Another program, Folklife of African Immigrants, illustrates the many traditions of recent immigrants to the United States from Africa. These immigrants participate in changing the culture, as people, families, and communities find their place in American society. Over the past decade, the festival has produced more than a dozen television documentaries, a number of Smithsonian Folkways recordings, teaching guides for schools in several states and various regions of the United States. Held in partnership with the National Park Service and spread out in a sea of large white tents across the National Mall, the festival is an annual living display of cultural heritage from across the United States and the world.
Folklife has featured more than 16,000 musicians, artists, performers, artisans, workers, cooks, storytellers, ritual specialists, and other exemplars from many ethnic, tribal, regional, and professional cultures. The festival is a curated, research-based production based on the efforts of Smithsonian staff, academic and lay scholars from distinctive countries or regions, and ordinary people who know a lot about their community. The festival is free to the public and attracts approximately one million visitors. As the largest annual cultural event in the US capital, the festival offers a glimpse into this journey.
FESTIVAL BACKGROUND
Wilgus, Don Yoder and Archie Green; architect James Marston Fitch, geographer Fred Kniffen and several international scholars. Others with a social activist orientation from the Civil Rights and Labor movements—Miles Horton, Bernice Reagon, Pete Seeger—also included.
THE FESTIVAL MODEL
Paul Richard of The Washington Post wrote about the festival: "The Smithsonian's marble museum is filled with beautiful hand-worn things made long ago by forgotten American craftsmen. Festival, from the Festival of Michigan Folklife to a national festival for India , from a festival of Hawaiian culture to an indigenous culture and development festival in Ecuador, some from the country of the Tru-Union, some exhibitions from the country. example of the affinity and interaction between people and the nature than the Mississippi Delta Today's Delta is still largely rural and agricultural, its economy very closely tied to the land.
TENNESSEE
Agricultural interests began to drain the hinterland in the 1970s, changing the environment, Gregory argued, to the point that "today the original landscapes can only be seen in the wilderness." You want to know the truth about it. At the end of the year, the boss gave you what he wanted you to have. A great man bought this land. They give nine dollars and acreta fourteen. For example, travelers on Highway 61 approaching Ergemont, Mississippi are sometimes surprised to see several large, welded metal dinosaurs on the horizon. They are the work of a local resident who "gave people driving through something to see".
This tradition of hospitality transcends the stereotypes of the planter aristocracy and the “Old South.” Kathy Starr's Soul of Southern Cooking, published in the late 1980s, offers the perspective of an African American housewife. Both Blacks and Whites participated in a string band tradition that was reflected in the work of early black groups such as the Mississippi Sheiks and, through bluegrass, in contemporary white groups such as Don Wiley and Louisiana Grass. The Anglo-American equivalent of the 1950s juke joint blue is the classic honky-tonk sound of Louisiana.
SINGING THE WORD
SONGS OF THE SPIRIT
Looking at spaces for oratory, music, ritual, and sacred spaces also helps us understand what Anglo- and African-American sacred folk traditions have in common and how they differ. The ShapeNote African American Vocal Music Singing Convention Directory for the Mississippi and Northeast Alabama areas was published through the efforts and coordination of ChiquitaWillista to "encourage and support a network of African American vocal music singing singers and supporters who will facilitate convention interaction." In August 1993, nearly 300 people, including delegations from twenty different singing conventions, attended the two-day West Harmony Singing Convention held at Pleasant Grove First Baptist Church, Grenada County, Mississippi. This convention and the work of Chiquita Willish showed that she had Mississippi a.
SACRED RITUALS
SPIRITUAL SPACES
Nyang
Emenuga was addressing the audience at the 1996 HudsonRiver Arts Festival in Poughkeepsie, NewYork. The purpose of the masquerade may be to entertain, commend achievement, punish wrongdoers, bring messages of hope, peace, or. 34; But we will continue to perform the most authentic masquerade in the United States. At least our masses don't wear socks." ed around the living table-room, which- played ritual foods and objects. The family are members.
Many people did not even come with their families. Many Africans did not want to live far from home for long. This thinking is reflected in a Yoruba proverb that says, "A/'okoledundun, kionilema re'le." Smithsonian Festival of American Folklife 45. above) American-born children in Washington, D.C., learning and drumming school directed by AssaneKonte, a Senegalese dance teacher. right)Instructors at a Saturday school sponsored by the organization IsokanYoruba use teaching strategies they acquired as teachers in Nigeria to teach the Yoruba language. Akinyele of the IsokanYoruba organization explains, "We believe that by teaching our children our culture, one day we will go back triumphantly to our homeland." With this kind of goal in mind, many cultural schools are challenged to present the language in an experiential context - to teach.
Recent immigrant Africans in the Washington, D.C. area contribute labor and skills to the regional economy and enliven the local cultural environment through their art, clothing, decoration, and food. However, it is their music and dance that most strikingly changed the cultural landscape.
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Recent immigrant Africans in the Washington, D.C. area contribute labor and skills to the regional economy and enliven the local cultural environment through their art, clothing, decorations, and food. However, it is their music and dance that have most strikingly transformed the cultural terrain. wide range and the wide range of contexts of African music and dance styles found in and around the city reflect the cultural diversity of its African-born inhabitants. Ethiopian immigrants in Washington, D.C., and performed as part of the musical repertoire of Nigerian, Gambian and Ghanaian musicians. Messages about African music have found many ears in the big city of Washington. The photographs and descriptions that follow illustrate some of the different contexts of African music in the area.
They sing songs from their childhood in Somalia, songs composed during their struggle for independence, songs of praise and advice for their sons and daughters, and songs experienced in exile. right) Ethnic and regional community organizations such as the VoltaClub organize traditional music and dance groups to create a family atmosphere from which members receive support, help and cultural fulfillment in times of need, sorrow, joy (see Joan Frosch-Schroder1991) . above)Youngmembersofan. Popular singers Selamawit Nega, most of the band's future members in 1970 were recruited to join music and dance groups sponsored by the former Ethiopian government "to educate for propaganda purposes". The dancer Almaze Getahun remembers then. Most of the band members eventually moved to AddisAbaba, the capital of Ethiopia, and joined bands touring the Middle East, Europe and the United States. harike proverb "Kesbekes inkulalbe igruyehedal" (Slowly, slowly, even will walk), the group developed a loyalty to their performance.
Food served often reflects a combination of cultures, as Dorothy Osei-Kuffuor, originally from Ghana, says: "The main dishes in my house are African, although the children also enjoy American dishes." breaktraditional foodtaboes.Nsedu Onyile wrote in a Washington Post article:. from here the women prepare and serve in a large dish, but only the men are entitled to eat it. Smithsonian Festival of American Folklife 51. above) Sally Tsum uses every available portion of the front yard of her home near Catholic University in Washington, B.C., growing greens like the ones she enjoyed in Kenya. Of course, these restaurants cater not only to African immigrant customers, but also to culinary adventurous Americans. So some try to serve food that appeals to a wide spectrum of people.
The following article is compiled from edited excerpts from a research report written by community scholar Ann Olumba on African media hosting in the Washington, D.C., area as part of the African Immigrant Folklife Study.
34;THE AFRICAN CONNECTION"
34;AFRICAN PERSPECTIVES"
Through African Perspectives, African immigrants convey who they are in their own voices. Regarding the welfare of immigrants, the program has on many occasions invited experts to provide valuable suggestions and advice on the problems facing their communities. Immigration and naturalization law, for example, is a single program area of focus; The position of women in the community is another "African Perspectives" also focuses on the cultural contributions of African immigrants to American social life. Music artists and sculptors from Sudan have come and shared their talents and experiences with the listeners. The program also serves as a link between African expatriates and their homeland, disseminating information about events happening in Africa, reported by Africans and with African perspectives.
34;AfricanPerspectives" has received recognition from African immigrant communities, but its development process needs more local financial support. The program has been on the air weekly for four years, on Fridays from 11:30 in the morning.
34;AFRICAN RHYTHMS AND EXTENSIONS"
They are also outlets for products produced by African immigrants, such as pastries from a West African bakery in Woodbridge, Virginia. right) Following the centuries-old traditions of long-distance trade across Africa, itinerant sellers of African decorative arts and jewelry began doing business at. many local street festivals in the District of Columbia'sMalcolmX. Park in Alexandria, Virginia and SilverSpring, Maryland. Avendor, originally from Mali, displays his wares at FreedomPlaza in a way he learned from observation and. emulating similar displays in West African tourist markets and European cities. His shop joins a number of other shops owned by African immigrants in MallinLangleyPark International, including LagosFabrics. In traditional African fashion, customers choose their fabrics and come to Thony Anyiam for a style consultation. Videotapes and style books help customers decide on their clothes to wear for special occasions such as naming ceremonies, proms and weddings. above)Individual artisans like MamoTessema, who creates fine ceramics and enamel jewelry, are using traditional skills in a new way here in Washington, D.C. otherwise they would have to be imported from Ethiopia at great expense due to their fragility.
Several West African restaurants, and one representing South Africa, also have scratch in the area. In addition, grocery stores, record stores, and craft stores line 18th Street, owned by African immigrants. The owner of the restaurant, Cecelia Vilakazi, has a mix of a mix of an African business in an African business. Ashington, D.C. left) The hair braiding industry in the United States has been stimulated by the presence of highly skilled African women entrepreneurs. Sacred sounds in many traditions are central tools for summoning spirits. The expression of particular sounds is thought by many cultures to be a connection with the whole element of the universe. Uncomfortable belief systems music and sound vibrations are pathways to healing the body, mind and spirit. Among the broad people. Festival visitors will meet a variety of religious practitioners and performers of sacred sounds whose religious and spiritual doctrines are quite similar to the recognition of human existence in the grand scheme of organization created and ruled by a supreme power(s).
They will witness the intensely expressed faith of the Zion Christian Church of South Africa—the largest Christian church on the African continent—and hear how it recounts traditional indigenous religious beliefs and the teachings of Christian missionaries. traditions, which are increasingly visible, audible, living elements of new and old communities across the United States. African Yoruba Orisha worship and Catholicism practiced in Cuba, the United States and areas of South America will demonstrate and inform visitors, showing what cross-fertilization between culturally different worship traditions can be. commonly referred to as syncretism. In the case of Santeria, singing, instrumental music. oriis), and dance areas are central to the basic character of the religious ritual, as the spoken word is in other religions. The ZCC belongs to the so-called independent churches of South Africa - described as independent because they are not under "white control" (Lukhaimane 1980:1). 96.
This paratist movement was not merely a rejection of alien cultural values; it was also aimed at revitalizing African society, which had been rendered ineffective by colonial conquest. According to some scholars the separatist.
THE ORIGINS OF MOKHUKHU
STAMPING EVIL UNDERFOOT
The gathering of the Christian Zion Church in the northern South African province of Moria, the theme of the Mokhukhudanceexpression of faith. More than a million pilgrims meet in ZionCityMoria every year for the Easter church gathering. Mokhukhu members are expected to protect the interests of the church when this is at risk, as they did. when Edward was involved in the struggle to succeed his father. Perhaps their military-like uniforms are also important in suggesting their role as defenders of the faith. the woman reflects the glory of the man; Form was not created by woman, but woman by man.
HUNGER FOR GOD
WORKS CITED
It's Saturday evening, almost midnight. People slowly wander from the dimly lit streets to the hall. The majority of them are Zulu migrant workers who live in the city for up to eleven months a year, working in factories, gold mines or in the dark shadows of the city.
STYLISTIC HISTORY OF ISICATHAMIYA
RURAL-URBAN COMMUNITIES
THE SACRED DIMENSIONS OF ISICATHAMIYA
THE COMMUNITY
THE SINGING
29$ July 2-6
A map of the Festival grounds is located on the back cover of this program book. The opening ceremony for the festival takes place in the main music tent of the Holy. A variety of crafts, books and Smithsonian Folkways recordings related to the 1997 festival are sold in the Festival Sales Shop on the Mall-side lawn of the National Museum.
Visiting members of the press must register at the press tent on the Mall near Madison Drive and 12th Street. Restrooms and Telephones There are outdoor facilities for the public and visitors with disabilities near all program areas in the Mall. Lost items can be returned or picked up at the Volunteer Tent near the Administration Area.
The festival site is easily accessible from the Smithsonian and Federal Triangle stations on the Blue and Orange Lines. Large print copies of the daily schedule and audiocassette and braille versions of the program book are available at the festival's information kiosks and the Volunteer Tent.
MUSIC BY
DANCERS AND CALLERS
THE RUFUS THOMAS GROUP
RELATED PROGRAMS
AFRICAN IMMIGRANT FOLKLIFE
SCHEDULE
AFRICAN
IMMIGRANT FOLKLIFE Support for this program comes
SACRED SOUNDS
THE RALPH RINZLER MEMORIAL CONCERT
GENERAL FESTIVAL Allegro Industries
IMMIGRANT FOLKLIFE African Braids & Accents
Major Sponsors The American Folklife Festival is supported in part by federal appropriations and SmithsonianTrust funds. sibility Specialist program.
IMMIGRANT FOLKLIFE Extra special thanks to the
J. Coleman
IMMIGRANT FOLKLIFE
FESTIVAL TEACHER SEMINARS: As in previous years, several teacher seminars will use the Festivalas learning tool. “One Land, Many Voices” is sponsored by the Smithsonian Office of Education. Now in its fourth year, this popular seminar attracts teachers from the Washington area who gain hands-on experience with the folkloric methods of learning about culture: observation, documentation, inter-viewing, and interpreting. Teachers for the course, who meet from June 27-29 and July 2-3 are Drs.MarjorieHuntenOliviaCadaval from the Center forFolklifePrograms&CulturalStudies. The Festival of American Folklife presents the richness of American and world cultures for the education and enjoyment of visitors. But it doesn't end with the celebration on the Mall; Smithsonian. Festival and its programs depend on the generous help of the public to preserve basic cultures.
As a friend of the festival, you will support the festival and its work with cultural preservation, education and research. You learn what happens behind the scenes at the festival and about opportunities to volunteer in festival projects. Folklife.We look forward to discussing the Friends program with you and can sign you up as one. Ralph Rinzler was the longtime director of the Festival of American Folklife. Ralph died in July 1994; we have created the Circle to honor his outstanding commitment and achievements.
39.BREAUXFRERES CINCINNATIJUGBAND .V-CLOUTIERORCHESTRA 42.REV.J.M- GATES 43 REV.J.M.GATES 44.SACREDHARPSINGERS 45SACRED HARPSINGERS fl.GA.SINGTNG CONVENTION 47M.NELSON 47M.NELSISTER. BkEDWARDS.
SMITHSONIAN INSTITUTION
CENTER FOR
FOLKLIFE PROGRAMS
NATIONAL PARK SERVICE
