NUESTRA MÚSICA LAUNCHES NEW SERIESIn 2002, the <strong>Smithsonian</strong>'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.<strong>Smithsonian</strong> 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: <strong>Smithsonian</strong>Folkways 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 <strong>Smithsonian</strong>Folkways 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
- Page 1:
Smithsonianolklife Festival\Food Cu
- Page 4 and 5: The annual Smithsonian Folklite Fes
- Page 7 and 8: —CONTENTSThe Festival's Timely Ap
- Page 9 and 10: —THE FESTIVAL'S TIMELY APPEALLAWR
- Page 11 and 12: COMMERCE FOR CULTUREFrom the Festiv
- Page 13 and 14: [ii]The food concession for the Mel
- Page 15 and 16: oMiiitbioni.indotal SoundL04.A 1 Sl
- Page 17: 1WELCOME TO THE 2005 FOLKLIFE FESTI
- Page 20 and 21: Workers harvest artichokes at Ocean
- Page 22 and 23: —assigned aparticular dish—meat
- Page 24 and 25: I--IPot Pie Farm manager Elizabeth
- Page 26 and 27: ISustainable farmers such as Eliot
- Page 28 and 29: "IThe numberof programsdesignedfor
- Page 30 and 31: .hadSALAD GREENS WITH GOAT CHEESE,
- Page 32 and 33: w.A>wm:~
- Page 34 and 35: —3 3]OCCUPATIONAL CULTUREThe 2005
- Page 36 and 37: employees, the USDA Forest Servicei
- Page 38 and 39: I[3 6]page book, which could fit in
- Page 40 and 41: ká.!i- .>!mKPA backpacker sets up
- Page 42 and 43: --^i'liunterw eight jihI ...itl jib
- Page 44 and 45: —4-"The essentialpiece isto captu
- Page 46 and 47: I44cutDUTCH OVENONE-POT MEALThomas
- Page 48 and 49: —FUTURE CONCERNS FOR PUBLIC LANDS
- Page 50 and 51: NUESTRA MÚSICA: MUSIC INBuilding C
- Page 52 and 53: plena groups throughout the Northea
- Page 56 and 57: NUESTRA MÚSICA: MUSIC IN LATINO CU
- Page 58 and 59: "ILos Camperos de Valles son músic
- Page 60 and 61: RAICES LATINASNUESTRA MÚSICA LANZA
- Page 63 and 64: IOMAN: DESERT, OASIS, AND SEARICHAR
- Page 65 and 66: DESERTThe deserts ot the Arabian Pe
- Page 67 and 68: THE FESTIVAL PROGRAMThe 200s Smiths
- Page 70 and 71: 6 8The coiled, leather-covered bask
- Page 72 and 73: 70]COASTAL CRAFTSMANSHIPAND GLOBAL
- Page 74 and 75: [72]Although the oldismaking way fo
- Page 76 and 77: AN OMANI FOLKTALEASYAH AL-BUALYOman
- Page 79 and 80: y%aMUSIC AND DANCE INOMANOMAN CENTR
- Page 81: In the southern Dhufar region, al-b
- Page 84 and 85: ecosystems, identification of plant
- Page 86 and 87: 2:00IIIVorkshopFESTIVAL SCHEDULE (P
- Page 88 and 89: Rhythm,Saturday, June 25 (Programs
- Page 90 and 91: )avidi nestMonday, June 27(Programs
- Page 92 and 93: 1:00IIlamFriday, July 1 (Programs a
- Page 94 and 95: )utchSunday, July 3(Programs are su
- Page 96 and 97: EVENING CONCERTSSounds of the Fores
- Page 98 and 99: theRELATED EVENTS[96]Nuestra Músic
- Page 100 and 101: IIDónalas Anderson,Washington, D.C
- Page 102 and 103: 'IEd LiíDmi, Studio City, Californ
- Page 104 and 105:
ISudhir Seth, Bethesda, MarylandA g
- Page 106 and 107:
1 if 1 DumberHoneyBeehive Beeproduc
- Page 108 and 109:
1"''NewI >onI Lui\IDon Bustos,Espa
- Page 110 and 111:
Ian Barlow, White Bird,Idaho; Woodl
- Page 112 and 113:
I 'istnet1Gordon Grant,Corvallis, O
- Page 114 and 115:
Kristen Marline, Flagstaff,Arizona;
- Page 116 and 117:
I1 ountries,IIHistorie Site, once t
- Page 118 and 119:
1IworksI1 11Istations are vital to
- Page 120 and 121:
1'IenIpanderetas;JCJ Band. Washingt
- Page 122 and 123:
Ralph Rinzlersongs are "made" (or c
- Page 124 and 125:
I >cmseI VhorahII MiI lameEne Nance
- Page 126 and 127:
|i 2forIIBartlevy1 )oerr;IIParadeSP
- Page 128 and 129:
II AerialIIII1Washington and Jeffer
- Page 130 and 131:
Stack, Bill Stafford, loni Stafford
- Page 132 and 133:
SMITHSONIAN FOLKLIFE FESTIVAL 20051
- Page 135 and 136:
SMITHSONIAN FOLKLIFE FESTIVAL 2005B
- Page 138:
Smithsonian Folklife FestivalSMITHS