Smithsonian Folklife Festival

Smithsonian Folklife Festival

Richard Kurin
Director, Center for Folklife and Cultural Heritage, Smithsonian
Tuesday, June 28, 2005 11:00 AM

Richard Kurin, director of the Center for Folklife and Cultural Heritage at the Smithsonian, discusses the annual Folklife Festival on the Mall. Read more about all the activities offered, from exhibits from Oman to Latin music: Oman! Oh Camel! Oh Boy!

Visit the 2005 Smithsonian's Web site for details: 2005 Smithsonian Folklife Festival.

A transcript follows.

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Washington, D.C.: How many years in advance do you select the theme for the festival? How much does it cost to put on?

Richard Kurin: The Folklife Festival was initiated in 1967 and was allocated about $5,000 from the Smithsonian. In 2005, the Festival costs about $5 million. About half of that comes from federal funds and Smithsonian funds. The other half comes from other national, state and local governments, from foundations, corporations and individuals. And we get a lot of in-kind donations. With about a million visitors that comes to about $5 per visitor.

As for planning, we work about 4 or 5 years in advance. So right now we have visitors from nations and states expecting to be at the festival in 2006, 2007, 2008, 2009 and even beyond. It takes that much time to do the research and raise the funds for the festival.

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Arlington, Va.: Why is the festival held in the heat of summer? Has there been any discussion of moving it to May or September? It's just miserable this time of year ...

Richard Kurin: I too hate the heat, but early summer is better than the dog days of August.

The advantage of course is that it is the height of the tourist season to Washington, and that we can share the Festival with visitors from around the nation and around the world. So it is not just a local or regional festival but a national and even international one--indeed, about 7% of visitors are from other nations.

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Wheaton, Md.: Are the big name chefs like Emeril compensated for their appearances?

Richard Kurin: Big name chefs participating in the Food Culture USA program are not getting compensated by the Smithsonian. They have graciously agreed to participate for free, with their expenses largely paid by their book publishing companies. For the chefs themselves, they have been delighted to appear on the National Mall and speak directly to the American people and international visitors about their culinary art. They are, generally, a group that is extremely knowledgeable about food, and what to share that knowledge--and their passion--with the public.

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Washington, D.C.: Hi,

Why is the festival closed for a couple of days?

Richard Kurin: The Festival is closed for a couple of days in between the first and second week so that the participants can rest. It is hot out there on the Mall! And our artists, musicians and others are at it full time, usually with a lot of enthusiasm. During the down time, our crew and staff catch up on necessary matters--resupply and the like. We are also making arrangements for the 4th of July and for breaking down the Festival, getting participants home, etc. During this time, many of the Festival folks go shopping, do laundry, and visit Washington landmarks and museums.

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Olney, Md.: What are your two or three favorite festivals from years past?

Richard Kurin: I am very proud and even humbled to have worked with so many people, so many folks across the U.S. and the planet over the years--my first festival was in 1976. They are in some ways all favorites, and all memorable for something. My personal favorite Festivals are India in 1985, Hawaii in 1989, Tibetan culture in 2000, Silk Road in 2002. But that list may be explained by the fact that I'm an anthropologist who specializes in Asian cultures.

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Silver Spring, Md.: How far out do you plan? Will Vietnam appear anytime soon?

Richard Kurin: We plan about 4-5 years in advance although a state has requested 2016 if I remember correctly! We are currently working with the nations of the Mekong River region to do a program at the 2007 Festival. It will include folks from Vietnam. Research and planning are underway as we speak.

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Olney, Md.: Have other countries emulated the Festival concept after participating?

Richard Kurin: Yes, several countries and many states have emulated the Festival. Texas and Pennsylvania replicated the Festival after they appeared in the late 60's; Joined by many in the decades that followed. Kentucky, on the Mall in the mid-70's still does a festival as does Michigan which was on the Mall in 1987. For countries, India, Bermuda, Bahamas, Romania, and many others have done follow up festivals, some have been institutionalized. Often, back home, they have great power to bring together people and contribute to ongoing efforts to document and conserve cultural traditions as well as use them for economic development and civic purposes.

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Maryland: Are translators mainly local area folks?

Richard Kurin: Many of our translators are volunteers and thus mainly local. We rely on about 600 volunteers and some years need more languages translated. This year, with Nuestra Musica performers, local Spanish speaking staffers and volunteers are covering the duties. With Oman, we have mainly local area Arabic speakers, but we do have some Omani graduate students attending universities around the U.S. And then there are the educators and scholars who come with the group who are fluent in English and Arabic. That is a pretty usual scenario.

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Silver Spring, Md. : I thought the festival format used pair a foreign country with one of our 50 states, but that doesn't seem to be the case lately.

Richard Kurin: Its mixed. We like to have one international nation or region, one state and one theme--say occupational or topical. This year and next we don't have a state. But in 2007 it is Virginia. We are also working with states in 2008 and 2009. We have many many requests from other nations and regions of the world--which is good as it shows the Festival is a vital format for cultural representation. As for themes, these largely grow out of suggestions from Smithsonian curators and outside researchers. It is often harder to do a theme because funding it is a challenge.

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Maryland: Many Mall museums need urgent repair, will this affect Festival funding in the future?

Richard Kurin: With federal budgets flat or declining, and more need within the Smithsonian for facilities repair and construction, the Festival is going wanting for support. Our costs for basic infrastructure are increasing, but we are not getting the funds to support it. Hence we have to raise more funds from other governments, foundations, corporations, individuals, etc., or cut back on the quality and quantity of services and offerings. But the folks producing the Festival and indeed the Smithsonian leadership is very very committed to its continued production.

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Olney, Md.: I tried to get a contact address or phone number for a woman hat designer who participated in the Silk Road festival but the Folklife office did not have current info on her. Is any effort made to keep track of participants?

Richard Kurin: Yes, we do keep track of participants. Many requests come after the festival for craft items, songs, information, etc. We too follow up, often with the production of publications, educational material, Smithsonian Folkways recordings, or now, our new Smithsonian Global Sound digital music site. If you send us an email to the address listed on our Web site--www.si.edu/folklife we can, if the artist wants, facilitate your communication.

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Maryland: Sometimes one finds pleasant surprises at the Festival, like the throat singers. What performers have surprised you personally?

Richard Kurin: Yes, there are always pleasant surprises. This year for me it is the Omani bagpiper! Back in 1985 it was the Indian bahrupiyas--the monkey men who imitate Hanuman, who would go up in the trees and onto the metro. In 2000, it was the Tibetan monks who would debate in the most most expressive ways, slapping their hands and making these subtle dance-like motions while arguing heavy-duty Buddhist philosophy.

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Washington, D.C.: I was at the festival Sunday with my boyfriend from Morocco. He was very impressed with the festival (favoring Oman of course)...it was great to see the people asking questions to the Omani...questions like "why is she wearing a veil?" It's an amazing way to get stereotypes out in the open and learn about a culture. Any plans for more Arabic countries in the near future?

Richard Kurin: Thanks. We have had many Arab and Arab-American participants at the Festival but never a featured country as this year with Oman. I have long had a dialog with colleagues in Morocco which would be a super presentation on the Mall. I expect that after this year we will have many requests.

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Annandale, Va.: Where are participants from abroad housed? Do you ever look for volunteers to take folks in to their homes for the duration?

Richard Kurin: We house everyone in a nearby hotel where they get to know each other--this year, forest meets desert in music jamming evening socials--along with good gourmet left-overs. We did home hospitality arrangements in the mid-1970's when we took Festival groups on road after they'd been on the Mall--but such are tough, complicated arrangements. Some people do extend an invitation to host particular arts for a home visit--to share a meal, etc. and many times it does work out.

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Rockville, Md.: I'm planning to attend the concert on Friday night. Will I be able to buy food from your vendors before/during? Can I find out what food is available beforehand (to accommodate friends' diets)?

Richard Kurin: Come to the concert on Friday. Food is Omani, Latino--Peruvian chicken and steak, Clydes salads--I love the salmon and the tofu, and Shalifoes--an American Indian restaurant here from Michigan (where they live at the edge of a national forest). You can check the festival Web site at www.si.edu/folklife

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Skandria, Va.: Washington, D.C. has many students who study foreign languages. I am studying Arabic. Yesterday, at the Folklife festival it would have been a great opportunity if you had set aside time, maybe an hour, for interested participants to come and meet and talk with the Omani participants in Arabic and/or English: one on one. I did that yesterday, but I had to do it on my own initiative. The Omani guests were very glad to talk in Arabic, but I had to go from individual to individual to accomplish this. There was no co-ordinated effort on the Smithsonian to do this, but this should be made an integral part of the festival. The failure to do this, I believe perpetuates the myth American expects everyone to speak English.

Several years ago, when Haiti was represented, you did have a presentation of the Creole language. I could compare Creole with French.

Richard Kurin: Good for you that you took the initiative to speak to participants in Arabic. We have calligraphers who are also instructing the public in the written form of the languages. Some of the Omani participants are fluent in English, others don't know any at all. Some know Urdu, which I speak. We try to have staff people and volunteers with those who don't know English so that they can help visitors and participants communicate. Rather than gather everyone (all the Omanis and all visitors) into one group for a talk session, I think it is far more effective to encourage small group and one-on-one (with help) interactions.

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Arlington, Va.: How can local people volunteer? How often in advance should you contact the Smithsonian?

Richard Kurin: Thanks for your offer. Hundreds do, and some of our volunteers have been at it for more than 20 years--one for 35 years! Watch our Web site www.si.edu/folklife in the Spring of 2006 for a call for volunteers.

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Richard Kurin: Washington, D.C.: The Smithsonian may frown on this but it's always fun to haggle with the craft people at festival's end. I have purchased many quality crafts. Do craftsmen get all proceeds from sales via the official sales tent?

Richard Kurin: We do the Festival marketplace on Smithsonian property because it is not allowed on the Mall proper according to National Park Service regulations and a court case to back it up. So, no sales on the Mall are allowed. This, as you suggest, can remove the social aspects of bargaining from the interaction, but it can also induce folks to talk more about their art rather than what form of payment they might take. In the marketplace, artisans get the vast share of the retail sale. We have a small mark-up, about one-third of what regular stores charge, to pay for the sales tent, the resodding of the grass, sales staff, etc.

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Rockville, Md.: How are participants/speakers chosen for the festival? How do you deal with the question of who is an "authentic" representative of a folk culture?

Richard Kurin: Good question. We work with local scholars in the featured nation or U.S. region (or experts in the topcial area). Often, a program will be put together as the result of research from scores of people who know the community and the tradition the best. Our curators and directors rely on that expertise. We also have to consider things like regional and ethnic balance, age distribution, etc. It is not easy to hone down to a small number we can support at the Festival--there are hundreds of folks who you don't see on the Mall who are certainly worthy of being there. Now if we are wrong about authenticity, we certainly hear about it as Festival programs are often reviewed in scholarly journals, at professional meetings, and in books. Indeed, there are about two dozen published books about Festival programs--some laudatory, some critical, concerning your very question.

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Wheaton, Md.: I enjoy the music at the festival and wonder why the NSO July 4 concert on the Capitol lawn doesn't feature any of the acts?

Richard Kurin: Interesting question. When there were concerts at the Washington Monument for 4th of July, we often participated. Maybe now that the grounds are being redone we will participate in the future. As for NSO concerts, hmmm, I think they may have done a number reflecting our Silk Road theme a few years ago, but could be wrong.

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Washington, D.C.: Given the state of relations between the US and some countries, do you ever get turned down?

Richard Kurin: We receive many many requests from countries to be at the Festival. We have been turned down only once--but will make that up in the next few years. And that case had nothing to do with the state of U.S. relations. Indeed, I think most countries see the Festival as a way of their people talking directly to the American people without the intercession of government. That's a pretty good thing, and a pretty good use of our National Mall.

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Hawaii festival: I remember the Hawaii well, did you get any adverse feedback from the Hawaiian Dance to the Genitals (if I remember the name correctly).

Richard Kurin: Feedback on Hawaii was absolutely great and had wonderful consequences in Hawaii for so many.

There is a new book coming out on the consequences--a result of dissertation research at the University of Hawaii and you should, as I, track it down. It is a book by Heather Diamond.

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Olney, Md.: What do foreign participants think of us locals and tourists other than we ask the same questions over and over? Do they have a favorable impression of cross-cultural exchanges?

Richard Kurin: They love it. Yes, when its 100 degrees and 100% humidity the same questions can get tiring. But for the most part, Festival folks enjoy the interaction and their opportunity to "tell it like it is" for them to their fellow citizens of the country or the world. Indeed, if there were no people and no questions, they'd regret it.

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Washington, D.C.: The Smithsonian may frown on this but it's always fun to haggle with the craft people at festival's end. I have purchased many quality crafts. Do craftsmen get all proceeds from sales via the official sales tent?

Richard Kurin: We do the Festival marketplace on Smithsonian property because it is not allowed on the Mall proper according to National Park Service regulations and a court case to back it up. So, no sales on the Mall are allowed. This, as you suggest, can remove the social aspects of bargaining from the interaction, but it can also induce folks to talk more about their art rather than what form of payment they might take. In the marketplace, artisans get the vast share of the retail sale. We have a small mark-up, about one-third of what regular stores charge, to pay for the sales tent, the resodding of the grass, sales staff, etc.

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Frederick, Md.: Dr. Kurin, thank you so much for taking our questions. Are there any plans for bringing back a country, such as Kenya, in the near future? I didn't realize there was a folklife festival until a couple of years ago when I saw the Silk Road festival advertised. Will there be a Zulu representation in the near future? Thank you.

Richard Kurin: We had Zulu representation in 1999 with South Africa. We are in discussion with a variety of nations for future programs and one of our senior folklorists will be in Kenya and Tanzania next week speaking with colleagues about the Festival and about getting their performances on our new Smithsonian Global Sound Web site--www.smithsonianglobalsound.org

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Washington, D.C.: I'm a little confused by the direction that the Folklife Festival has gone this year. Throughout my attendance at Folklife Festivals over the past decade, I have deeply valued and appreciated the opportunity to learn about experience a bit of a wide variety of cultures--the best introduction short of traveling there (and that's quite an accomplishment for the festival!).

This year's Oman component certainly lived up to those expectations (I learned more in two hours there than I had ever known before). But the Nuestra Musica was a repeat from last year, no? The Food Culture USA exhibits felt like shameless corporate self-promotions (milk especially)--if it was food culture, it was the corporate culture of food that was presented (the Slow Food Movement's exhibit notwithstanding). And the Forest Service as 'folklife'? Should federal bureaucracies be the priority for a festival that is supposed to educate people like me about cultures and daily practices of peoples with whom I might have had little previous experience?

I vote for a return to all-encompassing regional flavored (domestic or foreign) components that actually highlight folklife staffed by people from those cultures. Oman's participants were wonderful to talk to and perhaps the best ambassadors one could hope for. In any case, I'd be interested to hear why the Smithsonian decided on this radical departure from past festivals.

Richard Kurin: I appreciate the question. It is a good and perceptive one.

The Omani program will no doubt teach many about the people and culture--and that is showing up in our visitor surveys. Nuestra Musica is not a repeat as there are several different groups than last year, but we would have liked to do a more extensive program than we are--we just couldn't raise the funds. Hopefully next year we will have, as we are planning, a more expansive program. It has not, though, slowed down our effort to have the music be heard on Smithsonian Folkways recordings. I don't think the Food program is one of corporate food culture in a disparaging way. Its a real mix. You have the slow food folks, Alice Waters and the edible school yard. You have grass roots folks from this country and from abroad--eg. David Robinson and the African coffee coop, and the Bolivian chocolaters. There are Marriott cooks and chefs from restaurants--but most of the latter are small business folks who have brought with them an ethnic and cultural sensibility into their art and business. There are also food inspectors from USDA. In all, I think it is a pretty instructive mix of folks. You are correct in that it is experimental, and after the Festival we do a full evaluation of it, taking into account our mission, curatorial perspective, those of the participants and the visiting public--so it should be a good discussion.

As for the Forestry program, we have previously done two "agency" programs--the White House workers in 1992 for the White House bicentennial and the Smithsonian workers in 1996 for the Smithsonian's 150th anniversary. The Festival has long done occupational culture programs--from cowboys to stockbrokers. The program is not about the agency per se, or its policies, but rather about the work skills and traditions of its workers, and those who live in forest communities. Talk to the smokejumbers and to the totem pole carver among others--they have a plethora of cultural tales to tell.

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Richard Kurin: Thank you all for the wonderful questions that reflect, I think, a heartfelt interest in and concern for one of Washington's great traditions--the Smithsonian Folklife Festival. See you on the National Mall!

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