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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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