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On Its 75th Birthday， a Look Back at National Folk Festival’s Changes
Arun Rath （Host）： The National Folk Festival is celebrating its 75th anniversary. And for the first time， it’s being held in North Carolina. It’s a good fit when you consider that state has produced greats like Doc Watson， Earl Scruggs and Elizabeth Cotten. But North Carolina is also a place with a very particular idea of what folk music means. As Bethany Chafin of member station WFDD reports， that idea is changing.
（Soundbite of Song， Drowsy Sleeper）
Bethany Chafin （Byline）： That’s the sound of folk music， right？ In North Carolina especially， you think of the western part of the state—the mountains and sounds of the Appalachian region. The music of people like Sheila Kay Adams， a 1）ballad singer and storyteller from Madison County.
（Soundbite of Song， Drowsy Sleeper）
Sheila Kay Adams： For me， folk music meant the traditional ballads that were preserved within my family and passed down from generation to generation. My family was mostly Scotch-Irish， and they didn’t have much in the way of material good， but， boy， they sure had a lot in their hearts and in their heart’s ear that they brought with them. And they shared that down through the generations.
Chafin： The definition of North American folk music in the early 20th century was music made by whites of European ancestry， and it’s the definition Bascom Lamar Lunsford used when he started the Mountain Dance and Folk Festival in Ashville in 1928. Kentucky 2）folklorist Sarah Gertrude Knott attending one of Lunsford’s festivals and six years later started the National Folk Festival. Julia Olin is executive director of the National Council for the Traditional Arts.
Julia Olin： There was a folk festival movement in the ’20s and ’30s， but it was the National Folk Festival that first put the arts of many nations， races and languages onto the same stage.
Chafin： In determining what was traditional and not traditional， the National often broke barriers. W.C. Handy， known as the father of the blues， played the festival in 1938， his first performance on a 3）desegregated stage. Audiences were exposed to Cajun， polka and the music of Chinese immigrants. Over the decades， the festival moved around the country. As it traveled， Olin says， the festival also moved with the times. Still... Olin： Living culture is tricky business.
Chafin： Meaning it’s always changing. The Carolina Chocolate Drops have 4）navigated that change pretty successfully. Their music is drawing in a new， younger audience with its update on the sounds of the African-American string band.
（Soundbite of Song， Ruby）
Chafin： Musician and Greensboro-native Rhiannon Giddens， along with her original bandmates， sought out African-American 5）fiddler and 6）songster Joe Thompson to learn the music and share its history with others.
Rhiannon Giddens： You know， we’re sort of taught this very thin kind of wrong idea of where American music comes from. It’s a real narrow view， and it’s not always right. And to expand that and to deepen it， it’s actually way more interesting than what we’re kind of taught.
Chafin： Giddens and former bandmate Justin Robinson will perform at this year’s festival in Greensboro. Also on the 7）lineup is Bill Myers.
Bill Myers： You see？ Right here. There’s the graphanola right there with a ’78 record right there. But you got to wind this up.
（Soundbite of Music）
Chafin： Myers chuckles as he listens to the Roberta Martin Singers of Chicago on the same graphanola that played in his childhood home. Behind him， posters 8）span decades of performances with his Eastern North Carolina band the Monitors.
（Soundbite of the Monitors Song）
Chafin： Myers cofounded the group in 1957 with one goal—if someone said...
Myers： I’m Pennsylvania， play me a Pennsylvania polka， say， I got it. If someone comes up and says， listen， I’m from the Caribbean， and I want to hear a bossa nova， hey， we get it.
Chafin： So he was a little hesitant when he was asked to play at this year’s National Folk Festival.
Myers： I said， well， I didn’t want to come up there and do something that you guys weren’t calling folk， you know， ’cause people have an idea what they think folk is， you know. It’s dulcimers and all those kinds of little things that they do like that.
Chafin： But festival organizer Sally Peterson reassured him.
Myers： She says no， I want you to play what you play because this is your Eastern North Carolina， quote， “folk music”.
Chafin： And that’s fine with Myers.
Myers： Folk I think refers to folks， you know， and what do folks do. And we have to broaden our thinking to include all kinds of things. Chafin： And， he says， the music should speak for itself regardless of definition.
阿伦·拉思（主持人）：美国国家民间艺术节正在庆祝75周年纪念日。这是它首次在北卡罗来纳州举行。当你想到多克·沃森、厄尔·斯克拉格斯、伊丽莎白·科顿这些民间音乐大师都是来自这个地方时，你会发现这非常合适。但在北卡罗来纳州，（人们）对民间音乐有一种非常特别的看法。成员台WFDD记者贝萨尼·查芬报道称，现在这种看法正在改变。
（歌曲《昏昏欲睡的人》片段）
贝萨尼·查芬（撰稿人）：那是民间音乐的风格，对吧？特别是在北卡罗来纳州，你会想起这个州的西部——阿巴拉契亚地区的山脉和音乐风格，像来自麦迪逊县的民谣歌手兼说书人希拉·凯·亚当斯这些人的音乐风格。
（歌曲《昏昏欲睡的人》片段）
希拉·凯·亚当斯：对于我来说，民间音乐指的是那些在我的家族里保存下来，代代相传的传统民歌。我的家人大多是有苏格兰和爱尔兰血统的。他们在物质财富方面拥有的不多，但是，好家伙，他们肯定是内心丰富的，他们把家乡的很多曲调记在心里，带到这里，并把这些曲调传给了后代。
查芬：在20世纪初，北美民间音乐的定义是拥有欧洲血统的白种人所创作的音乐。1928年，巴斯科姆·拉马尔·伦斯福德也在创办阿什维尔山村舞蹈和民俗节时用到这个定义。来自肯塔基州的民俗学家萨拉·格特鲁德·诺特参加过伦斯福德开办的其中一届阿什维尔山村舞蹈和民俗节，六年之后，她创办了美国国家民间艺术节。茱莉亚·奥林是美国国家传统艺术委员会的执行理事。
茱莉亚·奥林：在上世纪二三十年代有一场民间节日运动，但第一个把很多不同民族、不同种族、不同语言的艺术汇聚到同一个舞台上的是美国国家民间艺术节。
查芬：在决定传统的和非传统的这件事上，美国国家民间艺术节经常能冲破障碍。威廉·克里斯托夫·汉迪被认为是蓝调之父。他在1938年的美国国家民间艺术节上表演过，这也是他第一次在没有种族隔离的舞台上表演。观众们领略了凯金音乐、波尔卡舞曲还有中国移民的音乐。几十年来，全国各地都举办过美国国家民间艺术节。奥林说，在这一过程中，美国国家民间艺术节也与时俱进。然而……
奥林：现存的文化是很棘手的事务。
查芬：它的含义一直在不断地变化。卡罗莱纳巧克力豆乐队就相当成功地应对了这些改变。他们对非裔美国弦乐队的音乐风格进行更新，吸引了一批新的年轻观众。（歌曲《鲁比》片段）
查芬：里安农·吉登斯是格林斯博罗本地的一名音乐家。她和她最初的乐队成员们找到非裔美国的小提琴手兼歌手乔·汤普森，向他学习民间音乐并和其他人分享它的历史。
里安农·吉登斯：你知道，我们在某种程度上被灌输了这样一种令人难以信服的错误观念，那就是美国音乐来源于哪里。这真的是一种很狭隘的看法，并不总是对的。（当我们）去拓展或深化这个概念，我们会发现它实际上比我们所灌输的有趣多了。
查芬：今年，吉登斯和她的前队友贾斯汀·罗宾逊将会在格林斯博罗举办的美国国家民间艺术节上表演。比尔·迈尔斯也在这个阵容中。
比尔·迈尔斯：看到了吗？在这里。这里有一台留声机，上面有一个‘’78’的记号。但你必须要把这个摇上去。
（音乐片段）
查芬：当听到他童年故居的那台留声机播放着芝加哥的罗伯塔·马丁歌手乐队的曲子时，迈尔斯咯咯地笑了。在他身后是他在北卡罗来纳州东部（创立的）名叫监视器乐队几十年演艺生涯的海报。
（监视器乐队的音乐片段）
查芬：迈尔斯在1957年（与别人）共同创办了这个乐队，他有着这样一个目的——如果有人说……
迈尔斯：我是宾夕法尼亚人，给我演奏一首宾夕法尼亚波尔卡曲子。我会说我明白了。如果有人向我走过来说：“我是加勒比海人，我想要听一首巴萨诺瓦舞曲。”我会说：“嘿，我们明白了。”
查芬：所以当他被邀请到今年的美国国家民间艺术节上演出时，他有点犹豫。
迈尔斯：我说，嗯，我不想去那里演奏一些你们不认为是民间音乐的歌曲，你知道的，因为人们对民间音乐有一种想法：民间音乐是用杜西莫琴和像杜西莫琴之类的那些小东西演奏的。
查芬：但美国国家民间艺术节的组织者萨莉·彼得森使他放心了。
迈尔斯：她说，“不，我要你演奏你本来的曲子，因为，引用你的话来说，这就是你北卡罗来纳州东部地区的‘民间音乐’”。
查芬：迈尔斯同意了。
迈尔斯：我认为民间音乐是和人们有关的，你知道的，还有人们所做的那些事。我们必须要拓宽我们的思维，把各种各样的元素包括进来。
查芬：他还说，我们不应局限在民间音乐的定义上，民间音乐本身就足以说明一切。
Arun Rath （Host）： The National Folk Festival is celebrating its 75th anniversary. And for the first time， it’s being held in North Carolina. It’s a good fit when you consider that state has produced greats like Doc Watson， Earl Scruggs and Elizabeth Cotten. But North Carolina is also a place with a very particular idea of what folk music means. As Bethany Chafin of member station WFDD reports， that idea is changing.
（Soundbite of Song， Drowsy Sleeper）
Bethany Chafin （Byline）： That’s the sound of folk music， right？ In North Carolina especially， you think of the western part of the state—the mountains and sounds of the Appalachian region. The music of people like Sheila Kay Adams， a 1）ballad singer and storyteller from Madison County.
（Soundbite of Song， Drowsy Sleeper）
Sheila Kay Adams： For me， folk music meant the traditional ballads that were preserved within my family and passed down from generation to generation. My family was mostly Scotch-Irish， and they didn’t have much in the way of material good， but， boy， they sure had a lot in their hearts and in their heart’s ear that they brought with them. And they shared that down through the generations.
Chafin： The definition of North American folk music in the early 20th century was music made by whites of European ancestry， and it’s the definition Bascom Lamar Lunsford used when he started the Mountain Dance and Folk Festival in Ashville in 1928. Kentucky 2）folklorist Sarah Gertrude Knott attending one of Lunsford’s festivals and six years later started the National Folk Festival. Julia Olin is executive director of the National Council for the Traditional Arts.
Julia Olin： There was a folk festival movement in the ’20s and ’30s， but it was the National Folk Festival that first put the arts of many nations， races and languages onto the same stage.
Chafin： In determining what was traditional and not traditional， the National often broke barriers. W.C. Handy， known as the father of the blues， played the festival in 1938， his first performance on a 3）desegregated stage. Audiences were exposed to Cajun， polka and the music of Chinese immigrants. Over the decades， the festival moved around the country. As it traveled， Olin says， the festival also moved with the times. Still... Olin： Living culture is tricky business.
Chafin： Meaning it’s always changing. The Carolina Chocolate Drops have 4）navigated that change pretty successfully. Their music is drawing in a new， younger audience with its update on the sounds of the African-American string band.
（Soundbite of Song， Ruby）
Chafin： Musician and Greensboro-native Rhiannon Giddens， along with her original bandmates， sought out African-American 5）fiddler and 6）songster Joe Thompson to learn the music and share its history with others.
Rhiannon Giddens： You know， we’re sort of taught this very thin kind of wrong idea of where American music comes from. It’s a real narrow view， and it’s not always right. And to expand that and to deepen it， it’s actually way more interesting than what we’re kind of taught.
Chafin： Giddens and former bandmate Justin Robinson will perform at this year’s festival in Greensboro. Also on the 7）lineup is Bill Myers.
Bill Myers： You see？ Right here. There’s the graphanola right there with a ’78 record right there. But you got to wind this up.
（Soundbite of Music）
Chafin： Myers chuckles as he listens to the Roberta Martin Singers of Chicago on the same graphanola that played in his childhood home. Behind him， posters 8）span decades of performances with his Eastern North Carolina band the Monitors.
（Soundbite of the Monitors Song）
Chafin： Myers cofounded the group in 1957 with one goal—if someone said...
Myers： I’m Pennsylvania， play me a Pennsylvania polka， say， I got it. If someone comes up and says， listen， I’m from the Caribbean， and I want to hear a bossa nova， hey， we get it.
Chafin： So he was a little hesitant when he was asked to play at this year’s National Folk Festival.
Myers： I said， well， I didn’t want to come up there and do something that you guys weren’t calling folk， you know， ’cause people have an idea what they think folk is， you know. It’s dulcimers and all those kinds of little things that they do like that.
Chafin： But festival organizer Sally Peterson reassured him.
Myers： She says no， I want you to play what you play because this is your Eastern North Carolina， quote， “folk music”.
Chafin： And that’s fine with Myers.
Myers： Folk I think refers to folks， you know， and what do folks do. And we have to broaden our thinking to include all kinds of things. Chafin： And， he says， the music should speak for itself regardless of definition.
阿伦·拉思（主持人）：美国国家民间艺术节正在庆祝75周年纪念日。这是它首次在北卡罗来纳州举行。当你想到多克·沃森、厄尔·斯克拉格斯、伊丽莎白·科顿这些民间音乐大师都是来自这个地方时，你会发现这非常合适。但在北卡罗来纳州，（人们）对民间音乐有一种非常特别的看法。成员台WFDD记者贝萨尼·查芬报道称，现在这种看法正在改变。
（歌曲《昏昏欲睡的人》片段）
贝萨尼·查芬（撰稿人）：那是民间音乐的风格，对吧？特别是在北卡罗来纳州，你会想起这个州的西部——阿巴拉契亚地区的山脉和音乐风格，像来自麦迪逊县的民谣歌手兼说书人希拉·凯·亚当斯这些人的音乐风格。
（歌曲《昏昏欲睡的人》片段）
希拉·凯·亚当斯：对于我来说，民间音乐指的是那些在我的家族里保存下来，代代相传的传统民歌。我的家人大多是有苏格兰和爱尔兰血统的。他们在物质财富方面拥有的不多，但是，好家伙，他们肯定是内心丰富的，他们把家乡的很多曲调记在心里，带到这里，并把这些曲调传给了后代。
查芬：在20世纪初，北美民间音乐的定义是拥有欧洲血统的白种人所创作的音乐。1928年，巴斯科姆·拉马尔·伦斯福德也在创办阿什维尔山村舞蹈和民俗节时用到这个定义。来自肯塔基州的民俗学家萨拉·格特鲁德·诺特参加过伦斯福德开办的其中一届阿什维尔山村舞蹈和民俗节，六年之后，她创办了美国国家民间艺术节。茱莉亚·奥林是美国国家传统艺术委员会的执行理事。
茱莉亚·奥林：在上世纪二三十年代有一场民间节日运动，但第一个把很多不同民族、不同种族、不同语言的艺术汇聚到同一个舞台上的是美国国家民间艺术节。
查芬：在决定传统的和非传统的这件事上，美国国家民间艺术节经常能冲破障碍。威廉·克里斯托夫·汉迪被认为是蓝调之父。他在1938年的美国国家民间艺术节上表演过，这也是他第一次在没有种族隔离的舞台上表演。观众们领略了凯金音乐、波尔卡舞曲还有中国移民的音乐。几十年来，全国各地都举办过美国国家民间艺术节。奥林说，在这一过程中，美国国家民间艺术节也与时俱进。然而……
奥林：现存的文化是很棘手的事务。
查芬：它的含义一直在不断地变化。卡罗莱纳巧克力豆乐队就相当成功地应对了这些改变。他们对非裔美国弦乐队的音乐风格进行更新，吸引了一批新的年轻观众。（歌曲《鲁比》片段）
查芬：里安农·吉登斯是格林斯博罗本地的一名音乐家。她和她最初的乐队成员们找到非裔美国的小提琴手兼歌手乔·汤普森，向他学习民间音乐并和其他人分享它的历史。
里安农·吉登斯：你知道，我们在某种程度上被灌输了这样一种令人难以信服的错误观念，那就是美国音乐来源于哪里。这真的是一种很狭隘的看法，并不总是对的。（当我们）去拓展或深化这个概念，我们会发现它实际上比我们所灌输的有趣多了。
查芬：今年，吉登斯和她的前队友贾斯汀·罗宾逊将会在格林斯博罗举办的美国国家民间艺术节上表演。比尔·迈尔斯也在这个阵容中。
比尔·迈尔斯：看到了吗？在这里。这里有一台留声机，上面有一个‘’78’的记号。但你必须要把这个摇上去。
（音乐片段）
查芬：当听到他童年故居的那台留声机播放着芝加哥的罗伯塔·马丁歌手乐队的曲子时，迈尔斯咯咯地笑了。在他身后是他在北卡罗来纳州东部（创立的）名叫监视器乐队几十年演艺生涯的海报。
（监视器乐队的音乐片段）
查芬：迈尔斯在1957年（与别人）共同创办了这个乐队，他有着这样一个目的——如果有人说……
迈尔斯：我是宾夕法尼亚人，给我演奏一首宾夕法尼亚波尔卡曲子。我会说我明白了。如果有人向我走过来说：“我是加勒比海人，我想要听一首巴萨诺瓦舞曲。”我会说：“嘿，我们明白了。”
查芬：所以当他被邀请到今年的美国国家民间艺术节上演出时，他有点犹豫。
迈尔斯：我说，嗯，我不想去那里演奏一些你们不认为是民间音乐的歌曲，你知道的，因为人们对民间音乐有一种想法：民间音乐是用杜西莫琴和像杜西莫琴之类的那些小东西演奏的。
查芬：但美国国家民间艺术节的组织者萨莉·彼得森使他放心了。
迈尔斯：她说，“不，我要你演奏你本来的曲子，因为，引用你的话来说，这就是你北卡罗来纳州东部地区的‘民间音乐’”。
查芬：迈尔斯同意了。
迈尔斯：我认为民间音乐是和人们有关的，你知道的，还有人们所做的那些事。我们必须要拓宽我们的思维，把各种各样的元素包括进来。
查芬：他还说，我们不应局限在民间音乐的定义上，民间音乐本身就足以说明一切。