Smithsonian & Floklife Festival por Dr. Michael Atwood Maso
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Smithsonian & Floklife Festival por Dr. Michael Atwood Maso
- 2. Fundación de la Smithsonian • James Smithson ( 1765- 1829) • Dedicada al “incremento y difusión del conocimiento”
- 3. Diversidad de la Smithsonian
- 4. Descifrando los misterios del universo
- 5. Entendiendo y sosteniendo el planeta biodivero
- 8. FESTIVAL de TRADICIONES POPULARES
- 9. FESTIVAL de TRADICIONES POPULARES
- 10. FESTIVAL de TRADICIONES POPULARES
- 11. FESTIVAL de TRADICIONES POPULARES
- 12. FESTIVAL de TRADICIONES POPULARES
- 13. FESTIVAL de TRADICIONES POPULARES
- 14. FESTIVAL de TRADICIONES POPULARES
- 15. FESTIVAL de TRADICIONES POPULARES
- 16. El evento cultural annual más grande en Washington D.C. 10 días, 1 millon de visitas en persona y en línea 2010 Premio de Mejores Prácticas en la Diplomacia Cuidadana 2015 Mejor evento cultural por un diaro local FY14: 940 visitas a páginas de web, $34M en valor de medios FESTIVAL de TRADICIONES POPULARES
- 17. The Festival has presented programs on: 90 países Cada región de los EE UU 60+ comunidades étnicas 100+ grupos indígenas 70 oficios SMITHSONIAN FOLKLIFE FESTIVAL
- 19. Una fuerza cultural—casí 50 años de programación coloborativa, investigación y sostenibilidad
- 20. Información de contacto Masonm@si.edu Facebook: Smithsonian Folklife Festival Twitter: @SmithsonianFolk Instagram: SmithsonianFolklife Pinterest: Smithsonian Folklife Festival SMITHSONIAN FOLKLIFE FESTIVAL
Notas del editor
- Resea
- James Smithson: founding donor of the Smithsonian Photo: James Smithson as an Oxford Student by James Roberts, 1786
- Photo by Smithsonian: A north-facing, aerial view of the central Smithsonian Institution campus on the National Mall in Washington, D.C., with the Smithsonian Institution Building ("The Castle") in the foreground and the Smithsonian's National Museum of Natural History in the background.
- Photo: Graduate student Justus Brevik tests the BICEP2 readout electronics. (Photo by Steffen Richter / Harvard University)
- Photo: Biodiversity Monitoring and Assessment Program (BMAP) in Peru, courtesy Smithsonian Conservation Biology Institute.
- Photo: Celia Cruz at a musical review in Cuba, early 1950s, Courtesy of Omer Pardillo-Cid From the online exhibit: Azucar! The Life and Music of Celia Cruz by NMAH
- Photo: Inka Suspension Bridge, photo by Ramiro Matos
- The story of the CFCH begins with the creation of the Smithsonian Folklife Festival through which the core of the CFCH’s DNA was forged Research-based, curated, living exhibition, that takes placebeyond museum walls held in our nation’s most important civic space—The National Mall--during the most important time of the civic calendar—the Fourth of July ten days, hundreds of tradition bearers, one million visitors In addition to curatorial, technical and administrative staff, 400 volunteers, 75+ interns Invite to opening ceremony and VIP luncheon in the Castle Commons Image from 2008
- Secretary Ripley, 1966: “Take the instruments out of their cases and let them sing.” He called the Museums and the Mall “Forest Lawn on the Potomac” He wanted to bring the museums to life and engage the Smithsonian in the breadth of our national cultural life The Mall was the site of Martin Luther King’s I Have a Dream speech, and Presidential inaugurations The time of Civil Rights Movements and the diversification of public cultural life Brought Ralph Rinzler to help with mounting a Festival on the Mall that would showcase and celebrate United States culture at its roots and in all its diversity Festival started 1967
- Research and the value of diverse traditions Aspects of Festival that became part of DNA of Center and its approach to research, interpretation, production In addition to objects (part of museum exhibitions)—we are interested in people and processes that produce the objects All of our many programs and projects are research-based First-person perspectives from participants (Festival program: Working Americans, 1975) Pictured here: Pullman porters (also featured as part of the Working Americans program: aircraft employees, truckers, seafarers)
- We/the Festival offer first-person, cross-cultural experiences Oman: Desert, Oasis, and Sea program, 2005
- Context and meaning Part of thinking in the first decade of the Festival—how to create a sense of context that gives meaning to the expressions demonstrated at the Festival This image shows a community procession from Quibdo—St. Francis
- INTERACTION: Opportunity for public to interact with Festival participants (Silk Road: Connecting Cultures, Creating Trust, 2002) QUOTE: “The Festival]is a convocation on a commons by worldwide commoners seeking something to hold in common and finding it in contact.” –Larry McGehhe, Chronicle-Independent, Camden, South Carolina, 1994
- Working collaboratively: with governments, NGOs, communities, and individuals Colombia---(possibly Uldarico Matapí Yucuna,Rainforest) Mekong—with support form the Rockefeller Foundation, CFCH worked with (Sirintorn) Sirindhorn Anthropology Centre in Bangkok on fieldwork and research for Mekong River program, 2007 [photo in Vietnam, 2002]
- Topical/Relevant: UNESCO estimates that every 14 days a language vanishes. By the end of this century, more than half of the nearly 6,000 languages spoken in the world today—many of them unrecorded—are expected to disappear, Upcoming Festival program: One World, Many Voices—in collaboration with National Geographic, UNESCO, and NMNH’s “Recovering Voices” initiative CFCH part of consortium project with NMNH 2013 Festival co-curator David Harrison in Papua New Guinea with speakers of Matukar Panau.