NAT FOLK FEST BRO/03 - National Council for the Traditional Arts

NATIONAL
THE
FOLK
FESTIVAL
20152017
A large-scale outdoor
event presented free to
the public, the National
Folk Festival celebrates
the richness and variety
of American culture.
It features a broad array
of music and dance
performances, workshops,
storytelling, parades,
dances, craft exhibitions
and foodways.
THE NATIONAL FOLK FESTIVAL
First presented in 1934, the National Folk
Festival is the oldest multi-cultural traditional
arts celebration in the nation. Now entering its
74th year, this traveling festival has been held
in 26 communities around the country.
Musicians and craftspeople from every state
in the Union and most U.S. territories have
participated in this “moveable feast of deeply
traditional folk arts” which is now attracting
the largest audiences in its history.
The National Council for the Traditional Arts
(NCTA), the nation's premier folk and traditional arts presenting organization, is accepting applications from cities and community
partners to co-sponsor the National Folk
Festival for the three-year period, 2015-2017.
Aunt Samantha Bumgarner
of Buncomb County, North
Carolina, sang, fiddled and
played her banjo at the second
National in Chattanooga.
Baumgarner was one of the first
Appalachian women to record
commercially, making her first
78 rpm discs in 1924.
Photo: Stephen M. Katz, Bangor Daily News
The National Folk Festival
is a traveling festival,
presented in a selected
community for three years.
The National’s three-year
tenure is intended to lay
the groundwork for the
continuation of a locallyproduced festival after
the National moves on.
Eleanor Roosevelt
and Agnes Meyer at
a National held in
Constitution Hall in
Washington, D.C. Mrs.
Meyer was Chair of
the festival and
Mrs. Roosevelt was
Honorary Chair.
photo by Harry Goodwin of
the Washington Post.
T
he National Folk Festival, first held in St.
polka band, a Tex-Mex conjunto, a
Louis in 1934, is the longest-running, most
Sacred Harp ensemble, Peking opera—
diverse festival of traditional arts in the
the list goes on and on.
Leota Ware was a child when she came
country and the event that defined this
form of presentation. Its most radical and
to the 1936 National in Dallas with the
enduring innovation was that of putting the
Kiowa Indian Dancers. “All these people
arts of many nations, races and languages
of different colors and different talk were
into the same event on equal footing.
sitting in the dining hall having supper
Eleanor Roosevelt was involved in
when we got there,” she recalled. “Texas
the National’s move to Washington, D.C.
and Oklahoma were segregated then and
in 1938, and served as the festival’s
I’d not seen black people and white peo-
Honorary Chair. In 1976 festival founder
ple and Indians eating together. It made a
Sarah Gertrude Knott recalled: “...we
big impression on me and I talked about it
were associated with the New Deal, an
when I got home. I told my grandmother
interest of the First Lady, one of many
and she said ‘Heaven will be like that.’”
causes she supported. The times were
difficult, but exciting. We knew this new
Creating new festivals
work was changing the way the nation
Showcasing the nation’s finest traditional
saw itself, that some of the smaller pieces
musicians, dancers and craftspeople, the
of the national puzzle were being viewed
National Folk Festival is now a traveling
with appreciation for the first time...”
festival, presented in a selected commu-
Some of the artists presented at the
nity for three years. It is held in the hearts
first festival are now legendary and the
of cities and urban ethnic neighborhoods.
recordings and other documentation
Mounted by a coalition of local organiza-
made possible by the National are pre-
tions and the NCTA, the National’s tenure
cious. W.C. Handy’s first performance on
a desegregated stage was at
is intended to lay the groundwork for the
continuation of a locally-produced, high
the 1938 National. It was
quality traditional arts festival after the
the first event of national
National moves on to another city.
stature to present the
The National’s many successes have
blues, Cajun music, a
resulted from partnerships with mayors,
W. C. Handy was billed as
“Father of the Blues”
when he appeared at the
fifth National, held in
Washington, D.C. in 1938.
He was also at the
Cleveland festival in 1946.
courtesy of the W.C. Handy Museum,
Florence, Alabama.
National Folk Festivals
embrace and celebrate
the heritage and traditions of all Americans–
from those whose
families have been here
for centuries to those
of the most recent
immigrants.
National Folk Festivals
are family affairs,
with activities which
appeal to all ages.
A variety of ethnic
and regional food
specialties are
offered throughout
the festival site.
Photo: Michael G. Stewart
city managers, park superintendents,
Cajun, Native American, Celtic, Middle
police chiefs, sanitation department
Eastern, Caribbean, East Asian,
heads, presidents of chambers of com-
Appalachian, Latin American, African
merce, heads of local non-profits and
and Pacific Island cultures. Folklife
newspaper editors. These festivals have
exhibits and demonstrations feature the
been held downtown, on turf owned by
finest craftspeople and explore subjects
many, and subject to the public will.
ranging from traditional pottery, black-
This cooperative approach has worked
smithing, quilting, instrument-making,
for the National and its partners in
boat-building and woodcarving to needle-
astounding ways.
work, American Indian beadwork, basket
making and religious iconography. The
A moveable feast
master craftspeople participating in the
A large-scale outdoor event presented
National are often asked to take part in
free to the public, the National Folk
discussions and workshops, creating a
Festival celebrates the richness and vari-
deeply educational experience.
ety of American culture. It features a
Chinese dragon and lion dancers,
broad array of music and dance perfor-
Mardi Gras Indians, New Orleans brass
mances, workshops, storytelling, parades,
bands, Puerto Rican bomba y plena
dances, crafts exhibitions and foodways.
National Folk Festivals present authen-
ensembles, Italian-American religious
processions and a host of other tradition-
tic ethnic and folk artists. Programming
al street and celebratory activities are also
embraces the heritage and traditions of
part of the National’s mix. Such elements
all Americans— from those whose fami-
are among the traditional forms of public
lies have been here for centuries to those
celebration employed to present additional
of the most recent immigrants.
facets of vernacular culture, facets very
Audiences are treated to blues, rockabilly, gospel, klezmer, jazz, bluegrass,
much at the heart of communities
throughout America.
cowboy, polka, tamburitza, old-time,
The festival’s artistic diversity is comple-
mariachi, western swing, honky-tonk,
mented by a delicious variety of ethnic
rhythm and blues, and zydeco music as
and regional food specialties available for
well as traditional music and dance from
sale throughout the festival site.
“Having a signature event like the
festival was a way to get people back
downtown... In both Dayton and East
Lansing, it accomplished exactly
what the cities wanted it to: drawing
tens of thousands of people back
into the heart of the city.”
Ted Staton, City Manager,
East Lansing, MI
Photo: Michael G. Stewart
“What is traditional
and what is not is a
constantly evolving
question. Culture
that’s safely dead and
can be put in a glass
case hardly ever bites
back. Living culture
is trickier...”
“The festivals create a
renewed sense of pride in
the cities. Suddenly they
are seen as showcases,
places where hugely
successful events have been
held... Bangor's attitude
has developed from
'Can we?' to 'Sure we can'.”
Joe Wilson, Chairman,
National Council for the Traditional Arts
Heather McCarthy, Executive Director,
the American Folk Festival
Success stories
70% between 2002-2004, from 80,000
Building a successful partnership
removal and other physical needs for a
The National Folk Festival is currently
to 145,000; the successor American Folk
Although the exact division of responsibili-
large outdoor event.
attracting the largest audiences in its
Festival consistently enjoys even larger
ties between the NCTA and the local
history. Changing locations on a three-year
audiences. The 69th National Folk
sponsors varies somewhat from site to site,
cycle, the festival has been held
Festival in Richmond attracted a record
there are some basic components that are
aspects of production, but it holds pro-
at eleven sites over the past 28 years:
175,000 in 2007, a figure surpassed
essential to a successful partnership.
gramming meetings in the site city. The
Peninsula, OH; New York, NY (for the
every year since by its successor, the
The local partnering organizations
Bicentennial); Lowell, MA; Johnstown, PA;
Richmond Folk Festival, which drew
involved may also vary, but must include
community representatives are urged to
Chattanooga, TN; Dayton, OH; East
200,000 in 2012. In Butte, MT, 165,000
the government of the city represented by
participate, to hear recordings and see
Lansing, MI; Bangor, ME; Richmond, VA,
attended the 72nd National Folk Festival
its chief administrator (mayor or city man-
videos of potential performers, and to
Butte, MT and Nashville, TN.
in 2010, a number equal to 13% of the
ager). This is necessary in order to have
argue for favorites. With good leadership
state’s entire population. In 2013, the
The NCTA is the organizing partner
that coordinates programming and most
other organizing partners and cultural
the full use of downtown or other critical
the group invariably makes excellent aes-
National was held from 1987-89, has con-
3-year-old Montana Folk Festival
sites and good cooperation from police,
thetic decisions– and without engender-
tinued to produce a festival. After 26 years
attracted 180,000.
fire departments, public works and sani-
ing the tensions that “artistic director”
tation personnel.
impositions can bring.
The city of Lowell, MA, where the
the Lowell Folk Festival, with an attendance in the 150,000 range, has become
What the National brings to your city
A second critical local organization is
The NCTA brings to the coalition 80
one of New England’s most important cul-
Some of the potential benefits of bringing
a 501(c)(3) with a good reputation to
years of experience in producing success-
tural events. It is much respected for its
the National Folk Festival to your city are
ensure fundraising success (cash budgets
ful festivals within diverse communities.
devotion to deep tradition, and its show-
obvious: regional and national media expo-
are generally in the $1.1 million per year
Although our primary expertise is in pro-
casing of local and regional artists along
sure; thousands of out-of-town visitors who
range), strong promotional capabilities, and
gram content, site planning and produc-
with artists from elsewhere. The NCTA is
spend their money at local businesses dur-
sufficient staff to organize substantial com-
tion, we work closely with the local sponsor
still involved with the programming of the
ing this free event; an opportunity to show-
ponents of the event, and to take charge
on all aspects of the festival, including
Lowell Folk Festival, but the other partners
case the area’s best traditional artists in a
when the National leaves in three years.
fundraising, publicity, promotion and
have essentially taken over the festival
national context in the heart of the commu-
production—as planned.
nity. Less obvious, but equally important, is
capable of accommodating five to seven
the role the festival can play in pulling
performance stages, a crafts demonstra-
achieved notable successes. Festival
together diverse elements of the community
tion area, a family area, regional/ethnic
attendance in East Lansing (1999–2001)
to work towards a common goal—the
food sales, with parking and space for
grew from 75,000 in the first year to
establishment of a high-quality traditional
50-75,000 people per day. Along with this
125,000 in year three. In Bangor (pop.
arts festival that will continue to thrive after
goes the means to secure electrical ser-
32,000), festival attendance increased
the National Folk Festival moves on.
vice, tents, booths, sanitary facilities, trash
Host cities both large and small have
A National Folk Festival site must be
Folklife exhibits
and demonstrations
feature the nation’s
finest craftspeople.
volunteer coordination.
If you are interested in
partnering with the NCTA
to host this “moveable feast”
of America’s finest traditional
artists in your community from
2015-2017, we look forward
to hearing from you.
Irish step dancer
Michael Flatley (right)
made his first
appearance before a
national audience at the
1978 National while
still in his teens.
Photo (Left): Skip Rowland
Photo: Kathy James
Photo: Richmond Times-Dispatch
1st National Folk Festival 1934 St. Louis, Missouri
“It’s such a nice mix of people, it restores your faith in America. I know that
sounds sappy and very ‘American Pie,’ but it’s really true.”
Mary Ann Arabadjis, first-time festival attendee
The Lowell Sun
“You just see all different cultures together, and everybody’s just friendly.
I feel so good today to be here, I can’t wait to come back.”
Rita Lopes, first-time festival attendee
The Lowell Sun
“I love to dance and I love to shake. I’m going to be here every day until they
say goodbye. It’s our roots music.”
Carmen Banda, first-time festival attendee
Lansing State Journal
“The first year of the National Folk Festival’s three-year run in East Lansing
was a huge success, musically, financially and organizationally.”
Lansing State Journal
“...three solid days of music, dancing, socializing, eating, drinking and
incredible good will on Dayton’s center city streets...The best thing to happen
to Dayton in a long, long time... everybody seemed to be saying it.”
Dayton Daily News
“...a smashingly successful weekend. Music and dance from all over the
world and from American’s dazzlingly diverse ethnic heritage could not have
been better displayed...”
The Boston Globe
“...the National Folk Festival offers as much a smorgasbord of edible delights
as it does musical ones.”
Chattanooga Free Press
•
2nd National Folk Festival 1935 Chattanooga, Tennessee
Bangor Daily News
3rd
National Folk Festival 1936 Dallas, Texas • 4th National Folk Festival 1937 Chicago, Illinois • 5th National Folk Festival,
1938, Washington, D.C.
•
6th National Folk Festival 1939 Washington, D.C.
•
7th National Folk Festival 1940
Washington, D.C. • 8th National Folk Festival 1941 Washington, D.C. • 9th National Folk Festival 1942 Washington, D.C. •
10th National Folk Festival 1943 Philadelphia, Pennsylvania
•
11th National Folk Festival 1944 Philadelphia,
Pennsylvania • 12th National Folk Festival 1946 Cleveland, Ohio • 13th National Folk Festival 1947 St. Louis, Missouri•
14th National Folk Festival 1948 St. Louis, Missouri •15th National Folk Festival 1949 St. Louis, Missouri • 16th National
Folk Festival 1950 St. Louis, Missouri • 17th National Folk Festival 1951 St. Louis, Missouri • 18th National Folk Festival
1952 St. Louis, Missouri • 19th National Folk Festival 1953 St. Louis, Missouri • 20th National Folk Festival 1954 St.
Louis, Missouri • 21st National Folk Festival 1955 St. Louis, Missouri • 22nd National Folk Festival 1957 Oklahoma City,
Oklahoma • 23rd National Folk Festival 1959 Nashville, Tennessee • 24th National Folk Festival 1960 Washington, D.C.
For further information
•
National Folk Festival 1963 Covington, Kentucky • 27th
on 26th
hosting
the• National
Folk
National Folk Festival 1964 Florence, Kentucky
28th National
FolkFestival
Festival 1965 St. Petersburg, Florida • 29th National
in
your
community
Folk Festival 1966 Denver, Colorado • 30th National Folk Festival 1967 Syracuse, New York • 31st National Folk Festival
please call or write to:
•
25th National Folk Festival 1961 Washington, D.C.
1968 Milwaukee, Wisconsin • 32nd National Folk Festival 1969 Knoxville, Tennessee • 33rd National Folk Festival 1971
Wolf Trap Farm Park, Vienna, Virginia • 34th National Folk Festival 1972 Wolf Trap Farm Park, Vienna, Virginia • 33rd
NCTA
National Folk Festival 1971 Wolf Trap Farm Park, Vienna, Virginia • 34th National Folk Festival 1972 Wolf Trap Farm
Park, Vienna, Virginia
•
35th National Folk Festival 1973 Wolf Trap Farm Park, Vienna, Virginia
36th National Folk
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Festival 1974 Wolf Trap Farm Park, Vienna, Virginia • 37th National Folk Festival 1975 Wolf Trap Farm Park, Vienna,
Virginia • 38th National Folk Festival 1976 Wolf Trap Farm Park, Vienna, Virginia • 39th National Folk Festival 1977 Wolf
National Council for the
Trap Farm Park, Vienna, Virginia • 40th National Folk
Festival 1978
Wolf Trap Farm Park, Vienna, Virginia • 41st National
Traditional
Arts
1320 Fenwick Lane,
Suite 200
• 42nd National Folk
Silver Spring, Maryland 20910
Folk Festival 1979 Wolf Trap Farm Park, Vienna, Virginia
“80,000 visitors hail Bangor debut. . .the once-neglected strip of riverside
property exploded with a vibrancy that locals only could have dreamed of years
before. . .a magical moment, elevating both spirits and pride as the community
proved it really was capable of pulling off an event of such grand scale.”
•
Festival 1980 Wolf Trap Farm Park,
Vienna, Virginia • 43rd National Folk Festival 1981 Wolf Trap Farm Park, Vienna, Virginia • 44th National Folk Festival
• 45th 565-0654,
11 1983
or 14Cuyahoga Valley National Recreation
1982 Wolf Trap Farm Park, Vienna,Phone:
Virginia(301)
National Folk ext.
Festival
Area, Ohio
•
Fax: (301) 565-0472
E-mail: [email protected]
46th National Folk Festival 1984 Cuyahoga Valley National Recreation Area, Ohio
47th National Folk
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Festival 1985 Cuyahoga Valley National Recreation Area, Ohio • 48th National Folk Festival 1986 New York, New York • 49th
“The National Folk Festival was, hands, down, the best outdoor musical event I
can remember being staged in Richmond . . .A home run for Richmond . . .As
one festival goer said, he’d ‘never saw so many happy people in one place.’”
National Folk Festival 1987 Lowell, Massachusetts • 50th National Folk Festival 1988 Lowell, Massachusetts • 51st National
Visit our website: www.ncta.net
Folk Festival 1989 Lowell, Massachusetts • 52nd National Folk Festival 1990 Johnstown, Pennsylvania • 53rd National Folk
Richmond Times-Dispatch
“The National Folk Festival’s 2010 audience grew by more than 94 percent
over 2008 to 165,000. . .causing local and statewide tourism impacts. . . $12
million for the Butte community and area, and another $20 million in direct
statewide sales during the four-day travel period.”
Festival 1991 Johnstown, Pennsylvania
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54th National Folk Festival 1992 Johnstown, Pennsylvania
•
55th National Folk
Festival 1993 Chattanooga, Tennessee
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56th National Folk Festival 1994 Chattanooga, Tennessee
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57th National Folk
Festival 1995 Chattanooga, Tennessee • 58th National Folk Festival 1996 Dayton, Ohio • 59th National Folk Festival 1997
Dayton, Ohio
•
60th National Folk Festival 1998 Dayton, OH
•
61st National Folk Festival 1999 East Lansing, MI
•
62nd
Mainstreet Uptown Butte [Montana]
National Folk Festival 2000 East Lansing, MI
“I am very proud to be involved with this event, because it celebrates the
best of our music from across many different genres... Attendees will find
themselves amazed at the variety... It’s great that Nashville and the State of
Tennessee were able to bring this here...
12-time Grammy Award winner Emmylou Harris
•
63rd National Folk Festival 2001-East Lansing, MI
•
64th National Folk
Festival 2002 Bangor, ME • 65th National Folk Festival 2003 Bangor, ME • 66th National Folk Festival 2004 Bangor, ME •
67th National Folk Festival 2005 Richmond, VA • 68th National Folk Festival 2006 Richmond, VA • 69th National Folk Festival
2007 Richmond, VA
•
70th National Folk Festival 2008 Butte, MT
•
71st National Folk Festival, 2009 Butte, MT
National Folk Festival 2010 Butte, MT • 73rd National Folk Festival 2011 Nashville, TN
•
72nd
APPLICATIONS NOW
BEING ACCEPTED.
BRING AMERICA’S PREMIER
CELEBRATION OF TRADITIONAL
ARTS AND CULTURE TO
YOUR COMMUNITY!
NCTA
1320 Fenwick Lane
Suite 200
Silver Spring, MD
20910
SILVER SPRING, MD.
PERMIT NO. 3037
PA I D
NONPROFIT ORG.
U.S. POSTAGE