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 <strong>Smithsonian</strong> 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
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IOMAN: DESERT, OASIS, AND SEARICHAR
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DESERTThe deserts ot the Arabian Pe
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THE FESTIVAL PROGRAMThe 200s Smiths
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6 8The coiled, leather-covered bask
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70]COASTAL CRAFTSMANSHIPAND GLOBAL
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[72]Although the oldismaking way fo
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AN OMANI FOLKTALEASYAH AL-BUALYOman
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y%aMUSIC AND DANCE INOMANOMAN CENTR
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In the southern Dhufar region, al-b
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ecosystems, identification of plant
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2:00IIIVorkshopFESTIVAL SCHEDULE (P
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Rhythm,Saturday, June 25 (Programs
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)avidi nestMonday, June 27(Programs
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1:00IIlamFriday, July 1 (Programs a
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EVENING CONCERTSSounds of the Fores
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theRELATED EVENTS[96]Nuestra Músic
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IIDónalas Anderson,Washington, D.C
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'IEd LiíDmi, Studio City, Californ
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ISudhir Seth, Bethesda, MarylandA g
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1 if 1 DumberHoneyBeehive Beeproduc
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1"''NewI >onI Lui\IDon Bustos,Espa
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Ian Barlow, White Bird,Idaho; Woodl
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I 'istnet1Gordon Grant,Corvallis, O
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Kristen Marline, Flagstaff,Arizona;
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I1 ountries,IIHistorie Site, once t
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1IworksI1 11Istations are vital to
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1'IenIpanderetas;JCJ Band. Washingt
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Ralph Rinzlersongs are "made" (or c
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I >cmseI VhorahII MiI lameEne Nance
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|i 2forIIBartlevy1 )oerr;IIParadeSP
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II AerialIIII1Washington and Jeffer
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Stack, Bill Stafford, loni Stafford
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Smithsonian Folklife FestivalSMITHS