Table Of Content1992 of
Festival
American
Folklife
SMITHSONIAN INSTITUTION
FOR CARMEN
Smithsonian Undersecretary Carmen lamer
greets Vice President Dan Quayle at the
1991 Festival ofAmerican Folklife.
At home in official and unofficial roles.
Carmen enjoyed and supported theFestival.
She liked to visit with herfamily, and last year, as
in previous years, she brought hergranddaughters.
Carmen's support continues to sustain us.
SMITHSONIAN INSTITUTION
1992 of
Festival
American
Folklife
June 25-June 29
July 2-July 5
Complimentary Copy
Co-sponsored by the National Park Service
Contents
INTRODUCTORY STATEMENTS
Cultural Diversity and Dialogue: The Role of Museums 4
Robert McC. Adams, Secretary, Smithsonian Institution
The Quincentenary: UnderstandingAmerica's Cultural Heritage 6
Manuel Lujan, Jr., Secretary oj the Interior
Festival <>l American Folklife: Not Just a Festival Unkind Kurin 7
Thinking Back a Bit IIiws Lomax Halves 12
NEW MEXICO
The Great Loom:
Weaving the Cultural Landscape of New Mexico Andrew Wiget 15
The Virgin <>l Guadalupe Andrew Wiget 17
The Klobase Festival ofDeming, New Mexico:
ATime to Celebrate and Remember Stephan Moore 20
Blackdom Philippa Jackson 21
Seeking Life Tito Naranjo 23
The Sephardic Legac) in New Mexico:
The Story ofthe Cryptojews Stanley M. Hordes 25
El gran telar:
Tejiendo el paisaje ( ultural de Nuevo Mexico Translated by Jose Griego 29
The Indo-Hispano Legacy oi New Mexico Enrique />. Lamadrid 30
La Music a de los Viejitc>s:
I he Hispano Folk Music ol the Rio Grande del Norte //nl; Loeffler 33
Religion in Communit) Celebration Jose Griego 37
LaVida Buena ) Sana: Curanderas y Curanderos Tomds Atencio 39
Adobe Alberto 1). Parra 4(1
Acequias Patricia D'Andrea 42
Mining Folklore Patricia Musi( 43
The Folklore <>l the Oil Industry Jim Harris 44
UFOs and Nuclear Folklore Pete) White 45
PreservingTraditional Culture in New Mexico Claude Stephenson 46
Pueblo Pottery: Continuing aTradition Tessie Naranjo 48
Ganados: Revitalization ol Rural Life in Northern New Mexico Maria Varela 49
The Santa Fe Railway and Tourism in New Mexico Peter White 50
Cultural Tourism and Self-Representation Tedjojola 51
Language and Storytelling Jose Griego 53
MAROON CULTURE IN THE AMERICAS
Creativity and Resistance: Maroon Culture in the Americas
Kenneth Bill>\ and Diana Band N'Diaye 54
Maroons: Rebel Slaves in the Americas Richard Price 62
The Political Organization ofMaroon
Communities in Suriname H.R.M. Libretto 65
Arts ofthe Suriname Maroons Sally Price 67
Maroon Societies and Creole Languages Ian Hancock 70
The Maroons and Moore Town Colonel C.L.G. Harris 73
TheAccompongTown Maroons: Past and Present Colonel M.L. Wright 74
Statement by GaanmanJoachim-Joseph Adochini,
Paramount ChiefoftheAluku (Boni) People 75
Statement by Gaanman Gazon Matodja,
Paramount Chiefofthe Ndjuka (Aukaner) People 76
Statement by Gaama Songo,
Paramount Chiefofthe Saramaka People 77
Maroon Struggle in Colombia Gabino Hernandez Palomino 78
Texas Seminole Scouts Charles Emily Wilson 80
NATIVE AMERICAN MUSIC
The Changing Soundscape in Indian Country Thomas Vennum, 81
Jr.
A Hopi in Two Musical Worlds Jacob Coin 93
Cherokee Hymn Singing in Oklahoma Charlotte Heth 95
WHITE HOUSE WORKERS
Making the White House Work Marjorie A. Hunt 98
Workers at the White House ,4 Photo Essay by Roland Freeman 104
Festival ofAmerican Folklife Frontcoverphoto: Each Decemberin many New Mexicocom-
© 1992bytheSmithsonian Institution munities, worshiperscelebratethe FeastofOurLadyof
Editor: PeterSeitel Guadalupe. InTortugas, participantsgatheratthetinycap/7-
StyleEditor:Arlene Reiniger lawheretheVirgin's imageiskept.PhotobyRussellBamert
Coordinator:Franceses McLean
Back coverphoto: Friendsand kinofa Ndjuka Maroon
Designer:|oan Wolbiei woman helpprepare hergarden forplanting rice near
AssnltiiiiDesigners:Rebecca Lepkowski, Aim Ilansen Diitabiki, Suriname.Thegarden is inasectionofAmazonian
Typesetter: Harl<twe rainforestthat hasbeen cleared byburning.
Printer:Schneidereith & S.ins PhotobyDianaBairdN'Diaye
Typeface:New Baskerville
Paper.LOE Dull
Insert:(Irossepointe GenesisHusk
and
Cultural Diversity Dialogue:
The Role of Museums
Robert McC. Adams
Secretary, Smithsonian Institution
An important challenge before museums life in the Americas. The programs on New Mexi-
today is to find ways to address themselves to the cci. Marcic>ns in the Americas and the (Changing
increasing diversity, and at the same time the Soundseape in Indian Country illustrate impor-
growing interdependence and vulnerability, <>I tant historical and ongoing processes through
soi ial life everywhere. Museums need to be pub- whie h c nullities establish cultural identities in
licly inognized as important institutional means complex and dynamic social circumstances.
by which groups in our very pluralistic so< iety <an Ihe Spanish Conquest established [he West-
define themselves and find plans within the ern Hemisphere's European presence and us
i hanging dynamics oi contemporary life. most widely spoken language. While' the original
All museum visitors benefit from carefully conquerors' c iilture did not value- the Native cul-
resean lied and innovatively presented exhibi- tures itencountered, ovei the < enturies segments
tshis m which individual social groups define a\\i\ ol I lispanic and Native American and later Eng-
represent themselves through dialogue with lish-speaking and othei populations have, ol
si holars, e urators and the public . Broad educa- neeessitv. engaged one another in ways that have
tional goals are served by dire( ting public atten- given rise- to today's lie h arrav of c ultural identi-
tion to constituent groups ofthis culturally ties. New Mexico's distinctive ( ultural landsi ape-
diveise Mil iety a\\<\ to die complex variet) ol ways has taken shape in this way, and today is com-
they combine to < reate so< ial life. Sua esslnl exhi- posed ol some peoples who sustain cultural iden-
bitions ol this sort should enable us to review, tities through centuries-old combinations ol Indi-
revise .aid broaden public discourse. an and European forms of thought and a< lion,
The festival ol American Folklife has always and ol others whose basis ol identity lies in reaf-
been guided by this set ofconcerns and, indeed, firming the wisdom and relevance ol ancestral
lias pioneered the type ol dialogue now ie< og- ways, lint in all New Mexicans, as in people every-
nized as basic not only to the health ol out muse- where, e ultural ide-ntitv rellects the- c hanges dial
ums bin also lo the health ol our soe ictv as a continue to be wrought from the- varieties of their
whole. And ii is in this perspei tive thai I find die SO< ial eneininleis.
constellation ol groups assembled ai this Festival Nowhere is the connection between i nativity
quite remarkable. and self-definition more clear than in ihe- c ultural
The Columbus Quincentenarywe mark ihis identities ol contemporary Maroon peoples,
year gives us pause to reflect on the forces thai whose ane esiors escaped plantation slavery in the
ovei die past 500 years have shaped today's social Americas and founded independent societies.
.
Faced with the task ofconstructing and defend- symbol, executive office and conference center,
ing their positions. Maroons creatively defined < eremonial setting, museum, tourist attraction
themselves from avariety ofsources. While their and family residence. At the Festival we recognize
political institutions, expressive arts, religions and the culture ofWhite House workers, who have
other social formswere predominantlyAfrican in supported this broad array offunctions over a
origin, theydrew from a broad range ofAfrican span ofhistory shaped bv remarkable events, peo-
cultures, and from European and Native Ameri- ple and social change. White House workers have
can cultures aswell. Much o—fthe aesthetic com- been part ofthis history, and with their labor and
ponent ofMaroon cultures their vibrant tradi- dedication have made the White House work. We
—
tions ofverbal and visual arts encourages the honor White House workers and theirvenerable
cohesiveness of their society and voices themes workplace with a living exhibition that presents
that embody common experience and interest. some ofthe skills, experiences and values
"The Changing SoundScape in Indian Coun- through which they give shape to their occupa-
try," produced jointly with the National Museum tional identities and call our attention to an
ofthe American Indian, explores ways that Indi- important human component ol the 200 year
an musicians and their communities have cre- institutional history
atively adapted elements from the musical tradi- Pausing to mark these anniversaries, muse-
tions brought to this continent from Europe, ums should consider self-representations ofcul-
Africa and elsewhere. Although manyofthe ture such as these forwhat they tell their audi-
forms ofthis Indian music are non-Indian in ori- ences about our changing social life, forwhat
gin, the themes and performance styles clearly they can leach us about creative adaptation and
address Indian experience and aesthetic expecta- self-definition, and especially for what they con-
tions. In their creative hands, external musical tribute to the role ofmuseums as forums for cul-
influences become part ofthe self-definition of tural dialogues. Ifmuseums, like the Festival, can
Indian identity and trenchant commentary of provide models for public discourse, raise cultur-
what has been happening in "Indian Country" al issues to national and international conscious-
over the past 500years. ness, and enable cross-cultural communication
Thisyearalso marks the 200th anniversary of and understanding, ifnot respect, theywill then
the White House, it too a legacy ofour complex have helped in guiding all ofus forward to the
past. The White House is not a king's palace but next century.
rather "the people's house," at once national
The
Quincentenary:
Understanding America's Cultural Heritage
Man
uel Lujan,
Jr.
Sec retary ofthe Interior
This year is a spec i.il one throughout the yet still provide meaning to contemporary com-
Americas and indeed, throughout the world. The munities and individuals. Visitors can talk to lolks
Columbus Quincentenar) gives us an opportunity from my state, New Mexic o, and discover how in
tu examine oui histor) and the ways the world the simthwestern U.S., Native Americ ans, early
has changed ovei the past 500years. Hiese Hispanic settlers and latter immigrants c 1eated a
changes have been momentous and have pro- robust regional culture. Visitors can meet and
foundly effe( ted the natural emironment, annual speak with African-American Maroons who resist-
and plant species, the movements of populations, ed plantation slavery and maintained free, sell-
and the development i>l ideas and forms <>l sc>< ial reliant communities for hundreds ol yeais. ()ne
organization and c ultural expression. can hear how < ontemporary Native Americ an
The U.S. Department of the Interior and the musicians from across the continent have adapt-
Smithsonian Institution think it is important that ed nontraditional instruments and styles in c reat-
Americ ans undeistand their historical and ( ultui- ing and re-creating their musual culture. And
al heritage. This heritage is complex, involving here at the Festival, you can also learn about the
centuries o( i reativity, conflict, cooperatii>n .\\u\ 1 1ilture ol the W(irkeis at the White House who
cultural interchange acrosscontinents. Under- serve, maintain and protect that historic land-
standing i>ni heritage is an important a< t <>l < nl- mark, instrument and symbol ol government. You
tural citizenship, not only for Americans. but foi can, in short, meet with, speak to and be engaged
people the world over. The Department ol the by exemplar) leilow Americanswho forge the
Interior, through its many bureaus sik h as the links between out i ultural history and our cultur-
National Park Senice, and the Smithsonian, al futiiie.
through its various museums and programs, have I would also em ourage you to go beyond the
planned si ores ol activities to encourage public Mall, to the plai es, communities and national
education so that in understanding out past we sites ol these people and their lorebearers. See
might more wiseh chartour future. the White 1 Iimse, \isit historic Santa Fe, (diato
The Smithsonian's Festival ol American Folk- Culture National Historic Park and Fort Union
life, < i>-spimsored b) the National Park Service, National Monument in New Mexico, learn about
provides a dramatic venue forexploringout li\- African-American Seminoles, and experience the
ing cultural heritage. Here on the Nation's Ironl richness andvarietyofAmerican Indian tradi-
lawn, millions ol Americans can participate in tions through the numerous tribal museums and
cultural traditions that reach back centuiies and cultural centers acniss this country.
of American
Festival Folklife:
Not
Just a Festival
Richard Kurin
The video begins with elderly and lanky his native Tzotzil, published with Spanish transla-
farmers from the U.S. Midwest, plucking their tion and illustrations. Thejournal, entitled Mis
stringed instruments in away suggesting the qjos vieron, mi corazon lo sabe (My eves saw, my
strangeness oftheir music. Next on the screen heart knows) was a wonderful, serious, poetic
women from Iowa puffon brass trumpets; the .md humorous account ofhisvisit to Washington
camera angle and sound mix again suggests the and participation in the Festival. He had dis-
exotic quality oftheir performance. Next come cussed hisworkwith the audience, academic
images ofmonumental Washington seen not so scholars and Smithsonian program curator
much as landmarks, but as evidence of—the pres- Olivia Cadaval before the video began. He and
ence ofvisitors from Chiapas, Mexico the sub- others spoke of the importance ofthe Festival in
jects ofthe video. Deliberately, a story ofthe reaffirming cultural identity and raising con-
1991 Festival ofAmerican Folklife unfolds sciousness about cultural issues that cross ethnic,
through the eyes ofavideo crew that accompa- national and international boundaries.
nied a delegation ofnative Mayan and Lacandon This theme was echoed in the video docu-
people from the southern Mexican province of mentary that proceeds from the exoticized fami-
Chiapas and documented their participation in ly farmers to the Chiapas group, and from them
the Festival. to widening circles ofinclusiveness. First the
I was sitting in an auditorium in Tuxtla other Indian groups at the 1991 Festival, from
Gutierrez, the capital ofChiapas. The auditori—- Mexico, Peru and Bolivia are included in the
um was overflowing with hundreds oi people Chiapaneco Indian world. Then Alaskan groups,
the ten Chiapanecoswho had participated in the the Hopi and Ecuadorian Shuar are included.
Festival, their relatives, government officials, The video treatment then embraces the Indone-
—
scholars and local citizens. It was December, six sians Javanese, Dayak from Kalimantan and
months after the Festival on the Mall in Washing- peopl—e from Sulawesi, also at the Festival last
ton had featured, among other programs, "Land year and finds they too are Indian ofa sort.
in Native American Cultures."which included Then the bluesmen. Yes, they too are Indian.
people from Chiapas. Other staffand I had writ- Finally, byvideo's end. the formerly st—range fami-
ten our reports and reviewed the press coverage ly farmers reappear and are included they loo
and our own video documentation, and now I are Indian; they too are humanswith culture and
was seeing how others had seen the Festival, how value.
members ofthe participants' communities had A few davs later, Smithsonian Assistant Secre-
construed and represented their participation to tary James Early, Dr. Cadaval and I were in a
folks back home. small Chiapan pueblo visiting a family. One of
Also exhibited in that auditorium was ajour- the daughters, an excellent weaver, had been
nal written bya Mayan storyteller, Xun Gallo, in inspired bv oilier weavers at the Festival, especial-
ly by the economically successful and well-orga-
nized Peruvian weavers. She was determined lo
"Richard. Kurin is Director«/theSmithsonian Institution
CenterforFolklifePrograms and CulturalStudies anda Pro- start a weaving cooperative with othervillage
women.
fessorialLecturerat Thefohns Hopkins SchoolofAdvanced
InternationalStudies. Hereceived thePh.D. in cultural This experience in Chiapas is a reminder
anthropology/row the University <>/ Chicago andfirst worked that the Festival does not end on the Mall in
on theFestivalojAmericanFolklifein 1976. Washington when visitors go home and the staff
ditions were featured at the 1990
Festival. As a direct result ofthat
AIlS OjOS VlERON... successful research, organizational
and presentational effort, the
U.S.V.I, undertook several initia-
tives to examine the present state
and possibilities oflocal cultural
resources, foiningwith the newly
formed and locally based Friends
ofVirgin Islands Culture, the Festi-
val was remounted on the island of
St. Croix in October, 1991. This
first Virgin Islands Folklife Festival
reassured residents and especially
voting people ol the powci ol local-
ly produc eiI ( nhtnal representa-
tions. Hall the population ofthe
tenitory attended. The Festival
became an arena and an idiom for
discussing issues <>! Itit al t ulture.
Also participating in the Festival
were Senegalese artists and the
Freedom Singers, who had been
featured along with the U.S.V.I, on
XunGallo the Mall at the Smithsonian's 1990
Festival. The) offered local audi-
ent es an important comparative
All Corazon Lo Sabe peispective on their own culture.
The poignanc) oi the historical
passage from West Ahit a to the
Caribbean to the U.S. mainland
was apparent man) and was
ti» .
tintleist ored when Senegalese slo-
packs up the tents. The Festival has always been ryteller Bigue N'Doye, joyful in her reunion with
designed to have an impa< i beyond its public Virgin Islanders, spoke as il among lamilv. "I am
education function with visitors. The Festival fre- happv to be here. I walk without niv shoes, so I
quently plays a ( aiahiu role for tradition bear- can Ieel the land upon which mv 11aptured|
ers, scholars, officialsand others to illink about giandfathers walked."
the practice, continuity, viability and creatixitv <>l For many, as in the Virgin Islands, the Festi-
giassroots < ulture. Ii extends "bai k home," cer- val is no mere show or passing entertainment; no
tainly in the minds ol participants, but often also mere t anvas for the drawings offolklorists or cul-
in the institutions and piilit ies ol < <immunities tural marketeers. It was and has been a means of
winisc members have come to sec and be seen. raising public const iousness about t ultural issues
And the Festival, though ephemeral, leaves docu- and the society's future. The effort to remount
mentary trails, images, ideas and experiences, the Festival on St. ( Jroix was preceded bv a t ul-
which live beyond the ten days or so on the Mall. tural conference, "(io Back and Fetch It," held
The dissemination oi the Festival through on St. Thomas. The tonference brought tog—eth-
time and space is broad, and often outstrips the er disparate groups ol people and interests
ability ol our stall to keep fully engaged with its government officials, scholars, community
numerous developments. Nonetheless, we feel a spokespeople, tradition bearers, educators, busi-
c 01iimilnlent to those who have milked with its ness leaders, members ol the tourism industry
io i ieatc the Festival, and in mam cases, we con- and others. They examined strategies lor con-
tinue our (ooperative effi>i ts. serving Virgin Islands t ulture and for using it to
This scar, results ol such collaborations were revitalize education, and promote sustainable
seen in the I I.S. Virgin Islands, whose folklife tra- economic development and environmental
