Podcasts about Smithsonian Folklife Festival

“ When you migrate to America, your patience actually slowly thins because everything becomes so easy — I need to go back to where I was so I can appreciate the privilege that I have where I am now.” Lydia Querian is the founder of Daily Malong, a brand dedicated to empowering Filipino artisans and bringing Indigenous Filipino heritage to the global fashion scene. As the president of KulArts, a premier platform for contemporary and tribal Pilipino art, and the founder of Gongster's Paradise, a unique festival centered on kulintang music, Lydia is a key figure in preserving and promoting Filipino culture through art and entrepreneurship. With a professional background in fashion design, marketing, and community leadership, Lydia's experience spans organizations such as iHeartMedia, Divine Creative Studio, and the American Center of Philippine Arts. Her work has been featured at New York Fashion Week and the Smithsonian Folklife Festival, showcasing her ability to merge cultural traditions with modern trends. Lydia delves into her personal journey of reconnecting with her heritage and how she uses her platform to support the Filipino diaspora. She shares her insights on the intersection of art, activism, and entrepreneurship and the role Indigenous traditions play in shaping a more sustainable and inclusive future. This conversation was hosted by FrieMMd of the Pod Lisa Angulo Reid —sharing conversations with Filipino and Asian American changemakers. Lisa also happens to be the Co-Founder & CEO of Dear Flor - the first infused gummy with classic Filipino flavors. Learn more @ DearFlor.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, a sampling of Ozark original stringbands recorded live at the Ozark Folk Center State Park's 2024 Stringband festival held annually in Mountain View, Arkansas. Each Fall, the Ozark Folk Center State Park holds its annual Stringband Festival featuring internationally touring musicians as well as local stringbands. In 2024, the headliners were The Lonesome Ace Stringband from Toronto and Dirk & Amelia Powell from Louisiana. Both these internationally touring acts were featured recently on Ozark Highlands Radio. In this episode, we'll spotlight the authentic local Ozark stringbands that round out our festival. Featured are Lillyanne McCool & Ozark Legacy, The Creek Rocks, Bug Shuffle, The Riggsville Ramblers, and Salem Plateau. Lillyanne McCool & Ozark Legacy is a five piece string band that straddles the line between oldtime and bluegrass musics. Led by award winning banjo virtuoso Lillyanne McCool, Ozark legacy is based in Mountain View, Arkansas. Joined by her brother Jared on mandolin and her mother Crystal on upright bass, Lillyanne has grown up on the Ozark Folk Center stage. Esther Exley joins in on fiddle and Emalee Flatness-Combs brings the guitar. The Creek Rocks from Springfield, Missouri are Cindy Woolf and Mark Bilyeu. Cindy Woolf was raised in Batesville, Arkansas along the southern foothills of the Ozarks Mountain region. Mark Bilyeu hails from Springfield, located atop the Ozarks Plateau. They began their musical collaboration in 2003 with Mark at the helm for Woolf's debut CD “Simple and Few.” They married in 2013 and have endeavored together on a mission to breath new life into traditional Ozark folk songs, a mission that's carried them all the way to the Smithsonian Folklife Festival! Bug Shuffle is a traditional oldtime stringband trio based in Mountain View, Arkansas. The band consists of husband and wife Scott & Shay Pool and our very own Dave Smith, the host of Ozark Highlands Radio. Shay Pool is an oldtime fiddle contest champion and educator in the Ozark Folk Center's Music Roots program. Scott is a renowned guitar accompanist and talented luthier. Together, they own and operate Mountain View Music, an old fashioned retail music store and local landmark. The Riggsville Ramblers are another Mountain View fixture. This four piece Ozark original stringband can be heard regularly in the craft grounds at the Ozark Folk Center State Park. The Ramblers are husband and wife Jenny & Tom Sartain on banjo and guitar, Joe Roe on fiddle, and Carl Adkins on resonator guitar. With a sound plucked right out of the 19th century, the Riggsville Ramblers will have your toes tapping and your hands clapping. Salem Plateau is an oldtime husband and wife duo made up of five time Arkansas CMA winner Grace Stormont-McCarthy and multi-instrumentalist Joseph McCarthy. With a penchant and a voice for ancient ballads, Grace grew up on the Ozark Folk Center stage singing and playing everything from upright bass to guitar and banjo to fiddle. Not only a talented multi-instrumentalist, Joseph McCarthy is a human encyclopedia of knowledge when it comes to traditional Ozark music. In this week's “From the Vault” segment, OHR producer Jeff Glover offers an archival recording of Ozark original stringband Squirrel Heads in Gravy performing a medley of “My Own House Waltz and Come on with Dinah,” from the Ozark Folk Center State Park archives. In this week's guest host segment, renowned traditional folk musician, writer, and step dancer Aubrey Atwater discusses the folk song Lazy John.

Betto Arcos reports from the Smithsonian Folklife Festival in Washington DC

The Sons of Membertou are just back from the performance of their lives. The music group performed over several days in Washington, D.C. as part of the Smithsonian Folklife Festival. They left the festival with a new record deal. Graham Marshall is a co-founder of The Sons of Membertou.

The Sons of Membertou are just back from Washington DC, where they performed as part of the Smithsonian Folklife Festival.

What's the role of wonder in experience design? What can the circus teach us to make our exhibitions better? (Spoiler alert: a lot.) Could being “with it and for it” be the secret to success for museum projects? How much technology is too much? Can we really design for all five senses? Can an exhibition be a high-wire act — literally? Jennifer Lemmer Posey (Tibbals Curator of Circus at The John and Mable Ringling Museum of Art) joins host Jonathan Alger (Managing Partner, C&G Partners) to teach some inspirational “Circus Lessons for Museum Professionals”. Along the way: popcorn, a wall of clowns, and that special smell of elephants.Talking Points:1. Build a team that is “with it and for it”2. Engage all of the senses3. Technology shouldn't steal the center ring4. Wonder is in the details5. Create opportunities for shared experiences6. Design a space that can be ever-changing, never-changing How to Listen:Apple Podcastshttps://podcasts.apple.com/us/podcast/making-the-museum/id1674901311  Spotifyhttps://open.spotify.com/show/6oP4QJR7yxv7Rs7VqIpI1G  Everywherehttps://makingthemuseum.transistor.fm/  Guest Bio:As the Tibbals Curator of Circus at The John and Mable Ringling Museum of Art, Jennifer Lemmer Posey oversees the interpretation and care of objects and ephemera related to the history of circus. With more than twenty years of experience, Jennifer serves as a liaison to the international circus community and facilitates academic study of circus arts. A leading scholar in American circus history, her work has been included in numerous books, catalogs, and journals. Jennifer served as editor for Bandwagon: The Journal of the Circus Historical Society and was an Advisory Scholar in Circus Arts for the Smithsonian Folklife Festival in 2017.About MtM:Making the Museum is hosted (podcast) and written (newsletter) by Jonathan Alger. This podcast is a project of C&G Partners | Design for Culture. Learn about the firm's creative work at: https://www.cgpartnersllc.com Show Links:About Jennifer:https://www.linkedin.com/in/jenniferlemmerposey/ https://www.instagram.com/wonderfilled_curator/ About the Ringling:https://www.linkedin.com/company/theringling https://www.instagram.com/theringling/ https://www.facebook.com/TheRingling From Point 1 - Building a team that is “with it and for it”:Behind the scenes of the Howard Bros. Circus model - museum staff programhttps://www.youtube.com/watch?v=Wxntny_wC_M Wagon Wheel installationhttps://www.youtube.com/watch?v=pgF8__NDnJQ From Point 2 - Engage all of the senses:The Ringlinghttps://www.ringling.org Wonder Symposiumhttps://www.ringling.org/wonder-symposium/ From Point 3 - Technology shouldn't steal the center ring:The Greatest Show On Earth Gallery at The Ringlinghttps://www.ringling.org/event/the-greatest-show-on-earth-gallery/ Manage This Podcast – My Project is a Three Ring Circushttps://www.velociteach.com/manage-this-podcast/my-project-is-a-three-ring-circus/ From Point 4 - Wonder is in the details:Howard Tibbals & the Howard Bros. Circus Modelhttps://www.pbs.org/video/wedu-arts-plus-311-howard-tibbals/ Smithsonian Folklife Festival – Wonder Is  by Albert Tong and Hae-Yang Changhttps://festival.si.edu/blog/wonder-is-circus-arts Circus Museum Collection Highlightshttps://emuseum.ringling.org/collections/5163/circus-highlights/objects From Point 5 - Create opportunities for shared experiences:The Ringling's Collecting Recollections series features fascinating people with fascinating stories to tell about their lives, the Museum, the Circus, Sarasota – and more. I recommend Dolly Jacobs, Kenneth Feld, Jackie LeClaire, Peggy Williamshttps://www.youtube.com/playlist?list=PLctJhityCmSnHNtgDWP6uWK3Nf0l7Pkr1 From Point 6 - Design a space that can be ever-changing, never-changing:The Circus Museum at The Ringlinghttps://www.ringling.org/visit/venues/circus-museum/ To learn more about circuses:Federation Mondiale du Cirquehttp://www.circusfederation.org Circus Historical Societyhttps://circushistory.org Circus Sarasotahttps://circusarts.org Ringling Bros. and Barnum & Baileyhttps://www.ringling.com MtM Show Contact:https://www.makingthemuseum.com/contact  https://www.linkedin.com/in/jonathanalger alger@cgpartnersllc.com  https://www.cgpartnersllc.com  Newsletter:Liked the show? Try the newsletter. Making the Museum is also a one-minute email on exhibition planning and design for museum leaders, exhibition teams and visitor experience professionals. Subscribe here: https://www.makingthemuseum.com 

Comenzamos guarachando en Perú y en Cuba, para embarcarnos enseguida en los viajes de ida vuelta de Raúl Rodríguez, nuestra voz invitada de hoy, que celebra con un concierto en Madrid «30 años en la frontera». Seguimos con más #Mundofonews que nos traen noticia y músicas del Smithsonian Folklife Festival de Washington DC; del festival Sakifo, en la isla de La Reunión; del Offest de Skopie, en Macedonia del Norte; de los festivales Folkomillas y Poborina Folk, en España o del Festival Gnawa y de Músicas del Mundo de Esauira, en Marruecos. Mientras, las músicas nos van llevando por México, las tierras de los tuaregs, Senegal, Cataluña y Polonia. We begin guaracha-ing in Peru and Cuba, and then embark on the round-trip travels of Raúl Rodríguez, our guest voice today, who celebrates “30 years on the border” with a concert in Madrid. We continue with more #Mundofonews that bring us news and music from the Smithsonian Folklife Festival in Washington DC; the Sakifo Festival, on the island of Reunion; the Offest festival of Skopje, in North Macedonia; the Folkomillas and Poborina Folk festivals in Spain or the Essaouira Gnawa and World Music Festival, in Morocco. Meanwhile, the music takes us to Mexico, the lands of the Tuaregs, Senegal, Catalonia and Poland. – Sonora Nelson Ferreyra – Guaracheros – Guaracheros – Grupo Polo Montañez – Rumbero – Joyas del Guajiro – Raúl Rodríguez – Suite para kora y quijadas – La razón eléctrica – Pasatono – Itia ta’un kixi yu’u – Yaa sii (Música alegre) – Tarwa N-Tiniri – Assrked – Akal – Alune Wade – Mame fallou – African fast food – Lluís Gómez – T’ho vaig dir! – Dotze temps – Yann Falquet – La belle est en prison d’amour (Les secrets du ciel) – Les secrets du ciel – Weronika Grozdew & Musos – Oczekiwanie / Anticipation – Wandering Songs – (Weronika Grozdew & Musos – Giarem Giarem / My Love – Wandering Songs) #Mundofonews: – Raúl Rodríguez: 30 años en la frontera – Smithsonian Folklife Festival (Washington DC) – Sakifo Musik Festival (Reunión / Réunion) – Offest (Skopie / Skopje) – Folkomillas (Cantabria) – Poborina Folk (Aragón / Aragon) – Festival d’Essaouira Gnaoua & Musiques du Monde (Marruecos / Morocco) Voz invitada: Guest voice: – Raúl Rodríguez 📸 Pasatono

This week, voices. A collection of contemporary folk singers with unique and authentic voices recorded live at Ozark Folk Center State Park. Ballad singing is a primary form of expression in folk music. Folk ballads merge melody and story to recount events but also transport the listener to an emotional space. How well a ballad can bring the listener into that space very much depends on the singer. Less important to an effective folk singer are the rudimentary aspects of singing than is the authentic sound of their voice. The timbre and character of the singer's voice in service to the ballad becomes the vehicle, transporting the listener into that emotional space. Ozark original and legendary folk balladeer Almeda Riddle for an example. As much as the stories Almeda relates, it's the sound of her instantly recognizable and authentic voice that moves listeners deep into the hills and hollers of the Ozarks. Featured on this episode are an all-star lineup of contemporary folk balladeers including: world renowned vocalist & educator Moira Smiley with the Jayme Stone Project; Ozark original & Smithsonian Folklife Festival performer Carolina Mendoza; Ozark original and Creek Rocks vocalist & multi-instrumentalist Cindy Woolf; OFC regular & prolific singer-songwriter Carolyn Carter; Ozark original vocalist & multi-instrumentalist Pam Setser with The Ozark Granny Chicks; inimitable folk singer & multi-instrumentalist Grace Stormont; and award winning Eureka Springs, AR singer-songwriter Melissa Carper with The Buffalo Gals. In this week's “From the Vault” segment, OHR producer Jeff Glover offers a 1973 archival recording of Ozark original singer, Aunt Ollie Gilbert, performing the traditional Ozark ballad “The Ballad of Cole Younger” from the Ozark Folk Center State Park archives. In his segment “Back in the Hills,” writer, professor, and historian Dr. Brooks Blevins profiles the “Voice of the Ozarks,” the legendary Ozark original balladeer Almeda Riddle. Featured is a 1957 recording of Almeda performing the traditional Ozark ballad “The Oxford Girl,” courtesy of the Lyon College Wolf Folklore Collection.

 Jon Lohman is the founder and Executive Director of the Center for Cultural Vibrancy. Before that, he was the director of Virginia's state Folklife Program, where he initiated and carried out numerous programs, including an award-winning Folklife Apprenticeship Program and the corresponding book In Good Keeping. Jon has presented and served on curatorial committees for numerous local and national festivals, including the Smithsonian Folklife Festival, the Richmond Folk Festival, Merlefest, Floydfest, the Lowell Folk Festival, the American Folk Festival, and the National Folk Festival. Jon has presented his work and collaborated with the Smithsonian, the American Folklife Center at the Library of Congress, the State Department, and numerous cultural organizations and festivals throughout Virginia and the country.

Jon Lohman is the founder and Executive Director of the Center for Cultural Vibrancy. Before that, he was the director of Virginia's state Folklife Program, where he initiated and carried out numerous programs, including an award-winning Folklife Apprenticeship Program and the corresponding book In Good Keeping. Jon has presented and served on curatorial committees for numerous local and national festivals, including the Smithsonian Folklife Festival, the Richmond Folk Festival, Merlefest, Floydfest, the Lowell Folk Festival, the American Folk Festival, and the National Folk Festival. Jon has presented his work and collaborated with the Smithsonian, the American Folklife Center at the Library of Congress, the State Department, and numerous cultural organizations and festivals throughout Virginia and the country.  

It's the last episode of 2023, and our 100th episode!  But despite that, we keep on moving through the period, hitting a bunch of smaller stories from the Nihon Shoki about this period. We talk about Zentoku no Omi, the temple commissioner of Hokoji, as well as the trouble they went through to get the Asukadera Daibutsu in place to begin with.  We have the first instance of the Dazai--as in the Dazaifu of Kyushu--as well as the first instance of the holiday that would eventually become Children's Day, Kodomo no Hi.  There are various immigrants, bringing painting, handmills, and even a new kind of musical dance theater known as gigaku.  And that's just some of what we'll cover. For more, check out our website at https://sengokudaimyo.com/podcast/episode-100 Rough Transcript   Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is episode 100: Sacred Tetris and Other Tidbits First off:  woohoo!  One hundred episodes!  Thank you to everyone who has been listening and following along on this journey so far.  When I started this I had no idea how long I would be able to keep up with it, but I appreciate everyone who has encouraged me along the way.  This all started in September of 2019, and we are now four years in and we have a ways to go.  While I'm thanking people, I'd also like to give a big thank you to my wife, Ellen, who has been helping me behind the scenes.  She's the one who typically helps read through what I'm going to say and helps edit out a lot of things, and provides reminders of things that I sometimes forget.  She really helps to keep me on track, and I always appreciate the time she puts into helping to edit the scripts and the questions she asks. Now, we are still talking about the 6th and early 7th centuries during the reign of Kashikiya Hime, aka Suiko Tenno.  We've talked about a lot of different aspects of this period—about the conflicts over Nimna on the peninsula, about the rise of the Sui dynasty on the continent, and the importation of various continental goods, including animals, immigrants, and knowledge.  That knowledge included new ideas about governance as well as religious practices such as Buddhism—and possibly other religious practices as well, as many of the stories that we saw in the Age of the Gods may have analogs on the continent and may just as easily have been coming over with the current crop of immigrants, though it is hard to say for certain.  At the heart of these changes are three individuals.  Obviously there is Kashikiya Hime, on the throne through a rather intricate and bloody series of events.  Then there is Soga no Umako, her maternal uncle, who has been helping to keep the Soga family on top.  And of course, the subject of our last couple episodes, Prince Umayado, aka Shotoku Taishi.  He, of course, is credited with the very founding of the Japanese state through the 17 article constitution and the promulgation of Buddhism. This episode, I'd like to tackle some of the little things.  Some of the stories that maybe didn't make it into other episodes up to this point.  For this, we'll mostly look at it in a chronological fashion, more or less. As you may recall, Kashikiya Hime came to the throne in about 593, ruling in the palace of Toyoura.  This was around the time that the pagoda was erected at Houkouji temple—and about the time that we are told that Shitennouji temple was erected as well.  Kashikiya Home made Umayado the Crown Prince, despite having a son of her own, as we'd mentioned previously, and then, in 594, she told Umayado and Umako to start to promulgate Buddhism, kicking off a temple building craze that would sweep the nation—or at least the areas ruled by the elites of Yamato. By 596, Houkouji was finished and, in a detail I don't think we touched on when talking about Asukadera back in episode 97, they appointed as commissioner one Zentoku no Omi—or possibly Zentoko, in one reading I found.  This is a curious name, since “Zentoku” comes across as a decidedly Buddhist name, and they really liked to use the character “Zen”, it feels like, at this time.  In fact, it is the same name that the nun, the daughter of Ohotomo no Sadehiko no Muraji, took, though the narrative is very clear about gender in both instances, despite them having the exact same Buddhist names.  This name isn't exactly unique, however, and it is also the name recorded for the Silla ruler, Queen Seondeok, whose name uses the same two characters, so it is possible that at this time it was a popular name—or perhaps people just weren't in the mood to get too creative, yet. However, what is particularly interesting to me, is that the name “Zentoku” is then followed by the kabane of “Omi”.  As you may recall from Episode XX, a kabane is a level of rank, but associated with an entire family or lineage group rather than an individual.  So while there are times where we have seen “personal name” + “kabane” in the past, there is usually a surname somewhere in there.  In this case, we aren't told the surname, but we know it because we are given the name of Zentoku's father: we are told that he was the son of none other than the “Oho-omi”, the Great Omi, aka Soga no Umako.  So, in summary, one of Soga no Umako's sons took the tonsure and became a monk. I bring this little tidbit up because there is something that seems very odd to me and, at the same time, very aristocratic, about taking vows, retiring from the world, and yet still being known by your family's title of rank. Often monks are depicted as outside of the civil rank and status system—though there were certainly ranks and titles within the priesthood.  I wonder if it read as strange to the 8th century readers, looking back on this period.  It certainly seems to illustrate quite clearly how Buddhism at this point was a tool of the elite families, and not a grass-roots movements among the common people. This also further strengthens the idea that Houkouji was the temple of the Soga—and specifically Soga no Umako.  Sure, as a Soga descendant, Prince Umayado may have had some hand in it, but in the end it was the head of the Soga family who was running the show, and so he appoints one of his own sons as the chief commissioner of the temple.  They aren't even trying to hide the connection.  In fact, having one of his sons “retire” and start making merit through Buddhist practice was probably a great PR move, overall. We don't hear much more from Zentoku after this point, and we really know very little about him.  We do know something about the Soga family, and we know that Soga no Umako has at least one other son.  While we've yet to see him in the narrative—children in the Nihon Shoki are often meant to be neither seen nor heard, it would seem—Umako's other son is known to us as Soga no Emishi.  Based on when we believe Soga no Emishi was born, however, he would have been a child, still, when all this was happening, and so Zentoku may have actually been his father's eldest son, taking the reins at Houkouji temple, likely setting him up to claim a role of spiritual leadership in the new religion of Buddhism.  Compare this to what we see later, and also in other places, such as Europe, where it is often the second son that is sent into religious life, while the eldest son—the heir—is kept at hand to succeed the father in case anything happens.  On the other hand, I am unsure if the monks of this time had any sort of celibacy that was expected of them, and I suspect that even as the temple commissioner, the tera no Tsukasa, Zentoku was keeping his hand in.  After all, the Soga family head appears to have been staying near the temple as well, so it isn't like they were packing him off to the high mountains. Moving on, in 601 we are told that Kashikiya Hime was in a temporary palace at a place called Miminashi, when heavy rains came and flooded the palace site.  This seems to be referring to flooding of Toyoura palace, which was, we believe, next to the Asuka river.  I wonder, then, if that wasn't the impetus for, two years later, in 603, moving the palace to Woharida, and leaving the old palace buildings to become a nunnery.  That Woharida palace is not thought to have been very far away—traditionally just a little ways north or possibly across the river. In 604, with the court operating out of the new Woharida palace, we see the institution of more continental style traditions.  It includes the idea of bowing when you entered or left the palace grounds—going so far as to get on your hands and knees for the bow.  Even today, it is customary to bow when entering a room—particularly a traditional room like in a dojo or similar—and it is also customary to bow when passing through a torii gate, entering into a sacred space.  Of course, that is often just a standing bow from the waist, and not a full bow from a seated position. In 605, with more continental culture being imported, we see it affecting fashion.  In fact, in this year we are told that Prince Umayado commanded all the ministers to wear the “hirami”.  The kanji simply translates to “pleats”, but in clothing terms this refers to a pleated skirt or apron.  We see examples of this in courtly clothing going back to at least the Han dynasty, if not earlier, typically tied high above the waist and falling all the way down so that only the tips of the shoes are poking out from underneath.  We have a bit more on this in the historical clothing section of the Sengoku Daimyo website, sengokudaimyo.com.   I wonder if these wrapped skirts aren't some of what we see in the embroidered Tenjukoku mandala of Chuuguuji.  Court women would continue to wear some kind of pleated skirt-like garment, which would become the mo, though for men they would largely abandon the fashion, except for some very specific ritual outfits.  That said, there is still an outfit used for some imperial ceremonies.  It is red, with many continental and what some might consider Taoist symbols, such as dragons, the sun and moon, etc..  That continuation of tradition gives us some idea of what this was and what it may have looked like back in the day.  It is also very neat that we are starting to get specific pieces of potentially identifiable clothing information, even if it is only for the court nobles. The year following that, 606, we get the giant Buddha image being installed at Houkouji, aka Asukadera.  Or at least, we think that is the one they are talking about, as we can't be one hundred percent certain.  However, it is traditionally thought to be one and the same.  The copper and gold image was commissioned a year prior, along with an embroidered image as well, but when they went to install it they ran into a slight problem:  The statue was too large to fit through the doors of the kondo, the golden image hall.  No doubt that caused some embarrassment—it is like ordering furniture that won't fit through the doorway, no matter how you and your friends try to maneuver it around.  They were thinking they would have to cut through the doors of the kondo to create more room, and then fix it afterwards.  Nobody really wanted to do that thought—whether because they thought it would damage the structural integrity of the building or they just didn't want to have to put up with an unsightly scar, it isn't clear.  Finally, before they took such extreme measures, they called on the original artist, Kuratsukuri no Tori.  He is said to be the son of the famous Shiba Tattou, and so his family was quite close with the Soga, and he seems to have had quite the eye for geometry as we are told that he, “by way of skill”, was able to get it through the doors and into the hall.  I don't know if that meant he had to some how turn it on its side and walk it through, or something else, but whatever it was, it worked.  Tori's mad Tetris skills worked, and they were able to install the giant Buddha in the hall without cutting through the doorways. For his efforts, Tori was rewarded, and he was raised up to the rank of Dainin, one of the 12 new ranks of the court.  He was also given 20 cho worth of “water fields”—likely meaning rice paddies.  With the income from those fields, we are told that he invested in a temple of his own:  Kongoji, later known as the nunnery of Sakata in Minabuchi. For all that Buddhism was on the rise, the worship of the kami was still going strong as well.  In 607 we are told that there was an edict that everyone should worship the kami of heaven and earth, and we are told that all of the noble families complied.  I would note that Aston wonders about this entry, as the phrasing looks like something you could have taken right out of continental records, but at the same time, it likely reflects reality to some extent.  It is hard to see the court just completely giving up on the traditional kami worship, which would continue to be an important part of court ritual.  In fact, it is still unclear just how the new religion of Buddhism was viewed, and how much people understood the Buddha to be anything more than just another type of kami. Later in that same year was the mission to the Sui court, which we discussed in Episode 96.  The year after, the mission returned to Yamato with Sui ambassadors, and then, in 609, those ambassadors returned to the Sui court.  These were the missions of that infamous letter, where the Yamato court addressed the Sui Emperor as an equal.  “From the child of heaven in the land where the sun rises to the child of heaven in the land where the sun sets.”  It is still one of my favorite little pieces of history, and I constantly wonder if Yamato didn't understand the difference in scale or if they just didn't care.  Either way, some really powerful vibes coming off that whole thing. That same year that the Sui ambassadors were going back to their court there was another engagement with foreigners.  In this case the official on the island of Tsukushi, aka Kyuushuu, reported to the Yamato court that 2 priests from Baekje, along with 10 other priests  and 75 laypersons had anchored in the harbor of Ashigita, in the land of Higo, which is to say the land of Hi that was farther from Yamato, on the western side of Kyuushuu.  Ashigita, you may recall, came up in Episode 89 in reference to the Baekje monk—and I use that term loosely—Nichira, aka Illa.  There, Nichira was said to descend from the lord of Ashigita, who was said to be Arisateung, a name which appears to be a Korean—possibly Baekje—title.  So now we have a Baekje ship harboring in a land that once was ruled by a family identified, at least in their names or titles, as having come from or at least having ties with Baekje.  This isn't entirely surprising, as it wouldn't have taken all that much effort for people to cross from one side to the other, and particularly during the period before there was a truly strong central government it is easy to see that there may have been lands in the archipelago that had ties to Baekje, just as we believe there were some lands on the peninsula that had ties to Yamato. One more note before get to the heart of the matter is the title of the person who reported all these Baekje goings-on.  Aston translates the title as the Viceroy of Tsukushi, and the kanji read “Dazai”, as in the “Dazaifu”, or government of the “Dazai”.  There is kana that translates the title as Oho-mikoto-Mochi—the Great August Thing Holder, per Aston, who takes this as a translation, rather than a strict transliteration.  This is the first time that this term, “Dazai” has popped up in the history, and it will appear more and more in the future.  We know that, at least later, the Dazaifu was the Yamato court's representative government in Kyuushuu.  The position wasn't new - it goes back to the various military governors sent there in previous reigns - but this is the first time that specific phrasing is used—and unfortunately we don't even know much about who it was referring to.  The position, however, would become an important part of the Yamato governing apparatus, as it provided an extension of the court's power over Kyuushuu, which could otherwise have easily fallen under the sway of others, much as Iwai tried to do when he tried to ally with Silla and take Tsukushi by force.  Given the importance of Kyuushuu as the entrypoint to the archipelago, it was in the Court's best interest to keep it under their control. Getting back to the ship with the Baekje priests on it:  the passengers claimed they were on their way to Wu, or Kure—presumably headed to the Yangzi river region.  Given the number of Buddhist monasteries in the hills around the Yangzi river, it is quite believable, though of course by this time the Wu dynasty was long gone.  What they had not prepared for was the new Sui dynasty, as they said there was a civil war of some kind going on, and so they couldn't land and were subsequently blown off course in a storm, eventually limping along to Ashigita harbor, where they presumably undertook rest and a chance to repair their vessels.  It is unclear to me exactly what civil war they were referring to, and it may have just been a local conflict.  There would be rebellions south of the Yangzi river a few years later, but no indication that it was this, just a bit out of context.  We know that the Sui dynasty suffered—it wouldn't last another decade before being dismantled and replaced by the Tang dynasty in about 618.  There were also ongoing conflicts with Goguryeo and even the area of modern Vietnam, which were draining the Sui's resources and could be related to all of these issues.  If so, though, it is hard to see an exact correlation to the “civil war” mentioned in the text. Given all this, two court nobles:  Naniwa no Kishi no Tokomaro and Fumibito no Tatsu were sent to Kyuushuu to see what had happened, and, once they learned the truth, help send the visitors on their way.  However, ten of the priests asked to stay in Yamato, and they were sent to be housed at the Soga family temple of Houkouji.  As you may recall, 10 monks was the necessary number to hold a proper ordination ceremony, funnily enough. In 610, another couple of monks showed up—this time from Goguryeo.  They were actually sent, we are told, as “tribute”.  We are told that one of them was well read—specifically that he knew the Five Classics—but also that he understood how to prepare various paints and pigments.  A lot of paint and pigments were based on available materials as well as what was known at the time, and so it is understandable, to me, why you might have that as a noted and remarkable skill.  We are also told that he made mills—likely a type of handmill.  These can be easily used for helping to crush and blend medicines, but I suspect it could just as easily be used to crush the various ingredients for different pigments.  A type of handmill, where you roll a wheel in a narrow channel, forward and back, is still in use today throughout Asia. In 611, on the 5th day of the 5th month, the court went out to gather herbs.  They assembled at the pond of Fujiwara—the pond of the wisteria field—and set out at sunrise.  We are told that their clothing matched their official cap colors, which was based on their rank, so that would seem to indicate that they were dressed in their court outfits.  In this case, though, they also had hair ornaments mad of gold, leopard's tails, or birds.  That leopard's tail, assuming the description is accurate, is particularly interesting, as it would have had to have come from the continent. This ritual gathering of herbs would be repeated on the 5th day of the 5th month of both 612 and 614.  If that date seems familiar, you might be thinking of the modern holiday of Tango no Sekku, aka Kodomo no Hi.  That is to say:  Boy's Day or the more gender neutral “Children's Day”.  It is part of a series of celebrations in Japan known today as “Golden Week”, when there are so many holidays crammed together that people get roughly a week off of work, meaning that a lot of travel tends to happen in that period.  While the idea of “Boy's Day” probably doesn't come about until the Kamakura period, Tango no Sekku has long been one of the five seasonal festivals of the court, the Gosekku.  These included New Year's day; the third day of the third month, later to become the Doll Festival, or Girl's Day; the seventh day of the seventh month, during Tanabata; and the 9th day of the 9th month.  As you can see, that is 1/1, 3/3, 5/5, 7/7, and 9/9.  Interestingly, they skipped over 11/11, possibly because that was in the winter time, based on the old calendar, and people were just trying to stay warm. Early traditions of Tango no Sekku include women gathering irises to protect the home.  That could connect to the practice, here, of “picking herbs” by the court, and indeed, many people connect the origins of Tango no Sekku back to this reign specifically because of these references, though there is very little said about what they were doing, other than picking herbs in their fancy outfits. We are given a few more glimpses into the lives of the court in a few other entries.  In 612, for instance, we have a banquet thrown for the high functionaries.  This may have been a semi-regular occasion, but this particular incident was memorable for a couple of poems that were bandied back and forth between Soga no Umako and Kashikiya Hime.  He toasted her, and she responded with a toast to the sons of Soga. Later that year, they held a more somber event, as Kitashi Hime was re-interred.  She was the sister to Soga no Umako, consort of Nunakura Futodamashiki no Ohokimi, aka Kimmei Tenno, and mother to both Tachibana no Toyohi, aka Youmei Tennou, and Kashikiya Hime, Suiko Tennou.  She was re-buried with her husband at his tomb in Hinokuma.  During this period, various nobles made speeches.  Kicking the event off was Abe no Uchi no Omi no Tori, who made offerings to her spirit, including around 15,000 utensils and garments.  Then the royal princes spoke, each according to rank, but we aren't given just what they said.  After that, Nakatomi no Miyatokoro no Muraji no Womaro gave the eulogy of the Oho-omi, presumably speaking on Umako's behalf, though it isn't exactly clear why, though Umako was certainly getting on in years.  Then, Sakahibe no Omi no Marise delivered the written eulogies of the other families. And here we get an interesting glimpse into court life as we see a report that both Nakatomi no Womaro and Sakahibe no Marise apparently delivered their speeches with great aplomb, and the people listening were quite appreciative.  However, they did not look quite so fondly on the speechifying of Abe no Tori, and they said that he was less than skillful.  And consider that—if you find public speaking to be something you dread, imagine if your entire reputation hung on ensuring that every word was executed properly.  A single misstep or a bad day and suddenly you are recorded in the national history as having been just the worst.  In fact, his political career seems to have tanked, as we don't hear much more about him after that. 612 also saw more immigrants bringing more art and culture.  The first was a man from Baekje.  He did not look well—he had white circles under his eyes, we are told, possibly indicating ringworm or some other infection.  It was so bad that the people on the ship with him were thinking about putting him off on an island to fend for himself.  He protested that his looks were not contagious, and no different that the white patches of color you might see on horses or cattle.  Moreover, he had a talent for painting figures and mountains.  He drew figures of the legendary Mt. Sumeru, and of the Bridge of Wu, during the period of the Southern Courts, and the people were so taken by it that they forestalled tossing him overboard.  He was eventually known as Michiko no Takumi, though more colloquially he was known as Shikomaro, which basically was a nickname calling him ugly, because judging people based on appearance was still totally a thing. The other notable immigrant that year was also a man of Baekje, known to us as Mimachi, or perhaps Mimashi or Mimaji.  He claimed to know the music and dancing of the Wu court—or at least some continental dynasty.  He settled in Sakurawi and took on students who were basically forced to learn from him.  As if a piano teacher appeared and all the children went to learn, but now it isn't just your parents and their high expectations, but the very state telling you to do it.  So… no pressure, I'm sure.  Eventually, Manu no Obito no Deshi—whose name literally means “student” or “disciple”—and Imaki no Ayabito no Seibun learned the teachings and passed them down to others.  This would appear to be the masked dances known as Gigaku. If you know about early Japanese music and dance you may have heard of Gagaku, Bugaku, and Noh theater.  Gagaku is the courtly music, with roots in apparently indigenous Japanese music as well as various continental sources, from the Korean peninsula all the way down to Southeast Asia.  Indeed, the musical records we have in Japan are often the only remaining records of what some of the continental music of this time might have sounded like, even though the playing style and flourishes have changed over the centuries, and many scholars have used the repertoire of the Japanese court to help work backwards to try and recreate some of the continental music. The dances that you often see with Gagaku musical accompaniment are known as Bugaku, and most of that was codified in the latter years of the Heian era—about the 12th century.  Then there is the famous masked theater known as Noh, which has its origins in a variety of traditions, going back to at least the 8th century and really brought together around the 14th century.  All of these traditions, however, are preceded by Gigaku, this form of masked dance that came over in the 7th century, and claims its roots in the area of “Wu” rather than “Tang”, implying that it goes back to traditions of the southern courts of the Yangzi river region. Gigaku spread along with the rest of continental culture, along with the spread of Buddhism and other such ideas.  From what we can tell, it was a dominant form of music and dance for the court, and many of the masks that were used are preserved in temple storehouses such as the famous Shosoin at the Todaiji in Nara.  However, as the centuries rolled by, Gigaku was eventually replaced at court by Bugaku style dances, though it continued to be practiced up through at least the 14th century.  Unfortunately, I know of no Gigaku dances that survived into the modern day, and we are left with the elaborate masks, some illustrations of dancers, and a few descriptions of what it was like, but that seems to be it. From what we can tell, Gigaku—also known as Kure-gaku, or Kure-no-utamai, meaning Music or Music and Dances of Wu—is first noted back in the reign of Nunakura Futodamashiki, aka Kimmei Tennou, but it wasn't until the reign of Kashikiya Hime that we actually see someone coming over and clearly imparting knowledge of the dances and music—Mimashi, mentioned above.  We then see the dances mentioned at various temples, including Houryuuji, Toudaiji, and others.  Of course, as with many such things, Shotoku Taishi is given credit for spreading Gigaku through the Buddhist temples, and the two do seem to have gone hand in hand. We know a little bit about the dances from the masks and various writings.  The masks are not random, and a collection of Gigaku masks will have generally the same set of characters.  These characters appear to have been organized in a traditional order.  A performance would start with a parade and a sutra reading—which I wonder if that was original or if it was added as they grew more connected to the Buddhist temple establishment.  And then there was a lion dance, where a young cub would pacify an adult lion.  Lion dances, in various forms, continue to be found throughout East Asia. Then the characters come into play and there are various stories about, for example, the Duke of Wu, and people from the “Hu” Western Regions—that is to say the non-Han people in the Western part of what is now China and central Eurasia.  Some of these performances appear to be serious, while others may have been humorous interludes, like when a demon assaults the character Rikishi using a man's genitals while calling for the “Woman of Wu”.  That brings to mind the later tradition of ai-kyougen; similarly humorous or lighthearted episodes acted out during Noh plays to help break up the dramatic tension. Many of aspects of Gigaku would go on to influence the later styles of court music and dance.  Bugaku is thought to have some of its origins in masked Gigaku dancers performing to the various styles of what became known as Gagaku music.  There are also examples of some of the characters making their way into other theatrical traditions, such as Sarugaku and, eventually, Noh and even folk theater.  These hints have been used to help artists reconstruct what Gigagku might have been like. One of the key aspects of Gigaku is that for all they were telling stories, other than things like the recitation of the sutras, the action of the story appears to have been told strictly through pantomime in the dances.  This was accompanied by the musicians, who played a variety of instruments during the performance that would provide the musical queues for the dancers-slash-actors.  There was no dialogue, however, but the names of the various characters appear to have been well known, and based on the specifics of the masks one could tell who was who and what was going on. This is similar to how, in the west, there were often stock characters in things like the English Mummers plays or the Comedia dell'arte of the Italian city-states, though in Gigaku those characters would not speak at all, and their story would be conveyed simply through pantomime, music, and masks. There have been attempts to reconstruct Gigaku.  Notably there was an attempt in the 1980s, in coordination with a celebration of the anniversary of Todaiji, in Nara, and it appears that Tenri University may continue that tradition.  There was also another revival by famed Kyougen actor Nomura Mannojo, uncle to another famous Kyougen actor turned movie star, Nomura Mansai.  Mannojo called his style “Shingigaku”, which seems to be translated as either “True Gigaku” or “New Gigagku”, and he took that on tour to various countries.  You can find an example of his performance from the Silk Road Theater at the Smithsonian Folklife Festival in Washington, DC back in 2002, as well as elsewhere.  It does appear that he's changed things up just a little bit, however, based on his layout of the dances, but it is an interesting interpretation, nonetheless. We may never truly know what Gigaku looked and sounded like, but it certainly had an impact on theatrical and musical traditions of Japan, and for that alone it perhaps deserves to be mentioned. And I think we'll stop right there, for now.  There is more to get through, so we'll certainly have a part two as we continue to look at events of this rein.  There are stories of gods and omens.  There is contact with an island off the southern coast of Kyuushuu.  There are more trips to the Sui court.  Much of that is coming.  Until then, I'd like to thank you once again.  I can hardly believe we reached one hundred episodes!  And it comes just as we are about to close out the year. As usual, I'll plan for a recap episode over New Year's, and then I'll plan to get back into everything the episode after that, but this closes out the year. I hope everyone has a wonderful new year, however you celebrate and, as always, thank you for listening and for all of your support.  If you like what we are doing, tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website, SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to Tweet at us at @SengokuPodcast, or reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.  

In our Summer 2023 issue, Julian Saporiti writes about the George Igawa Orchestra, which entertained thousands of incarcerated Japanese Americans at a World War II internment camp in Heart Mountain, Wyoming. But Saporiti, who releases music as No-No Boy, has been singing about the “best god damn band in Wyoming” since 2021, when his album 1975 came out. No-No Boy—named for the Japanese Americans who twice answered “no” on a wartime loyalty questionnaire—has been releasing songs about forgotten pockets of Asian-American history for years: Burmese migrants, Cambodian kids whose parents survived the Khmer Rouge, Saigon teens, and his mother's experience as a Vietnamese refugee of an American war. We caught up with Saporiti at the Smithsonian Folklife Festival, where he performed a set in celebration of the 75th anniversary of Smithsonian Folkways, to talk about reciprocity, scholars by waterfalls, and how to smuggle in history with a few strummed chords.Go beyond the episode:Listen to No-No Boy's previous two albums, 1975 and 1942, and pre-order the next releaseRead “Last Dance,” Saporiti's story of the George Igawa OrchestraUnfamiliar with the history of the no-no boys? Listen to our interview with Frank Abe about John Okada's seminal novel No-No Boy about a Nisei draft-resisterTune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Follow us on Twitter @TheAmScho or on Facebook.Subscribe: iTunes • Stitcher • Google Play • AcastHave suggestions for projects you'd like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate us on iTunes! Our theme music was composed by Nathan Prillaman. Hosted on Acast. See acast.com/privacy for more information.

The annual July Fourth celebration on the National Mall overlaps with the Smithsonian Folklife Festival. Here's how to prepare.

Abrimos con los tres discos favoritos de Mundofonías en junio del 2023, con los heterodoxos bretones Castor et Pollux, el bardo turcomano Oghlan Bakhshi y las raíces carnáticas del sur de la India de Aditya Prakash. El resto del programa lo dedicamos a nuestras #Mundofonews, fijándonos especialmente en la escena internacional de conciertos y festivales. Hablamos del festival Globaltica de Polonia; de Archipiélago 2023, en Madrid; del Smithsonian Folklife Festival de Washington; del Africa Fête de Marsella, de la gira de conciertos Maracuyeah! y del European Folk Day, todo ello salpicado de ejemplos musicales de artistas involucrados en estas convocatorias. We open with Mundofonias' three favourite albums for June 2023, with the heterodox Bretons Castor et Pollux, the Turkmen bard Oghlan Bakhshi and the South Indian Carnatic roots of Aditya Prakash. We dedicate the rest of the program to some #Mundofonews, focusing especially on the international concert and festival scene. We talk about the Globaltica festival in Poland; Archipiélago 2023, in Madrid; the Smithsonian Folklife Festival in Washington; the Africa Fête in Marseille, the Maracuyeah! concert tour and the European Folk Day, all sprinkled with musical examples of artists involved in these events. Favoritos de junio / June favorites Castor et Pollux - 106 loud - Contrebandes Oghlan Bakhshi - Boy bibi - Journey across the steppes Aditya Prakash - Shifting sa - Karnatic roots #Mundofonews Septeto Santiaguero - El guaguancó es más sabroso - Para los bailadores: En directo desde Galapagar Tenores di Bitti Mialinu Pira - Milia vatu' sa trota Dom Flemons - Rabbit foot rag - Traveling wildfire Selma Uamusse - Hoyo hoyo - Liwoningo Les Frères Smith - Ekolo assiko - Mutation (Castor et Pollux - L'arrivée - Contrebandes)

The podcast by project managers for project managers. Sometimes a project can feel like a three-ringed circus! You are managing the schedule, the budget, and the requirements, and at the same time, you've got to consider the stakeholders, team members, and the organization. We are taking a look at the early 20th century traveling circus to see how they kept the circus performing as a “well-oiled machine.” Table of Contents 02:36 … Meet Jennifer03:42 … The Golden Age of the Traveling Circus05:04 … The Impact of the Railroad06:16 … The Project Manager of the Circus08:27 … The Daily Schedule12:13 … Logistical Magic14:07 … Maximize Impact and Profit Margin15:07 … Leveraging the Business Model16:43 … Strategic Planning18:45 … Planning Routes21:56 … Thinking Holistically24:36 … Kevin and Kyle25:42 … Procurement and Inventory Control28:22 … Managing Resources29:31 … Network of Support31:02 … Communicating Lessons Learned34:00 … Planning for Risk Episodes37:07 … Company Culture39:49 … The Satisfaction of a Common Purpose41:02 … Clarity of Roles Builds Trust43:38 … Find Out More45:24 … Closing JENNIFER LEMMER POSEY: ...if you are in this project with me, if you are trying to make this outcome the best that it can be, just like I am, then we're together, and everything else doesn't matter.  This is about what we're trying to accomplish.  I love that attitude.  I think it's one that we all could learn from.  Put aside your personal differences and get this thing done. WENDY GROUNDS:  Welcome to Manage This, the podcast by project managers for project managers.  I'm Wendy Grounds, and in the studio with me is Bill Yates and Danny Brewer.  We're excited to talk to you today about the circus.  Our guest is Jennifer Lemmer Posey.  She is the Tibbals Curator of Circus at the John and Mable Ringling Museum of Art in Sarasota, Florida.  And she's been working with circus collections and the international circus community for 20 years.  Jennifer's also served as editor for Bandwagon, the Journal of the Circus Historical Society, and was an advisory scholar for the Smithsonian Folklife Festival celebrating the circus arts in 2017. You may be wondering why are we talking about a circus when we are a project management podcast.  If we listen carefully to the story of the circus, we tie in so many lessons for project management, from building community, to planning and coordination, for being resourceful. BILL YATES:  Some of you may be thinking, “My project is a lot like a circus.” WENDY GROUNDS:  That's what we were thinking. BILL YATES:  You know, Wendy, the traveling circus back in the early 1900s resembled a small city.  It's like a traveling city.   It entirely packs up and moves to another city every day or every few days.  The performance and movement of the circus must have required great discipline and carefully executed planning.  But it was so impressive that the U.S. Army sent a number of officers to study Barnum & Bailey Circus for a week.  The report the officers sent back praised the complex logistical operation of this massive project.  Here's a quote:  “It is a kingdom on wheels, a city that folds itself up like an umbrella.  Quietly and swiftly every night it does the work of Aladdin's lamp, picking up in its magician's arms theater, hotel, schoolroom, barracks, home, whisking them all miles away and setting them down before sunrise in a new place.”  It is magical what they did with the circus.  And there are so many tiebacks, so many points that we can connect with the projects that we run. WENDY GROUNDS:  Hi, Jennifer, welcome to Manage This.  Thank you so much for being our guest. JENNIFER LEMMER POSEY:  Hi, I'm delighted to be here. Meet Jennifer WENDY GROUNDS:  So we want to dig in and find out more about the circus.  But you have a very interesting job.  What was your career path?  How did you become the Curator of the Circus at the John and Mable Ringling Museum of Art?

Queen Zabel of Armenia is a little-known, often-forgotten reigning queen due to her short life and the lack of information on her. However, in her short life, she became a very successful first queen of the Armenian crusader state but also suffered much tragedy as a child queen in a world of complex crusade politics. Join me to learn about Zabel's complicated life. Bibliography Alvarez, Sandra. “The Crusaders through Armenian Eyes.” Medievalists.net, July 12, 2011. https://www.medievalists.net/2011/07/the-crusaders-through-armenian-eyes/. Encyclopedia Britannica. “Armenia,” July 26, 1999. https://www.britannica.com/place/Armenia/The-marzpans. Avetisyan, Vigen. “The Traditional Armenian Wedding Dress.” Art-A-Tsolum, July 9, 2020. https://allinnet.info/culture/the-traditional-armenian-wedding-dress/. Bloks, Moniek. “Queens Regnant - Isabella, Queen of Armenia.” History of Royal Women, February 15, 2019. https://www.historyofroyalwomen.com/the-queens-regnant-series/queens-regnant-isabella-queen-of-armenia/. Contributors to Wikimedia projects. “Armenian Kingdom of Cilicia.” Wikipedia, December 9, 2022. https://en.wikipedia.org/wiki/Armenian_Kingdom_of_Cilicia. ———. “Hethum I of Armenia.” Wikipedia, June 13, 2022. https://en.wikipedia.org/wiki/Hethum_I_of_Armenia. ———. “Isabella, Queen of Armenia.” Wikipedia, August 7, 2022. https://en.wikipedia.org/wiki/Isabella,_Queen_of_Armenia. ———. “Leo I, King of Armenia.” Wikipedia, October 8, 2022. https://en.wikipedia.org/wiki/Leo_I,_King_of_Armenia. ———. “Leo II, King of Armenia.” Wikipedia, June 12, 2022. https://en.wikipedia.org/wiki/Leo_II,_King_of_Armenia. ———. “Philip of Antioch.” Wikipedia, March 15, 2022. https://en.wikipedia.org/wiki/Philip_of_Antioch. ———. “Rubenids.” Wikipedia, February 15, 2022. https://en.wikipedia.org/wiki/Rubenids. ———. “Sibylla of Cyprus.” Wikipedia, December 20, 2022. https://en.wikipedia.org/wiki/Sibylla_of_Cyprus. ———. “Stephanie of Armenia.” Wikipedia, January 19, 2022. https://en.wikipedia.org/wiki/Stephanie_of_Armenia. Smithsonian Folklife Festival. “Hopa! Rituals and Symbols of an Armenian Wedding.” Accessed December 28, 2022. https://festival.si.edu/blog/rituals-symbols-armenian-wedding-celebration.

On this episode, I speak with Dr. Diana Baird N'Diaye, The African American Folklorist of the Month! Dr. Diane Baird N'Diaye is an interdisciplinary Visual artist/maker and cultural scholar. N'Diaye developed and headed the African American Crafts Initiative, is the principal investigator and Curator of the Will to Adorn: African American Dress and the Aesthetics of Identity, was awarded the Smithsonian Secretary's Research Prize for Curatorial Conversations: Cultural Representation at the Smithsonian Folklife Festival; and currently holds the position as Senior Folklife Curator, Cultural Specialist, Directs African American Craft Initiative at the Smithsonian Center for Folklife & Cultural Heritage. She's written many pieces and engages directly with traditional arts. Dr. N'Diaye fancies herself a maker, creating everything from quilts to necklaces, clothing, bags, and everything in between. As a maker, her focus is to provoke conversations and contemplations around identity, heritage, healing, and the social terrain in those of the diaspora live. Utilizing her creativity as an anthropologist, Diane's travel and research permeate through her work. N'Diaye says, “ My art is shaped by my identities as a citizen of global Africa and 2nd generation transnational.” As the African American Folklorist of the Month, I had the honor to sit with Dr. N'Diaye and discuss her journey, works, and thoughts on Black in the academic and independent Folklore space. --- Send in a voice message: https://anchor.fm/africanamericanfolklorist/message Support this podcast: https://anchor.fm/africanamericanfolklorist/support

Calling all conservationists! On this episode of Conservation Conversations, the group (Danielle Reed and Sarah Bigley) speaks on the Smithsonian Folklife Festival and their experience in Washington, DC. In this episode they elaborate on what the hub did at the festival like hosting workshops, meeting new people, making professional connections, and speaking on panels. Thanks for listening to this episode of Conservation Conversations brought to you by the Global Co Lab Network's Wildlife Conservation Hub!

Calling all conservationists! On this episode of Conservation Conversations, the group (Danielle Reed and Sarah Bigley) invites Co Lab participants (Carolina Jones, Lana Bess, and Aakash Palathra) to share their stories. In Part 7 of this episode they talk about their experience meeting new people who share the same passions and interests at the Smithsonian Folklife Festival in Washington, DC. Thanks for listening to this episode of Conservation Conversations brought to you by the Global Co Lab Network's Wildlife Conservation Hub!

Calling all conservationists! On this episode of Conservation Conversations, the group (Danielle Reed and Sarah Bigley) speaks with Emma Casini, the teen ambassador of the Education Hub. In Part 8 of this episode they talk about their experience in Washington, DC and their visit to the Smithsonian National Zoo and Conservation Biology Institute. Thanks for listening to this episode of Conservation Conversations brought to you by the Global Co Lab Network's Wildlife Conservation Hub!

Calling all conservationists! On this episode of Conservation Conversations, the group (Danielle Reed and Sarah Bigley) speaks on the Smithsonian Folklife Festival and their experience in Washington, DC. In Part 1 of this episode they elaborate on what the Wildlife Conservation Hub presented at the festival. Thanks for listening to this episode of Conservation Conversations brought to you by the Global Co Lab Network's Wildlife Conservation Hub!

Calling all conservationists! On this episode of Conservation Conversations, the group (Danielle Reed and Sarah Bigley) invites Co Lab participants (Carolina Jones, Lana Bess, Sean Lee, and Aakash Palathra) to share their stories. In Part 2 of this episode they talk about their favorite memories from the Smithsonian Folklife Festival and Washington, DC. Thanks for listening to this episode of Conservation Conversations brought to you by the Global Co Lab Network's Wildlife Conservation Hub!

Calling all conservationists! On this episode of Conservation Conversations, the group (Danielle Reed and Sarah Bigley) invites Co Lab participants (Carolina Jones, Lana Bess, Sean Lee, and Aakash Palathra) to share their stories. In Part 3 of this episode they talk about presenting their work to hundreds of festival-goers at the Smithsonian Folklife Festival in Washington, DC. Thanks for listening to this episode of Conservation Conversations brought to you by the Global Co Lab Network's Wildlife Conservation Hub!

Calling all conservationists! On this episode of Conservation Conversations, the group (Danielle Reed and Sarah Bigley) invites Co Lab participants (Carolina Jones, Sean Lee, and Aakash Palathra) to share their stories. In Part 4 of this episode they talk about getting to meet each other in person for the first time ever at the Smithsonian Folklife Festival in Washington, DC. Thanks for listening to this episode of Conservation Conversations brought to you by the Global Co Lab Network's Wildlife Conservation Hub!

Calling all conservationists! On this episode of Conservation Conversations, the group (Danielle Reed and Sarah Bigley) invites Co Lab participants (Carolina Jones, Lana Bess, and Sean Lee) to share their stories. In Part 5 of this episode they talk about their experience speaking about their work on panels at the Smithsonian Folklife Festival in Washington, DC. Thanks for listening to this episode of Conservation Conversations brought to you by the Global Co Lab Network's Wildlife Conservation Hub!

Calling all conservationists! On this episode of Conservation Conversations, the group (Danielle Reed and Sarah Bigley) talks about their experience hosting fun and educational workshops at the Smithsonian Folklife Festival in Washington, DC. Thanks for listening to this episode of Conservation Conversations brought to you by the Global Co Lab Network's Wildlife Conservation Hub!

 A native of Belcourt, ND, Ryan Keplin has established his reputation as a distinctive left-handed fiddle player and entertainer, astonishing crowds wherever he plays. His spectacular shows feature a mixture of fiddle music and singing, leaving his audiences wanting to hear more each time.  Ryan's musical interests began as a young child. He found inspiration in the music of fiddle greats like Andy Desjarlais, Reg Bouvette, and Graham Townsend. Today, the multi-talented entertainer can play not only the fiddle, but also the acoustic guitar, bass guitar, drums, mandolin, and piano. Ryan has performed at various events and festivals in the U.S. and Canada, including the Smithsonian Folklife Festival the Smithsonian Institution in Washington, D.C.,  The Homesteaders Festival near Nashville, Tennessee, MetisFest at the International Peace Gardens, Norsk Hostfest in Minot, ND, Asham Stomperfest in Manitoba, and the famous Back to Batoche Festival in Saskatchewan.  With an extensive musical background, Ryan has shared the stage with well-known entertainers including Moe Bandy, The Bellamy Brothers, Mark Chesnutt, Rory Feek, Kevin Costner, Julie Roberts, Doug Kershaw, Jo-El Sonnier, Eddy Raven, Reg Bouvette, Darren Lavallee, Clint Dutiaume, John Arcand, and Calvin Vollrath, to name a few.   This podcast captures a great conversation with Ryan & Jennifer Keplin about Ryan's music career, the "Ryan Keplin Summerfest," and their partnership with Music Ranch Montana. 

This episode is also available as a blog post: https://thecitylife.org/2022/06/10/souk-inspired-smithsonian-folklife-festival-marketplace-to-feature-craft-fine-art-food-and-more/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

This episode is also available as a blog post: https://thecitylife.org/2022/06/03/smithsonian-folklife-festival-returns-to-the-national-mall-with-free-evening-concerts/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

This episode is also available as a blog post: https://thecitylife.org/2022/06/02/conservation-successes-featured-at-the-2022-smithsonian-folklife-festival/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

This episode is also available as a blog post: https://thecitylife.org/2022/06/02/uae-cultural-traditions-explored-at-the-2022-smithsonian-folklife-festival/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

This episode is also available as a blog post: https://thecitylife.org/2022/05/27/smithsonian-folklife-festival-returns-to-the-national-mall-with-stories-of-land-sea-and-sky/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Join Jesse Palidofsky for music and reflection, crafted especially for chaplains. Azalea City Recordings artist Jesse Palidofsky has been performing his original songs in folk venues, coffeehouses, and festivals for decades. "I Am An Immigrant" reached #1 on the International Folk Radio charts and "Dancing Toward the Light " was the #5 CD . Jesse's updated “America the Beautiful: 2020” with Bluegrass vocalist Claire Lynch and Blues singer Lea Gilmore has 65,000 hits on YouTube. He is the recipient of numerous songwriting awards. Jesse's appearances include: National Theatre, Hugh's Room (Toronto), Sloop Clearwater “Pumpkin Sail”, Common Ground on the Hill Roots Music & Arts Festival, FOCUS Music, Smithsonian Folklife Festival, Institute of Musical Traditions, Association of Professional Chaplains Annual Conference, Washington Folk Festival, Friends General Conference, Common Ground on the Border, Takoma Park Folk Festival, Pastoral Care Network for Social Responsibility, Tikkun Magazine, Club Sandwich, Folkal Point Coffeehouse. Learn more at JessePal.net.

On this special episode of Smoky Mountain Air, guest hosts Dr. William Turner and Dr. Ted Olson kick off an exciting new mini-series called Sepia Tones: Exploring Black Appalachian Music. Guests Loyal Jones, Sparky Rucker, and James Leva contribute to this lively conversation about the roots of Appalachian music and their own roles in preserving these musical influences.Loyal Jones served as director of the Appalachian Center now named in his honor at Berea College. He established the annual festival of traditional music at Berea and the Appalachian Sound Archive. Jones is the author of numerous books of regional interest.Sparky Rucker grew up in Knoxville, TN, and has become an internationally recognized folk singer, musician, and storyteller. He has been an educator, performer, and social activist and has been involved in the Civil Rights movement since the 1950s.James Leva is a multi-instrumentalist playing the fiddle, guitar, and banjo, and he’s a singer and songwriter. His work with The Lost Tribe of Country Music transcends racial and generational boundaries as well as musical genres.Dr. William Turner is a long-time African American studies scholar who first rose to prominence as co-editor of the groundbreaking Blacks in Appalachia (1985). He was also a research assistant to Roots author Alex Haley. Turner retired as distinguished professor of Appalachian Studies and regional ambassador at Berea College. His memoir called The Harlan Renaissance is forthcoming from West Virginia University Press in 2021.Dr. Ted Olson is a professor of Appalachian Studies at East Tennessee State University and the author of many books, articles, reviews, encyclopedia entries, and oral histories. Olson has produced and compiled a number of documentary albums of traditional Appalachian music including GSMA’s On Top of Old Smoky and Big Bend Killing. He’s received a number of awards in his work as a music historian, including seven Grammy nominations.Music selections in this episode:“John Henry” performed by Amythyst Kiah and Roy Andrade from GSMA's Big Bend Killing (https://www.smokiesinformation.org/big-bend-killing-the-appalachian-ballad-tradition-2-disk-cd)“Careless Love” performed on guitar by Etta Baker, used courtesy of Berea Sound Archive (https://soundarchives.berea.edu/items/show/2455)“Fly Around My Pretty Little Miss” performed by Ali Farka Touré with Lee Sexton and others from an informal gathering at the Smithsonian Folklife Festival, used courtesy of Bryan Wright of Rivermont Records“We Shall (We Will) Overcome” from the Highlander Collection of the Southern Folklife Collection, Wilson Special Collections Library, UNC Chapel Hill; used courtesy of the  Septima Clark Learning Center at Highlander Center (https://youtu.be/5YkTUeFViUY)“Come Sit By My Side Little Darlin’” performed by Bill Livers, Berea Sound Archive (https://soundarchives.berea.edu/items/show/6937)“Jola Gambia” performed by Daniel Jatta and the Lost Tribe of Country Music, used courtesy of James Leva (https://soundcloud.com/raisin-music/akonting)“My Home’s Across the Smoky Mountains,” performed by Sparky Rucker at the Berea College Celebration of Traditional Music, 1981, used courtesy of Digital Library of Appalachia’s Berea College collection (https://dla.acaweb.org/digital/collection/berea/id/2625/rec/11)

Good Morning it's Saturday April 24th, and this is The Wenatchee World's newest podcast, Slices of Wenatchee. We're excited to bring you a closer look at one of our top stories and other announcements every Tuesday, Thursday, and Saturday.    Today - East Wenatchee Police Chief Rick Johnson has proposed adding a resource officer to Eastmont High School. He says this would provide much more than just an extra sense of security on campus.   This episode is brought to you by Equilus Group Incorporated. Equilus Group, Inc is a Registered Investment Advisory Firm in the states of Washington, Oregon, and Idaho. Equilus Group, Inc- Building Your Financial Success. Learn more at Equilusfinancial.com. Member SIPC and FINRA.   -   Now our feature story...   East Wenatchee Police Chief Rick Johnson has proposed adding a resource officer to Eastmont High School. He says the move would provide much more than just an extra sense of security on campus.   Johnson says that having a positive relationship with the police department is essential to increasing public safety locally. In fact, he's looking at creative ways to reach out to the public in a positive way instead of just responding when things are bad.   According to Johnson a school resource officer, or SRO is the single biggest way the police department can impact the most people at a time in their life when they are making opinions of police.    On April 12th, he told the school board that the program gets sold sometimes as a deterrent for violent crime. And yes, it absolutely is, but Johnson thinks that it's not necessarily the most important role for an SRO.   A resource officer is building relationships that otherwise would not exist.    They're not just a cop to students. They are a public safety advocate, a mentor, a public safety professional, and a counselor.   In his proposal, Johnson said the school district would have a huge role in the selection process of the SRO. They'd only move forward if they could find the right person for the job.   The salary would be $80,952, and Johnson hopes to have the SRO ready for January 2022.   But not everyone on the school board was… on board. Whitney Smith asked why the school district needs a resource officer when police could come to campus anytime.   Again, Johnson expressed that as public safety professionals, the mission is public safety. But an SRO on the other hand, their mission is just that of an individual campus.   East Wenatchee Mayor Jerrilea Crawford said she and Johnson have been working to reestablish the positive relationship within the community -- and not only for the police department but for the city as a whole.   It's unclear at this point when the school board will continue the conversation about the SRO, but the budget is scheduled to be adopted later this summer on July 12.   And several years ago, Superintendent Garn Christensen said the school board made a decision to add two SROs. But the board didn't know if the funds would be available to maintain the program,  so they put it on hold.   And this year, due to COVID, they didn't know if they'd even have students on campus. That, and a change in city leadership. So we once again the program was postponed.    But Christensen says that now with Chief Johnson here, he has a proposal that the board reconsider.   Johnson, who is completing his 10th month at the East Wenatchee Police Department, began his presentation to the board talking about all the changes he's made at the agency.    He noted they've implemented an internal training program for staff in crisis intervention, patrol tactics, de-escalation, use of force, domestic violence law updates, active shooter response, first aid, emergency vehicle operations and defensive tactics. Why? According to Johnson, historically the East Wenatchee Police Department had a reputation of not training to the same level as the other agencies in the area. The  goal is to be on par if not surpass them.   He also added that East Wenatchee Police will have body cameras on all commissioned staff.   To stay up to date with this story visit us at wenatcheeworld.com.   - Before we continue, a special thanks to our friends and sponsors at Confluence Health. The team at Confluence Health is grateful for the trust the community puts in them every single day. They are diligently working to improve the health and quality of life for our friends and neighbors. They are Grateful | They are Confluence Health.  Learn more by visiting them at ConfluenceHealth.com --   Next, our weekly profile of one of the World's 30 Under 35 award recipients.    This week - 26 year old Isabel Bedolla, a Child and Family therapist at the Children's Home Society of Washington.   After graduating from Washington State University with a bachelor's degree in psychology in 2016, Bedolla returned to the Wenatchee Valley to start her career. She went on to complete her master's degree in clinical counseling from Bellevue University in November 2020.   She worked for four years as a victim advocate at SAGE, a nonprofit that supports survivors of domestic violence, sexual assault and child victims of violence.   Bedolla was one of the first and only bilingual forensic interviewers, building bridges in the community by creating partnerships with populations that traditionally have had no visibility or access to services.    She also served on the executive board in organizing SAGE's fundraising gala, “Enchanted Evening”. The Gala helps the organization continue its free services.   As part of her master's program, she also completed a clinical internship at Children's Home Society of Washington. Her goal was to become a licensed mental health counselor, one of only 5.5% of psychologists nationally who can provide mental health care services in Spanish. And now, she's working at Children's Home Society of Washington as a child and family therapist.   When we asked Bedolla what she's proud of she told us that her biggest accomplishments at SAGE were  always related to clients. She was in a special position where she got to see someone at their most vulnerable and then ultimately see them flourish with time.    Bedolla also got the opportunity to work with different populations and different age groups, which challenged her to learn new ways on how to offer services to each individual client.   She's proud of the community that she serves. Bedolla told us that she's been asked on multiple occasions why she doesn't broaden her horizons and move out of the valley. But working with the community here has given her a chance to see that there is always an opportunity to make the community stronger.   We also asked what inspires her, and she said that from an early age her dad always told her that if she wanted to achieve something, then she needed to put the time and energy toward it.    And now, what continues to inspire Bedolla  is for other children to see that they are capable of being successful too.   Being Hispanic, she hopes that she can motivate others to pursue their dreams of their own.   BedollaI wants to see more diversity in all professions because that gives children the ability to think to themselves, “that could be me one day.”     Now, some history…   Did you know that the Wenatchee Youth Circus was founded in 1952 by Paul K. Pugh? Known as the biggest little circus in the world, it's one of the top non-professional circus troupes in the US. For almost seventy years, they've traveled the country and played shows to over 2 million people. While the kids who perform in the circus often go on to other careers, many have turned pro with Ringling Brothers, Cirque du Soleil, and more.   In 2017 they were featured in the Smithsonian Folklife Festival.  -   Thanks for listening. Today's episode is brought to you by Equilus Group, Inc- Building Your Financial Success. Learn more at Equilusfinancial.com   The Wenatchee World has been engaging, informing and inspiring North Central Washington Communities since 1905. We encourage you to subscribe today to keep your heart and mind connected to what matters most in North Central Washington. Thank you for starting your morning with us and don't forget to tune in again on Tuesday!   Support the show: https://www.wenatcheeworld.com/site/forms/subscription_services/ See omnystudio.com/listener for privacy information.

Doris Daley is a renowned cowboy poet, emcee and humorist—or as she prefers, a “western poet.” Her 20-year performance career includes appearances with the Reno Philharmonic Orchestra, the Smithsonian Folklife Festival and the Saskatchewan Opera Company. Doris joins Russell and Alan from Alberta, Canada to share her wordsmithing and love of the West. It's a cowboy celebration of National Poetry Month.

#livelikeanacrobatpodcast #unclejuniorproject #circusFor this special Inaugural episode of the Live Like An Acrobat Podcast, host Shenea Stiletto honors a historic moment in American History by interviewing Aerialist, Instructor, Moderator, Director, and Circus Historian Veronica Blair as she celebrates the Ten Year Anniversary of the Uncle Junior Project; her ongoing docuseries which archives the legacy of African American circus artists for future generations. The Uncle Junior Project: https://www.unclejrproject.comFollow: https://m.facebook.com/UncleJrProject/https://www.instagram.com/unclejrproject/Veronica Blair:https://www.veronicablairaerial.comFollow:https://www.instagram.com/veronica_blair_aerialist/?hl=en@BlackAerialist: https://instagram.com/blackaerialist?igshid=rv44iirgoztv@HOTBROWNHONEY:https://www.instagram.com/hotbrownhoney/?hl=en @victims_voices_circushttps://instagram.com/victims_voices_circus?igshid=1n6w6ctlza023CircusTalk Panels: https://youtu.be/cUPm4TRraBEhttps://youtu.be/767uaNr-zfgVeronica Blair has studied with some of the most celebrated and prominent artists in her field, including trapeze great LaNorma Fox, Ringling Bros. first African-American Aerialist Pa-Mela Hernandez, and the renowned “God Father of the Tissu” Gérard Fasoli of Centre National des Arts du Cirque / Cnac. Veronica has since performed with several other renowned groups and productions around the globe such as AntiGravity, Universal Studios Japan and Warner Bros. Music. She has been a part of Germany's most successful circus show, “AFRIKA! AFRIKA!”, and was the lead aerialist in KAMAU's “BooDha” music video with over 100k views on YouTube.Expanding her portfolio beyond performing, Veronica launched the development of “The Uncle Junior Project” in 2010. The ongoing documentary shines a light on the careers of African-American circus performers, including Emanual “Uncle Junior” Ruffin who remained largely uncredited for his contributions to American Circus until after his death. In 2017 she was invited to speak at the Smithsonian Folklife Festival about her experience as producer and director of “The Uncle Junior Project”, and served as organizer and moderator on a panel highlighting the African-American circus experience. She's also worked with the African-American Art and Culture Complex to stage Entrapment to Entertainment: A Celebration of Blacks in American Circus, a three month exhibition that ran from October, 2013 – January 2014 with over 1,000 attendees.Veronica Blair is presently an aerial performer, instructor and aerial director at Celebrity Cruises Productions.Please #Subscribe! LIKE, COMMENT!Please consider making a donation to encourage the continued growth, expansion and evolution of this podcast:Venmo:@shenea-boothThink Like An Acrobat Vlog Ep.3 -Let's Negotiate For Yourself: The Art of A Good Contract

#livelikeanacrobatpodcast #unclejuniorproject #circusFor this special Inaugural episode of the Live Like An Acrobat Podcast, host Shenea Stiletto honors a historic moment in American History by interviewing Aerialist, Instructor, Moderator, Director, and Circus Historian Veronica Blair as she celebrates the Ten Year Anniversary of the Uncle Junior Project; her ongoing docuseries which archives the legacy of African American circus artists for future generations. The Uncle Junior Project: https://www.unclejrproject.comFollow: https://m.facebook.com/UncleJrProject/https://www.instagram.com/unclejrproject/Veronica Blair:https://www.veronicablairaerial.comFollow:https://www.instagram.com/veronica_blair_aerialist/?hl=en@BlackAerialist: https://instagram.com/blackaerialist?igshid=rv44iirgoztv@HOTBROWNHONEY:https://www.instagram.com/hotbrownhoney/?hl=en @victims_voices_circushttps://instagram.com/victims_voices_circus?igshid=1n6w6ctlza023CircusTalk Panels: https://youtu.be/cUPm4TRraBEhttps://youtu.be/767uaNr-zfgVeronica Blair has studied with some of the most celebrated and prominent artists in her field, including trapeze great LaNorma Fox, Ringling Bros. first African-American Aerialist Pa-Mela Hernandez, and the renowned “God Father of the Tissu” Gérard Fasoli of Centre National des Arts du Cirque / Cnac. Veronica has since performed with several other renowned groups and productions around the globe such as AntiGravity, Universal Studios Japan and Warner Bros. Music. She has been a part of Germany’s most successful circus show, “AFRIKA! AFRIKA!”, and was the lead aerialist in KAMAU’s “BooDha” music video with over 100k views on YouTube.Expanding her portfolio beyond performing, Veronica launched the development of “The Uncle Junior Project” in 2010. The ongoing documentary shines a light on the careers of African-American circus performers, including Emanual “Uncle Junior” Ruffin who remained largely uncredited for his contributions to American Circus until after his death. In 2017 she was invited to speak at the Smithsonian Folklife Festival about her experience as producer and director of “The Uncle Junior Project”, and served as organizer and moderator on a panel highlighting the African-American circus experience. She’s also worked with the African-American Art and Culture Complex to stage Entrapment to Entertainment: A Celebration of Blacks in American Circus, a three month exhibition that ran from October, 2013 – January 2014 with over 1,000 attendees.Veronica Blair is presently an aerial performer, instructor and aerial director at Celebrity Cruises Productions.Please #Subscribe! LIKE, COMMENT!Please consider making a donation to encourage the continued growth, expansion and evolution of this podcast:Venmo:@shenea-boothThink Like An Acrobat Vlog Ep.3 -Let's Negotiate For Yourself: The Art of A Good Contracthttps://circustalk.com/news/think-like-an-acrobat-ep-3-lets-negotiate-for-yourself-the-art-of-a-good-contract?utm_source=CircusNewsDigest&utm_medium=emailNew Circuspreneur Blog!Www.Circuspreneurblog.comLive Like An Acrobat #Podcast #Spotify:https://open.spotify.com/episode/6O0utPJ8MJfM6QmwPd4lsV?si=GHHQvY9PQ4uk3iniJYoHVQ#ITunes: https://podcasts.apple.com/us/podcast/shenea-stiletto-live-like-an-acrobat/id1514321355Follow @sheneastiletto on Instagramhttps://www.instagram.com/sheneastiletto/?hl=en@livelikeanacrobatpodcast:https://www.instagram.com/livelikeanacrobatpodcast/Facebook: Live Like An Acrobat Podcast-https://m.facebook.com/livelikeanacrobatpodcast/https://m.facebook.com/sheneaboothTwitter: https://twitter.com/sheneastiletto?lang=enTikTok: https://vm.tiktok.com/3gUVhf/LinkedIn:https://www.linkedin.com/in/shenea-stiletto-5a9a8656#Private #Handstand training available! Explore & Sign up on the Cirqo.co platform for weekly hand balancing tutorials! https://tinyurl.com/Cirqo-SheneaStiletto

Christylez Bacon is a GRAMMY® Nominated Progressive Hip-Hop artist and multi-instrumentalist from Southeast, Washington, DC. He has collaborated with artists from various cultural backgrounds, ranging from the Hindustani & Carnatic music of India, the contemporary Arabic music of Egypt, and the music of Brazil. Christylez was the first Hip-Hop artist to be featured at the Smithsonian Folklife Festival, and is the recipient of multiple honors awarded by the Washington Area Music Association including 2013 Artist of the Year.

Jennifer Lemmer Posey is Tibbals Curator of Circus at the John and Mable Ringling Museum of Art. With research interests focused on the relationship of the circus arts, mass media, and popular culture, she has contributed to many publications and journals. She has also served as Editor for Bandwagon, the Journal of the Circus Historical Society & was an Advisory Scholar for the Smithsonian Folklife Festival in 2017.

Jennifer Lemmer Posey is Tibbals Curator of Circus at the John and Mable Ringling Museum of Art. With research interests focused on the relationship of the circus arts, mass media, and popular culture, she has contributed to many publications and journals. She has also served as Editor for Bandwagon, the Journal of the Circus Historical Society & was an Advisory Scholar for the Smithsonian Folklife Festival in 2017.

Buena parte del programa se dedica a repasar el cuádruple CD “The social power of music“, ‘el poder social de la música', recopilación del sello Smithsonian Folkways, que hace honor a su nombre y del que escuchamos poderosas muestras de músicas de lucha, ritual o celebración. Enlazamos con nuestras #Mundofonews precisamente con el Smithsonian Folklife Festival, que recoge como lema el título de esa recopilación, para seguir hablando de otras propuestas que se avecinan, salpicadas de ejemplos musicales: Músicas del Mundo Madrid, las también madrileñas Noches del Ramadán, Fira Mediterrània de Manresa, FIMPT, Poborina Folk, Festival Gnawa de Esauira, Festival des 5 Continents, Ethno Port Pozna?, EthnoKraków, Sunfest, Pirineos Sur, La Mar de Músicas, Globaltica, FMM Sines, Okarina Festival Bled y Horizonte Festival. Most of this show is dedicated to the quadruple CD “The Social Power of Music“, compilation by Smithsonian Folkways, that truly represents that title with powerful fight, ritual and celebration songs. We connect with our #Mundofonews time talking about Smithsonian Folklife Festival that also has as its motto the title of that compilation, to continue talking about other events coming soon, sprinkled with some related music: Músicas del Mundo Madrid, Noches del Ramadán (also in Madrid), Fira Mediterrània de Manresa, FIMPT, Poborina Folk, Essaouira Gnaoua Festival, Festival des 5 Continents, Ethno Port Pozna?, EthnoKraków, Sunfest, Pirineos Sur, La Mar de Músicas, Globaltica, FMM Sines, Okarina Festival Bled and Horizonte Festival. https://archive.org/download/Mundofonias2019044/Mundofonias2019044.mp3 · Pete Seeger - If I had a hammer - The social power of music [VA] · Peggy Seeger - Reclaim the night - The social power of music [VA] · Country Joe McDonald - I feel like I'm fixin' to die - The social power of music [VA] · Sandoval Begay - Night chant - The social power of music [VA] · Clifton Chenier and His Red Hot Louisiana Band - Party down at the Blue Angel - The social power of music [VA] · Los Reyes de Albuquerque - San Antonio rose - The social power of music [VA] · Suni Paz - Prisioneros somos - The social power of music [VA] · [Refugiados sudafricanos en Tanganica / South African refugees in Tanganyika] - Izakunyatheli Afrika Verwoerd - The social power of music [VA] · Quetzal - 2+0+1+2 = cinco - Imaginaries · Evritiki Zygia - 5 nyjtes - Live at Saristra Festival Kefalonia · Karl Seglem - Springar frå fjord - Som spor · Susheela Raman - Rose - Ghost gamelan Imagen / Image: Pete Seeger

Welcome to CultureMade: Heritage Enterprise in a World on the Move, an audio collaboration between the Smithsonian Folklife Festival, the American Anthropological Association, and This Anthro Life Podcast. In this fifth and final episode, Adam Gamwell, Leslie Walker, and Ryan Collins focus on cultural survival, a complex subject framed by migration, misconceptions over language and identity, as well as by resilience of the human spirit across borders. With a subject like cultural survival, the question comes to mind, what factors threaten shared heritage, tradition, and disband communities? Here we are joined by Alejandro Santiago González (Ixil), and Mercedes M. Say Chaclan (K’iche) representatives of Washington, DC-based Mayan League, an organization working to sustain Maya culture, communities, and lands. Alejandro and Mercedes share their experiences and give insight into the ongoing struggles Maya peoples face today, including issues of language, translation, and communication for indigenous immigrants who are currently in the United States. Helping to elucidate this subject, we are joined by Ph.D. Folklorist Emily Socolov, a frequent collaborator with the Smithsonian Institution’s Division of Folklife and Cultural Heritage and an Executive Director of the Non-Profit Mano a Mano: Mexican Culture Without Borders, serving the Mexican immigrant community in New York. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thisanthrolife/message Support this podcast: https://anchor.fm/thisanthrolife/support

Welcome to CultureMade: Heritage Enterprise in a World on the Move, an audio collaboration from the Smithsonian Folklife Festival, the American Anthropological Association, and This Anthro Life Podcast. In this episode, Adam Gamwell, Leslie Walker, and Ryan Collins dive into the topic of curation. What does it mean to put on a festival or put on a museum exhibit? How can we understand culture on display and introduce outsiders to other social realms? Sharing their narratives and experiences with different forms of curation are Diana Baird N’Diaye, Cultural Specialist and Curator at the Smithsonian Center for Culture and Folklife, Arman Atoyan, CEO and Founder of the (AR) and virtual reality (VR) app and game development company Arloopa, and Pablo Girona, a researcher from Tucuman, Argentina who studies cultural heritage in Catalonia and Quebec. To learn more about Diana Baird N’Diaye’s work visit: https://folklife.si.edu/authors/diana-n-diaye. And, to learn more about Arman Atoyan and Arloopa, visit: http://arloopa.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thisanthrolife/message Support this podcast: https://anchor.fm/thisanthrolife/support

Welcome to CultureMade: Heritage Enterprise in a World on the Move , an audio collaboration from the Smithsonian Folklife Festival, the American Anthropological Association and This Anthro Life Podcast In the US, fashion has been relegated to large impersonal retail spaces and increasingly online stores. Fashion in the US, as many know all too well, is transactional. The sense of community one has through clothing is often expressed through style though it is exceedingly rare for truly deep relationships to develop between the designer and the purchaser, even if an article of clothing is commissioned. But, community and fashion can be much more integrated. With this episode, we invite you into the conversations we had with participants in the Crafts of African Fashion program at the Smithsonian Folklife Festival in 2018. We speak with Soumana Saley a Nigerian leather worker and designer, Cynthia Sands and her mentee Tomara Watkins, also known as Tam, two fashion designers who work between the United States and the African continent, and the program’s curator Diana Baird N’Diaye. This episode was broken into three underlying themes of African fashion, and craft production focused on: the local marketplace, transnational and international fashion trends, and the relationships between consumers and producers within a community. The Crafts of African Fashion is an initiative promoting the continuity of heritage arts in Africa, exploring the vital role of cultural enterprises in sustaining communities and connecting generations on the continent and throughout the diaspora. The activities for this portion of the Festival took place in the Folklife Festival Marketplace. About our Speakers: Diana N’Diaye is a Cultural Specialist and Curator at the Smithsonian Center for Folklife and Cultural Heritage. She holds a PhD in anthropology and visual studies from The Union Institute. Soumana Saley is a leather craft artisan from the West African country of Niger. He currently lives in Millersburg, Pennsylvania running his own business. You can learn more about Soumana and see his products on his online store accessible at https://www.facebook.com/pg/soumanasaleyonline/ and you can learn more about Soumana’s school at https://www.ngodima.org/. Cynthia Sands is an African American textile artist and businesswoman in Washington, DC. Sands’ art career includes experimenting and blending contemporary and original African artistic methods, materials, and dying techniques. She also works closely with African artisans to sustain the use of indigenous art and craft making tradition for social development, income generation, skills-transfer, and art education. You can learn more about Cynthia and her work at the website: www.entuma.com. Tomara (Tam) Watkins, is a mentee of Cynthia Sands and is the founder of Loza Tam, a hair accessory line created in collaboration Ghanaian women artisans and entrepreneurs. Visit Tam’s online store at www.Lozatam.com. Adam Gamwell is the co-host and executive producer of the This Anthro Life (TAL). He is the founder and director of Missing Link Studios www.missinglink.studio a new media collective dedicated to producing creative media for social impact. Adam holds a Ph.D. in Anthropology from Brandeis University. Ryan Collins is the co-host and editor of This Anthro Life (TAL). Ryan holds a Ph.D. in Anthropology from Brandeis University. Leslie Walker is the project manager of the Public Education Initiative at the AAA. He served as a special guest host, collecting stories during the Folklife Festival the forthcoming podcast series with This Anthro Life. Contact Us Contact Adam and Ryan at thisanthrolife -at - gmail.com or individually at adam -at- thisanthrolife.com or ryan -at- thisanthrolife.com Find us on Facebook, Twitter, Instagram @thisanthrolife. All of our content can be found on thisanthrolife.com. Be sure to leave us a review, let us know if you like the show. We love to hear from you. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thisanthrolife/message Support this podcast: https://anchor.fm/thisanthrolife/support

“I hope that more people will listen to more music outside of their own little comfort zone. I think that we enrich ourselves, we are better human beings when you open up your heart to other cultures, other music, to other worlds to other points of view. Because ultimately, as I said in the very beginning, we’re all the same. We’re all humans, and we all can connect in different ways with the things that we like. But, when we see it through the eyes of a different person. Then we better ourselves. We enrich ourselves.” Welcome to CultureMade: Heritage Enterprise in a World on the Move , an audio collaboration from the Smithsonian Folklife Festival, the American Anthropological Association and This Anthro Life Podcast. The above quote comes from Betto Arcos, music journalist and host of NPR’s The Cosmic Bario. Music, whether you create it or are an avid listener, pulls you in a deep sensory allure. The connection humans make with music is so deep that it can impact us physically and serve as a key point of return for our memories. As our guests from the Smithsonian Folklife Festival can attest, as much as it conjures deep feelings and memories, we learn something through the experience of music. Joining the distinct artists together in their views on music is a central theme, that music can help us overcome social difference. For Betto, this recognition is central to his desire to create music. Betto Arcos, in his own words: “I think that’s ultimately why I do it [create music]. I feel like there is a responsibility. There is a sense of a higher reason, why I do this. But deep down it’s also because I love music. Because I’m passionate about it and I feel like we can only do better as a human race, as people, if we know about each other a little more.” About our Speakers Betto Arcos is a music journalist based in Los Angeles, host of The Cosmic Barrio, a reporter for NPR, and regular reporter for PRI. You can learn more about Betto at: http://bettoarcos.com/ Or follow him on Twitter @ArcosBetto Amy Horowitz is an activist, promoter, feminist scholar, Roadwork team putting women artists and musicians on the road, the first multiracial, multicultural coalition. You can learn more about Amy Horowitz at: https://amyhorowitz.org/ And read about RoadWork https://www.roadworkcenter.org/ Arpan Thakur Chakraborty, Rabi Das Baul, Girish Khyapa and Mamoni Chitrakar are the Baul performers, mystic minstrels from the Indian state of Bengal. The Bauls are known for devotional songs that honor the divine within. Additionally, Mamoni Chitrakar is a traditional Indian patachitra singer and painter from West Bengal. You can learn more about their causes at: www.banglanatak.com The purpose of this series is to create narratives linking the diverse peoples, perspectives, and activities across the Festival from a series of micro ethnographies like those above. The open format interview style allowed participants to define in their own words the relationships between their artisanship, musical ability, or experiences and how migration and movement shape their lives. Conversations with curators and other researchers supplemented the interviews with Festival participants and helped us to identify the research involved in selecting participants and the presentation of cultural heritage for the Festival. This approach allows us to foreground a central or thematic conversation and narrate events and activities at the Festival that listeners can paint in their minds as if they had been there to experience it. About Our Hosts Adam Gamwell is the co-host and executive producer of the This Anthro Life (TAL). Adam holds a Ph.D. in Anthropology from Brandeis University. He founded and produces narrative media out of Missing Link Studios. Ryan Collins is the co-host and editor of This Anthro Life (TAL). Ryan holds a Ph.D. in Anthropology from Brandeis University. Leslie Walker is the project manager of the Public Education Initiative at the AAA --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thisanthrolife/message Support this podcast: https://anchor.fm/thisanthrolife/support

Welcome to CultureMade: Heritage Enterprise in a World on the Move, an audio collaboration series from the Smithsonian Folklife Festival, the American Anthropological Association and This Anthro Life Podcast. Join hosts Adam Gamwell, Leslie Walker and Ryan Collins as they explore what it means to craft, form, and make culture in a world defined by movement, migration, and changing borders. Step into behind the scenes conversations and candid interviews from the Smithsonian Folklife Festival. Hear from artists, fashion designers, dancers, weavers, and craftsmen who give life to heritage and shape the many worlds of traditional culture in a planet on the move. "Art is a Movement" How does art help contribute to political protest? Should art never be sold for money? How can dance unify a community? How are traditions like calligraphy and traditional dances passed on between generations? In this episode, we overview the subject of art as informed by representatives from The Armenian program and the Catalonia program of the Smithsonian Folklife Festival. The above ideas on art put forth by Ruben Malayan encompasses the complex feelings, ideas, and understandings that art not only evokes within society but also those of who seek to understand art from a more holistic perspective. Art is complex. Though what counts as art within a society is often recognizable to insiders, the rationale as to why is often much more difficult to discern. Anthropology, at its best, can help us explore the complexities of art. Through critical dialogue, anthropologists can ask what it means to experience art from the vantage point of different cultures and explore the messages that the artist intended to convey. The purpose of this series is to create narratives linking the diverse peoples, perspectives, and activities across the Festival from a series of micro ethnographies like those above. The open format interview style allowed participants to define in their own words the relationships between their artisanship, musical ability, or experiences and the ways in which migration and movement shape their lives. Conversations with curators and other researchers supplemented the interviews with Festival participants and helped us to identify the research involved in selecting participants and the presentation of cultural heritage for the Festival. This approach allows us to foreground a central or thematic conversation and to narrate events and activities at the Festival that listeners can paint in their minds as if they had been there to experience it. Read more and see photos here: https://www.thisanthrolife.com/art-is-a-movement/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thisanthrolife/message Support this podcast: https://anchor.fm/thisanthrolife/support

In this episode of the Living Heritage podcast, we're celebrating Ukrainian Christmas! Folklorist Terra Barrett sits down with storyteller, musician, and ethnomusicologist Brian Cherwick to talk about this festive day! Brian Cherwick specializes in east European traditional music, diaspora cultures, ethnic identity, music industry, material culture and oral history. His dissertation focused on the influences of social conditions and popular music on the development of Ukrainian traditional music in western Canada. He is currently researching the ethnic commercial recording industry in Canada. Dr. Cherwick has taught at the University of Alberta and Athabasca University and worked as a researcher for the Ukrainian Cultural Heritage Village in Alberta and for the Smithsonian Folklife Festival. He is also active as a performer, composer and music educator and has appeared in performances and conducted seminars and workshops throughout North America and Europe.

In the late 1800s, Paul Cinquevalli was one of the most famous and thrilling entertainers in the world. Tales of his juggling and balancing exploits spanned continents. But by the mid 20th century, his name was all but forgotten. In this episode, Sidedoor explores Cinquevalli’s epic rise and fall, and brings you inside the Smithsonian Folklife Festival’s circus tents for a one-of-a-kind Cinquevalli-inspired juggling revival.

In the late 1800s, Paul Cinquevalli was one of the most famous and thrilling entertainers in the world. Tales of his juggling and balancing exploits spanned continents. But by the mid 20th century, his name was all but forgotten. In this episode, Sidedoor explores Cinquevalli’s epic rise and fall, and brings you inside the Smithsonian Folklife Festival’s circus tents for a one-of-a-kind Cinquevalli-inspired juggling revival.

World Footprints is excited to take you on a journey through Colombia, South America where “The Only Risk is Wanting to Stay”. Colombia is home to the 2015 Miss Universe and the country was the featured country in the 2011 Smithsonian Folklife Festival and also had a presence in subsequent Smithsonian Folklife Festivals. World Footprints visited the country and met with some of the artisans and other participants who have been traveling to Washington, DC to share the country's treasures. When some think of Colombia they reflect on Colombia's dark history with drug cartels and corruption. However, we saw a very colorful face of this country--one that reflected it's rich cultural heritage and warmth of the communities we visited. We traveled to historic cities, through the Gold Museum and to Monkey's Island in the Amazon. The memories we left with included the wonderful food, gracious hospitality, architectural and natural beauty. We fell in love with Colombia and we hope that you will also be inspired to visit the country with an open mind and open heart.

Sep. 22, 2015. Olivia Cadaval reflected on her work as the curator of many of the Latin American-themed Smithsonian Folklife Festival presentations. Speaker Biography: Olivia Cadaval is with the Smithsonian Center for Folklife and Cultural Heritage. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7085

Presented by the Minister of Information of Punk the National Mall and Punk Life Zine. The Eddiegate Basement Tapes from the Ronald Reagan International Trade Building with Freedom of Information Act recordings from the National Park Service and Trust For the National Mall related to the unethical and deceitful actions perpetrated on the American People by the so called "guardians" of the National Mall. Also featuring emails from Caroline Cunningham, now former President of the Trust for the National Mall, where she lets the world know what she thinks of the National Park Foundation and Seth Hurwitz of IMP and the 930 Club. Not to be left out is King Weasel, Bob Vogel, now Director of the National Capital Region of the National Park Service too. We also have real life interviews with Freshman Rep. Mark DeSaulinier (D. 11th District, CA) and as close to live interview as possible with 13 term Rep. Eleanor Holmes Norton (D. DC). Not cool Ms. Norton. Finally step back into history and listen to the 1984 Supreme Court Oral Arguments of the Clark v. Creative Community of Non-Violence and the repeated transgressions of the National Park Service against the American People in the name of stewardship of our National Parks. (Please remember CCNV this holiday season) Thanks to Kim Stryker, Save the Smithsonian Folklife Festival, Positive Force DC,  Jim DeRogatis, Scott Higham, and Steve Kiviat for their help and encouragement.  

World Footprints is excited to take you on a journey through Colombia, South America where “The Only Risk is Wanting to Stay”.  Miss Colombia is home to the 2015 Miss Universe and the country was the featured country in the 2011 Smithsonian Folklife Festival and also had a presence in subsequent Smithsonian Folklife Festivals.  World Footprints visited the country and met with some of the artisans and other participants who have been traveling to Washington, DC to share the country's treasures.  When some think of Colombia they reflect on Colombia's dark history with drug cartels and corruption.  However, we saw a very colorful face of this country--one that reflected it's rich cultural heritage and warmth of the communities we visited.  We traveled to historic cities, through the Gold Museum and to Monkey's Island in the Amazon. The memories we left with included the wonderful food, gracious hospitality, architectural and natural beauty.  We fell in love with Colombia and we hope that you will also be inspired to visit the country with an open mind and open heart. 

[APWW PGM #701] Once again, we pull together some of our best Web-only podcasts for your listening pleasure. To start off with, we join veteran reporter Marika Partridge on the Washington Mall for highlights from the astounding Kenyan edition of the Smithsonian Folklife Festival. Then, producer Sam Backer explores the history of the elusive South African producer DJ Spoko in his first-ever international interview. Finally, Banning Eyre takes us back to Madagascar, where we hear the guitar-heavy style of "Beko and Blues." Production by Banning Eyre, Marika Partridge, and Sam Backer.

In this special podcast extra, Marika Partridge takes the APWW microphone to the National Mall to record music and stories representing the 42 tribes of Kenya. Kenya and China were featured at the festival. We'll hear the latest from Ayub Ogada, Eric Wainaina, John Nzenze, Winyo and other Kenyan music stars.

Aug. 20, 2014. Concert by the Quebe Sisters Band, composed of Grace, Sophia and Hulda Quebe (pronounced Kway-bee), who all sing and play the fiddle, and the Clark twins, Penny Lea (guitar and mandolin) and Katy Lou (banjo, piano and accordion). They perform a refreshing blend of Texas-style fiddling, vintage country, bluegrass and jazz and swing standards. Speaker Biography: The Quebe Sisters Band has been awarded the Crescendo Award by the Western Music Association and the Western Swing Album of the Year from the Academy of Western Artists. They have appeared at the Grand Ole Opry, the Kennedy Center, NYC's Lincoln Center, the Ryman Auditorium, the Marty Stuart Show, the Eddie Stubbs Show on WSM, the Birchmere, the Ernest Tubb Midnite Jamboree (as host band), the Smithsonian Folklife Festival, multiple European tours and the National Folk Festival. They have appeared in concert with Ricky Skaggs and Kentucky Thunder, Merle Haggard, Asleep at the Wheel, Larry Gatlin and the Gatlin Brothers, Riders in the Sky, and Marty Stuart. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6536

World Footprints is excited to take you on a journey through Colombia, South America where “The Only Risk is Wanting to Stay”.  Colombia was the featured country in the 2011 Smithsonian Folklife Festival and also had a presence in subsequent Smithsonian Folklife Festivals.  World Footprints visited the country and met with some of the artisans and other participants who have been traveling to Washington, DC to share the country's treasures.  When some think of Colombia they reflect on Colombia's dark history with drug cartels and corruption.  However, we saw a very colorful face of this country--one that reflected it's rich cultural heritage and warmth of the communities we visited.  We traveled to historic cities, through the Gold Museum and to Monkey's Island in the Amazon. The memories we left with included the wonderful food, gracious hospitality, architectural and natural beauty.  We fell in love with Colombia and we hope that you will also be inspired to visit the country with an open mind and open heart. 

World Footprints is excited to take you on a journey through Colombia, South America where “The Only Risk is Wanting to Stay”.  Colombia was the featured country in the 2011 Smithsonian Folklife Festival and also had a presence in subsequent Smithsonian Folklife Festivals.  World Footprints visited the country and met with some of the artisans and other participants who have been traveling to Washington, DC to share the country's treasures.  When some think of Colombia they reflect on Colombia's dark history with drug cartels and corruption.  However, we saw a very colorful face of this country--one that reflected it's rich cultural heritage and warmth of the communities we visited.  We traveled to historic cities, through the Gold Museum and to Monkey's Island in the Amazon. The memories we left with included the wonderful food, gracious hospitality, architectural and natural beauty.  We fell in love with Colombia and we hope that you will also be inspired to visit the country with an open mind and open heart. 

Sep. 11, 2013. Los Texmaniacs mix the simplest yet finest ingredients of Texas music to create a sound solidly rooted in tradition, exploding with contemporary vitality. Their versatility has led them to perform at the Smithsonian Folklife Festival, the International Accordion Festival, the Kennedy Center, the Governor of Texas Ball, and many major festivals overseas in countries such as Germany, Holland and Spain. Speaker Biography: Los Texmaniacs is a conjunto band created by Max Baca in 1997. Baca wanted to create a band that incorporated elements from genres such as rock and roll and jazz while still honoring the roots of conjunto tejano. For transcript, captions and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6163

World Footprints is excited to take you on a journey through Colombia, South America where “The Only Risk is Wanting to Stay”.  Colombia was the featured country in the 2011 Smithsonian Folklife Festival and also had a presence in subsequent Smithsonian Folklife Festivals.  World Footprints visited the country and met with some of the artisans and other participants who have been traveling to Washington, DC to share the country's treasures.  When some think of Colombia they reflect on Colombia's dark history with drug cartels and corruption.  However, we saw a very colorful face of this country--one that reflected it's rich cultural heritage and warmth of the communities we visited.  We traveled to historic cities, through the Gold Museum and to Monkey's Island in the Amazon. The memories we left with included the wonderful food, gracious hospitality, architectural and natural beauty.  We fell in love with Colombia and we hope that you will also be inspired to visit the country with an open mind and open heart.

World Footprints is excited to take you on a journey through Colombia, South America where “The Only Risk is Wanting to Stay”.  Colombia was the featured country in the 2011 Smithsonian Folklife Festival and also had a presence in subsequent Smithsonian Folklife Festivals.  World Footprints visited the country and met with some of the artisans and other participants who have been traveling to Washington, DC to share the country's treasures.  When some think of Colombia they reflect on Colombia's dark history with drug cartels and corruption.  However, we saw a very colorful face of this country--one that reflected it's rich cultural heritage and warmth of the communities we visited.  We traveled to historic cities, through the Gold Museum and to Monkey's Island in the Amazon. The memories we left with included the wonderful food, gracious hospitality, architectural and natural beauty.  We fell in love with Colombia and we hope that you will also be inspired to visit the country with an open mind and open heart.

The University of Hawaii wrapped up its participation in the 2012 Smithsonian Folklife Festival in Washington, D.C. The 80 member delegation from the UH system showcased hula, a taro patch, aquaponics and a host of other exhibits. An estimated million people attended the festival.

The Tuahine Troupe from Hawaiinuiakea Hawaiian School of Knowledge at the University of Hawaii at Manoa performed at the John F. Kennedy Center for the Performing Arts in Washington D.C. Friday, July 6, 2012. The performance on the Kennedy Centerʻs Millennium Stage was part of the 2012 Smithsonian Folklife Festival.

The University of Hawaii delegation at the Smithsonian Folklife Festival in DC is expected to help promote tourism to Hawaii. The event draws over a million people each year.

The University of Hawaii delegation to the 2012 Smithsonian Folklife Festival shares Hawaiian music and crafts

The University of Hawaii contingent worked together on July 1 to pick up the pieces and prepare for the re-opening of the Smithsonian Folklife Festival after a severe thunderstorm shut down the festival on June 30.

The University of Hawaii delegates have many opportunities to exchange cultural experiences with other public land-grant universities and colleges that are being featured in the Smithsonian Folklife Festival. UH health and healing experts received healing treatments from New Mexico University healers, who in turn received lomi lomi treatments from UH experts.

Hawaii's congressional delegation and Governor Neil Abercrombie hosted a mahalo reception for Smithsonian Folklife Festival participants on June 28.

The University of Hawaii led the opening of this year's Smithsonian Folklife Festival in Washington, D.C. on June 27, 2012.

University of Hawaii delegates spend first day prepping exhibits for the opening of the Smithsonian Folklife Festival in Washington D.C. and UH President M.R.C. Greenwood speaks at the Association of Public Land-Grant Universities Convocation

The University of Hawaii at Manoa John A. Burns School of Medicine's Department of Native Hawaiian Health shares the healing power of hula at the Smithsonian Folklife Festival, June 27-July 8,2012.

University of Hawaii at Manoa's Clyde Tamaru and his students will be replicating an aquaponics system on the National Mall for the Smithsonian Folklife Festival.

The University of Hawai'i at Manoa's Ka Papa Loi O Kanewai will create an authentic taro patch on the National Mall in Washington D.C. for the Smithsonian Folklife Festival, June 27 to July 8, 2012.

The 25-member Hawai'i Community College halau is preparing to perform at the Smithsonian Folklife Festival in Washington D.C., June 27-July 8, 2012. The halau will perform twice a day on the National Mall during the two-week festival, as part of the University of Hawai'i's delegation.

The McIntosh County Shouters perform Gullah-Geechee Ring Shout at a concert at the Library. Speaker Biography: The McIntosh County Shouters is a ten-member Gullah-Geechee group that began performing professionally in 1980. They have educated and entertained audiences around the United States with the "ring shout," a compelling fusion of counterclockwise dance-like movement, call-and-response singing, and percussion consisting of hand claps and a stick beating the rhythm on a wooden floor. African in its origins, the ring shout affirms oneness with the Spirit and ancestors as well as community cohesiveness. The ring shout was first described in detail during the Civil War by outside observers in coastal regions of South Carolina and Georgia. Its practice continued well into the 20th Century, even as its influence was resounding in later forms like spiritual, jubilee, gospel and jazz. By the late 20th century, the ring shout itself was presumed to have died out until its rediscovery in McIntosh County in 1980; thus, the beginning of the McIntosh County Shouters. The group was awarded the NEA National Heritage Fellowship in 1993, and were selected as Producers of Distinction and Founding Members of the "Georgia Made Georgia Grown Program," in 2009. Their performances include the National Black Arts Festival, of Smithsonian Folklife Festival, World Music Institute, and Sound Legacies at Emory University. The group has been featured in magazines and documentaries, including HBO's Unchained Memories.

Marimba Linda Xelaju performs traditional Guatemalan marimba. Speaker Biography: Marimba Linda Xelaju is family group that honors both tradition and innovation in its interpretation of the Guatemalan marimba. In Guatemala, playing the marimba has traditionally been a male pursuit. But Robert Giron has chosen to share his love and knowledge of the marimba with his daughters as well as his son, and the cherished music of his homeland today continues within a new context and community. In 1995, Giron had a beautifully ornate marimba hand-built in Guatemala by Nojobel Salazar, and brought it to the United States. The whole family plays this fine instrument at once. Robert Sr. and his son Robert play treble. His daughters Beverly and Jennifer play melody and harmony. Marimba Linda Xelaju has performed extensively throughout the Washington D.C. area venues including the Smithsonian Folklife Festival, the Museum of the American Indian, and at the National Zoo.

NASA EDGE celebrates NASA's 50th anniversary at the Smithsonian Folklife Festival in Washington, DC with interviews, an ESA and a unique lunar rover race.

NASA EDGE celebrates NASA's 50th anniversary at the Smithsonian Folklife Festival in Washington, DC with interviews, an ESA and a unique lunar rover race.

A smash hit at the 2002 Smithsonian Folklife Festival, Roksonaki pioneered the creation of a unique sound that integrates ancient Kazakh instrumentation with contemporary rock and jazz using motifs drawn from Eurasia's indigenous religious traditions. This tour gives lucky audiences an opportunity to learn about Central Asian culture directly from the source. A program of the Central Asian Cultural Exchange, with collaboration from the Embassy of the Republic of Kazakhstan to the United States of America. Generously supported by Air Astana, Lancaster Group, Kazakh-American Business Association, Keleshek Kazakhstan Public Foundation, Turkish Airways

A smash hit at the 2002 Smithsonian Folklife Festival, Roksonaki pioneered the creation of a unique sound that integrates ancient Kazakh instrumentation with contemporary rock and jazz using motifs drawn from Eurasia's indigenous religious traditions. This tour gives lucky audiences an opportunity to learn about Central Asian culture directly from the source. A program of the Central Asian Cultural Exchange, with collaboration from the Embassy of the Republic of Kazakhstan to the United States of America. Generously supported by Air Astana, Lancaster Group, Kazakh-American Business Association, Keleshek Kazakhstan Public Foundation, Turkish Airways