American Folklife

(1)

1983 ^Festival of

American Folklife

Smithsonian Institution

National Park Service

^

Hl^ j^^>tY

(2)

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IlliistnitioitbyDaphneShiiltlewortb

(3)

1983 ^Festival of

American Folklife

Smithsonian Institution

National Park Service

June ^23-27 June 30-July 4

(4)

Appreciating and ^Protecting

Our Nation's Rich Cultural Variety

I

would be

lessthancandidaboutthisyear's

program were

Inottoadmitto adegreeofpersonalsatisfactioninseeingatthe Festivalboth

my own home

stateof

New

^Jerse)'

^and

^the^people

^among whom

^Ihave

done

graduate study abroad

and domestic

folklorefieldresearchinLouisiana- French and French- Americans.

To

^all

Newjerseyans and

tospe;ikersof

French from

allclimes,

we

wish

aheart)

welcome and

bieiivenue.Tliefactthat

1983 marks

^{the 2()0th} anniversar) oftheTreat)-ofParis,

which was

ratifiedin Princeton,

New

Jersey,

and which

formally

marked

the

end

of the

American

Re\'olutionan, War,

testifiestothe

depth

ofourfriendshipwith

our

all)-

and

to thehistoric

importance

ofthe

Garden

State.

But seeing"one's

own"

representedattheFestivalisonlyasmall partof

what we

are about.Tlieideathatshapesthis year's

program

-

and

any\ear's program,forthatmatter -istheSmithsonianInstitutionsabiding

commitment

to culturalconsenation.

The

traditions

you

seerepresented have

been

brought tothe National Mallnot onlyforyour

enjoyment and

intellectual edification, butalso asastatementtothepeople

who keep

thetraditions, to their

communities and

tothe great

American

publicthat these cultural traditions are

more

thantheartisticflo-v\eringofahealthycommunit)-. The) areoftenthe very-rootsofagroup'sculturalidentit),

communit)

feeling,

and

shared sense of

st)'leand,assuch, are cnicial toitsvNeli-being

and

producti\-it)-.

They

are certainly

among

those

worthy

of

our

interest

and

support.

A concern

forthecontinued existence offolktraditionshas motivatedthe Festivalproject sinceit

began

in 1967.^Ithasalso .served asthe basisofour cooperation\\\\hthe Folk Arts

program

of the National

Endowment

forthe Arts,acooperationthatresultedlastyearina Festival

program honoring

the recipientsofNEA'sNational HeritageAward. Thisyearwillseeasimilar program,

and we hope

thatfutureyearswill aswell.

The

bicentennialof

manned

flight,aptlyturningourattentiontoFrance

once

again,givesus occasiontorecognizetheoccupationalfolklifetraditions thathave

grown,

evenasthetechnology offlighthas evolved. ITiesetraditions helpaviation

workers

give

meaning

totheiroccupationallixes

and

ultimately sery-eusallb) helping

them perform

withasenseofunit)

and

purpo.se.

"VC'e

hope you

findentertainmentinthebeautifiil

and

significanttraditions presentedatthis)-ear'sFestival

and

that \-ou

come

tounderstandtheirimpor- tance inthelivesof theperformers

and

theircommunities.\X'ealso

hope you

will joinwith usin

making

ournationanen\

ironment

in

which

myriadcultural traditionscanflourish.

RalphRinzler, Festi\alDirector;

Director, OfficeofPublic Service

(5)

©

1983

Editor:ThomasVennum

Designer:DaphneShuttleworth AssistantDesigner:LindaMcKnight Coordinator: ArleneLiebenau Production:Joan Wolbier

T\psetter:HarloweT\pograph\-Inc.

Printer:TheArtLithoCompany

2 Appreciating

and

Protecting

Our Nation

'sRich CulturalVaiiet) b} Ralph Rinzler, FestivalDirector; Director, OfficeofPublic Ser%ice

•4 It's

A Small World by

S.DillonRipley, Secretary,SmithsonianInstitution 5

Our A merican

CulturalHeiitage.

Old World

Traditions in the

New World

b\-

RussellE.Dickenson,Director, NationalPark

Senice

6

National

HetitageFelloti'ships

Program

b)'Bess

Lomax Hawes

10 Neu>JerseyFolklife.

An

Oven'ieu'hy Da^^dS.

Cohen

12

Maritime

Resources

and

the

Face ofSouth

^Jersey

by Mary

Hufford

16

Foodways

in

South

Jerse):

by Angus

K.Gillespie

18

Workers

intheSilk:

An

Exploration

of

^the^PatersonSilkIndustry

by John

A.

Herbst

and Thomas

D. Carroll

2]

Occupational

Folklife

of New

Jersey Harvesters

by

Rita

Moonsaminy

24 Traditional

Dance

in

France by John

^\X'right

2"

French Ametican

Traditional Culture:

An Overview

b}'Kath)-

James

29 Lii

ing by

theMusic:Cohesii

v

Influencesin the

Song

Repertoire

ofFrench

Ameiican Neiv Englanders by Deborah

XX'aldman 31

French-American Foodways by

Marjorie

Hunt

35

South

Louisiana: Unity

and

Diversity in

a

Folk

Region by

NicholasR.Spitzcr 39

Cajun

Music:

A

Louisiana

French

Traditionh\

Barn

Jean Ancelet

(6)

It's a Small World

by ^S. ^Dillon ^Ripley

Secretary, Smithsonian Institution

Thisyear's Festivalisaptlydelineatedina

word coined by Horace Walpole

(

\~'\~'-\~'9~'

)to

name

the

happy

discoveries

one

often

makes

unintentionally whileinpursuitofanotherseemingly unrelatedgoal.Derived

from

anIranian fair\taleofthreeSri

Lankan

princes

who

continually discover,

by chance

or

by

wit,thingsfor

which

thev'

were

notsearching,"serendipity"(

from

Screndip,an old

name

for

Cxylon

orSri Lanka) describesthecreati\'econnectionsthathave

come

tolight

among

thisyearsfour apparent!}'unrelatedFestivalprograms:

French and

French-

American

traditions.

New

jerseytraditions,the Folklifeof Flight,

and

the NationalHeritage

Awards

oftheNational

Endowment

forthe Arts.

A moment's

reflection

by

those with anhistoricaleyewilltracethelink

between

France

and New

Jerseythroughthe

200th

anniversan-oftheTreat)-of Paris

which

formall)'brouglitthe

American

Revolutionan'VCar toconclusion

and which was

ratified

by

the (Continental

Congress

then

meeting

inPrinceton.

On

asimilarhistorical trajecton,one's

mind

sur\'eysthespan

between

the culuire ofpresent-day

American

a\iation

workers and

thebeginningsof

manned

flight

nvo hundred

\earsagoinFranceintheballoonof theMontgol-

fierbrothers.

And

thefinallinkto

be

discovered

among

the

programs

-

one which

trulyturned

up

likea tre;isureto aroyalSri

Lankan

personage

on

a quest -is

Dewe\-

Williams,aNational heritage

Award winner from

Alabama,

who makes

ayearlyjournc)'northw;irdtolendhisvoice

and

spirittoanannuiil celebrationofthecontinuingcultural tiesthat

connect

his

comniunin-

inthe South with

some

ofits

members who

haverek)catedin

New

Jersey.

Dewey

Williams'festive

communin-

celebration,togetherwitha re-created Montgolfierballoon,French

and

French-American performers andcr;iftspeople,

Newjerseyans who keep

the rich traditions oftheir.state,

and

present-day aviation

workers

will,Ifeel sure,

uncover

for

you even more

deliglitful .sercndipitiesduring your\isittothe 1

983

Festivalof

American

Folklife.

(7)

Our American

Cultural Heritage:

Old World Traditions in the New World

by ^Russell ^E. Dickenson, Director, National Park Service

TlieNationalPark

Senice welcomes

\oiitotheannualFesti\alof

American

Folklife.

We

arepleasedtoco-sponsorwiththeSmithsonianInstitution this celebrationof

our

nation'sheritage.

The

^Festivalsiteisthe NationalMail,

which

isadministeredb)'the NationalParkService.TlieMallis

one

ofthe

more

than

330

areasadministered

by

the NationalParkService; itisparticularly significantthatthe Festi\al isheld

on

suchlands, asNational Parks aresetaside topro\idealullrepresentation ofthe

American

stor\

and

torelatethe

achie\'ements,

customs and

culturesofitspeople. TlieFestival ser\'es this puqiose,tellingthe

American

ston througlimusic,cnifts

and

celebrations.

llieNational Mall

was

.setasidein 1"'90

under

the L'Enfant Planforthecir\'

ofWashington. Extending

from

the Capitol to theV(ashington

Monument,

the Mallcomprises 1-46acres

and

is

bordered by dynamic monuments, memorials

and magnificent

museums

andartgalleries

which

pa\ tributetoAmerica'splace inthearts,sciences

and

histor>\

and

reflectthecumulative genius ofitspeople.

Iliisyear's Festival

w

illfocus

on

the cultural traditionsofthestateof

New

Jersey,the nationofFrance,

and

the

communities

inthiscountr)

where French

traditions arestillstrong.X'isitorswillhavethe opportunitA' to see

how Old World

traditions

meld

withtheir

New World

counterjiartsto

form

our cherished ,\mericanculturalheritage.

We hope

)our\isitwill

be

enjoyable

and

willincludea

few moments

to

(8)

The

National

HeiitageFellou'ships P)r)gnini

has been made

possible

through

thecollaboration

and

cooperation

of

^the^National

Encloinnent

for theArts,the

Smithsonian

Institution,

and

ContinentalTelecomInc.

Bess

Lomax

Hawesisthe Directorofthe Folk.ArtsPrognim oftheStitiotuilEiuloir mentforthe.Arts.Shehiistiitight/olktDrecit

the Ciitifomia State CnirersitytilSorthhiiilge

amihasheena DeputyDirectoroftheI'esti- iHilof.AmeticanFolklife. flerptibliciilions incltuleuithco-authorBessieJones, Step^It Down:dames,Pla\>,Songs,andStoriesfrom theAfroAniericanHeritage.

SisterMildred Barker Shaker

Hymn

Singer Maine

Photo:JohnV.Goff

National Heritage

Fellowships Program

by ^Bess Lomax Hawes

Only

ayearago, the Folk Arts

Program

atthe National

Endowment

forthe Arts joinedwiththeSmithsonianInstitution'sOfficeofFolklite

Programs

to presentfifteenoutstanding

American

artistswiththever\'first NationalHerit- age Fellowshipsinthe nation'shistor\'.

These

fellowships

were

signalledbya certificateof

honor

hailingeachof thefifteen as"aMasterTraditionalArtist

who

has contributedtotheshaping of

our

artistictraditions

and

topreserving the culturaldiversit)'oftheUnitedStates."

The

eventrepresentedthisnation'sespecialadaptationoftheseminalJapa- nese

concept

of"li\ingcultural treasures." Ininauguratingsucha

program

in theUnitedStates,

some accommodation was

necessan,-to

encompass

the

enormous

rangeofartistictraditionsthathave enteredthiscountr)-during

two hundred

yearsofimmigration.Soratherthan

be

exclusive

we determined

to re\'elinthese big

numbers,

to rejoiceintheirgreat\ariet)-.Writinginthe

sunimer

of 1982,

we

saidofthefirstyear'sfellowships:

Each>ear [forward]

we

^willgreet, salute,and

honor

justa

few

ex;imples ofthe dazzling arrayofartistictraditions

we

haveinheritedthroughout

our

nation's fortunatehistory^. Eachyear,

we

willhappih'presentyet another assortment of splendid master

American

folk;irtists

and

artisans

who

representstilldifferentartisticforms

and

traditions.

We

believethat thiscan continuefarintotheftiture.^.

.

Now

^the^firstanniversan*'inthatftiturehasrolledaround,

and we

can present the

second

year'snominations -a

group

ofsixteenartistsofequivalent excel- lence

and

perhapse\'engreater\'arier\'.

A

startling

company,

^e\er\-

one

of

them

exhibitsanauthentictalent

honed

to brilliance

by

experience,passion, practice,

and

thatexhaustingrelentless driveto"doitright."

Each

"right"way, ofcourse,representsadistillationofaparticular

group

ofpeople's aesthetic choicesovertime,theirespecialpictureofthemselvesasthey

most want

to

be

seen. Inpresentingthese sixteensuperbtraditionalartists,then,^^•epresent the

most

elegant

and

creatixeaspectsofsixteen

segments

ofthatpartof

humankind

thathas

assembled

togetheras citizensoftheUnitedStates. Itisa greatjoy.

Forthis)earof 1983.

we commend

toyourattention:

Sister

Mildred

Barker,the principal conser\'atorofthe songtradition oftheShakerSociety,that tiny

group whose

intense

concern

forthe aesthetic

dimension

h;is

been

e\idencedaswellthroughitsdi.stincti\eftirniture,archi- tecture,textiledesign,

dance and

music.SisterBarker,possessed of an accurate ear

and

avoice ofgreatsweetness,hasdevoted

much

ofher longlifetoher belo\

ed

Shiiker

music

of

which

sheisperformer,lib-arian,scholar

and music

teacherall inone.

Rafael

Cepeda

^-a

name synonymous

withtheindigenousAfro-Puerto Rican musicaltraditions

known

;u>

bomba

iindpleiui.For o\erfift) years,with his wife, histhree daughters,

and

hiseight sons,

Don

Rafael's Tamilia

Cepeda"

has

presened and

presentedthe

complex drumming, dance

steps,xocal im- provisation,

and

many-layered rhythmicpulses oi

bomba

_y

plena

toaudiences across theislandofPuerto Rico.

Ray

Hicks,ston-teller-sincethe

dawn

ofhiston a

most

honorable pursuit.Ra\ sstories,

handed

d(n\nthrough generationsinhis

mountain

famih,tellaboutthe little

boy

Jack, the

one who

^killedthegiant,

chopped dtm

n the beanstalk,ouUxittedogres,

w

^ild^hogs

and

robbers,

and sened

his

mother and

hisKing.Raytells

them

masterftilh intheAppalachianstyleofhis forebears

and

inthetellingbringsali\etheepic cycles of

magic and

adventure

known

inold

Europe and around

theworld.

(9)

Stanley

Hicks,

who

standswithhiscousinRa}'asrepresentativeofthe creative traditionsthat flourishinthe close-knitfamiliesofAppalachia.

He

isa

man

thatcan"turnhis

hand

toamthing,"

from making

fmelycrafteddulcimers

and

banjos

on which

topick

dance

tunes

and sorrow

songstotellingghost stories

and

children'stales.

He

singstheold balladstoo,

and when he

can't sit stillanylonger,

he jumps up

to

dance

theflat-footed"jumpingjack"style

he

learned longago.

He reminds

usof

our

grandfathersintlieda)'s

when

every

man had

to

be

notjustabread-winner butateacher,philosopher,judge,

and handyman,

creatinga

whole

lifeout ofthe wilderness.

John ^Lee ^Hooker,

^\\^ho,^according^to^the^critic

Tony

Gloverispartof a "rapidlythinninggroup,thefirstlineofthepost

war bluesmen

^.. . standing asalinkbervAcenthefieldhollersofold

and

thesmack-soul oftoday. As long as

men

like

Hooker

arealive,sotoowill

be

thebluesthat

was born

in Missis- sippi...It's

more

thanamusicalst}ie,it'satribute tothe

human

spirit^.^.

.

Hooker

is

one

of thegiants."

Miguel Manteo,

today holdingthecovetedtitleof"Papa Manteo,"the fifthintheline.

He

representsfivegenerationsofSicilian-

American

puppeteers

and

the

world

ofcharacters

from

thecourth chi\alricpastthe)-bringtolife

from

theancientscriptsdetailingtheepicadventures of

Charlemagne and

his knights.

The Manteo

SicilianMarionetteTheatreisanationaltreasure,alive, well,

and

flourishinginthe heartofBrookl)Ti;Papa

Manteo

isitsmemor)-,its arti.sticconscience,

and

itsstar.

Narciso Martinez,

thepioneer ofthebutton accordion,theexpressive heartoftheTexas-Mexicancoiijuntomusicaltradition. Inthe 19thcentur\'on small

town

bandstandsacross central

and

southernTexas, (]zechoslo\;ikian, Anglo,

German and Mexican

musicianss'wappedtunes, texts

and

musical ideas.

Today

thehiuipangos.redowcis. polkas,

and

waltzes of

"Don Chicho

^"Martinez bear

happy

witnesstothatfmitfulperiodofmusicalinteraction.Tlieystand witnessaswelltothe^creati\egenius ofthe

Texas-Mexican

musicians

who

carved this

new

musicalst)ieout ofthethorny southwesternlandscape.

Lanier Meaders,

Georgiapotter,a

second

generation craftsman

whose

strongstraightforwardshapes

and

piedalkalineglazesrepresentatraditionof creativit) thatstretches

beyond

Georgiaintothe largerpotter>-

complex

ofthe eastern seacoaststates.Meaders' earth-brown.oli\e-green

and

rust}-grey

stonewear

pieceshavea^vitality'thatbespeakstheself-sufficientfrontierspirit;

hissignature face jugs

demonstrate

the wit

and

sophistication

common

toso man)'countr)'people.

AlmedaJames Riddle

^-the great ladyof

Ozark

balladr).She

once

listeda

hundred

songs shecouldcallto

mind

rightthen,

and added

thatshe could

add

another

hundred

tothe listifshe

had

the time. "Grannv,"asshe prefers to

be

called,singsinthe

unaccompanied

wa)-ofsouthernballad singers,

and

usesadecoratedsingingst)leofgreat antiquit)-, frilledwith falsetto leaps,breaks,

and

vocalornamentation.

Her

repertoireisextraordinan-;

hersingingimpeccable.

Joe Shannon who

plays theiiil/eanti

(elbow)

pipes ofIreland,

one

of the

most

technicalh'

complex

musical instniments ever

imented bv man. A

re- tired

Chicago

firefigliter.Joe

Shannon

took

up

thepipes ofhischildhoodinhis lateryears to

become

theIrish

American

virtuoso

on

thisextraordinar\-instal- ment.His

performances

are

crammed

with ornamentation ofallkinds,each tuneastunning,sho\\pieccofepic proportions.

Simon

St.Pierre - lumberjack,fiddler,

and acknowledged

master of French-Canadian

dance

music. Hisreels

and

Uvo-stepsareexemplar),hisrare Canadian\\'altzmelodieselegantrenditions ofthat

complex

tradition. In

mam

ofhistunes

he accompanies

him.selfwithfootclogging,apractice

common among

old-timeFrench-Canadianfiddlers thatadds\er\'e

and

energ)-

and

drive

and

spinsthedancers

down

thefloor.

Alex

Stewart,

cooper and woodworker. He

canm:ikean)thingthat can

be made

outof

wood, he

willtellyou,

and

without usingeitherglue or

nails.

He

has

made

countless bcwls,ladles,chairs, savings, tables, .spinning

wheel

parts. But thestronglinesofthetraditional .shapesofthecooper'sart-his barrels,buckets, piggins

and

churns, so eleganth'cnifted,.soingeniously

RafaelCepeda

Bomha

and Plena MusicianandDancer Puerto Rico

Photo: LuisReyes

Ra\-Hicks

AppalachianStoryteller

Nonh

Carolina

Photo:JackSchrader

Stanle\-Hicks

Appalachian Instrument Maker, MusicianandStorsteller NorthCarolina

(10)

John^LeeHooker

BlLiesGuitarist/Singer MississippiandQilifomia

Photo:MannaFusco

MigLiel"Papa"Manteo Sicilian-AmericanPuppeteer

New

York

Photo:MarthaCooper

NarcisoMartinez

Texas-MexicanCo;7;W«toAccordianist Texas

Photo: CarlosChavez

ChamizalNationalMemorial.ElPaso.Texas

understand

why

thehonest craftsmanship ofAlex Stewart is

honored

the length

and

breadtiiofTennessee.

Ada Thomas, one

oftheremaining masters of

double-weave

bastcetrv' intheC;hitimachatribeof Louisiana.Chitimachasplitcane

work

- long recognizedforitsextraordinan elegance -isintricatelypatternedwith

dyed

stripsofred.yellow,

and

blackindesignstaken

from

nature -"blackbird'seye,"

"rabbitteeth"

and "mouse

tracks."

Museum

collections arefortunatetocon- taint)neof

Ada lliomass

pieces,assheis

one

ofthe

few nowadays who

can handlethe

complex

technique

by which

the inside

and

outsidebaskets are

\\'o\'enasone.

Lucinda Toomer,

aBlackquilter

from

southwesternGeorgia.

Maude

\X;ihlman, scholarofAfro-

American

quilting,writes,"She-willnot duplicate the

same

patterninsuccessi\'e quiltblocks but

chooses

to take

one

pattern

and

manipulateitinmultipleways.

Her

visualimpro\isationsestablishLucindaas anartistin totalcontrol ofherart

form

inthe

same way

thatthematic musical improvisationsindicateamasterjazzmusician."

Her work

isdazzling,asuperb

example

ofthe\irtuosity tobe foundinthetraditionalarts.

Lem Ward, who

withhislatebrother,Stephen

Ward,

broughtthe

making

of

duck

decoys,

once

apurelyfunctionaltraditionalcraft,intoawidely

acknowledged and

formalized ornamental artform.Tlieirseminal explorations into var\ing poses, positions, shapes,

and

paintingtechniques increasedthe rangeofefltcts availabletoall

woodcaners, and

inspired

hundreds

ofcrafts-

men

todevelop e\er

more

realistic

and

elegantbirdcar\ing.

Dewey

P.

Williams,

^the

acknowledged

master

and

patriarchofthe BlackSacred

Harp

singingtraditionofsoutheastAlabama. Forfort)years

he

has

been

"tuner"for hissinging

comention

^-aposition

resened

forthe

most competent

singers. Hisvivid personalit}-,engagingenthusiasmforhismusic,

and

compelling^'ocalsr\leha\ehelped

keep

an importantaesthetictradition alive.

We

areallinhisdebt.

Tliese,then, arc the sixteenartists

nominated

in this)earof

1983

- each of

them cxemplan

^,eachof

them

representinganother fragmentofbrilliantcolor

inthe

American

mosaic.

And behind

eachstandsaphalanxofothercreative Americans,thatreachesacross

neighborhoods and back

throughtime, lliey arethe

ones from whom

our

honorees

learned,theones

who made

^the

mistakes,testedthe limits,

confirmed

the aesthetic centers. In

honoring

our sixteenartists,

we

also

honor

theirforebears,

and

thisis,perhaps,theglon'of theNationalHeritageFellowships,thateach

one

representsnotasingle creativegenius butalinkageofpeoplejoinedtogetherto

produce

beauty-

and

truth

and

meaning, eachintheir

ow

n .specialwny.

We

National Enciounieiitjbr the Arts'

National

HeritageFellou'shipsuill

be awarded

annually. TfjeFolk Arts

Program of

^the^National

Endoinnent for

^the Arts icelcomes noniimitions

for

^the ^/')S-i^HeritageFellowships. Please

send

your nomination

tothefolloicingaddress

by October 3 F

^I^{->^3}^{- Folk}^Arts

Pi-ogram.

National Endowment

for theArts. 1

100 Pennsylvania

^Ai'e.,N.

W,

Washington.

D.C

20506.

Pintail dect)\'cardedb\'

Lem

'VC'ardofCrisfield,Md.PhotobyKennethBasiie

(11)

LanierMcaders SouthernPotter Georgia

Photo:John Burnson

AlmedaRiddle Ozark^B;illadSinger Arkansas

Photo:SmithsonianInstitution

Joe Sliannon

Irish-American UilleannPiper

Illinois Photo:MickMoloney

SimonSt.Pierre French CanadianFiddler Maine

Photo: Joe Pfeffer

Alex Stewart AppalachianCooper and

Woodworker

Tennesse

Photo:RobertKollar

Ada

Thomas

Chitimacha Basketmaker Louisiana

Photo: Indian Artsandcrafts Board, theU.S.Dept. oftheInterior

Lucinda

Toomer

AfroAmericanQiiiltmaker Georgia

Photo:Maude Wahlman

Lem

W;ird

ChesapeakeBay Deco\'Caner Mar\'land

Photo:HistoricalSociety

'! .1 ^-

!!"'V\\\

.

mmm

I'.( 1 • • V,^• ;«\\V

Dewey

Williams Black SacredHarpSinger Alabama

Photo:HankWillet

(12)

(^>ll.ik(_i1i<ll('.M1IH11k\^(

c;<)unt\.

New

^Jersey,

PhotobyDavidS.Cohen.

ise.Salem

We

Neil'Jersey

Program has been made

possible

through mciny generous

coiponite

and

private

donations

to FestivaliWewJersey ^'83!.

a

nonprofit coiponitionestalylished

and

chaired

by Governor

T/joniasH.

Kean

to

/and Mew

Jersey'sparticipation in the 1~th

Annual

Festival

of American

Folklife.

New Jersey ^Folklife:

An Overview

by David S. Cohen

>X^en most

peoplethinkaboutfolklore,theythinkabout

some

place other than

New

Jersey.Folkloreis

commonly

identifiedwithrural settings,

and

New- jerseyisbasicallyurban,suburban,

and

industrial.

There

are

some

ruralareasin

New

Jersey -thetaickfarms of"the

Garden

State"

and

thePineBarrens of SouthJersey- buttheformerarefastdisappearing

and

^the latter.sur\'i\eonly because theyarepreserved

by

thestate.

Most New

Jerseyans^li\'e

and woi

kin thedenselypopulated corridorthatcuts across themid-section ofthestate.

Butfolkloriststoday recognizethatthereisalso afolkloreofthefactor}',a folkloreofthecit)-,

and

afolkloreofethniciU',

and New

Jerseyprcnidesarich sourcefor their study.

WTiile

New

Jersey

was one

ofthefirststatestoindustrialize,itsearliest industries

were

rural,noturban.

The

colonialironindustry'

was

locatedinthe

mountains

inthenorth

and

the

bogs

inthe south,

and

there arestill

some

today

who know

theartof

producing

charcoal -thefijelusedinthese early iron furnaces.Glass

blowing was

anothermralindustn-inSouthJersey,althougli

abandoned

iron-mining

and

glass-blowing

towns

inthePineBarrensare

New

Jersey'sghost

towns

oftoday.

There was

plenn-ofopportunin-forindustrial

and

labor lore todevelopearly in

New

Jersey. In 1''92Alexander

Hamilton and some businessmen founded

the^Societ)'forEstablishingI'sefulManufacturesinordertodevelop Paterson asthefirst

American

industrialcit}. Inthenineteenthcentur} Paterson

became

acenterofsilkmanufacturinginAmerica.

Newark developed

aleather

and

tan- ningindustr}-,

and

Trenton

had

the

John

A.RocblingIronWorks.Tlie industrial

de\elopment

ofthestate

was

aidedb\ the

constmction

intheearl\ nineteenth

centun

of

two

canals-_theMorrisC^analacross

North

Jerse}

and

the

Delaware and

RaritanCanalacross CentralJersey.

The

"tillersharks"(

boatmen

)

on

the canals

developed

their

own

occupational folklore.

E\en

toda}'

some

scholars perceiveahigh-technolog}' folkloreinthe

form

of jokes circulatedinoffices

by

cop}'ing

machines and

noncop}Tiglited

games

pla}ed

on

computers.

The

streetsof

New

Jersey'scities

abound

\\ithtraditionallifeaspracticedfor generations.

One need

onlyto

walk

through

Hoboken

or

Bayonne

tosee children playingstickball,

hop

.scotch,and

Double Dutch jump

rope.Paterson hasafarmers'market

where

vendors peddletheirproduce. In "TlieBurg"{the Italian-Americanncigliborhoodin Trenton)

one

canseepeoplesitting

on

their stoopsvisiting

and

talkingwiththeirneighbors. Infact,

New

Jerseyevenoffers arichvarietv'of

suburban

folklore,

which

includessuchdiversegenresasjokes toldb}

housewives

atcoffee klatschcs,bridal

showers and

Tuppervvareparties,

and masquerading by

teenagersatthe "Rock}

Horror

^Picture

Show

^"

New

Jerseyispopulatedb}-alarge

number

ofethnic groups,

manv

of

which

haveclusteredincit}'neighborhoods.Tliereisa

Cuban communitv'

in

Union

Cit}',aPortuguese

communit}

in

Newark,

aHungarian

communitv'

in

New

Bruns\vick,

and

aJapanese

communin

inruralSeabrookFarms. Ilic} arenot the

onh

ethnic

groups

ⁱⁿtheir locales,but theyarethelargest

and

givethe

neighborhood

itsidentit},often reflectedinforeignlanguagesignsinstores

and

restaurants.For

mam-

ethnic

groups

folktraditionsaretheir

symbols

of identit}'.Tlieir ethnicit}'isexpressedin

foodw

ays,language,music,dance,and

festivals(ofteninethnic

costume

).

Some

festivals,suchasthosepresented

weekh

each

summer

atthe

Garden

StateArtsCenter, aredesignedtopresent ethnic traditionstothepublicatlarge.Others,suchasItalian-Americansaints' festivals,areintended primarih forthe

members

ofthe

communit}

,although thepublicis

welcome. Such American

expres.sionsofethniciU'difler

from

thoseinthe

Old

\Xbrid, ha\ing

been

adaptedto

new

settings. Music,suchas Likrainiantroyisti

muzyky

⁽trio

music

),

once performed

informallyat

10

(13)

weddings,is

now

formallypresented

on

astageatapublicfestivalwith dancers

infolkcostume.Craft traditionsthatusedto

be

a \italpartofrural

economy

in the

mother

countn-are

now

miniaturized

and made

intoahobby.

Blacks

comprise one

ethnic

group

in

New

Jerseywitha particular!)-varied histon^. Because Newjerse\'

had

sla\en',there are

some

Blackfamilies

(many

of

whom

ha\e

Dutch surnames) who

cantrace theirancestry-tothese

New

jerseysla\es

and

freeBlacks.

Most

Blacksⁱⁿ

New

^Jerse\-

came

northaspartof theGreat Migration during>X'orld

War

1.

To

their

number were added West

Indian Blacks,suchas Haitians,Jamaicans,

and

Afro-Cubans.

There

arealso

two

encla\'epopulationsin

New

Jerse)'

-

_the

Ramapo Moun-

tainPeople,

who descend from

freeBlacks

who were

culturallyDutch,

and

the Pine\'s,

who

usedtoliveisolatedinthe Pine Barrens.Tlieoriginof

both groups

ha\'e

been

forgotten

and

legendsha\'et;ikentheplace ofhistor)'.XXIiilethe past ofthe

Ramapo Mountain

People has

been

reconstructed,thatofthePineysis

yet to

be

researched.

New

Jersey

was once two

colonies

-

EastJersey

and West

Jersey.

The bound-

an-lineran

from

apoint ofthe

upper Delaware

River to the

mouth

ofLittle

Egg Harbor on

theAtlantic.

There

is stilla distinctdifference

between North

Jersey

and

SouthJersey

which

isreflectedinthemajorlinguisticdistinction

between

theInland

Northern and Midland

dialects.Inthenorthasmallstreamiscalled a"brook,"whileinthesouthitisoften calleda"run."Tliereisalso adifference infolkfurniturestales;forinstance,

between North

Jerseyladderbackchairs,

which resemble

those

from New

England,

and

the SouthJersey \ersions(such asthoseof generations ofthe

Ware

familyof

Cumberland Counn), which

resemblechairs

from

Penns\i\ania.Tliereise\'enadifl'erence

between

the splitoakbaskets

made

inSouthJerse\

and

the\ariet)-ofbasket t^pes

made

in

North

Jersey.

Be\'ondthisbasicnorth-southdi\ision.

New

Jersey^ischaracterized

by many

otherfolkculturalregions.

Red

sandstone

farmhouses

withbell-shapedroofs,

Dutch

barns,

and

ha}'barracks⁽ha\'stackswith

moxeablc

roofs)definethe

Dutch

culture areasinthe northeast. Pattern-endedbrick

farmhouses and

"plain-st^ie"(simplydecorated)

meeting

housesdelimitthe

Quaker

culture areainthesouthwest.

Log

houses

and

split-level

bank

barnsreflectthePemi- sylvania

German

culture areainthenorthwest.

Wood-frame

saltboxhouses

and wing-headed tombstone

car%ings

mark

the Puritan influenceinthe north- central region.

Tliereisalsoamaritimecultural

complex

alongthe

New

JerseyShore.Itcan

be

seeninsuch indigenous

New

Jerseyboatt)pesastheSeaBrightskiff(used in

pound

^netfisliing),thegar\ey(usedinclamming),the

sneakbox

⁽usedin

duck

hunting),

and

the

schooner

(usedinoystering).Al.sopartofthemaritime traditionistheartof

decoy

caning,perhaps

New

Jersey's

most famous

folkart.

There

arestill"mudwallopers,"

who make

theirliving

from

trappinginthe wetlands bordering

on

Dela\\areBa\'.

Because ofitssmallsize

and

complexity,

people

ha\'e

concluded

thatthe statelacksanidentity.

The

identityof

New

Jersey,

however,

is

found

inthever\' diversity'ofitsfolklife.

DmidS.CohenisCoonUtuitorofthe Folk- lifePn>gnimat the Seivjerse)' Historical Coviniissio)!andhasiiiittenon,\ewJersey folkloreandlocalhistory:HeIxistaughtfor

nineyears atRutgersInii'ersityinyewark priortobispresentposition.

Sew

Jersey.NewBrunswick. Rutgers Iniversit}' Press,forthcoming

andDonaldPI.okuta.

Ukrainian-Americans:AnFthnicPortrait.

Trenton;

New

Ier,se\'FlistoricalCommission, 1982.

Tl)eRanuipoMounttiin People.

New

Brunswick: RutgersL'ni\ersity Press,1974.

Folklife in.\eu Jersey:

AnAnnotatedBibliographyTrenton:New

Jersey HistoricalCommission, 1982.

Halpert.Herbert. "Folktalesand Legends Fromthe

New

JerseyPines;A("ollectionand aStud)"UnpublishedPh.D.dissertation. Indi anaUniversit)-,1947.

"SomeBalladsandFolk Songs from>it:\\Jerxv"Journal of.American Folklore.S2(19.V));52-69.

Suggestedfilms

/ntheBaniegatBayTradition NewJersey Network. 1'S"'3ParksideAvenue. Trenton.

Newjersc)'086.38.

We

Burg:AStateofMind. 30min.NewJer- seyNetwork, ¹5~3ParksideA\enue.Trenton.

New

Jerse\'08638.

FamousTiller .Sharks.30min NewJerse\

Network.ls"'3ParksideAvenue.Trenton.

New

Jersey08638.

Ai/ia'SeHahlaFspanol. 1hr.NewJcr.se^

Network. ¹s~3ParksideAvenue,Trenton,

New

Jersey08638.

SouthJersey ladderback rockeraitribtitedto MaskelWare.

Photo Courtesyof theNewJerseyStateMuseum.

(14)

shells thatonce housed^oystensnowembellish thishouseinPonNon'is,Neu-jersey,an oyster townonDelawareBa\-. PhotobyMaryHufford

Maritime Resources

and the Face of South Jersey

by Mary Hufford

Water

has

shaped New

Ierse\'as

much

asitispossibletoshapea state withoutcreatinganislandorapeninsula.

Whether

salt)^,brackish,orfresh,

water

^is

everywhere

inexddence -

molding

thestate'scontours

and toponvmy,

itstechnology'

and

character. Itappears

imder many

guises, asbogs,ri\ers,

swamps,

marshes,bays,inlets,cripples,spongs,puddles,spiliwa>s,and watersheds.Tlie

names

for

some

ofthese are the solereminders ofthe

American

Indians\\'hofirstattendedtothem,

names

like

Metedeconk, Manasquan, Hopatcong.

Raritan,

and

Kittattiny.

Other names

for

water

places-Bi\alve.(Camden,Fort Republic,BarnegatLight,Keansburg,Atlantic Cit),Sandy

Hook,

Tuckerton,A.sbuPi Park,Wliitesbog - reflect

more

recent

waves

of settlement

and

e\ents -the o\sterindustn,shipbuildingcompanies, theCoast(iuard, (CaptainKidd, tourism, legalizedgambling,\\brld

War

^I,

prohibition

and aimmnning, Bmce

Springsteen,

and

the nation'sfirstculti-

\ated blueberries.

Wliile

North

jersey'sculturalfacegenerallybearstheimprint ofplacesin far-flungpartsofthe globe,

much

ofSouthJersey's portrait

emerges

aspartof thepeople's respon,se to theresourcesthere.Perhaps

most

basicofallthose resourcesiswater. Ilie coa.stalplainsha\e

been

cc^mpared,in fact,to agiant sponge,through

which

watercirculatesfreei\,surfacingas freshwaterinthe ,swamps,as bracki.sh

w

aterinthesalt

marshes

⁽locallycalled

"meadow

s"),

and

assalt

water

intheba\'s. Residentsof the coastal plains circulatewithease

among

thedifferent settings,har\estingtheresources they need,asthesea.sons

and econom)

permit. Ha\ing

"worked

thec^^cle^"for

hundreds

of)ears.South Jerseyans have

been named

by those resources -as

baymen, woodsmen,

mudwallopers,clamdiggers,and pinexs -

and

have

bequeathed

tothestate a richlegacv'offolktechnolog)'

and

literature.

Tlietidesare

omnipresent

^-theimplied

backdrop

forthe maritimetradi- tionsdisplayedat this year's Festixal

on

the NationalMall.Tlie tideispresentin thechanty

"bhwing"

of the

menhaden

fishermen

from

PortNorris

and

inthe gla.sspitchers

blown

atMilhille;inthe

duck

"stools"(decoys)

caned on

BarnegatBa\'

and

inthesaltha)-twisted intorope

on Delaware

Bay.Itsimprint

is

borne

b\ the Jense) (iar\'e)'-thatsquare-bowed, indigenous

work

boatu.sed

by

clamniers.Itisevenpresent,

some would

^sa\',ⁱⁿthe faces of

ciammers weathered

b)'.salt.spra\ flung

up

during \igorousswells.

Tlie

moon,

naturall),

must be

creditedinpart.

Not

theblue

moon

of Kentuck)-,orthe

Ozark moon

ofArkansas,butthe Jersey

moon,

of

which

ClifiordEayrehas written:

Rising

up from

thesea,she isgrandertome, Tlianathousand worlds dn'tingby.

As shefloatst)'erthe ba\.sheis v\ ell

on

her

way To

her throne highinthesk)

.

Hiding nnriadsofstarstothetuneofguitars, Tliat's

when

alltrue lo\ersfall-

Forthe

mellow moon

ofold

New

^Jerse)'

Isthegrandest

moon

ofall.

The moon,

exertingitsinfluence

on

the AtlanticOcean,assisted inthe past withthe

hanest

of

menhaden

fish.Also

known

as"mossbunkers,""alewi\es,"

and

"pogies," the)-sA\-imin

enormous

schoolsailalongthe Atlantic.seaboard.

Beforeh)'draulic

pumps were

introducedinthe 195{)stt)bringfishaboard, the

12

(15)

Iiancst

was accomplished

throughthesynchronization of

men,

music,

and

the

seait,self.Inthechanties the

rh)lhms

ofthe sea arefusedwiththe

rh\thms

^of

traditionalAfro-

American work

songs,

and

thestoriesofthefishermen

them,sehes.Robert

Ames,

ofPort Norris,recallsthe

importance

ofthedifferent

rliuhms

inaccomplishingthework;

There's

no way

inthe

world

thatthirr\-rwo

men

canraise eighty'tonof fish,unlessthe)'

do

itinawa\'thatthe seahelpsthem.. .

You know what

theysa)'?

When

you're

down

there holdin' on,the\'say',

"Hold

on,boys,"

say,"Waitaminute,"say,

"The

sea'Ugiveittoyou." After awhile,she'll

go down on

aswell-_she'll_lighten_up.

The

chant)'leader

was

ofspecialimportance.

He

ledthesongsthat,as Robert

Ames

tellsit,gayethefishermenthepovyertoraisethose tonsoffish:

^bu know what

achant\'

man

is?

A

chanty-

man

isjust

someone on

the boatthat'sold

and knows how

to

make rhuhms

for

you

^-

and

m;ike\

ou

feel

good and make

the

work

easier.

He

don'thaveto

be no

captain,

he

don'thaveto

be no mate

^-just

somebody

withalotofexperiencethat likestosing.

Inthe songs, the

working men

played,invokingjustice,forexample,

on

the

much

resentedcaptain

and

hismate:

Captain,don't

you

see?

Dark

cloudrisin'over

yonder -

Signofrain,Lord, Lord, signofrain.

Captain,don't

you know,

the

whole damn crew

isgoin' toleave

you

^- Signofrain.Lord, Lord, signofrain.

The

products of SouthJersey'sdifferentwatersareintricatelyconnected.Oil

from menliaden

fish

was used

tomeltJerseysand -aproduct ofthetide's relentless

pounding on

granite

-

to

produce

thecelebratedJerseygall glass.

Sand

was

usedasaninsulatorinthe m:ikingofcharcoal,anotherfuelusedin theglasshouses.Oysters

were

soakedincedar

water

for flavoring,

and

Jersey' (x'dar,the

syvamps

gifttothe boatbuilder,driftsthrouglithebrackishestuaries inthe

form

ofBarnegat

sneakboxes and duck

decoys.

Much

of the material culture

found on

thecoa.stalplainsis

unique

to

New

Jersey.

While

ducks,forexample,are

found

throughouttheyvorld,onlyin

New

Jersey yveretheyfirstgreetedyyithBarnegat sne;ikboxes

and

decoys. Ilie

sneakbox,an ingenious

gunning

skiffyyithmultiple functionsranging

from

a .sailboattoa stationary

duck

blind,fitshand-in-gloveyviththesaltmar.shesof SouthJersey.It issmall

enough

that

one man

canpull itoverland,

and

its

spoon-shaped

hullenablesitto glidethroughareas

marked

asland

on

coastal

Menhadenfi.shermenhauliniheircatchoffihe Atlantic coast,ca.1955.Photo CourtesySeacoast Products

(16)

TheBamegatBa>-Sneakboxisuniquelyformed tomeettheenxironmentalchallengesofSouth Jersey'shaysandestiuiries.

SketchbyAnthonyHillmanPhotobyMaryHufford

(17)

"Every kind of

meat

thereis,"reportsChatsworth's

Johnny Broome,

can

be

foundin asnappingturtle.

"\'ouiviiow

w hy

thatis,don'tyou?

Because when God made

the

world and

he

made

allthe animals,

he had

a

bunch

ofpartslefto\'er.Sohe thre\A allthosetogether

and made

thesnappingturtle.

One

trapperinSouth Jersey usedtoelicitgasps

from

hisneighbors

by

kissing

li\'esnappers

on

theirnoses.

>Xliileclams rankas

one

of

New

Jersey's

most

prolificmaritimeresources,

New

Jersey'so\'erallportraitisfar

more

enlianccdb)'theclamdiggerhimself.

The

old-timeclamdigger -afigureextantinpeople's

memories

sincebefore theturnofthecentun'

-

isoften portra\'edasanimincible,solitar\',usually irasciblebut alwaysbelo\'edcharacter.

He

is

commonl)'

seen

working

thebay withscratchr;ike

and

tongs

from

hisgar\^e\'.Wliilehislife

may be gcnerned

^b>' thecaprices of thetides,theweather,the

economy, government

policy,

and

theclamsthemseh'es, thereis

one

thingit

seems he

cancontrol:hisself- portrait.

Merce

Ridgway,a \>C'aretownclamdigger,celebrateshislotto thetune of"Frankie

and

Johnny."

Now, some

peoplethinkaclamdigger.

He'sgotitmight)'fine-

Ridin'alonginhisold

work

boat Inthe

good

old

summertime.

It'sabeautifulda\

,

Out on

BarnegatBa)

.

Now,

if

you

should

chance

to

go

closer.

You'dseethathe's^^Tinkled andlined.

From

^the rain

and

^the

snow

,

Tlie

wind

thatblows.

But

he

don't

seem

to

mind

Yeah,he'ssuregotitfine-

He

goesallthe time.

In luckerton(

nicknamed 'Clamtown

^"), inMazzarelli'sTavern,hangsper- haps

one

ofthe

most

mo\'ingportraits,lliesubjectofthe paintingisapatron of thetavern, Jeft Allen, a

man who

laysclaimtothetitleof "old-time

clamdigger.^"Tliepainter.

Win

Salmons,also a

bayman,

explainedthat

Jimmy

M;izzarelli

had commissioned him

topaint Jeffs portrait

because he

thought so

much

of him. Notinglocalresponsestothe painting,,Salmonsexplained:

"Hielittlesmile

he

^h;i.sist)picalofhisch;u-acter

and many

people along theshore

and

the

beach came

cnertosee the painting,

and when

the\' saw,theysaid, "VCliy,thatsjeftl^"VClien_Jeff

came

intoseeit,

he had

a redhaton,

and he saw

it,

and he

smiled

and walked

over

and he hung

hishat

on

the painting

and

leftit therefor\\eeks!

There may be

otherplacesinthe

world

withsaltmarshes,

moons,

clamdiggers

and

Jeffs,perhaps even withthe ,samenames. Butthe faceofSouth Jerse\ differs,asitsfeatures arechronicled inthestories,songs,artifacts, recipes

and

portraitsthatensurethat thisplaceistheonly

one

ofitskind.

MiiiyHufforclisthe FolklifeSpecialistfor theAmericanFolklifeCenter.Lihraryof Congress.Her workincliutestheh'olk.Artists- intbeScljoolsProgramin.\enjersefcinci regionalstudies.Sheiscurrentlyadoctoral candidateintheDepartment of^Folklore andFolklifeStudiesat the Universityof Pennsylrania.

Men

All Singing. Norfolk,

\'irgini:i:Donning, 19^8.

Guthorn.Peter Tl}eSeaBright Skiffand OtherJeiseyShoreBoats

New

Brunswick:

Rutger>I'niversit)-Press,19^1

.

\\'e\gant.Cxirnelius

Down

Jersey Folksand

IheirJolK.PineBarrens..Salt.Marshesand SeaIslands.New^'orkand London:

D

Apple- lon-CentunCo.,19-i0.

left."Mien:inoldtime chundiggerfromTiiekerton, .IS\XinSiilmonsportra\ed him.Photoby R(ck Koiinchik

(18)

Foodways ⁱⁿ

South Jersey

by Angus ^K. ^Gillespie

The

cuisineofNe\\'jcrscn reflectsthediversity'ofitsethnic population.

Thus

itisHitiletosuggest an\

one

dishas "t)picai"of

New

Jersey, for

one

canfind

Cuban

foodinL'nionCity,Portuguese foodinNewari<,Jewish foodin

West

Orange,

and

Hungarian foodin

New

Bruns"wick. hifact,nearly an\ ethnic cuisine

one

canthink ofisprepared

and consumed on

a daily basis

somewhere

in

Newjersey. Most

people\\

ho

ha\eattemptedtocharacterize

New

Jersey's cuisinehavefocused

on

thisrichethnicdi\ersit\'.

There

isanother way, however,to

view

the topic- througharegionalapproach.

New

Jersey stretches

from

the

mountains

ⁱⁿthe north\\cstthroughthe urban corridorinthecentertothe PineBarrensinthesouth SouthJersey^is particularlydifferent,lacking thepopulationdensit)-of therestof thestate.In the

middle

of theEasternMegalopolisthePineBarrens -ironically

named

.sincethey

comprise

avast\\ildernessforestofoak

and

pine,

occup\

ingnearlya quarter<rfthestate.

A

fe\\'ofthepeople

who

li\einthisareaha\e

been

there for

many

generations,

some

of

them

tracingtheirfamilyhistor\ topre- Re\()kitionan-da\s. Ilicsepeople ha\ee\-ol\ed a distinctlifestyle;their\\ a\-of

life isba.sed

on

asmall

community'

in aruralsettingv\hichhas

been

relatively isolatedfor

many

years.Asa result, theircultureis

ven

tightlyknit

and homogeneous.

Outsiders,\\

ho

had difficult)'understandingthesepeople,calledthem, derisively,"Pineys." Butinrecentyearsthepeople them.sehes

haw embraced

the

term and now

acceptitwithpride. Partof

what makes

thePine)'distinctive ishis

commitment

to.self-sufficienc). HietruePineyisfiercely

proud

ofhis abilirs to sur\i\e

w

ithoutbeing

dependent on

a regularempltner.

He ma\

acceptseasonal

emplo\

inent from timetotime,buthe remains fundamentally his

own

boss, free to

walk

offthe jobatanytime.

How does he manage

to achie\cthis

emiable freedom?

I.argeh'throughhisself-reliance

which comes from

anabilit\ toli\e oft theland. Inpracticalterms,theSouthJerse\ Pine\' relies011three resources -hunting, fishing,andgardening.Toacliie\esuccess

inthese threerealms

depends upon

anintimate

knowledge

ofhis land.scape,

and

whilethetopicalPine) ma)'notha\'e

money

inthebank,

he

usuallyhas food

on

the table-

and remarkabh good

fareatthat.

0\er

the)ears,the Pine) has de\eloped\\a)sofpreparingthefood

which he

wrests

from

hisenxironment.fortunatelyforus,these recipesha\'c

been

recently

compiled

by Arlene MartinRidgv\'a)',

who

put

them

togetherin a

book

withthewhimsicaltitle,

Chicken

Foot

Soup and

OtherRecipes

from

thePine Rcinviis.^'

Here

arethreeofthem.

The

absolute mainsta) of the Pine) dietisveni.son.

To

the extent thatthe Pineycan providefor hisfamih b) hunting

game,

heisindependentof the supermarket.

To

the Pine),thedeer huntisnotfor sport;itisaritualofsur\ival.

Deer Stew

2

pounds

ofdeer meat, cutin

2inch cubes Pepper

I

cup

water

I largeonion,

chopped,

or4or S.small

whole white

onions,peeled

,^

medium

potatoes,cut inquarters

3carrots,cutinhalflengthwiseandinhalfagain

' Printedwiththepermissionof the Rutgersl'ni\ersir)'Press.

16

American Folklife

1983 Festival of

American Folklife

Smithsonian Institution

National Park Service

^

Hl^ j^^>tY

hmc

bow

—

1983 Festival of

American Folklife

Smithsonian Institution

National Park Service

June 23-27 June 30-July 4

Appreciating and Protecting

Our Nation's Rich Cultural Variety

would be

program were

my own home

New

and

among whom

done

and domestic

To

Newjerseyans and

French from

we

wish

welcome and

1983 marks

which was

New

and which

marked

end

American

depth

our

and

importance

Garden

own"

what we

program

and

commitment

The

you

been

enjoyment and

who keep

communities and

American

more

communit)

and

and

They

among

worthy

our

and

A concern

began

program

Endowment

program honoring

and we hope

The

manned

once

grown,

workers

meaning

and

them perform

and

hope you

1983 ^Festival of

1983 ^Festival of

June ^23-27 June 30-July 4

Appreciating and ^Protecting

^and

^among whom

by ^S. ^Dillon ^Ripley