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LOGGER'S SHEET LOGGER: Greg Wood REEL NUMBER: 5 STAGE: AFS DATE: 6/30/1988 PRESENTOR: Charles Camp GROUP NAME: Festivals: Their Folklore and their Influence REGION/STYLE: PERFORMER(S) INTRUMENT/OCCUPATION Barry Ancelet folklorist, Lafayette, Louisiana Bob McCarl folklorist, Boise, Idaho Dewey Balfa Cajun fiddler, Basile, Louisiana Pualani Kanahele Educator/Performer, Hilo, Hawaii CONTENTS Barry: "festivals need performance" Dewey: the process ^of bringing folklore of Louisiana to people^ was a slow one, but the instruments spoke for us first. I wound up playing older songs that wouldn't be played in dance halls Pualani: Mona, a part of you (a power that helps you be what you are) is a type of "hospitality" or "energy" that the performer gives the audience. Charles: I've witnessed that "power" in the streets of New York during Statue of Liberty festival. Crowds quieted to hear performers. Barry: Festivals also serve as "stamp of approval" for performers who return home with a new sense of pride. The Opelousas newspaper wrote in 1964 that Cajun musicians would be embarrassed performing in Newport with Bob Dylan, Joan Baez..... Audience question: Do politicians fool with this Folk Festival in Washington? Bob: organized labor tends to control things... a problem with occupational folklore only in initial stages Barry: It is a politically-charged message to emphasize nation's diversity. Charles Camp: Is the era of festivals over? Barry: Festivals are a "living museum." Pualani: People are just beginning to see Hawaiians as Native Americans Barry: Festivals have a responsibility to present a positive model, a gauge of what is important.
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