebe raises heritagelivestock on her farm in Orange.Working the farm with SuffolkPunch draft horses, she raises pigs.chickens, turkeys, sheep, cows,vegetables, fruits, and berries. Sheuses milk from her dairy cows tomake cheese, butter, and yogurt.ChocolateEl Ceibo, Rio Beni, BoliviaEl Ceibo became the world'snational marketing activities.Cooking DemonstrationsAnn Amernick, Washington, D.C.Ann Amernick is ExecutivePastry Chef and owner of PalenaRestaurant. Before openingPalena, she was assistant pastrychef at the White House andpastry chef at Jean-Louis at theWatergate. She has been nominatedfor Outstanding Pastry Chefby the James Beard Society, andand have spent the last five yearsrenovating the property and devel-first small farmers' cooperativeto manufacture—and, sinceshe has been twice named to theTen Best Pastry Chefs in Americaoping a small dairy business. Koch's1986, to export—cocoa productslist by Chocolatiei Magazine.FESTIVALPARTICIPANTS

IIDónalas Anderson,Washington, D.C.Hill at Stone Barns in PocanticoHills, which he describes as "athe New England CulinaryInstitute 111 Montpelier.Vt. ADouglas Anderson, Executiveplatform, an exhibit, a classroom.proponent ot sustainable agri-Chef at Four Seasons I [otel ina conservatory, a laboratory, andculture, he also enjoys foragingWashington, D.C .was born inagarden" where an awarenesstor wild toods, which he thenScotland and raised innorthernof the agriculture process "addsincorporates into his cooking.IllinoisAnderson developed histo the pleasure of eating.'''' ,sappreciation tor a rich varietyot cooking styles while travelingwith, and serving as a cook lor,the U-S. Coast Guard, From ( ubato Canada, the customs, ingredients,and history ot the East < )oastinspire and shape his culinary style.Lidia Bastianich,New )oih, New YorkLidia Bastianich is the host ofthe public television series Lidia'sItalian Table and Lidia's ItalianAmerican Kitchen. She is co-ownerAnlie Bunyarataphan,Washington, D.C.Auhe Bunyarataphan ownsboth the T.H.A.I. restaurantin Shirlington, Virginia, andBangkok |oe's in the Georgetownneighborhood of Washington.¡osé Andrés, Washington, D.C.lose Andres, whose Washington,D.C, restaurants include (iféAtlántico, (aleo, Zaytinya, andof three New York ( it) restaurants—Felidia, Becco, and FricoBar—and author ot tour cookbooks,most recently Lidia's FamilyTable She was born 111 Pula, Italy,D.C, vi here she also serves asc bet She otters a modern takeon traditional I hai street food,epitomized in her restaurant'sstainless steel dumpling bar.Oyamel, is known tor his highlyimaginative Spanish and Americancuisine. Raised m Spain. Andresstill remembers the day bis lathertaught him to treat endueswith respect. Today he lues inWashington, where he usesAmerican ingredients to makethe food be loved as a childlinuny Andruzzi,Staten Island, NewYorkFirefighter fimmy Andruzzi cooksmeals for bis Manhattan tirehousein between calls. Unlike his mother'straditional Italian cooking.Andruzzi's cuisine is more thoroughlyItalian American—bakedmeatballs, tor example, insteadof tried Located at 14th Streetand Third Avenue, Andruzzi'stirehouse was one of the firstto arrive at the World Tradeand came to NewYork in [958,Najmieh Batmanglij,II ashington, D.C.Raised m Iran, N.i|nnehBatmanglij moved to France 111[979. After authoring a Frenchcookbook, Batmanglij came toAmerica, where she has sincepublished Food of Life, Persian( booking for ,1 Healthy Kitchen,and Ila it oj Pi rsia. Her selfproclaimedgoal ts to exposeAmericans to the finer aspectsof Persian food and culture.SustitiBelsinger,Brookeville, MarylandSusan Belsinger is a culinaryeducator, food writer, photographer,noted herbalist, and coauthorof several award-winningcookbooksBelsinger travelsMara Cámara, Washington, D.C.Bom in Cambia. Cámara came toWashington. D.C, in[996, andwas a babysitter tor three childrenAt home inBaijd, she alwayshelped her mother cook. Cámaraisthe designated cook withinthe ( lambían community torweddings, gatherings, and birthdayparties m the Washington areaGilroy ami Sally ('lion;< .7,11 ksdale, MississippiGilro) and Sally Chow live 111Mississippi, where their cookingtuses Chinese and MississippiDelta traditions. Both descendantsot19th-century immigrants fromChina to the Delta, they meetonce a week with family members.A teat her by profession, Sallyalso has a cake-making business.Center on September 11,2001.Dan Barber,Pocantico Hills,INewYork)an Barber grew up farming andthroughout the United Statesand (.'añada giving lecturesand demonstrations on subjectsincluding herbs, edible flowers,aromatherapy, and gardening.Nongkran Daks, Chaniilly, I 'irginiaNongkran 1 )aks is the ExecutiveI 'het and owner ot Thai Basilrestaurant, located in Chantilly,as well as the author ot Asiancooking tor bis family at theirweekend home inthe Berkshire's.lam Bivins, Burlington, I ermontNoodles anil Snaths and HealthyI lei: and Sin -It y Dishes She hasAfter working 111 restaurantsfrom California to Paris, bereturned home to New York tolom Bivins, the former chefat the Grafton Inn 111 Grafton,Vt., is presently the Executivetaught Thai, Vietnamese, andChinese cooking in Bangkok,Beijing, Honolulu, Vientiane,open Blue Hill and laterBlueChef at the Essex Campus otaos. and now Virginia.SMITHSONIAN FOLKLIFE FESTIVAL

Roberto Donna, Washington, D.C.Maria Gooriali,hood memoir that brings theRoberto Donna's mission is theAlexandria, I 'irginiafull richness of Korean cuisinepromotion of authentic ItalianOí Irish, English, and Indianto an American audience. Aftercuisine. An award-winning chefdescent, Gooriah was born on thereceiving a degree in Englishand restaurateur in Washington,island of Mauritius, off the coastfrom Ewha Women's UniversityD.C., he introduced others toot East Africa. Before coming toin Seoul, Korea. Hepinstallthe real flavors of Italy, whichthe United States in1970, shespent 35 years traveling thehe provides in his restaurants,studied 111 England. After workingworld. She is also the author oiincluding Galileo. Laboratoriois ,1 private cook tor families, shea best-selling Korean novel.del Galileo, and Osteria delis now a greeter for visitors atGalileo. Donna was born inPiedmont region of Italy, andtheWashington National Airport. Thedesignated cook for all events inSteve Hcrreli,Northampton, Massachusetts[99]arrived in Washington at age iy.the Mauritius community, thisSteve Herrell is the founder ofis the first time that GooriahHerrell's Ice Cream, a chain ofMark Federman,New York, New YorkMark Federman is the ownerof Russ ¿\Daughters on NewYork's Lower East Side. Russ &will cook for the Festival.Todd Gray, Washington, D.C.A native of Fredericksburg,Virginia, Todd Gray is chef"super-premium" ice creamstores in Mass. that began 1111980. Herrell claims that hisoriginal store, Steve's Ice Cream,pioneered the technique ofDaughters is among the oldest andand co-owner of Equinox ingrinding up name-brand candymost renowned smoked fish storesWashington, D.C!. After serving 111and mixing it with traditionalinNev/York City. Federman wasa lawyer in the Brooklyn DistrictAttorney's Office before becomingthe third generation of his familythe kitchens of Roberto Donna,Jean-Louis Palladin, and RobertGreault, he opened Equinox,which serves Certified Humaneflavors. Herrell grew up inWashington, D.C, where he madeice cream by hand in his backyard,following his father's recipes.to supply New Yorkers with caviar,meats, sustainably fished seafood,smoked tish, and their cherishedand locally sourced organicMelissa Kelly, Rockland, Mainelox, bagels, and cream cheese.vegetables. He has also designedMelissa Kelly is the Executive.1 menu for the SalamanderChef of Primo Restaurant inMark Furstenberg,Inn and Spa m Middleburg,Rockland. Maine, as well .isWashington, D.C.Va.. reflecting the flavors of thechef of Primo Restaurants inMark Furstenberg is a businessman-bakerwho broughtVirginia Piedmont region.Tucson and Orlando for theMarriott Corporation. Hergood, high-quality breads toWashington, D.C. The founderCarole Greenwood,Washington, D.C.culinary career began in herItalian grandmother's kitchenof Marvelous Market and BreadCarole Greenwood offers up111 Long Island and continuedLine, he also teaches breadsimple American cuisine atwith stints at An American Placemaking, writes about bread, andher most recent restaurant,and Alice Waters 's Chez Panisse,consults with bakeries throughoutthe United States, including theBuck's Fishing and Camping inWashington, D.C. Greenwoodwhere Kelly perfected her style:"simplicity, seasonality, freshness."renowned French Laundry inearned a reputation for herCalifornia. Before making a careerstraightforward cooking andRis Lóeoste, Washington, D.C.of his lifelong baking hobby, heworked as a journalist, an admin-no-nonsense attitude at herearlier restaurant. Greenwood.Ris Lacoste, the Executive Chefof1 7.S1J m Washington. D.C,istrator for the Boston Policegained experience working inDepartment, and a consultant.Hi Soo Sliin Hepinstall,Silver Spring, MarylandParis and is now considered oneofWashmgton's premiere chefs.Hi Soo Shin Hepinstall is theHer restaurant uses seasonalauthor ot Growing I 'p in a Koreanand regional ingredients toKitchen, a cookbook and child-create simple, timeless cuisine.FESTIVALPARTICIPANTS

'IEd LiíDmi, Studio City, CaliforniaEd LaDou, known as the inventorof California Pizza, helpedcreate an entirely new style in1975 by adding .111 exotic arrayof toppings including scallops,fish roc, and zucchini flowersto traditional dough-and-saucepizzas. Inn;S7, LaDou usedmoney earned from consultingwith California Pizza Kitchens100] to open his o\\ n restaurant, theCaioti Pizza Café in Studio City.Etneril Lagasse,New Orleans, LouisianaBorn and raised in the Portuguesecommunity of Fall River.Massachusetts. I agasse openedIns first 1cst.1u1.1nt 111 1990. Heis now the chef-proprietor ofnine restaurants—three 111 NewOrleans, two 111 Las Vegas, twom Orlando, one in Atlanta, .\\\done in Miami. He is the host ofboth The Essence oj Emeril and/ 'merit Live television shows andauthor of eight cookbooks.( besare Lanjranconi,Washington, D.C.Cesare 1 anfranconi began hiscareer at age is by helping hisgrandmother prepare food forher restaurant in the Lake Comoregion of ItalyAlter working at anumber of well-known restaurantsin Italy and England, Lanfranconicame to the United States andworked with Roberto Donna,because he believed it would bemore conducive to his creativeapproach to Italian cuisme. Heis now the Executive Chef atTosca m Washington. 1 ).CFrancis Layrle, Washington, D.C.As the chef at the French Embassyin Washington, D.C, Francis I ayrleis the i ulinary representative of hisCountry. In his 27 wars in America.he has been influenced by nouvellecuisine and the American culi-11 .11 \ revolution, but he continuesto cook classic French dishes forthe ambassador's table with freshherbs and other ingredients. Hehas prepared over iso,000 meals aspersonal chef to French ambassadorsand their guests, and the Frenchgovernment has honored him withthe Ordre National du MenteSheila Lukins, New York, New YorkSheila Lukins, chef, cookingteacher, and tood writer, is alsothe co-founder ot the Silver Pilate111 New York City. The SilverPalate started out as a tiny shop onColumbus Avenue where Sheila andher partner Julie Rossi producedaline ot cooking products andthen the best-selling Silvei PalateCookbook. Since then Sheila haswritten lour other cookbooks andis Lood Editor ot Parade Magazine.Karen MacNeil,Sopo I alley, CaliforniaWine expert Karen MacNeil is the2004 winner ot the OutstandingWine and Spirits Professional awardfrom the James Beard FoundationShe is the author of the awardwinningTheWine Bible and hostof the television show. Wine, loodi- Friends, with Karen MacNeil.Brenda Rhodes Milla,Silver Spring, MarylandPrenda Rhodes Miller, the directorot the DC Campaign to Preventleen Pregnancy, is the wife ot ,1minister. An avid home cook, sheis author ot The Church LadiesCelestial Suppers and SensibleAdvice andThc Church Lady'sDivine Desserts,both of whichcelebrate the lives and lookingot America's church ladlesNahid Mohamad!, Washington, DC.Nahid Mohamadi came to theUnited States from lehcran 111 [968as .1young bride with her husbandMohamed, who was a medicalstudent. In the United States,she studied interior design andarchitecture. In the evening shelearned to cook Iranian toodfrom her mother's letters. Farfrom home, she kept trying therecipes until they worked.Frank Morales, Washington, D.C.Frank Morales graduated from theCulinary Institute of America in[995, then went on to hone Insskills at a number of New York'sfinest restaurants, including UnionPacific and Le Cirque. In 2003 hestarted his own restaur. int. Zola,in Washington, 1 >.( '.., immediatelyreceiving high praise tot hisstraightforward American cuisine.Diana My Iran. Washington, D.C.After coining to America fromVietnam in 1975, Diana M5 Franfirst gamed renown as a successful>.C. dressmaker and designer. InThe I ietnamese Cookbook, 'Franoffers simplified versions ot traditionalVietnamese dishes that canbe made with ingredients availableat American supermarkets.Patrick O'Connell, Washington, D.C.Lor the past two decades Patrick( )'( onnell has been the chef at theInn at Little Washington, w Inch theI ravel Channel ranked as one of theWorld's Best Millionaire Hangouts.I lis work there has inspired suchcookbooks as The Inn ,11 LittleWashington Cookbook and PatrickO'Connell's Refined American CuisineKaz Okochi, Washington, D.C.Born and raised in Nagoya, |apan,Okochi first came to the UnitedSlates 111 1980 lie returned to|ap.m m [983 to attend thcTsujiCulinary Institute, then came toWashington. DC, in [988 to pursuehis career in the United States.After launching a successful lineot supermarket carry-out sushi atfresh Fields (now Whole Foods),Okochi pursued his dream andopened his own restaurant, KazSushi Bistro, 111 Washington, D.CSMITHSONIAN FOLKLIFE FESTIVAL

[Moron Ouattara, Washington, D.C.parties with friends. Now retired,Michel Richard, Washington, D.C.After coming to the UnitedPhillips divides his time betweenMichel Richard was born inStates from Ivory Coast to studyselling real estate and cooking.France, apprenticed as a baker.computer science, Morou Ouattaraand moved to America in [974worked nights as a dishwasher inNora Pouillon, Washington, D.C.After opening many sui 1essfula Washington. D.C, restaurant.Chef and owner of Restaurantrestaurants on the West Coast,Starting from the bottom, heNora and Asia Nora, Nora PouillonRichard opened Citronelle intheworked his way up to become chefat the D.C. restaurant Signatures.as well as a cook for the nation-was .1 pioneer 111 introducingorganic dining to the Washingtonarea over 22 years ago. In AprilLatham Hotel Georgetown inWashington, D.C, in 1994 In early1998, Richard moved from Loswide Head Start Program.1999, Restaurant Nora became thefirst certified organic restaurantAngeles to Washington, DC, tocook full time at Citronelle. He1 o 1Charlie Palmer, Washington, D.C.in the nation. She is the authoristhe author of Michel Richard'sCharlie Palmer has receivedof Cooking with Nora, a seasonalHome Cooking with aFrench Accent.critical acclaim for his signature"Progressive American" cuisine,cookbook teaturing organicmenus for the home cook.Akasha Richmond,a style that reinterprets classicLos Angeles, CaliforniaEuropean cooking using Americanartisanal products and small farmproducers. Palmer is chef-ownerot many restaurants, includingAureole and Charlie Palmer's SteakPan! Prudhomme,New Orleans, LouisianaPaul Prudhomme won instantrecognition when he openedK-Paul's Louisiana Kitchen inAkasha Richmond isa health foodcaterer for such Hollywood starsasPierce Brosnan and Billy BobThornton. She is also a healthfood consultant and author of TheHouse in Washington. D.C. He isthe author of Gnat Ameritan Food,Charlie Palmer's Casual Cooking, andThe Art of Aureole. Palmer was bornand raised in upstate New York,and currently lives in Manhattanwith his wife and tour sonsCharles Phan,1979 with his late wife K. Sincethen, he has lectured internationally,authored eight cookbooks,created Magic SeasoningBlends— his own line of spices andsauces— and appeared on countlesstelevision and radio showsSteven Raiehlen,Art ofTqfu, as well as the soon-tobe-publishedHealthy Hollywood.Snvir Saran, New York, NewYorkWhen Suvir Saran came from NewDelhi to NewYork 1111993, he wasdrawn not by his love of cookingbut his love of art. After workingat both the Metropolitan MuseumSan Francisco, CaliforniaCharles Phan is the chef and ownerof San Francisco's Slanted Door,Coconut Grove, FloridaSteven Raiehlen is an awardwinningauthor, journalist, cookingof Art and Bergdorf Goodman inManhattan, Saran began teachingcooking at NYU and running aan Asian-American restaurantteacher, and TV host. His best-small catering business. I he businessthat mixes simple Vietnameseselling Barbecue Bible cookbook iswas so successful that in1997. Sarandishes with European wines andone of his 25 published cookbookswas asked to cook the firstIndiandesserts. After Ins family fledIn 2003, his TV show. Barbéatemeal ever served at Carnegie Hall.Vietnam by boat in 1977. Phanworked as a busboy and studied( 'niversity with Steven Raiehlen,debuted on public television,David Scribner, Washington, D.C.architecture at Berkeley beforeDavid Scribner is the chef atopening the Slanted Poor in 1994.Carol Reynolds,Smith Point, a restaurant in theGreensboro Bend, I ertnontGeorgetown neighborhood ofJo/111Phillips, New York, New YorkJohn Phillips, an architect whoworked as a city planner for theCarol Reynolds is not only ateacher but also a gitted homecook. The wife of a tanner.Washington. D.C, that takes itsname and culinary inspiration fromNantucket Island. Before openingCity of New York, is a "passionateamateur home cook." A co-founderReynolds uses the syrup thather husband harvests fromSmith Point. Scribner was theExecutive Chef atFelix in DCsof the Ninth Avenue Internationallocal trees to create a varietyAdams Morgan neighborhood; laterFestival 111 Manhattan, he hasalways loved testing recipes, readingof innovative dishes, such as aversion of anadama bread thathe worked with D.C'. chef CaroleGreenwood, who taught him howcookbooks, and is the designateduses grade 13, dark amber mapleto use fresh, seasonal ingredientscook at all office functions andsyrup 111 place of molassesto let food speak for itselt.FESTIVALPARTICIPANTS

ISudhir Seth, Bethesda, MarylandA graduate of Hotel Managementfrom Delhi, India. Seth workedAnthony and Joint Uglesich,Nat' Orleans, LouisianaAnthony Uglesich, a CroatianLisa Yockelson, Washington, D.C.Lisa Yockelson is a baking journalistwith a concentration in both classicas a chef in India and thenAmerican, owns the New Orleansand contemporary American andwas commissioned to openinstitution Uglesich's Restaurant-European regional specialties. HerBukhara in New York City andopen since1924—which servesmost recent work. Baking by Flavor,in Chicago. He served as execu-cuisine made with local produceis a comprehensive technique- andtive chef at the Bombay ( Hub inand hand-ground spicesUglesichrecipe-oriented cookbook basedWashington. D.C., and thenhas appeared on TV with Enieril011 more than a decade of research,02Iopened Heritage India DC Heis now owner and chef at Passageto India in Bethesda, Maryland.agasse and Martha StewartHis son |ohn is author of/ glesich's Restaurant Cookbook.in exploring and developing flavorm baked goods. Yockelson is theauthor of 1 i baking cookbooks.Suad Shallal, Washington, D.C.When Suad Shallal came fromIraq to Falls Church. Virginia. 111Herman Iargas,New }'ork. New YorkA native ot the DominicanEric Ziebold, Washington, D.C.Eric Ziebold. a native of Iowa anda 1004 graduate ot the Culinary[966, she telt as it she had landedRepublic, where he was raisedInstitute ot America, is chef at ( itson another planet. She spoke noon afarm, Vargas came to the/en After beginning his career atEnglish, didn't drive, and onlyUnited States when he was 14Washington's Vidalia, he workedlooked Iraqi food hulas. Shallaland worked at Russ

Eliot Coleman, Harborside, MaineMarsha Guerrero,Kelsey Siegel, Berkeley, CaliforniaEliot Coleman is co-owner,with Barbara Damrosch, of FourSeason Farm. He is author of TheNew Organic Croan, Four SeasonHarvest, and theWinter Harvest.Manual. He served for two yearsas the Executive Director ot theInternational Federation of OrganicAgriculture Movements and wasan advisor to the U.S. Departmentof Agriculture on the Report andRecommendations on Organic Farming.Ann Cooper,East Hampton, New YorkAnne Cooper works to transformcafeterias into culinary classroomstor students—one schoollunch at a time. A graduate of theCulinary Institute of America,she was Executive Chef at thePutney Inn in Vermont. Shenow works as a consultant forschools that seek to transformtheir school lunch programs.Barbara Damrosch,Harborside, MaineBarbara Damrosch is co-owner,with Eliot Coleman, of Four SeasonFarm. She is the author of TlieGarden Primer, Theme Gardens, andthe Page-A-Day Gardener's Calendar,which has been published everyyear since 1992. In addition towriting and consulting extensively,she appeared as a correspondenton the PBS series The VictoryGarden and was co-host, with herhusband Eliot Coleman, ot tintelevisionseries Gardening Naturally.Benjamin Goff, Berkeley, CaliforniaBenjamin Goff is the Program( Coordinator for the LeConteElementary School Farm andGarden in Berkeley. Over thepast five years he has developeda garden-based nutrition/healthylifestyles curriculum for gradesK-5. He previously worked tortheWillard Greening Projectas an Americorp member andgraduated from the EvergreenBerkeley, CaliforniaMarsha Guerrero is Director otthe School Lunch Initiative atThe Edible Schoolyard. A nativeof northern California, she hasworked with Sally Schmitt andfor the Metropol Bakery inEugene, Oregon. She has alsomanaged such restaurants as Prego,MacArthur Park, and Guaymas.Jenny Guillaume, Washington, D.C.Jenny Guillaume has been theProgram Coordinator tor theWashington Youth Garden atthe U.S. National Arboretumsince the fall of 2003. Prior tomoving to DO, she graduatedfrom Bates College and was theGarden Coordinator tor HilltopCommunity Garden in Lewiston.Mame. As for her favorite vegetable,it's okra and she likes it tried,true to her Southern roots.Davia Nelson and Nikki Silva,San Francisco, CaliforniaKnown as The Kitchen Sisters,Davia Nelson and Nikki Silva havebeen producing radio programstogether since1979. They are thecreators (with Jay Allison) ot the[999 Peabody Award-winningseries "Lost & Found Sound." the2002 Peabody Award-winningseries "The Sonic MemorialProject," and "Hidden Kitchens,"which aired on National PublicRadio during the Fall of 2004.Kimberly Rush, Washington, D.C.Kimberly Rush has been involvedwith the Washington Youth Gardenat the U.S. National Arboretumfor over five years and has directedthe program for the last three.Previously, she was the AssistantDirector for Garden Harvest, afarm m Baltimore that donatesorganic produce to emergencyfood agencies. She graduated fromSt. Mary's College of Maryland111 1998 with a B.A. 111 biology.Kelsev Siegel received a bachelor'sdegree in environmental studies,with an emphasis on sustainableagriculture, from Oberlin College.He has worked as a teacher and aprofessional chef; these combinedinterests led him to serve as anAmencorps member in The EdibleSchoolyard garden during the[998-99 school year. His abilitiesas a teacher, mentor, and gardenerhave led to his current positionas Garden Teacher and Manager.Josh I 'iertel,New Haven, Connecticut[osh Vierte! is Associate Director otthe Yale Sustainable Food Project.His interest in fresh produceand sustainable growing beganas an undergraduate at HarvardUniversity, where he convincedthe school to allow him to plantcrops in the Biology greenhouses.At Yale, he works to sourcelocally grown, seasonal producefor the university's dining halls.Alice Waters, Berkeley, CaliforniaIn1971 Alice Waters, a kindergartenteacher, opened Chez Panisse 111Berkeley, serving a single tixedpricemenu that changed daily. Inio')''. she created the Chez PanisseFoundation to help underwritecultural and educational programssui h as The Edible Schoolyard thatdemonstrate the transformativepower ot growing, cooking, andsharing food. Waters is author andco-author of eight books, includingFanny al Che: Panisse, a storybookand cookbook tor children.Food Safety and QualityThe United States DepartmentofAgriculture (USDA)Guest Services, Inc.National Restaurant AssociationRestaurant Association ofMetropolitan WashingtonDistrict of ColumbiaDepartment of HealthI10;State College, where he studiedsustainable agriculture.FESTIVALPARTICIPANTS

1 if 1 DumberHoneyBeehive Beeproducts,New York, New YorkBy promoting the work of artis.m.ilbeekeepers (specificallyharvesting varietal honeys), it isBeehive's hope that honey willtake its place as the unusual.complex food that it is. Everyhoney is as unique as its floralsource— it can be compared toI0 4J wine, tea, and eottee m its varietyand complexity. As both distinctionand quality are becoming ararity in our culture, Beehive'sgoal is to make high-quality, varietalhoneys more readily availableto consumers everywhere.Narrative SessionsBruce Aidell,SituFrancisco, CaliforniaKnown to many as The SausageKing, Bruce Aidell foundedBruce Aidell's Sausage Companyin [983 after working as achef at the Berkeley restaurantPoulet. Aidell is the authorof t ookbooksincluding Bruce Aidell'sCompleteSausage Hook and Bruce Aidell'sComplete Book of Pork: A Guide10 Buying, Storing, and Cookingthe World's Favorite MootMichael and Ariane Batterberry,New York, .Veir YorkMichael and Ariane Batterberryir founders of two of thenation's most prominent foodmagazines, Food Arts andFood I- 1 1 'ine. They are alsoauthors of a host of booksincluding Mirror, Minor andFashion:Thc Mirror oj History.Ann Brody, Washington, D.C.Ann Brody is executive directorof the Jean-Louis PalladinFoundation, an organization thathonors the spirit of its namesakeby identifying talented youngchefs and funding internshipsto further their education.Steve Danos, Boulder, ColoradoIn 1977 Steve Pernos foundedWhite Wave, which has sincegrown to be a nationwide soylood phenomenon. Demos cameup with the idea of founding ati 'In company during an eightweekmeditation retreat heattended in California followingthree years of travel 111 Indiaand the East. White Wave isbestknown tor Silk Soymilk, thenation's best-selling soy beverageStore Jenkins, NewYork, New YorkAuthor of the The Cheese Primeand member ofFrance's eliteGuilde de St. Uguzon, Steve|enkins has been describedIn the Vcir Yoik 1 imes as both"the enfant terrible of thefancy food business" and "theeminence grise of America( heese Mongers." [bdayJenkins is the cheese expert atNew York's Fairway MarketJudithJones, New York, NewYorkludith |ones is Senior Editormil Vice-President at Alfred AKnopf, Inc. In her time there, shehas not only edited translations ofSartre and Camus, but also developeda list of first-rate cookbookwriters such as [ulia Child andlames Beard. She created theiS-book KnopJ Cooks Americanseries and co-authored threebooks with her late husband,including The Book oj Broad andKnead It. Punch It. Bake It'Erika Lesser, NewYork, NewYorkEnka Lesser earned an M.A.in Food Studies from NewYork University, then took ,\\iinternship with Slow FoodUSA, and has been with SlowFood ever since. She spent ayear living in lira. Italy, whereshe worked for the newUniversity of GastronomicSciences. Returning to NewYork, she became ExecutiveDirector of SlowBillNiman,Food LISAMarin County, CaliforniaBill Niman began farming inCalifornia during the1960s. Nowhis farm has expanded into NimanRanch, one of the best-knownproducers of gourmet meats inrestaurants across the country.There are a tew simple fundamentalsthat Bill Niman lives by:humane treatment of the animals,natural feed, no growth hormonesor therapeutic antibiotics, and asense of stewardship that valuesthe land as a sustainable resource.Cus Schumacher, Washington, D.C.Raised in a Massachussettsfarm family. Cms Schumacherwent on to become the UnderSecretary tor farm and ForeignAgricultural Services at the U.S.Department ol Agriculture. Incapacity he was responsible forthe USDA's domestic commoditiespolicy and its internationalthistrade and development programs.Howard Shapiro,San Juan Pueblo, New MexicoIn1989, Howard Shapiro wasone of the founding membersof Seeds of Change, a groupdedicated to preserving biodiversityand promoting sustainable,organic agriculture. He isalso the co-author ol Gardeningfoi the Finnic of tin EarthSMITHSONIAN FOLkLIFE FESTIVAL

—ASlow Roastincluding soymilk, soy yogurt, totu,Slow Food USAMike Mills andAmy Mills Tuniclijfitenipeh, and seitan—more thanyo percent of which are certifiedSlow Food USA is an educationalorganization dedicated toMike Milk is .1 champion pitmasterorganic. Its commitment to sustain-promoting stewardship of thewith six barbecue restaurants inabihty stretches to its energy policy.land and ecologically sound foodsouthern Illinois and Las Vegas.He became the only three-timeAll power that is used to produce itssoy products is generated by wind.production; reviving the kitchenand the table as the centers of plea-Grand World Champion pitmasterat Memphis in May. He is also apartner m Blue Smoke restaurantm New York City. Amy MillsSpicesI 'arms Spices, Baltimore, Maryland"Hands down.Vanns is the bestsure, culture, and community; invigoratingand proliferating regional,seasonal culinary traditions; creatinga collaborative, ecologicallyTunicliffe is a writer and co-spice company inthe U.S.A.."oriented, and virtuous globaliza-[105]author with her father, Mike,of Peace, ¡.on', and Barbecue.says Jesse Sartain, NutritionalDirector of Chefs in Americaand Chairman of the Americantion; ,\\ic\ living a slower and moreharmonious rhythm ot lite.El Patio, Rockville, MarylandTasting Institute in San Francisco.Tradition and AdaptationOpened in 2001, El Patio ottershomemade Argentinean cuisine.California. Founded by Ann Wilderin Baltimore in niNi.Vanns wasErika Allen, Chicago, IllinoisErika Allen is Projects Manager1 he family-owned café alsothe product of a frustrated hobbyfor Growing Power. Will Aliensspecializes in hosting asados,cook who loved Indian cuisinedaughter, she has a small farmor festivemasts. During theasado, a cow will be barbecuedbut could not readily find thehigh-quality spice blend neededagricultural background andexperience. She spent her forma-throughout the day while gueststo make tandoon. So, she createdtive years involved m all aspectsenjoy sharing .1 male (a hot teait. In the process, she discoveredof farm management from trans-made from the leaves and shootsthe best spice growers 111 the worldplanting seedlings to managingot Ilex paraguensis), playing trucoand developed athriving business.farm stands and farmers markets(a traditional card game), andlistening to Argentinean tolk musicJim Tabb, Tryon, North CarolinaFounder of the Blue RidgeBarbecue Festival and acclaimedbarbecue cook, Jim Tabb hastraveled around the world asa barbecue judge and cookHe isthe organizer of theNorth Carolina State BarbecueChampionship held m Tryon.TeaHonest Tea, Bethesda, MarylandHonest lea was founded in 1997 bySeth Goldman and Barry Nalebuff,one ot Goldman's business schoolprofessors. Honest Tea has appliedits passion for social responsibilityto initiatives in the environmentand to creating partnershipswith the growers, cultures, andcommunities behind the teas.Hill Allen, Milwaukee, WisconsinWill Allen is the Director ofGrowing Power, a national notfor-profitorganization supportingthe development of communityfood systems. Allen, a Wisconsintanner and community foodsystems educator and trainer, isdedicated to supporting smallfamily farmers and bringing healthyaffordable food to urban areas.SoyWhile Wave, Boulder, ColoradoWhite Wave was founded in 1977by Steve Demos after he returnedfrom an inspiring trip travelingthrough India and other partsTools of the TradeCulinary Historians ofWashington, D.C.Culinary Historians ofWashington,D.C. was founded 111 [996 forthe study ot foodstuffs, cuisines,Elizabeth Beggins and Ann Yonkers,Pot Pie Farm, Whitman, MarylandElizabeth Beggms and Ann Yonkersgrow fruits, vegetables, and poultryon this 9-acre organic waterfrontfarm on the Chesapeake Bayot Asia tor three years. From itsearliestdays, «hen Demos madetofu in a bucket and delivered itto local stores. White Wave hassupplied more than 30 percent otthe U.S. tofu market. The companyand culinary customs from allparts of the world. Membershipisopen to scholars, cooks, foodwriters, nutritionists, collectors,students, and anyone interested111 learning about foodways.near St. Michaels. Maryland.crusader for farmers markets, Annisthe president and co-directorof FreshFarin Markets, whichruns six farmers markets 111 theChesapeake Bay area, l'ot Pie Farmalso boasts over 40 soy productssells seasonal vegetables, garlic,onions, herbs, and cut flowers at theSt. Michaels FreshFarin Market.FESTIVALPARTICIPANTS

1"''NewI >onI Lui\IDon Bustos,Española, New MexicoLagasse and the late JuliaChild.The |amisons came intostarch and lowin sugar, beforethose three boats ever arrivedBustos is president ofthe Santa Fe Farmer's Marketfarming accidentally, bin nig acenturies-old farmhouse thatin Plymouth. The Indians usedit as barter with the traders."Institute and an active farmerlust happened to come with 65Harry takes painstaking care ot.is well. On less than tour acresacres of land. They raised lambhis seed stock so that it remainsof Luid, Bustos grows over 20different varieties of peppers. Heas a hobby until the late [ean-Louis I'alladintasted some at a"pure and retains its distinctiveflavor, different from anyalso uses innovative solar heatingPittsburgh fundraiser and beganother corn >>nthe market."to get the most from his land,recommending itto his friends.Iproducing crops throughoutMexico's mild winters.Nova Kim ami Les Hook,Joel Salatin, Swoope, VirginiaJoel Salatin is the acknowledgedBustos lives on his farm with hisAlbany, I ertnontexpert in both pastured poultrywife Blanca, his children Amilioand Anna, and his grandsonAngelo. He writes a monthlyNova Kim and Les Hook arewildcrafters in the NortheastKingdom ofVermont.They makeand multi-species grazing, 111w bu h chickens and cows harmoniouslyshare pasture space 111newsletter and lectures widely.their living selling wild foodsanticipation of the space the\willMote ami Jim Crawford,to restaurants throughout upperNew England. Specializing m wildharmoniously share in the stomallisot satisfied gourmands. He isHustontown, Pennsylvaniamushrooms, they regularly supplyals, 1the author ot, among otherMoie and |im Crawford runNew Morning harm 111 rural

Forest Service, Culture,and CommunitySusan Adams,Oxford, Mississippi; ProtectingForests and Wildlife HabitatsSusan Adams knew from earlychildhood that she wanted to heabiologist. In 2000, her dreamwas fulfilled when she took ajob as a research fisheries biologistat the Southern ResearchStation, Center for BottomlandHardwood Research. Adamswades, snorkels, and uses boatsin studying the behavior andecology of tish, crayfish, andamphibians in streams and riversinthe Southeast and Montana.Jante Agyagos,Cormnllc, Arizona; ProtectingForests and Wildlife HabitatsAs a district wildlife biologist,Janie Agyagos is responsible tortracking and protecting over50 rare species including birds,mammals, reptiles, amphibians,invertebrates, fish, and plants.Additionally, she is responsible formanaging the habitat ot variousgame species, building and maintainingwildlife structures, andidentifying and preventing thespread ot invasive plants. Skillsrequired in her job include snakehandling, nighttime navigation,kayaking, rappellmg, horsebackriding, and fence building.National Forest (Illinois). Shehas also served on the RegionalMulticultural Team as the coordinatorfor the African AmericanSpecial Emphasis Program.Kimherly Anderson,Milwaukee, Wisconsin; Water,Woods, and MountainsAs Regional PartnershipCoordinator for the ForestService's Eastern Region,Kimberly Anderson works toidentity corporate and nonprofitpartners for Forest Serviceprojects involving tish. wildlife,recreation, timber, and otherresources. One of Anderson'srecent accomplishments wasa partnership agreement withthe American Council ofSnowmobile Associations, whichwill result in the planting ot 7.S00trees throughout Wisconsin.John Anhold, Flagstaff Arizona;Camp Foodways/Tree DoctorsWorking as a forest entomologist,John Anhold travels aroundArizona assessing the state's fivenational forests. He is particularlyconcerned with the threatsthat insects, noxious weeds,and invasive species pose to theforests' health and well-being.Anhold's father, a retired ForestService employee, taught his sonsthe art of Dutch oven cooking,which Anhold and his wife LindaWadleigh, also a Forest Servicetogether and create lasting, livingmemorials to the victims ofterrorism and their families.Phyllis Ashmead, Mi-Wuk Village,California; Interactive ForestPhyllis Ashmead is an interpreterat the Stanislaus National Forest,and a recipient of the 2004Gifford Pinchot Excellence 111Interpretation and ConservationEducation Award. As an interpreter,Ashmead aims to instillrespect for heritage and nationalresources. Examples ot her projectsinclude On Fire!, a play aboutthe iyio wildfires that changednational fire management policy,and a program about NancyKelsey. the first woman to crossthe Sierra Nevada Mountains.Donna Ashworth, FlagstaffArizona; Fire Lookout TowerDonna Ashworth has spentthe past 21 years working as afire tower lookout at WoodyMountain Fire Lookout in theCoconino National Forest.Over the course of her career.Ashworth has become an expertatdistinguishing forms of smokeand at quickly pinpointingthe location of wildfires. Nowshe can easily tell whether adistant plume means troubleor is just the westbound dieseltram leaving Flagstaff.Barbara Balen, Hathaway Pines,[ 107]Berneice Anderson, Milwaukee,Wisconsin; Law EnforcementBerneice Anderson is PatrolCommander for the ForestService's Eastern Region,which covers 20 states. Sheholds degrees in criminal justiceand sociology, and previouslyworkedas a Law Enforcementofficer in the Wayne NationalForest (Ohio) and Shawneeemployee, continue to practice.Matt Amn, New York,New York; Forest LandscapesMatt Aran describes himself asthe luckiest person 111 the world.He isa landscape architect andthe coordinator of the ForestService's Living MemorialsProject in New York City. Thisproject uses the power of treesand green space to bring peopleCalifornia; Forest LandscapesBarbara Balen is the districtheritage specialist and interpretiveprogram manager on theCalaveras Ranger District inthe Stanislaus National Forest.She works closely with localNative American communitieson the protection, traditional use.and interpretation ot botanicaland archaeological resourcesFESTIVALPARTICIPANTS

Ian Barlow, White Bird,Idaho; Woodlands HeritageA recent recipient of the ForestService Chief's Award, IanBarlow work-, .is .1 wildernessranger and animal packer atthe Nez Perce National ForestBarlow is an expert m the use ofmany kinds of traditional tools,including crosscut saws and axesHis familiarity with riggingI '° methods for moving large orheavy objects is invaluable 111areas of the forest where motorizedequipment is prohibitedJoy Barney,Pinecrest, California; ProtectingForests ami Wildlife Habitan|oy Barney works as part ot .111interpretive team on the StanislausNational Forest. She especiallyenjoys presenting programsabout wildlife and ecosystemsto younger visitors, and makesliberal use ot music and storytellingto get her messages across.Her interactive program topicsinclude the water cycle, tirecycle, and resource protectionDan Baiter, Washington,D.C.; Community StagePan Bauer serves as the ( luctot the Border Security andPlug Coordination Branch111 the Office ot the Secretary,Department ot the Interior.Formerly, he served as theforest Service's National IProgram t>rugCoordinator and ActingAssistant Director tor HomelandSecurity. His career with theForest Service began m [976 asa firefighter in Montana, beforelieslutted to law enforcementKeith Bear, Drags WolfI Wage, North Dakota; Arts &Crafts/Sounds of the ForestKeith Bear is a storyteller, singer,dancer, flute player, and flutemaker from the Mandan-Hidatsatribes of the northwest plains ofNorth Dakota. A self-taught fluteplayer. Bear has been performingsince i

oreslG.W. Chapman,,4/ Conic//,tough wildfires. In[986, sheAlamogordo, New Mexico; FireSedona, Arizona; Call of the Wildbecame a smokejumper and forCamp/Forest Service HistoryAl Cornell is a member of Friendsten years enjoyed the camaraderieG.W. Chapman served tor manyot the forest, a volunteer groupand adventure ot parachutingyears as a Forest Service firefighterdedicated to preserving the Redout ot airplanes to fight wildfires.on the Lincoln National Forest.Rock District of the CoconinoAfter retiring from smokejumping,After a catastrophic wildfire inNational Forest by building andEsterbrook began working inthe Capitán Mountains in 1950,repairing trails, cleaning up litter,the Willamette National Forest'sChapman rescued a badly burnedand patrolling the forest. Cornell'stire management office.bear cub who soon became onerepertoire ot skills includes exper-of America's most recognizablesymbols. After efforts to rein-tise 111 fire making, cordage making,tool making, paint making, landThe Fiddlin' Foresters;Sounds of the Forest[109]tegrate the cub into its nativenavigation, and survival techniques.The Fiddhn' Foresters are thehabitat were unsuccessful, theForest Service chose to augmentJim Dcnney, McKenzie Bridge,"official old-time string band of theUSDA Forest Service." Consistingthe animated version of SmokeyOregon; Arts & Craftsni ISen 11 e employee , fromBear with this living symbol.Jim Denney has worked for thethe Rocky Mountain Region, theForest Service for decades, first asgroup has been playing togetherKevin Cooper, Santa Maria,afirefighter during summers, nowsince 1994. The Foresters dress 111California; Protecting Forestsas aDistrict Facilities Managervintage1907 uniforms, and singand Wildlife Habitatsof the McKenzie River Rangerabout the importance of resourceKevin Cooper, a wildlife biolo-Station 111 Oregon. Dennev is an* onservation and public landgist on the Los Padres Nationalaccomplished artist who gathersstewardship. Their programs featureForest, comes from a Forest Serviceinspiration from the vivid visualtraditional songs from the southernfamily. His father was a woodimagery ot the land's transforma-Appalachians and the Americantechnologist, and his sister is antion at the hands ot humankindWest. The Fiddlin' Foresters havean haeologist. Cooper special-over the past several decades.played at events such as the 2002izes in birds and can mimic 111.11 1\Olympic Games and the Nationalbird calls and owl hoots—skillsTim Eldridge, Missoula,Western Stock Show. The grouphe uses to inventory bird popula-Montana; Smokejumper Baserecently received the Forest Servicetions by calling tor them andUntil a knee injury ended hisChiefs Award for its interpretivelistening tor their responses.active jumping career, Timmusical program. Its membersEldridge served the Forest Serviceinclude lane Leche (guitar), Tom,-liiiiyCoriell, Sandy, Oregon;.is a smokejumper at the MissoulaMcFarland (guitar), Jim MaxwellLaw Enforcementbase. Eldridge now manages the(banjo), and Lynn Young (fiddle).Andv Coriell met his wife.Smokejumper Visitor Center,Forest Service archaeologistwhich receives approximatelyBillGlass, Wilmington,Kristen Martine (also a Festival20,000 visitors each summer.Illinois; Forest Landscapesparticipant), at a conference onIn addition to arranging toursBill Glass is an ecologist at thethe Archaeological Resourcefor schools, tour groups, andnew Midewin National TallgrassProtection Act. As a Forest ServiceCongressional and foreign delega-Prairie. The tallgrass prairie is oneLaw Enforcement Officer, Corielltions, Eldridge is also responsibleof the rarest natural ecosystemshas a particular interest in archaeo-tor the Center's displays, exhibits,in the United States, and homelogy al sites because a large partand commercial operations.to several nationally endangeredof his job is knowing where theseplants. The challenge ot restoringsites are in order to protect themKelly Esterbrook,the Prairie to its original condi-from vandalism and looting.Bend, Oregon; Smokejumper Basetion is difficult because the localIn [980, Kelly Esterbrook \\.isone ot the first six women linedecosystem has been drasticallyaltered, fust by pioneers whoto the Prospect Ranger District'sconverted the native prairie tohotshot crew—a group of highlyfarmland, and later by the presenceskilled firefighters who tackleof a U.S. Army munitions plant.FESTIVALPARTICIPANTS

I 'istnet1Gordon Grant,Corvallis, Oregon; ProtectingForests and Wildlife HabitatsGordon Gout has always beeninterested m how rivers workand the role watersheds play inpeople's lives. He spent 12 yearsworking as a white-water riverguide before returning to si In niltor his doctorate m hydrologyand fluvial geomorphology.As a Research Hydrologist, hestudies the effects of land use,dams, geology, and floods onriver pint esses. At the Festival,(rant uses an experimental river,complete with live vegetationand floods, to give visitors adynamic display ol river processes.lid dross, Brookings, Oregon;Interactive ForestUntil retiring from the ForestService in [997, Ed Gross workedas a soil scientist at the SiskiyouNational Forest. When the ForestService developed the SiskiyouForest Plan 111 the lciNos. Grossrealized the important role playedby dead organic matter 111 a forest'sregenerative cycle. It was becauseoi Ins efforts that the eventualForest Plan included recommendationsto leave "large woodymaterial" on the forest floorTony Guinn,Mountain I iew, Arkansas;Water, Woods, and Mountainslonv Guinn is the VisitorInformation Specialist at theBlanchard Springs Caverns, oneof the few caves 111 the I orestService system that offer toursto the public. Guinn arrangestours for the Caverns' yi 1,1 11 11annual visitors. She is also responsiblefor producing educationalprograms about the caves, thenhistory, and the bats and endangeredspecies that live thereJim Hammer, Winthrop,Washington; Call of the Wild|un Hammer has spent his entire40-year Forest Service carvelon the Methow Valle) Ranger111 the < )kanogan andWenatchee National Forests,where he now serves as Wildernessand Frails Coordinator. Beforemining mto an office position.Hammer was an expert animalpacker who built, maintained, andupgraded trails in the wildernessElizabeth Hawke, Milford,Pennsylvania; Interactive ForestElizabeth Hawke began her careerat Grey Towers National HistoricSue as a summer intern. Now,as the horticulturist of GiffordPinchot's ancestral home, Hawkenurtures the historic gardensand landscape, a moat, and theFingerbowl, the Pinchots' distinc -tive outdoor dining table. Shealso takes care of the groundsof the 102-acre estate, includingthe trees that were planted byGittord and his wale Cornelia,large sloping lawns, forests,trails, paths, and roadwav sCharles Hillary, Madison,Wisconsin; Forest ProductsCharles Hillary is a PhysicalScience leclinici.ui at the ForestProducts Laboratory. In his position.Hillary implements newtechnology and computers for theLab. He also conducts resean hthe pulp and paper division for thePostal Service recycling project,working on ways to removeinks, toners and glues from paperti1 t onform to standards forPostal Service suppliers. At theFestival, Hillary demonstratessimple ways for children andadults to make their own paper.inJack Holcomb, Lawrenceville,( Georgia; Arts & CraftsJack Holcomb "sprofessionalcareer is with the Forest Service,but Ins passion is constructingguitars by hand, spending atleast 250 hours on each guitar.Holcomb has worked withthe Forest Service tor 26 yearsand is currently the RegionalHydrologist for the Forest Servil eSouthern Region 111 Atlanta Atthe Festival, Holcomb displaysone of Ins classical guitars andgives an in-depth presentationon the methods and materialshe uses to craft his guitars.Saul Irvin, Seville, Florida;Camp Foodways/Fire CampSaul Irvin has been winking withthe Florida Division of Forestryfor 2s years, serving as a combinationfirefighter and ranger, or"hanger" (in Ins own words). As achild lie learned to hunt, fish, andfind his wax. around the woods,and now lie applies those earlylessons to Ins work as a forestranger. He also has become ,inexperienced cook, particularlyfor several varieties of cattish.Dórica Jackson,Ketchikan, Alaska; Arts & CraftsDórica [ackson began her professionalweaving career 111 the early1970s, combining her trainingintextile design with her newlyacquired knowledge and respectfor Northwest Coast Indian Art.Her Chilkat weaving can nowbe seen 111 various museumsaround the globe In addition,she shares her knowledgeby teaching apprentices andstudents at the Totem HeritageCenter m Ketchikan, Alaska.SMITHSONIAN FOLKLIFE FESTIVAL

Nathan Jackson,Nova Kim and Leslie Hook,history, and his guard stationKetchikan, Alaska; Arts & CraftsAlbany, I ennont; Camp Foodwaysisfurnished with an extensiveNathan Jackson was born intoNova Kim and Leslie Hookcollection of memorabilia,the Sockeye Clan on the Ravenare self-described wildcratters,including uniforms, badges, andside of the Chilkoot-Tlingitwhich they define as "acceptingcorrespondence between Giffordtribe, and specializes in wood-from the woods or field what isPinchot and William Kreutzer, thecarving, jewelry, and design.offered, and utilizing it." Kim andForest Service's first Chief andMany museums exhibit his work,Hook cultivate wild edibles likefirst forest ranger, respectively.including a20-foot cedar totemmushrooms, which they then sellpole at the National Museum otto restaurants and stores. Then-Wally McRae, Forsyth,the American Indian. In 199s, hereceived the prestigious Nationalprevious business ventures haveincluded a successful ginseng teaMontana; Community StageWally McRae manages a cattle[III]Heritage Fellowship from thebusiness and wildcrafting nurseryranch in eastern Montana, whereNational Endowment for theplants from national forests.his family has lived since [885.Arts. At the Festival, JacksonIntrigued by the traditionaldemonstrates his elaborate tech-Beth King, Layton, Utah;poetry of working cowboys andniques of carving a totem pole.Camp Foodwaysranchers, McRae has writtenBeth King works in themore than 100 poems and tourPatrick Michael Karnahan, Sonora,I liter mountain Region'sbooks ot poetry, and was the firstCalifornia; Sounds of the ForestEngineering Cartographiescowboy poet to be awarded theDuring his[5-year tenure withI )epartment, and is also the care-National Heritage Fellowshipthe Forest Service, Patricktaker of the Forest Service Historyfrom the National EndowmentMichael Karnahan worked in sixArchives at Weber State University.for the Arts. From 1996 to 1998,California forests, including theRecently, King's archival work hashe served as a member of theStanislaus National Forest, wherefocused on chronicling the historyNational Council on the Arts.he stillvolunteers. Karnahan isof outdoor cooking in the Foresta skilled painter; several ot hiscanvases have appeared on theService, resulting in a cookbook.Camp Cooking: tooYears, 1905-Nanette Madden, Fall River,California; Fire Campcover of Wildfire Magazine, andone of his paintings was selectedfor a postage stamp by the U.S.2005, published by the NationalMuseum of Forest Service History.( 'ne ot the first female firefightersto work for the USDAForest Service, Nanette MaddenPostal Service. He has releasedSamuel Larry, Atlanta, Georgia;currently works as Division 1 hiei14 CDs with his Black IrishForest Service Historyfor Protection and PreventionBand, and covers a broad reper-Since[968, the Tuskegee Forestryon the Modoc National Forest,toire of traditional American,Program has played a major roleand as a technical specialist on .1Irish, and Italian folk music.in training African-AmericanNational FirePrevention Team.foresters and natural-resourceMadden has received the SilverRobert Karrfalt, Lafayette,professionals. Samuel LarrySniokey Bear Award for her workIndiana; Tree Doctorsenrolled at Tuskegee Universityin wildland fire prevention.Robert Karrfalt is the Director otto studv forestry in1976 andthe National Tree Seed Laboratory.later became the Forest Service'sKaren Malis-Clark, FlagstaffThe lab's three major functionsliaison to Tuskegee. Currently he-Arizona; Family Activitiesare to test seed quality, provideleads cooperative fire manage-Karen Malis-Clark works as antechnical assistance to govern-ment activities for the ForestAssistant Public Affairs Officerments and individual growers, andService's Southern Region.in the Coconino National Forestmaintain an international seedSupervisor's office. A favoritebank. One key component istoPat Lynch, Encampment,part of her job is giving talks andcertify that seeds or seedlings areWyoming; Forest Service Historydemonstrations at schools, adultsuitably adapted for the plantingThough retired from the Foresteducation classes, environmentalarea. Since 1972 the Seed BankService. Pat Lynch maintains aseminars, and meetings withhas shipped over 150 seed species"guard station" where he lodgesForest Service partners. In 2003to 95 countries in an effort toForest Service employees trav-she received the Southwesternpromote global reforestationeling through the area. LynchRegion Conservation Educatoris .111 expert on Forest Serviceand Interpreter of the Year awardFESTIVALPARTICIPANTS

Kristen Marline, Flagstaff,Arizona; Forest LandscapesKristen Martine is the DistrictArchaeologist for the MogollónRim Ranger District on theCoconino National Forest.She often works with NativeAmerican groups that use theforest or have .1 connection to itsarchaeological sites. Martine is alsoinvolved m protecting traditionalcultural properties, as well as sitesthat may have religious significance.Her husband, Amlv Coriell,is also a Festival participant.Karen Martinson,Madison, II 'isconsin;Sustainable Resource HouseKaren Martinson is the HousingProgram Specialist at theForest Service's Forest ProductsLaboratory, where she facilitatesresearch coordination andpartnerships with universities,industry, and other governmentagencies. She also playeda significant role in the creationand development oí the Lab'sAdvanced Housing ResearchCenter and the ResearchDemonstration House. At theFestival, Martinson is one of thestaff providing information onthe Sustainable Resource HouseKirby Matthew, DeeiLodge,Montana; Woodlands HeritageKub\ Matthew is the ProgramManager of the Historic BuildingPreservationle.un for theNorthern Region. Matthew'sintroduction to historic buildingpreservation came when heworked as a seasonal archaeologistat the l.olo National Forest from[98] to [986. He was subsequentlycertified by the National ParkService as a master preservationcarpenter. As man} eark20thcenturybuildings age. Matthew'sproficiency in traditional buildingtechniques helps preserve thehistory of America's forestsJoe Meade, Anchorage, Alaska;Water, Woods, ami Mountains|oe Meade is the Forest Supervisorat the Chugach National Forest.Meade isvisually disabled, andworks with the help of a talkingcomputer and his guide dog.Navarro. He began working withthe Forest Service in 1977, andwas later instrumental in ensuringthat the Forest Service becomea leader in compliance with theAmericans with Disabilities Act.Throughout his career. Meade hashelped ensure that national forestsand public facilities are accessiblefor everyone's enjoyment,Bill Meadows, Washington,D.C.; Community StageHill Meadows serves as presidentofThe Wilderness Society,overseeing a staff of iso locatedin Washington, DC, and nineh gii mal offices. More than 2.5million acres have been addedto the National WildernessPreservation System sinceMeadows became president of theorganization in 1996. Previouslyhe served as director of the SierraClub's t entenni.il (. amp.ugn.Rick Meinzer, Corvallis,Oregon; Canopy CraneRick Memzer is an accomplishedscientist, specializingin plant physiology I le hasworked all over the world andiscurrently working with theWind River Canopy Crane inthe Gifford Pinchot NationalForest. Memzer is interested inlearning about the route watertakes in a tree from the roots tothe uppermost leaves, to understandbetter the life of a treeWarren Miller. Peek, Idaho;1 1 bodlands HeritageWai ten Miller is nationallyrecognized as an expert in theuse ol the crosscut saw. Whileemployed with the Forest Service,Miller worked as a wildernessranger at the Nez Perce NationalForest. Although he retiredseveral years ago, he continueslo teach several crosscut sawclasses for the agency every year.Chuck Milner, Cheyenne,Oklahoma; Sounds of the lorcslAs a range specialist at the BlackKettle National Grasslands,t!huck Milner oversees thearea's cattle-grazing programHowever, his other career is as .1cowboy singer, poet, and storyteller,using his songs, poems,and stories to connect the ForestService and the Oklahomaranching community. In 2001,Milner's original composition."Do. m's Crossing," received theWill Rogers Award tor WesternMusic Song of the Year from theAcademy of Western ArtistsHeather Murphy, Leavenworth,Washington; Protecting Forestsand Wildlife HabitatsHeather Murphv is a wildlifebiologist who surveys bird,mammal, amphibian, and molluskpopulations tor the WenatcheeRiver Ranger District on theOkanogan and WenatcheeNational ForestsShe keepsrecords of the tracks, feathers,fur. scat, bones, nests, plants, andorganisms that she observes. Owthe side, she uses watercolors toillustrate her field notes. At theFestival, she shares her techniquestor keeping nature journals.Lezlie Murray, Girdwood,Alaska; Call of the WildLezlie Murray currently servesas the Director of the Begich,Boggs Visitor Center at theChugach National Forest, thesecond largest national forest 111the country. She and her teamoffer a diverse range of programstor visitors to Prince WilliamSound. It's hard to describe aSMITHSONIAN FOLKLIFE FESTIVAL

:typic.il "day .it the office" forLeona Pooyouma, Flagstaff,wise taught his son how toMurray. She docs everythingfrom teaching how to hike safelyaround hears to leading ice-wormArizona; Arts & CraftsLeona Pooyouma is a humanresource assistant in the Coconinocarve with both chainsaw andjackknife. "The chainsaw is justlike a jackknife, only a reallysafaris on the Byron Glacier Trail.National forest, helping thosewho are seeking work with thepowerful one," he explains.Hank Nelson, Wasilla,Alaska; Community StageForest Service. In addition to herprofessional work, PooyoumaRiders in the Dirt;Sounds of the ForestHank Nelson grew up in ais a skilled Hopi wicker basketThe Riders in the Dirt are alogging camp near Coos Bay.Oregon, and worked as a timberweaver. Using native plantsand bushes found on the Hopitraditional bluegrass quartet fromOregon. All tour ot the band'staller tor more than 30 years inthe Northwest, including Alaska,Washington, and Oregon. Henow works part-time as a busdriver, raconteur, and guide torreservation, she weaves in thefluid Mesa wicker style, transformingrabbit brush and sumacplants into works of art.members are women and ForestService professionals. GayleHunt, who plays guitar, banjo,and mandolin for the Riders,says that the group would never111 jcruise ship passengers. AlthoughNelson considers himself moreMarvin Pooyouma, Flagstaff,Arizona; Arts & Craftshave started it not tor the tirelessenthusiasm of rhythm guitaristof a singer and songwriterMarvin Pooyouma began hisand fellow Ochoco Nationalthan a poet, be also writescareer with the Forest ServiceForest employee. Judy Haigler.and recites logger poetry.in 1972 as a member ot theRounding out the Riders areLavinia B. Nelson, Mt. Pleasant,South Carolina; Aits & CraftsCoconino Hotshots, a firefightingcrew. During the oftseasons Pooyouma spent muchtiddler |o Booser, silvicultunstfor the Deschutes and OchocoNational Forests, who also playsBorn and raised on a sharecrop-time learning about Hopi teach-musical saws and flutes; and leadping plantation in South Carolina,Lavinia Nelson learned how toings and traditions; now he ishighly skilled in the art of textilesinger and bassist Anne Alford, awildlife biologist at the Crookedweave different types of basketsweaving, which he learned fromRiver National Grassland.at a very young age from herhis grandfather and is currentlygrandmother. She demonstrateshow she makes high-qualitypassing down to his sonMichael Ritter, Madison, Wisconsin;Sustainable Resource Housebaskets using grass, pine needles,Steve Reed, Victor, Montana;Michael Ritter serves as Assistantand leaves gathered on the shorelinenear her home. Nelson isaccompanied at the Festival byher daughter-in-law and granddaughter,who also weave basketsKelly Pearson ,Jonesboro,Illinois;Call of the WildSniokejnmper BaseSteve Reed is a smokejumpersquad leader, or spotter, at theMissoula Smokejumper Base.Spotters are responsible forlumper and plane safety, fordelivering firefighting equipment,and for determining when andDirector at the Forest Service'sForest Products Laboratory andleads then Advanced HousingResearch Center. The AHRCconducts research into manyaspects of wood-frame housingwith an emphasis on maximizingdurability and energy efficiencyKelly Pearson is responsible forthe maintenance and operationof several developed recreationareas at the Lusk CreekWilderness. Because most visitorswhere jumpers will land. Rectialso helps recruit and preparenew trainees for the challengingsix-week basic training regimenrequired of all new smokejumpers.while enhancing the sustainabihtyof our nation's forests Atthe Festival. Ritter is one ot thestaff providing information onthe Sustainable Resource House.arrive on horseback, the trailsare under constant stress, andrequire frequent maintenance.Pearson's work days includecorrecting erosion problems,hardening and draining trails,and shaping them to providean environmentally sound andenjoyable experience tor riders.Rodney Richard, Si:,Rangeley, Maine; Arts & CraftsRodney Richard worked formany years as ,^n independentlogger in the woods ot westernMame before retiring in thelateiySos. He learned to carvewood from his father and otherfamily members, and has like-William Rosanelli, Montague,New Jersey; Forest Serviré HistoryWhen school is in session.William Rosanelli teachestheolog) at a Catholic highschool in New Jersey. However,during the summer Rosanelliis the Lead Interpretive [burGuide at Grey Towers NationalFESTIVALPARTICIPANTS

I1 ountries,IIHistorie Site, once the homeof GifFord Pinchot, the formergovernor of Pennsylvania andfirst Chief of the Forest Service.Ros.melli i\ very knowledgeableabout Pinchot, Pinchot's family,and Forest Service historv.Michelle Ryan, Dillon, Montana;Forest Service HistoryMichelle Ryan comes from a114] Forest Service family: her lather,an uncle, her husband and sonhave all been employed by theForest Service at some point.Recently, Ryan's quilt design «asone of two chosen to commemoratethe Forest Service's centennialConceived in the traditionalscrap-quilt style, Ryan's quiltfeatures a top pieced by 100 individualsemployed by, or otherwiseconnected to. the Forest Service.Catherine "Cat" Sampson, CampIerde, Arizona; Law EnforcementCat Sampson, originally fromFrance, is Assistant OperationsManager on the Red RockDistrict in the Coconino NationalForest 1 he Great American HorseRace, staged 111 197'' to celebrateAmerica's Bicentennial, broughtSampson to the United States.She rode from Frankfurt. N Y .Sacramento, Calif., and tell in lovewith the West She has been withlil "rest Service tor 10 years andwishes she had found it soonerNathan Schiff, Stoneville,Mississippi; Vice DoctorsNathan Silnft is an entomologistatthe ('enter for Bottomlandlardwood Research. Heresearches how insects spreadfungal and bacterial diseasesI li work has brought him to 4 ;where he lias workedwith forestr) groups and variousnon-governmental organizationsto address the problemtoof insects killing trees. Schifftakes pride 111 .\n enormouscollection that includes brilliantlycolored butterflies andbeetles the sizeot\\ human fist.Herb Schroeder, Hvanston,Illinois; Forest LandscapesI lerb Schroeder is recognizedas an expert 111 environmentalpsychology, a branch ofpsychology concerned withunderstanding people's relationshipwith the environment.Working tor the Forest Service'sNorth Central Research Station.V liroeder conducts research tohelp land managers and plannersbetter appreciate howhuman beings experience andvalue different environments.Dave Shaw, Carson,Washington; Canopy Cranelave Shaw's fascination withbiology and natural historv beganwhen he was a young bo) livingin Singapore and Malaysia, wherehis father was a rubber Innertor an American tire company.loda\ he is a research scientist atthe Wind River Canop) Crane,with a particular interest in forestprotection and the natural lnstor\ot forest organisms, includingbirds, epiphytes, and mistletoeThe Shawnee Forest New CenturyChildren'sChoir, SouthernIllinois: Sounds of the Foresthe Shaw nee Forest Newl entur\ Children's C 'hoircomprises children, ages

The camp was initiated in 1990Charmaine Thompson, Provo,Forest Services centennial. Theto help New Mexico youthUtah; Forest Landscapesquilt features 12 sections that arebetter understand the manage-Charmaine Thompson is aneach associated with a themement and uses of New Mexicanarchaeologist and heritage specialistfrom the Forest Service's 100forests, teaching them aboutat the Uinta National Forest. Inyears. The quilt's individual blockstrees, streams, archaeology, insects,addition to fieldwork respon-were sewn by volunteer quilterswildfire, grazing, and wildlife.sibilities that include finding,from across the United States.exploring, and mapping sites otSidne Teske, Tuscarora,significance, Thompson ensuresGail Tunberg,Nevada; Arts & Craftsthat all archaeological work inAlbuquerque, New Mexico;Sidne Teske's award-winningplem-air pastel paintings havethe Forest conforms to federalregulations. In her presentationsWater, Woods, and MountainsAs Wildlife Program Manager[US]been inspired by 30 years oftoForest visitors, Thompsonfor the Southwestern Region,living amongst the mountainsteaches about the delicate balanceGail Tunberg is responsible torand forests ot Nevada. Teskefollows her instincts as she paints.between use and preservation.implementing the "Be BearAware" program. Created musing vibrant colors to capturethe light and scenery 111 the areaLee Thornhill, Lakeside,Arizona; Fire Campresponse to increasing interactionbetween humans and wildlife,around the Humboldt-ToiyabeLee Thornhill is a deputy"Be Bear Aware" educates visi-National Forest. At the Festival,district ranger at the Apache andtors on ways to minimize theTeske demonstrates her use ofSitgreaves National Forests. Inpossibility of confronting a bearcolor and provides a window toaddition to his regular duties,These include maintaining athe real landscapes of the West.Thornhill is part of an Incidentclean camp, avoiding productsManagement team that respondsthat attract bears, and cookingDonna Thatcher, Farmington,New Mexico; Camp Foodwaysto natural disasters like forestfires. The job is stressful andin ways that don't invite bears.Donna Thatcher is a naturalistwho currently serves as thechaotic, and often requires longabsences from his family andFrancisco I alenzuela,Golden, Colorado; Water,director of the Nature Centerhome. Still, Thornhill wouldWoods, and Mountainsat the Farmington Museum. Atnever give up this extra work:Currently the Regionalthe Festival, she demonstrateshe says he «as hooked theRecreation Planner tor theher extensive knowledge ofmoment he first smelled smoke.Rocky Mountain Region,Southwestern native plantsFrancisco Valenzuela has alsoand how they have been usedTrailsUnlimited, Monrovia,worked as a landscape architect,in traditional ways—as dyes,food, arts, and householdproducts— by Hispanic andNative American cultures.WaltThies,Corvallis, Oregon; Arts & CraftsWaltThies's fascination with woodisnot hunted to his professionalcareer as a research plant pathologistat the Pacific NorthwestResearch Station. The wood ofthe Pacific Northwest has inspiredhim to become askilled woodturner of bowls, ornaments,California; Interactive ForestTrails Unlimited is an EnterpriseUnit within the USDA ForestService that has constructedmore than 100 miles of trailsand provided training on trailmanagement throughout theUnited States. Led by CamLockwood, Trails Unlimitedconstructed the InteractiveForest at the Folklife Festival.Teresa Trulock, Pinedale,Wyoming; Forest Service HistoryTeresa Trulock works as aregional planner, and interpreter.Valenzuela's first day of work atthe Mt. St. Helens Ranger I'istrictwas also the day the volcanoerupted. For the past 25 years,Francisco has documented thenatural processes of the volcanoand itssurrounding environment.Dennis Vroman, Grants Pass,Oregon; Protecting Forestsand 1 1 'ildlife HabitatsDennis Vroman is a bird bandeiat the Siskiyou National Forest.Although he retired from theand toys. At the Festival ThiesResource Specialist for theForest Service in[996, hediscusses the natural characteristicsand science of wood as herapidly transforms blocks of woodinto finished, shaped pieces.Bridger-Teton National Forest.Recently, Trulock's design for aking-sized quilt was one of twoselected to commemorate thecontinues to maintain threeMAPS (Monitoring AvianProductivity and Survivorship)stations on the Siskiyou. TheseFESTIVALPARTICIPANTS

1IworksI1 11Istations are vital to efforts monitoringthe health of local songbird(Jlimli 1 1 'illiatns, Albuquerque,Neu> Mexico; Forest Service Historycommunity projects to establishNational Scenic Byways; andpopulationsOver his lifetime,Chuck Williams has a personalhas also worked at the HoosierVronian estimates that he hasbanded more than 30.000 birds.connection to two of the ForestService's most recognizable icons.National Forest, where sheteamed with local arts councils toFrom 1968 to1970, Williamsobtain grants from the NationalLinda Wadleigh, Flagstaff,served as technical advisor to theEndowment for the Arts forArizona; ('amp Foodways/television show, Lassie Whenevermulticultural performances. YorkFire Camp/Tree DoctorsI oresi Service rangers and Lassieis a songwriter, performer, andAs the Regional Fire Ecologislwere filmed, the show's producersconductor ot a children's choirinthe Southwest, Linda Wadleighrelied on Williams to help shapeand a cappella women's ensemble1 ''on all the national forestsdialogue and plot. Williams laterin Arizona and New Mexico.created a public service spot.J.P. Zapalla, Santa Ynez,Although wildfires are commonlyassociated with destruction, fireecologists like Wadleigh under-"Give a Hoot, Don't Pollute,"that introduced Woodsy Owl,who has since become America'sCalifornia; Smokejumper BaseJ.P. Zavalla has worked as afirefighter since he graduatedstand the beneficial effect that fireofficial environmental icon.from high school. He has beencan have on a local ecosystem.asmokejumper at several forestsInfact, regular tires are essentialMarta Witt, Wilmington,inthe West, and he spent timeto .1 forest's regenerative cycle.Illinois; Forest Landscapeswith the Los Padres Hotshots.Her husband. John Anhold. isMarta Witt is the Public ServiceZavalla comes from aforestalso a Festival participant.Team Leader at the MidewinService family; both his fatherNational Tallgrass Prairie, whichand his brother work for theLee Webb, Grants Pass,Oregon; Protecting Forestssits on land previously occupiedby the Juliet Army Ammunition1 os Padres National forest.,iii(lWildlife HabitatsPlant, once the Army's largestPete Zavalla, Solvang,Until retiring in2004, Lee Webbwas the Wildlife Biologist at thesupplier ot TNT. Efforts to restorethe natne ecosystem have beenCalifornia; Community StagePete Zavalla is the Iribal I iaisonRogue Rfver-Siskiyou Nationalorest.Webb spent 29 years withcomplicated by the presence ot'contaminants and by the domi-tor the Los Padres NationalForest, helping Native Americanthe forest Service, and helpednance ot non-native plant species.groups obtain specialuse permitsdevelop the Land and ResourceManagement Plan tor theThe Prairie opened its first s.oooacres to the public 111 2003.to interact with the forest intraditional ways. Zavalla becameSiskiyou, which resulted intheinvolved with the Forest Servicecreation ot over 10,000 wildlifeKeith Wolferman, Missoula,in1990, while thinking of wayssites ami [9 botanical areas WebbMontana; Smokejumper Baseto combat high youth unemploy-has always been especially interestedin the Spotted Owl, andKeith Wolferman works assquad leader at the Missoulaament on his Chumash reservationHe subsequently helped initiatediscusses the owl at the FestivalSmokejumper base. When aa work program at the forest forforest tire breaks out. squadteenagers from the reservation..W/7 Weintraub, Williams,leaders like Wolferman plan theArizona; Forest LandscapesNeil Weintraub is the DistrictArchaeologist on the Williams andlus. nan Ranger 1 hstricts 111 theaerial attack against the tire.hey determine |tmip spotsand release points based oncalculations of wind speed andTony Zavalla, Santa Barbara,( California; Fire CampPony /avalla is a tire engine operatorat the Los Padres NationalKaibab National forest, chargeddirection, and are responsibleForest, where his lather andwith protecting, managing, andtor plane and jumper safety.brother also work. Zavalla beganinterpreting a broad range oí1his career as a firefighter andfacts and resources. Many otthePat York,Jonesboro, Illinois;was soon transferred to the Losartifacts he has uncovered near theCommunity Stage/Padres Hotshots. an elite group ot(hand Canyon date back atleastWater, Wooiis, ami Mountainsfirefighters called upon to battle|.,ooo years. Weintraub has alsoAs Recreation Program Managerthe toughest blazesBefore hebeen heavily involved ineffortson the Shawnee National Forest.became a truck operator, Zavallalo discourage once-rampantPat York aims to connect indi-had the opportunityto spendlooting near archaeological sites.viduals and communities toone season on the same smoke-their forestsShe has facilitatedjumping team as his brother.SMITHSONIAN FOLKLIFE FESTIVAL

Nuestra Música:Ecos de Borinquen, Puerto RicoElíseo y su Chanchona MelódicaMusic inLatino CultureEcos de Borinquen represents thebest of today's música jíbara, musicOriental, Washington, D.C.Elíseo y su Chanchona MelódicaLos Camperos de I alies, MexicoLos Camperos de Valles is a triofrom the mountainous regionsof Puerto Rico, interpreted byeight top-flight musicians fromOriental, with roots in ruraleastern El Salvador, has broughta little piece ot "home" to D.C.'sof Mexico's finest musicians inthe ¡on huasteco style from thethe island. Stringed instrumentsand sung poetic forms that datelarge Latino community. Theseven-piece chanchona ensemblenortheastern Mexican cattleherdingregion known as theHuasteca. Their sound is markedby hard-edged, improvised violinplaying, driving guitar rhythms,and high-pitched singing markedwith falsetto breaks. Danceforms an integral part ot the sonhuasteco. Renowned lyricist anddancer Artemio Posadas, accompaniedby young dancer Doloresback hundreds of years to Spanishprototypes are combined with theCaribbean percussion sounds ofthe güiro rasp and hand drums.Ecos de Borinquen representa lomejor de la música jíbara contemporáneade las reglones montañosasde Puerto Rico, interpretadapor ocho de los mejores músicosde la isla. La instrumentaciónwith two violins, guitar, andpercussion takes its name from theresemblance of its large stringedbass to asow, a common sight inthe mountainous region dottedwith small villages. The catchyrhythms ot the cumbia and thelively canciones rancheras (countrysongs) and lyrics laced withhomegrown sentiment are thecore of the chanchona's repertoire.[117!Garcia, perform with the trio.de cuerdas y las formas deLos Camperos de Valles es untrío formado por algunos delos mejores músicos del sonhuasteco de la reglón ganaderadel noreste de México conocidapoesía cantadas que vienen deprototipos españoles que tienencientos de años, son combinadascon los sonidos percusivos delCaribe del güiro y la pandereta.Elíseo y su Chanchona MelódicaOriental ha traído un pedacito desu lugar de origen a la enormecomunidad latina en Washington,D.C. con raíces en las regionesrurales del oriente de El Salvador.como la Huasteca. Su sonido seidentifica por la improvisacióny estilo vigoroso del violin, losritmos persistentes de la guitarra,y canto con voz aguda marcadopor quebradas de falsete. El baileforma una parte integral del sonhuasteco. Trovador y bailadorArtemio Posadas, acompañadopor la bailarina Dolores García,se presentan con el trío.Miguel A. Santiago Díaz.leader/líder; composer/compositor; singer/ trovadorLuis Manuel Cm: Reyes, bongosKárol Aurora de Jesús Reyes,singer/ trovadoraJosé Delgado Serrano, firstcuatro/primer cuatroPablo Figueroa \ 'illalohos, güiroJosé A. Martínez Zayas, secondcuatro/segundo cuatroEl ensamble de chanchona condos violines, guitarra y percusión,toma su nombre por el tamañodel enorme contrabajo, comouna chancha o puerca, unanimal común en esta regióncaracterizada por pequeñospueblos que se esparcen a travésdel paisaje escarpado. El ritmobailable de la popular cumbia,el ágil compás de la canciónHarry Meléndez Marline:.ranchera, el más lento del boleroMarcos Hernández Rosales,leader/líder; huapangueraDolores García, dance/danzaJoel Monroy Martínez,violin/ violin; vocals/vozArtemio Posado, composer/compositor; dance/danzaGregorio "Goyo" SolanoMediano, jarana; vocals/vozchorus/coro; small percussion/percusiónmenorRamón I azquez Lamboy,guitar/ guitarraromántico y otras composicionesregionales forman la base delrepertorio de chanchona.Elíseo Gutierre:, leader/líder; bass/contrabajoManuel Enrique Alheño,vocals/voz; güiroTerencio Cabrera, firstviolin/primer violinJoel Cm:, guitar/guitarr.iPedro Angel Gutiérrez, secondviolm/segundo violinMario Mercado, tumbasLins Saenz, timbalesFESTIVALPARTICIPANTS

1'IenIpanderetas;JCJ Band. Washington, DC.Los Plateros de la21, New YorkSones de México, Chicago, IllinoisJCJ Band is a popular Washington,Los Pleneros de la 21 have for nearlySones de Mexico is a six-memberD.C.-based dance band thatJSyears performed the strongestChicago-based ensemble dedicatedspecializes m the Dominicanstrands ot Atro-Puerto Rican music,to performing regional styles ofmerengue, one of the most popularthe bomba and the plena.1 hey set theMexican music interwoven withof contemporary pan-Latino socialdances. In addition, they play apercussive essence ot their music inaweb ot contemporary harmoniescontemporary creativity. Theyplay a variety ot instruments andwide range ot Latino dance music.|C| Band es una banda popular enWashington, D.C. que se especializael merengue dominicano, uno delos bailes sociales pan-latinos maspopulares. Ademas, la banda brindaand artful arrangements appealing toboth traditionalists and innovators.hey take their name from bus stop2i in Santurce, Puerto Rico, thelocal identifier of a neighborhoodthat is the source of the best ot theAfro-Puerto Rican tradition.musical genres, and their repertoirereflects the diverse backgroundsot Chicago's distinctive Latinocommunity, Mexican and beyond,Sones de Mexico es un ensamble deseismiembros basado en Chicagoun repertorio amplio de músicalatina para bailar para los diferentesgustos de su publico latinoCarlos C Toledo, leader líder;Los Pleneros de la 21 tienen casiveinticinco años tocando las tradicionesmas tuertes de la músicaafropuertorriqueña, la bomba v laplena 1 os músicos sitúan la esenciav dedicado a la presentación delos estilos regionales de la músicamexicana intercalada con creatividadcontemporánea. Los músicostocan una variedad de instrumentosbassbajopercusiva de su música dentro de uii.\y géneros musicales y su repertorioAnthony Carr, saxophonesaxofónred de armonías contemporáneasrefleja la diversidad cultural de laFélixCarrera, trumpet' trompetay arreglos artísticos complaciendodistintiva comunidad latina, mexi-Waltei /. Duran, percus-tanto a los tradicionalistas como a loscana y no mexicana, de Chicago.sion/percusióninnovadores. Su nombre viene de laEly A. Hernández, trumpet.' trompetaparada de autobus 21en Santurce,licnaio Cerón, vocals/voz;Luis Hernández, vocals/vozPuerto Rico, identificando el barrioa< 1 ordion/acordeón; jarochoNelson Medina, pianoque es la fuente de lo mejor en laharparpa jarocha; violin/Salvador E. Montoya, saxo-tradií ion afropuertorriqueña.violin; saxophonesaxofónphone/saxofónGiovanni Mórcelo, percussionpercusiónAndrés Parra, vocalsRene LpercusiónvozSandoval, percussionLuis l: I Hieda, vocals vozRoberto Cepeda, güiro; maracas;dance baileMiriam Félix, bomba dance/baile ile bomba, chorus coroJuan ' ]utiérrez .barrilesde bomba, timbale; percussionpercussion, chorus coroJulia Loiza Gutiérrez-Rivera,bomba dance baile de bombaJosé Lantigua, pumo: synthesizer/Juan ¡ho\ vocals/voz; guitarrónLorena íñiguez, vihuela;jarana;small percussion/percussion menorJoel Martínez, drums tambores;percussion percusiónVictot Pichardo, vocals/voz;hu.ip. Higuera; jarana; guitar/guitarra; clarinet clarineteJosé luán Rivera, vocals/voz;requinto; violin/ violinsintetizador; chorus/coroHéctoi"Tito" Matos, vocals/voz;choruscoro; panderetas;barriles de bomba; cuáEdgardo Miranda, acoustic and electriccuatro cuatro acústico\ elé< tricoCamilo Ernesto Molina, güiro;maracas, pandereta: barriles debomba; timbale; choruscoroDonald Nicks, electric bass guitar/bajo eléctrico; string basscontrabajoJosé Rivera, vocals/voz; chorus/coro;pandereta; barriles de bombaNellieTanco, vocalsvoz; chorus/coroSam C.Tanco, vocals/voz; chorus..oroSMITHSONIAN FOLKLIFE FESTIVAL

IOrnan:Oasis,Desert,and SeaCraft TraditionsAromatics and PotteryMahfoodha Hamed SaidAlAmu, Salalah, IncenseMuna Mohammed MahadAlAmri, Salalah, Incense BurnersGhaliya AH Mohammed AlBas, Salalah,IncenseMaryam Ahmad Balhaf,Salalah, PerfumeCalligraphySaleh Juma MuslemAl Shukairi,Muscat, C lalligraphyMohammed Kasim Nasser AlSayegh, Muscat, CalligraphyDesert CampNasra Nasser SaadAl Batahari,Shleem, Camel Milking BasketsJawhara SaidAUAl Duwaiki,Una, Camel TrappingsHaniya Sultan Al Waheibi,Ibra, Camel TrappingsNajood Hamood Al II 'aheibi,¡bra,Bedouin CosmeticsEmbroideryKhalsa Mohammed Abdullah AlJabri,Samail, Cap EmbroideryNajla Juma SaidAl Sinani,Stir, Sun EmbroideryMasar ]amaan Saad Ban Saad,Salalah, Salalah EmbroideryMaryam Ali RashidAl Shehhi,Kasab; Date Palm BasketsIndigoAmur Salean SalimAl Shamakhi,Babia, Indigo-dyed ClothMetalworkMubarak Abdullah Ismail. 1/Farsi, Sin, CopperworkMusabah Jaarqj Khamis AlHadad, Manah, MetalworkIbrahim Hamood Al Isma Hi,Nizwa, Silver JewelryOmar Abdullah Khalifin Al Rashidi,Sin, in; Silver KhanjarWorkKhalid Naseer Sai/AlTaiwani,Nizwa, Khanjai AdornmentWeavingSahuman Abdullah Basan AlKhatri,Al Hamra, Wool WeavingKhalfan AniuiKhalfanAl Badowi,Al Mudaibi, Silk WeavingOccupational TraditionsOasis KitchenSaiiina Bakhit Abdulla Al Badri,Muscat, Omani Cooking/.aimHamed Mohammed AlDhahli, Muscat, Habva MakingSaid Abdullah Saul Al Hailby,Muscat, Omani CookingAhmed Rashid Abdullah AlMarsoori, Muscat, Halwa MakingTraditional BuildingKbalnl ¡uma Hassoun AlAraimi, Sur, BoatsAhmed Mubarak SabeitAl Araimi, Sur, Boats1/j Said Khamis AlYahyaai,Bahla, Traditional StructuresSaleh Khalqf SaifAlYahyaai,Bahla, Traditional StructuresMusic and Dance TraditionsAl Majd, Salalah(South Oman Traditions)Saul Awadh Salim Al HadhramjJalal Awadh Said AllounAbdul Sharif Bakhit Ba MaalaqIhiyab Nasser ArfahBait Al RabashNassr Bashir Ashoor Bait ArdhamSamid Nasib FarhanBait Bu SalaselWata Said MohammedBait DashishaAppian Said [amaan Bait FarhanAbdul Hadi Fael Bait MaaleqAbir Gharib Bakhit Bait MabrookKhaloud Gharib BakhitBait MabrookAtaf Saleh Faraj Bait MustahilSaid Aman Allah SaidBait NaghathitNaji Awadh Rajab Bait RabiaRajab Khamis Saad Bait SaleemAniña Riyadh Rabia BaitTaroomAbdallah Masib FarajBu Bait Al AmriRasam Rabia Nasib MaadAnwar Nasib Saad QafqafArafat Matar RajabQurayat EnsembleK .'ianal Coast Traditions)Namir Khamis IshaqAl BalushiSaid Taraif Saleem Al GhazaliAmal Khamis Juma Al HabsiNabil Naseeb SangorAl [abriSuad Obaid Salmeen Al JabriAll Khamis Said Al [ahdhamiNaaim Suwaid SangoorAl RisadiMubarak Khamis Juma Al RuzaiqiTalib Khalfan Salim Al Sha AibiAfra [uma Sulaiyam Al SinaniAmal |uma Sulaiyam Al SinaniHadaiyad RabiaIladaiyad Al SinaniMahfoodh AbdullahNajnn Al SinaniRahima Rabia Hadid Al SinaniRahma |uma Sulaiyam Al SinaniSaleh Yousuf Fail Al SinaniSalim Juma Suleum Al SinaniYousufThani FayilAl SinaniAhmed Zaid Fail Al WaheibiZayid Khalif MubarakSuhar Ensemble(North Coast Traditions)Abdullah Saleh Al BalushiIbrahim MubarakHamed Al Balushi[uma Khamis Juma Al BalushiSinan Ibrahim All Al BalushiAh Suhail SahmAl DhahriObaid Mohammed Obaid Al FarsiKhamis Ah MohammedAl HamdaniMohammed Abdullah Al HamdaniSaid Nasib Kharabash Al HamdaniAbdallah Saleh Ah Al JabriAbdullah KhadeemDhiwaiAJ KahaliAbdullah Ah Shinain Al MaqbaliAbdullah Salmeen Al MaqbaliKhalfan Saleh Abdullah Al NofliYounis [uma Khamis Al NorliIbrahim Mohammed Al QasmiSaad Said Nasib Al QasmiAsim Ah Mohammed Al ShafeiMohammed Ah IbrahimAl ShezawiDarwish Saleh Salim Al ShibliDhahi Ghasab DhahiAJ ShibliSalmi MohammedAbdulla Al ShibliMohammed Hassan SaidAl ShidiKhamis Ah Khaif HamdaniI[19]FESTIVALPARTICIPANTS

Ralph Rinzlersongs are "made" (or created) bylince Redhonse (Navajo),I20]Memorial ConcertMark ¡milNancy Brown(Eastern Band Cherokee),Robbinsville, North CarolinaThe Browns «ere born and raisedin the are.i around Robbinsville,known .is the Snowbird region,where Cherokee tradition andlanguage remain strong. They singold i'herokee hymns that dateto the I'lth century and earlier.with tunes that arc familiar fromother Christian churches. Whilethe singing is in Cherokee, thestyle is strongly reminiscentof the southern Appalachiansinging of the tarter Family. TheBrowns can be heard on BeautifulBeyond and have also recordedan album called /'// Fly Away:Hymns in the Cherokee Language.Comanche Hymn Singas,Lawton, OklahomaIhe Comanche Hymn Singers arefrom IVtarscv United MethodistChurch m the heart of Comanchemembers of the church, unlikethose in many other Indianchinches, where missionariestranslated common hymns fromEnglish to the local Indianlanguage. Most of the singers aremembers ot the Pewewardy familyand are related by bloi id andmarriage. They are featured on theSmithsonian Folkways recording.Beautiful Beyond ChristianHymns in Native LanguagesMaria Nauni (Comanche/Seneca), Cache, OklahomaMaria Nauni has a degree inbusiness from the Universityof ( H.lahoma and now ispursuing a master's degree inbusiness administration Sheworks as an education specialistfor the Comanche Nation'sOffice of Higher Education.In February 2004 she releaseda recording called ComancheHymns performed by Maria Nauni,w hk h was nominated in theTucson, ArizonaVmce Redhouse was born andraised in California, amemberof a family ot musicians thatincludes his brother. Larry, a jazzpianist: sisters and singers Maryand Charlotte; and brothers Tonyand Lenny, both percussionists.The family recorded a highlyacclaimed album. Í 'rban Indian,tor Canyon Records ini'>( life Every Nation. As a soloist.Vince primarily performs classicalmusic, traditional hymns, .\nc\contemporary spiritual compositionsby guitaristHe will be accompaniedMatt Mitchelli < luntry. In such churches, thesinging is congregational; after theleader sings the hrst tewwords,the whole congregation will joinin In Comanche churches, thebest traditional vocals categoryitMilwaukee's 2004 IndianSummer Musk Awards She has1 .i> tied w idely as a performer,speaker, model, and actressMark and Nancy Brownwillperform old Cherokeehymns that date from theearly 19th century.SMITHSONIAN FOLkLIFE FESTIVAL

SMITHSONIAN INSTITUTIONLawrence M. Small, SecretarySheila P.Burke, Dcpmy Secretary andChieJ Operating OfficerCENTER FOR FOLKLIFEAND CULTURAL HERITAGERichard Kunn, DirectorRichard Kennedy. Deputy DirectorLoretta Cooper, Development DirectorRebecca Smerling, Assistant to theCenter Director/Special EventsAdministrationBarbara Strickland, Assistant Directorfor Finance and AdministrationMarquinta Bell. Budget AnalystClaudia Telhho.Administrative SpecialistRachelle Hardy.Management Support AssistantLinda Benner, Administrative AideEddie Mendoza, AdministrativeAssistant /Food ConcessionsRamona Dowdal.Judy Goodrich,Mann Hoyt, Renny Smith.IohiuteeisGersende Piganeau, InternSmithsonian FolkwaysRecordings /SmithsonianGlobal SoundPainel Sheehy, Curator and Directo)Anthony Seeger,Curator and Director, EmeritusD. A. Sonneborn, Assistant DirectorBetty Derbyshire, FinancialOperations A lanagerRichard Burgess,Directot oj Marketing and SalesMark Gustafson,Radio and Retail PromotionsMary Monseur, Production Manage)John Passmore, ManufacturingCoordinatorMargot Nassau, Royalties andLicensing ManagerJohn Smith, Sales andA farketing SpecialistPete Reimger, Sound ProductionSupervisorRonnie Sinipkins, Audio EngineeiToby Dodds. Technology ManagerAmy Schneter, Program AssistantKcisha Martin, Financial AssistantHelen Lindsay, Lead Customer ServiceRepresentativeLee Michael Demsey,Norman van der Sluys,Ciislomci Service RepresentativesRyan Hill, Sales RcpcsentativeLinda Claudia de Four. GregDonahue, Patrick Gelesh, SusanneGóricke, Jenna Homnch-Micocci.Joanna Kelly. David Linaburg, [ulieLipson, Gregory Morrison, MaxNewman, Bradley Pearson, JamesPotter, Alexander Riedel, AndrewRitchey. Jessica Schwartz. ]ana Seidl,Laura Smith, Benjamin Teitelbaum,Caleb Ward. luteinsRalph Rinzler FolklifeArchives and CollectionsJeffrey Place. ArchivistStephanie Smith, Assistant ArchivistBob Earle, Julian Foley, KennethKraszewski, Maya Lerman,Meaghan McCarthy, MariaRobinson, InternsCultural Heritage PolicyJames Early, DirectorI cvl.i Strotkamp, InternCultural Researchand Education( )livia Cadaval, ChairThomas Vennum, Jr.,Senior Ethnomusicologist V.iuei itusBetty 1- Belanus, Olivia Cadaval,Nun v Groce, Majorie Hunt, I )ianaBand N'Diaye, Frank Proschan,Peter Seitel, Cynthia Vidaurri,Curators, Folklorists, Education &Cultural SpecialistsCarla Borden, Program /PublicationsManagerJohnW. Franklin, Program Manage!Manelle Beach, Emily BrostofF,Courtney Lutterman, luteinsFolklife Advisory CouncilKurt Dewhurst (chair), Judy Mitoma(vice-chair),Michael Doucet,Anthony Gittens, John Herzog(ex-qfficio) ,Barbara Kirshenblatt-Gimblett, Debora Kodish, EnriqueLamadrid. Worth Long, LibbyO'Connell.J. Scott Raecker,Robert Santelh, Ricardo TrnnillosFolkways Advisory CouncilMichael Asch (chair), Phyllis Barney,Hall Cannon, Don DeVito, EllaJenkins, Anthony Seeger (ex-qfficio),Lied SilberResearch AssociatesRobert Albro, Gen Benoit. Pati it kDelatour, Kip Lornell, MaraMayor, Joan Nathan, Sam AugSam, Preston Scott, Chucho Valdez,Patrick Vilaire, Nilda VillaltaRockefeller HumanitiesFellows (2004-05)Robert Albro, lane Anderson,1 esley Fordred-Green, ChristinaKreps.Tong Lam, Lillian Manzor,Marya McQuirter. Sua ReddySMITHSONIANFOLKLIFE FESTIVAL1 )iana Parker, Festival DirectorNatalie Hisczak,Rebekah Plueckhahn,Assistants to the Festival DirectorNatasha Beckman,Scott Courlander, ¡uterusParticipant SupportNajat Dawaji, Participant CoordinatorMarsha Michel, Ahza Schiff.Participant AssistantsJudy Luis Watson, Social CoordinatorJocelyn Frank, Transportation CoordinatorLauren Kritzer, AssistantTransportation CoordinatorAlicia Mittleman, InternCarolyn Dunn, Participant HospitalityLead I blunreeiTechnical SupportRobert Schneider, Technical DirectorTun Manning,Associate Technical Directo)Rebecca Berlin.Assistant Technical DirectorCharles Andrew Marcus, ElectricianRay Reed, Pipe FitteiEric Hammons, Anthony Milby,CarpentersRobert Brox, John Bullock,Kendra Denny, Ralph Derbyshire.Bruce Hall, |oshua Herndon,Terry Meniefteld, Manuel Mijando,SMITHSONIAN FOLKLIFE FESTIVAL STAFF

I >cmseI VhorahII MiI lameEne Nance, Alark Strickland,Exhibit WorkersDave Lanning, TruckingSteve Fisher. Sound1 )aniel Chew. InternPublicationsStage SupervisorCarla Borden. Publications MauageiChieJ EditoiCarla Borden, Frank Proschan,Arlene Reiniger, Peter Seitel,II 'riters /EditorsCarolina Santamaría,Design & ProductionArnot, Art I )ir

Nuestra Música:Music in Latino CultureNational Park ServiceCíale Norton,Office of Facilitiesand ResourcesPlanningOlivia Cadaval, Daniel Sheehy,Secretary oj the InteriorOffice of Architectural HistoryCuratorsCristina Díaz-Carrera,Program CoordinatoiNuda Villalta, Research AssociateRussell Rodríguez, PresenterI ran P. Mamella. Director,National Park ServiceDonald W. Murphy. DeputyDirector. National Park ServiceJoseph M. Lawler, Regional Director,and Historic PreservationOffice of Project ManagementOffice ot Protection ServicesOffice of Safety andEnvironmental ManagementCarolina Santamaría, TranslatoiNational Park- ServiceOffice ot Government RelationsNatalie Araújo, Mary Pérez,Dwight E. Pettiford, Chief, I 'nitedOffice ot CommunicationsEduardo Ubeda, InternsSlates Park PoliceVikki Keys. Superintendent,Office of Public AffairsVisitor Information l\ Associates'[23Ornan: Desert,National Mall and Memorial ParksReception CenterOasis, and SeaRick Merryman, Chief,Accessibility ProgramHassan Mohammed AH Al-Lawati(Chair),Riyadh Yousef Al Raisi,Majid Said Hila] Al Mahroqi,Khalfan Ahmed Al Barwani, SalimAdil Al Mamary. Abeer AbdullahAl Farsi, Abdullah Hilkal AlDawodi.Adil HumaidAl Mur AlAlawi, Saeed Sultan Al Busaidy,Curatorial CommitteeRichard Kennedy, CuratorSaeed Sultan Al Busaidy,Mary N. Sebold,Program CoordinatorsMarcia Dorr, Crafts Program AdvisorKhalfan Al-Barwani,Music Program AdvisoiPiana N'Diaye, Adornment PavilionProgram AdvisorJamal Ahmed Ghulam Al Balushi,Khalfan Ahmed Al Barwani, AsyahAl Buali, Mubarak Al Dawodi, MajidDivision of Park ProgramsLeonard Lee, Permit Specialist,Division oj Park ProgramsKaren Cucurullo, Special Assistantfor Partnerships, National Malland Memorial ParksRobert Karotko, Chief, Divisionoj I ííííoi Services, National Malland Memorial ParksSean Kenncalv, Chief, Divisionoj Maintenance, National Malland Memorial ParksEmployees of the National ParkService and the United StatesPark PoliceSMITHSONIAN SUPPORTFOR THE FESTIVALOffice of the Secretai \Office of External AffairsOffice of DevelopmentOffice ot Human ResourcesOffice of Special Eventsand ProtocolOffice ot the Chief InformationOfficerOffice of Imaging andPhotographic ServicesOffice of IT OperationsOffice of System ModernizationOffice ot the Chief FinancialOfficerOffice of the ComptrollerOffice of Contracting1 ravel Services C )fticeOffice ot the Treasurerl)ffice of Risk ManagementOffice ot Planning and BudgetingOffice ot Financial SystemsIntegrationNational ProgramsThe Smithsonian AssociatesAl Harthy, Murtatha Abdul KhaliqAl Lavvatna, Hamood Abdullah AlWaheibi, Enrico Dcrnco.AdamDorr, Marcia Dorr. Neil Richardson.Muna Ritchie, PresentersMohammad Anun,Angelo Rotondaro, InternsMaria Marcus, Lead I blunteerOffice of Sponsored ProjectsOffice of the Inspector GeneralOffice ot the Genera] CounselOffice of the Deputy Secretaryand Chief Operating OfficerSmithsonian Outer forLatino InitiativesFacilities Engineeringand OperationsOffice of Engineering, Design,Smithsonian AffiliationsSmithsonian TravelingExhibition ServiceSmithsonian Center for Educationand Museum StudiesOffice of the Under Set retar) for ArtFreer Gallery of ArtOffice of the Under Secretaryfor ScienceOffice of International Relationsand ConstructionNational Museum ofOffice of Facilities ManagementHorticulture and TransportationOffice of Facilities ReliabilityNatural HistorySmithsonian Business VenturesSmithsonian MagazineSMITHSONIAN FOLKLIFE FESTIVAL STAFF

|i 2forIIBartlevy1 )oerr;IIParadeSPONSORS AND SPECIAL THANKS4|General FestivalThe Festival is supported byfederally appropriated funds;Smithsonian trust funds; contributionsfrom governments, businesses,foundations, and individuals;in-kind assistance; and food,recording, and craft sales Supportthis vear's Festival comes fromthe Music Performance Fund, within-kind support provided throughMotorola, NEXTEL.WAMU 88.5M,WashingtonPost com. PegasusRadio Corp., and Icom America.Additional In-kind SupportCactus Cantina, Washington, D.(support came from KatchenAidand ZolaStar Restaurant Group.Collaborative support camefrom Marriott International, theWashington. DC Convention andIourisin Corporation, and the( ulinarv Institute of America.Additional In-kind SupportAmerican Plant Food ( 'o.Bethesda, Maryland; BeehiveBeeproducts, New York. NewYork;The Coleman Company,Inc., Wichita. Kansas; CnswcllI loud, 1. ( lermantown, Maryland;( )X< >, New York. New York;1 riger's Hardware, Washington,Maggie Boon; Nancy Boyer;Svlv.m Hrackett; Ann Brody; KenBrown; Bulfinch; Dara Bunion.V'anns Spices; Tiffani Cailor, FourSeasons. Bryan Callahan; RitaCalvert; Allen Carroll, National( ieographic Society; ShirleyCherkasky, Culinary Historiansof Washington, I ).C; Anna( hnstenson, Clarkson Potter;Eliot ( oleman: Sarah ("rocker;Barbara Damrosch;Janet Davis;Mel Davis; Steve Demos; JenniferI lien Feeney, White Wave;[an Fehrman; R.T Fletcher; LisaFotter; Zeke Freeman; Deborah L.Caftiii; Ceo-textile Co ;Jim Goum.( 'ostco, Beltsville, Maryland; Global1 ) ( . ( ¡riffin Greenhouse andFungi Perfecti; Seth Goldman,Village Productions. Alexandria,NurserySupply, Tew lcsbury,1 Finest lea; Laura Goldstein,Virginia; Gordon Biersch,Washington, 1 ).C; Krispy KremcMassachusetts; Hercules I ence,College Park, Maryland;Marriott Corporation; Sarah( iraham; Fori Griffith, GriffinDoughnuts, Washington. IU '.,I liter- A menean Foundation.Greenhouse and Nursery Supply;Leatherman Tool (¡roup. Portland.( )regon; Media Visions VideoDuplication, Newmgton, Virginia;Washington, IXC. Johnson'sFlorist ex Garden ( lentei s,Washington, 1).C; Maine WoodAllen Hance; Irene Hamburger;HarperCollins; Rachel Hayden;Kevin Healy, Inter-AmericanMcDonalds - MCI (enter.Washington. DC; Nine Yards1 leaf ( 'o.. Inc., Norridgewoc k.Maine; \U Evo\Ranch, Petaluma,Foundation; Rico and RajahHilhard; loan Hisaoka; MontyMedia, Alexandria. Virginia; Patrick( ililonua; Mslukamano Farmerslolmes, Smithsonian Horticulture,Telepictures, Washington, D.C.;Association. Mbeya Region.Stephanie 1 lolt, ( )XO; MeredithPotbelly Sandwich Works, ( In. igo,Illinois; Target Distributing AudioVideo Division, Germantown,Tanzania; Nursery Supplies [nc .( hambersburg, Pennsylvania;( )ilc loth International, Los Angeles.Hubel. Smithsonian Horticulture.Kathleen Hughes, Capital Books,Brian lush, ARS; Sarah Kenney;Maryland;TDK Electronics. PortWashington, New York; WriglevCalifornia; SI Corporation.( lik kamauga, ( ¡eorgia; Slowlodd Kliman; Sandy Ferner,Ayrshire Farm; Dusty Lockhart;( Company, Peoria, llinoisood USA, New York. NewI )errell I yles, SmithsonianFood Culture USA1 his program was made possiblethrough major contributionsfrom Whole Foods Market, theWallace Genetic Foundation, SilkSoy, and Horizon Organic I>.iirvYork. Sur 1 a 1 able, Virginia1 ie. ich, Virginia; Target. W Ilea ton.Mars land; Wetsel Seed Co.,1 larrisonburg, Virginia; WineAmerica. New York, New YorkSpecial Thanks[orticulture; Mage Publications;Brian Maynard; Christina Mazzanti;Shawn McBride; Hugh McClam,S| ( orporation; McEvoy Ranch;Montgomery County Beekeepers'Assoi lation. Morrow Cookbooks;()il ( loth International; NurseryAdditional funding came fromAdams Media Corporation,Supplies Inc ;Magazine;the United States I)epartment ofAgriculture. Contributors includeAlfred A Knopf; Carrie Bachman;Albie Barden, Mame WoodPeggyParsons. National Galleryof Art; Laurinda Patton; PelicanV'anns Spices, Honest Tea, I armI leat Co., Inc .Press.Publishing; Penguin Publishing;Aid, Guest Services, Inc., ChipotleAnn Hartscherer; Michael andPogo Organics; Suzanne Rater;\¡ ii in Grill, The RodaleAriane Batterberry; FrancineRandom House; Pamela Reeves;Institute, and the Jean-FoulsBerkowitz, Culinary Historians otAlvsa Reich; Alicia Schnell,Palladin Foundation. Major in-kindWashington. DC; Diane Bernstein;Ilonest lea; ( lus Schumacher;SMITHSONIAN FOLKLIFE FESTIVAL

Seeds of Change; Howard Shapiro;SI Corporation; David Sloane,WineAmerica; Slow Food USA;Minn Stein, Ayrshire Farm;John Surina, USDA; DanielleTergis;Thai Basil; Laura Travina;Támara Waldo, Sunnyside Farm;Ten Speed Press; Ann Yonkers,FreshFarm Markets; Josh Viertel;Tony Guarnello.Wetsel SeedCompany; Workman PublishingForest Service,and CommunityCulture,This program was made possiblethrough a partnership withthe USDA Forest Service andproduced in collaborationwith the National Endowmenttor the Arts. Major supportcame from the National ForestFoundation. Honda, and WholeFoods Market, with additionalcontributions from IBM and TheAmerican Chestnut Foundation.In-kind SupportAAA Tree Service, Alexandria,Virginia; Alaska Marine Lines;L.L.Bean. Freeport, Maine; DaysEnd Horse Rescue, Lisbon,Maryland; DC Urban Forestry,Washington, D.C.;Jacobs CreekJob t lorps Civilian ConservationCenter, Bristol, Tennessee; HartkeTheatre at the Catholic Universityof America, Washington, D.C.;Lodge Manufacturing Company,South Pittsburg, Tennessee;Melrose Hotel Co., Washington,D.C.; Maryland Forests Association,Grantsville. Maryland; The Mill,Fork. Maryland: National Centertor Earth-Surface Dynamics.Minneapolis, Minnesota; RandomHouse. Knopf PublishingGroup, New York; RuppertNurseries, Laytonsville, Maryland;Shemin Nurseries. Burtonville,Maryland; Trails Unlimited,Monrovia, California; WaterfordPress, Phoenix, Arizona.Special ThanksDave Aicher, Donavan Albert,Ted Alway, Carla Arnold, DianeBanegas, Ron Banegas, JoyceBarott. Sonja Beavers, Joy Berg,Barry Bergey, Ama Blewazka,Kendra Bourgart, Carlton Buford,Patrick Calpin, Karen Campbell.Kerry Cassidy, Chris Castillo,Ten Cleeland, Ed Cohen, RandyCooper, Derrick Crandall,Chuck Croston, Thierry Curtis,Shannon Daut. Chris Davitt.JohnDeen-Turay, Todd DeGarmo,Lori Delgado, Judy Dersch, EdDickerhoof, Dugal Dickerson,Lisa Dowhaniuk, Steve Dunsky,Lenme Eav, D^w Edwards.Stana Fedenghi. Albert Finan,Arvada Fisher, Jack Fisher, Steveand Mark Fletcher, Steve Foley,Jerry Franklin, Teresa Fraser,Troyd Geist, Keith Ginn, MichaelGoergen, Reneé Green-Smith.Ray Halbisen, India Hall, DennisHardman, Paul Hart, Karla Hawley,Wanda Hawaiian, Bill Hay, FredHebard, Cassie Hebel, NicholasHillary. Terry Hoffman, TeresaHollingsworth, [oel Holtrop,Lynda Houfek, Sue Howards, DonHowlett, Don Jastaad, DenverJames, Dan Jiron, Bob Iones, EdKarch, Mark Kelly, Lee Kessler.JimKoen.Tosh Konya, Debra Kroeger,Tracy Lambert, John Laurence,Marilyn LeMoine, George Lennon,Mets Lerw lll.Jim Lockver, CamLockwood, Marion Lostrom, MaryMcDonald, Dom McKay, IMcKean.Jane Malonev. (on¡loriaManning, Vrughan Marable, SteveMarkotski.Jeff Marr, KatherineMarshall, Char Miller, MarkMilhette, Kevin Mills, CindyMiner, Patrick Murphy, KristenNelson, Wilke Nelson, DonNormandin, l^jn O'Connor,Steve Oravetz, Cindy Pandini,Chris Paola, Sue Paulson,Mark Pearlstein, Karl Perry,Julia Petersen, Tom Pettigrew,Roger Phelps, Louise Phillips,Nadine Pollock, Bill Possiel, PhilPntchard, Joyce and RobertRehfeld, Laetitia Relia, GeorgeRink, Denise Rippentrop, HowardRosen. I )ale Rosengarten, DebbieRothberg, Fred Rowe, [asonRutledge, Safiya Samman, LindaSchmidt, John Sebehus, Mar\JaneNeuter. Greg Sharrow, KimShelton, Dick Smith, Amy Snyder.Lew Southard, Tom Stafford.Dave Steinke, Suzanne Sterrett,Erika Sterrett-Sylvester, |asonStinchfield, Craig Stinson, MerlSturgeon, Bob Swinford, Micha]Tal, Billy Terry. Floyd Thompson,Robin Thompson, Tony Iighe,DonTrammell, Fred Velasquez, IrisVelez.Jeff Waalkes, Kim Walton.Jeff Waters, Ron Wester. |errvWilco.xen. Jerry Williams. TomWilliamson, 1 )iana Wilsey-Geer,Don Wilson. Art Wolfe. l'cgg\Yocom, Janet Zeller.J.Y.Zhu.American Bird Conservancy,Anaconda Job Corps Center,Bat Conservation International.Capital Area Woodturners.Ecological Restoration Instituteat Northern Arizona University,Moorehead Cultural Center.Nor-Cal Woodturners. One-WayManufacturing. Patuxent ResearchRefuge, Roots and Shoots — [aneGoodaL Institute. Trapper IreekJob Corps Center, University ofMaine. Wenatchee SportsmenAssociation, Willamette ValleyWoodturners. Woodcraft StoreAllegheny National Forest.Apache-Sitgreaves National Forest,Black Kettle National Grasslands,Bridger-Teton National Forest.Chugach National Forest, CibolaNational Forest, CoconinoNational Forest, Crooked RiverNational Grassland, DeschutesNational Forest, DeSoto NationalForest. Eastern Region, ForestProducts Laboratory, GeorceSPONSORS AND SPECIAL THANKS

II AerialIIII1Washington and Jefferson NationalArrechea, Matt Arnn, Gordon Ash.Courtenay, Fred Craig, ChuckForests, Gifford Pinchot NationalPhyllis Ashmead, 1 )onnaCroston,Connie and WilliamForest, Grey lowers NationalAshworth, Charles "Carlos"Crothers, Sr., William Crothers, |r.,Historic Site. Intermountain1Atencio, lorn Atzet. Man Badley,Sally I rum. Helena Culver, MikeRegion, Kaibab National Forest,os Padres National Forest,Jack Baker, Elaine Baldwin,Barbara Balen, Billy Ball. HermanCurran. Gilbert Davies, RogerDawson, Beverly deGero.JimMidewin National Tallgrass Prairie,Ball. Aim Ballard, Daniel Banks.Denney, Lynn Dennis, RobertModoc National Forest, Mt.IanBarlow. |oyce Killebrew1 )evlin,Velia Diemert, Don Dilley,Hood National Forest, NationalBarnett, Floyd Barnett, |oy Barney,Phillip Dobbins. Robert Dodson,Forests in Mississippi, NationalMarsBarr, Byrd Bartholomew,JoelDouglas. Kate Booth Doyle,[2 6]Forests m North Carolina,National Tree Need 1 aboratory,Nancy Basket, Dan Bauer. KateBauer. Robert Beckley, |miNancy and Bruce Dreher, PaulDufour, Myrna Duke, VickieNez Perce National Forest,Bedwell, Brian and Sarah Behle.Dunaway, Frank Duran, [ohnNortheastern Area, NortheasternI larscs Belser. Peter Belldllha.1 >ss \ er. t hnstopher Eagar,Research Station, North CentralMike Benham, Karen Bennett.Barbara Last, ]errv Edwards. PennyResearch Station, NorthernRegion, Ochoco National Forest.Joseph Bennion, Jim Berger, I inBergland.Velicia Bergstrom, Danggan, rim Eldridge, MariaEmery, George Engler. Kelly( )kanogan & Wenatchee NationalBinder. Sean Binder. Foms Black,sterbrook, Robert Ettner, StanForests, Ozark-St. Francis NationalCalvin Blackburn, Dee Blackburn.and Pegg) 1 wanoski, Arle\Forest, PacificNorthwest Researchnomas Blankenship, RichardF.idness. Curtis Fair, ScottStation, Pisgah National Forest,Bodner, Larry Bonner, [oannaFairchild, Fony Farqua, EloisePrescott National Forest. RegionBooser. I )ale Bounds. KarenNoble Fasshauer, Paul Fattig, [ohnFire Depot - MissoulaBrand, Edgar Brannon, SkipFayhee, Mamie Ferrier, DelhsSmokejumper Base, ReinventionBrelsford, Paul Brewster. SteveFerrier, 1 'w iglú Fickes. Terrslaboratory. Rocky MountainRegion. Shaw nee National Forest,Siskiyou National Forest. SiuslawBrink, Caren Briscoe. LynnBrittner, Christina Brogdon, SamBrookes. Gloria Brown, MarkFifield, Michelle Finch, [ohn Firth.Fred Fitchner. Pat Flach. bunlanigan, Bruce Flewelling, BillNational Forest. Southern Region.Bruhy, Randy Brunson, William |.I ord, Larry Ford. Sandra |oSouthern Research Station.Bryan, Jeff Bryden, OliverForney, EricForsman, GreggSouthwest Region. Stanislausliiu Ides, Bob Buckman, RussFoster. Rich Foster. Bruce 1 ox,National Forest, [onto NationalBulklev, Angle Bulletts. PeterEuster Foy, Paul Frank, [err)Forest. Uinta National Forest.Bunting, Cher Burgess. LarryFranklin. Cass Freedland, SusanWashington Office, WillametteBurkhart, |erry Burns, RobertFreeman. Harry Frey, JeremyNational Forest, Wind RiverBint, Eric Bush, loinFried, Besan Frost, Sandra Frost,Canopy Crane Research FacilityCammermeyer, Lindsay Campbell,Carl Frounfelker, Mike Furniss,Rita Cantti. Mark and GretchenPain Gardner, Troyd Geist, KeithSpecial thanks to the followingNeal Cardall, Cindy Carpenter,Gertsch, Robert Gillihan, Curtisindividuals, who contributed toEdward Carpenter.AJ Carr (1946-Glasoe, Bill Class, LaVerne Glaze,Forest Service, ( Culture, and21104). Ben and Sandra Carter,Steve Glazer, [ohn R. "Bob"Community by allowing themselvesto be interviewed: GenevaAccawanna, Richard Ackernian,M an Beth Adams. Susan Adams.I )an l ates. Pete I ceil. ChaiieneChambers, Bill Chapel, G.WChapman, Laura Chapman, [erryChonka. Shannon Clark, [aneGlenn, Merle Glenn. Paul Gobster,Pin His Goddard, Max Godfrey, ArtGoodtimes, Marie Could, AmyGowan, Janet Grabowski, GordonAlan Ager.Janie Agyagos, Kenti :liff Kathryn Cliff (191 0-2004),( .rant. Bob Gray, Duane Green,Ainsworth, Anne Alford, I )ave1 )on Cloud, [erry t llutts, SteveEd Cross. David Diaz Guerrero,Allen, Jay Allen, Shane Allgood,i o.idy, Bryan Colgrove, I >onIonsGuinn, Nancy Hadlock,Verdie Allies. John Ainonson, AlanAnderson, Alvin G Anderson,Bei neice Anderson, Riendattolp. (..On Conley, Hugh Recceonner. Amos Coochyouma,Gerald Cook, Forrest Cooper,Judy Haigler, Fred Hall. Ian Malm.Paul Hamel, [ames Hammer, MikeHammer, David Hammond,Anderson, Glenn Anderson,Frederick Cooper. Kevin Cooper,Garryck Hampton, Don Hansen.Kimberly Anderson. |ohn Anhold.Romain Cooper, Arden Cores.Doug Hansen, John Hanson.Arlena Aragon-Husband, |ohnAndy Coriell,Al Cornell, [ohnDave Hargreaves, George Harpole,SMITHSONIAN FOLKLIFE FESTIVAL

Gary Harris, Ty Harrison.Timothy Livingston, |amesOswald, Jeff Outhier, Lloyd[eannette Hartog.Tonia Harvey,Lockyer, Daniel Logan. BenPalmer, Glen Parham, Lafe Parrish,Ted Hatzimanolis, Paul Hauk,Lowman, Eini Lowell, lackRobert Partido, Susan Paulson,Elizabeth Hawke, Mark Hayes,Lozensky. William Lucas, ArielJohn Peacock, Kellv Pearson, DonRichard Haynes, CynthiaLugo. Billy Lumpkin, Susanaand Eva Peden, Dale Peel, DanHenchell, Barbara Henderson.Luzier, Chery Lyda, Pat Lynch,Pence, Mark Pengcllv. JanTerry Henrie, Lynn Hewlett, HillRick McBridc, Mark McCallum,Petersen, Stan Pfister, MarcieHickey.Aisha Hill, Charles Hillary.Alan Hillyard.John Hoagland,Jim McCaskeyWard McCaughey,Mary McConnell, RonPhillips, Vein Phillips. WaynePhillips, Peter and Nancy Pinchot,Mack Hogan, Ken and SueMcCormick, Mary McCorvie,Vernon Pine. Tim Pohlman, LeeHolbrook. Jack Holcomb, BettyHolder, Duffy Holiday, EricHollenbeck, Les Hook, TomKathy McCovey Krmn McCoy,Jack McCrory, Barbara McDonald,fiances McEwen.Tom McFarland.Pooyouma.John Poppino, MarvinPooyouma, Boyd Poulsen,Haiganoush Preisler, I )ave[27Hooker, Mike Horn, ClarencePauline McGinty, Lori McKean,Prevedel, |im Prunty, MargeHostler. Skyanne Housser, RobertDave McKee, Craig Mackey,Prunty, Carol Raish, Winston Rail,Hoverson.Ted Howard. HonThelma McNeal, ColeValei ieRapp, Ben Rasbeary.Howlett, Pat Hubbard, JuneMacPherson, Alice McSweeney.Wilverna Recce, Stephen Reed.Huckleberry. Hugger Hughes.Nanette Madden, Jim Mahoney,Rhonda Renider, Connie Reid,Nichole Hungerford, Gayle Hunt,Karen Mahs-Clark, EdSteve Reutebuch.Jim and LynnLeigh Ann Hunt, John Huppi.Manchester, Patrick Mangan.Rigoin, Genny Riner, Wwe andWilliam Hurst. Simon tberlin,Wyona Manning, AntonioSuz Rittenhouse. Michael Ritter,Monica Ingold, Gay Ippohto. |ohnManzanares, Molly Manzanares.Luis Rivera. Marlene Rivero, F.[ppolito, Saul Irvin.Wilma Irvin,[oyce Marder, Anthony andDale Robertson, Earl Roe, DavidReed Irwin, Nancy Iwanicki, SamShirlee Marraccini, ElizabethRomtvedt. William |. Rosanelli,and Renee [ackson, |imm Jacobs,Marsh, Don Marshall, StevenBelinda Ross, fuella Ross, SteveRobert (Jigger) Janes, JefFJaqua,Martin, Kristen Martine, NancyRoy, Ernie Rutledge.Jim Russell,|ovce letterson, Austin |enkms.Mathews. Don Mathias, Kirb\Michelle Ryan, Cat Sampson,Bertley Jensen. Melvyn Johnson,Matthew. Jim Maxwell, B.DKathenne Sanchez Meador, HonMike Johnson, Shelton Johnson,Mayberry, Sigrid Mayer, KrmnSanders, Auriel Sandstead,Terry Johnson. Robbm [ohnston,M. ( loyAndrea McKeenJoeDomenic Santangelo, KarenBetty (ones, |eremy (ones, StevenJones, Wendall Jones, TommyMeade. Frederick Meinzer,Merton Menge, Bob Mergell.Scallon, [ohn Schaar, I)aleSchaeffer. Kathleen Schields,Joseph, Leslie Joslin, Janet foyer,Randy Merrell. Matthew Meyer,Nathan Schiff, 1)avid Schmid,Bruce Juhl. David Jurney. Patrick1 )avid Michael. Mike Miller,Herbert Schroeder, RobertMichael Karnahan, Dan Karnes,Regis Miller, Warren Miller. MarkSchroeder, Janet Schultz, BruceRobert Karrfalt, Michael Keating,Milhgan, Chuck Milner, MikeSi humacher, C 'arv Schwarz, RickPenny Keck, Leo Keeler, Barb andMilosch, Gail Mitchell, JohnScott, Valerie Seaberg. ChrisStewart Keiry. BillKeith, MikeMitchell, Judy Mitchell, MikeSecakuku, Richard Sedwick,Kellogg, Guy "Jeep" Kessler, lamesMitchell. William Moody. JeffMonte Seehorn, Nancy Seldin,Keyser, Nova Kim, Tom Kimmons,Morales. Sylvia Mori, |onVickie Sell. Steve Senyitko, DickBeth King, Eleanor Kubach,Momsscv. Owen Mortensen,Seiino, Tom Sharpe, David Shaw,Bobby Kitchens, Nefisia Kittrell,Niccole Mortenson, Bret Morton.Mattie Sheafor, Dick and LizBob Klages, Bill Klein, CarolHank Mostovov, Linda Mullens.Shelton, Ronny Shelton, JerryKnight, James Kochenderfer, |ohnHeather Murphy. Lezhe Murray,Shortt, George Sibley, I isa Sieg.Koning, Brian Konnersman.Rod Nakamoto, Lavinia Nelson.John Slav Ken Sleight. Jane Smith.Denys Koyle, Ray Kresek, BillKim Nelson, Kristen Nelson,Nicole Smith. Stacey Smith, ZaneKuntz. Paul Labounty, D.we Lacy,Jeff LaLande, Sonny LaSalle.TomLloyd Newland, Charles Newlon,David Norsworthy, Dave Oates,Grey Smith, Erin Smith-Mateja,Tom Smyhe. Billy Snodgrass,Laurent. Kay Laws, [ane Leche,Chet Ogan, Susan Olherding, theGary Snyder, Stuart Snyder,Beth LeClair, Kevin Lee, Jim Leep,Old Ephraim Mountain Men,Barbara Soderberg, Karen Solan.Ted Lemmger, Terry Lesmeister,Don Oman, Beverly Ortiz, JillBob Sorenson, Lewis Southard,James Littlepage, Cyndy andOsborn, Clark Ostergaard, Thomasfired Spears, [oyce Speidel, DavidSPONSORS AND SPECIAL THANKS

Stack, Bill Stafford, loni Stafford,Andy Stahl.Vev.i St.msell, ReneeStauffer, Phvlhs Steeves, DuaneStephens, |erry Stewart, WayneStone, Ken Straley, 1 )on Studier,Rogert Stutts.Joe Sullivan, ErikaSvendsen, Rebecca Swaney,Monte Swasey, Wayne Swank,Fred Swanson, Nikki Swanson,Eric Swett, Clinton Sykes, |eanSzymanski, |ohn l.ivlor. AmeliaTerrapin. PerrySykes lerrv. Sidncfeske, Donna Thatcher, Walt Thies,liobbie 1 hompson, I IharmaineThompson, Lee Thornhill.TateThriffiley, Gail Throop, StanTixier, Frank and Marv AnnTortorich, L ITreat. 1 arry Frekell.Michael Treshow, TeresaJan Tubiolo, Paul Tubiolo, Cfrulock,lailrunberg.Ava Furnquist, |acobUhland, I Inward Ulrich, FranciscoValenzuela, Nan Vance. K.iV.ing,TonyVarilone, Marty Vavra, InsVelez, Teresa Vigil, RamiroVillalvazo, Hank Vogler, JohnVozzo, Dennis Vroman, DaleWaddell, Linda Wadleigh, I rankWadsworth, Doug Wagner, Fa\Walker, Larry Walter Kris Walters,Wayne Ward, Arde.in Watts.Lee Webb, George Weick, NeilWeintraub, Bernie Weisgerber,(.'liarles Wells, Frank Werner, JaneWestenberger, Lynne Westphal,lames White. Ilavid Whitten,Steve Widowski, Pat Wilde, ErnieWilkinson. Margaret Wilkinson.( harhe Williams, Chuck Williams,Ernie Wilson, Keith IHike Wilson.Ken Wilson, Richa Wilson, MartaWitt, Keith Wolferman, BonnieWood, Mary Lou Wood, ScottW lodruff, Bill Workman, FredericYbright, Larry Yeckel, Fat York,AnneYost, EdYost, LynnYoung,Anthony Zavalla, [.P. Zavalla,Fete Zavalla, l.met Zeller, andJosephine ZirkleNuestra Música:Music inLatino CultureThis program has been generouslyfunded by the Smithsonian LatinoInitiativesFund, NEXTEL, [oyceFoundation, and Univision andproduced in collaboration withthe Cultural Institute of Mexicoand the Ministry of ExternalRelations of Mexico, with mediasupport from Radio Bilingüe.Special ThanksErika Colon, Mar) Monseur,Mulow Palleja, Pete ReinigerOman: Desert,Oasis,Iand Seahis program was produced mpartnership with the Ministriesof Heritage and Culture, Tourism,Information, and Foreign Affairs,and the Fubhc Authority forCrafts Industries of the governmentof the Sultanate ofand w nh the cooperationof the Middle East Institute(Washington,).(1 ' ). and the< )man I feritage Gallery.In-kind SupportPriefert (onstructionRock Creek Horse (.'enterSpecial ThanksH.H. Sa\ yid HaithamBin Tariq Al SaidH.H. Seyyid ShihabBin Tariq Al SaidH 1YousefBin AlawiBm Abdullah(.hilan,H.E Maqbool Bm Ah SultanH.E. H.uned BinMohammed Al RashdiFEE Rapha Bmt\bdulameer bm AhH.E. SharifaBmtKhaltan Al YahyaiH.E. Aish.i Bint KhaltanJumail Al SiabyH.E. Mohammed Ah Al-Khus.nbvHon. Richard BaltimoreHon. David MackHon. Edward WalkerN.ijwa AdraAh Ismail Al-BullushiAl Bustan Palace HotelHamoodAJ HarthyBadarAJ HumAh AJ-MamaryTalib lss.iAJ-SalmiAhmed Mohammed Al-TammuJean-Luc Ainann1 )oug B.uimBrenda BickettI he Folger I he.itreFolklore Ensemble of the1 )iwan of the Royal CourtDiana FritzPamela HensonMeredith HubelE. Harper |ohnsonAhx Kauttniaii[an KendriekSebastian ManavalanMargo NakhoulNadia ( )smanMarjoi ie RansomBryan Saylor1 \ nn SinurskiKevin SkillinMichael Snow denSultan Qaboos UniversityThomas VosmerAlex WilliamsOf SpecialNoteThanks to all our volunteerswhose loyal and tirelessefforts contribute greatlyto the Festival's successIt is with deep sadness that wenote the passing ot Dale Dowdal,adevoted Center and Festivalvolunteer lor nine yearsSMITHSONIAN FOLKLIFE FESTIVAL

CONNECTING ¡OTíETHROUGH MUSICLike the Smithsonian Folklife Festival, Smithsonian Folkways Recordings helpsthe diverse voices of the world's people to be heard, understood, and appreciated.Folkways:The Original VisionWoody Guthrieand Lead BellyOriginal Vision,the milestone 1989recording of classicroots Americana,launched the nonprofitSmithsonian Folkways label. To celebratethe 15th anniversary of this historic album,we expanded the original CD with 6 bonustracks, enhanced packaging, and extendednotes. Original Vision now provides even moreInsight into the Impact of Woody Guthrie'sand Lead Belly's music. (SFW 40000)Mary Lou 's MassMary Lou WilliamsNewsweek called thescore "an encyclopediaof black music, richlyrepresented fromspirituals to bop torock." At long lastreissued, this is Williams's "Music for Peace,"a landmark recording that addressed manyof the social Ills of the 1960s and 1970sand is perhaps the most openly religious jazzrecording made at that time. (SFW 40815)nbOll/£ 'v*-«a«k'^T i_Solo in Rio 1959Luiz BonfáOne of the mostcreative guitarilniisos of the JUthcentury, Luiz Bonfaiscelebrated as aprincipal architectof the cool Braziliansound of bossa nova. But Bonfá was farmore than the composer of "Manhá deCarnaval." His technical mastery, intimacy,and dynamism suffuse every track of thisfirst CD edition of his masterpiece, a longunobtainablesolo 1959 LP, along with ahalf-hour of previously unreleased materialfrom the original studio session. (SFW 40483)Ja# IThe Silk Road:A Musical CaravanWhat if Marco Polohad owned a taperecorder? And what¡f his epic travels£{ft I along the Silk Roadhad taken placenot at the end of the 13th century but atthe beginning of the 21st? Far-fetchedconjectures to be sure, but our compilationoffers a glimpse of the rich musical lifethat an intrepid and curious travelerlike Marco Polo might find in the landsof the Silk Road today. (SFW 40438)t iVAbrafiV»,,,"Sí«trIn"?>*Li:^&m% FcELLAbration2005 Grammy winner!Ella Jenkins, "TheMusic," has madedozens of Folkwaysrecordings and earnedcountless awardsa 50-year career, including the LifetimeAchievement Award from The RecordingAcademy. On this album, some of today's finestfolk and children's performers pay tribute toElla Jenkins with sparkling new renditionsof her timeless repertoire. (SFW 45059)The Lilly Bros &Don Stover: Bluegrassat the Roots, 1961Brothers Everett and"B" Lilly of WestVirginia partnered withbanjo great Don Stoverto lay down this honest,first-class rendition of bluegrass roots. TheLillys' harmony vocals and Stover's classicbanjo style made this a milestone recordingwhen it was first released by Folkwaysin 1961. Remastered with 2 previouslyunreleased tracks from producer MikeSeeger's original recordings. (SFW 40158)Abayudaya: Musicfrom the JewishPeople of UgandaAbayudaya presents aunique and compellingcollection of musicinwhich the rhythmsand harmonies ofAfrica blend with Jewish celebrationand traditional Hebrew prayer. Thissingular community of African peopleliving committed Jewish lives hassurvived persecution and isolationand asserts, "We have been savedby our music." (SFW 40504)r"^^ fiyiClassic SouthernGospel fromSmithsonianFolkwaysThis album showcasessome of the bestinbluegrass gospeland country gospelfrom the Smithsonian Folkways archives.The music's plain-spoken, direct, andearnest style stokes it with power andappeal, whether performed by marqueenameartists Bill Monroe and the Watsonfamily or by local churchgoers such asthe Old Regular Baptists. (SFW 40137)Smithsonian Folkways Recordingsis the nonprofit record label of theSmithsonian Institution. We arededicated to supporting cultural diversityand increased understanding amongpeoples through the documentation,preservation, and dissemination of sound.mailorder@si.edu1.888.F0LKWAYS1.202.275.1143£ JSmithsonian Folkways Recordings wivw.folirivays.si.edu

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The ethnographicanswer to ¡Tunes.— New York TimesExplore the world ofmusical traditions atwww.smithsonianglobalsound.orgSMITHSONIANGLOBAL SOUNDoffers an unparalleled experienceof traditional musicfrom around the world.Users can browse from over40,000 tracks, listen to 30-second sound clips of everytrack, and read extensiveinformation about each track.Don't know where tostart? Features such asRadio Global Sound,Artist Profiles, and guidedtours from world musiccelebrities help userseasily discover new music.Smithsonian Global Soundhosts music and soundfrom around the world andno other music downloadsite provides.Royalties earned fromthe sale of music on thesite go to the artists, theircommunities, the archivesthat preserve theirrecordings, and the furtherexpansion of SmithsonianThe site offers a number ofmakes iteasily available.Global Sound. Smithsonianways to find music: search bygeography, instrument type,culture group, or language.Browse, sample, and buyhigh-quality, hard-to-find,and rarely heard recordingsfrom internationalarchives. State-of-the-arttechnology disseminatestraditional music on thesite to aid educators,engage students, andentertain fans. In additionGlobal Sound also helpsestablish intellectualproperty rights for theartists involved, providinga base from which theymay exercise those rightsfor economic and culturaldevelopment.We hope these efforts, inturn, spark the creationto sound, the siteprovidesof new music andaccurate contextualinformation and expertcommentary— somethingpromote the appreciationof cultural diversityaround the world.£ § Smithsonian Global Sound

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