2002folklifefestival.pdf

Tke

Silk

Road

Connecting Cultures, Creating Trust

2002 SMITHSONIAN FOLKLIFE On

the National Mall, Washington. D.C.

F

\

'

'

'

The Smithsonian Institution

Center for Folklife and Cultural Heritage partners with

the Silk

Road Project,

Inc.

to present

The

Silk

Road

Connecting Cultures, Creating Trust the 36th annual Smithsonian Folklife Festival

On

the National Mall. Washington. D.C.

June 26-30.

July

3-7. 2002

Smithsonian Institution Center for

750 gth Suite

Folklife

Street,

and Cultural Heritage

NW

4100

Washington,

DC 2056o-og$3

www.folklife.si.edu

©2002 by the

Smithsonian Institution

ISSN 1056-6805

Editor: Carlo M.

Borden

Associate Editor: Peter Seitel Director of Design: Kristen Fernekes

Graphic Designer: Caroline Brownell

Design Assistant: Rachele

Rileu

The

Silk

Road: Connecting Cultures. Creating Trust

Center for Folklife and Cultural Heritage and the

and produced

in

at

the Smithsonian Folklife Festival

Silk

Road

cooperation with the Asian Heritage Foundation. The Festival

*W* *4/>V

The

Smithsonian Folklife Festival

Festival

is

is

a partnership of the

Project. Inc. The Festival site is

is

Smithsonian

Institution

designed by Rajeev Sethi Scenographers

co-sponsored by the National Park Service.

!SILKR®AD

project

supported by federally appropriated funds. Smithsonian trust funds, contributions from governments,

businesses, foundations, and individuals, in-kind assistance, volunteers, food and craft sales, and Friends of the Festival.

The 2002

Festival has

been made possible through the following generous sponsors and donors to the

Silk

Road

Project. Inc.

LEAD FUNDER AND KEY CREATIVE PARTNER

GLOBAL CORPORATE PARTNERS_

FOUNDING SUPPORTER Sony

Classical

MAJOR FUNDING BY The Starr Foundation Mr. and Mrs. Henry R. Kravis Mr. Richard

SIEMENS

The Aga Khan Trust for Culture

Li

Mr. William Rondina

Wolfensohn Family Foundation Octavian Society National

Endowment

for the Arts

Carolyn G. Mugar/

The Armenian Tree Project

and by the following supporters of the Smithsonian

LEAD

DONORS

DONOR

E^onMobil

Institution:

U.S.

Department of State

Mr. Arthur Pacheco

IN-KIND

DONORS

Trust for Mutual Understanding

Turkish Airlines

Music Performance Trust Funds

Motorola/Nextel

Asian Cultural Council

Go-Ped

J.S.

Lee

APL Fresh Fields/

Whole Foods Market

The

Silk

Road on

the

Mai

by Lawrence M. Small

A Journey of by Yo-To

The />v

10

Silk

Luis

The

Discovery

Ma Road Today

Monreal

Festival

and the

Transnational Production of Culture by Richard Kurin and Diana Parker

13

The

Silk Road: Connecting Cultures, Cul Creating Trust by Richard Kennedy

19

Making

the Silk

by Riijeee Sethi

Road

Festival

The

23

Silk

Road: Connecting Peoples and Cultures

by Henry Qlassie and Pravina Shukla

by Richard Kurin Silk

28

Road

Artists along the Silk

57

Road

Travelers Silk

67

by James Deutsch and Stephen Kidd

Road Cooking:

A

Culinary Journey

by Najmieh Batmanglij 37

The

Silk Road: Crossroads and Encounters of Faith

Music and Musicians along

73

by Azim Nanji and Sarfaroz Niyozov

Martial Arts along the Silk Road from Bodhidharma to Bruce Lee by Doug Kim

40

45

Nomad

75

in

Road

Performance Competition

Central Asia by

lean During

Nomads

81

The Tree of Life

by Alma Kunanbay

bv Elizabeth Moynihan

49

the Silk

by Theodore Levin

Visual Arts of the Historical Silk

General Festival Information

89

Road

by Elizabeth ten Qrotenhuis 52

Paper by

54

Blue-and-White

\

alerie

I

lansen

by Robert

Mc(

'.

.{Jams

Note on Transliteration To ensure thai program materials arc in these materials,

Words

that are

Diacritical

we have

commonly used

marks arc omitted

For transliterations

For place names

as accessible as possible to Festival

in

many

English are primarily used in that form. In addition, ice provide

languages used along the Silh

Road

1

in

parentheses

I

the form that

is

arc treated equitably

familiar to native speakers

unless they are an integral part of the language

we have been guided by

we have

audiences and that the

and

consistently

followed these principles

National

referred 10 the U.S.

Museum

of Asian Art (Smithsonian Institution

Hoard on Qeographic Names.

1

and Library

of

Congress usage

and

scholars.

i '•..+..*

The

%

Road on

Silk

Lawrence M. Small.

the Mall

Secretary. Smithsonian Institution

For ten days this summer, the great geographical and cultural distance that reaches of Asia

far

time

in its

being reduced to the length of

The name denotes

began

to

move

and traversed

in

Xf an,

a vast stretch of

Along those staggering distances Festival, they

come

Merchants took

movement

their

traditions that

made

to

life

Europe from the

Road

emblems

customs,

of peoples

crafts,

Road. The ingen-

— their science, technology,

music, food, architecture, fashions -

and the dazzling

the journey, too.

commerce opened was

diffused,

founded by the

Aga Khan Trust

cellist

Road

Project,

Inc.,

Yo-Yo Ma, supported

for Culture,

mammoth St.

in

Mark's Square

the

in

at

Mall into

Road, with the Great

Venice

at

the western end, in the

Washington Monument. And between the two,

they'll

crafts

a

the eastern end, toward the Capitol, and

wander Eurasia, through

way

by the

and featuring exhibits designed by

visual representation of the Silk

Nara. Japan,

in

an organization

in large part

Rajeev Sethi, the Festival turns the National

Gate

Istanbul.

move among hundreds

and

shadow

of

visitors will

Samarkand, and Xi an.

On

sea,

theme:

along which merchants and

of

Chinas Takla Makan

end

of the Mediterranean.

and south

to the eastern

They

are

still

there: during the Folklife

the

is

its

focus on

we Americans were

all

too indif-

especially valuable aspect of the event

Central Asia, a region to which

We now know the

ferent before events of the past year.

The

the nations in that part of the world.

Visitors

and

their traditions a

who make

immerse themselves

Produced

Trust.

way

traditions.

An

variety of the world that

That's the tale to be told in this year's Folklife Festival, The

association with the Silk

and

its

of those nations

welcomed, and adapted.

Road: Connecting Cultures, Creating

Silk

— and remarkably ambitious —

first

as well.

also brought riches of another kind: the cultural Silk

Europe and the

on the National Mall. For the

stroll

a single

Central and Western Asia on

Washington

of

millennium b.c.e. The most famous east-west compo-

commercial gain. But

for

between the heart

the ancient capital of China, broke north

in the heart of

to the Silk

first

lay a wealth of cultures

were transported along the

ious, distinctive religions,

afternoon

the network of trade routes, over both land

across Asia and

nent of the Silk Road began Desert,

a leisurely

36-year history, the Smithsonian Folklife Festival has

the Silk Road. travelers

is

lies

nents, centuries, artists

and

who, through

of

Festival gives the people

human

face.

the journey across the Festival site can

in the

of the Festival: they'll

names

energy and larger educational purpose

have an opportunity cultures. their

They

will

to travel across conti-

meet with

demonstrations of

skill

a diversity of

—

with

silk,

jewelry, ceramics, carpets, paintings, paper, calligraphy, food,

and, not

least,

traditions.

music

— do more than merely affirm their cultural

They embody them. This

year's Folklife Festival, like

every other, celebrates humanity and breathes a

engagement.

On

people from

many

to face.

way

And

a great

spirit of

human

green stretch of this nation's capital,

different societies will be

brought together face

those chance, transient encounters

may

affect the

they think about the world.

of musicians, artists, dancers,

workers, and chefs from some two dozen nations of the Silk

Road, working side by side with Americans origins to the region or have traditions.

who

trace their

been culturally influenced by

its

This article originally appeared in Smithsonian magazine, June 2002.

A Journey of Discovery Yb Yb Ma,

These days, the

Road

Silk

is

Artistic Director,

1

he Silk Road Project, Inc.

mostly remembered as a string of fabled places -

Kashgar. For me. however, the Silk Road has always been fundamentally

were enriched and transformed through meeting other people

and building shared

tion

the

way and working you accept

If

as

.in

many people

that the Silk

Road

stories.

My

parents.

1

Road

am one

father

of

was

lives

them.

I

a violinist

exemplify modern-day Silk

was born

my

was seven,

I

began plaving Western

in Paris to

and composer

career to building musical bridges between

When

present in our world

is still

intercultural meetings, then there are

todav whose

alive

allies,

As

a cellist

who

family

moved

classical

music

who

devoted

his

China and the West. United

to the

as a

States.

I

youngster but have

tradition.

I

loves

working

musical

in different

s

ancient

have learned Celtic and Appalachian dance

1

tunes and have taken lessons on the mor'm huur, the Mongolian

horsehead the

way

fiddle.

that

These encounters have

European

led

a

is

the horsehead fiddle,

about

to think

viols?

How

held upright and

did a Japanese stringed instrument, the

Imperial Shosoin collection in Nara.

West and Central Asian motifs? lands, Mongolia. India,

come

Why does

and now part to

be decorated with

melody plaved against

to these questions are not

always

persuasive evidence suggests that peoples

in

By

their lives

starting a conversa-

from one another along

The message seems

now

a steady

fully

We

where

ever more important to

is

it

a

have

al

much

to gain

were linked by the

bv throwing up walls around

Road

know what

in the vast

Silk

I

and

other people are strategic regions

Road.

Project

and present-day flow

trans-Eurasian trade routes.

Through

was founded

believe that

to study the

and ideas along the

of culture

a journey of discovery, the Silk

plant the seeds of

new

artistic

and

when we

enlarge our

you

find elements of others. Discovering

11

of cultural

As

refined,

and

to

art,

and

that links us

all.

to celeare

is

shared, and the essential

exchange and innovation.

understand

challenge

and

any one, and

whats

restvled.

offer

craft that is

to

I

and ever-evolving languages of

may seem by

turns familiar and exotic.

embrace the wondrous

hope

that

lands of the Silk

an unparalleled vantage point from

vitally alive

expression while remaining mindful of the

to

into

a crucible for cultural intermingling, the

Road, then and now,

which

Project hopes to

cultural growth,

Look deeply enough

what can be appropriated,

work

Road

lives.

and musical voices. But what

brate authentic living traditions traditions?

h\

world of increasing interdependence

view of the world we deepen our understanding of our own

Our

these

in

In 199<S the Silk historical

music,

some time been connected. Moreover,

live

thinking and feeling, particularly

rely so

known, but

we

to lose

ourselves.

drone?

separated by great

creativity.

clear:

much

staving in touch, and

vigorous exchange of

a

and fashions. Cultural exchange has

and

turn inspired innovation

of the

music from the Celtic

and many other disparate places

heavily on the concept of

distances had at

friends, learning

ideas, artifacts, technologies. technologies,

"authentic

us.

horsehair bow. in fact an ancient ancestor of

biiva, originally created in the 8th century

Answers

me

music reveals the connections among

For example, plaved with

at first strangers.

and

how

about people, and

connections were not passive but based on

styles,

have visited the Khoisan people of the

Kalahari Desert and listened to Buddhist chant in Japan Todaiji Temple.

partners,

of Asia that

ve had the good fortune to travel and learn about music outside

my own

who were

Chinese-

always been curious about other cultures.

1

a story

creatively together.

symbol of

inspirational

could become

trust, strangers

Samarkand, Nishapur, Bukhara.

your

enduring discoveries on both

own

visit to

fronts.

diversity of artistic

common humanity the Festival will lead

The

Silk

Road Today

Luis Monreal, General Manager, Aga Khan Trust for Culture

For the two weeks of the Folklife Festival, the United States capital

is

the destination for an idea that began over

2,000 years ago, when the Silk Road became an economic thoroughfare, network,

a

perform, or

we

myth perfumed by

when

an

unknown

spices folk

and resplendent

group from Kazakhstan plays

understand, in those transcendent moments,

other.

Those

how we

all

to an

conduit of knowledge and culture,

Yo-Yo

Ma

and the

Silk

American audience, we

a

Road Ensemble

are

moved because

connect, and what our true responsibilities are to each

We also feel a poignant anguish at the realization that, too often, we do not take these responsibilities to heart. responsibilities

struct after in the

When

in silk.

a

go beyond music, of course

being destroyed by war, drought, and famine.

Central Asian part of the Silk

sufficiency

— to make connections on the ground, to help societies recon-

and the

Road

repair of roads, bridges,

in 1992,

and the

When the Aga Khan

we needed

to address the

electrical grid

Development Network began work most immediate problems -- food

— but another pressing task was to help

construction of pluralistic societies capable of dealing with age-old ethnic tensions.

in the

not

is

It

new

to assert

include mure than

that

usual

the

Western canon, but perhaps

Books

Great

new

is

it

education should

classical

a

in

the

surest

to

traditional

that a broad,

inclusive humanities curriculum should be introduced in countries

where no such program ever existed before. One

programs tion,

a

region undergoing a period

The

the Humanities Project,

is

concern Soviet

Central Asia,

in

for the divisions that

emerged

Union and the humanitarian

rivalries

people of the region were to

needed ways

to create

deep

followed. Ethnic

crisis that

war.

civil

If

the

rest of the

world -- then

an appreciation of other cultures and

we

intel-

The Humanities

Project therefore aims to develop skills of

cultural interpretation, independent thinking, reasoned debate,

and open-ended

The

curiosity.

based

Project,

extend to

Tajikistan, will eventually

many

also intended to

cultures,

and peoples, and aims

to

in

Dushanbe,

Central Asian universi-

promote tolerance

ties. It is

In

working

is

for pluralism in ideas,

develop the capacity

to

preserve and promote the

musical traditions of the Central Asian portion in

for ethical

The

Initiative

provides financial resources mm.\ technical

assistance lor the restoration ol the great classics ol

of traditional music.

music schools

that train students

I

he Initiative supports selected

through oral-tradition transmis-

sion from master to disciple (ustad-shagird) and

Mountain populations experience extremes on opportunities

at

cultural, ethnic,

and

the

same

time, they sustain great linguistic,

religious pluralism,

and show remarkable-

resilience in the face of extraordinarily harsh circumstances.

creating intellectual space turn

and resources, the university and

the mountains that divide the nations

Central Asia into the links that unite a shared

endeavor

to

its

territories

is

in

Multimedia Programme

producing an anthology

is

audio

The

recordings.

Programme organizes and

toires

it

Intra-Asian

to

the decline of musical traditions and activities that

we

created the

Music

in

the region.

Initiative in Central Asia,

In

which

has been collaborating with the Smithsonian Institution and the Silk

Road

of the Silk

Project to put

Road come

on

this year's Festival.

to the National

Mall

in

Exchange

Cultural

local festivals featuring a variety of reper-

supports educational

artists,

of Central

through broadcasts and video and

activities,

and

facilitates

exchanges of performers and teachers among music schools

in

different regions.

Under

Ma

the aegis of the Initiative. Yo-Yo

and the

Silk

are performing in Central Asia in a series of

concerts and master classes that feature specially written pieces by

worked with

Road

Road:

A

believe these efforts in Central Asia should be mirrored

by

Project to produce the

Musical 1

The Music

the Smithsonian and the Silk

(

two-CD

compilation.

The

Silk

'aravan.

a greater effort at cultural inclusion in the

teaching of the sciences

and the humanities throughout the world. Folklife Festival

horizons, and

I

is

the Smithsonian

II

about broadening our cultural and intellectual

believe

it is,

then

we should

and make

the duration of the Festival

take this idea

it

a

feature of

beyond our

all

societies.

Central Asia, and one

coincided with rapid changes occurring response,

of

peoples and economies in

Aga Khan Development Network has been working

address,

By

help

improve future well-being.

Another related issue of concern that the

will

A

improving the quality of musical instrument construction.

Initiative also

and choice, but

appren-

facilitates

outstanding composers from the Silk Road region.

isolation as well as constraints

Asian

music and funds recordings, research, conferences, publications,

and concerts

internationally chartered private institution of higher education

and

'entral

(

dedicated exclusively to education and research on mountain regions and societies.

zbekistan

I

and now. Afghanistan.

Road Ensemble

and aesthetic appreciation.

2000. we established the University of Central Asia, an

of poverty

Road:

ol the Silk

Kazakhstan, the Kyrgyz Republic, Tajikistan, and

Asian music and promoting

lectual traditions.

reflection

Initiative

ticeships of promising students to master luthiers with the aim of

peace with their neighbors

live in

who. bv extension, include the

ol transi-

after the dissolution of the

surfaced, and the region was menaced by

Music

our

oi

Project arose out ol

the

While the sounds

Washington, D.C.,

As we

listen

now

to the

harmonious conjunction

West, here on the National Mall, ities to

remain curious and open

find our identities in our

exclusion. Let us

the vast and cultures that

all

own

let

myriad

worlds

cultures, but

possibilities

and

us reflect on our responsibil-

to the

we

riches.

in

the world today.

the

We may

gain nothing

be moved by others' music, bv

make up

of Fast

by

their art.

bv

cross-fertilization

of

The

and the Transnational

Festival

Production of Culture Diana Parker

Richard Kurin Director, Smithsonian Center for Folklife

Who

produced the

Festival this year? In the end, over a

join with a million visitors to a

musical

artist of

and Cultural Heritage

Director, Smithsonian Folklife Festival

thousand people of good

will

who grew up

in Paris

and studied

at

Harvard, has provided the vision.

support of His Highness the Aga Khan, the leader of the Ismaili Muslim community,

crucial.

The

site

and development programs

was designed by Rajeev

projects in several continents.

ago migrated

to Berkeley,

It

Sethi,

South Asia

who

s

renowned scenographer, who

The

supports educational,

ranging from Central Asia to Mali to

in places

is

MIT, has been

currently working on

was curated by the Smithsonian's Richard Kennedy, whose English family long

and who himself turned back

Cambodian dance; and by Ted Tuvan musical

will

produce the experience. The inspirational idea and genuine engagement of Yo-Yo Ma,

Chinese parentage

health, architectural,

from around the globe

east to specialize in the study of

Levin, a Dartmouth professor

traditions in the heart of Inner Asia.

who

Tamil history and

has worked with Uzbek, Bukharan Jewish, and

Alma Kunanbay,

a scholar

from Kazakhstan married to a promi-

nent Russian musicologist, organized the area devoted to nomadic traditions, while Henry Glassie, a folklorist and

who has worked in Turkey, Japan, and Bangladesh, organized ceramic and textile artists. And so it goes, among the many members of our staff, our collaborators with the Silk Road Project. Inc., and the Aga Khan Trust for Culture, our many volunteers, and, most of all, the hundreds of musicians, artists, storytellers, cooks, and performers who have come to the National Mall of the United States from all over the United States and from two dozen other nations. Artists from India have painted fabrics to simulate the great bell tower of Xf an, and material culture expert

woven

textiles to

simulate the ikats of Japan. Japanese

Senegal and Guinea.

Of

course, the Festival

Englishman who lived mainly

in

France and

itself

Italy,

masked performers include

would not

exist save for the

in their

troupe

members from

Smithsonian, founded by an

and loved America without ever having

visited.

Clearly

we

live in

where people and

transnational world,

.1

ideas overflow the conventional boundaries of their birthplaces

and

speaking

a

artists

I

mm

common mission

in a joyful

The

The

groups.

birth

animated by

Festival

is

Festival

language

ot

a

is

transnational

creation,

numerous and diverse communities but oi cultural creativity

and engaging

encouraging cross-cultural understanding.

also a place to learn. Visitors, artists,

and organ-

mutual, sometimes studious, some-

izers alike share in the highly

Road

did not always bring good. War, disease, and banditry

moved along

become

The

Festival also exists within a

edge rather than ignorance is

and mold one

s

framework

in

which knowl-

and humility

are virtues, not

to proclaim, shout, sing,

contact,

dance, cook,

existence does not impede the rights of others to

Festival,

turns out.

it

rather the

contemporary

Silk

is

a station

Road

bountiful cultural interchange

on the Silk Road. Not

modern

it

times, but

draws inspiration from the

that

represents.

The

Festival

is

a cara-

vanserai in which people from different backgrounds, speaking

and havin« varied

dilterent languages,

stop for a

moment on

and share

their art,

people of

Festival

to say.

beings as a

The horses styles

their life s journey, gather

a planet,

need spaces such

in a respectful

of the

The

Road proved

Silk

Silk

Road

makes

Festival

more

that perhaps

Do we

tial

grow

to

as

our times:

for

We

are

all

question

one

what

to

The

do with

moment

own

that encourages us to explore our

human

speaks to

heightens our

it

is

it

connected.

think of our connection as a rare

forgotten, or as

medicines,

foods,

of

obvious -

The

sensation of those connections.

them.

to

arts.

an apt metaphor

is

beneficial

brought diverse people into

it

philosophies, religions, and the

to

be

poten-

beings?

We as a

as the

society,

one that the to

to

become

better

human

Road brought wondrous things

—

silks,

porcelain,

Music, song, instruments, and

the transcontinental byway, and our musical

the better for

it.

Ideas about the heavens and cosmos,

mathematics, physics, and the elements were carried with

its

caravans. Religions developed, spread, and thrived along the Silk

Road, sometimes

with the culture of Central Asia.

Many Americans

I

Here

lindu.

at

in

harmony, sometimes

in conflict.

The

Silk

Most Americans

Now

is

a

who

it

learn

a

that.

the Festival you have the opportunity. 11.

it

seems

account of their neighbors, to come to

and from them,

of

Insularity

"others

change

clear to us

ever so important for people and societies the world over

is

to take

are unfamiliar

to

Muslim, Buddhist, and

are

Following the events of September that

chance

have an open mind toward learning about the

and practices of people

beliefs

to

engage them

and xenophobia, the

— even one

s

complicated world.

own It is

fear

neighbors better to

understanding and respect,

result.

Silk

moved along is

with others, trade

United States provides

and hopefully be inspired

the Festival you can easily do so.

can nonetheless

way. to hear what our neighbors

— to appreciative people.

heritage

interests

knowledge, and perspectives.

on the National Mall

meet each other have

the

stimulated the development

it

a variety ot

Very few Americans have met someone from Kyrgyzstan. At

The

as

large,

endured

and destroyed communi-

the exchanges,

humanity: precisely because

so.

the historical one of ancient, medieval, or early

we

by and

Yet

ties.

oil

it

languages, and interests sometimes

ol values,

the transnational creation of culture.

quite familiar.

valued: the dignity of representation

prized, not sullied: toleration

weaknesses: and the right

do

is

Differences

travails.

closed the roads, cut

times serendipitous act of learning about people, traditions, and ideas that, seemingly distant,

networks. Those traversing

its

know them and

in

positive ways.

and dehumanizing of

— are recipes for disaster

do the hard work

for these often

produce inspiration.

So weather Washington's summer heat and humidity, don dissuaded by the dust, overcome your shyness, don the fact that you

dont speak Uyghur

between Turk and Turkmen Festival journey.

May

community

cultural

produced

it.

of

it

—

inspire

or

in

of fostering

know

t

t

be

worry about

the difference

embrace, engage, and enjoy the

you as

it

has us and the very fine

workers and supporters

who have

<mm

mm The

Silk

Road:

Connecting Cultures, Creating Trust by Richard Kennedy

For 35 years the Smithsonian Folklife Festival has presented well over tional cultures of nations, regions, states,

and communities,

as well as

a

hundred programs focused on the

tradi-

on various occupations and themes. Never

before has a Festival been devoted to one topic; never before has a Festival offered such research, conceptual, and logistical challenges.

Producing The

Silk

Road

for the

2002 Smithsonian

Folklife Festival has stretched our

thinking, our professional abilities, and our relationships with collaborating organizations. This has been a

daunting but exhilarating

effort,

people of Silk Road lands.

and one well worth doing

in the

hopes of benefitting both the American public and

The century

and

Silk

Road,

PR savvy,

a

term coined

in the 19th

century with 20th-

defines an exchange of products, both material

intellectual, across Eurasia

from China to the Mediterranean,

traditionally

from the 2nd century b.c.e. and over the

years of the

Common

Silk

Road think

sion of

first

first

1,200

who know something of the transport of silk to Rome or the expan-

Era. People

of the

Buddhism from

much more. But why

India to China, although certainly silk,

and why

it

is

road to describe this

a

exchange? Silk provides the example of

mysterious luxury

a

product for which people throughout the region were willing to

pay high prices and even jeopardize

lives.

And

and

spiritual

literal

meaning must be extended

land,

exchanges that would be part of a metaphorical Silk

Road. Beyond these definitions the idea of the available for

by

to include cultural

new

And

interpretations.

ronment the idea

is

in the

Silk

Road

is still

at

the

end

silk

and once again exchange ideas and products. People spoke

new economic and cultural realities as well. If oil

political

were

likely

was the new

and

realities,

to

work on

a Silk

Road

staff

Had

that

and democracy the new

silk,

has been particularly excited is

the political trans-

religion,

Road stand?

they withstood the onslaught of the Mongols, the seafaring

European

capitalists,

communists?

and the more recent Russian and Chinese

How had

they been transformed?

The understanding

of

exchange along the

Silk

Road has

broadened with new archaeological discoveries throughout the region.

now

It is

now

clear that there has

been trade between what

defined as Europe and Asia for

beads, and languages

all

moved

many

left)

Ahmed

Union have enabled to visit a vast area

years.

of

China and the collapse

researchers, businessmen,

little

A new Silk Road

known is

to

Westerners

being traveled.

and

of the Soviet

millennia. Textiles,

§ahin continued the centuries-old tradition o/gini its

roots in the blue-and-

white tradition of China, elaborating the art with finely painted surfaces. Photo bv Henrv Glassie/Ptavina Shukla

(Above

right) Pottery studios like this

one

in

Jingdezhen, China, have

produced the famous blue-and-whitc porcelain for over 600 travelers alike

in the past

hundred

The modest victories

of

Jingdezhen ware influenced ceramics

in Japan.

Europe. Photo bv Richard Kennedy

'

is

across the region centuries before

formations that have taken place in the region over the previous

two decades. The opening

of

new

this transformation

then where did the old cultural traditions of the Silk

(Above

project at this time

seemed

present political envi-

particularly evocative.

reason Smithsonian

it

developing out of

pottery in Kiitahya, Turkey. £ini pottery has

One

second millennium

of the

allowed strangers once again to meet along the ancient roads of

the "road" refers to

the exchange of those material products that traveled

although this

democracy and capitalism

Smithsonian Institution

years.

Turkey, and throughout

the

Common

Russia

(a

Era. Traffic

The

between India and Europe, including

North/South component

of the Silk

Road), was always

Road was not

Silk

and dusty caravanserais, but based

just a story of

also functioned because of powerful

urban centers along the route. These

an integral part of the Silk Road and continued long after the

military forces

collapse of the 13th-century Pax Mongolica that closed major land

centers not only hosted the travelers

routes across Eurasia. Products and ideas have been continuously

supported communities of

exchanged back and

forth across the region,

and

that exchange-

continues today. The Silk Road Festival features only of these living traditions, but their survival will stories of long-standing

Square

Registan Square

and the great gate

to Todaiji

a stage that reflects a different

performing

St.

Marks

Hagia Sophia (Ayasofya) mosque/church/

in Istanbul,

bell tower,

house

Venice,

nations.

five "sentinels of

landmarks along the ancient Silk Road -in

museum

by

few

surprising

tell

connections between peoples and

Visitors to the Festival will be greeted arrival."

a select

in

in

Nara. Each will

performance tradition. The

arts selected for the Festival

have been grouped into

spiritual activities, courtly entertainment, local celebrations and

entertainments, nomadic presentations, and

new musics

that

draw

sometimes subject

in Silk

Road

will highlight the central role that religion

trade.

of

which

Maqam

ensembles from Azerbaijan to Xinjiang as well as

tradition

These centers were

Bukharan jews

States

still

have

now. were

settled in Central Asia

a place in the lives

a part of

and now

and

everyday

in the

United

celebrate traditional weddings, while contemporary

Armenian and Chinese language

still

in these centers.

also a place of cultural confluence

celebration. Folk musics, then as life.

developed

Road.

of people along the Silk

their

in

folk

ensembles share instruments

musics.

who were

Similarly,

nomads from

if

not a

Iran

to

so instrumental in supporting the caravans

their journeys, share stories,

Bukharan Jewish musician

played

some

as

songs and language. Their fine

Road.

Buddhist monks from Tibet and Sufi Muslim devotees from

Turkey and Bangladesh

of the royal courts,

Chinese and Japanese courtly music

on

Buddhism. Islam, and Christianity

freely,

and sometimes even

was an important

an opportunity to present the stories of the expansion of religion

along the Silk

but also

tolls

kinds. Craftspeople and

survives,

Mongolia,

—

and exacted

artists of all

restrictions,

to

Music

prisoners of war.

from tradition. Spiritual music, for example, provides the program

-

in

musicians traveled throughout the region, sometimes

Samarkand, the Xi an

Temple

merchants, nomads,

of his apartment in Queens, karate,

and pizza

countries. Photo

r

all

came

Ilyas

Malaev

New

to the

Hc-rmine Dreyfuss

plays the tanbur on the balcony

York. Bukharan music, Chinese opera,

U.S. with immigrants from Silk

Road

weaving

the

to

school and usage. Representatives of

the

In

more

is

often

which

in the

by

along the Silk Road than

silk, pottery, carpets,

and

glass

of

stories

Asia,

and

On

made

The

today.

and cotton

textiles, carpets,

-

Each

is

in a different

tells a

first

compound

remain

States. Paper, for

example, was invented

cases, a chapter from in

life in

the United

China and remained

a secret of the region for centuries; along with written language,

writing materials were thought to possess

magical qualities.

were written out and

bills

transported along a route that, through such communication,

could more easily function. Each region added features of paper art including Turkish

own

distinctive

marbling and

watermarks. Similar elaborations have been calligraphy, which, particularly in Islamic

its

made

for luxury

exchange;

it

large-scale

it

Silk

Rome

Road exchange-

Common

moved

can be seen

in the fashion

Japan and Central Asia. But

and

easily

went.

and

As explained

and became

a

This continued

can also be seen

in

produced by hand

in

silk's flexibility

Syria.

symbol

elite

designers at the Festival from

the ikat and embroidery techniques India. Uzbekistan,

it

a

Roman

silver to the East.

in his article, silk

"vehicle of cultural creativity wherever creativity

of the

visible

during the

was more than

was an obsession

caused a serious drain of gold and

by Richard Kurin

vital.

was the most highly

Era. In fact

in

has become highly refined and

China and

around the beginning of the

Road, including,

Religious texts as well as commercial

all

product to come to

story from a different period along the Silk

some

tea,

West

for tea in the

the fine teapots of

Silk

silk

paper, and

Courtyard, the Silk Grove, the Family Oasis, and the Jewel

— and

came

Japan. Chinese. Japanese, and Turkish

the Paper Garden, the Ceramics

Garden

ceramic tradition.

this

ceramics traditions

stone and metal products, including glass.

Europe.

to

the coattails of porcelain

came

curatorial staff

has chosen to feature ceramics,

and eventually on

and with the passion

history.

What may be surprising to some, however, is how many such objects are still

and west across

east to Japan

own stamp on

which people across the region have

been connected throughout

desired by the

greatly

Japanese and Turkish potters put their

exchange and remind us of the extent to

particularly sought after.

Islamic elite and was traded from

China

all tell

travel

Road and

States.

Finely painted, pure porcelain from

China was

music. Existing examples of ancient

very specific

genera-

Certain ceramics along the Silk

Trade products are perhaps easier trace

United

Road became

similar

aesthetic skills are brought to bear.

to

new

train

still

tions of artists along the Silk

the twenty-first

on

trucks,

these schools

demonstrate

to

site

travel.

century transport

painted

in

decorate camels, brought

Festival

nomadic

displayed

are

skills

textiles that

still

Cotton has

a similarly

long

if

less

expensive history. From India cotton traveled to Central Asia and

Italian

Europe, becoming the crop that almost ruined economies as

in the art of

varied as those of 20th-century Uzbekistan and the 19th-century

and Chinese

cultures,

stylistically differentiated as to

American South. Cotton production became independence

in the

a

symbol

1930s and an ecological disaster

of India's in parts of

Central Asia. Both fibers, though, have for millennia been continDecorated camels participate

in

an Independence

Day parade

in

Ashgabat, Turkmenistan. Decorating camels displays the fine weaving of nomads and mirrors the

skills

Photo

16

1

Hermine Dreyfuss

skills

of Pakistani truck painters.

uously woven and embroidered to suit the fashion of people.

Carpets have

a

more nomadic

history,

which springs from

the looms of sheep herders in ancient Iran and Central Asia.

One

of the extraordinary archaeological discoveries oi the 20th century

was the 4th-century

b.(

.i

.

found perfectly

Pazyryk carpet,

great

carpet connected the frozen steppe with Persian civiliza-

woven

and indicated

that

carried

its

The movement

art

perhaps

history.

Turkmen

new

continue to

the most recent

bv other

who

Tibetans

new homes

traditions

India

in

and

Workers

of their

nomadic

who

on the

carry

all

the tragic events of September clearly has

ancestors.

stone and metals also fashioned luxury goods for

in

exchange. People

and

wear garments wool,

are

and

likely

of

silk.

familiar

and

with Asian martial

arts

mav

Islamic

an

attend

Silk

extended

to

Road the

United States and. since

domination, and by settled Turkish weavers

and motifs

buy

cotton,

has

Nepal awav from Chinese

tradition

china. carpets,

mosque. The

to

tea

certainly

They

exiles,

have brought

weaving

their

fine

in

"Oriental

weaving patterns known

joined

States.

Manx' Americans drink

throughout the region. Thev are

goods,

United

the

of

upheavals, reside in Pakistan still

reli-

of the

have also altered the face

Afghanistan

to

in

all

exchange

above

face

hese

1

gions, along with

fled the tsars

and now.

alter the

of our world.

for

persecution

to millions of

Road, and these conversions

adherents along the Silk

weavers,

carpet

whose ancestors

highest form.

its

around the world has

Both Islam and Buddhism were introduced

At the

years.

ot

to

The

survive.

still

arguably been one of the most important forces throughout world

audiences can see

Festival,

that

of religious traditions

motifs

Road region

across the Silk

thousands

traditions

nomadic culture

ot

has

weaving stretched back more than

The carpet has been an important decorative

three millennia.

element

that carpet

decorative

Venetians, in turn, took glass

preserved on the Eurasian steppes west of Mongolia. This finely

tion

Islamic

along the Silk Road sought jewelry and

to learn

II.

understanding that connection

become more important. There

more about

is

no

better time, then,

the roots of this vital connection

and

to cele-

brate the long-standing relationships that have existed between

engraved metal containers that were easily transported. Glass and

East and West and North and South. This Festival provides

stone beads particularly were traded throughout history and are

opportunity to connect with other cultures as well as with one's

often found far from their source. Lapis lazuli from the Pamir

own and

Mountains, precious gems from India, and turquoise

within cultures of the global Silk Road.

their tors

way

to

Rome, Byzantium, China, and Japan.

all

found

in

doing

so, in a small

way, to build

trust

a rare

between and

Festival visi-

can meet contemporary jewelers from Syria. Turkey, and

India,

and bead makers from Pakistan and Europe. Glass, which

like silk

origins, textiles

seemed magical

to those

who

did not understand

was traded from the Middle East and jewelry

difficult to trace.

it

did not travel well, and

'

China. Unlike

exchange

is

more

Glass and metalwork, however, are two of the

Painted trucks travel the ancient Photo by Mark Kcnoyer

to

its

its

silk

roads between Pakistan

Smithsonian Institution

and China.

Richard Kennedy. Deputy Director of the Center for Folklife and Cultural Heritage, is co-curator of The Silk Road: Connecting. Cultures, Creating Trust.

17

Making

the Silk

Road

Festival

by Rajeev Sethi

As

a

South Asian, the influence of the ancient Silk Road

would

constitute a major pan-Asian presence

the Asian diaspora in the United States, the

understand

who we

are as Asians

is

part of

my

living reality.

on the National Mall has been

American public, and hundreds

and what we mean

Helping create

a Festival that

a rare opportunity. Interface

of Silk

Road

artists

between

can help us better

to the world.

19

and meaningful Asian iden-

In search of a comprehensible tity.

was most inspired by commonalities,

I

visible across

still

many

countries, where the past and the present are never far

apart.

The

I

mv

design for the Festival evolved through

search.

traveled through Uzbekistan. China, japan. Italy, Turkey,

As

and

South Asia, contemplating the Festivals possible scenography,

was greeted with much proactive good concept.

It

will for the Silk

I

Road

— Pakistan.

has been seen as well in related projects

China, and various Central Asian nations have joined in devel-

oping

their

own

Road

Silk

for

festivals,

Road Foundation has sought

Japanese Silk routes across

Eurasia using

example, while the to

map

historic trade

technology.

satellite

enthused by the idea of being seen as part of

a

that

predates globalization and vet continues to unite them in a variety of

The Festival design on the Mall

visitor

is

It

offers a

a traveler. Positioned

reflects this

seamless journey

along Washington's central iconic

monuments on

the east-west axis.

As

called

The

Road

are

them within

to

specimens of an immensely the

knowing where you

fall, if

Washington these glorious

influential material heritage

-- a

monuments and museums

very

site? Replication of ancient

monuments

using existing

skills

would be one answer, but too expensive.

Reducing the

scale

and finding

a

new

without becoming Disney-esque became in

context on the Mall

huge concern, but one

a

which, with the use of deconstruction, playfulness, and

contemporarv

artistic

adaptation,

The Great South Gate

I

hope we succeed.

of Todaiji

Temple

already influenced by Chinese architecture,

bamboo and

textiles.

A body

of

is

in

Nara. japan,

restructured with

suspended norcn

fabric screens

affirmation of their training as fine artists.

stretches

a series

on

Silk

Roads

artistic

India,

I

of terri-

originally

The

exchange were applied

Japanese screens were fabricated

in villages of

where craftsmen had been exposed

to

principles of the to

the Festival.

Andhra Pradesh,

Japanese shibori and

have worked with contemporary international designers.

The ancient

As the guardians

budget and time frame was

in

surrounding the Festival

of arrival.

in their real scale;

reflected

heritage

not

fined the architecture as an extension of traditional skills and as an

regions represented by

of the great faiths of the world,

be experienced

a limited

'

mean

reinterpret in

path.

concept of

Road

conceived as

them "sentinels

farewell to "travelers.

and defenders

wanted them

20

vista.

the Silk

Silk

How could we

slippery

a

which each

portals of entry to their respective regions, these sentinels

welcome and bid tories

I

in

between the U.S. Capitol Building

and the Washington Monument, the vast

slip.

offers

calligraphed by Japanese and Indian contemporary artists rede-

contemporary adaptations and re-inspirations.

continuity and change.

Deviating from tradition can

you

People are

phenomenon

representation

Architectural

Xi'an bell tower, a sentinel symbolizing China

historical growth, required a bell

Festival's

tower, painted on screen-printed silk organza,

The Great South Gate of Todaiji Temple

(Above

left)

(Above

right)

in

Nara, Japan. Photo by

Jiro

Okura

having to design a

challenge.

s

contemporary interpretation. The

As interpreted by Rajeev Sethi Scenographers for the

Folklife Festival.

memory

ings in the air like an exquisite

oning

a

The Buddhas cliffs,

from

glorious past beck-

Bamiyan, carved

ol

afar,

the

now

destroyed Buddhas were the gateway to South

awe and

Buddha

sentation of the

s

body

many

for

from

sculptors

defied any repre-

centuries after his death,

would perhaps have made

sage smile. As an act of contrition,

Gandharan images

Buddhism

tranquility.

so the destruction of the statues

Muslim

niches ol Afghan

in the

secure haven for weary travelers. Seen

a

Asian catharsis,

a collective

Pakistan

who

the

excel

carving

in

create a plaster or soft stone Buddhist image at

dent in

symmetry and profuse ornamentation,

austere

its

nations.

the Festival has

on the

Silk

Most

monument

in

combination of

We

used a part of an arch

reduced

tile

ratio.

The

offers a

in its actual scale

square presents

a

and

stunning

mosaic, cuerda seca, and the bannai technique

where rectangular nieces

come from

of Khurja

sioned to paint Turkish

eagerly emulated on

shade and

The resonance

of glazed

tile

alternate with unglazed

to

the ancient trade.

Rajasthan were commis-

in

Sikkimese painters gilded Chinese

looms

in

and japan were

Andhra Pradesh and all

Bihar.

over India were used

variety of Asian styles.

Mats and rugs

of

reflect

and

deflect

upon

collage of layer

layer of fine tissue paper!

Asia, the apsarases of India,

Japan

—

all

recreated

The Byzantine

its

plan as architectural ornamentation.

configurations of ceramic blue

and domes upon domes,

tiles,

the patterned

as well as the inlaid stone

motifs

— the felines from Venice

and the

celestial

beings of China and

appear as exhibits on stretched canvas walls demar-

cating the boundaries of the

site.

Pan-Asian composite beings, the

lozenge, the star and the sunburst, blue pottery as an architectural

The lated

Instead of recreating Istanbul's Hagia Sophia (Ayasofya) on

common

Mongolia, the mosaic angels of Venice, the farishtahs of Central

created a varying color palette at the Festival with a

lead roofs

and faipur

a part ol

embellished with Silk Road iconography were easily understood,

for the Silk

we

craftspeople from other

the unique synthesis of crafts seen

tiles.

filter light in a

ornament, and most of

the Mall,

ol

Screens, tents, and canopies from villages to

names. To suggest the way ceramic mosaics

we

work

architectural elements. Ikats from Uzbekistan

bricks to create magical patterns which at times spell out sacred

light,

the

what has been fabricated on the Mill

of

Road and would have been

So craftsmen

Registan Square in Samarkand. Uzbekistan, resplen-

play of distances. the

at

Road

copied, and improvised upon.

the Festival.

The

would complement

tinent that Silk

were symbols of

Asia and evoked

three

ol a

grand future.

by

all

the Tree of Life, an evocative metaphor

Road, helped us define our

story

is

not new;

many

schools and styles were assimi

this great grafted tree called the Silk

thorough the interaction, the more

The

Festival

common become

story.

now

takes

its

place

Road.

The more

vibrant the resulting bloom.

among

the living evidences of a

ethos and sensibilities. Like a banyan the branches have

roots

and the spread

is

wide

...

and widening.

calligraphy that matured during the Islamic period, are represented.

The continuity of architectural

features

is

again seen

at

the

western end of the Mall, in the archways of the Venetian sentinel, the Basilica of St.

Mark

(Basilica di

San Marco), fabricated with

an overlay of different historical periods and cultural influences that characterized that Silk

city-state

process of designing the

inspiration.

site

of the

required

much

research

Finding popular cultural metaphors and talented

professionals in different parts of Asia like

and terminus

Road.

The and

merchant

an open palm stretched under

became

necessary. India,

a thriving Silk

Road, became

an overflowing crucible with seminal churnings. Heritage Foundation sought out

skills

The Asian

within the Indian subcon-

Rajeev Sethi is the principal of Rajeev Sethi Scenographers and founder of the asian heritage foundation, organizations serving as Festival site design and production partners. Rajeev Sethi worked with the Smithsonian on three groundbreaking EXHIBITIONS IN 1985 FOR THE FESTIVAL OF INDIA: MeLA! FOR THE Festival, Aditi in the National Museum of Natural History, and The Qolden Eye in the Cooper-Hewitt, National Museum of Design. He went on to design the Basic Needs Pavillion at the Hannover World Expo, and is now working on the redesign of the Barcelona waterfront.

21

The

Road: Connecting People and Cultures Silk

bv Richard Kurin

The

Silk

Road spanned

smaller but

Road

more

the Asian continent and represented a form of global

difficult to traverse

stretched from

China

to

than nowadays.

Korea and Japan

the south and to Turkey and Italy in the west.

A network

in the east,

The

Silk

economy when

the

known world was

of mostly land but also sea trading routes, the Silk

and connected China through Central Asia

Road system has

to India in

existed for over 2,000 years, with specific

routes changing over time. For millennia, highly valued silk, cotton, wool, glass, jade, lapis lazuli, gold, silver, spices, tea. herbal medicines, foods, fruits, flowers, horses, musical instruments,

and

religious ideas traveled those routes.

The

and

salt,

architectural, philosophical,

roads themselves were generally in poor condition. Travelers in cara-

vans had to brave bleak deserts, high mountains, extreme heat and cold. They had to face bandits and raiders,

imprisonment, starvation, and other forms of deprivation. Those going by sea braved the uncertainties of weather, poorly constructed ships, and pirates. Yet because the goods and ideas were in great prices, courtly rewards, or spiritual benefits, they

demand and commanded high

were worth the trouble of transporting great distances.

23

Since the concept of "Seidenstrassen" or "Silk Roads" was

German

invented by the

first

Ferdinand von Richthofen as a

metaphor

of

in

geologist

regarded as the legendary Lady of the Silkworms for having

the vehicle for

While

all

sorts

Given the

Road

Silk

symbolic meaning of sharing and

s

somewhat paradoxical

it is

namesake commodity, guarded the secret of

was so

silk,

silk

a

French competed to

its

moved

attempts, silk

The

strong.

restrict

war over

and

b.c.e.

cocoon from the Yellow River valley

a silk

and choosing

culture that touched silk silk turns

and

and

to

is

adornment

its

—

up everywhere

the

patterns,

incredible. Every of humanity.

insects from silk.

One

all

over the world

of the native

4000-5000

b.c.e.

may have an

silk,

— and spiders as well

Chinese

name Bombvx mori

production of superblv high-quality

is

silk.

varieties of

silkworm

uniquelv suited to the

This silkworm, which

immediately mates, lays about 400 eggs

and then abruptly

temperature

for

them

The eggs must be

dies.

six-day

in a four- to

kept

at a

warm

When

hatch as silkworms or caterpillars.

to

is

moth

actually a caterpillar, takes adult form as a blind, flightless

period,

aboard medieval Viking

silkworm design from the Yangzi

a

than suggested by legend.

with the scientific

that

in

b.c.e. Yet silk cloth frag-

suggest that sericulture, the process of making earlier origin

- produce

The degree

cup carved with

a

But despite such

of techniques

added

ments and

2500

Valley in southern China dated to about

Many

went.

silk

from the southeast Zhejiang province dated to about

fabric

English and

it

invention and discover)' of uses and styles

And

The Ottoman

across the planet with remarkable ease

wherever

its

ancient Chinese

The

it.

markets.

a vehicle of cultural creativity

of borrowings

that the desire to control

production for centuries.

Turks and the Persians fought

was

unraveling the cocoons and reeling the

Archaeological finds from this period include

silk filament.

3000

for

northern China dated to about

cultures.

exchange,

is

developed the method

exchange between tremendously diverse peoples and

of creative

dated from 2677 to 2597 b.c.e.,

is

Road" has been used

cultural interchange.

Road provided

reign

and explorer Baron

1877, the "Silk

European and Asian

largely commercial, the Silk

Emperor whose

ships sailing out of Constantinople and as kerchiefs from India

they do hatch, they are stacked in layers of trays and given

(bandannas, from bandhana) around the necks of cowboys

chopped up

American West. The terms used

Damask

influences. is

actually

Chinese

of

Chinese

silk

embroidery

In the 19th century Paterson. itself

history

and

is

not Chinese but a

Martha Washington wore s

a

inauguration, and Native

to decorate traditional apparel.

New

Jersey, of

all

places, declared

globe,

so special about silk?

is

leaves

throughout the day

and connect diverse

How

did

it

go around the

civilizations for millennia?

the current significance of the Silk

And what

Road?

produces

it

is

emperor of

2-t

why its many who

easy to see

production of

who

silk

through

in

China

is

such an extraordinary process

invention was legendary and

sought is

its

secrets.

The

its

original

often attributed to Fo Xi, the

initiated the raising of

silkworms and the cultivation

mulberry trees to feed them. Xi Lingshi. the wife of the Yellow

its

is

300-1.000 yards

kills

the

that

its

The amazing

this,

the cocoon

One ounce

of leaves to eat.

threads

and

to

2,000-3,000 cocoons

is

in

very strong

boiled. This

resin or seracin that

may then be soaked

form

about

all

make

about 150 cocoons are needed tionally

cocoon

a silk

in

warm

and shipment.

thread and

wound

12

pounds

of

raw

silk.

The

together, often with other yarn, dyed,

make

to

to

a

produces worms that require a ton

of eggs

results in

may be spun

and woven on looms

worm

feature of the

is first

or be dried for storage, sale,

combined

a

generally in the range of

filament,

pupae inside and dissolves the gum

reel.

enough,

— and sometimes a mile — long,

unwound

eat

glands that dries into a thread-

holds the cocoon together. Cocoons

silk

large

wrapping around the worm and forming

Bomhyx mori

They

eat.

weeks, growing to about

When

the course of three or four days.

onto a

and production

discover)' eluded

for four or five

a liquid gel

like filament,

water and

Chinese Silk Cultivation

that

white mulberry to

10,000 times their original weight.

Several filaments are

Silk cultivation

of the

and can be unwrapped. To do

"Silk City."

What

is

style.

husband

dress of Virginia silk to her

its

the style of Damascus. Syria,

silk, referring to

in origin. Silk chinoiserie

European imitation

Americans learned

for silk reveal

in the

a

sorts of products.

pound

of silk

for a necktie.

It

needed

takes about for a dress;

The Chinese

tradi-

incubated the eggs during the spring, timing their

come

hatching as the mulberry trees traditionally involved taboos

and abundance

and

-

making raw

rituals

designed

China

for the health

of the silkworms. Typically, silk production

women's work. Currently, some in

to leaf. Sericulture in

silk,

was

Chinese are involved

10 million

producing an estimated 60.000 tons annually

about half of the world's output. Silk

therefore expensive;

consider that

is still

silk

relatively rare,

and

constitutes only 0.2

There

are other types of silkworms

dates back possibly to

lization

and

is

still

2500

produced

and

of silk. Indian tussah

b.c.e. to the

for

production techniques do not allow the cocoon,

moths

Indus Valley

civi-

domestic consumption and

Hindu and

for the killing of the

ancient Greeks, too,

knew

of a

whose cocoon could be unraveled tedious, however, and

On

this

Bombyx

postcard (date

mulberry leaves

variety.

wild Mediterranean to

form

fiber.

the result also not

up

The

Jain

pupae

are allowed to hatch, and the resultant

ments are shorter and coarser than the Chinese

mulberry-fed

percent of the world's textile fabric.

silk

foreign trade in various forms. Since traditional

silk

in

fila-

The moth

process was

to the quality of

mori.

unknown women are shown in costume feeding DOE Asia: [apan: General: NM 90351 04668700, ),

to silkworms.

courtesy Smithsonian Institution National Anthropological Archives

25

been long thought

Silk has

keeps one cool

body

particularly well. Silk

more

flexible

than nylon.

It is

make

and

much

of Sufis in

Japan and wedding

in

of the

Early in Chinese history,

emperor, but eventually society. Silk

proved

to

royal gifts

and

exchange,

like

for

for

saris in

China and

to lay

Muslim world. was used

silk

to

clothe the

was adopted widely through Chinese

it

be valuable

became

c.e.), silk

making

for fishing lines, for the

Under

of paper, for musical instrument strings.

(206 B.C.E.-220

be used

rot resistant. All these

India, for religious ritual, for burial shrouds in

on the graves

to

form of adornment

silk ideal as a

people of importance, for kimonos

effi-

stronger than steel and

it is

also fire

it

is

drapes upon

It

enough

strong

is

It

much more

shimmers.

It

— indeed, by weight

natural characteristics

in the winter.

uses color dyes

it

ciently than cotton, wool, or linen.

surgical sutures

type of cloth;

a special

summer and warm

in the

extremely absorbent, meaning

the

be

to

the

Han

a great trade item,

dynasty

used

for

medium

of

gold or money. Chinese farmers paid their taxes

in

tribute.

It

also

became

generalized

a

silk.

Civil servants received their salary in silk.

Silk

on the Road

Evidence of trade

in ancient

Chinese

has been found in

silk

Han

ancient Chinese

dynasty and Central Asia, extending to

archaeological excavations in Central Asian Bactria (currently the

Rome:

region around Balkh and Mazar-i-Sharif, Afghanistan) dating to

China and Central Asia, Byzantium, the Arab Umayyad and

about 500 b.c.e. Strands of

silk

have been found

from about 1000 b.c.e., but these

Chinese

origin.

may be

Alexander the Great,

known world from

of the rare

Abbasid empires, the Sasanian Persian Empire, and India, and

who

ruled

silk

and

its

too, in the Far East. Sericulture

immigrants at

in

much

of the

The

silk

was

—

the

as Seres

was produced by the

Phoenicians of Tyre from the secretions of sea

West, knowledge of

silk.

knew

that

snails. Yet, in the

trade were relatively limited. So.

was

carried to Korea

about 200 b.c.e. Though

the turn of the millennium, sericulture

silk

26

Christianity, Zoroastrianism,

Manichaeism, and Judaism into

Central Asia: and 3) during the 13th and

Wth

centuries,

China, Central Asia, Persia, India, and early modern Europe,

made

possible

would add

a

by Mongol control

modern

Silk

century with the "Great

Road

Game

of

most of the

-

the competition between for influence

in

Japan

was not widely known

From Han China In 198 b.c.e., the

to

Rome

Han dynasty concluded

Asian people, the Xiongnu.

a treaty with a Central

The emperor agreed

daughter to the Xiongnu ruler and pav an annual silk.

from 206 b.c.e. to 220

c.e.,

over Central

— and extending through today.

Conventionally, historians refer to three periods of intense 1)

Road. Some

period, beginning in the 19th

Russian and British colonial powers Asia

Silk

Road

trade:

between

by Chinese

was extant

there until about the 3rd century c.e.

Silk

between Tang dynasty

coinciding with the expansion of Islam. Buddhism. Assyrian

in

was made — and made optimum use

and expensive purple dye

c.e.,

ancient Egypt

century b.c.e., wore robes of deep purple-dyed

place where serikos or silk

about 618 to 907

of Indian rather than

the Mediterranean to India in the late 4th

probably from China, which the Greeks

2) from

between the

By

the

1st

century b.c.e.

silk

to

give his

gift in

gold and

reached Rome, initiating the

first

ii=*^~«

I \

Hi

IS

1 Silk

the

Road." Pliny, writing about

down

of trees in Seres.

People wore rare

It

silk,

thought

it

was made from

was very popular among the Romans.

strips of silk

on

their clothing

they spent increasing amounts of gold and

and sought more;

silver,

leading to a

shortage in precious metals. Coinciding with the development of ruling elites

and the beginnings

of empire, silk

wealth and power -- Julius Caesar entered

under

silk

canopies.

Over the next three

amber, and red coral moved eastward. Despite some warnings about the

which opened up trade routes As

silk

in

Romana

trades deleterious consequences,

medium of exchange and Visigoth besieged

tribute,

and when

in

Rome, he demanded and

5,000 pounds of gold and 4,000 tunics of

408

it

became

a

c.E, Alaric the

received as ransom

silk.

was associated with

Rome

in

triumph

centuries, silk imports

(Opposite, above)

of the early emperors,

Asia Minor and the Middle East.

came westward, newly invented blown

glass, asbestos.

When

silkworm eggs hatch, they are placed on

frames, fed for several weeks,

10,000 times increased, especially with the Pax

silk

and

then,

when they have grown

their original weight, they

photos are from Karnataka State. India.

and cocoons Photos

'

in a specially

woven frame:

to

trays or

about

form cocoons. Both of these

One

is

a elose-up of silkworms

the other shows the full frame'..

)ejn-Luc Rjv. Agj Kh.in Foundation

27

Azov (Tana) Venice

Rome t_

-%

Istanbul (Constantinople)

Bukhara .../Tashkci •..

""\Samarkaijd

..••

•-"Mary

(Merv)

<

\ |

...Antioch

vBamiyan ,.....'•'.>'»•'•""'

"~

Damascus

Herat

-..

Tehran

.,>

•».

\

Baghdad

lyre

i

\

Cairo

Silk

3

m

•Mecca

Road Travelers

by James Deutsch and Stephen Kidd

While the vast majority of connections along the

made through elers have

countless

anonymous journeys,

become famous

Road were

Silk

several historical trav-

for the scope of their discoveries and their

he studied the most difficult Buddhist texts, which he translated

India

into

he persuaded Chinese

impact on Silk Road cultures.

As China with

the

participated

Silk

Road trade during

expansion of the Tang dynasty from

its

the

seat

7th century in

Chang'an

(present-day Xi'an), the journeys of one traveler helped to alter the

reli-

gious beliefs of the Tang leadership. A Buddhist monk, Xuanzang

Chang'an

around

629

c.e.

in

search

of

greater

centuries

earlier.

center of Dunhuang

in

Xuanzang's quest took him

from to

in

is

who

Marco Polo

India.

In

cultural

—

Italy in

merchants,

China for

knowledge

last

years, primarily

17

that

was instrumental

20 years of

skeptically)

explorers,

game of "Marco

the west to China

exchange of ideas and commodities. His

sometimes

familiar to any

is

was more than a treasure-seeking

in

compiled during the

(albeit

whose name

merchant who may have been the

Road from

(1254-1324)

Kublai Khan, acquiring

Buddhist

traveler,

the legendary Venetian

to travel the entire Silk

and

his return,

embrace Buddhism.

has ever played the hide-and-seek

Tibet and

Bukhara and Samarkand, and then

through present-day Pakistan to the source of Buddhism

Polo,"

child

claimed to have lived

western China, across the Takla Makan Desert

to the great Central Asian cities of

28

the

left

American

of

understanding

Buddhist religious texts that had been brought to China India

elites to

An even more renowned

in

On

Chinese and brought back to Chang'an around 645.

by

general

his life

in

—

first

the east.

trader;

he

the court

of

promoting

the

detailed travel

accounts

were

carefully studied

of

cartographers,

generations readers

in

in

who

yearned

to

better

Karakorum

^Turpan

Beijing'

',""";::'.««JDunhuang

[ashgar '''••.,Hotan

Tokyo ,„.;•••

Kyoto

Nara Xi'an

(Chang'an)

Gaya

•••.^Bodh

comprehend

One 1368?)

left

explore the complexity of the Silk Road. Tracing the roots of European

their world.

year after his

Marco

Polo's death.

Morocco

native

to

Muhammad

make

the

pilgrimage to Mecca, ibn Batuta could not have that

ibn Batuta (1304-

customary

known

then,

Islamic

however,

he would spend the next 24 years continually traveling throughout

Asia (particularly China and India), Africa, and the Middle East, before returning to

Morocco

that intrigued him: in

on

human anatomy.

in

from Like

1349. During political

Marco

this time,

he recorded everything

and economic conditions to variations

Polo, ibn Batuta's reputation rests largely

the published account of his travels (ca. 1354). which served not only

to illuminate the depth and diversity of

the limited horizons of the medieval In

traversed

our in

own

time,

when

human

culture, but also to

a single day, there

is

another traveler

cultural In

instruments

to

Asia,

Yo-Yo Ma was

cellist

the

by

inspired

connections made as diverse peoples met along the

Silk

Road.

1998 he founded the Silk Road Project to celebrate and foster the

traditional cultures this

mission,

the

performing both

found along the ancient trade route. Today, Project's traditional

Silk

Road Ensemble crosses

works from

commissions from composers who

hail

an era of supersonic journeys, Yo-Yo

Silk

Road

from

Silk

Ma

travels

fulfilling

the

cultures and

globe

new

Road countries. in

In

search of lasting

cultural connections.

expand

European world.

the countries of the

classical

James Deutsch and Stephen Kidd, both holders of Ph.D.'s

in

American Studies

Silk

Road can be

from George Washington University, are program coordinators for the 2002

who

has begun to

Folklife Festival.

29

Silk

Road Travelers

by James Deutsch and Stephen Kiod

Road were

While ihe vasi majority of connections along the Silk

made through countless anonymous journeys, elers have

become famous

impact on

Silk

As China with

the

Road

scope of

for the

several historical trav-

their discoveries

and

their

Silk

Road

gious beliefs of the Tang leadership.

629

c.E.

trade during

from

its

the

seat

7th century in

Chang'an

in

centuries

center of

earlier.

Dunhuang

in

reli-

A Buddhist monk. Xuanzang

search

of

greater

Xuanzang's quest took him

left

from to

the

Tibet

to the great Central Asian cities of

in

Polo."

is

child

who has

to travel the entire Silk

India.

In

traveler,

Road from

cultural

—

in

familiar to any

is

game of "Marco

the west to China

years, primarily

17

that

was instrumental

in in

exchange of ideas and commodities. His detailed

sometimes

merchants,

last

20 years of

skeptically)

explorers,

and

by

general

in

first

the east.

than a treasure-seeking trader: he

China for

knowledge

compiled during the

(albeit

whose name

Italy in

his life

—

generations readers

comprehend

One

his return,

merchant who may have been the

Marco Polo (1254-1324) was more

Kublai Khan, acquiring

Buddhist

On

1368?)

ever played the hide-and-seek

the legendary Venetian

claimed to have lived

Bukhara and Samarkand, and then

through present-day Pakistan to the source of Buddhism

American

of

western China, across the Takla Makan Desert

Buddhist texts, which he translated

difficult

he persuaded Chinese elites to embrace Buddhism.

and

understanding

Buddhist religious texts that had been brought to China India

most

Chinese and brought back to Chang'an around 645.

An even more renowned

in

expansion of the Tang dynasty

around

into

cultures.

participated

(present-day Xi'an). the journeys of one traveler helped to alter the

Chang'an

India he studied the

the court of

promoting the travel

accounts

were

carefully studied

of

cartographers,

who yearned

to

better

their world.

year after his

left

explore the complexity of the Silk Road, Tracing the roots of European

Marco

Polo's death.

Morocco

native

to

Muhammad

make

the

pilgrimage to Mecca. lbn Batuta could not have that

lbn Batuta (1304-

customary

known

then,

Islamic

however,

he would spend the next 24 years continually traveling throughout

Asia (particularly China and India). Africa, and the Middle East, before

returning to that intrigued in

Morocco him:

human anatomy.

in

from Like

1349. During this time, he recorded everything political

Marco

on the published account of to illuminate the depth the limited In

traversed

and economic conditions to variations

Polo, lbn Batuta's reputation rests largely

his travels (ca. 1354),

and diversity of human

which served not only

culture, but also to

in

own

time,

when

cultural In

instruments to Asia,

1998 he founded the

traditional cultures this

Yo-Yo Ma was

cellist

inspired

connections made as diverse peoples met along the

mission,

the

performing both

Silk

Road Project

to celebrate

traditional

Silk

Road Ensemble crosses

works from

commissions from composers who

hail

an era of supersonic journeys. Yo-Yo

Silk

Road

from

Silk

Ma

travels

fulfilling

the

cultures and

Road in

the

Road.

and foster the

found along the ancient trade route. Today, Project's

by

Silk

globe

new

countries. In

search of lasting

cultural connections.

expand

horizons of the medieval European world.

our

classical

James Deutsch and Stephen Kidd. both holders of Ph.O.'s

in

American Studies

the countries of the Silk

Road can be

from George Washington University, are program coordinators for the 2002

who

has begun to

Fouufe

a single day, there

is

another traveler

Festival

The Tang

Silk

Road: Connecting Cultures

continued to be popular

Silk

the Mediterranean region even as

in

Rome declined. In Bvzantium. the eastern successor of Roman state, silk purchases accounted for a large drain on 552

treasury. In

monks who

c.e.,

visited

legend has

China learned the

secret of silk production

smuggled out silkworms and mulberry seeds sticks.

They returned

Byzantine Empire, and provided the impetus

Under Emperor

local silk industry. silks

were used throughout Europe

and

aristocratic dress.

silk

production: and

rulers.

By

The

Justinian

for the I,

styles of silk

and

walking

growth of

a

Constantinople's

knowledge

Persians, too, acquired

a silk center

of

under Arab

Road developed under

the time the second Silk

Tang dynasty (618-907

their

in

the

China, Central Asians had also

c.e.) in

learned silk cultivation and developed the famed ubr technique of silk resist

dying generally

Chinese

ikut.

silks,

though, were

tionally high quality. tary.

known today by

The Tang

The best horses were

horses.

40

bolts for each

Not only did as techniques for

developed

silk

pony

for their

needed horses

excep-

Valley.

The Tang

traded

silk for

weaving and embroidering

it.

of the time, as well as an archaeology of shared

weaving and

The growth

motifs.

of silk as a trade item both stimulated

as well

The Tang Chinese

adopted elsewhere. Chinese

ideas of astronomy,

and even

Road network. Arabs

Central Asia, India, and Iran.

moved along

Japan. Islam

was

carried

by

Buddhism

itself

was

into

raphy,

Tang

China and

Sufi teachers,

and by armies, moving

making, and painting also traversed these roads. The

tile

capital

cosmopolitan city traders from

of

city

all

Chang an.

present-day Xi'an. became

— the largest on earth

at

silk

beaded roundels, and

the time, peopled with

and emissaries from across the continent.

aries,

The Mongol

Silk

Though some new

Road and Marco Polo

silk styles

Iran

to

such as

silk tapestry

Uvghur Central Asia

made

Road diminished

Middle Ages and through the period

of the Christian

the

Holy Land from 1096

in

home

silks, tapestries,

in trade

It

advances

ancient Greek and

by the Persians, weaving the Tree

Arabic translations and commentaries. This

their

symbol.

was brought in

The Egyptian draw loom, adapted to Syria, then to Iran

Nara developed tie-dye and

some

cases,

designs for

for silk

as

resist

processes for kimonos. In

weavers were uprooted from one

city

and

settled in

Roman

With

the

Road

of

had survived of kne

in

edge

Genghis (Chinghis) Khan

flourished in the 13th and

Hth

centuries.

Ling Louis IX of France, Willem van Rubruck.

Mongol

ized that Cathay, or China,

During the Tang dynasty,

times.

30

that

from the Black Sea to the Pacific,

of the

silk

civilizations

Mongol descendants

in control of Asia

weavers were taken as prisoners of war to Iran and Mesopotamia.

exchange based upon

and Chinese

medicine, chemistry, and mathematics, and also to

another: for example, after the Battle of Talas in 751. Chinese

cultural

spoils,

eventually helped to fuel the Renaissance.

weaving,

and beyond. Japanese weavers

in

was through Arab

knot designs from the Indians. Byzantines were also influenced into

Crusades

and other

use of gold-wrapped thread, the conch shell, lotus, and endless-

and adopting the Assyrian two-headed eagle

in the later

with Asia. Moorish influence

Spain also had an enormous impact.

in

way

mid-1200s. Yet Crusaders,

to the

with Byzantine

their

China, the

to

transcontinental exchange of the Silk

scholars that Europeans gained access to Indian

Life

a

along the Silk Road, as well as monks, mission-

bearded horsemen on winged horses from the Sasanians, and the

of

carried along

India. Martial arts, sacred arts like callig-

returning

royalty

to

across the continent from Western Asia into Iran. Central Asia,

and

rekindled European interest

European

the Silk

and China. Chinese

these roads from India through Central Asia to Tibet, China, and

Sasanian, and Indian patterns and styles. For example, Chinese life,

religion also

traveled to India

weaving was influenced by Sogdian (Central Asian), Persian

weavers adapted the Assyrian tree of

and char-

acterized other types of exchanges during the era. Curative herbs,

eastward from

in the 8th century.

move, but so did designs and motifs

a satin silk, readily

about 1015 c.e. reveal the tremendous rich-

in

for their mili-

held by the Turkic Uyghurs

in the west,

and the peoples of the Fergana

the Indonesian term

demand

in

still

rulers

work

ness of silk

the

for religious vestments, rituals,

Damascus became

Dunhuang

the

Constantinople, the capital of the

to

its

caves of

two Assyrian Christian

that

it

apex. Discoveries of the silk stowed in the Buddhist

reached

a third Silk

The emissary

of

visited the court

ruler in 1253. and, seeing the wealth of silks, real-

The Venetian Marco

was the legendary Seres Polo followed.

of

Roman

Setting out with his uncles in 1271. Polo traveled across Asia

by land and sea over

a period of

24

years.

narrated while a prisoner in a

Genoa

European

Road

Mongols,

interest

in

the Silk

who under Genghis and

The

jail

tales of his travels,

cell,

region.

then Kublai

spurred broad

He

told

of the

Khan had taken

over China and expanded their dominion across Asia into Central Asia, India. Iran,

the lands he

had

and Asia Minor. Polo

visited, the great sites

related fantastic tales of

he had seen, and the vast

13th

and Hth centuries were characterized by consider-

able political, commercial,

kingdoms,

markets,

institutional

and

and

religious competition

religious

Christians, Muslims, Buddhists,

groups

across

and Hindus vied

for

between Eurasia.

adherents

support.

Hindu chiefdoms, and

and among the

Conflict between

Mongols, European kingdoms, Arab others

made

rulers, the

Mamluk

Turks.

for unstable states, diplo-

matic jockeying, alliances, and wars. Yet the Mongols, with their vast

Asian empire skirting the edge of Russia and

Europe, were, through to

assure a

measure

mixture of hegemony and

a

of

peace within their domains,

capital of

among them

Karakorum hosted,

two mosques, and

a church.

arts

for

and

religion.

example.

12

Eastern

brutality, able

Mongolica. They were also pragmatic and quite several spheres,

treasures of Asia.

The

and

a

tolerant

Pax in

Their Mongolian

Buddhist temples.

The Mongols developed

continental

In Bursa. Turkey, silkworm cultivators check cocoons that arc about to be

auctioned

at a bazaar. Photo

r -

Hermine Dreyfuss

31

postal

and

house systems. Kublai Khan welcomed

travelers' rest

European, Chinese, Persian, and Arab astronomers and estab-

Muslim Astronomy. He

lished an Institute of

Academy

Imperial

of

founded an

also

Medicine, including Indian, Middle

tice of

emulating Asian

was

silk styles

institutionalized in Lyon.

France, with the development of imitative Chinese and Turkish motifs, chinoiserie

European

and turqueserie

respectively.

Eastern. Muslim, and Chinese physicians. European. Persian.

goods between Europe, the Middle East.

Chinese, Arab. Armenian, and Russian traders and missionaries

Jean-Baptiste Tavernier (1605-98).

and

traveled the Silk Road, at

in

1335 a Mongol mission to the pope

Avignon suggested increased trade and During

this "third"

Silk

Road,

cultural contacts.

silk,

while

pearls,

valued Chinese export, was no longer the primary commodity.

1

Europeans wanted pearls and gems,

the

spices,

precious metals,

a

Iran, India,

who

and China.

traversed parts of the

and the Taj Mahal, traded

was awarded "Oriental

and

ran

stream of

journeys and witnessed the building of

six

Versailles, Isfahan,

highly

a

still

Road on

Silk

A steady

and adventurous merchants moved luxury

travelers

barony by Louis

'

silk

in

diamonds and

robes of honor by the Shah of

XIV (for the sale of what later became

Hope Diamond). The

own

English developed their

medicines, ceramics, carpets, other fabrics, and lacquerware. All

industry and tried silk cultivation in Ireland, and even in the

kingdoms needed

World. Mulberry

horses,

known

production already was

southern

to

Europe.

"Saracens," Jews,

Mediterranean northern

-

Silk

art in

in

the Arab world

relocated to

Sicily

stylized Central Asian

centers in a

stellar

New stylistic techniques were added, and brocades, while old motifs,

pomegranate, took on

by the 15th century with the growth

With the decline

was

and the eastern

new commercial

Commercial trade and competition was

trade routes

Arabs.

-

vital.

The

of

of

new

like

like the

of great importance

European

cities, guilds,

Mongol power,

control over

was

to secure safer

and cheaper

passage of trade goods than by land caravans, which were subject to either exorbitant protection fees or raiding it

was the search to the

for this sea route to the

"New

sea route to India

World."

When

bv enemies. Indeed,

East that led

Vasco da

Gama

Columbus found the

and other Europeans subsequently opened

direct shipping links

with China, contact with Central Asia

decreased dramatically.

Trade

in

silks

helped

among among

the Shakers in Kentucky.

Silk styles

soon extended

imported

and fashions were to a

further as a result of

became

loom

relied

led, in

wealthy merchant

silks

showed

the long

Europe, by royalty, but

class,

new manufacturing

and were broadened

techniques. Silk produc-

industrialized in 1804 with the Jacquard loom. This

upon punched cards

tration of threads into

the computer

to

program the complex orches-

wonderful patterns; the cards

punch cards

later inspired

mid-20th century. Throughout

of the

the 19th century, chemists developed synthetic dyes. Designers,

who

could create one-of-a-kind items for the

elite

but also

develop mass-produced lines of clothing, furnishings, and other products, set up shop in Paris. Asia was the subject of

silk

romantic allure and fascination by

IV

1800s. England's George Persian style, decorated

it

garments, thereby setting for

elites of the period. In the early

built his

Brighton palace

in

Victoria

was

an Indo-

with Chinese furniture, and wore

a trend,

silk

with his friend Beau Brummel,

men's formal fashion. Declared Empress of India feted with grand celebrations

and

a

in

1858,

diamond

jubilee that included "Oriental" durbars or courtly convocations, fuel

the

mercantile transformation of

replete with

adorned

as sultans

32

Still,

later in

reach of an international trade.

Burgundy, and in

to

Georgia,

Western Europe. French King Charles VII. the dukes of

markets

settlers

1600s. Silk cultivation was successful but

the 19th-century Harmonists in Pennsylvania, and even

Queen

The Modern Era

and silkworms went with

trees

in the early

onlv for a time: other attempts followed

tion

life.

motivation behind Portuguese explo-

rations of a sea route to India

westward

Jamestown

Venice, Florence, Genoa, and Lucca in the

and 15th centuries.

royal states.

-

silk-making eventually became

alto-e-hasso for velvets

and

silk

and had spread

weavers and traders

and Greeks from

Italian

Italy.

Renaissance 14th

-

weapons, and armaments. Besides,

silk

New

their successors participated vigorously

Bruges, Amsterdam, Lyon, and other towns.

through

The

prac-

were

marching elephants and parades

in native dress. Parisians

and Asian

royalty.

held costumed

of Asian troops balls,

Kashmiri and Chinese

a big hit. Jewelers Cartier

dressed up silk

scarves

and Tiffany used Asian gemstones

Polo In its earliest

6th century

B.C.E.,

forms, polo dates back

more

than 2,500 years to the Central Asian steppes; the

and by the Middle Ages polo was

tions, including, for

played across the Silk

example, one played by Chinese

women

Road from Constantinople

during the Tang dynasty

12

Two teams

the "goal."

A goat or

calf

carcass

is

the "ball."

play against

each other. The

Horsemen from one

side

reverse course, and drop the carcass into the goal. The social purpose ship skills that

—

we now

move across

precisely those needed

cultures, a

years. Picturedhere '

is

wonderful

Silk

Road

place

is

sport, but the

is

a fine example of

Iran

in

the

the

game

a raucous, physical

is

pit

designated as

around a pole or designated marker,

game teaches and encourages

how meanings and

from

derived

as buzkashi

might be a large meadow, with an area or ride

in

excellent this

horseman-

sport into

one

practices can be transformed as they

story.

game have been played along the

a 1985

game known

must scoop up the carcass,

may be

game took

The game has a number of varia-

towns, and rout opposing forces. Victorian Englishmen then turned

think of as very sophisticated and upper class. Polo

Polo and variations on the

Photo

to attack caravans, raid

field

recorded

to Japan.

centuries ago. American polo

viewed by British soldiers on the northwestern frontier of 19th-century colonial India. There, the exercise of competitive horsemanship.

first

Silk

Road for thousands of

game in Susum, Pakistan.

Jean-Luc Ray. Aga Khan Foundation

33

and imitated Asian decorative designing

silk sashes, scarves,

Tiffany and Lalique were

styles.

and other items.

and crepes were developed

like chiffons

New

silk textiles

France, and

in

silk culti-

vation centers sent raw silk to design houses and production

meet demand. This demand extended

factories to

and raw

States, soft

to the

United

was imported from Japan and dyed using the

silk

waters of the Passaic River in Paterson,

became the U.S. headquarters

of

New Jersey. supply,

silk

Paterson

design,

and

furnishing companies. It

Road and

was during

as a

art.

this Orientalist

way

of connecting

was

articulated

period that the idea of the Silk

European and Asian

culture, history,

by Baron von Richthofen. In 1786

William Jones had found the links between Sanskrit and Latin,

Indo-European family

devising the idea of an

Throughout the

19th

century, European

languages.

of

philologists

were working

on the relationships between European and Asian languages, positing such "families" as Uralic

found

and

common

roots in religions

and

and symbols spanning Eurasia

Hinduism and Buddhism

relating

and

mythology,

with

European scholars

Altaic.

Judaism.

to ancient

Greco-Roman

and

Christianity-

Islam,

Archaeologists had begun to find links between widely dispersed civilizations of Egypt, the

India,

German and model

Mediterranean, Mesopotamia, Iran.

and Central Asia. Cultural later

diffusion, particularly strong in

English social science, became an explanatory

for the similarities

found

in

widely separated

societies,

and

an alternative to cultural evolutionary theories. These connections

and geography

across cultures, history,

Consider, for example, the names of a

ments with the root

Silk

diffusion.

became both It

was seen

regard to religious

commercial

a

sitar. qitar,

a

of stringed instru-

from the

guitarra,

component and

and the

symbol of

St.

kingship,

artistic

production, and

stood for the higher things in

commodity,

as well as a historical

life. It

was

medium

Photo by Katherine Fogden

ca.

Museum

1900,

is

of

role in the

up everywhere. This Cree caribou hide pouch from Roberval,

Johns Lake, Hudson Bay. Canada,

embroidery. Courtesy National

34

guitar.

this cultural

exchange. Silk both epitomized and played a major Silk turns

tar itself to

as a valuable index of civilization with

ritual,

activity. Silk

a valuable, traded

number

tar ("string" in Persian),

the dotar, dutar, lotar, setar,

intrigue us today.

still

decorated with

of the American Indian

silk

development

early

new globalism not

but also

something

-is

what we now characterize

cultural system.

economic and this

of

tion of silk use

just

Europeans

-is .111

-is

global

.1

the 19th century saw

ol

interesting historical occurrence.

that resonated with the

growing

distribu-

discovered

pathways

New

Road Today

are

Road. Richthofen saw Central

In formulating the idea of the Silk

Asia as not only the land bridge between distant civilizations, but as a source of cultural creativity in

its

own

right.

I

le also

saw

region that had served as the crossroads of

disputed

territory, a

political

and military influence. Indeed, control over the

Road, particularly 18th-

as

it

its

Silk

Central Asian link, was serious business for

century colonial powers playing the "Great Game.

Both

the Russians and the British vied for control over Afghanistan at

Rudyard Kipling, the

the limit of their territorial aspirations.

English colonial writer, set the fictional

Kim

tale of

against this

backdrop, with the hero traveling one of the historical trade routes along what

is

now

the Afghan-Pakistan Irontier

what we might today

call a

Though eclipsed

11

resumed

in trade

its

of

volume by

valuable

a

commodity

are

institutions

social

and

financial systems.

encouraging

and

artistry

Famed and

Uzbek

beautiful

ikat

own

porary

artists arc

sites are

Aga Khan

of traditional

embedded

knowlAsian

Central

in

to the

weavings are returning

making

performed by contem-

way onto world

their

their

stages. Historical

being restored.

Given the needs

in the region, the

work

to build politically

and

stable nations that are economically healthy, socially secure, culturally confident

from certain. But

is

of immense scope, and the prognosis

does seem clear that people

it

the best chance of bettering their lives

and

in the region

participate in the

commerce

far

stand

those of their children

their place in a transnational, transcultural

better to connect to the peoples

geopolitical

universities,

built

leaders like the

distinctive fashions. Ancient musics

and

Its

across the region to

world marketplace. Designers from the region are creating

goods and ideas exemplified by

historical importance.

new

history that will allow local citizens the opportunity to flourish.

sea routes for several particularly after

being

Some

contemporary renaissance

a

edge, architecture,

by reclaiming

multicultural adventure.

centuries. Central Asia has in recent times

September

and partaking

moving

for

hospitals,

Central Asia and the Silk

Kazakhstan, and western China.

Azerbaijan.

in

the rest of the world.

oi the time.

and manufacturing

oil

Pipelines are being planned and constructed, constituting

the historical Silk

How

Road.

of

It

is

and cultures around them and

to

of nations than

to

withdraw from

significance has grown as a result of the demise of the Soviet

such interchange. By reclaiming the heritage of the Silk Road, the

Union, the need

region may, once again, play an important role

competing

to achieve stable political

interests,

and the need

religion, particularly' Islam, in civic

the

United

al-Qaeda

States

in

to find

in Iran, rights for

and freedom

in

and

Taliban

local markets, industries,

economy. Some

in

and

and

They

in

the

own

post-

are struggling to

infrastructures, while at the

local entrepreneurs seek to rebuild

a traditional repertoire of

commercial

skills.

the cultural and

community.

Elisseeff,

Vadime, ed. 2000. The

Scott,

Philippa.

New 1993.

York:

Silk Roads:

Highways

Berghahn Books;

The Booh

of Silk.

of Culture

Paris:

and

UNESCO

London: Thames

&

Hudson, Ltd.

control.

an increasingly globalized world

based upon

in

For Further Reading

Publishing.

new development

a

for political influence

participating

of the global

ethnic minorities in western China,

in

nations of the region are trying to build their

same time

life

Commerce.

Soviet and contemporary economies.

develop

economic

Kashmir,

Kazakhstan, mark

contemporary jockeying

The

role for

Afghanistan, using bases in Uzbekistan and Pakistan,

in

and being drawn into disputes over sovereignty

democracy

of

recently, the entry of

fighting the

Central Asia,

light

in

an appropriate

Most

life.

states

economies

deeply ingrained Silk Road

Among emerging markets are those for recently

Whitefield.

Susan.

1999.

Life

Along the

Silk

Road. Berkeley:

University of California Press is the Director of the Smithsonian Center for folklife and cultural heritage and first worked on the Festival in 1976. He is a cultural anthropologist who has done much of his fieldwork in India and Pakistan. He is also the author of Reflections of a Culture Broker: A View from the Smithsonian.

Richard Kurin

35

<" k

-

-

Zoroastrianism

In

Various accounts place Zoroaster

sometime between the

birth

s

and the 6th century b.c.e. and somewhere between

11th

Mongolia and Azerbaijan.

He

God

taught belief in one

(Ahura

Mazda), the Lord of Wisdom, and regarded the other Iranian gods (daevas)

He

demons.

as

saw an

also

force in the

evil

586

manv chose to They

stay in Iran,

including in the tices

and

tions

and the

cosmology

this

period of conquest and expansion.

and embarked on

sanctioned Zoroastrianism

and doctrines. Even

practices,

so,

continued to interact with and be influenced by

and practices rituals that

also seen as a divine force.

(Mali)

New Year,

to

Nawruz.

is

its

were enriched by contacts with existing

and then Greece. Apart

intellectual heritage of Iran,

from the original community of exiled Jews,

seems

it

gained local converts, too. though these were not

The Jewish presence

in the region

a result of pros-

present.

Buddhism The

Silk

Road provided

a

network

spread of the teachings

for the

Buddha, enabling Buddhism

to

develop into a sophisticated and diverse system of belief

and

practice.

a

number

of

example, the of the

Of

become

to

a

Among

was the

these

its

but very significant tradition of Mahayana. which preached the continuity of the

veneration. Similarly, the

a regional ritual that predates

bodhisattvas

—

Buddha's compassionate nature through

embodiments

and teaching who became

of love

and

the bridge to local traditions, communities,

one God, a

meeting point between Iranian religions

faith,

Judaism. Judaism as expressed

ancient oral and written traditions

who

Torah (the

first

live

according to His

Five Books of the

both

in

belief in

revealed Himself to the people of Israel and

covenant with them to

in the

was centered on the

made

will, as articulated

Hebrew

Bible)

and

concretized as Halakah. or "the way." Part of this ancient history is

traced to

Abraham, the

his descendants,

great Patriarchal figure in Judaism,

who were chosen by God

slavery to freedom.

The well-known

the prophetic figure of

Moses

tual settlement in Israel, the

writing

38

down and

(ca.

and

people from

event of the Exodus, under

1200

b.c.e.). led to their even-

emergence

codification of the

to lead the

first

of a

monastic

moon

reach

and another ancient

less

Moon

Judaism a

world religion

the IS Buddhist schools of interpretation, five

existed along the Silk Road.

tradition suggests that

Road became

Judaism

continues to the

all

kingdom, and the

part of the Scriptures.

Buddhahood through In Central Asia,

rule

and

who

aspire to

of living.

1st

to the 3rd centurv c.e.

period in the growth of

more than

a

that along the Silk

sought to

religious traditions.

may

associated with the rise of the

a significant

illustrate

Buddhism. They show

kings and rulers

ways is

lasted from the

marked

Buddhism, Kushan coins to

right

Buddhism

Kushan Empire, which

While Kushan

The

cultures.

bodhisattva Buddhist seekers are equal

before the Buddha, have a Buddha-nature, and

Silk

that

of the

Zoroaster.

The

tradi-

and

The famous temple

Bukhara was devoted

in

tradition of a

for

Road.

local traditions

distinguished Central Asian Zoroastrians from their

Western Iranian cousins. In Central Asia,

was

to practice their

Zoroastrianism

and there were

in different regions,

where they continued

Cyrus

to Israel,

a

and supported the codification

as the official religion of the state texts,

It

Zoroaster's death,

after

rule in Iran

its

some returned

Samarkand and Bukhara. Jewish prac-

cities of

beliefs

elytization.

3rd century c.e., long

the

In

its

hope (good) by

of ethical action.

the Sasanian dynasty began

of

a

approach emerged profound messages of

realism and of a nccessarv struggle to sustain

means

in

life

between good and

of an eternal dialectical struggle

Through

bad.

human

b.c.e.. the Sasanian ruler

also created Jewish settlements along the Silk

Universe called Ahriman (Angra Mainyu). Juxtaposing Ahura Zoroaster viewed

many Jews being

this led to

freed the Jewish population, and. while

Mazda

against Ahriman.

559

exiled to Central Asia. In

faith.

kingdom. Judah, was

b.c.e., the southern part of the

conquered by the Babylonians, and

rise

narrow adherence

Road

there were

above certain groups,

Along with

figures of their

own

tribes,

kings

such as Kanishka, Kushan coins depict Buddhist. Greek, and Iranian nobility. Statues

made by

feature a blend of Indian, Greek, built monasteries

used bv the

Gandharan school

the

and Iranian elements. The

and temples along the

Silk

faithful of various religions.

believed to have been

in

the

famous

Road

One

city of

that

also

rulers

were often

such monastery

Bukhara, which

is

later

became

major Central Asian cultural center of Islam.

a

manuscript of an Indian Buddhist

been preserved

in the

text,

the

The

oldest

Dharmapada, has

Central Asian Kharosthi script. This combi-

nation of patronage, the founding of monasteries, and the

Buddhist scholarship produced favorable conditions

rise of

for the

general spread of Buddhism. Rulers, missionaries, monks, and traders

ence

all

all

contributed to

The

greatest success of

China, where

and

make Buddhism

literature.

it

It

its

spread to

reinvigorated the existing philosophy, culture, also reached

peoples of East Asia. Here

Buddhism was

Korea and Japan. establish

Its

encounter with

deep roots among the

Buddhism became

a religious

and

presence as well as the catalyst for greater links with

millennium of the

first

the strongest influence

among

Common

Road

as a connecting thread with

founding values of Buddhism.

monk, Xuanzang (595-664

(

.1

.

Era,

the peoples of the

Road. Great Buddhist scholars always looked

Silk

at

the Silk

what they regarded

as the

Among them was the pilgrimwho undertook a challenging ).

16-year journey (629-45 c.e.) towards the West, crossing the

Dunhuang was an important

Buddhism came with

Daoism and Confucianism helped

spiritual

a very significant pres-

over Central Asia.

Eurasia. Thus, during the

trading post along the Silk

China for over 1.000 years and

Near

the city are almost

500

dwelling places, meditation

beginning

Mogjo <'

The

Grottoes.

I.

was

Road

in

western

a center of Buddhist learning.

eaves that were hollowed from

sites,

in the 4th century.

of ancient Buddhist

also

and worship

halls for

cliffs

as

Buddhist monks

These caves house an unparalleled collection

art.

Dunhujng. China Photo by Neville Agnew,

May

1998.

Paul Getty Trust. 2002- All rights reserved.

39

— from Bodhidharma

Martial Arts along the Silk Road by

Doug

Bruce Lee

to

Kim

As

commerce,

for religion and

a conduit

the Silk

Road was an

important means by which Asian martial arts were nurtured and dissem-

Road,

Silk

Commerce

inated.

According to

process started with Bodhidharma, an

tradition, the

who

Indian missionary

century. Called

introduced Chan Buddhism to China

Damo, Tal-ma, and Daruma

respectively, this

monk from

of Shaolin martial arts

—

in

to endure long meditation sessions, he

18 exercises,

"18

"boxing."

centers

Shaolin

temples,

meditation

and

built

the progenitor

to be

known

as

martial

upon and expanded

arts

training;

they

soldiers and professional warriors seeking sanctuary,

knowledge and

skills

them

into Shaolin

may seem

curious that

lethal

monks and

regularly practiced by religious orders. skills

were

highly

valued

focus and meditate self-defense

against

in

by the

their

road

fighting arts

—

to

also

Asian martial arts

immigrants within

their

in

first

ability

would-be temple robbers, and,

was almost

of

skilled in

at

in

about such

to the United States with Chinese

the White

in

House

in

the early

in

—

America

the result of contact

between

of Japan and Okinawa after World War burst

open as Bruce Lee's kung

fu fu.

The floodgates of

II.

movies

hit

judo, karate, tae

shu schools, clubs, movies, and competitions parts

of everyday American

life.

Martial

taught only to blood relatives or fellow

and never to non-Asians

—

can

now be

interest

the United States

kwon

became

arts

the

wu

well-established

techniques

members of

in

do, and

traditionally

religious orders

acquired openly by anyone

—

who

wants to learn. Asian martial arts have become staples of international

kwon do wu shu

are Olympic to this

sports, and

serious

list.

itself

a fundamental part of the samurai tradition and bushido (the

Japanese "way of the warrior"). Numerous guardian figures

tale

American servicemen and Japanese practitioners during the occupation

efforts are underway to add

Zen Buddhism, which

Chinese

half a century before Asian martial arts started to

Chan Buddhism eastward not only influenced Korean and Japanese

fearsome

martial poses can be found at Buddhist temples and shrines along the

40

diffusion

the

community. Although President Theodore Roosevelt took

competition; judo and tae

martial arts but also provided the basis for

came

1970s. Virtually overnight kung

to

a classic

is

judo lessons from a Japanese instructor

various times, government persecution. Shaolin missionaries carrying

became

in

the mid-igth century but remained largely secret, guarded

widespread interest

were elaborated and

their

Hidden Dragon

attract

their

Shaolin disciples

improve

Tiger,

attracted

who added

quest for spiritual enlightenment, and for bandits,

well

hire."

it

However, study and use of these

monks

Crouching

1900s.

spread religious and fighting principles throughout China and beyond. It

as

role

crucial

a

into

to the training. Shaolin boxing strongly influenced

indigenous martial arts styles as itinerant

film

"guards for

physical and mental

said to have taught

remote and secluded, evolved

often

played

Chinese styles to neighboring areas: monks and mercenaries

Road, providing protection against attackers. The recent award-winning

was

in

probably derived from Indian yoga practices of the period.

Hands of Lohan" were

of

is

between

connection

martial arts served as escorts for merchants traveling along the Silk

monks'

igungfu). To improve the Shaolin

fu

intimate

the

arts.

the 6th

many of which have come

kung

demonstrating

China, Korea, and Japan

India's warrior caste

ability

These

clearly

Buddhism and martial

Doug

Kim, a

second-generation Korean American, has been active

FOR OVER 25 YEARS. AND HOLDS BLACK BELTS

PRESENTER AT THE 1982 FOLKLIFE FESTIVAL.

IN TAE

in

martial arts

KWON DO AND HANK1DO. He WAS

A

Makan and Gobi deserts, the high Pamir Mountains, and Buddhist monuments in Bukhara. Samarkand, and

Takla

also visiting

Herat.

Xuanzang returned

Buddhism and provided history of

Buddhism

and spread

survival

account

a colorful

the region.

in

of

China laden with 650 books on

to

Buddhism

I

in

of his

journey and the

contributed greatly to the

le

Fast Asia.

Manichaeism founded by

Manichaeism, (b.

216

Asia.

c

A

,i

.

was another

i.

Parthian

royal

a

Manichaeism

gnostic tradition.

Mani

called

emerged

important religion that

in

West

"posits a radically dual-

which 'good

istic

view

of the universe, in

and

'evil'

with matter" (Foltz 2000: 75).

equated with

is

spirit

The cosmology drew

from Iranian figures such as Zurvan, Ahura Mazda, and Ahriman

and portrayed good and

Christianity

Along with the growth

of

Buddhism,

minority groups from other major

more accurately the Church

the Silk

faiths.

of the East,

Road nurtured

Assyrian Christians, or

were one such group.

Often mistakenly identified simply as Nestorianism. the Church

was strongest it

in eastern Svria.

where

as part of the Persian

gained recognition and subsequently flourished

of Islam. In Syria, this tradition

is

a visible

Empire

after the arrival

presence to this day,

attesting to the lasting influence of the Eastern Christian tradition in the region.

The

Assyrian Christians played

a crucial role in the

creation of an important intellectual center at Jundishapur,

where

study of philosophy, astronomy, medicine, and astrology directly influenced

Muslim

learning. Doctrinally, they shared with other

Christian groups the belief in the foundational and redemptive role of Jesus Christ,

but they also taught that Jesus Christ had two

distinct natures, divine

and human,

a

view that brought the then

was

ness. Lite

derived rationally

became

Blending the major

Mesopotamia,

languages and

beliefs

to

move

further east

Manichaean became

became

a

Sogdians. who. due to their strategic location,

become

the commercial masters of the Silk

transmitters.

own

The

Road and

centuries.

its

cultural

Sogdian became the lingua franca of the Silk Road,

among

the

Eastern Christians succeeded in three major mass

conversions of lurks

in

Central Asia from the 7th to the 11th

Despite being seen as

a

faith

of foreign

traveling

merchants. Eastern Christianity gained acknowledgment as "the Brilliant Religion" (Foltz

saints being referred to as

2000: 72)

in

Buddhas and

Mani

self.

Buddhism, and

reached the peoples of

and China

in their

own

Central Asian

familiar to them.

about 70 years.

Its

state-sponsored religion for

powerful appeal, offered as

native to the other major traditions, conflict

as

it

gained

converts.

Manichaeism was not able

new

Uvghurs, where

land of the

the

to

a significant alter-

resulted in tension

Yet,

despite

to survive the arrival

its

and dominance

traditions and was eventually eradicated as a distinct

some

of

its

and

appeal, of

reli-

ideas lived on. assimilated into

Islam: Arrival and Diffusion Islam became the faith of the majority of people along the Silk

had already

spreading Christianity further east to China and north Turks.

its

tradition.

Central Asia the Assyrian Christians influenced the

In

dark-

which the

were excommuni-

separate church with

and theological

evil as in

matter. Knowledge-

of Christianity.

the official

other faiths.

distinctive hierarchy, liturgy,

evil

Sogdians with their pragmatic tolerance helped Manichaen ideas

who

cated and eventually

evil

Iran. Central Asia,

gious tradition, though

held to the doctrine of the inseparability of the two natures of

and

fire

the basis of an awakening of the

concepts

in

from

self

Zoroastrianism, the teachings of India,

and

between good and

a struggle

former strives to liberate the

patriarch of Constantinople. Nestorius, into conflict with those

Jesus. Subsequently, the followers of Nestorius

spirit as light

China, with Christian

their treatises as sutras.

Road. The

Muslim community emerged

first

in

empires.

Muhammad,

merchant by

The

trade,

was

the Prophet of Islam, a family also

committed

one God. unique and

by God

in

Arabic

in the

and scriptures

to other societies: in the creation of a society ruled

The

initial

a

of Islam. It affirms a belief in

merciful: in past messengers

compassion, charitv. and peoples.

man and

to a life of contemplation.

revelations that came to him are recorded

Koran (Quran), the revealed book

sent

Arabia in the 7th

region dominated by ancient civilizations and

century

a

in

justice that

would be

establishment of Muslim rule

a

model

in

for

by all

neighboring

territories in the 7th and Sth centuries was a result of conquest,

but the actual spread of

Islam was achieved primarily by

41

preaching and conversion undertaken by scholars, merchants,

and devout men and women. Muslims spread the

The

faith first

bv the Koran

are taught

Muslims

in the various regions of

The famous North

to

by example, not bv compulsion.

Muslim expeditions

of

African traveler Ibn Batuta (1304-68?),

taking advantage of a well-defended and secure pathway along

were

to Central Asia

part ol

the Silk Road,

managed

to travel from his

the general pattern of conquest and expansion of territory during

China and

India, reporting

The

burgeoning

trade, social activity,

the

first

attempts

centuries of Islam. at

its

territories

consolidation of these early

conquest was continued under earlv

(661-750) and lished

its

Baghdad

in

rule

Muslim kingdoms

Samanids emerged

in the area.

The

Islamiiation of Central Asia that

accompanied

diffusion of

Muslim

As

Road once again became

the Silk

commerce and

culture

trade.

and influence

Muslim

as the

first

of the local

process of conversion and this

spread and

lasted several centuries.

merchants acted as mediators of

The historv of the a

faith,

enlarging the communities

his travels

and

and

of Tangier to

illustrating the

vital religious life in

the

Road under Muslim

among

influence reveals

different faiths

and

also

within the Muslim community. Sunni. Shia. and Sufi Muslim

groups interacted and flourished together. Charismatic Sufi leaders

Ahmad

such as

Naqshband (1318—89) ular tradition Tlie

and

Silk

diverse religious landscape,

a vital international arterv of

travelers, preachers, mystics,

on

hometown

region.

which estab-

762. Muslim armies conquered

beyond the River Oxus (Amu Darva). and bv the end

of the 9th centurv the

42

Umawad

successor, the Abbasid dvnastv.

capital in

Central Asia.

Photo

'

in the

11th century,

Hcrmmc

built

Dreyfuss

id.

1166

communities

and languages. The

Burana Tower

from the

Yasawi

Zhu River

one of the first

full

1

and Bahauddin

that nurtured vernac-

diversity of

Valley, Kyrgyzstan, in

Central Asia.

is

Muslim a minaret

law.

and architecture spread across the

Silk

References Cited

Road. This multidimensional world of Islam contributed

to a

Daftary,

theology, culture,

arts,

common

broadly based society, bound bv

assumptions but differentiated

ethical

in its practices

and

and

local traditions,

that stretched from Afghanistan to Southeast Asia. China,

Some

Philippines.

of the greatest scholars of

The

technology lived in the region.

founded Cairo

in the 10th

Iran

Foltz, R.

and the

across the

a tradition of

philosoph-

and philosopher. Xasir Khusraw (1004-88),

Middle

Road on

East,

North

and on

Africa,

Union. London: C. Hurst Bentley.

in

communities and

sites.

J.

of the Silk

Road

reveals a world in

pluralistic religious regions in the world,

which

reli-

has again become a

center of attention, and perhaps the most important lesson learned Silk

- may

Road

— the ideal of religious pluralism and tolerance

in

Pre-Modcm

Frye,

The Heritage

R. 1996.

Company.

Times.

New York:

Oxford University

P.

1990.

An

From Antiquity

of Central Asia:

Marcus Wiener

Turkish Expansion. Princeton:

it

to

become

a

to

Publications.

Introduction to Buddhism: Teaching. History and

Cambridge: Cambridge University

Various eds. Paris:

Press.

Liu, T. 1976. "Traces of Zoroastrian

Tang China." In

1-4.

UNESCO.

Krader, L. 1975. Peoples of Central Asia. Hague:

Winds. Leiden: yet enable

Mouton

and Manichean

Selected Papers

&

Co.

Activities in Pre-

from the Hall of Harmonious

Brill.

bridge between cultures once Major,

more.

Some

&

in the Soviet

History of the Civilizations of Central Asia. (1996-98) Vol.

view

gions were living traditions. Central Asia, then one of the most

on the

Fifteenth Century.

Press.

Harvey,

Conclusion historical

The

1993. Old World Encounters: Cross-Cultural Contacts and

Exchanges

Practices.

A

to

Bennigsen, A. 1985. Mystics and Commissars: Sufism

to his pilgrimage

vivid detail his meetings with famous scholars and visits to the region's religious

From Antiquity

Martin's Press.

St.

For Further Reading

seven-year journey from Balkh

a

Mecca. His Safamamah (travelogue) describes

destination.

2000. TJie Religions of the Silk Road: Overland Trade and

New York:

and the Karakoram and the Pamirs (Daftary: 1990). The

great Ismaili poet

Their History and Doctrines.

Ismailis.

Muslims who

inquiry and scientific knowledge across the Mediterranean to

traveled along the Silk

The

1990.

Cultural Exchange

Muslim science and

Ismaili

F.

Cambridge: Cambridge University Press.

century also spread along the Silk Road

and with many other Muslims brought ical

cultural

of the oldest inhabited places in the

world can be

J.,

J.

and

Barnart,

Sourcebook.

New

J.

Betrles.

2001. Silk

Road Encounters:

York: Asia Society and

The

Silk

Road

Project, Inc.

found along the Silk Road. Each in ideas, art.

faith

has

music, and buildings, and

left its

signature there,

in traditions of learning,

remembering, celebrating, and sharing. This cumulative resource from different traditions of knowledge and

faith

can

still,

as in the

past, help us build trust, reinvigorate civilizational dialogue,

move away from divi

and

the constraints and ignorance that exacerbate

and generate

conflict.

Moflett,

S.

1992. History of Christianity in Asia. Vol.

1.

San Francisco:

Harper. Nanji, A., ed. 1996.

The Muslim Almanac.

Detroit:

Gale Research

Inc.

Palmer,

Shaked, to

M. 2001 The S. 198-4.

Jesus Sutras.

New York:

Ballantine.

"Iranian Influence on Judaism: First Century b.c.e.

Second Century c.e." In Cambridge History

by W. Davies

&

L. Finkelstein. Vol.

1.

of Islam, edited

Cambridge: Cambridge

University Press.

Azim Nanji is Director of the Institute of Ismaili Studies, London. Sarfaroz Niyozov is the Central Asian Studies Co-ordinator at the Institute.

Wriggins. S.H. 1997. Xuanzang:

A

Buddhist Pilgrim along the Silk

Road. Boulder, Colo.: Westview Press.

43

The Tree

of Life

by Elizabeth Moynihan

The

remote, mountainous Kohistan district of Pakistan was one of the most difficult and dangerous passages along

the historic Silk travelers

Road

as described

by the Chinese Buddhist pilgrim Faxian

at

the beginning of the 5th century.

If

from Xinjiang survived crossing the rope suspension bridges that linked narrow footpaths chiseled into the

rock walls above the Indus River, they then had to avoid marauding tribesmen.

45

The the

constant tribal wars of these fierce mountaineers kept

northern provinces isolated and largely unexplored bv

Westerners

until the 1890s.

follow the old Silk valleys

were

alive

Road

However,

in relative safety.

1970s you could

In early spring the

with wildflowers, but. colorful and evanescent

as a rainbow, they disappeared, arid valley floor

in the

and within

became shrouded

in

a

few short weeks the

dun-colored dust.

It

shim-

mered in the sunlight, and everything — travelers, donkeys, the even the birds — was covered with fine coat of dust.

car,

a

The here,

road skirts the base of the mountains which

and many

small, ancient

rock walls. Said to lead to a sacred lacing across the historic route

riverbed

bounded by

landscape. old,

46

Around

a

rise

steeply

Buddhist shrines are carved

was

site,

one of the side tracks

a difficult

buff banks that

deep curve on

wind-whipped, and crooked,

in the

path up a rocky, dry

wound through

the sere

a bluff stood a solitary tree, its

roots

partially

exposed

where the bank had been scoured out below. adorned with of dust.

The

a

few prayer

flags,

Its

branches were

faded and frayed beneath

surprise of this unexpected, vivid

a layer

image swept away

the centuries and intervening cultures and elicited a reverential

response to the

tree.

This sacred

known forms and

cultures

universal.

Kohistan represented one of the oldest

tree in

of veneration: tree cults civilizations,

particularly well

common

Museum, shows b.c

An image

of the Tree of Life

..

ancient

was was

symbol

developed very early along the Eurasian routes of

885 60

.i

all

of rebirth

tree as a

the Silk Road. For example, a wonderful carving, British

to

of votive trees in religious ritual

and the

The prominence

were

Ashurnasirpal,

who

now

ruled Assyria in

pouring the Water of Life on the Tree of is

delicately carved in stone in the

16th-century Sidi Sayyid Mosque, Ahmedabad, India. Photo bv Elizabeth B Movnihan

in the

Life.

sing the familiar objects

I

5.000 years ago

well established

in

as

Middle

the

symbols was

and Archaeology devised an enchanting explanation of Life or

Moon

moon, which brought

relief

moon

be water, the

From

the Tree

and depicted

As

sap of the

a life-giver, so the

is

mountain.

as a

1

he

from the relentless sun. was repre

sentcd as a tree atop the mountain of the sky.

and the

oi

Tree based on the early Mesopotamia!! concep

tion of the skv as a triangle

oasis

1937

In

East.

oi the American Institute for Persian Art

Ackerman

Dr. Phyllis

and water

oi trees

trees

moon

means

Tree

repre-

cultures symbol-

of ascent to heaven. In the ancient Brahmanical

and the shamanism practiced throughout much symbolized the Axis Mundi, the

of Central Asia, the sacred tree

Such

central axis of the earth.

a

World Tree

is

a

..

reborn from

its

Road

Buddhism

in

free

There

is

a

this sacred

own

spiritual

life.

legend that

in

the 3rd

wild

tig tree,

and

was miraculously

it

ashes. In the 7th century c.E., a cutting from

greatest gilt an Indian ruler could send to the

Such

a gift

would have been

the footsteps of the

carried along the

monks who

first

brought

to East Asia.

Another

the Chinese emperors coveted were

gift

horses" from Fergana,

now

and endurance. In the

early 15th century,

the Silk

Road had

Fergana

who

the

s

under which the Buddha

before his conversion to Buddhism, the great

was the

Cosmic Tree not only some

.i

of China.

site.

of the miraculous

b.<

Ashoka burned

Indus Valley. Mesopotamia, and the

sented regeneration and immortality but in ized a

century

Silk

Susa, an ancient Persian

tradition of India

attained perfect knowledge.

emperor

Moon

which could enhance man

Such was the sacred Bodhi

this tree

resembling the peepul tree native to the subcontinent were found

The myth

or possess qualities

must

was communication between

Iranian plateau. Indus Valley seals incised with a

Certain trees and (lowers were thought to symbolize deities

mark an tree

elixir of life.

prehistoric times there

the civilizations of the

at

ritual.

Mughal

in

"flying

Uzbekistan, famed for their speed

when

the importance of

greatly diminished. Babur. a feudal prince from

ruled Kabul, conquered northern India

and founded

dynasty. His ancestor, the Central Asian conqueror

Timur. had brought the tradition of the paradise garden

Samarkand from

Persia,

gardens with their symbolic trees and water

powerful unifying

In

the

wake

of

the

to

and Babur introduced these walled in India.

caravans along the southern

route

svmbol. the center of the universe, binding the heavens to the

crossing the high Pamirs, as well as the northern route across the

earth.

Heavenly Mountains,

Often

a

shaman

Tree of Life to aid him state.

An

ritual

s

in

garments were decorated with the

invoking

spirits

and reaching an

actual tree or pole representing the tree as a ladder to the

heavens was central

to the

a celestial journey or

ceremony

descended

in

to the

Sacred trees are mentioned

in

which the shaman made

Evil. In the

Tree of Life

Book in

of Revelation (22:1-2)

Paradise

is

in

in Paradise.

its

roots in

heaven

in the

life.

The

The Cosmic

depicted in an inverted position growing

toward the earth with

Good and

Genesis (2:9) the

associated with the rivers of

Koran (13:38) mentions the Tuba Tree is

and

in religious art

and handicrafts

of the

city-states

and

throughout the mountains, steppes, and deserts of the Silk Road. Classic and stylistic representations of the Tree of Life are

still

ubiquitous, rendered on everything from richly embroidered coats and Chinese robes to block-printed cottons, carpets,

porcelain,

away from tendrils

and bronze. Today, centuries

after

commerce moved

the Silk Road, the Tree of Life motif remains,

its

binding the multitudes along the route that crosses

boundaries and the ages, reaching even

to the

National Mall of

the United States.

downward

Ages, the Tree of Life, associated with the Cross of Christ, was a

From ancient

architecture,

arts,

in

Upanishads of

ancient India and in medieval cabalistic writings. In the Middle-

major allegorical theme

the

Uzbek

underworld.

the literature of the world's

major religions as the Tree of Knowledge or the Tree of

Tree

ecstatic

were reflected

cross-cultural influences

and writings.

times, priests in India maintained groves of

sacred trees at temple sites and used the blossoms in religious

Elizabeth B. Moynihan began research in India in 1973 on Mughal architecture, especially the gardens. Until ITS DISSOLUTION IN 1996 SHE WAS A MEMBER OF THE InDO-U.S. sub-commission on education and culture and is the author of Paradise As a Qarden in Persia and Mughal India, The Moonlight Qarden: New Discoveries at the Taj Mahal, and numerous articles.

47

*m?

I'

Visual Arts of the Historical Silk

Road

by Elizabeth ten Grotenhuis

Although people,

ideas,

and goods had been traveling across Eurasia

considered to have been established in search of horses

and

in the

allies to fight

spread from India north along Silk

mound

Road land

450

pagoda

in

and

of the major architectural

signifying the death

taught ca. ried

One

and

b.c.e. Influenced

b.c.e.

when

a

Road

routes to Central Asia, China, Korea,

architecture, of course,

monuments

final great

Buddhism

it

of

were transmitted along with the religious is

the stupa, in India a solid hemispherical

Chinese watchtowers, the stupa was transformed

retained

its

original

to

and Japan and south by sea

enlightenment of the historical Buddha Shakyamuni

by the shape

China, Korea, and Japan, but

of

is

Chinese envoy journeyed into Central Asia

marauders on the borders of China. Soon afterward, Buddhism began

routes to Southeast Asia. Buddhist art doctrines.

2nd century

for millennia, the historical Silk

who

lived

and

into a multisto-

symbolism.

49

Until about the beginning of the

Common

Era, the

Buddha was

whom

of

and

repre-

were represented

sculpture

in painting

throughout

South,

and Southeast Asia.

sented by signs such as the Bodhi Tree

Central.

under which he experienced enlight-

Cave-temples were often carved out of

enment and the Wheel

rock

Law.

of the

a

term given to Buddhist teachings. Bv

Buddhism was spreading

the time

the

Asia,

of

rest

in

centuries c.e.. worship

the

Bamiyan,

lst-2nd

subcontinent

and

—

in

developed

The Gandharan

were

figures

by provincial Roman images, such

partly

as grave portraits

Palmyra on the eastern shores of the Mediterranean,

produced

in

a trading

terminus of the Silk Road. These Gandharan figures

wear heavy, toga-like robes and have wavy

hair.

The

site,

and

site.

the

Dunhuang

first

Road

Silk

in

among

trade were

its

Buddhas was

with some 45.000 is

found near the

northwest Gansu province.

Dunhuang was

oasis trading center within the borders of

China proper, and merchants grown wealthy from

Road

Silk

the patrons of the cave-temples.

Another visual form associated with Buddhism

figures from

China.

Another well-known filled

wall-paintings and thousands of sculptures, of

in

Afghanistan, with

comprising almost 500 cave-temples

town

these

on the Central Asian

routes, in

one such

two places on the Indian

Gandhara (present-day northwest Pakistan)

in north-central India.

inspired

in

house

to

mow destroyed) colossal

was aided bv

first

in India,

Road

Silk

anthropomorphic images. The human

image of the Buddha

escarpments

images

to

East,

is

the

north-central India (particularly' the city of Mathura) were partly

mandala, a representation of an enlightened realm where union

modeled on indigenous Indian male

between the human and the sacred occurs. Most

and wear

fertility deities

example

cool, lightweight garments.

With

the development of the tradition

(Greater Vehicle)

Buddhism from

Mahavana

of

the beginning of the

Common

Era onward, the number of sacred Buddhist figures greatly increased.

Devotion was focused not only on the

Buddha Shakyamuni, but

also

on

a

growing number

Buddhas and bodhisattvas. (Bodhisattvas

who

are agents of salvation

attend the Buddhas. postponing their

own complete eman-

cipation from the world of suffering until they can save beings.)

The

phies like

celestial

Shakyamuni

Buddhas did not have but. like

historical

of celestial

all

art.

in

Tibetan Buddhist

mandala

that radiates

is

engages

in

precincts, titioner

reciprocal

who

unites

Buddhism includes many

50

of the faith.

The

hierarchy of

other angelic and guardian figures,

all

a center

The

deity at

who

interactions

absolute truth,

with figures

During and

internally absorbs the

after the 8th

on paper or cloth through

600

areas.

signifies

the outer

in

The

prac-

the outer manifestations in the center of the

mandala and then

ea.

Japanese Esoteric Buddhist

signify manifested aspects of that truth.

Shakyamuni. were embodiments

wisdom and compassion

for

square configuration, with

outward into compartmentalized

Fifty-three-meter (175 feet)

of the

art or in

a circular or

the center of the configuration,

sentient

historical biogra-

the

often,

Buddha

of

as a

whole.

century c.e., mandalas were drawn

all

of Asia. at

These two-dimensional

Bamiyan, Afghanistan.

C.E. (destroyed 2001). Photograph

Photo courtesy The Huntington Archive

mandala

'

John C. Huntington

Buddhist and Related Arts

hung

were

mandalas

Word

on

and

tion,

for

two-dimensional

how ever,

is

meant

formed into

rated with

altar tops

ceremonies.

An

A

bv means

and

aerial

and

its

two-

like architectural

well established in India, Central. East,

visual images

began

from to

its

homeland

in

Muhammad

when

and

to spread across Eurasia

on

in

632

c.e.. Islam

Spain and east to Sasanian Persia. Early Islamic

Although the holy

had spread

Arabia west across Egypt and North Africa

mixture of Roman, Coptic.

art

text of Islam, the

began

early,

structure

is

the

Qubbat al-Sakhra

Rock by Westerners) orate the place from

ascended

The

earliest

Muhammad

to heaven, this shrine

with

its

691-92 is

Koran

other religions were practiced in Silk

Buddhism and Islam spread most

Silk

Road was

dynasty presided over land

and

Mediterranean

culture.

The

— also adorns this shrine, reflecting the importance of the

culture.

West Asia and

cosmopolitan culture stretched

from

in

the

Tang

the

China. Various shores

the

of

easternmost terminus of Silk Road

that took place

Buddhist monastery of Todaiji

in

in

the year 752 at the

present-day Nara.

Japan,

testament to the internationalism of Silk

Road

occasion was the consecration of an enormous

bronze Buddha about 50

Womb

Road

height during the 7th through 9th

ruled in

to Japan, the

Ceremonies

a vivid

and jewel forms

a

routes

sea

provide

— writing from the

at its

when Muslims

but

-

-

pervasively throughout this

region, leaving the greatest imprint on Silk

Dome of the to commemdisplays

Road lands -

Hinduism, Zoroastrianism. Judaism, Assyrian Christianity,

culture.

dome

tradition of sacred

Manichaeism, Confucianism. Daoism. shamanism

The

believed to have

golden

and gold. Sacred calligraphy

Many

Islamic

extant

(often called the

vivid mosaics of scrolling vines, flowers, crowns, in greens, blues,

were

scriptures

gold.

centuries,

Koran (Quran), does not

in Jerusalem. Built in

which

East Asia where

part of devotees to sanctify holy utterances with the color

a

based on traditional theological prohibitions

against imitating God's creation.

on bluish-purple paper. The Buddhist

styles.

showed

Byzantine, and Sasanian

prohibit figural images, the non-figural character of Islamic decoration

in

is

writing developed independently but reflected a similar yearning

another religion,

Silk Road routes. Bv the 8th centurv. just one century after the

death of the prophet

ters

on the

viewpoint.

Southeast Asia by the 7th centurv c.e. Islam,

In their

ritual.

dimensional forms, these mandalas often look

Buddhism was

interlaces.

often written in gold charac-

of contemplation

ground plans, seen from an

floral

Buddhist

sional realm, usuallv a palatial structure,

gold

in

interesting parallel to this

found

be trans-

three-dimen-

a

Koran was

form of sacred writing

mandala, to

The

on parchment deco

script

for rituals, or they

specific

in the Islamic

sometimes written

contempla-

were spread out on

God

tradition.

temple walls as focal points for veneration, for

of

feet

tall,

gilt

weighing some 250 tons.

world mandala, Japan, mid-13th century. Qold and color on

indigO-dyed

silk;

hanging

Scroll;

90.3 X 79 Cm.

Collection of Sylvan Barnet and

William Burto

51

Paper Hansen

by Valerie

Philosopher-statesman Francis Bacon (1561-1621) identified paper as

one of inventions

that

modern world from

separated the

the traditional

world: the others were the magnetic compass, gunpowder, and printing.

He never

Chinese craftsmen

when

they

first

washed rags and

in

in

discovered the secret of making paper

them out to dry on

left

the

2nd century

was as

b.ce.,

a

new.

a screen. This first

bamboo

medicine. Within a century, paper had begun to displace

strips

as China's main writing material, and by the 3rd and 4th centuries the Chinese used paper for

Those

in

that took place

Among

was

the

a ribald

India, Central

many

and performances

rituals

A

An

ugly,

From on

as

rampant

a

mythical bird

who

a

ians

and

upper

Then

Dionysus and

his this

figures

seem

really a

The dancing

Turkish hat.

king and his

Greek god

of winefeel,

group of Persians. Probably,

8th-century Japanese, the distinction between

Greeks was nebulous. They were

for

Persians and

all

"barbarians

from the

Chinese Tang dynasty objects also

attest to the

cosmopoli-

era.

Many

textiles

show

Persian

motifs,

most

notably the pearl-encircled roundel with figurative designs such

52

two animals

Mount Mugh's

backward

in ritual

to

shoot

confrontation

plates,

classes.

to

and cups, deco-

West Asian motifs

These tombs

as

griffins,

the graves of the

in

also contain ceramic

musicians and dancers. Other

on horseback

be playing polo,

men and women

both

-

a

game

that

may be

-

derived

In 750. just before that festive consecration of the Great

Buddha

in

capital in

Nara, the

Muslim Abbasid dynasty

Baghdad, which became

Mosque

of Cairo.

its

The

Mosque of Samarra and

was during

It

established

a fabled city of learning.

9th century saw the building of the Great the Great

this period that lustre,

an opalescent metallic glaze used on ceramics, was developed.

The shimmering square Great

Mosque

The

of Al

lustre tiles set in lozenge patterns

Qayrawan

8th century saw the

One of the

Western Lands.

tanism of the

at

from a 6th-century b.ce. Persian sport.

companions. Most scholars seem to

was

lions or

igures of foreign

their Persian king. Occasionally the Persian

however, that

he could write

that

Liangzhou, Gansu. an impor-

rearing horses facing

rated with such

priest-sage from India

are identified as the

came from

mouflons, and deer, are found

procession ended with a group of intoxicated, red-faced barbar-

drunken entourage

it

Tang China. Metal bowls,

immortality and devours his enemy, the dragon.

and by another elderly figure wearing

so

gold and silver metalwork, was also imported into

obtains the elixir o

Garuda was followed bv an old Brahmin

—

with one another. Another West Asian specialty,

appeared Garuda, from Indian Hindu and Buddhist mythology,

that

men on

beautifu

deities.

on

a local ruler imported Chinese

the Chinese silk route. 2,000 miles to the east.

fanged lecher tried to

muscular Buddhist guardian

alternate route to Constantinople.

the years before 712 at a small fortress

in

on the back of one sheet of paper found

the writing

Mount Mugh we know

seduce the Chinese lady but was restrained by two fierce,

use

on the blank reverse when the occasion arose.

Chinese lion-dog led

a

in

into Central Asia before

as far afield as the Caucasus mountains (at

it

paper that had already been used on one side

followed by a hand-

some prince from South China and Chinese maiden.

was

Road

Archaeologists have found paper

Mount Mugh outside Samarkand. There

dance-drama performed by

He was

on

Silk

did.

Moshchevaya Balka) on an

Similar paper

tant city

monks from

masked and costumed dancers. the dancing procession.

c.e.

their writing.

attendance included

and China.

Asia,

all

use

packaging material for

of papermaking

with Chinese writing the site of

China.

could be used to wrap things, and indeed the

flexible material

of paper,

one of them originated

realized that every

Chinese paper moved along the the technology

(ca.

862) are

a splendid

Muslim advance

material results of this conquest

on the

example.

into Central Asia.

was the Muslim adop-

ting drawing of an 8th-century wooden mask representing the drunken Persian king called Suiko-o. Height of original: 37.7 cm. Shoso-in Collection. Nara. Japan. Drawing by Linda

Z. Ardrey

imported paper was so expensive spondence. For cut

his

from willow branches

Legend has

it

in

to

make

it

only for corre-

that the secret battle

paper.

common

of Talas

before

survive.

751,

modern Kyrgyzstan) when

Most scholars today

though

caliphate

796.

(750-1258)

Soon

all

sponsored

scholars

a

papermaking factory

the Islamic world

in

onto paper, which was transmitted to Europe 12th

Baghdad

in

in

were copying manuscripts via Sicily

and Spain by the

century (Bloom 2001).

of papermaking entered the Islamic

(in

who

taught

no examples of

their

Islamic

captors

Reference Cited Bloom. Jonathan M. 2001. Paper Before

think the technology, which

was not very complex, could have moved out of China Iran

writing

the Islamic world at the time, papyrus.

armies captured several Chinese craftsmen,

how

used

with the bark removed. Other

materials were leather and,

world with the 751

that the ruler

ordinary household accounts he used willow sticks,

early.

into

the Islamic World.

New

Print:

TheHistoru and Impact of Paper

in

Haven: Yale University Press.

western

non-Chinese paper

Embracing the new technology, the founders of the Abbasid

Hansen teaches Chinese history

Valerie

A History of China to 1600,

she

is

tion of paper, a substance that in

at

Author of The Open Empire:

Yale.

now writing

a

book on the

Silk

Road.

had been developed much

earlier

China. Muslims began to transcribe onto paper the knowledge

—

had gained from many people

that they

including Greeks,

— and made these pages into books.

Central Asians, and Indians

Paper helped link the Islamic Empire across three continents (Asia.

Africa,

making

it,

and Europe), and paper

and the knowledge written on

itself,

it

the process of

were eventually

trans-

mitted to Europe, helping to inspire the European Renaissance.

Another great period

Road

for cross-cultural interaction

lands was the age of the

Mongol Khanate

centuries),

when

and back.

In the 13th century the

They

and 14th

the Polo family traveled from Venice to China

Mongols (Turkic-Mongolian

nomads) conquered China and pressed Ukraine.

(13th

along Silk

as

far

west

entered Islamic Iran and conquered Baghdad

1258. Although the

Mongols massacred

Muslims, soon many Mongols converted

to Islam.

Within ten

Mongol Muslims were building

mosques and stimulating

arts

and

letters

by

they encouraged and transformed the

by importing Chinese

artifacts, artisans,

Chinese workmen directed

a

in

tens of thousands of

years of their conquests

way

the

as

their patronage.

arts in

and

great

One

West Asia was

styles.

A

group

papermaking establishment

of in

Islamic Sufi dance from a manuscript of the Divan by llafiz, present-day

Afghanistan, Herat, dated 1523.

Opaque

watercolor, gold,

and

silver

on

paper; 18.8 x 10.3 cm. Freer Gallery of Arr. Smithsonian Institution. Washington, D.C.: Purchase F1932.54

53

Blue-and- White McCormick Adams

by Robert

commonly assumed

is

It

that

the interdependence of trade are

worldwide technology

modern developments.

of Chinese blue-and-white porcelain and European, and

New World

its

and

rivalries

But the history

becoming no

1530,

Once

Middle Eastern, Japanese.

Blue-and-white was traded southward and then westward

was

it

first

in

late

in

European markets than they were else-

again the Chinese producers were quickly responsive to the

changing demands, helped along

derivatives challenges this view.

the 14th century (about a hundred years after

less prized

where.

that the

Dutch sent along with

The Japanese part

introduced),

in

in

this

case by painted wooden models

huge orders.

their

this is equally fascinating. Their taste for

all

although by that time other Chinese export wares were centuries old.

blue-and-white did not develop

They had long moved

nology themselves, which they succeeded

world

(and

both directions between China and the Islamic

in

antecedents),

its

through Central Asia and Indirect

back

though

to

it

was.

overland

ancient

the

Silk

Road

cargoes of Arab and Persian seafarers. system

this distribution

Chinese

the

the

in

along

information

on

efficiently

the

of

tastes

communicated Muslim

their

customers.

cheaper local copies.

own

Middle

East

exploration

the

West got

at least

the

into

as consequential

After

act.

late

in

in

imitative.

strictly

of

trade.

Quantities of blue-and-white were being shipped to Lisbon as early as

Samarkand under Mongol patronage

in

the

and 14th

13th

Blue-and-white ceramics are interchange along Silk

Road

good example

a

of East-West

lands during this period. Islamic

had decorated tin-glazed vessels with cobalt from about

the 9th century onward.

Muslim merchants

coastal cities introduced this

century,

it

ware

to

The white

South Chinese

in

China where,

was copied by Chinese

porcelain ware.

in the late 13th

potters creating high-fired

porcelain vessels decorated with cobalt

blue designs were then exported to

West Asia and

to Southeast

Asia where they became enormously popular and were copied,

although not

in high-fired porcelain.

A

good example

decorated ware inspired by the Chinese examples

stoneware from the Iznik

kilns, dating

from the

onward. In the 15th century the Chinese court patronize

story of massive shipments of Chinese blue-and-white

a

tell

entry into world markets. Splendid Dutch

into Japan at first, followed by a

Japanese invasion of Southeast Asian

and European markets when Chinese production was temporarily civil

war. Only

in

Chinese reemerge as competitors. By then the producers of Japanese Imari

wares, originally crude and derivative, had developed their

vigorous, indigenous styles for which there was a secure niche

upper

tiers

to

Mexican in

own the

of European and Middle Eastern markets.

Then there late

in

the

is

Pacific

silver

a

New World

by

element. Spain

way of the

from Acapulco

Philippines.

came comparatively

Annual

shipments of

quickly followed, eventually reaching China

quantities sufficient to drive out

Manchu paper currency and

greatly

The importance of the historical Silk Road, with

when Europeans began Europe, the

New

to

its

after the 15th century,

dominate the sea routes connecting

World, and Asia. These sea routes increased the

ease of travel and the availability of goods. Objects and ideas

continued to influence East and West as Westerners adopted

Asian fashions and collected Asian objects, and,

developed a

taste for

The exchange

in turn,

Asians

Western fashions, food, and technologies.

of objects continues today in the global market-

place at an accelerated

rate,

with camel caravans and clipper ships

replaced by e-commerce and overnight

air delivery.

Turkish

late 15th

finally

just their export.

inter-

the later part of the 17th century did the

of cobaltis

century

began

to

blue-and-white porcelain, encouraging domestic

production and use of the wares, not

54

records

their

emphasis on overland routes, declined

centuries.

potters

made

contemporaries as

rounded the Cape of

finally

opening the Orient to sea

the 15th century,

their

resolute process

a

the eyes of

in

voyages of Columbus, the Portuguese

Good Hope

wave of

a

they began appealing to customers

these products no longer needed to be so

right,

Soon

the

When

the

in

doing about 1600. Not long

in

afterward they

rupted by a

Meantime, there also developed

own

they had begun to master the tech-

until

Elizabeth ten Grotenhuis, an associate in research at the Reischauer Institute of Japanese Studies at Harvard University, is Associate Professor of Asian and Japanese art history at boston university.

economy. The return trade was

disrupt the internal

in

silks

-

and, of

course, blue-and-white. Dispersed across Mexico, pieces found their way

even to the rude northern frontiers of

from time

to time

even

sprang up

Mexico. Out of these,

in

in

time,

of Delftwares and the English porcelains what

most

is

of the

interesting

that

still

Freer Gallery of Art, Smithsonian Institution, Washington, D.C. in

the splendid tradition

grace our

Center: Dish. Chinese. Yuan dynasty, ca. 1350.

tables. But

Right: Dish. Japanese.

Smithsonian

Institution.

Edo period,

ca. 1690-1710. Freer Gallery of Art.

Washington. D.C.

of supply and demand, stimulus and response.

shifting patterns

modern

came

dynasty, ca. 1500-1525.

turn up

northwestern Europe,

in

Ottoman

the antiquity as well as the worldwide range

is

An ebb and flow of technological and the

still

Rio Grande.

frequently along the Arabian coasts.

imitative industries

Initially

New Spam. Sherds

historic Indian villages along the upper

do more

just as they

Italy,

in

Left: Plate. Turkish.

Freer Gallery of Art. Smithsonian Institution. Washington. D.C.

trading leadership long antedates

era.

Robert McCormick Adams, an archaeologist, was Secretary of the Smithsonian Institution from 198/, to

magazine,

March

199/,.

This article originally appeared

in

Smithsonian

19S6.

For Further Reading Blair, Sheila,

and

1250-1800.

J.

Milleker, Elizabeth

Bloom. 1994. The Art and Architecture

New Haven

and London: Yale University

of Islam

Press.

Brend. Barbara. 1991. Islamic Art. Cambridge: Harvard University

J.,

ed. 2000.

World. East and West.

New

The Year One: Art York:

of the Ancient

The Metropolitan Museum

of Art.

Schafer,

Edward H.

The Qolden Peaches

1963.

of Samarkand:

A

Studv ofT'ang Exotics. Berkeley: University of California Press.

Press.

Fisher. Robert E. 1993. Buddhist Art

and Architecture. London:

ten Grotenhuis, Elizabeth, ed. 2002. Along the Silk Road. Asian Art

and Culture, no.

Thames and Hudson.

6.

Washington, D.C: Arthur

M.

Sackler

Gallery, Smithsonian Institution.

Hatrstein,

Markus, and Peter Delius,

Architecture. Cologne:

eds.

2000. Islam: Art and .

Koneman.

1999. Japanese Mandalas:

Representations of Sacred

Qeography. Honolulu: University of Hawai'i Press. Hayashi, Ryoichi. 1975. The Silk Road and the Shoso-in, translated

by Robert Ricketts. Juliano.

Annette

L.,

New York:

Weatherhill.

and Judith A. Lerner. 2001. Monks and

Merchants: Silk Road Treasures from Northwest China. Qansu

and Ningxia. 4ik-7th Century. Inc.,

and Asia

Society, Inc.

New

York: Harry N. Abrams,

Vollmer, John E.,

et al.

of East-West Trade. Toronto: Roval Ontario

Watt, James C.Y, and

Anne

E. Wardwell. 1997.

Qold: Central Asian and Chinese Metropolitan

An Exhibition Museum.

1983. Silk Roads. China Ships:

Museum

Textiles.

When

New

Silk

Was

York:

The

of Art.

55

Road

Artists along the Silk by Henry Glassie and Pravina Shukla

The

Silk

Road,

historically a tangle of trade routes across Asia, raises for us the idea of connections

and West, providing an evocative prelude

remember that

to the globalization of the present.

transnational connections are not unique to our age.

the connections of the past were not merely commercial. the Silk

Road was

art,

and evidence

of old

And

The most

then,

we

The

Silk

between East

Road chastens

are chastened further to recall that

splendid vield of the connections

motion and past exchange

is still

to

us to

be found

made along

in the living arts of Asia.

57

West

It

At the western edge of Asia, on the Aegean coast of Turkey, great

mountain

the ancients, scatter of

lifts,

rolls,

and

Goose Mountain

compact

slides into the sea. to the Turks,

villages built

upon

among

holds in

folds a

its

the rocks and

rocky, unfit to the

is

grow the wool

that

is

sheared and combed, spun, dyed, and woven into beautiful carpets, red with the rosy

Fatma Balci in their

stone

sits at

home

glow

of

like jazz

they cannot see what they have done as they

by

After

weeks

their

creation from the loom.

color, trapping

of

tie

knots to the warp,

rows of dyed dots between shoots

work and hundreds

placid red field, framed

of

God: from

by busy borders. This

58

— a palpable sign of their

of weft.

thousands of knots, they cut

Praise

their

skill, taste,

heads,

rise

carpet, into

they have poured themselves in concentration, art

and

wooden beam below,

through their fingers, perfectly formed geometric motifs

mnat,

plan,

sitting together

musicians, weaving their separation into

symmetrical unity. Rolling the carpet on the

color

Balci, Fatma's father, says that his

mosque.

— he

people

calls

the Turks -- followed their flocks out of Central Asia,

them

and continued

settled,

their Yoriik.

nomadic,

to

weave the carpets

identity.

The

emblems

that are

of

scholar, looking closely at the

motifs on their carpets, can retrace the

ward, finding comparable motifs

Fatma

and aunt,

They use no

Ahmctler.

no cartoon, but weave kafadan, from the head, improvising

Ahmet

one of the

their place, being

floor of their village

trail

in the

of their migration east-

weavings of northwestern

Turkev, south-central Turkey, northern Iran, and Central Asia.

dawn.

the loom, between her mother

in the village of

them and symbolizes

incarnates

dozen designs found on the

Ida to

the sites of their winter

encampments by nomadic Turks. The land plow. Sheep pick

it

Mount

a

on

a

which

in dedication,

is

and commitment.

Others she

Balci will will

keep the best of the carpets

donate to her mosque

deceased loved ones. Most

will

in

for her

dowry.

commemoration

of

town

of

go to market

in

the

Ayvacik, and then to Istanbul, before finding their places of rest

on the

floors of fine

homes

in

or Melbourne. In this there

Washington or London, Stockholm is

nothing new. Paintings by the

masters of the Renaissance, showing rugs draped over altars and

spread beneath the feet of princes, prove that carpets

Fatma

West

s

woven

in

region of Turkev have been purchased and prized in the

for

600

years.

Connecting Central Asia with Turkey through migration.

Women

sell

carpets

Qanakkalc, Turkey.

woven

in

nearby villages

at the

market

Photos by Henry Glassie/Pravinj Shuldj

in

Ayvacik,

Turkey with the world through commerce, the Oriental carpet has achieved universal appreciation. Asserting order subverting order

in its

in its

geometry,

spontaneous handcraft, intensely human.

the Oriental carpet

— a woman's

become one marker

of the presence of our species on the earth.

is

rivaled in

its

art. a folk art. a fine art

—

It

Istanbul

Mehmet

node

have traveled the world. Soon

Fatih,

II.

Ottoman Empire and the

streets

network

the key

carpets

is

Turkish

trade through

in the

took Istanbul and made

in 1453. a

around

after

the capital of the

strong hall was built for fine textiles,

were vaulted

it

it

oi

to create the

Covered

Bazaar. There the land routes from the East ended, and elegant

commodities were sent by sea

The

and cotton from India,

silk

revivals

in

the hundreds, gini

master of the

a

and

fired.

Women

They make

tiles

silk,

sultans

do

in

The

gentle, confident,

last

1.

of

porcelain of Jingdezhen.

they

made

it

their

own

Then

in a

home what

and color and

religious

a designer.

marvelous

artist

In the

was

a

named Ahmet

young man, he was one

two

of

brought the tradition from the the

at

end

of

World War

the majority of

keep quality high, and he taught

at

its

ring

as

Zafer's

masters.

and

40.000 people

are involved in the gini

who

design and paint the ware-

number

of artists

lead the city. Their styles are diverse. Sitki Olcar seeks the new.

surging series of innovations,

the hands of those

in the 16th century,

of his sons, Zafer

number

are

the foremost artists of contemporary Kutahya.

Ismail Yigit copies the old.

colors,

Two

Hurriyet Sahin. and his wife, Nurten,

imitated the blue-and-white

adding new

died

Ahmet

As many

the cities of Iznik and

Ahmet Sahin

son.

among and

him.

to

the age of 90, but his robust

style continues.

sheen. in

J%

( l

Faruk.

trade, but a small

first

at

greatest designer

who came

all

in

(cognate with "china"), which, though low-fired

at

filling

painted magnificent works to inspire his

decades of the 15th

Kutahya, Turkish potters

do

that

As an old man, he drew

city, to

arti-

western Turkey,

shaped,

the designs used in the dusty ateliers, he

and technically unlike porcelain, emulates

in

make

to

glazed and fired again.

is

brink of extinction

a variety of pottery called gini

At two centers

a

who

potters

sans were inspired to experimentation,

century to invent

As

Sahin.

the Topkapi Palace in Istanbul. In

working through the

is

new mosques. They make

Klitahya's

20th century,

and they so appreciated Chinese

the ambit of imperial favor. Turkish

— that

pounce and draw the designs,

master and his team depend upon

porcelain that a vast collection remains at

mud

it

the mosque, bringing shine

Istanbul -

wore caftans

mix seven elements call

Susler

at

significance to the walls.

— the center of global trade.

The Ottoman

Men

— they

Ihsan Erdeyer

like

and association,

in scale

ateliers

in

made.

the walls of

tiles to revet

domestic

plates,

the natural capital of the world, said

Napoleon

is

man

them with vibrant color before the ware

and porcelain from

make

atelier, a

composite white substance

China came by stages through the cara vanserais of Anatolia to

Kutahya, where today,

in

Cini. directs a team of workers.

Europe. Spices

to

of

numbering

slipped,

porcelain.

which

sequence

has

and acceptance only by Chinese

global spread

century, but the tradition has faltered and flourished through a

works

and Klitahya's

who have shaped

of the old masters.

tradition advances in

personal versions of the

Nurten Sahin, famed

for

new

calli-

notably a luscious tomato red. and pushing the designs toward

graphic designs, paints with clarity and supernatural precision.

natural form and Islamic reference. Iznik failed early in the 18th

Ibrahim Erdeyer, son of Ihsan. paints cent of

This plate

is

painted with the Besmele (Bismila), the opening formula

of the Koran (Quran): In the

Compassionate. Turkey.

It

a:as

name

Ahmet

Sahin.

Mehmet

in a

Giirsoy, teacher

paints with delicate finesse, accepting

of Qod, the Merciful, the

designed and painted by Nurten §ahin. Kutahya,

Collection of the Indiana University Art

Museum

rules, artists

and he has

set the

choose subtly

new

bold manner, reminis-

standard,

and entrepreneur,

and then breaking the

becoming the leader most

to follow.

59

Their

art,

and they

material quality,

on

a

insist

it is

art,

not mere

craft,

depends on

smooth white surface and gem-like colors

set

beneath a lustrous gla:e.

on

faultless lines

drawn and

depends on meticulous painting,

It

with paint

filled

in

an altered state of

concentration, when, with passion, the artists transfer themselves into their

work, making

And

their art

and

soul:

word

God a

of

an embodiment of their devotion.

gini

depends on Islamic significance,

gifts to

the

mind

calligraphic designs that repeat beautifully the very

God: geometric designs

that represent the will of the

bringing order to the universe:

harmonious

society,

governed by

floral

one

designs that symbolize

love.

discovered porcelain clay in

Turkey, the

first

at the

beginning of the 17th century. As

pieces of Japanese porcelain were inspired by

Chinese examples, but,

as in

Turkey (though

century

a

later).

Japanese artisans soon adjusted porcelain to their place, adding colors to the blue-and-white palette

some

to

ships,

meet

Japanese

a

taste,

and others

achieved commercial success

intended for the West came to be

through which Japan, one its

and creating new designs,

it

was

traded.

known

Among

— Kakiemon, named

—

out on Dutch

Europe. The ware

as Imari, after the city

Arita's traditions favored in

for the

practice to the 14th generation

that, sent

in

is

family that has continued

remarkable

in its parallels

with Kiitahya. Kakiemon porcelain features the color red and

East

exhibits bright floral patterns on a snow-white field.

As Kiitahya

is

to Turkey, Arita

potters

on the southern island

Mustafa

Onq

works

at the

wheel

potteries in Kiitahya, Turkey.

of

is

to Japan.

at Nakis. Cini.

a small city of

It is

Kyushu, where

a

Korean potter

one of hundreds of

as the

first in

in

in

(Oppositc page) this

One

of

Nona Agawa's

lion sculptures

comes

into being in

sequence: from an early phase, to the middle phase, ready for glazing,

and finally glazed and boxed for shipping.

60

And.

the days potters of Kiitahya strove the 20th century — the days of M ehmet Giirsoy — to accomof Ahmet Sahin. then

anew

plish

the technical excellence of the 16th century, so did the

match the technical

potters of Arita struggle in the 20th century to

atelier,

was

a

a

designer and painter

in the

Kakiemon

member of the team

that restored old excellence to the

Upon

he established

porcelain of Arita.

his retirement,

workshop, Korin-An, where

his son, Hirohisa,

no one can make

alone.

it

It

own

the master today.

is

Hirohisa Tatebayashi says that porcelain

his

so complex that

is

takes ten years to master each facet of

production, and he has assembled a team, including his son.

Naonori,

who work

to the highest standard.

Sadao Tatebayashi. who died

Ahmet

Hlirriyet

in

Their inspiration

They use

1992.

and Nurten Sahin use those

of

Ahmet

tion, painting

begun painting

with Turkish designs -- the very designs favored

—

lifted

"Delicate

tradi-

bluc-and-white plates based on Chinese originals,

and. to close the circle perfectly, they have

Kiitahva

Sahin, but

Kakiemon

they have also widened their reach beyond the

is

his designs, as

in

plates

modern

the

is

smooth and rough, bright and

word Hirohisa Tatebayashi

consistently

brilliant potter of the

tory, line.

Norio Agawa's pride

Lions

come

male with

in pairs,

is

complete with the roughly

touched surfaces, dripping glazes, and earthy distorted forms of the stoneware

modern Japan.

made

for the tea

ceremony, practiced by millions

ware provides an opportunity

lea

for

in

another story

the aristocratic tea

ceremony was

fashion, earlv in the 17th century, the lord of the

two Korean potters

and Saka and

its

River,

to

Hagi

in

families,

Hagi yaki

is

at

the peak of

Mori

its

clan brought

western Japan to make ceremonial

Evolved from Korean precedent

vessels.

s

tradition, but the

a ball,

reper-

s

He

calls

it

a

Chinese

his

lion.

sit.

the

the female with her cub. In Hagi, they pounce,

the female with her

mouth open

ning, the male with his

to

speak the sound of the begin-

mouth closed

to

murmur

the

guard the Buddha

s

sound

of the

- and

"om"

end. Together thev utter the sound of eternity vigilantly

Hagi

to

works and continued

way.

Miraculously raising clav by hand around nothing into

Norio Agawa also shapes human

expressive hollow forms.

One

is

the brooding

Daruma.

a

monk who came

from

India to China in the 6th century to establish both the Zen inflec-

Buddhism and

the discipline of the martial

who

arts.

But, like

learned from him, Norio

images most often the Seven Gods, ubiquitous

in

Agawa

Japan as the

recipients of popular devotion, the donors of good fortune.

The Seven Gods

are also the prime subjects of the ceramic

sculptors of Seto, an ancient city of potters in central Japan. Their

handling of the clay expresses the range of their personalities.

of cultural connection.

When

-

Norio Agawa's bowls and

his

the lion.

is

smooth, luminous surface, the immaculate white ground, and the contrast

white

beach.

world

one female, one male. In China, they

his brother Hachiro Higaki.

The

of the

Saka family added sculpture

and Norio Agawa has studied

tion in

forms of porcelain.

—

a thick

a gra\ elly

heart of his practice lies in sculpture. Late in the 17th century, a

uses to describe his painting. Delicacy of brushwork suits the

fine

dull

vases for the tea ceremony exemplify Hagi

images.

from recent publications.

snow on

Zen view

Reflecting the paradoxes of a

excellence of the 17th century.

Sadao Tatebayashi,

and flowing over with

retain the track of his fingers

glaze that drifts on the gritty surface like

in the lineage of the

made now

in

200

ateliers in the city

environs. In his sunny shop on the banks of the

Norio Agawa works alone, making

Miwa

tea bowls,

Hashimoto thrown

to

Susumu Kato

slowly shapes images that are refined and precise.

Denko Maekawa

hastily

makes impressionistic

display the pinch and pull of the clay yielding to the

Shigeyuki

Masuda works between them,

figures artist's

enjoying, like

that

hand.

Susumu

Kato, the counterpoint of glazed and unglazcd surfaces, while creating figures that

Assembled

embody

his

own calm and

gentle personality.

into a set since the 15th century, the

Seven Gods

61

South From the world

Where

mountains, great rivers run to the

s tallest

the sacred Ganges, the Brahmaputra, and the mighty

Meghna meet and merge,

their

lush and green, relentlessly

is

has built the world's widest

silt

Peoples Republic of Bangladesh. The

delta, the territory of the

land

sea.

flat,

and

free of stones,

rich in

clay for the potter.

There potters are

are

680

villages of potters in

Hindus, bearing the same surname.

members

as

make

vessels to carry water

men among them The

greatest of

Dhaka. Trained by

them

all is

images of the

Haripada

Shankharibazar

Pal.

his grandfather in the village of

and covers the straw with of all creation, a

prayer. In his body, too, there

enables rical

all

clay. In the clay,

drop of is

God a

Chinese Zen

compassion

and Ebisu,

priest of the 10th century,

people of the world. Next

for the

a carpenter

wealth, native to Japan. deities of

there are

wisdom and Bishamon

in

and

a

Then

is

is

Delighted with the beautiful image, the

the pair

Daikoku

as long

there are the bearded Chinese

and Fukurokuju. At

armor and Benten, the only

last

woman among

them, the Japanese incarnation of Saraswati, the Hindu goddess of learning

and

art

- both ultimately from

India.

From Japan,

the

Seven Gods carry us westward to Daoist and Buddhist China,

and southwestward

to

Hindu

the day

Pal, of

Dhaka, Bangladesh, sculpted and painted

of Kali (standing), which

Mandir.

is

worshiped

in the

this clay

Shankharibazar Kali

image

is

with

is

symmet-

fingertips to

infused with

for beauty.

it

invited into the clay.

God

descends and stays

devotees press forward, taking darshan,

connecting

boons

make

that

life

on

this earth tolerable.

passes, the songs end, the pretty shell.

It is

borne

God

leaves.

The

Then the night

statue

is

empty, a

to the river in a jubilant, carnivalesque

procession and immersed, sacrificed, melted back into the water that carries the

The

silt

rivers

from which the murtis of the future

will

technique

Opposite page: Weaving shops

differs

line the road

from that of the Japanese through the village of

Kazipara, Rupganj. Bangladesh, at one of the eastern ends of the Silk

Road

be

go on running.

Pal's

trade routes. Here,

workshop of Askar

62

life

eye to eye with the porter's creation, asking for the

shaped.

India.

The

praise continue.

rice

dance, the incense smokes, and the songs of

as the lights

Haripada Haripada

of worship, the deity

big with

fisherman, smiling bringers of

longevity. Jurojin

On

Hotei, a

into

God in his body erupts through his the God in the clay, and his sculpture is

fat.

merry and

with

drop of God, the soul that

power. Then he sands the surface and paints

bespeak old connections. The one figured most often

it

he says, there

form, the

reunite with

Norpara.

his craft.

that springs to

As he works, massaging the clay

action.

in a

in the capital city of

Haripada Pal frames an armature of sticks, wraps

the seed

deities for

who works

Haripada traveled west and east to India, perfecting

straw,

They

and cook food, and the most talented

also sculpt murtis,

damp shop on

cramped,

designating

Pal,

of the craft-caste of the workers in clay.

them

worship.

Bangladesh. Most of the

Ali.

weaving

traditions are being passed

on

in the

Their images arc hollow,

potters.

straw. Theirs

his are dried

.ire fired,

with sticks and

his are tilled

and flame would destroy the power

without firing because heat

dampness.

that abides in

Haripada's technique was once employed

in

Yet.

God

pleasing to

that,

upon

is

to

his death,

make

design,

pattern

full

he

is

a

clay,

pantheon, but he specializes in the

Radha and Krishna,

lather,

line

by

line,

Abdul Qaiyoum, decides

paper, the design

is

taken to

to

weave

when

Manuj

rapidly, translating

onto perforated cards. a

building

Linked

in

facquard apparatus that dangles in the

dark workshop.

coverlets, the jacquard device

A French in

North

changes the

the weaver tramps on a pedal that brings a

new

card

poor man, but happy because he

days shaping the body of God. In

Hindu

Bengal:

Pal says

s

tall

invention of the early LJth century, used extensively

bliss.

his

lashim

from the ceiling above the loom

America

Haripada

I

Drawn on

sequence, the cards are fed into

from the endless cycles of reincarnation into a state of eternal

spends

live.

And

be released

will

them

the designs.

Kumar, the cardwallah, who punches holes

art so excellent, so

Haripada

of

the

laripada serves the needs of his community,

him. the highest goal

all

like

the potters of Japan. for

upon

floor of the

was

through China, with Buddhism.

though,

where

first

it

japan, where

carried, out of India, I

workshops run by cousins on the

he depicts the

prime

the very vision of love,

deities of

and Durga.

the great goddess, with her children: Saraswati, the goddess of

wisdom: Lakshmi, the goddess

dapper god

of wealth: Kartik, the

of war: and Ganesh. the Lord of Beginnings, with his opulent

paunch and elephants head. Hindu

artist in

the predominantly

Muslim nation of Bangladesh. Haripada Pal connects,

in

his

work, westward to India, to Calcutta and Banaras, where sculp-

work

tors in clay

as he does.

Upriver from Dhaka, the Ganges bends to embrace Banaras. the city of light and smoke, the holiest city of Hinduism, the best place to die.

As

it

was when the Buddha delivered

just outside the city,

Banaras

as well as perpetual prayer in

nce grains

work

deities. Jewelers

luxurious ornaments from

mazes

its

stone,

in

hammer

his

sermon

first

place of industry and

commerce

temples more numerous than

the-

Mughal

wear

for their

of alleys clicking

- Muslim men weave

is

Hindu

carving images of the

gold and

of the city's artistic creations to

a

in a ten-kilo sack.

Sculptors

hope

is

set

precious stones, repeating

times. But the

most renowned

women

the silk sari that Indian

weddings. In three neighborhoods

and humming with the report

of the

the long strips of brocaded silk that

brides drape as saris, that

Muslim

brides cut and

sew

-

loom

Hindu

into salwar

kameez, matching pants and tunics.

What

Hirohisa Tatebayashi said of porcelain,

production

Hashim

too complex for

Ansari said of the Banarasi

sari. Its

one person

weaving requires teamwork. Hashim

to master. Silk

is

Ansari divides the tasks with his three brothers in one of the tour

63

Banaras, but jamdani saris are prized for their handcraft and for the diaphanous

with

web

the Banarasi

woman who

that surrounds the

gauzy haze of

a

light.

The jamdani

sari of India, is

weave jamdanis, Showkat

expensive.

The women

Ali said, but thev

inspiration

of

like

Rupganj

do not wear them.

At Rupganj. on the wide green delta of Bengal, of the eastern

wears them

Bangladesh,

sari of

we are

at

one

ends of the trade routes that carried goods and

westward. Fine cotton cloth, woven

villages, sold in the

markets

remote

in

Demra, then Dhaka, went by

at

caravan through Mosul in Iraq, gaining the

name

muslin, and

Bengali muslins have been treasured by European consumers for

more than 2,000

into position

above him. Metal fingers poke through the holes

some warp threads

the card, causing

Hashim Ansari

—

in

one shop,

his cousin

to

The weaver

lift.

Sadique Ansari

runs an extra weft through the pattern and follows

shots of the shuttle.

married to

The loom

brocaded

intricately

in

Most

silk strips,

and Hashim takes

s

shop are weavers, but

Shameem

repairs

their creations to market.

with stores selling the very finest

of the saris are the city's product in silk, but thev are

displayed along with saris brocaded on cotton so sheer that the

designs seem to float on

To the of

Dhaka, brocaded

—

jamdani

where,

we

—

saris are

of looms.

looms

like

Haque

sit

by hand and securing

it

and geometric,

Azizul

Haqim weaves

a jamdani sari in the

Kazipara, Rupganj, Bangladesh.

less

line the

Bamboo is

sheds

no machine

Ali

to

and Enamul

and pierce the weft

eye, running an extra weft into the

are angular

64

left,

with two passes of the shuttle.

light,

in

Showkat

to the right, with a helper to the

down

woven by Muslim

Weaving shops

those of Banaras, but there

set the pattern. Instead, masters like

return

countryside east

in the

road through the village of Kazipara, Rupganj. shelter pit

movement

lain

The

and mystics

of ideas as well as silk

and porce-

from China, and carpets from Central Asia, Iran, and Turkey

to the great cities of the

Ottoman

capital, the Silk

Ottoman Empire. At Bursa,

Road ended

farmers bring silk cocoons for sale in

American observer

in

mind

the

first

the Kozahan, a stone

at

silk

is

woven and

market that puts the

a

of the tobacco auctions of

North

Carolina. At Istanbul, the Covered Bazaar spreads between the

and the mosque

Forum

of Constantine

bounty

of Asian goods, of textiles

of Bevazit, offering a

and ceramics,

that

provoke the

historical imagination.

Carried overland to be shipped from Turkish

to the delta of Bengal,

men and women on thousands

for the

commodities, carried spice and cotton from India,

air.

find the source of these fine cotton saris,

Ganges

routes across Asia, convenient for warriors

well as merchants,

as

building near the Great Mosque, where today

Hashim Ansari

streets of the city are lined

saris.

another

of the old Indian sort,

shimmering

the color king, the master of dyeing,

is

the finicky machines,

The

loom

to create

in

with quick

shades of gold.

All the brothers in

Mohsin

a pit

is

European machine

a

it

The

in -

years.

eling the long route art

cities,

or trav-

by sea from China and Japan. Asian works

of

found such appreciation, and inspired so many imitations, that

they have been absorbed into the culture of the West, so thor-

oughly absorbed that we do not stop East,

when,

to notice

say, in a small hotel in rural Ireland,

linoleum embossed with a design from

down is

for a breakfast of

oatmeal served

a

our debt to the

we walk

across

Turkish carpet, and

in a

sit

willowware bowl that

an English version of an original from China.

warp and then

designs, heavy or

intricate

than those of

workshop of Enamul Haque

Henry Glassie and Pravina Shukla teach Institute at Indiana University.

in

the Folklore

Expensive brocaded cotton jamdani Bangladesh. Fine cotton cloth

markets

at

saris

woven

in

are sold at market in

remote

Derma,

villages, sold in the

Dcmra. then Dhaka, went by caravan through Iraq and have

been treasured by European consumers for more than 2.000 years.

For Further Reading Atasoy,

Nurhan, and

.

Julian

Raby. 1989. lznik: The Pottery

Ottoman Turkey. London: Alexandria

oj

Press.

.

Barnard, Nicholas. 1995. Arts and Crafts of India. London: Conran

Briiggemann, W., and H. Bohmer. 1983. Rugs of the Peasants and of Anatolia.

Its

Impact on the Western World. Chicago: The David and Alfred

Smart Gallery.

Coomaraswamy, Ananda K. 1989 Delhi:

(1909).

Museum

Press.

The Indian Craftsman.

Munshiram Manoharlal.

Dutt. Gurusaday. 1990. Folk Arts and Crafts of Bengal:

1999. Bloomington: Indiana University

The

Collected

Glassie, Henry. 1993. Turkish Traditional Art Today.

New York:

and

Techniques.

Styles. Patterns. History.

Abrams.

Nayatake, Takeshi. 1981. Kakiemon. Tokyo: Kodansha.

and Richard Kurin. 1986.

Aditi:

The Living

Arts of India. Washington: Smithsonian Institution Press.

Tichane, Robert. 1983. Ching-te-Chen: Views of a Porcelain City.

New York

State Institute for Glaze Research.

Wilson, Richard L. 1995. Inside Japanese Ceramics: Materials. Techniques,

Bloomington:

of Banaras: Popular Culture

1880-1986. Princeton: Princeton University Press.

Painted Post:

Papers. Calcutta: Seagull.

Indiana University Press.

Identity.

Sethi, Rajeev, Pria Devi,

1998. Iznik Pottery. London: British

New

Potter's Art.

Lynton, Linda. 1995. The Sari:

Munich: Kunst and Antiquitaten.

Carswell, John. 1985. Blue and White: Chinese Porcelain and

.

The

Press; Philadelphia: Material Culture.

Kumar, Nita. 1988. The Artisans

Octopus.

Nomads

1997. Art and Life in Bangladesh. Bloomington: Indiana

University Press.

Yanagai, Soetsu. 1972. into Beauty.

and

Traditions.

New York:

A

Primer of

Weatherhill.

The Unknown Craftsman: A Japanese

Insight

Tokyo: Kodansha.

65

Silk

A Culinary Journey

Road Cooking:

by Najmieh Batmanglij

Join

mc on

a

voyage of culinary discovery that stretches through the ages and across

half the world,

from China

the east to Persia and on to the Mediterranean in the west, along the ancient network of trading routes as the Silk

own is

Road. Each place on the Silk Road

distinctive character

and culture and yet

true of salads, soups, breads, rice, kabobs,

then northwest to

seasonings

Italy. It

is

itself,

be

it

splendid

city, rich

known today

trading town, or green oasis, has

linked across desert and mountain to every other place.

and

was along the caravan

pastries trails

its

The same

to Istanbul

and

later the sea routes) that vegetables, fruits, grains,

and

from Xi'an to Samarkand, from Isfahan

(and

in

— and the techniques for cooking them — passed from one civilization to another, to be absorbed and

transformed into local specialties.

67

markets

In

Uzbekistan, one finds huge melons of

in

surpassing sweetness and vibrant orange carrots unlike any others. In Iran the familiar

flat

bread

much

Pakistan. Afghanistan. Uzbekistan,

Western China and cooked

in a

scented with onion,

nigella seeds.

fire)

—

In Xi an, stalls groan

is

offered

like to call

come

The

dishes to be

made from

were called by writers

as they

foods,

the

as

of the time.

to

be found as

and the

-

ingredients"

branch,

stalk, vine, or

this rich

ally

common

considered

food, they were so delicious that even

steamed buns, and

wheat cakes. Some were invented by

little

bounty appear

in infi-

little

The many

names

types and

of

Chinese noodle food

who Among

food origins

in

favorites, for

example,

a similar

dishes as dim sum, while in Italy thev arc the antipasti.

childhood are present

almost every

in

country along the ancient Silk Road. In northern China

lump

what looks

of

dough

variety in

noodle

China

as they

do

a

The

into perfect individual strands in 15 minutes.

in as rich a

to support the old

Marco Polo brought noodles from China

legend that

Italy

to

the

in

Recent archeological and linguistic scholarship

shows, however, that the transfer was

much

earlier

and

both

in

directions. Todav. culinary food historians agree that pasta prob-

ably originated

in Iran.

The

first

pasta dish

is

recorded

in a 10th-

century Arab cookery book, Kitah al-Tahikh wa-islah al-Aghdiyah al-Ma'kulat, which calls to slide,

it

by the Persian word lakhshah, meaning

presumably because of the slipperiness of noodles. (The

Russian lapsha and the Yiddish lokshn, lakhshah.)

The same book

also

for

example, derive from

mentions that the dish was

invented by the Sasanian Persian King Khosrow It

for

making them,

9th century via Sicily (noodles) and

No

68

I

(531-79

c.e.).

was probably the Arabs who introduced noodles, and the hard

durum wheat necessary

one knows exactly

how

like

the wanderings of words.

The term

bun.

bread with

and

call

and

a filling:

with beef. Tibetans

Genoa

Italy

to

in

the

in

make

the technique for

making

pasta

in

may

Korea

stuffed

in Iran

it is

some suggest

knows

a

It

as

mandu,

kind of

a

dumplings

What

for sure.

steamed, poached

in a broth.

all

related.

They form

humble place

in the

other hand,

the

China and India

is

served

baked:

Although

is

that the

a culinary

bond

-- that links

hostile cultures.

noodles that reached culinary Italy,

occupy only

a

cookery of their Iranian home. Rice, on the

same

story in reverse.

for at least

The

grain, cultivated in

5.000 years, seems

Iran only in the -4th century b.c.e. in

origin

and peaceful communication

heights in China and Japan, not to mention

important part

steamed

a small

in broth, or

more important than the

are

a curious fact that the

is

is

shapes

Turkey and Armenia the same word

in

is

names

and sometimes is

ravioli filled

in a variety of

Central Asian origin for such dishes, no one-

sign of early

distant

the Chinese

sweetened, bread-

a steamed,

wonton-like pasta cooked

a

a

dishes and their -

find hints of

contain meat, cheese, or vegetables and

refers to a stuffed pasta shell

and

offer the

Japan as manzu, meaning steamed

them momo. In Central Asia, manti

pasta that

It

to

have reached

did not begin to play an

Iranian cookery, however, until the 8th century.

Since then, rice has

(ravioli).

mantou,

is

appears

with yogurt or vinegar;

in Italy.

Such mastery would seem

century.

a

hand, can stretch and swing

like sleight of

sauces and soups that enhance these noodles exist

13th

layout of

came

from foreign lands.

dishes

sorts of clues that delight linguistic scholars,

master, in

for

the emperor ate them. Other pasta foods include dumplings,

found throughout the Middle East (mezze) and into Spain (where

my

the end of

ordinary people, a 3rd-century chronicler reports, and some

Consider only that tempting assembly of

The noodles of

By

China already had developed the technique

the dynasty,

they are called tapas). In China they refer to little

appeared,

mills

or invented a vast array of "noodle

served with a range of seasonings, and, although they were gener-

markets of America, too.

to the

nite variety.

or

Road. As soon

Silk

swinging dough into individual strands. These were boiled and

Road

these "Silk

on wooden

mills for large-scale flour

acquired as she expanded to the west via the

it

Han cooks adapted

however,

dynasty

peaches, and grapes.

wonderful produce, fresh from the earth, has

newly explored

Han

that before the

is

under bright persimmons, figs,

Aromatic ginger, onions, and leeks are everywhere 1

and

a saaj (a

and sesame, cumin,

garlic,

pomegranates, big ted jujubes, and

well.

grinding, which

of Central Asia

known

is

(206 b.c.e. -220c.e.), China lacked the

in India,

tandoor (clay oven) or on

convex cast iron plate placed over carts, loaves

— also called nan

What

reached China.

become something

the anchor of a meal as

it

is

in

special in Iran.

It is

not

China, but the basis of festive and

elaborate dishes called polows (parboiled and steamed rice).

polow may be cooked with

a

golden crust;

it

may be

A

flavored with

tart cherries,

quinces, pomegranates, barberries, or candied bitter

orange peel:

it

may

include pistachios, almonds, walnuts, or rose

Like other good dishes, polow has spread

petals.

Persian source.

Under such

related

names

or

raisins

onions and carrots,

it

bevond

its

as pilau, pilavi, pilaf,

and pullao, and with such additions

paella,

far

as

graces celebrations

from

and

pudding,

tions based

on vegetables, grains,

for bread,

cuisine from the region that

seems

to

for

fruits,

dozens of other preparaherbs,

was once home

have certain characteristics

in

and

Left

A

i

girl sells scallion

(Right) Flat bread Photos

'

is

This

Road

foods and tech-

niques that have been passed from region to region:

i

spices.

to the Silk

common:

of the Italian

on

a

philosophy

Middle Ages; and

hospitality.

That

is

to

India

s

generous insistence

a particularly

which

the result of a long shared history,

began with an intrepid Chinese

2nd century

traveler of the

b.(

.i

..

Zhang Qian. Today. Persian, sive,

Similar tales linking east and west, north and south, could be

balanced eating from Chinas yin-yang

ayurveda and from Iran's "hot and cold " to the Salerno Regimen

chickpeas and

Afghanistan to Albania, and from India to Spain.

told for rice

of healthy,

Italian

and Chinese cooking together with Indian.

Uzbek, and Turkish cuisine represent the

down-to-earth, and cheerful food that

of the ancient Silk

Road.

And

is

tasty,

with the increase in culinary aware-

ness and health concerns, and a trend toward simpler, ingredients such as flour with bran,

seasonal food, America has

become

a

brown

for

cooking them

rice,

more

and

rustic

fresh

and

kind of modern Silk Road

entrepot where wonderful ingredients from

and instructions

inexpen-

a lasting influence

all

over the world

-

— are available to everyone.

bread at a Xi'an market.

a staple at this market in Tashkent, Uzbekistan.

2001 Najmieh Batmjnglij/Aljgc Publishers

69

Venice

Istanbul (Constantinople)

CHINA Few cultures were as enthusiastic as China's about culinary imports, but

few cultures were as food

then,

,.'\

While eating,

in

early

l

of

philosophy

central

the

,

>...^^^...

..,

oriented as China's.

periods as now, was that a meal

should consist of fan (grain) as the primary food and cat

—

vegetables and/or meat and

flavored, and quickly

fish, cut small, carefully

—

cooked

the

possibilities

blended and

were

for variation

infinite.

The

were great before the opening of trade

possibilities for cai

routes. People ate

meat and

fish as well as

shoots, water mallow (something lotus root, scallions, shallots, and

dynasties,

new vegetables

arrived

such vegetables as

like spinach),

turnips,

mushrooms. During

bamboo

yams, radishes,

Han and

the

from Western Asia and

later

Iran, including

spinach, rhubarb, onions, cucumbers, broad beans, peas, and melons; the

According to

Roman

Parthians,

who

an

stretched

from

Chinese classified them, developed them, and found new ways to cook them.

was

It

the

same

with

and nuts. China was blessed with

fruits

superb produce, including peaches, plums, apricots, and persimmons,

(Amu Darya)

and from the south came mangoes, bananas, and

lightly

also carefully cultivated

new

fruits arriving

from

citrus.

the Silk

The Chinese

Road

—

figs

ruled

of grains, vegetables, a

the later Parthians. originally

ucts as clarified

walnuts, caraway, coriander, and sugar cane.

yogurt

but

soybean was as central to Chinese

also useful to travelers. The

cuisine, then

among

and now, as ginger.

It

provided bean curd and soy sauce,

children

were admonished to eat only

was "nothing

until

even

to excess";

they were 70 percent

China's Daoist roots as well as Buddhist precepts. What It

was food gathered

mushrooms, and

to reveal

its

cooks advocate

—

the like

unique flavor:

was

It

mountains or woods

the

in

—

was

full. fit

natural

edible plants,

cooked as simply as possible so as the kind of culinary philosophy

good

Persian capital,

called tarkhineh).

the

tastes;

among them

coconuts from

soups, 300 breads. Their cooks dried grains, beans, dates, grapes, and figs;

they preserved fruits

with

garlic,

onions,

leeks,

coriander. The various

and

possibly

mint,

mustard,

cumin,

and

Mesopotamian kingdoms borrowed dishes from

one another, as recorded

70

honey; they flavored their various stews

in

in

their

names.

in

in

As the prime middlemen control-

A

the court cooking of the second

(221-651

Sasanians

and

India,

define

it

the

is

c.e.).

whose magnificent

now Baghdad, was

the bustling

poem, "Khosrow and His

z,th-century

own

Iran's

dates

with discriminating

stuffed

was Persian cooking, already courtly

of

cuisines

and the Mongols of the

with

walnuts or

the 13th.

international, that helped

conquering In

Arabs

of

the

medieval Arab cookbooks

appear the Persian foods and preparations that were to travel with the

beyond

Iran's mint, coriander,

record about 20 kinds of cheese, 100

common

still

pistachios.

conquerors

tablets

ate that

climates) and

hot

in

and

most favored dishes of those

name

Sumerian

suppose

are desserts such as almond and walnut pastries,

cookery from the empires of Sumeria, Babylon, Assyria, and Akkad, to a few.

wheat

cracked

the

b.C.e.

ate such dairy prod-

which keeps well

Ctesiphon. not far from what

7th century

of Mesopotamian

We may

and game.

fish

these elements converged

empire of

Indeed,

tradition

is

Knight," outlines the

to

The Persians had inherited a millennia-old

it

century

1st

and from the Oxus

rivers

nomadic horsemen,

with

the

in

were very fond of palm wine and

little

(gfiGe,

entrepot of Silk Road trade.

today.

IRAN

height

its

Road, they taxed and no doubt enjoyed exotica arriving

Silk

All

the first rule of Chinese dining

Thus gourmets developed the fashion for "natural foods," which

herbs,

the

at

—

from east and west.

other preparations.

Still,

food?

ling

butter

fermented

where

Kurdistan,

that

commentators

hardly friendly

the Euphrates to the Indus

and dates, cherries, melons, pomegranates, grapes, almonds, pistachios,

Then there were fermented and pickled foods, used for flavoring

empire

to the Indian Ocean,

(often

—

historians

far

Iran's borders.

The herbs and spices are

saffron, and caraway, as well as

familiar:

cinnamon and

ginger from Ceylon and China, and cloves from the East Indies. Ground

almonds and walnuts thickened limes,

combined with

sour contrasts

that

the

dates, honey,

rich

sauces.

Pomegranates and

and sugar, produced the sweet-and-

characterize Persian cuisine today. Persianized Arabs

adopted the braises, salads, breads, cheeses, and omelets of

Iran,

and

N.ira

Xi'an

(Chang'an)

communication with

a variety of breads; because of the north's long central Asia, the

part

cooking

usually gfiee. and yogurt plays a greater

is

Northern

the cuisine.

in

fat

are those such as peaches, which

fruits

thrive in temperate to cold climates; dried fruits and vegetables flavor

many

dishes.

food consisted of boiled grains and

Until the 16th century, Indian

created magnificent polows vation centuries before

Such

from

from

been imported for

rice that had

and into Europe with the Arab diaspora; the Mongols,

and

court

Persian

western Asia

own nomadic

who

descendants

exported

the

new

the Arabs

like

traditions with those

cuisine.

was

It

of the

Mongols'

the

we know them

helped shape the cuisines of India as

With

vegetables.

the

of

advent

the

Islamic

Mughal empire, however, came the Persian-based cuisine of

of

Asia.

India,

The Muslims were meat

where they were dominant,

—

Mughal innovations

eaters, and even today the north

is

known

polows.

including

for

its

meat dishes. But

stuffed

pastries,

vegetables,

baked bread, sherbet, and such sweet confections as halvah

formed

cooks adapted

Indian cookery. Indian

vegetarian dining to

imports from the

today.

stewed

fried

Western

classic Persian preparations spread throughout

before them, combined their

culti-

the East.

and

bread,

pulses,

tapestry

it

now

own

their

suit

New World

tastes.

—

trans-

the luxurious creations for

Mughal cookery and

later

helped shape Indian cuisine into the rich

is.

INDIA Successive waves of settlement as well as trade gave India early access

The

to the fruits, vegetables, and spices of cultures both East and West.

Aryan invaders left

Sanskrit

their

in

who came from

Central Asia to India

about 1500

in

b.c.e.

language a number of clues to the origins of

various foods. Foods native to India such as the eggplant, for instance,

often have

names derived from pre-Aryan languages. Imports names of

prefixes that indicate their origins, and the

versions of

often stuffed

the

known

pastries

names from

their

samoso

as

in

home India

are given

imports are

later

Thus the

countries.

are

called

Arab

(like

sanbusaq, Turkish samsa, and Central Asian sambusai varaqi) after their medieval Persian originals, sonbosog. And, especially there

are

who

Portuguese,

gave their

ruled a colony at

recipes

complexity

cardamom, mustard seeds, generous lacings of

New World Such regions in

in

a

from

adapted

dishes

chili

with

and

Goa the

named for

400

addition

the southwest,

in

years.

of

of

those

after

Indian

such

the

cooks

spices

as

cloves, cumin, and ginger, not to mention

peppers, imported by the Portuguese

from

the

cosmopolitan past inspired as many

in India.

As

in

cuisines as there are

China, a broad division exists between rice eaters in

Roman

After the collapse of the states and iz,th

remained so

century on,

it

was

with

became

was

in

of

a series

the north. Northern cuisine centers

city-

from

European

the

arts,

no small measure because of

its

Arab and Jewish traders through Venice, Naples, and

Genoa. Arab traders excelled styles

Italy

the cradle of the renaissance of

including culinary ones. This

contacts

Empire,

well into the 19th century. Nonetheless,

and ingredients

at

at

absorbing and passing on local cooking

each of

their

stops along the Silk Road.

Italian

upper classes were greatly influenced by Arab, Chinese, and Japanese courts and copied the dining

style,

refinement of cuisine, manners, and

etiquette

of the Arab courts. Exotic spices and sugar became symbols

of

wealth.

their

The great

Italian

court cooks discarded the techniques

of purees and porridges as well as the tendency to disguise ingredients,

common

at

the time, and brought out the flavor of individual ingredi-

ents by careful

seasoning and moderate cooking.

usually the upper classes that set culinary trends

Historically,

—

pastes were

from

all

picked up

from

the Persians) and passed

the Arabs

(who

them on to the

in

it

almond

turn had taken

rest

was

cooking with rose

water, saffron, orange peel, dried fruits, sugar, and the use of

the 16th century.

the south and wheat eaters

ITALY

them

of Europe.

on

najmieh batmanglij has spent the past 22 years living in france States, researching Persian traditions, collecting recipes, and presenting authentic persian food and ceremonies in books, articles, lectures, and cooking classes. Her newest book is Silk Road Cooking: A Vegetarian Journey; THIS ARTICLE IS ADAPTED FROM THE INTRODUCTION.

and the United

Sa

CHINA cultures we'- 3$ enthusiast!!

Few

jlmary imports.

as China's arc

few cultures were as food

then

bui

oriented as China's.

While eating,

philosophy

central

the

now. was

early periods as

in

of thai

a

meal

should consist of fan (grain) as the primary food jnd coi

—

vegetables and/or meal and

and quickly cooked

flavored,

fish, cut small, carefully

—

the possibilities for

blended and

were

variation

a variety of breads: because of the north's long communication with

infinite.

The

possibilities for cai

routes. People ate

meal and

such vegetables as

fish as well as

bamboo

part

lotus root, scallions. shallots,

and mushrooms. During the Han and

W^

nkirk. onions, cucumbers, broad beans, peas, and melons: the

Chinest

vegetables arrived

from Western Asia and

rhem. developed them, and found

>d

new ways

to

was

the

same

with

fruits

According to

Roman

Parthians.

who

an

stretched

from

cook

and nuls. China was blessed with

superb produce, including peaches, plums, apricots, and persimmons.

(Amu Darya)

and from the souih came mangoes, bananas, and

lightly

also carefully cultivated

new

fruits arriving

from

citrus.

the Silk

The Chinese

Road

—

figs

ruled

of grams, vegetables, a

the later Parthians. originally ucts as clarified butter

yogurt

Then there were fermented and pickled foods, used for flavoring

cuisine, then

among

to travelers.

The soybean was as central to Chinese

and now. as ginger.

It

provided bean curd and soy sauce,

children

the first rule

of Chinese dining was "nothing to excess": even eat only until they

were 70 percent

full.

Thus gourmets developed the fashion for "natural foods." which China's Oaoist roots as well as Buddhist precepts. It

herbs,

mushrooms, and

to reveal

was food gathered

its

in

the

the like

unique flavor:

-

What was

mountains or woods

-

fit

natural

edible plants,

cooked as simply as possible so as

was the kind of culinary philosophy good

It

Persian capital.

of Mesopotamian

cookery from the empires of Sumeria. Babylon. Assyria, and Akkad. to name a few. Sumerian tablets record about 20 kinds of cheese, too

soups. 300 breads. Their cooks dried grains, beans, dates, grapes, and figs:

they preserved fruits

with

garlic,

onions,

leeks,

coriander. The various

in

honey; they flavored their various stews

and possibly

mint,

mustard,

cumin,

and

Mesopotamian kingdoms borrowed dishes from one another, as recorded in their names.

its

height

in

(he

1st

it

fish

and game.

which keeps well

cracked

wheat

As

called tarkhineh).

is

century

from

We may

nomadic horsemen, ate such

with

-

the

the

in

the

b.c.e.

suppose

ate that

dairy prod-

hot climates) and

and

still

common

in

empire of the

the court

in

Sasanians

(221-651 is

arriving

cooking of the second

c.t.).

whose

are those such as peaches, which

fruits

dishes.

now Baghdad, was

Road

and Iran's

India,

own

dates

court

Persian

was Persian cooking, already courtly

cuisines

of

the

with

stuffed

walnuts or

international, that helped

conquering

Arabs

of

the

7th century and the Mongols of the 13th. In medieval Arab cookbooks appear the Persian foods and preparations that were to travel with the far

beyond

Iran's borders.

Iran's mint, coriander, saffron,

and

who

descendants

The herbs and spices are

and caraway, as

food consisted of boiled grains and

new

cuisine.

was

It

of the

Mongols'

the

we know them

well

familiar:

as cinnamon and

sauces.

Pomegranates and

waves of settlement as

to the fruits,

their

in

who came from

Sanskrit language a

Foods native

of

versions

the

about 1500

known

pastries

are

clues to the origins of

who

as

home

their

samosa

in

India

later

imports are

Thus the

countries.

are

sanbosag. And. especially

adapted

from

ruled a colony at

recipes

their

and the names of

given

called

(like

samsa, and Central Asian sambusai varaqi) after

dishes

Portuguese,

B.C.E.

to India such as the eggplant, for instance,

names from

medieval Persian originals,

gave

number of

in

names derived from pre-Aryan languages. Imports are

sonbusoq. Turkish

there

gave India early access

Central Asia to India

prefixes that indicate their origins,

often

well as trade

vegetables, and spices of cultures both East and West. The

various foods. often have

Mughal empire, however, came the Persian-based cuisine of

of

Asia.

India,

The Muslims were meat

where they were dominant,

—

Mughal innovations

including

is

and even today the north

eaters,

known

for

meat

dishes. But

stuffed

vegetables,

its

polows, pastries,

—

baked bread, sherbet, and such sweet confections as halvah

formed

cooks adapted

Indian cookery. Indian

vegetarian dining to

it

now

own

their

suit

New World

tastes.

trans-

the luxurious creations for

Mughal cookery and

later

helped shape Indian cuisine into the rich

is.

complexity

with

and

Goa the

named for

after

400

addition

in

of

such

in

chili

peppers, imported by the Portuguese

regions in

in

India.

the south

As

in

many

the

cooks

spices

as

from

the

cuisines as there are

China, a broad division exists between rice eaters

and wheat eaters

in

iz,th

century on.

it

was

Roman

with

became a

series of city-

from

the

was

in

no

measure because of

small

its

Arab and Jewish traders through Venice. Naples, and

Genoa. Arab traders excelled styles

Italy

the cradle of the renaissance of European arts,

including culinary ones. This

contacts

Empire.

well into the 19th century. Nonetheless,

and remained so

and ingredients

at

at

absorbing and passing on local cooking

each of

their

stops along the Silk Road.

Italian

courts and copied the dining

the 16th century.

Such a cosmopolitan past inspired as

states

their

of

those

After the collapse of the

upper classes were greatly influenced by Arab. Chinese, and Japanese

the southwest,

years. Indian

ITALY

Arab

cardamom, mustard seeds, cloves, cumin, and ginger, not to mention

and sugar, produced the sweet-and-

sour contrasts that characterize Persian cuisine today. Persianized Arabs adopted the braises, salads, breads, cheeses, and omelets of Iran, and

of the

advent

the

Islamic

tapestry

New World

rich

the

traditions with those

With

vegetables.

INDIA

almonds and walnuts thickened the dates, honey,

exported

the Arabs

stewed

and

fried

imports from the

generous lacings of

combined with

own nomadic

helped shape the cuisines of India as

ginger from Ceylon and China, and cloves from the East Indies. Ground

limes,

their

like

today.

stuffed it

combined

left

pistachios.

conquerors

before them,

the bustling

are desserts such as almond and walnut pastries,

the

Europe with the Arab diaspora: the Mongols,

Aryan invaders

among them

define

and into

bread,

pulses,

Western

the East.

Such classic Persian preparations spread throughout western Asia

magnificent

trade. A
tastes;

from

culti-

prime middlemen control-

no doubt enjoyed exotica

Ctesiphon. not far from what

coconuts from

centuries before

vation

Successive

these elements converged

entrepot of Silk

magnificent polows from rice that had been imported for

created

Oxus

were very fond of palm wine and

little

{ghee,

fermented

where

Indeed,

tradition

at

commentators

Knight." outlines the

to

The Persians had inherited a millennia-old

that

hardly friendly

from east and west.

cooks advocate today.

IRAN

-

the Silk Road, they taxed and

ling

All

were admonished to

food ?

(often

Kurdistan,

other preparations.

Still,

empire

to the Indian Ocean,

walnuts, caraway, coriander,

but also useful

historians

the Euphrates to the Indus rivers and

and dates, cherries, melons, pomegranates, grapes, almonds, pistachios.

and sugar cane.

usually ghee, and yogurt plays a greater

is

Until the 16th century. Indian

Iran, including

them. It

many

later

new

fat

Northern

the cuisine.

in

thrive in temperate to cold climates: dried fruits and vegetables flavor

shoots, water mallow (something like spinach), turnips, yams, radishes,

dynasties,

cooking

central Asia, the

were great before the opening of trade

the north. Northern cuisine centers

style,

refinement of cuisine, manners, and

etiquette of the

Arab courts. Exotic spices and sugar became symbols

of

The great

their

wealth.

Italian

court cooks discarded the techniques

of purees and porridges as well as the tendency to disguise ingredients,

common

at

the time, and brought out the flavor of individual ingredi-

ents by careful seasoning and moderate cooking. Historically,

—

usually the upper classes that set culinary trends

water, saffron,

orange

pastes were

picked up from the Arabs (who

from

all

peel, dried fruits, sugar,

the Persians) and passed

them on

it

was

cooking with rose

and the use of almond in

turn had taken

to the rest

them

of Europe.

on

NAJMIEH BaTMANGI I| HAS spin ami the United States, researching

Irt

AKs

1

IV IN'f.

IS

\

Persian traditions, Persian food and colli' ceremonies in books. articles, lectures, and cook1m. ii \ssis noDK is Sn Road coking, THIS ARTICLE IS ADAPTED ROM THE INTRODf t.

I

I

(

Music and Musicians along

Road

the Silk

by Theodore Levin

So many musicians, so many connected to other of this

dense

web

stories

— each

stories, other histories.

of

human

a

The

connectedness.

window

into a

life,

lands of the Silk

What

a society, a history.

Road contain

a

Each

cases,

do musicians

living only a valley or

is

unique, yet

remarkable musical cross-section

are the origins of musical connections?

separated by great distances play similar instruments or perform in similar musical styles?

some

story

mountain pass away perform music

that

How And

is

is it

that musicians

conversely, why, in

utterly different?

73

Musicians, musical ments, and music

realm to the other.

instru-

have surelv

itself

The

vian times.

is

well have been along

Road

the Silk

matched

some

that

"world music

astonishing diver-

world's music

sity of the

may

It

been on the move since antedilu-

first

jam sessions took

Europeans and

For both

place.

of the

onlv by the reassuring similarity of

Asians, the mesmerizing sound of

the basic tools used to produce

exotic instruments

followed

made

from

human

an appeal not unlike the visual allure of exotic textiles, ceramics,

and

parts

such as

the

ubiquitous

wood and

materials such as

classified

into

fiddles,

flutes,

must have had

by instruments

foremost, of course, voice,

it:

natural

and

glass.

animal

and

luthiers

groups

instruments

adapted unfamiliar

perform

to

music while simultaneously

and

lutes,

Innovative musicians

local intro-

rhythmic

drums: melodies and scales usually

ducing

containing no more than three to

patterns, scales,

seven separate pitches: rhythms

techniques. Before the Crusades,

dimen-

numerous instruments from the

that organize the temporal

Silk

Road

illustrates

ching regularities not only

way

it

is

and

it

lutes,

oboes, zithers, drums, and

viols,

the

other percussion. Following trade-

physically produced, but

also in the role

Europe:

already reached

overarin

and performance

Middle East and Central Asia had

sion of sound. Indeed, music along

the

non-native

routes in both directions,

plays in society

many

In music, as in other aspects

in

China,

India,

and

example,

the

Japan.

For

of

up

these instruments also turned

culture.

of culture, the history of the Silk

Indonesia.

Road has

Central Asian short-necked lute

largely

interaction cultural

been the history of

between

two

called barbat

large

Middle

domains: the sedentary

world and the nomadic world. Nomadic and sedentary people

have coexisted

in

Eurasia for millennia, and their relationship has

not always been an easy one. In the 13th century, for example,

Genghis (Chinghis) Khan's nomadic armies cities

laid

waste to great

such as Samarkand and Baghdad, while

in

century, the Soviet Union, an empire built on the

the

power

of

some

of

industry and agriculture, tried forcibly to sedentarize

Inner Asia's ists

last

nomads. Yet despite periods

and sedentary dwellers have both

20th

of hostility, pastoral-

relied

on an

intricate

European

lute as well as the

is

"northern barbarians,

is

which

were probably the world's

Armenian instrument maker Hakoh

oud (on

way

that

music and musical instruments have traveled from one cultural

74

is

to

and

say,

nomads. Turkic and

table),

and

violin,

which

and the

violin

horsehead fiddles Photo

'

Sam Sweezy

is

but

Upright fiddles

Yeritsyan displays a

qanun

illustrate the

(rear),

migration of musical

The qanun

related to the

and other European

first

lutenists.

earliest fiddlers.

instrument', along the historical Silk Road.

one of the hallmarks of evident in the

oud

Eastern

fapanese biwa and Chinese pipa

Mongolian horsemen from Inner Asia were not only also

pipa,

Inner Asian civilization. This symbiosis

the ancestor of the

an instrument that Chinese documents record as belonging to the

Arabic Middle East, the oud

commercial and cultural symbiosis that

is

originated in the

European

strings

lute

may have

played by Turco-Mongol herders.

and Chinese

evolved from

strung with horsehair strings, played with horsehair bows, and

end

often featuring a carved horse's head at the

an archaic history

among

nomadic peoples

the

shamanism and

are closely linked to

spirit

the neck have

ol

oi

Inner Asia and

worship. Such instru-

ments may have inspired the round-bodied spike fiddles played

West Asia (kamanche,

carved fiddles of the subcontinent (sorud, sarinda, mrangi

oboes called uinh/i suona

Central Asia became the shahnai

in

China, and zuma

in

in

and Indonesia {rehab) and the

ghijak)

I.

1

,oud

in India,

Anatolia. Central Asia in turn

in

Two

among groups

past

nomadic

cultures, the

preeminent musical figure

solo performer of oral poetry

or herself - for

women

a telltale vestige ol a

that are presently sedentarized. In

who

typically

the bard:

is

have played an important

role in the Inner

Asian bardic tradition - on a strummed lute with strings.

Nomadic

cultures have also

a

accompanies himselt

silk or

produced virtuosic

gut

instru-

lutes,

jew

s

Central Asia

in

who

squat

in

a loose

semicircle

on

rhetorical

style,

then

accompaniment on

a

sings

a

small

gestures, and crisper strums

ously called

on

with

but

the lute.

or deish

a/tys. aitysh.

text

an

in

elevated

strumming an

while

The other bard follows, repeating

lute.

sequence

performance

poetic

lyrical

One

a grassy hillside.

of the bards ceremoniously addresses the gathering

in

eloquence,

greater

Such oratorical contests,

in

event for virtuoso instrumental soloists

is

Central

the

livelier

local Turkic languages, are

cornerstones of nomadic culture

the

Moreover, music may serve as

nomadic

distinctive musical

bards take their place before an audience of several hundred

onlookers,

same

identities.

exchange, however,

ol cultural

and sedentary dwellers preserve

mental repertories performed by soloists on strummed

imported musical instruments from both East and West.

Nomad Performance Competition

Notwithstanding millennia pastoralists

vari-

one of

An analogous

Asia.

called tortys.

The rules of the contest vary widely and depend on the particular genre

may impro-

which the competitors excel. For example, bards

in

vise poetic verse without ever using the

of

the verse

a

sounds

"p" or "b." or reply to

competitor using the same rhyme scheme. Virtuosos on

dombra or komuz may

strummed

lutes

another

complex fingering techniques and hold

in

like

eccentric postures

and so on

—

—

the

tries

word can cause

reply!

A

public

watches such contests as

in is

strength,

eloquence, and

one, but watch out for the

a technical knockout, and indeed, the if

they were viewing boxing matches.

The power of the bardic word has always been useful in

authority both to defend their

tion

in

it.

to outdo the other

humor. Strategies are numerous. Mockery single

outdo one

instrument

upside down, behind the neck, with crossed hands,

while continuing to play

Each bard

to

try

their

own supremacy and

to persons

attack the posi-

of an adversary. Just as the great religions have ascribed the power

of the sacred to the physical sound of particular words and syllables,

nomadic

spirituality,

rooted

in

maintains the magical power of words and music through the vocation

spirits

and as

flourish

living repositories

of

cultural

who

can

memory. For one

of the nimble

the

harsh

summed

up

conditions in

the

of the Inner Asian

nomadic performing

grasslands

arts and their

quintessential traditional showcase, the oitys.

Adapted by Theodore Levin from a text by Jean During, at

France's Centre National de

qualities

of mind and body required to endure

la

in

a

director of research

Recherche Scientifique. Currently based

Tashkent, Uzbekistan, he also serves as Initiative

who performs such a vital social role, qualifications are crucial. And what more democratic way to certify excellence than through competition? All

in

are exuberantly

an intimate relation with the natural world,

of the bard. Like shamans, bards are often regarded as healers

summon

and

Program Manager of

the

in

Aga Khan Music

Central Asia.

Abdurahman Nurak. a Kyrqijz musician, strums a three-stringed komuz. Photo by Jean During

75

loping of a camel --

terrain, or the

all

central to the

nomadic

soundworld.

bv

In sedentary cultures,

highly developed

and

as a spiritual

populations

art.

drumming

among

cultural force

is

a

Inner Asia's sedentary

impact

(in contrast to its relatively limited

nomads), the central

artifact of

and embellishment

ration

contrast, metrical

Reflecting perhaps the deep impact of Islam

musical performance

words and

of

by

texts

is

among

the elabo-

a beautiful voice.

Singers are typically accompanied by small ensembles of mixed

The beauty of

instruments that almost always include percussion. the voice

may

ment such

also be represented symbolically

plucked

as a

lute, violin, or flute,

by

a solo instru-

which reproduces the

embellishments and ornamentation characteristic of

filigree

a

great singer.

From Istanbul China, the highest

all

the

way to Kashgar

artistic aspirations of

(Kashi). in the west of

urban musicians were

music known

realized in the performance of classical or court

maqam

(or cognate terms

in Iran, as dastgah.

Local styles and repertories of

regional dialects of

what

The maqam that

these repertories stories

by using

pounding

a

is

and

zithers.

The

distinguishing feature of

their narrative quality: pieces typically

kind of musical onomatopoeia,

of horse's

hooves or the singing of birds,

through musical sound. Individual innovation

and bards gesture,

are

performance

artists

is

One

of the

most intriguing aspects

of

rhythm, which tends toward asymmetry and

used by shamans). Such rhythmic asymmetry representation of the natural rhythms of the shifting gait of a horse as

it

all

highly valued,

its

with

nomadic music

is

never expressed

of the ritual

may be

pace

to

drum

an abstract

wind and flowing

adjusts

music

water,

changes

in

Yedil

Huseinov

is

Photos bv Cloc Drieu

a Jew's

harp virtuoso from Kazakhstan.

a

worldview that

in the

West,

is

Islam

musical

and

life

style of

maqam demands

of the

like-

musical language.

ethics,

at least a

millennium

and

and aesthetics Like classical

specially trained musicians in

conjunction with

poetics.

monastic chanting which,

and regional

and aesthetic

life

maqam

along the Silk Road. Buddhism has shaped the form

a vast array of

and

I

are

not the only great religion to be represented in

is

variety of local tual

common

specifically Islamic.

erudite traditions of music theory

ideals. It

traditions

like

exists in a

bound by common

has also created

music that celebrates

maqam.

a cultural

spiri-

context for

festive events tied to holidays

cycle rituals. Assyrian Christianity, based on the doctrine

Sth-century Syrian bishop Nestorius. spread eastward

along the Silk Road between the 7th and 10th centuries and survives as a living spiritual tradition

and Aygul Ulkenbaeva plays the dombra, a Kazakh long-necked

at root a

makam and

represents a vast yet integrated artistic conception

and has evolved over

represented

to entertain their

is

on percussion instruments (with the exception

tell

example, the

who combine music

humor, and spontaneous improvisation

audience.

for

is

encompasses music, metaphysics,

within harps, flutes, fiddles,

such as mugham, mukam,

as

in

diaspora communities in

among

adherents in Syria

the West. Present-day Assyrian

lute.

choirs represent an ancient tradition of liturgical song

and chant

rooted in the same "Oriental" scales and melodic

modes

as

Middle Eastern music commonly associated with the Islamic

world. Similar scales and

modes

also turn

up

in

the music of

Armenia, one of the Middle East's oldest Christian cultures, and in

Jewish music and chant,

and

spiritual

for

example, cantillation of the Torah

songs sung on the Sabbath and other holidays.

Jewish communities have lived since ancient or early medieval

times in the great

cities of

the Middle East and Central Asia:

Baghdad. Bukhara, Balkh. Damascus, Samarkand, and

As

a

others.

minority living in a culturally symbiotic relationship amid a

Muslim

Jews both absorbed elements of Muslim

majoritv.

musical traditions and served as musical performers courts

and

Muslim

for

Hinduism inspired

festivities.

a rich practice of

On

the

at

Muslim

songs, and sacred dance, as well as framing the aesthetics and

metaphysics of raga. one of the worlds great

Much music faith or religious

along the Silk Road

worldview, but

is

is

art

groups

music

traditions.

not linked to a single

the result of syncretism and

is

practices.

itself

Buddhism

deities,

to create

some

Sufi

also syncretized with

forms of vocal chant, instrumental music,

but also to the

early Japanese

favored by

very likely an adaptation of archaic shamanistic

Shamanism and animism have

sacred dance, and theater that pay spirit

homage not only

to

Buddhist

world. The brilliantly eclectic form of

masked dance-drama known

as giguku exemplifies

such Silk Road syncretism, bringing together ritualized

just

performance that may have been influenced by contact with the

mask

art of

The

subcontinent.

Vedic chant, devotional

The ecstatic chant and dance

trend in Islam.

ries,

ancient Greece, Iran, India, and China.

great religions each have their

own

liturgical reperto-

but the lines between sacred and secular so sharply drawn

Western music

Road

are

muted

in the traditional

lands. Festive calendar

and

culture of the Silk

life-cycle celebrations inspire

music that covers the entire spectrum of human

spiritual needs,

from meditation and prayer to rejoicing and dance. In the

intermingling. For example, the mystical songs of the Bauls of

(

Bengal reveal a synthesis of Hinduism and Sufism, the mystical

Photo

'hinese c

men

playing huqin

(a

in

tradi-

two-stringed Chinese fiddle).

Jean-Luc Rjv, Aga Khan Foundation

77

boundaries between sacred and secular dissolve: the

tional world,

world

is

there are

The

no

life is

sacred. Moreover, in traditional societies,

musicians. There are simplv musicians.

"traditional

essence of tradition

the next,

the

sacred,

and

it is

same songs,

transmission from one generation to

is

common

to see

particular musical styles

and

people of diverse ages enjoying

and

tunes, dances,

The

stories.

repertories with specific age groups

so pervasive in contemporary Western music traditional Silk

is

largely absent in

Road music.

While music along the traditions, not

association of

all

of

it is

in

Peshawar.

writing

strictly

Road

is

strongly rooted in local

Ensembles

speaking "traditional.

new

is

the history of

performed not Silk

in

taste in the

tradition.

traditional world.

How

everything

todays

else,

could

it

Silk

itself

be otherwise,

Road

links

lor in

city of

Khiva

in the

Khorezm

Photo bv Henry Gbssie/Pravina Shukla

78

—

territorial

United

communities

is

most

being written and

States.

The music

of

resourcefully to changes

it

serves. Indeed,

it is

this

cians

Each

who

is

in its

the life-blood of musical tradition, or neo-

own way,

the personal stories of the musi-

have journeyed from afar

to

perform

at this

year

s

Folklife Festival are testimony to the abiding strength of the

communities

that

have inspired and supported their

art.

communities

Levin

Rajasthan. India, plays the kamaicha. a

shin-covered body.

Bukhara,

region of northwest

Uzbekistan perform music for dancing. Photo' Theodore

Qhewar Khan, from Jaisalmer, long-necked bowed lute with a

music

music, as in

not only

communities, but also imagined communities

Musicians from the

is.

the product of a post-

city of

New York. Some of the

connection, between musicians and the spiritual needs of living

represent what one might

neo-traditionalism, that

homeland, the

in the

all

Afghan music. Bukharan

Road responds quicklv and

and

communities, that

call

in its

China but

such as Sabjilar from Khakasia and Roksanake from Kazakhstan

consciously modeled on tradition yet

living

Toronto, and Fremont, California, are

in

imaginative music by Chinese composers

new

common

New York,

vibrantly alive in Tel Aviv and

in fashion

by

yet joined

Afghan musicians

chapters

Jewish music barely exists

but

this

Silk

by emigration and diaspora

scattered

cultural ideals. For example, expatriate

Theodore Levin began musical fieldwork in Inner Asia in 1977 AND IS A FREQUENT VISITOR TO THE REGION. He TEACHES IN THE MuSIC Department at Dartmouth College and is co-curator of this year's Folklife Festival,

Creating. Trust.

The Silk Road: Connecting. Cultures,

For Further Listening The Art of Mugham: Alim Qasimov Ensemble. 2001. Ocora Radio France C560U2. Traditions

Asie Centrale:

classiques

(2

CDs). 1993. Ocora Radio

France C560035-36. Buddhist

'hant of

(

KICC

Shuni-e

C

'eremony, Todaiji. 1997. King Record Co.

5215.

Bukhara: Musical Crossroads of Asia. 1991. Smithsonian Folkways

SFW 40050. Music of

Classical

Folkways Baul musicians from Bangladesh performing: Sunil Karmakar.

Momimul

Ami,

Islam, tabid: Bably

flute;

Ilyas

violin;

Anjali Qhosh, singing with

Iran:

The Dastgah Systems.

1991.

Smithsonian

SFW 40039.

Malayev Ensemble, At

the Bazaar of Love. 1997.

Shanachie

Records.

harmonium: and Bclal Siddique with cymbals.

traditionnelle (3 volumes). 1991.

musique

Iran: Las maitres de la

Ocora

Photo bv Henrv Glassie/Pravina ShukU

Radio France C560024-26.

Music of the

Lalezar:

For Further Reading Bjilv, John. 1988.

Music

Sultans. Sufis,

Traditional Crossroads

in

Afghanistan: Professional Musicians in the

City of Herat. Cambridge:

Cambridge University

and Seraglio (4 volumes). 2000.

CD 4301-4304.

Ouzbekistan: The Art of the Dotar. 1997. Ocora Radio France C560111.

Press.

Mage

During, Jean. 1991. The Art of Persian Music. Washington:

Shashmaqam, Music

Bukharan Jewish Ensemble. 1991.

of the

Smithsonian Folkways

SFW 40054.

Publishers.

Qarland Encyclopedia of World Music, Vol.

"The Middle East,"

6.

Shoghaken Ensemble (Armenia Anthology). 2002. Traditional

CD 4211.

Crossroads eds. Virginia Danielson, et

Robert C. Provine,

et

al.,

Jones, Stephen R. 1995. Folk Traditions.

New York:

Levin, Theodore C. 1996.

Musical Travels

in

2001; Vol.

al.,

2001.

Music

New York:

7,

"East Asia," eds.

The

Routledge.

Silk

Oxford University

Tajikistan:

Press.

The Hundred Thousand

Identities.

Seattle:

Fools of

New

Qod:

York).

Turkey: The

University

Ustad

articles.

Alevi Ceremony.

Mohammad Omar,

New

Qrove Dictionary

New

York: Grove.

1998. Ocora

Virtuoso from

Sakata. Smithsonian Folkways

The

Musee

CD-973. Radio France

of

Music and

Afghanistan.

2002.

Compiled, produced, and annotated by Hiromi Lorraine

of

Musicians. "Azerbaijan," "Iran," "Uzbekistan," and other country

Djem

AIMP

Collection

1998.

VDE-GALLO

C560125.

Press.

Sadie, Stanley, ed. 2001.

Chantes des hordes.

d'ethnographie Geneve,

Central Asia (and Queens,

Diverse

Musical Caravan. 2002. Smithsonian Folkways

SFW CD 40438.

Pegg. Carole. 2001. Mongolian Music. Dance b" Oral Narrative:

Performing

A

of China: Living Instrumental

Bloomington: Indiana University Press.

Washington

Road:

SFW CD 40439.

Uyghur Music from Xinjiang: Music from Oasis Towns Asia. 2000.

Yo-Yo

Ma

Ace Records

and the

Silk

CD ORBD 098.

Raod Ensemble,

Strangers Meet. 2001.

of Central

Sony

Silk

Classical

SK

Raod

Journeys:

When

89782.

79

Nomads by Alrrw Kunanbay

Nomads and nomadism have been derives from

Greek nomas, "pasture

endangered economic and

Mongolian horse breeders of

life

that

intimately linked to Silk

embodies some

to

).

and,

at

Road

trade

and culture since ancient times ("nomad"

the debut of the 21st century,

social force in large parts of Inner Eurasia.

Turkmen shepherds and Tibetan yak

of the Silk

Road

region's

drivers,

still

constitute a vital

if all

too often

From Siberian reindeer herders and modern-day

most time-tested and ingenious

pastoralists preserve a

way

traditions.

81

Marking Iran,

India,

the frontiers of the great civilizations of .China, historical borders of the

and Greece, the

Nomads and

world have been indefinite and diffuse. peoples have long existed

in a

nomadic

complementary

settled

relationship,

and

in

the history of trans-Eurasian trade and cultural exchange, nomads

have been

like

blood vessels that circulated the oxygen of ideas

and distributed new technologies and products along the

Silk

Road. In particular, nomads provided temporary accommodation

and

security, stabling

and fodder

for the

animals of merchants and

blacksmiths for making horseshoes, kept

important wells,

vitally

established markets for the exchange of goods

—

that

is,

every-

thing without which international trade along such a huge road

would not have survived historical

long.

Nomads

can be proud of their

achievements, which include movable dwellings,

clothing suitable for riding horseback,

and

felt

leather utensils,

and the equine harness. They invented kumiss (fermented mare

s

and bowed stringed

milk), the art of hunting with birds of prey,

instruments that are the ancestors of the cello and violin.

Nomadism on

the steppes of Eurasia

originated around 3,000 years ago.

source of

human

It

was

thought to have

is

not.

however, the

first

on the steppes. Archaeological

livelihood

evidence shows that migratory herding had been preceded by

complex livestock-raising and

agricultural

a

economy. Nomadism

arose in response to ecological and climatic factors:

first

and

fore-

entrance always faces south. Turkic

the

footwear, drink clear tea. and slaughter sheep in a

most, inadequate food and water resources, which led people to

away

depend increasingly on hunting. Thev then began

tea

to migrate in

pursuit of the animals they hunted, following the seasonal migrations of wild

selective

mammals

in Eurasia's arid

steppe zone. In turn,

Present-day

nomadic

groups

Buryats.

—

practice diverse types of stockbreeding

migration, belong to different religions,

Kalmyks,

name

and patterns

and speak

a

of

different

languages. At root, however, they represent two distinct linguistic

groups, Turkic and Mongolian, and this binary distinction resonates in other aspects of

dwellings of Turkic

nomadic

nomads have

Mongolian groups have conic

culture. For example, the

spherical roofs, while those of

roofs.

Turkic nomads orient the

entrance of their dwelling to the east, while

82

a

wav

among Mongolians.

way

soft

that drains

Mongolian nomads wear hard footwear, drink butter, salt,

as to preserve the

and

flour,

and slaughter sheep

blood (which

is

made

in

into blood

sausage).

Nomad

civilization has

zation of time

Kazakhs. Kyrgyz, Mongols, Turkmens. and Yakuts, to

few

the blood;

mixed with milk,

such

breeding created an ecological niche that favored

domesticated animals over their wild counterparts.

nomads wear

and space,

cycles of nature. In the

nomads"

is

alive

is in

own

laws governing the organi-

and nomads

words

pursuit of eternal spring. basis of the

its

of

follow very sensitively the

one song, they

The primacy

of

are in continual

movement

serves as the

entire worldview. For them, everything that

movement, and everything

that

moves

is

alive: the

sun and moon, water and wind, birds, and animals.

The low

fertility

of the soil does not allow

nomads and

their

herds to stay in any one area for a long time. Overgrazing can

have dire

results

economic use of a pasturage,

—

at

the extreme, removing a pasturage from

for a period of years. In order to

nomads have

to judge precisely

maximize the yield

when to

drive their

vance

New

oi the

among month

the

among

)

and Tsagan

(in

on

animals and

games and holidays

new da)

Persian,

(literally,

summer

to

"white sacred

where the happiest

pastures,

nomadic year begins. Summer

nl the

for the

Sara

Mongols. Without lingering long, nomads

the

drive their animals

time

Nauru:

Year, called

lurks

is

season

a

ol fattening

characterized by an abundance ol lood.

is

young, and meetings with

lor the

relatives as

At the same time there are

different migratory paths crisscross.

preparations lor the hard winter ahead: sewing clothes, weaving rugs, beating

With

felt.

the onset ol the

undertake their migration to

tall

cool days,

first

nomads

pastures where they shear sheep

and camels, prepare milk and meat

lor the winter,

and return

to

winter quarters.

nomadic cycle

This

is

not exactly the

same each

seasons themselves are not the same from one

what remains constant rhythm

of

for the

movement,

nomad

is

\

ear to the next. Yet

the sensation ol a natural

among

depends on mastery

of

people. Success in nomadic

body

vast

a

and forced

fact of survival,

been selected

for their suitability for

symbol of nomadism

the

is

songs, epic tales, and stories.

names

various

and during the process of

selection, sheep, goats, cattle, camels,

ancient Greeks,

e.g., is

a

natural

and horses have

lengthv migrations. Indeed,

the horse,

whose

The winged

praise

is

sung

flying horse, called

Tulpar, Jonon Khar

like

in

bv

Pegasus of the

beloved character of legends and

a

father to of trade-

domestic know-how, and moral norms.

A nomad

At the

earliest signs of spring,

drive their cattle to

spring pastures where the animals give birth to their young, and

sheep have their spring dip and arc shorn. Spring

and the beginning of the new cycle of

Nomads who spend areas of

the

'

Ali

to take

a

time of hope

marked by the obser-

the long winters in lower altitudes in the southern

Badakhshan Province, Afghanistan, ascend

summer

Photo

life

is

advantage of the

Njcmi. Apj Khan Foundation

rich

to

grazing land.

higher regions

memory

flatbread frying in

of

fat;

preserves thousands of sounds, colors.

smoke

of

felt

rising

and

from the hearth of

fluffy hides

especially wild tulips fresh

snow

of winter.

and

irises; of

in

the bitter dust of

and

the spring,

their first lessons in the

and the

fall

Those smells bring back memories

where the senses received variety of

a yurt

warming from body

heat in the cold night; of steppe grasses and flowers

of places

never-ending

life.

Nomadism would be

impossible without transportable

and among Eurasian nomads, evidence

dwellings,

nomads

s

and smells: the smell

source of

poetic inspiration.

knowledge-

of collective

complex

herds from one pasture to the next, leaving the abandoned area to

an unavoidable

life-

amassed over centuries. This knowledge, passed on from

craft,

is

and

stable forms of social organization,

abiding relationships

son and mother to daughter, embraces an entire

rejuvenate over the course of a year. Migration with livestock

year, lor the

of

such

dwellings comes from ancient times. Describing the campaign of the Scythians against the Persian armies of Darius

century B.C.E., the Greek historian dwellings on

carts.

description of

"felt

who.

as the

envoy

Herodotus

s

in

the 5th

Herodotus mentions

observation

is

echoed

in

felt

the

Turkic carts" by Friar Willem van Rubruck. of Louis

IX

of France, traveled the Furasian

in

steppes of the

in

1252 54 on his voyage to Karakorum, then the capital

Mongol empire. The

carts that carried

such

felt

homes were

83

Marking India,

Iron.

the frontiers of the great civilizations of China.

Nomads and

world have been indefinite .md diffuse. peoples have long existed

in a

have been

like

cultural exchange,

and

blood vessels that circulated the

oxygen

month

in

for the

Silk

securit)

.

Stabling

and fodder

animals

lor the

ol

goods

-

that

thing without which international trade along such

would not have survived historical

long.

Nomads

achievements, which

is.

milk

I.

s vv

the steppes ol

originated around 3,000 vcars ago.

source

human

ol

urasia

I

It

was

is

not,

thought to have

however, the

lirst

response to ecological and climatic factors:

in

and

first

fore-

most, inadequate lood and water resources, which led people to

depend increasingly on hunting. They then began

to migrate in

pursuit ol the animals thev hunted, following the seasonal migrations ol wild

mammals m

Eurasia's arid steppe zone. In turn,

breeding created an ecological

selective

niche that

Present-day

nomadic

groups

Kalmyks,

Buryats,

lew

practice diverse typi

migration,

belong

to

ol

different

name

a

itockbreeding and patterns of religions,

and speak

different

languages. At root, however, thev represent two distinct linguistic-

groups,

lurkic

and Mongolian, and

resonates in other aspects ol

dwellings

ol

Turkic

nomadic

nomads have

Mongolian groups have conic

bmarv

this

culture. For

distinction

example, the

spherical rools. while those ol

rools.

lurkic

entrance ol their dwelling to the east, while

nomads

orient the

among Mongolians,

Turkic

nomads wear

footwear, drink clear tea. and slaughter sheep in

a

way

that

tea

mixed with milk,

such

a

way

drink

and Hour, and slaughter sheep

butter, salt,

as to preserve ihe

soft

drams

away the blood; Mongolian nomads wear hard footwear,

blood (which

is

made

in

into blood

sausage).

Nomad

civilization has

cycles of nature. In the

words

pursuit of eternal spring. basis of the is

alive

is

nomads

in

own

its

laws governing the organi-

and nomads

I

of

follow veiv sensitively the

one song, thev are

he primacy

ol

movement

in

continual

selves as the

I

lie

movement, and everything

low

herds to stay

have dire

rejuvenate over the on

that

moves

is

alive: the

fertility ol

in

any one area

results

economic use of a pasturage,

the soil does not allow

,n

for a

With the onset fall

nomadic cycle

is

ol

food

relatives as

same time

there are

the

ol

nomads

cool davs.

first

pastures where thev shear sheep

and return to

for the winter,

not exactly the

movement,

ol

same each

vear. for the

and forced selection, sheep, goats, cattle, camels,

been selected for their suitability for

for a period of years. In

I

to

symbol of

nomadism

songs, epic tales,

and

-

various

names

ancient

Creeks,

e.g..

is a

is

their

of natural

and horses have

lengthy migrations. Indeed,

the horse,

stories.

removing

a

pasturage from

order to maximize the

judge precisel)

when

whose

The winged

ol

is

sung

in

living horse, called b)

Tulpar. |onon Khar

beloved character

praise

like

IVgasus of the

legends and

a

source

pastures

tnd the

nomads

where the animals give

beginning of the

drive their cattle to

new

cycle of

young, and

birth to their

and are shorn. Spring

"ho spend tk

mm of Badakhshan nmer Photo

All

to

and

life

is

a

time of hope

marked by the

ol

.

in

lower altitudes

in ilu-

take advantage of the rich grazing luml.

1

his

body

hk

knowledge

of collective

knowledge, passed on from lather

to

ol trade-

domestic know-how. and moral norms.

smells: the smell ol

flatbread Irving in

of

fat;

preserves thousands

smoke felt

sounds, colors,

ol

rising from the hearth ol a vurt

and

fluffy

hides

heat in the cold night: ol steppe grasses and flowers

snow

ol

winter.

in

where the senses received variety of

the spring.

their lirst lessons in the

and the

fall

hose smells bring back memories

I

and

warming from bod)

especially wild tulips and irises: ol the bitter dust ol fresh

and

nomadic

in

of places

never-ending

life.

Nomadism would and among

be impossible without transportable I

urasian

nomads, evidence

such

ol

dwellings comes from ancient times. Describing the campaign of the Scythians against [he Persian armies ol

century B.C.E., the (.reek historian dwellings on

carts.

description ol

'felt

Herodotus's observation lurkic carts

In

I

Darius

in

the 5th

Herodotus mentions

rial

echoed

is

\\ illem

in

felt

the

van Kubruck.

touthem

Province, Afghanistan, ascend to higher regions in

Natmi. Agj Khan Foundation

the sensation of a natural

daughter, embraces an entire complex

dwellings,

At the earliest signs ol spring, spring

to

is

people. Success

vast

a

A nomads memory

ol

poetic inspiration.

yield

to drive their

is

centuries.

and mother

nomad

Stable forms ol social organization,

ol

area to

Migration with livestock

sun aval, and during the process

sheep have their spring dip

nomads and

a year.

abandoned

long time. Overgrazing can

the extreme,

nomads have

course of

unavoidable fact of

entire world view. Foi them, everything that

sun and moon, water and wind, birds, and animals.

from one pasture to the next, leaving the

herds

the

zation of time and space,

Kazakhs. kvrgvz. Mongols. Turkmcns. and lakuts. to

felt.

depends on masterv

cralt.

entrance alvvavs laces south.

the

favored

domesticated animals over their wild counterparts.

his

amassed ovei

evidence shows that migrator) herding had been preceded by a

arose

season of lattening

young, and meetings with

among

s< iii

complex livestock-raising and agricultural economy, Nomadism

lor the

abiding relationships

on the steppes. Archaeological

livelihood

a

is

characterized by an abundance

is

hat remains constant lor the

rhythm

instruments that are the ancestors ol the cello and violin.

Nomadism on

Summer

nomads

where the happiest

seasons themselves are not the same from one vear to the next. Yet

and bowed stringed

the an of hunting with birds ol prey,

white sacred

winter quarters.

utensils,

and the equine harness. The) invented kurnhi (fermented marc

new day")

Persian,

(in

iliterallv.

pastures,

and camels, prepare milk and meat

1

and leather

summer

undertake their migration to

movable dwellings,

felt

Sara

the Mongols. Without lingering long,

animals and

rugs, beating

every-

can be proud of their

include

clothing suitable lor riding horseback,

Isagan

preparations lor the hard winter ahead: sewing clothes, weaving

huge road

a

and

different migratory paths crisscross. At the

merchants and

blacksmiths lor making horseshoes, kept vitally important wells. established markets lor the exchange ol

among

i

Xawruz

Year, called

games and holidays

Road. In particular, nomads provided temporary accommodation

and

New lurks

time of the nomadic year begins.

ideas

and distributed new technologies and products along the

the

the

drive their animals on to

nomads ol

ol

among

settled

complementary relationship, and

the history of trans-Eurasian trade

vance

nomadic

historical borders of the

and Greece, the

who.

as the

steppes ol the

in

envoy

oi

I

ouis l\ ol France, traveled the Eurasian

1252 54 on his voyage to Karakorum, then the capital

Mongol empire. Ihe

carts that carried

such

felt

homes were

Nomads Today zones constitute one-quarter of the earth's surface. With

Arid

annual

precipitation

range

the

in

200-400

of

mm,

regions

these

of steppe, desert, semi-desert, and mountains are inhospitable to agriand

culture,

economically

only

the

nomadic stockbreeding. An estimated 150 countries

30

who

30 million

million people

huge territory of Inner Asia

the

live in

of

livelihood in

some form of nomadism. An

practice

still

source

viable

that

more

is

than

additional

extends from

the west of China almost to the Black Sea can trace their ancestry to

nomads who

survive.

The

nomads

nomadic

became

worldview

did not completely

society. For example, these days traditional yurts or gers are found not

only

in

place of

the countryside

honor

of nomadic

but

urban centers.

in

are alive and

hospitality

as

well,

in

a yurt.

the

is

transitory.

Political

dwellers

into

conditions to adapt to a sedentary

The most

when nomads

under

were

empires

lost their

forced

to

quite

down.

and could only be moved

only

in

yurt

in

Forced

is

itself

nity," "family,

a

very slow

polysemous word

the slope to

symbol

home.

a

kind of

mean "commu-

"relatives," "people," "land." or "countryside."

Turkic-speaking nomads

their

call

dwellings kiyiz

Mongolian speakers use the term

For nomads, the yurt

is

rich in

uy,

"felt

the key to understanding

also the

name

of

symbolism that represents

The

in

to

a

felt

mountain

and

richly

slope,

orna-

rest.

At

at the

first

glance quite simple.

heart of the traditional It

provides a model and

humanity and the universe, and

nomadic is

a

civilization.

magical act that for nomads

represents the original creation: the transformation of

the

Cosmos, Disorder

is

Chaos

into

into Order. Conversely, dismantling the

yurt creates a reverse transformation.

Each step

in erecting a yurt in the

process are

keenly aware. Moreover, the yurt has been anthropomorphized so

yurt dupli-

hemisphere of the sky. called Tengri. which

God among nomadic

of

Putting together a yurt

Nomads surround cates the endless

not

evident

and they hope to be

has a symbolic meaning, of which participants

ger.

both the macrocosmic and microcosmic world.

is

nomadic worldview.

a

that can

is

mented, the vurt suggests a bird alighting on

the universal dwelling of

is

large,

covered with white

entered general usage from Russian. In Central

"yurt"

at

emerald green grass of

unique achievement of human genius. As the name of dwelling, "yurt

plays.

received respectfully.

such

Inner Eurasia and represents

and legends

tales,

nomads have much

the 21st century

the yurt

The

in

architecture, design, and literature. At the

offer the world

pace.

nomads

heard

the preservation of folk art but also

dawn of

to transport, a

in

modern

pairs of oxen.

at

songs, epics,

folk

The essence of nomadic ideas

comfortable,

still

and films, as well as for educational purposes.

life.

nomadism

fabric colors.

in

are

of new types of music, poetry, theatrical

the

external

neighboring

settle

instruments

are widely used as a resource for the creation

independence and

were cumbersome

structures

Authentic

in

the last hundred

wide and pulled by 33

While probably

by

from

pressure

political

feet

period for

Road region has been

the Silk years,

critical

or

existence,

forced

be

rituals

both traditional and contemporary environments.

masses of sedentary

nomadic

a

nomads may

reverse:

changes

or

turmoil

can

The

of nomadic

art

nomadic dress has influenced

cuisine. Traditional

musical

itself

apartments, the

city

In

opposite the entrance, just as

is

Ancient

nomadism

contemporary

of

part

a

because they do not have addresses and

is difficult,

and

their ability to adapt

fashion and preference

climate can suddenly sweep

is

animists, with the round

opening of the smoke hole symbolizing the sun. Set on the

84

nomads demonstrated

the past,

modern

passports, but also because

Asia

nomadism

population, yet the spirit of

in

not

only

30

in their

disappear. As

as recently as a century or two ago.

lived

Taking a census of

be

settlement threatened their tradition and culture and brought about a decline

between

art

and

themselves with decorative objects that signify the link

life

and

that are associated with dryness

These felt straps cover the outside of a yurt Photo

'

Hcrmine Drevfuss

in

and warmth.

Bishkek. Kyrgyzstan.

'»-~-

>•».•

ft ,

that

its

parts arc described

human body.

of the

hearth

is

located

is

by the same words used

as the "navel

frame

interior of the lattice

covering

is

is

when

ings

I

why

guests

he inside of its

a

smoke

Upper World by

gifts.

bow

their if

and

'

Katherinc Hinckley.

is

is

called

an "eve"; the

and the its

is

felt

own

home,

this seat

who

is

right side is

and

women on

a nomad's

Aga Khan Foundation

the

The

for

example, the poor and the

center or "navel

never be crossed, even

taboo

of the yurt

when no

may even be dangerous,

spirits.

The

hearth

which the worldly

Lower worlds.

also

are closer to

provides a vantage point from entire yurt, with

Lower World,

people considered to be closest to the

for

is

It

is

a

as

it

is

fire is

burning. Violating this

can evoke retribution from the

sacred territory, the place of

axis passes as

it

fire

through

unites the Upper, Middle,

along this axis that

is

sick.

the hearth, which should

life itself

and

rotates, and. in

particular, the life of the inhabitants of the felt dwelling.

spot opposite the entrance

reserved for people

close to the door

the

virtue of their social status, age, or artistic

This traditional vurt in Tajikistan Photo

is

yurt has a sacred character and

At the same time,

on the

the root

:

heads and pronounce greet-

no one

which the occupant can view the tionally seated

hole

or "skeleton,

own symbolism. The

the place of honor

the

parts

walls are "thighs

Herders say that each yurt has

'

entering a yurt, even

imbued with is

is

:

"womb";

the

"bones

called

"clothing.

which

spirit,

is

name

For example, the center of the yurt where the

known

"shoulders"; the opening in the

wooden frame

to

men convenleft.

summer home.

The

spot

In

their traditional

unadorned space. internal their

appointments of the

own

skilled hands.

an object into thing that like

is

nomads do not know an

daily lives,

All of their surroundings,

adorned or ornamented by

To "ornament

a part of one's

locally

yurt. are

own

beginning with the

is

to domesticate, to turn

cultural universe.

Thus

every-

produced, from simple household necessities

drinking vessels and blankets to specially crafted items like

horse harnesses and jewelry,

between

art

and

life.

represents an

inviolable

link

Moreover, ornaments are not simply decora-

85

but comprise

tion, for

a special

language that

an understanding of nomadic

From

a tactile

in their daily lives

Leather

is

is

essential

point of view,

all

warm and

the objects used by

all is felt.

and wood that One might even

through what magical process

felt

seems

A well-dressed

merciless

yurt

Nomads herd

is

preserves

its

warmth

felt

for

86

'

Herminc Drevfuss

and consists mostly

and

home

rest, of festivities

of

full

of

horses, all animals that can

and holidays, of

is

high

in protein

meat and milk products. Such food

daily meal, with

what

diet

provides the energy people need to engage in hard physical labor

its

symphony

played and replayed in the

life

also spiritual survival.

its

of every

nomad

familial relations of

since childhood,

nomadic

guests around the yurt neatly

The

rituals

and the shared meal

turn at the very epicenter of traditional

and

and

of tastes, customs,

serves as a cornerstone of self-identity,

ritual of seating

not just a place of residence, but a

work and

and taking meals. The nomadic

and symbolizes not only physical, but

withstands the

endure long migrations. These sheep herders are from Kazakhstan. Photo

place of daily

ask

present.

sheep, goats, cattle, camels,

a

has

ravages of time and provides a link between the

nomadic past and nomadic

The

nomads

dry, as are rugs, textiles,

thousands of years.

—

life

socializing

exemplify the qualities of dryness and warmth.

been worked. But the warmest of

like

knowledge

arts.

culture.

sums up the

is

in

The

social

people in any given group, demonstrating

hierarchy and priorities.

Nomadic

hospitality rituals

are

stronglv regulated:

they

—

at the

provide an opportunity to exchange news and for guests

behest of their host events

where they

the place

in

about themselves, their

to talk

live.

Genealogical

travels,

and

between

ties

losses

and disappointments, betrayals and challenges, and

all

the

tests of fate that lead to the future.

hosts and guests are thoroughly discussed, and elders recount

and

historical legends

tion particular to

ting information

life

Among

stories.

on the steppe

know

is

means

the

communica-

of

unique form

a

n as the "long car

:

whatever

of transmitis

discussed

around the dastarqan (tablecloth) can already be known the next

day

for

Who

hundreds of miles around. How. and by what means?

knows!

For Further Reading Barfield,

Thomas

Englewood

Nomadic

life is

circular scroll of ornaments,

the

cycle of the mushels

life

The completion

"twelve-year animal cycle.

the beginning of the next, and each

of

one

moment

or

Basilov, Vladimir, ed. 1989.

Natural History

of transition

of the turning points

is

Nawruz begin

On

clothes are sewn.

early:

the eve of

homes

women

long

rice,

and milk.

meal of the

light

—

water,

Stirring the soup, they

new

With the

in

a

in verbal

year and. as they eat,

who

with spreads of delicious food.

The

Then they

call

upon

tibia

bone

"White Bone, which that has

magical night filled

with

head, there are songs, and bards engage

dueling competitions. Meanwhile, young people play

like

full

in the

of laughter

and freedom under

—

Academic

Press.

Melvyn C, and Cynthia M.

World of Mongolia's

Nomads.

Beall. 1994.

The Changing

Berkeley:

University

of

Jones,

Schuvler.

1996.

Tibetan Nomads: Environment.

Economy, and Material Culture.

New

York:

Pastoral

Thames and

Khazanov, Anatoly. 1994. Nomads and the Outside World. 2d ed.

Madison: University

of

Wisconsin

Kwanten, Luc. 1979. Imperial Nomads:

Press.

A

History of Central Asia.

500-1500. Philadelphia: University of Pennsylvania Press. Olcott.

Martha

Brill.

1995.

The Kazakhs. 2d

ed. Stanford:

Hoover

Institution Press. Stanford University Press.

into a

a spring

sky

stars.

life,

and

as

it

recedes into memory, a

new morning

arises

endless steppe, signifying yet another beginning, another

rebirth.

1998. Changing

consists of looking for a sheep's

been thrown into the open steppe

The holiday has provided a short but joyous respite on the path of

eds.

Hudson.

holiday continues with horse competitions. At meals, elders are

games

M. Khazanov,

Changing World. Brighton. England; Portland,

sunrise,

relatives,

life.

in their yurts

s

Nomads. Garden

gather to cook large pots of a soup called

to the first

offered a boiled sheep

A Study in Nomadic New York Press.

California Press.

meat, wheat, millet,

a

E. Sharpe.

Anchor Press/Doubleday.

Ginat, Joseph, and Anatoly

Goldstein,

Nawrur, nomads

sing special songs and pronounce blessings.

wish one another

M.

are cleaned,

sumelak or Nawruz kozhe made of seven ingredients

down

N.Y.:

Nawruz. the

jump over them, young people wander about with

lighted torches,

Armonk,

Albany: State University of

Ore.: Sussex

await them

and London: in association

Faegre, Torvald. 1979. Tents: Architecture of the

Nomads

Preparations for

sit

of Eurasia. Seattle

Los Angeles County

is

March 21-22.

they

of

Berman, Morris. 2000. Wandering Qod: Spirituality.

beginning of the calendar year that occurs on the vernal equinox.

salt,

Nomads

Museum

of China's Kazakhs.

City. N.Y.:

One

and holidays.

bonfires and

Alternative.

Benson, Linda. 1998. China's Last Nomads: The History and Culture

circle leads to

consciously and carefully marked by the appropriate customs,

new

The Nomadic

with University of Washington Press.

marked by eternal circles — the circle of the

sun, the open steppe, the circumference of the vurt. the horned

rituals,

1993.

Jefferson,

Cliffs, N.J.: Prentice Hall.

It is

a rebirth in

rebirth that carries

which nomads believe wholeheartedly,

them through snowstorms and intense

a

heat.

Alma Kunanbay

specializes in ethnomusicology, cultural ANTHROPOLOGY, AND LINGUISTICS. She IS THE AUTHOR OF MORE THAN 30 ARTICLES AND TWO BOOKS, THE SoUL OF KAZAKHSTAN (WITH PHOTOGRAPHS by Wayne Eastep) and Boris Asafyev On Folk Music (with izaly zemtsovsky) and has taught at universities in the united States, Russia, and Kazakhstan. Portions of this article have BEEN ADAPTED FROM The SoUL OF KAZAKHSTAN.

87

GENERAL FESTIVAL INFORMATION

90 100

114

Sponsors and Special Thanks

Schedule

118

Staff

Evening Concerts and Special Events

110

Of Related

111

Festival

Participant Biographies

Samarkand Square

Lost

Festival hours are

at

11

11

&

a.m. to 5:30 p.m. daily, with evening

Street.

Lost family

concerts at specified stages.

Tent.

Festival Sales

Metro

See the

A

map on page

site

and Japanese food

is

sold.

and recordings

are sold in the Lotus Bazaar

Metro

at

of the Freer

members may be claimed

trains will

To make

Press of the press

should register

on the Mall near Jefferson Drive and 12th

at

Aid

A

aid station

Volunteer

is

easily

Festival.

The

accessible from the Smithsonian and

the Festival

more

Orange Lines.

accessible to visitors

the Press Tent

tents.

Sign-language interpreters are on

Festival.

Street.

Check

the printed schedule

programs. Special requests

First

at the

be running every day of the

hard of hearing, audio loops are installed

members

Drive and 12th

Services for Visitors with Disabilities

Gallery.

Visiting

the Volunteer Tent

at Jefferson

Federal Triangle stations on the Blue and

related to the Festival

on the Mall-side lawn

turned in or retrieved

Stations

Festival site

126 for locations.

variety of crafts, books,

may be

near the Metro station on the Mall

Wednesday. June 26. Thereafter,

Traditional Afghan. Chinese. Italian,

Found/Lost People

Lost items

for the Festival takes place at

a.m.,

Map

Interest

Hours

The Opening Ceremony

Site

126

for

in the

site

who

are deaf or

main music

every day of the

and signs

for interpreted

interpreters should be made

at

the

Volunteer Tent. Service animals are welcome. Oral interpreters first

is

located near the

Metro

station

on the Mall

at

are available for individuals

Jefferson Drive

Restrooms There

and 12th

Street.

advance. Call 202.7S6.24H

& Telephones

are outdoor facilities

disabilities located near

Additional restroom

all

for

of

and

visitors

with

the program areas on the Mall.

each of the

museum

buildings during visiting hours.

Museums the

of

versions of the program

request

(TTY)

tion kiosks

book

is

made

three

days

full

in

or 202.275.1905 (voice).

site,

opposite the National

arc available at Festival informa-

and the Volunteei Tent.

A

limited

number

of

wheel-

chairs arc available at the Volunteer Tent. Volunteers are on to assist wheelchair users

on the

American History and Natural History, and inside

museums.

a

Large-print copies of the daily schedule and audio-cassette the public

facilities are available in

Public telephones are available

if

and

to

guide visitors with visual

impairments. There are a few designated parking spaces visitors

call

for

with disabilities along both Mall drives. These spaces

have three-hour time

restrictions.

89

FESTIVAL PARTICIPANT BIOGRAPHIES

Performance Traditions

AFGHAN MUSIC (Afghanistan/United States) Homayoun

Sakhi, vocal/rufcafc

Toryalay. tabla

Sakhi, a virtuoso

the rubab, recently arrived

performer on

in

Hayward,

refugee

in

Pakistan, Toryalay and

Araa Zalmai earlier followed the same route to Hayward, a

where they have helped to open

school of Afghan musical traditions.

AITYS:

Sayan Aqmolda, vocal/qy/qoi>yz

Maksat Begnazarov. vocal

Rysbek Ashimov, vocal

Osman

Sholpan Beimbetova. vocal

The performance of

Khussainov, Jew's harp

is

called oifys

in

a spirit

or

life.

tradition

includes both the

mental

art

bowed instruments.

are keepers of a collective

Epic singers

memory

that

spirituality

and nomadic philosophy. tradition

is

a

kui that tells the story or

cians. Masheallah Akbari

accompanies on

balaban, an Azeri double-reed related to the

is

recognized for

across genres, a

popular teahouses of amateur Azeri musithe

woodwind

Armenian duduk.

The Qaraqalpaks are

komuz/ vocal

Kenjekul Kubatova

from

—

his

performance

lute,

virtuosity

is

a gifted vocalist

known

for

why

—

lies

in

nomadic

now

called

the northwest

of

style to their

in

to the south, Qaraqalpak

to

its

musical milieu.

bards, which perhaps explains

the profession

women.

Zulfiya

of bard

is

widely open

Arzumbetova, foremost

student of the esteemed bard Turganbey

Qurbanov.

versatility that joins

Narin, a city

a traditionally

territory

Though close

Turkmen

the

technical dexterity with artistic interpretation.

originally

whose

bards do not use the low guttural sounds of

Ruslan Jumabaev, a highly regarded master

his career in the

Arzumbetova, vocal/c/utar

Salamatdin Kaipnazarov, qbijak

Turkmen neighbors

komuz

of the Kyrgyz komuz, a three-stringed Tabriz,

Zulfiya

Uzbekistan.

vocal/soz

began

capital.

Gujimov.

Qaraqalpakstan

Kenjekul Kubatova,

Iran,

Osman

sound.

Masheallah Akbari (Azeri), vocal/fca/afcan

northwest

who now

Ashgabad, Turkmenistan's

Turkic group

(Iran)

in

in

recounts the legend purely through musical

Ruslan Jumabaev.

Asheq Hasan, a great Azeri bard from

educated professional musicians

(Qaraqalpakstan, Uzbekistan)

(Kyrgyzstan)

(Azeri),

of Akhal, Lale Begnazarova

They are accompanied on the dutar by

of virtuoso performers on

stringed and

the region

reside

vocal art of epic singers and the instru-

of

friendly competition.

Asheq Hasan

women

from

form known as

of traditional

Participants display their skills

epic poetry by

the Turkmen. Originally

and Maksat Begnazarov are conservatory-

shamanic

Inner Asian pastoral societies, tourna-

tortus are a central feature

common among

connects Kazakh oral traditions with

NOMADIC TOURNAMENT

ments of poets and musicians

Gujimov, dutar

Serzhan Shakrat, vocal

The heart of the instrumental In

Begnazarova, vocal

Amandik Komekulu. vocal/cfombra

The Kazakh bardic

California, after leaving his native Kabul and living as a

(Turkmenistan) Lale

Yedil

Araa Zalmai, vocal/c/o/ro

Homayoun

(Kazakhstan) Almasbek Almatov, vocal

is

accompanied by Salamatdin

Kaipnazarov.

BADAKHSHANI MUSICAL TRADITIONS (Tajikistan) Nobovar Tchanorov. satar/ rubab/ vocal

Youssef Dibaei (Turkmen), vocal/Ztamanche

(Tajikistan)

Anaberdy Vejdani (Turkmen), vocal/c/utor

Sator Fozilov, doira

Youssef Dibaei and Anaberdy Vejdani are

Oumar Temourov,

well-known bards

Oumar Temourov

to a large

in

northern

Iran,

home

Turkmen community. The use

of two instruments bardic tradition,

is

an anomaly

where the norm

is

in

the

solo

performers accompanying themselves on a single instrument.

Mouborakcho Djoumaev, rubab Zarina Kobilova, dancer

Djoumakhon Madjidov,

qbijak is

distinguished

Tajik bards for his original style

among in

which he

brings the qbijak, a Central Asian spike fiddle, to

Sufi music.

rufcafc/vocal

Ulfatmo Mamadambarova, vocal/ doira/cbanq

Moussavar Minakov, satar/ qbijak/ rubab Gulbek Saodatov, sator Isolated

from

the rest of Central Asia by the

Pamir Mountains, the "Roof of the World."

Badakhshan preserves unique music, dance, and theater

in

traditions

of

which remnants

of animism combine with musical genres

and instruments from the Islamic period.

Moussavar Minakov

known

folk

traditional

90

is

the leader of a well-

music ensemble

that

Badakhshani repertory.

performs

a

FESTIVAL PARTICIPANT BIOGRAPHIES

BEIJING

OPERA

BUKHARAN JEWISH MUSIC AND DANCE (United States)

featuring

Qi Shu Fang (China)

CALICANTO

Claudia Ferronato. vocal Nicola Marsilio. clarinet/flute/sax/dudu/c

Ding Mei-Kui

Huang Chen Huang

Shi

Rong.

big

Malaev Ensemble

Ilyas

second

Lin.

Giancarlo Tombesi. double bass

fiddle

Yusuf Abramov. tar

drum

Roberto Tombesi, vocal/manc/o/a/diatonic

Matat Barayev, doira

Li

Peng

Li

Shi-sheng, gong

Liu

Paolo Vidaich. percussion

Tamara Kataev, dancer Ilyas Malaev,

Qi Shufang fiddle

Sun Ya Hui

Zhao Zhen

accordion/bagpipes

Ochil ibrahimov, vocal/tar/ qhijak

Chunnuan

James Qian,

(Italy)

moon

Ping,

Founded

vocal/tar

1981,

Calicanto

is

one of

the folk

Italian

Izro Malakov, vocal

music. They are committed to the recovery

Muhabbat Shamoeva, vocal

of Venetian traditional music, and base

on the fusion of old and new

style

mandolin

in

best-known groups performing

Shashmaqam

from Eastern Europe and

Zhao Zong Quan

their

traditions

the Mediterranean.

Aboshaul Aminov, vocal Beijing Opera,

one of over 300 operatic

styles in China,

is

Osher Barayev, doira

CHINESE STORYTELLING (China)

David Davidov, tor

Chong

Firuza Junatan, dancer

Jai

Boris Kuknariyev, vocal/accordion

Jiang Yunxian.

Shumiel Kuyenov. doira

Lian Liru. Beijing pingsfiu

Izro Malakov, vocal

Mu

Shoista Mulldzhanova. vocal

Tang Gengliang. Suzhou pinqhua

perhaps the best-known

Yujie,

Jingyun daqu

and most widely practiced theatrical tradition in

the world. Blending song, dance, and

acrobatics, this popular Chinese art

form can

back as the 1600s.

be traced as

far

BEZMARA

(Turkey)

Kemal Caba. kamanche

Walter Feldman,

Aziz §enol

Filiz.

Fikret Karakaya.

Osman

Kirklikg,

Birol Yayla.

Founded

in

is

Travis

kudum

earliest

found

likely

in

evidence of Chinese storytelling the

Mogao

caves of Dunhuang.

carried by Buddhist

Silk

qenq

Tamara Kataev

toured across China and

sehrud

Tofahon Pinkhasova

the storytellers

ney

The

fontur/topuz/guitar 1996 by Fikret Karakaya. Bezmara

dedicated to historical performances of early manuscripts

and using reconstructed period instruments,

number of which show strong

Central Asia.

Jarrell

tanci

Firuza Junatan

Ottoman music based on

a

F.

Suzhou

Xiangzheng, sanxian accompanist

The

Sazandas

Ayse Serap (^aglayan, kanun

is

Jainguo. Kuaiban

Bezmara was

links to

the first Turkish

group to resurrect instruments which had not been heard for three or four centuries

and to study the two major notated sources of Ottoman music

ilyas

Malaev Ensemble and Shashmaqam.

both based

in

Queens. New York, represent

the musical traditions

of

a

some 30.000

in

the United States,

perform northern and

southern Chinese oral narrative

which

been

more

arts,

of

than 300 different genres have

identified in spoken, sung,

fable (alternatively

and chante-

sung and spoken) types.

people that have emigrated from Uzbekistan

and Tajikistan over the

prominent figure

sazanda

who

—

in

last

25 years.

this tradition

is

A

the

a female wedding entertainer

dances, sings, and plays frame drums.

Tofahon Pinkhasova. one of Bukhara's most

famous sazandas, presently in

Bukharan Jewish

diaspora community numbering

monks along the who have

Road. Acknowledged masters

lives in

Denver,

detail.

Colorado, where she has transmitted her In the

Senol

duo Yansimalar Filiz

on ney and

("Reflections"), Aziz Birol Yayla

on tanbur

and guitar give musical expression to the experience of Istanbul's numerous Anatolian

immigrants through contemporary Turkish popular compositions.

tradition to

American students, including

Travis Jarrell. Shumiel Kuyenov. leader of

Shashmaqam. came

to the United States

from Uzbekistan

1980. Ilyas Malaev. a

in

renowned performer

in

Uzbekistan,

emigrated to Queens

in

1992.

'>l

FESTIVAL PARTICIPANT BIOGRAPHIES

Asian Mask Dance Theater (Japan)

HUA FAMILY SHAWM AND PERCUSSION BAND (China)

Mannojo Nomura, producer

Hua

Jinshan,

Theodore Bah (Guinea), actor

Hua

Lei,

ETHNOSSHINGIGAKU:

Made Djimat

I

Fujita Shuji,

Jagdish Bhatt

Puran Bhatt

(leader),

shawm

in

Xie Jian,

Hatakeyama Yuko, musician

Shawms were imported

Ino Makiko. actor

and Central Asia. Around the

Tomoe, musician

they started to

Kang Cha

Wook

Kawamura

Kohei. musician

(Korea), musician

Kim Yong

young

children,

Kheta Khan, vocal

and are

who know the repertory of shawm and

Chanan Khan Manganiar, khamauacha/ vocal

the few players

Manganiyars

percussion music.

Lakshmipathy Narendra Kumar

Kuwabara Kayo,

a central place in

(India),

INDIAN MELA PERFORMERS

births

(India)

of

their

They sing Lee

Dong Yong

(Korea), actor

Aziz Khan, magician

Lu Hairong (China), actor

Aziz Khan started his magic career

age of

Qian Tenghao (China), musician

began performing independently

at the

Kishan, son of

Laxman

Today he performs

Ye Fang (China), actor

Mannojo

is

at

from many

parts

one of Japan's most

Road" Road.

—

in

a theatrical

that

he

of Delhi as festivals.

calls the

"Mask

Silk

Kishan, son of

Shuhratdjon Nabiev, tonbur

a

Mastona

range of Uzbek and

Sharwan Nath. behrupia Tajik musical styles, including the classical art

Kishan learned the art of behrupia (impersonation)

from

his father. His specialty

is

OCEAN

INDIAN

song genre known as sbashmaqam. Nabiev's sons, Shuhrat and Shawkat, provide

performs both the

classical

strumming techniques on instrument.

Susmit Sen, guitar 1990, Indian

throughout India and innovative

way

it

is

Ocean has toured

known

for the

blends traditional music

with jazz and rock.

and a

special dutar repertory that features virtuosic

Amit Kilam, drums

in

maqam

(India)

Ashim Chakravarthy. tabla/drums

Formed

lively

accompaniment. Abdurahim Hamidov

Rahul Narasimha Ram, bass

92

Shawkat Nabiev, ghijak

Ergashova perform

impersonating monkeys.

Tokyo.

analog to the

(Uzbekistan/Tajikistan)

Vocalists Jurabek Nabiev and

the beginning of a 10-year

performance project

and

studied traditions of

venerable art forms. Based

bowed

Jurabek Nabiev, vocal

the creation of

of Asia and Europe with the aim of recreating the pageantry of

the streets

in

well as at international fairs

theater and dance

the saranqi, a

and sometimes castanets.

Abdurahim Hamidov, dular

Bharti. juggler

Kishan learned juggling from his father.

Shinsuke Suzuki, staff

masked

and celebratory music to the

string instrument,

MAQAM

at 14.

Latyr Sy (Senegal), musician

Mannojo Nomura, who

seasonal

Mastona Ergashova. vocal

Sugawara Kaori. actor

is

at

as an assistant to his father, then

5

Ketut Rudida (Indonesia), actor

Shingigaku ("new qiqaku")

perform

Hindu landowning patrons.

ritual

accompaniment of

Miura Tsuneo, actor

I

traditionally

and life-cycle events such as weddings and

actor

staff

MANGANIYAR MUSIC OF RAJASTHAN (India) Anwar Khan, vocal

(Korea), actor staff

the

world.

Hua Jinshan and Hua Yinshan learned from

ancient military

Koga Kumiko,

15th century,

become common among

They now

throughout the

festivals

Gazi Khan Barana. dholak/ khartal/ morchanq

among

Mok

Iran

at

celebrations of life-cycle and calendar events.

their father as

Kim Do Yoen (Korea), actor

from

to China

Han Chinese and assumed

Challissery Antony Joy (India), actor

string puppetry since childhood.

share their talents

gong

Hashimoto Katsutoshi, actor

Irino

Guddi, Jagdish, and Puran Bhatt have trained

Hua Yun. shawm

staff

(India)

Guddi Bhatt

drum

small cymbals

Hua Yinshan

(Indonesia), actor

KATHPUTLI PUPPET THEATRE

the two-stringed

FESTIVAL PARTICIPANT BIOGRAPHIES

MONGOLIAN MUSICAL TRADITIONS I.

Amartuvshin. morinhuur

G. Khongorzul, urtiinduu (long

hoomii throat-singer/fiddles

N. Sengedorj, B.

song singer)

Sansarbayar, qatqa

Ts.

Tsengelmaa, bielgee dancer

musicians tutelage

in

have chosen leadership and

their regional

Mongolia over

communities

lucrative national

this

in

and interna-

tional careers. Joined by virtuoso

of vocal music and dance,

OF THE UYGHURS

performers

musical group

Viktor Yedil

Abay Rakhyshev. vocal/drums

Mahammat

Kazbek Spanov, vocal/guitar

live

in

Urumqi, where they

and Xinjiang Song-and-Dance Troupe. Rozi Tughluk

part

is

of the large Uyghur diaspora

Central Asia, and lives

in

Tashkent,

(Azerbaijan)

with

(Kyrgyzstan)

Gulbara Baigashkaeva.

komuz/temirkomuz

songs and

rain

modern instruments and performance

known

as

mugham,

is

performed by soloists or small

ensembles. These days, the tradition

among young

is

vigor-

performers,

Chanar Khyr Khaas. khai/ chatkhan

music

in

this delegation includes Adalat

whose

improvisational style on the

based on the vocal repertory of the

Azeri bards, called ashiq.

founded by

an imaginative style that incorpo-

These three musicians from Khakasia. small republic

preserves traditional practice, but also breaks

tion

new ground.

Khakas

AND DARIUSH

in

a

the south of Siberia, are

in

masters of khai with roots

PARISA

Anna Burnakova. /chat/percussion

Aycharkh Sayn, khai/ chatkhan/ qobyz

("heritage"),

rates a small ensemble. Their music

including the teenage vocalists invited to this

year's Festival. In addition to five performers

SABJILAR (Khakasia, Russia) Altyn Tann

chor/temir komuz

tar

Azeri classical music,

is

six

the ancient

to the spirits are brought together

Nurlanbek Nyshanov, komuz/chor/chopo

Nurlanbek. performs traditional Kyrgyz solo

saz

in

Bakytbek Chatyrbaev, qylqiuak

Leyla Rahimova, vocal

Nasibov,

inspiration

songs and instruments of the animist culture

hymns

Ensemble Muras

of mugham.

their

of the steppe. Shamanic

Adalat Nasibov, saz

ously alive

Kazakhs found

Toktobek Asanaliev. /comuz/vocal

qarmon

Hashimov.

traditionally

Between New Age and shamanic pop.

style.

Niyamettm Babyev. vocal Elchin

Tursun

perform with the Xinjiang Muqam Ensemble

MURAS

Ahmadov, kamanche

Aydin Aliyev,

/camys-syrnai

music. Sa'nubar Tursun and her brother Nur

Uzbekistan.

MUGHAM

Khomenkov, keyboards

Khussainov, vocal/djetygen/

shan-/cofcyz/saz-syrnai/syfayzgy/

are large suites

consisting of vocal, instrumental, and dance

culture of the western Oirats and the

Elnur

muqam

(Kazakhstan)

Ruslan Karin, vocal/saz-syrnai/shan-kofcyz

Sa'nubar Tursun, vocal/dutar

in

arts of central Khalkha Mongolia.

ROKSONAKI

Yermek Diyarov. vocal/guitar

Nur Mahammat Tursun, satar/tanfcur

presents traditions from both the herders'

nomadic

(China)

vocal/rawap/tanfcur

The Uyghur

Amartuvshin and Sengedorj are charismatic

who

MUQAM

Rozi Tukhluk (Uzbekistan),

—

Khakas throat-singing

—

shamanism

of epic poems.

In

and the recita-

revitalizing ancient

traditions. Sabjilar

combines khai with

the chatkhan, a long, plucked zither regarded

TALAI:

as the national instrument of Khakasia.

Persian Classical Music (Iran)

SHOGHAKEN ENSEMBLE

Parisa. vocal

Dariush Parisa the

is

Talai,

Tigran Ambaryan,

tar

the present-day representative of

Davami and Karimi

Persian radii and

is

tradition

She performs from

the classical Persian repertoire

dastqah and Dariush

Talai.

is

accompanied on

known

kamanche

Gevorg Dabaghyan. duduk Aleksan Harutyunyan, vocal/dancer

of the

considered one of Iran's

greatest female vocalists.

(Armenia)

as

the tar by

a virtuoso classical musician.

Hasmik Harutyunyan. vocal/dancer Karine Hovhannisyan, kanun

Kamo

Khachatryan. dhol

Grigor Takushyan.

dham duduk

Levon Tevanyan. shvi/zurna

Shoghaken Ensemble was founded

in

1991 by

conservatory musicians to perform Armenian folk

music as

history

—

in

it

has been played through

small ensembles of traditional

instruments, singers and dancers. The

ensemble's new Traditional

CD

will

Crossroads

be released by in

2002.

93

FESTIVAL PARTICIPANT BIOGRAPHIES

THE SILK ROAD ENSEMBLE

John S.C. Wang (United States)

Craft Traditions

Edward Arron, cello

Born

BEAD MAKERS

Nicholas Cords, viola

He

Haji

Cui, s/ieng

Ashoor

Gevorg Dabaghyan, duduk

Working

Sandeep Das.

lazuli

tabla

Haji

Joel Fan. piano

G. Khongorzul, long

Ashoor began making beads when he old.

CERAMICISTS

With decades of experience, Chen Xinching is

was born

Colin Jacobsen. violin

Luigi Cattelan

Dong-Won

have been glass masters since the

Kim. chanq-qo

into a family

master of Jingdezhen throwing.

Ibrahim Erdeyer (Turkey) Ibrahim Erdeyer was raised with pottery,

century.

fiuur

a

who

15th

mixing clay as a

Shane Shanahan, percussion Abdul

Suter, percussion

Momin

teen,

(Pakistan)

Kojiro Umezaki, shakuhachi

A

Yang Wei. p/po

Ashoor, Abdul

Beixing Xiang, erfiu

type of painted carnelian bead.

bead maker

skilled

and

Silk

Road Ensemble

is

a collective of

firing the kiln as a

child,

later painting.

like his father, Haji

Momin makes

Mehmet

Giirsoy (Turkey)

Mehmet

Gu'rsoy

a distinctive

the excellence

The

praised for his

Chen Xinching (China)

Luigi Cattelan (Italy)

Joseph Gramley. percussion

Mark

is

carvings.

violin

Yo-Yo Ma, cello/morin

Wang

elaborate brush strokes and intricate seal

he collected from the desert,

was 25 years

song vocal

Jonathan Gandelsman,

(Pakistan)

with ancient blocks of lapis

that

Taiwan into a family of artists and

in

scholars, John S.C.

CALLIGRAPHERS

is

dedicated to recreating

of 16th-century porcelain,

including the traditional palette of six colors.

like-minded musicians dedicated to exploring the relationship

innovation

in

between

tradition

Issa M.

and

music From North America,

Europe, and Asia. Each musician's career illustrates a

Issa

Benyamin (United

Benyamin

raphy,

now

States)

skilled in

is

retired

and

Higaki Hachiro (Japan)

Assyrian callig-

living in

As a young man. Higaki Hachiro learned the

Chicago.

unique response to the challenge

of nourishing global connections while maintaining the integrity of art rooted

in

of figurative pottery from

art

Kang Qing (China)

an Niyaz Kerim Xarki

is

a master

Uyghur

callig-

authentic tradition.

rapher with works featured

UZBEK PUPPET THEATER

his brother.

Niyaz Kerim Xarki (China)

in

In

collections

2001,

Kang Qing was

professor

around the world.

a visiting

Harvard. She

ceramics

is

skilled at

Maekawa Denko was born

in

the middle of

and

at

35 started his

at

blue-and-white painting.

Venera Yusupova Gulshat Nazarova

Muhittin Serin (Turkey)

Dinara Yuldasheva

Muhittan Serin

Maekawa Denko is

Puppetry and folk theater have a long history in

Central Asia, and these days are being

reimagined

in

a

contemporary form with

particular brio by Uzbekistan's Republican

Theater, represented at the Festival by three

of

its

most experienced puppeteers.

Seto's pottery Alvin

Born

Y.

Tsao (United States)

in

Taiwan, Alvin Tsao

now works

own in

district,

figurative pottery studio.

the

Washington. D.C., area. He has given

numerous

(Japan)

a master of the talik script.

Masuda Shigeyuki (Japan)

calligraphy and seal-carving

Masuda Shigeyuki demonstrations

in

local

working

at

a

ceramics factory after World War

II.

then

started

museums.

became an independent Oguzhan

Tugrul (Turkey)

Oguzhan

Tugrul

is

active

in

the international

community of paper marblers and Uyghur calligraphers.

Haripada Pal (Bangladesh) Haripada Pal makes molded, painted images for domestic worship, and larger hand-

modeled images

94

figurative potter.

for temples.

FESTIVAL PARTICIPANT BIOGRAPHIES

George Oubid

Ahmet Hurriyet §ahin (Turkey)

Nakagawa Sochi (Japan)

Nurten §ahin (Turkey)

Azechi Rika

George Oubid

Kishimoto Kanehiro

jeweler

Hurriyet S,ahin trained with his grand-

Ahmet

father, also

named Ahmet

§ahin, considered

Koiwa Jun

Nakagawa Masahiro

ceramics. Since 1989, he and his wife Nurten

Nakagawa Tatsuya

atelier that

uses his grand-

father's old designs.

B.D. Soni

Studio combines fashion with art and envi-

remixes old fashion buys into pieces

Tatebayashi Hirohisa's family has been

convey new meanings to

a traditional Indian goldsmith.

is

MUSICAL INSTRUMENT MAKERS

that

John Bertles (United States)

their wearers.

A composer, instrument

since the early 17th

century.

Carnegie

From

Jiangsu Province. Xu Xiutang

is

a

master of Yixing tea pots and sculpture.

of

own work. He

his

known

is

He also performs for his

Hasan

al

(Syria)

Mhd. Nazir in

Kazzaz

al

trimming, glazing.

Hasan

and finishing Jingdezhen pottery.

al

Kazzaz and

Kazzaz come from

Glass-blowing

Lola Babayeva (Uzbekistan)

to

Trained

in

his

son Mhd. Nazir

traditional

Uzbek

clothing.

400

skills

son through

are passed

from

physicist by training. Turdukan

is

one of Kyrgyzstan's pioneering fashion

built

(Tuva. Russia)

Marat

Damdyn

is

a

master instrument maker

Tuvan stringed instruments.

all

father

is

a throat-singer.

PAINTERS

5 years of intensive training.

Yeshi Dorjee (United States) Yeshi Dorjee

Richard Furrer (United States)

a traditional Tibetan painting

is

skilled in

thangka painting

—

of a Buddha.

Buddhist deity, or a mandala.

modern smelting process,

replicate crucible steel for

to

Mohammed

daggers and

swords.

Sirajul Islam

Mohammed

Nasseripour

specializing

in

six

(Bangladesh)

Nasseripour (United States)

museums

is

an architect

museums and in

Iran.

He has

has designed a studio in

Washington. D.C., where he teaches painting.

Tatiana Vorotnikova (Kyrgyzstan)

Born

Tatiana Vorotnikova runs a large workshop hats,

Damdyn

He also

designers.

which produces clothing, bags,

Marat

METALWORKERS AND JEWELERS

rather than the

Borubaeva

A

materials.

in

years.

Richard Furrer uses traditional techniques.

Turdukan Borubaeva (Kyrgyzstan)

its

from recycled

who makes

a theater institute. Lola Babayeva

draws her inspiration from

musical instruments

York area for

al

been

a family that has

the glass-blowing trade for

CLOTHING DESIGNERS

with Bash the Trash, a

Kazzaz

Yie Dongxi (China) Yie Dongxi specializes

with the

group known throughout the greater New

evening wear and tailoring.

GLASS BLOWERS

and

worked

Link-up Program for 9 years.

Hall

Taras Volnikov designs, cuts, and constructs all

builder,

educator. John Bertles has

Taras Volikov (Uzbekistan)

Xu Xiutang (China)

committed to

B.D. Soni (India)

The creative team of the Nakagawa Sochi ronmentalism. The team recycles and

Arita porcelain

is

tions.

Tatebayashi Hirohisa (Japan)

making

perhaps the best-known

is

of Syria and

all

educating others about these ancient tradi-

the 20th-century's grand master of Islamic

have managed an

in

(Syria)

and

into a farming family. Sirajul Islam

considered the greatest engraver

in

is

At the Festival he demonstrates miniature

modern painting.

Bangladesh.

accessories.

Gyan Prakash Soni

Mohamad

al

Malli (Syria)

Mohamad

al

Malli

intarsia, a

mosaic-like

Gyan Prakash continues the tradition of inlay

(India)

Soni, a Pichhwai painter, uses

handspun cloth and natural dyes to create

of contrasting spiritual

images.

materials such as bone, mother of pearl, and

wood.

95

FESTIVAL PARTICIPANT BIOGRAPHIES

STONE CARVERS

Aram Vartanov

(United States)

Aram Vartanov

incorporates Western

European

Armenian

art in his

Iftikar

Ahmed

Iftikar

Ahmed makes

religious

paintings and illuminated manuscripts.

Ikat Weavers (Uzbekistan) Bobir Ismailov

(Pakistan)

Gandhara-style carvings

and works with

his father.

Ghulam Mustafa

(Pakistan)

Ghulam Mustafa.

silk

Tohtu Baqi Turdi (China)

Ghulam Mustafa prides himself skilled in

is

in

in

replicating

making a

mulberry paper famous

the

wide range of styles

both large-scale

in

Lorisa

Norbu

ikat

Bukhara and

Samarkand have been produced

for centuries

Uzbekistan.

in

in

tamQ-nagashi method with added white

Edo

women

Salvi

Bharatkumar

Salvi

Rohitkumar

(Tuva, Russia)

Singlehandedly breaking taboos against

The Fukunishi family makes kozo paper

the

cities like

Ikat Patola Weavers (India)

Fukunishi Masayuki (Japan)

method used since

from

Hotan region.

Fukunishi Hatsumi (Japan)

clay, a

textiles

on hand looms

and small-scale work.

the

Davlat Umaralyev

The celebrated and well-known woven

PAPER ARTISTS

Tohtu Baqi Turdi

Dilbar Khalimova

sculptors. Lorisu

acceptance from the

Kantilal

Kantilal

Salvi Vinayak Kantilal

Norbu fought

for

The

Salvi brothers'

grandparents revived the

union while

artists'

art

period.

developing a unique, representational

of double

ikat

weaving. Building on

this

style.

contribution, the brothers have reintroduced

Guerrino Lovato, mask maker

natural dyes

(Italy)

and

traditional patterns.

Alexei Salchak (Tuva, Russia)

A

mask maker,

celebrated Venetian

Alexei Salchak

Guerrino Lovato has taught mask-making union,

workshops

in

where he organizes

Asif Mian

Shawkat

the annual

maker

in

western Tuva.

Shawkat

(India)

was awarded

the national merit

Government of

from

TEXTILE ARTISTS

Feridun Ozgoren's art

include

of Turkish

works

in

States) in

the

efcru (marbling)

and

Ottoman and Arabic

calligraphy.

Mohammad

Hussain

Shaikh

Mohammad

Hussain was born

family of block printers.

Tree of

He

in

specializes

in

the

Life motif.

Brocade Weavers (Syria)

is

skilled in

chiaroscuro

Rabari Weaver (India)

back to the mid-t8oos. fathers.

Zhang Fengxue (China) Since the Tang dynasty, generations of

Zhang Fengxue's family have made

96

Begay synthesizes new materials,

Ramiben Ratna Rabari

Ahmad Chakkaki and and learned the

living

D.Y.

designs, and techniques with traditional

(Italy)

Louai Jarkas represent

generations of Kurdish that dates

Begay

knowledge.

watermarks, an innovation of Fabriano paper

making

operation.

D.Y.

a

Louai Jarkas

Roberto Rapanotti

in

(United States)

Shaikh

Ahmad Chakkaki Roberto Rapanotti

come

where some

Navajo Carpet Weaver

(India)

works are

and Md. Enamul Haque

2,000-3,000 jamdani looms are

Block Printer

Ozgoren (Turkey/United

Ali

the village of Rupshi,

India for

his extraordinary kites.

tradition

Ali

Md. Enamul Haque

pilgrimage to the sacred stone collecting

certificate by the

Feridun

Jamdani Weavers (Bangladesh)

the United States and Europe.

grounds Asif Mian, kite

the head of Tuva's artists'

is

as mulberry paper makers.

their

skill

silk

weavers

in

of weaving from

Syria, their

The bold and bright embroidery of Rabari

women, such as Ramiben decorate clothing and decorations.

Ratna,

is

used to

make household

FESTIVAL PARTICIPANT BIOGRAPHIES

Nomadic Traditions

Tibetan Carpet Weavers (Nepal) Tsering Bhuti

(Kazakhstan) Almasbek Almatov.

Dawa Tsamchoe

(Italian)

Enzo Fargione

studied at the Culinary

of Turin.

Institute

Dawa Tsamchoe Tsering Bhuti and

Enzo Fargione

owner of

yurt builder

il

and

Italy,

is

currently the

Radicchio.

learned

Sayan Aqmolda, yurt builder the fundamental aspects of carpet weaving

as children and are experts

hand carding.

in

Rysbek Ashimov,

yurt builder

Shajan Fazelyar (Uzbek)

Baltabay ibrayev, yurt builder spinning, and weaving Tibetan-style carpets.

Shajan Fazelyar has lived

Amangul ikhanova,

felt

maker 1987.

Turkish Carpet Weavers (Turkey)

Zhangir Umbetov, leatherworker, yurt builder

Ahmet

The

Balci

traditional

Kazakh yurt

is

not just a

place of residence, but a

Ummu

Gulsum Yilmaz

assembly invokes the symbols and emotional

Ummu

Guslum Yilmaz weaves

associations meaningful to a nomadic Central

Balci

is

Hu (Chinese)

Huilan

Hu was born

China, and

now

lifestyle.

The collapsible

Jiangxi Province.

in

lives in the provincial capital,

though she frequently

traditional

Asian

Ahmet

Huilan

Farsi.

home whose

Mukaddes Kavak

rugs as well as the flatweave kilims.

Virginia since

in

She speaks Uzbek and

visits family

in

the

yurt represents

Washington area. a development that occurred

in

the middle

of

a skilled natural dyer. the first millennium C.E.

Mukaddes Kavak

is

an Ayvacik rug weaver.

Turkmen Carpet Weavers (Pakistan)

Nahid Javadi (Azerbaijani)

Foodways Traditions

Born and raised

Tabriz. Iran, Nahid Javadi

in

has a master's degree

Abdul Baqi

in

English

from

Tehran University.

Najmieh Batmanglij (Persian) Sadaf Baqi

Najmieh Batmanglij was born and raised

in

After leaving Afghanistan as a child.

and received master's degrees

Iran,

Abdul Baqi lived

in

Turkmen

Pakistan's

most

highly skilled

weavers

in

the United States and

the art of

France. She

vegetable dyeing. Sadaf Baqi

one of

is

in

the

is

the author of the best-selling

New Food of Life', Silk

her

Born

Tussah Silk Weaver

Buyukunsal (Turkish)

(Katie)

tion to Turkish cuisine by

Gunia Devi

of vegetables

Before producing mulberry for

its

silk,

coarse, tussah

India

was

difficult to

common

(Pakistan)

in

painting.

in

(Italian)

Milan. Italy.

Marco Nocco has

iz,.

He

is

now

in

Born

Beijing. Jinghua Chi divides her time

D.C.,

and Hangzhou

in

currently

Ali

known

builds

for his fine

the age of the main

in

Kabul, Afghanistan. Shukrieh

works

Roberto Donna Washington.

in

Shobha Shah

and

il

Bombay. She

(Italian) is

D.C.,

an award-winning chef

Raad

for Voice of America.

(Indian)

Shobha Shah was born and

is

from

the executive chef

Shukrieh Raad (Afghan)

Roberto Donna Haider

the

restaurant.

Ali

trucks, and Jamil Uddin

is

magazine.

her homeland, but

Zhejiang Province.

Jamil Uddin living in Karachi,

Women

find in the United States.

between Washington,

Both

Kabul, Afghanistan,

kitchen of Washington. D.C.'s popular Galileo

Jinghua Chi (Chinese)

Born

Haider

in

growing a garden

Gunia Devi

silk.

this tradition.

TRUCK PAINTERS

born

studied Italian culinary arts

Mukadder Buyukunsal maintains her connec-

(India)

represents

Nairn,

founder of Afghan

Marco Nocco

together.

Mukadder

known

Jila

most recent cookbook

Road Cooking: A Vegetarian Journey.

Turkmen refugee community. Husband and

work

Nairn (Afghan)

her Ersari is

wife

Jila

exile

education and art

community where he learned

in

in

and owner of both Galileo

is

raised

in

very knowledgeable

in

the

traditions of North Indian and Gujarati

cooking.

Radicchio.

97

FESTIVAL PARTICIPANT BIOGRAPHIES

Fay Shahidi (Persian)

as a child and

ways

is

Madan Gopal Singh

Sacred Traditions

was encouraged to

Fay Shahidi

learn cooking

proud of her Iranian food-

heritage.

A

ALEVI

SEMAH OF HUBYAR

(Turkey)

Aysel Adiguzel

writer, lyricist,

Singh,

is

(India)

and singer, Madan Gopal

an expert on Sufis of 16th

-

18th-

century Punjab.

Riza Adiguzel Nikta Shahidi (Persian) Nikta Shahidi caters her specialties

and Persian kukus

— to

community

Washington area.

— soups

TIBETAN

Aydin

Alii

MONKS

from the Drepung

Hasan Aydin

Monastery (India/United States)

Bahar Bayn

Geshe Lobsang Chogyal

Tutca ClicLi

Lobsang Chophel

HLiseyin Denizhan. ashik

Lobsang Dhargye

Behjat Shahverdiani (Persian)

Ru|tu Durna

Wangchen Dorjee

Behjat Shahverdiani's specialties are Persian-

Suleyman Duran

in

the

the Persian/Iranian

style rice meatballs, kufteh,

and

rice with

sour cherries (albalupolow).

Ahmet Gu'ngor,

Thupten Kungkhen

Dhakpa Norbu

ashik

Durdane Karagoz

Tsering Phuntsok

Cemal Ozcan

Dondup Tenzin Drepung

Sakina A. Shehadi (Syrian)

The Alevis comprise a religious community

Established

Sakina Shehadi has cooked for the Turkish

of Turks and Kurds rooted

central and

Monastery trained generations of monks

embassy

eastern Anatolia and presently

number some

from throughout

in

Ankara.

15

million, nearly a quarter

of Turkey. A

in

of the population

devotional and ritual-

zikr, the

Leda Zenian (Armenian) ized technique particular to Sufis,

Leda Zenian grew up

and has

in

a doctorate in

demography.

Beirut.

Lebanon,

economics and

is

recre-

ated for a formal stage presentation. Ashiks

who perform on

the

baqlamasaz,

a stringed

instrument identified with the Alevis,

pany whirling dance movements

accom-

THE KUSHTIA BAULS (Bangladesh) Anjali

Ghosh Durga,

vocal

Shunil Kormakar, vocal

Md, Naimul Karim Melal, vocal Sanchita Paul, vocal

Md. Belal Siddique, vocal Bauls are wandering minstrels

songs and dance

whose

ecstatic

reflect their joy, love,

and

longing for mystical union with the Divine.

Each

member of

Kormakar,

is

the ensemble, led by Shunil

considered a great Baul. Baul

songs are accompanied by ektara, flute,

mandira.

98

tabla.

dotara.

harmonium, and karatal or

Tibet. In

Loseling Monastery

Recently

in

his

Drepung

South India

some of those monks

lished a center travel

in

many monks

1959.

Lama. With

support, they reestablished the

in

1971.

have estab-

Atlanta, Georgia,

and

now

throughout the United States

settings.

symbolize the motion of cranes.

the 15th century, the

fled Tibet with the Dalai

performing

that

in

ritual

ceremonies

in

appropriate

FESTIVAL PARTICIPANT BIOGRAPHIES

URHOY CHOIR

ZURKHANE

Sandy Amsih

BUKH: LEGENDARY WRESTLING TRADITION (Mongolia)

Adrian Aziz

Mongolian wrestling

Edwar Danho

against each other as the zazuul. part-

undertake

referee, part-jester, sings their praises. After

weights to the

(Syria)

Danho

ilona

pits

Morshed Mehregan. morshed

four wrestlers

In

warm-up, the

Fadi Karat

the eagle dance and ritual

lzla Karat

match begins. When the winner

Jean Karat

the wrestlers

George Kentar

winner distributes candy to the audience.

Maya

Stifo

perform

THANG-TA

is

Iran, a

zurkhane

and the

is

a

in

which

men heavy

drumming and chanting of chanted by a morshed.

Morshed Mehregan, who leads chant and all

gym

spiritual body-building, lifting

spiritual texts

declared,

a ritual dance,

(Iran)

is

drumming

from Tehran, for zurkhanists of

ages.

(India)

Samira Steifo

community

Syriac Christian

to send mission-

aries across the Silk Road, and their influ-

ence can be found

the written adaptation

in

the Syriac system.

Thang-ta

The Urhoy Choir of

is

martial arts

an ancient Indian form of in

which "fighters" joust with

long sticks, swords, or spears. Rooted

Manipur

of many languages, including Mongolian,

from

Nongmaithem

Khilton

Assyrian Christians were the predominant

it

is

State,

in

the far northeast

monks, and may have been one

by Buddhist

people belonging to several church traditions

of the inspirations of kung

perform

spiritual

songs

in

in

India,

believed to have been carried to China

Qamishly. Syria, brings together Assyrian

to

of

fu.

three Assyrian

dialects: Classical Syriac, Eastern,

POTOMAC POLO CLUB

and

Western.

Greg Ford

Mara Hagan

Sports and Martial

Charlie

Arts Traditions

Muldoon

Joe Muldoon, Joe Muldoon

ASIAN MARTIAL ARTS

Martine Maldanado

(United States) Steve

Dave Polan

Brown

Potomac Polo Club was founded

Tony Chen

Sifu

when Frank Willson

Christopher Cheung

Club

Chew

Patrick

at

popular sport

Gee

in

Today.

well

known Road

that

Buddhism

missionary

Chan Buddhism

located

in

owned and

known

introduced

Zen

in

also brought with him the

seeds of Chinese kung

tion

who

to China (later called

may have

unarmed

is

is

traveled along

into China, but less well

that the Indian

Japan)

Potomac Polo Club

operated by 6-goal player. Charlie Muldoon.

Tao Zhang is

Olney,

Washington, often attracting

Poolesville. Maryland, and

the Silk

in

over a thousand fans to a single match.

Kaela Kang

It

1951

Brook Manor Country Club

Bernard Beno Hwang

Jia

in

Washington Polo

started

Maryland. Throughout the 1960s, polo was a

Laura Copenhaver Janet

Jr. III

fu,

or Chinese

fighting techniques. America's atten-

and enthusiasm for martial arts soared

with the advent of Bruce Lee's kung fu films in

the 1970s.

99

SCHEDULE

WEDNESDAY JUNE

26

Ait as Stage 12:00

Calicanto: Troubadours of Venice

12:45

Roksonaki: Kazakh Folk-Rock

1:30

12:00 1:00

and Throat-singing

Sabjilar: Epics

from Khakasia

1:45

and Indian

Steppe

ning, Syrian

Workshop: Throat-singing

embroidery, and Indian block printing, as well as velvet

Muras: Virtuosos from Kyrgyzstan

2:30

Aittjs:

2:30

The

Road Ensemble:

3:30

Bukh: Legendary Wrestling Tradition of

Music of the 3:15

and Future

Past, Present,

Mugam: Uyghur Courtly Music Roksonaki: Kazakh Folk-Rock

4:45

Assyrian Voices: The Urhoy Choir

12:45 1:15

2:00

Tournament of Minstrels and Bards

Aitys:

stone carving, instrument making, and

felt

nomad

from Kazakhstan and

by participants

tality

Trail:

making,

Autonomous

Assyrian Voices: The Urhoy Choir

of the construction and dismantling of a yurt are high-

Alevi

Republic

lighted by the loading

in

Semofi of Hubyar

and transport of the yurt on a

in

the Tree of Life Area include the construction of a

Demonstrations

in

monks of Drepung Monastery.

the Silk

Grove Fashion Court of

designers from Japan. Kyrgyzstan. and Uzbekistan. Fashion runway presentations feature the

work of

Family Oasis 12:00

Kathputli Puppet Theater

12:30

Chinese Storytellers

Uzbek Puppet Theater Road

2:00

Silk

2:45

Make and

4:15

Indian Mela: Behrupias. Jugglers. Magicians

5:00

Asian Martial Arts

Storytellers Play a Silk

Road Instrument

2:45

Mugam: Uyghur Courtly Music

3:30

Songs of Love and Devotion: from Bengal

1:00

Zurkhane: Iranian

4:15

Muras: Virtuosos from Kyrgyzstan

1:30

Bukh: Legendary Wrestling Tradition of

Demonstrations by carpet weavers from

Devotional Music of Bengal:

Mongolia

4:45

Afghanistan. Turkey, and the United States.

Sufi Music

12:00

The Kushtia Bauls

Kashgar Teahouse 12:00

Masters of Afghan Music

12:45

Madan Gopal

Singh:

Asian Martial Arts

in

America Bodybuilding

Spiritual

in

America Tibet.

from China

2:00

Storytellers

2:45

Asian Martial Arts

3:45

Hua Family Shawm and Percussion Band from China

4:30

Beijing

in

Jewel Garden

America

Demonstrations of Bangladeshi and Damascene metalwork; Indian and Syrian jewelry; Buddhist figurative carved stones from Pakistan; Turkmen and

Opera featuring Qi Shu Fang

Nara Gate

Muqam: Uyghur Courtly Music

2:00

Indian Mela: Benrupias, Jugglers. Magicians

12:00

2:45

Uzbek Puppet Theater

12:45

3:15

Workshop: Musical Instruments

4:00

Roots of the Gypsy

furniture.

Monks from Drepung Monastery

Tibetan

Cooking demonstrations

in

the Jewel

Kitchen of Afghan. Azerbaijan, Chinese,

Italian,

1:30

Music and Dance:

Semah of Hubyar

Freer and Sackler Galleries

Songs of Love and Devotion:

Trail:

4:30

Kathputli Indian Puppet Theater

5:00

Sabjilar: Epics

Sufi

Please see page

Music from Bengal

talks, tours,

Devotional Music of Bengal:

2:15

111

for detailed schedule of exhibitions,

concerts and storytelling.

The Kushtia Bauls and Throat-singing from 3:00

Khakasia

Samarkand Square 12:30 1:15

4:00

Opening Ceremony

Maqam. Uzbek and

Tajik Courtly

Music

Badakhshan: Songs and Dances from

Badakhshan: Songs and Dances

Lotus Bazaar

from

Sales areas offer craft demonstrations and

Mugham: Courtly Music of

2:45

Masters of Afghan Music

Azerbaijan

Tajikistan

Ethnos Shingigaku: Asian Mask Dance Theater

Paper Garden Assyrian. Chinese, Uyghur, and

Italy:

Turkish calligraphy; Tibetan thangkas: Iranian, Armenian,

and Hindu devotional paintings; kites;

Iluas

the 4:15

Malaev Ensemble: Music and Dance of

Bukharan Jews

Maqam: Courtly Music of

tions

Italian

masks; Indian

and paper prayer making. Cooking demonstrain

the Paper

Garden Kitchen of Armenian.

Persian, Turkish, and

the Silk

performances.

Demonstrations by paper makers from Japan. China, Turkey, and

Tajikistan

2:00

3:30

Garden and

Syrian foods. Sufi Ritual Alevi

Manganiyar Music of Rajasthan

11:00

Italian

beads; Syrian and Turkish blown glass; and Syrian inlay

Indian Music of the Spirit 1:15

Silk

Road designers.

1:15

Tower

Xi'an

cutting by the International Silk Association. Activities

Russia. Daily demonstrations

Bactrian camel.

Sufi Ritual Music and Dance:

spin-

silk

hospi-

the Tuvan

Manganiyar Music of Rajasthan

Shoghaken Ensemble: Folk Music of Armenia

dyeing and weaving, tussah

brocade weaving, Uzbek and Gujarati

draping, piecing, construction, and fashion sketching, by

Demonstrations nearby the Aitys stage of

Istanbul Crossroads Roots of the Gypsy

Mongolia: Music from the Mountains and the

4:45

ikat

sand mandala by the

Steppe

4:00

12:00

Tournament of Minstrels and Bards

Mongolia 4:00

Demonstrations of Bangladeshi jamdani weaving. Uzbek

Mongolia: Music from the Mountains and the

2:00

Silk

Grove

Silk

Tournament of Minstrels and Bards

A/tus:

Indian,

Uzbek foods.

Road

Ceramics Courtyard Demonstrations of Chinese blue-and-white porcelain and tea pots; Japanese porcelain; tea bowls, and figurative pottery: Turkish cini pots

devotional icons

and

from Bangladesh.

tiles;

and Hindu

EVENING CONCERT

SCHEDULE

THURSDAY JUNE Ait

Venice Piazza °u;oo 11:45

12:30 1:15

Roksonaki: Kazakh Folk-Rock Calicanlo: Troubadours of Venice

Workshop:

3:00

Calicanto: Troubadours of Venice

'3:45

Sabjilar: Epics

Demonstrations of Bangladeshi jamdani weaving, Uzbek

and the Steppe

and Indian

embroidery, and Indian block printing, as well as velvet cutting by the International Silk Association. Activities

Aitys:

Tournament of Minstrels and Bards

in

Workshop: Nomadic

2:15

11:45

Workshop: Turkic Connections

from

Area include the construction of a

Life

Demonstrations

in

monks of Drepung Monastery.

the Silk

Grove Fashion Court of

and the Steppe designers from Japan, Kyrgyzstan. and Uzbekistan.

Legendary Wrestling Tradition

BuJch:

Fashion runway presentations feature the work of Silk

of Mongolia 4:30

Road designers.

Tournament of Minstrels and Bards

Aitys:

Ongoing demonstrations nearby

Assyrian Voices: The Urhoy Choir

of

draping, piecing, construction, and fashion sketching, by

Istanbul Crossroads 11:00

the Tree

sand mandala by the

Traditions

Mongolia: Music from the Mountains

"3:00

3:45

Roksonaki: Kazakh Folk-Rock

spin-

1:15

and Throat-singing from

4:45

silk

brocade weaving. Uzbek and Gujarati

Tournament of Minstrels and Bards

Kbakasia

Muras: Virtuosos from Kyrgyzstan

dyeing and weaving, tussah

/'(cat

ning. Syrian

A,, !/ s:

Azerbaijan

4:15

and Throat-singing

12:15

Muras: Virtuosos from Kyrgyzstan

Muqham: Courtly Music of

S

Mongolia: Music from the Mountains

from Khakasia

Tajikistan

2:30

s

Sabjilar: Epics

11:45

Inspired by Tradition

Badakhshan: Songs and Dances

from 2:00

if

11:00

27

the Aitys stage of

making, stone carving, instrument making, and hospitality by participants

from Kazakhstan and

Tuvan Autonomous Republic strations

Istanbul to Kashgar

in

Russia. Daily

felt

nomad

11:00

Workshop: Kite-making

11:45

Workshop:

the

demon12:30

Make and

of the construction and dismantling of a yurt

Road

Beijing

Opera Make-up

Play a Silk

Road Instrument

Storytellers

2:00

Silk

2:45

Indian Mela: Behrup/as. Jugglers, Magicians

are highlighted by the loading and transport of the yurt 12:30 1:15

Shoghaken Ensemble: Folk Music of Armenia Sufi Ritual Alevi

2:00

on

a Bactrian camel.

Music and Dance:

Semah of Hubyar

Roots of the Gypsy

Xi'an

Tower

11:00

Zurkhane: Iranian

Trail:

Spiritual

Bodybuilding

Manganiyar Music of Rajasthan Asian Martial Arts

11:30

2:45

Hua Family Shawm

America

and Percussion Band

from China Opera

Beijing

1:15

Semah of Hubyar

Shoghaken Ensemble: Folk Music of Armenia

2:15

Storytellers

3:00

BuJch:

Kashgar Teahouse

Legendary Wrestling Tradition of

3:30

Zurkhane: Iranian Spiritual Bodybuilding

Roots of Jackie Chan: Chinese Martial Arts and Beijing Opera

Workshop: Throat-singing

*05

Uzbek Puppet Theater

5:00

Bufch:

°u:oo

Workshop: Musical Instruments

3:45

Songs of Love and Devotion:

12:30

Sufi

Madan Gopal

Please see page talks, tours,

Songs of Love and Devotion: Sufi Music

Monks from Drepung Monastery

Tibetan

The

Silk

111

Road Ensemble: Music of

the Past.

Sales areas offer craft demonstrations and

performances.

Present, and Future

°n:oo 11:45

12:30

llyas

Assyrian Voices: The Urhoy Choir

3:30

Workshop: Devotional Music

4:00

Ethnos Shmgigaku: Asian Mask Dance Theater

Paper Garden

Malaev Ensemble: Music and Dance

Demonstrations by paper makers from Japan. China.

of the Bukharan Jews 1:15

2:45

Muqham: Courtly Music of Azerbaijan Masters of Afghan Music

Turkey, and

Muqam: Uyghur Courtly Music

Italy;

Assyrian, Chinese. Uyghur, and

Turkish calligraphy; Tibetan thanqkas; Iranian, Armenian,

2:00

Maqam: Uzbek and

2:45

Badakhshan: Songs and Dances from

Tajik Courtly

Music and Hindu devotional paintings;

Tajikistan

3:30

llyas

kites;

tions

Malaev Ensemble:

Italian

masks; Indian

and paper prayer making. Cooking demonstrain

the Paper

Garden Kitchen of Armenian,

Persian. Turkish, and

Indian.

Uzbek foods.

Music of the Bukharan Jews

°4:oo

Maqam: Courtly Music of

the Silk

Road

Garden and

for detailed schedule of exhibitions,

Indian Mela: Behrup/as. Jugglers. Magicians

Samarkand Square

Italian,

concerts and storytelling.

Indian Music of the Spirit

5:00

the Jewel

Lotus Bazaar

from Bengal

Singh:

2:00

in

Freer and Sackler Galleries

Workshop: Asian Mask Dance Theater

Music from Bengal 1:15

4:30

Cooking demonstrations

Kitchen of Afghan. Azerbaijan. Chinese.

Syrian foods.

Nara Gate

Kathputli Indian Puppet Theater

Italian

beads; Syrian and Turkish blown glass; and Syrian inlay

Legendary Wrestling Tradition of

Mongolia Masters of Afghan Music

3:00

work: Indian and Syrian jewelry; Buddhist figurative carved stones from Pakistan; Turkmen and

4:00

The Kushtia Bauls

2:30

Tibet.

Afghanistan. Turkey, and the United States.

furniture.

Devotional Music of Bengal:

12:45

1:45

Kathputli Puppet Theater

Demonstrations of Bangladeshi and Damascene metal-

from China

Mongolia

12:00

5:00

Jewel Gard e

featuring Qi Shu Fang

Sufi Ritual Music and Dance: Alevi

°5:oo

Chinese Storytellers

Devotional Music of Bengal:

The Kushtia Bauls 4:15

Silkworms and Cocoons

4:15

Demonstrations by carpet weavers from

Muqam: Uyghur Courtly Music 12:30

3:30

in

3:30

^EVENING

Ceramics Courtqard Demonstrations of Chinese blue-and-white porcelain and tea pots; Japanese porcelain; tea bowls, and figurative pottery; Turkish cini pots

devotional icons

and

from Bangladesh.

tiles;

and Hindu

SCHEDULE

FRIDAY JUNE

28

A 11:00

11:30 12:15

1:00

Hua Family Shawm and Percussion Band from China Roksonaki: Kazakh Folk-Rock

s

The

Silk

Workshop: Throat-singing Mongolia: Music from the Mountains

ning. Syrian

and the Steppe

embroidery, and Indian block printing, as well as velvet

The

Silk

Bukh: Legendary Wrestling Tradition

3:45

Workshop: Inspired by

Ongoing demonstrations nearby

strations

Sufi Ritual Music and Dance: Alevi

1:15

2:00

on

Workshop: Turkic Connections from

Sufi Ritual

Workshop: Voices of

2:15

4:15

Shoghaken Ensemble: Folk Music of Armenia

3:15

5:00

Muqam: Uyghur Courtly Music

Kashgar Teahouse Muqam: Uyghur Courtly Music

12:30

Muras: Virtuosos from Kyrgyzstan

1:30

Sabjilar: Epics

Workshop: Musical Instruments Devotional Music of Bengal:

America

Bodybuilding

Spiritual

Jewel Garden Demonstrations of Bangladeshi and Damascene metalwork; Indian and Syrian jewelry; Buddhist figurative

furniture.

Opera featuring Qi Shu Fang

Cooking demonstrations

in

Italian

the Jewel Italian,

Garden and

Syrian foods.

Workshop: Ethnos Shingigaku:

Freer and Sackler Galleries

Mask Dance Theater

Please see page

Assyrian Voices: The Urhoy Choir

Ethnos Shingigaku: Asian Mask Dance Theater

talks, tours,

111

for detailed schedule of exhibitions,

concerts and storytelling.

Evening concert: Masters of Afghan Music. 6:00 p.m.

Devotional Music of Bengal:

Monks from Drepung Monastery

3:15

Tibetan

4:00

Songs of Love and Devotion:

4:45

Workshop: Devotional Music

Lotus Bazaar Sales areas offer craft demonstrations and

from Bengal

performances.

Tajik Courtly

Music

and Hindu devotional paintings; kites;

tions

Tajikistan

2:30

Masters of Afghan Music

3:15

Badakhshan: Songs and Dances

the Silk

Italian

masks; Indian

and paper prayer making. Cooking demonstrain

the Paper

Garden Kitchen of Armenian.

Persian. Turkish, and

Maqam: Courtly Music of

Road

Indian.

Uzbek foods.

EVENING CONCERT

Ceramics Courtgard

at

Demonstrations of Chinese blue-and-white porcelain

Tajikistan

Malaev Ensemble: Music and Dance

of the Bukharan Jews

indicates sign-language interpreted

Assyrian. Chinese. Uyghur. and

Italy;

Turkish calligraphy: Tibetan thanqkas: Iranian. Armenian,

Badakhshan: Songs and Dances

Mugham: Courtly Music of

Paper Garden Turkey, and

Malaev Ensemble:

1:00

4:45

in

Demonstrations by paper makers from Japan. China.

Music of the Bukharan Jews

Ilyas

Zurkhane: Iranian Spiritual Bodybuilding Asian Martial Arts

Sufi Music

Samarkand Square

4:00

Tibet.

Afghanistan. Turkey, and the United States.

Trail:

Indian Mela: Behrupias, Jugglers, Magicians

from

America

Beijing

1:00

Manganiyar Music of Rajasthan

from

Bukh: Legendary Wrestling Tradition of

Asian

The Kushtia Bauls

Maqam: Uzbek and

in

The Kushtia Bauls

3:00

11:30

Stretching

4:30

Singh:

3:45

12:15

Asian Martial Arts

beads; Syrian and Turkish blown glass; and Syrian inlay

2:30

Ilyas

Cocoon

Silk

5:00

carved stones from Pakistan; Turkmen and

Indian Music of the Spirit

11:00

Chinese Storytellers

4:15

Zurkhane: Iranian

12:30

Madan Gopal

3:30

Storytellers

Demonstrations by carpet weavers from

Nara Gate

from Khakasia

2:30

Uzbek Puppet Theater

4:00

11:00

Kathputli Indian Puppet Theater

Road

Silk

2:45

Hua Family Shawm and Percussion Band from China

and Throat-singing

2:00

the Silk

Road

2:00

Kitchen of Afghan. Azerbaijan, Chinese.

12:00

Uzbek Puppet Theater

America

Road Instrument

Play a Silk

Indian Mela: Behrupias. Jugglers. Magicians

Mongolia 1:45

Assyrian Voices: The Urhoy Choir

4:45

1:15

from China

12:45

Music and Dance:

1:00

in

Storytellers

1:15

Semah of Hubyar

Roots of the Gypsy

Make and

Tower

Asian Martial Arts

12:00

3:30

4:15

Kathputli Puppet Theater

11:45

Bactnan camel.

a

11:00

Shoghaken Ensemble: Folk Music of Armenia

Alevi

11:00

demon-

of the construction and dismantling of a yurt

Xi'an

Songs of Love and Devotion: Sufi Music from Bengal

Istanbul to Kashgar

2:45

Family Oasis

the

Trail:

Manganiyar Music of Rajasthan 12:30

Russia. Daily

Silk

felt

are highlighted by the loading and transport of the yurt

Semah of Hubyar

Roots of the Gypsy

in

work of

Road designers.

nomad

from Kazakhstan and

Tuvan Autonomous Republic

Istanbul Crossroads 11:45

the Aitys stage of

making, stone carving, instrument making, and

Calicanto: Troubadours of Venice

hospitality by participants

11:00

Grove Fashion Court of

Fashion runway presentations feature the

from Khakasia 5:00

monks of Drepung Monastery.

the Silk

designers from Japan. Kyrgyzstan. and Uzbekistan.

Tournament of Minstrels and Bards

Aitys:

and Throat-singing

Sabjilar: Epics

in

draping, piecing, construction, and fashion sketching, by

and the Steppe

Tradition

4:30 4:30

Demonstrations

Mongolia: Music from the Mountains

Music of the Past, Present, and Future 3-^.5

sand mandala by the

of Mongolia

Road Ensemble:

the Tree of Life Area include the construction of a

in

Workshop: Nomadic Traditions

3:15

brocade weaving, Uzbek and Gujarati

cutting by the International Silk Association. Activities

Tournament of Minstrels and Bards

Aitys:

2:30

Muras: Virtuosos from Kyrgyzstan

3:00

Grove

Demonstrations of Bangladeshi jamdani weaving. Uzbek and Indian ikat dyeing and weaving, tussah silk spin-

12:00

1:30

Roksonaki: Kazakh Folk-Rock

Silk

Tournament of Minstrels and Bards

12:45

Road Ensemble:

2:15

Stage

Aitys:

Calicanto: Troubadours of Venice

Music of the Past. Present, and Future 1:45

i t (/

11:00

Istanbul Crossroads. 5:30 p.m.

and tea pots; Japanese porcelain; tea bowls, and figu-

Sounds of

rative pottery; Turkish

Nomadic Music from Inner Asia

devotional icons

cm/ pots and

tiles:

and Hindu

the Steppe:

from Bangladesh.

Azerbaijan

All

Schedules are subject to change; please check area

schedule signs for the most up-to-date information.

102

SCHEDULE

SATURDAY JUNE

Venice Piazza 11:00 11:45

12:30 1:15

C e r a mj

Roksonaki: Kazakh Folk-Rock

Sabjilar: Epics

11:45

2:00

Muras: Virtuosos from Kyrgyzstan Sabjilar: Epics

rative pottery; Turkish fin/ pots

Calicanto: Troubadours of Venice

3:00

3:45

Roksonaki: Kazakh Folk-Rock

4:30

The

Road Ensemble: Music of

the Past.

Present, and Future

Silk

Tournament of Minstrels and Bards

Aitys:

1:15

2:15

devotional icons

Workshop: Nomadic Traditions

11:45

Mongolia: Music from the Mountains

ning. Syrian

3:45

Workshop: Throat-singing

4:30

Aitys:

brocade weaving. Uzbek and Gujarati embroidery, and Indian block printing, as well as velvet cutting by the International Silk Association. Activities

Tournament of Minstrels and Bards

12:30 1:15

hospitality by participants

Workshop: Turkic Connections from

Tuvan Autonomous Republic

Kashgar

Shoghaken Ensemble: Folk Music of Armenia

the Tree of Life Area include the construction of a

2:00

3:30

"OS

Bezmara: Sounds from Sufi Ritual

Road designers.

11:30

the Sultan's Palace

12:00

12:30

Shoghaken Ensemble: Folk Music of Armenia

1:30

2:30

Kashgar Teahouse 12:00

12:45

Mela

Indian

4:00

Madan Gopal

Singh:

Indian Music

of the

1:15

2:45

Samarkand Square

Play a Silk

Road

Road Instrument

Storytellers

2:45

Workshop: Felt-making

3:30

Uzbek Puppet Theater

4:15

Asian Martial Arts

5:00

Indian Mela: Behrupias. Jugglers. Magicians

in

America

Demonstrations by carpet weavers from

Tibet.

Demonstrations of Bangladeshi and Damascene metalwork; Indian and Syrian jewelry; Buddhist figurative Spiritual

Bodybuilding

carved stones from Pakistan; Turkmen and

Italian

beads; Syrian and Turkish blown glass; and Syrian inlay furniture.

Workshop: Ethnos Shingigaku: Asian Mask Dance Theater

Cooking demonstrations

in

the Jewel

Kitchen of Afghan. Azerbaijan. Chinese.

Italian,

Garden and

Syrian foods.

Monks from Drepung Monastery

Tibetan

Ethnos Shingigaku: Asian Mask Dance Theater Silk

Road Ensemble: Music of

the Past.

Freer and Sackle r Galleries Please see page talks, tours,

3:30

Workshop: Devotional Music Assyrian Voices: The Urhoy Choir

4:45

Devotional Music of Bengal:

111

for detailed schedule of exhibitions,

concerts and storytelling.

Polo Field Polo demonstration by the Potomac Polo Club between

Nara Gate and 7th Street

Paper Garden

Muqham: Courtly Music of

Azerbaijan

at

2:00 p.m.

Turkey, and

Malaev Ensemble:

Lotus Bazaar

Demonstrations by paper makers from Japan. China. Italy:

Assyrian. Chinese. Uyghur. and

Music and Dance of the Bukharan Jews

Turkish calligraphy: Tibetan tfrangJcas; Iranian. Armenian,

Badakhshan: Songs and Dances from

and Hindu devotional paintings:

llyas

Silk

Jewel Garden

The Kushtia Bauls

kites;

Tajikistan

2:45

Zurkhane: Iranian

The

Make and

Tajikistan

Masters of Afghan Music

llyas

Road

4:15

Badakhshan: Songs and Dances

from

the Silk

Present, and Future

Trail:

Manganiyar Music of Rajasthan

2:00

11:00

12:30

Spirit

Music from Bengal

Roots of the Gypsy

Chinese Storytellers

Legendary Wrestling Tradition of

Nara Gate

Behrupias, Jugglers. Magicians

Silk

Afghanistan. Turkey, and the United States.

Mongolia 5:00

Songs of Love and Devotion: Sufi

America

from China

8u
Workshop: Musical Instruments

11:45

2:00

Preparations for a

Hua Family Shawm and Percussion Band from China

4:30

3:30

1:15

in

Muqom: Uyghur Courtly Music

'2:45

Kathputli Puppet Theater

Opera featuring Qi Shu Fang

Beijing

Asian Martial Arts

Storytellers

Kathputli Indian Puppet Theater

11:45

Silk:

Workshop: Voices of

2:15

12:30

Powder, and

3:15

Uzbek Puppet Theater

°ti:oo

Spiritual Bodybuilding

4:00

Masters of Afghan Music

5:00

Zurkhane: Iranian Paint.

11:00

12:30

The Kushtia Bauls

1:45

4:30

Bukh: Legendary Wrestling Tradition

Devotional Music of Bengal:

1:15

work of

Oasis

Fa mily

Tower

Chinese Opera Performance

Music and Dance:

Semah of Hubyar

Alevi

5:00

designers from Japan. Kyrgyzstan. and Uzbekistan.

of Mongolia

Songs of Love and Devotion: Sufi Music from Bengal

Grove Fashion Court of

a Bactrian camel.

11:00

Manganiyar Music of Rajasthan 2:45

draping, piecing, construction, and fashion sketching, by

the Silk

Fashion runway presentations feature the

Xi'an

Trail:

the

in

are highlighted by the loading and transport of the yurt

Semah of Hubyar

Roots of the Gypsy

monks of Drepung Monastery.

Demonstrations

demon-

Russia. Daily

sand mandala by the

nomad

from Kazakhstan and in

felt

strations of the construction and dismantling of a yurt

on

Music and Dance:

Sufi Ritual Alevi

the A/tt/s stage of

making, stone carving, instrument making, and

Assyrian Voices: The Urhoy Choir

Istanbul to

Grove

and the Steppe

in

°u:oo

and Hindu

tiles;

Demonstrations of Bangladeshi jamdani weaving. Uzbek and Indian ikat dyeing and weaving, tussah silk spin-

Ongoing demonstrations nearby

Istanbul Crossroads

and

from Bangladesh.

^"us: Tournament of Minstrels and Bards

12:15

and Throat-singing

from Khakasia

Silk

and Throat-singing

from Khakasia

Road Fashion Show

Silk

Demonstrations of Chinese blue-and-white porcelain and tea pots; Japanese porcelain; tea bowls, and figu-

and the Steppe

Inspired by Tradition

2:30

"3:00

Mongolia: Music from the Mountains

11:00

Calicanto: Troubadours of Venice

Workshop:

29

tions

Malaev Ensemble:

3:15

Maqam: Uzbek and

4:00

Maqam: Courtly Music of

Tajik Courtly

indicates sign-language interpreted

masks: Indian

EVENING CONCERT

and paper prayer making. Cooking demonstrain

the Paper

Garden Kitchen of Armenian.

Persian, Turkish, and

Music of the Bukharan Jews

Italian

Sales areas offer craft demonstrations and

performances.

Indian. at

Uzbek foods.

Ethnos Shingigaku:

Music

the Silk

Nara Gate. 5:30 p.m.

Asian

Road

All

Mask Dance Theater

Schedules are subject to change: please check area

schedule signs for the most up-to-date information.

103

SCHEDULE

SUNDAY JUNE

to

Ait qs Stage 11:00 11:45

Calicanto: Troubadours of Venice

11:00

and Throat-singing

12:00

Sabjilar: Epics

from Khakasia 12:15

1:00

Silk

Road Ensemble: Music of

the Past.

1:45

Muras: Virtuosos from Kyrgyzstan

2:15

Roksonaki: Kazakh Folk-Rock

3:00

Silk

4:00

Calicanto: Troubadours of Venice

4:45

Roksonaki: Kazakh Folk-Rock

Road Fashion Show

Mongolia: Music from the Mountains

ning. Syrian

and the Steppe

embroidery, and Indian block printing, as well as velvet

Workshop: Nomadic Traditions

3:15

Bukh: Legendary Wrestling Tradition

sand mandala by the

Demonstrations

of Mongolia

with Live Music

in

monks of Drepung Monastery.

the Silk

Grove Fashion Court of

draping, piecing, construction, and fashion sketching, by

Mongolia: Music from the Mountains

3:45

the Tree of Life Area include the construction of a

in

2:30

brocade weaving, Uzbek and Gujarati

cutting by the International Silk Association. Activities

Tournament of Minstrels and Bards

Aitys:

1:30

Present, and Future

Grove

Demonstrations of Bangladeshi jamdani weaving. Uzbek and Indian ikqt dyeing and weaving, tussah silk spin-

Workshop: Throat-singing

12:45

Assyrian Voices: The Urhoy Choir

The

Silk

Tournament of Minstrels and Bards

A/tys:

designers from Japan. Kyrgyzstan. and Uzbekistan.

and the Steppe

Fashion runway presentations feature the Anus: Tournament of Minstrels and Bards

4:30

Ongoing demonstrations nearby

sr oad: Music and Dance:

Sufi Ritual

11:45

12:30 1:15

hospitality by participants

Semah of Hubyar

Alevi

the Aitys stage of

making, stone carving, instrument making, and

Tuvan Autonomous Republic

in

Russia. Daily

strations of the construction and dismantling of a yurt

are highlighted by the loading and transport of the yurt

on

Gypsy

11:00

Kathputli Puppet Theater

11:45

Workshop: Calligraphy

demon-

Shoghaken Ensemble: Folk Music of Armenia the

Familq Oasis

the

Bezmara: Sounds from the Sultan's Palace

Roots of

12:30 1:15

a Bactrian camel.

Manganiyar Music of Rajasthan

Workshop: Turkic Connections from Istanbul to

2:45

Kashgar

Devotional Music of Bengal:

Tower

Xi'a n n:oo

Storytellers

11:45

Hua Family

from China

Shawm

and Percussion Band

from China

The Kushtia Bauls 3:30

Bezmara: Sounds from

as

Muras: Virtuosos from Kyrgyzstan

4:45

Shoghaken Ensemble: Folk Music of Armenia

the Sultan's Palace

12:30 1:00

Kashgar Teahouse Singh:

Indian Music of the Spirit 12:30 1:00 1:30

2:00

Zurkhane: Iranian

Workshop:

Spiritual Bodybuilding

Athletics along the Silk

Kathputli Indian Puppet Theater

3:30

Zurkhane: Iranian

4:00

Hua Family Shawm and Percussion Band from China

4:30

Beijing

11:00

Muqam: Uyghur Courtly Music

3:15

Workshop: Musical Instruments

4:00

Roots of the Gypsy

Indian

12:30

America

America

2:45

Indian Me/a: Behrupias, Jugglers. Magicians

3:30

Uzbek Puppet Theater

4:15

Make and

Play a Silk

Road Instrument Tibet.

Afghanistan, Turkey, and the United States.

Jewel Garden work; Indian and Syrian jewelry; Buddhist figurative

Spiritual Bodybuilding

carved stones from Pakistan; Turkmen and

Italian

beads; Syrian and Turkish blown glass; and Syrian inlay furniture.

Cooking demonstrations

in

the Jewel

Kitchen of Afghan. Azerbajjan, Chinese.

featuring Qi Shu Fang

Italian,

Garden and

Please see page

Monks from Drepung Monastery

Tibetan

Sufi Music

Jugglers. Magicians

Freer and Sackler Galleries

Mask Dance Theater

Songs of Love and Devotion:

1:15

Trail:

Mela Behrupras,

Opera

in

Workshop: Ethnos Shingigaku: Asian

Manganiyar Music of Rajasthan 4:45

in

Storytellers

Demonstrations of Bangladeshi and Damascene metal-

Asian Martial Arts

Nara Gate

Uzbek Puppet Theater

2:30

Road

Syrian foods.

and Throat-singing

from Khakasia 2:00

Silk

Road

Bukh: Legendary Wrestling Tradition of

2:30

Masters of Afghan Music

Sabjilar: Epics

Asian Martial Arts

Demonstrations by carpet weavers from

Mongolia

Madan Gopal

Chinese Storytellers

Trail:

2:00 2:00

Silk

felt

nomad

from Kazakhstan and

work of

Road designers.

111

for detailed schedule of exhibitions,

concerts and storytelling.

Polo Field

from Bengal

2:00

Assyrian Voices: The Urhoy Choir

2:45

The

Silk

talks, tours,

Road Ensemble: Music of

Polo demonstration by the Potomac Polo Club between the Past.

Nara Gate and 7th Street

at

2:00 p.m.

Present, and Future

Samarkand Square u:oo

Mqqam: Uzbek and

11:45

llyas

12:15

Tajik Courtly

Music

3:30

Workshop: Devotional Music

Lotus Bazaar

4:00

Ethnos Shingigaku: Asian Mask Dance Theater

Sales areas offer craft demonstrations and

performances.

Malaev Ensemble:

Music of the Bukharan Jews

Paper Garden

Badakhshan: Songs and Dances

Demonstrations by paper makers from Japan. China.

from

Turkey, and

Tajikistan

1:00

Maqam: Courtly Music of

2:30

Masters of Afghan Music

the Silk

Road

and Hindu devotional paintings: kites;

3:15

Badakhshan: Songs and Dances tions

from

Assyrian. Chinese, Uyghur. and

Italy:

Turkish calligraphy: Tibetan thanqkas; Iranian, Armenian,

in

the Paper

Garden Kitchen of Armenian.

Indian.

^EVENING CONCERT

Uzbek foods.

Malaev Ensemble:

Music and Dance of the Bukharan Jews 4:45

masks: Indian

Tajikistan

Persian, Turkish, and llyas

Italian

and paper prayer making. Cooking demonstra-

Maqam: Uzbek and

Tajik Courtly

Music

Ceramics Courtuard

Istanbul Crossroads. 5:30 p.m.

Demonstrations of Chinese blue-and-white porcelain

Ralph Rinzler Memorial Concert

and tea pots: Japanese porcelain; tea bowls, and figu-

of Prof. Henry Glassie: Music from

rative pottery; Turkish gini pots

Bangladesh,

devotional icons

indicates sign-language interpreted

at

and

tiles;

and Hindu

India,

in

honor

and Turkey

from Bangladesh.

All

Schedules are subject to change; please check area

schedule signs for the most up-to-date information.

104

SCHEDULE

WEDNESDAY JULY

Venice Piazza 1:00

11:30 12:15

1:00

1:45

Ait

and Throal-singing

(j

s

S

t

;

Tournament of Minstrels and Bards

Demonstrations of Chinese blue-and-white porcelain

11:00

Ailys:

from Khakasia

12:00

Workshop: Throat-singing

Roksonaki: Kazakh Folk-Rock

12:45

Mongolia: Music from the Mountains

rative pottery; Turkish cini pots

and the Steppe

devotional icons

Sabjilar: Epics

Calicanlo: Troubadours of Venice

The

Silk

Road Ensemble: Music of

the Past,

and tea pots: Japanese porcelain; tea bowls, and figu-

Tournament of Minstrels and Bards

Aitus:

1:30

Present, and Future

2:30

Workshop: Nomadic Traditions

Muras: Virtuosos from Kyrgyzstan

3:15

BuJcfi:

2:15

Roksonaki: Kazakh Folk-Rock

3:00

Workshop: Inspired by

3:45

Bezmara: Sounds from the Sultan's Palace

4:30

Epics and Throat-singing

Sabjilar:

Tradition

3:45

k and Indian

Mongolia: Music from the Mountains

ning. Syrian

from Khakasia

Ongoing demonstrations nearby

Calicanto: Troubadours of Venice

making, stone carving, instrument making, and hospitality by participants

Istanbul Crossroads 11:00

Roots of the Gypsy

on

2:00

Music from Bengal

u:oo

Russia. Daily

the

12:00

Workshop: Turkic Connections from

12:45

Asian Martial Arts Storytellers

in

America

Workshop: Voices on

the Silk

Road

5:00

Yansimalar:

12:00

Muqam: Uyghur Courtly Music

12:30

Muras: Virtuosos from Kyrgyzstan

4:00 4:30

Beijing

11:00

2:45

Workshop: Kite-making

3:30

Uzbek Puppet Theater

4:15

Chinese Storytellers

5:00

Kathputli Puppet Theater

Masters of Afghan Music

3:00

Workshop: Musical Instruments

3:45

Roots of the Gypsy

work; Indian and Syrian jewelry; Buddhist figurative

Devotional Music of Bengal:

carved stones from Pakistan: Turkmen and

Assyrian Voices: The Urhoy Choir

Workshop: Devotional Music Indian Ocean:

1:15

2:00

Sufi Music

The

2:45

Silk

Jazz-Rock with

a Tabla

3:30

Indian Music of the Spirit

4:00

Samarkand Square

the Past,

Please see page

Jews

Maqctm: Uzbek and Tajik Courtly Music

Badakhshan: Songs and Dances

Road

Turkey, and

tions

indicates sign-language interpreted

Monks from Drepung Monastery

performances.

Paper Garden

kites;

Tajikistan

Mugham: Courtly Music of

Sales areas offer craft demonstrations and

Music from Bengal

Italy:

Assyrian. Chinese. Uyghur. and

and Hindu devotional paintings:

Badakhshan: Songs and Dances

Masters of Afghan Music

Lotus Bazaar

Songs of Love and Devotion:

Tibetan

Italian

masks; Indian

Azerbaijan

and paper prayer making. Cooking demonstrain

the Paper

Garden Kitchen of Armenian,

Persian, Turkish, and

Garden and

for detailed schedule of exhibitions,

New Sounds

the

Bukharan Jews

4:45

111

Turkish calligraphy; Tibetan thangkqs; Iranian, Armenian,

Shashmaqam: Music and Dance of

Italian,

concerts and storytelling.

Demonstrations by paper makers from Japan. China.

Tajikistan

Panorama of Maqam: Courtly Music

4:00

talks, tours,

Kojiro Umezaki: Old and

Sufi

4:45

the Jewel

Freer and Sackler Galleries

Hubyar

Road Ensemble: Music of

from Japan

Indian Me/a: Behrup/qs, Jugglers, Magicians

in

Syrian foods.

Present, and Future

Singh:

Cooking demonstrations

Kitchen of Afghan, Azerbaijan. Chinese.

and Dance:

Alevi Semafi of

Trail:

Manganiyar Music of Rajasthan

Italian

beads; Syrian and Turkish blown glass; and Syrian inlay

12:30

the Bukharan

Tibet,

Demonstrations of Bangladeshi and Damascene metal-

furniture.

2:30

from

Road Instrument

Storytellers

Jewel Garden

The Kushtia Bauls 11:45

Kathputli Indian Puppet Theater

3:15

Opera featuring Qi Shu Fang

Nara Gate

from China

Silk

Play a Silk

Demonstrations by carpet weavers from

Zurkhane: Iranian Spiritual Bodybuilding

Hua Family Shawm and Percussion Band

of the

Road

Silk

Afghanistan, Turkey, and the United States.

Uzbek Puppet Theater

2:00

2:30

in

from China

New Music from Turkey

Kashgar Teahouse

from

Indian Mela: Behrup/as. Jugglers. Magicians

Make and

America

Hua Family Shawm and Percussion Band

1:00

i

ZurJchane: Iranian Spiritual Bodybuilding

1:45

Shashmaqam: Music of

Oas

Mongolia

Asian Martial Arts

11:30

Silk

Silkworms and Cocoons

2:00

Bukh: Legendary Wrestling Tradition of

1:15

3:15

12:15

work of

Road designers.

from China

2:15

°n:oo

Grove Fashion Court of

Fashion runway presentations feature the

11:00

Shoghaken Ensemble: Folk Music of Armenia

Madan Gopal

monks of Drepung Monastery.

the Silk

designers from Japan. Kyrgyzstan. and Uzbekistan.

Familu,

Assyrian Voices: The Urhoy Choir

4:45

yurl

Tower

3:30

4:15

in

draping, piecing, construction, and fashion sketching, by

demon-

4:15

1:30

Demonstrations

12:30

Devotional Music of Bengal:

The Kushtia Bauls

1:00

the Tree of Life Area include the construction of a

sand mandala by the

11:45

Shoghaken Ensemble: Folk Music of Armenia

Istanbul to Kashgar

2:45

spin-

a Bactrian camel.

Xi'an O

1:15

silk

brocade weaving. Uzbek and Gujarati

Trail:

Songs of Love and Devotion: Sufi

in

felt

nomad

of the construction and dismantling of a

Manganiyar Music of Rajasthan 12:30

dyeing and weaving, lussah

ikal

cutting by the International Silk Association. Activities

are highlighted by the loading and transport of the yurt

Semah of Hubyar

Alevi 11:45

strations

the Aitus stage of

from Kazakhstan and

Tuvan Autonomous Republic

Sufi Music and Dance:

and Hindu

embroidery, and Indian block printing, as well as velvet

Tournament of Minstrels and Bards

in

5:00

tiles;

Grove

Mongolia

Aitus:

and

from Bangladesh.

Demonstrations of Bangladeshi jamdani weaving. Uzbek

Legendary Wrestling Tradition of

and the Steppe 4:30

3

Uzbek

foods..

Indian,

EVENING

SCHEDULE

THURSDAY JULY

u

Stage

Aitijs 11:00

Roksonaki: Kazakh Folk-Rock

11:45

Calicanto: Troubadours of Venice

12:30 1:15

Workshop: Inspired by The

Silk

11:00

Tradition

Muras: Virtuosos from Kyrgyzstan

2:30

Sabjilar: Epics

and tea pots; Japanese porcelain; tea bowls, and figuand Throat-singing from

devotional icons

12:15

Aitus:

Tournament of Minstrels and Bards

1:15

Aitus:

Tournament of Minstrels and Bards

and Throat-singing from

2:15

Khakasia

3:00

Mongolia: Music from the Mountains

and Indian

ning, Syrian

Badakhshan: Songs and Dances

3:45

Masters of Afghan Music

from

4:30

Aitus:

Silk

Road Ensemble: Music of

the Past.

Present, and Future

hospitality by participants

11:00 11:45

12:30 1:15

the Aitus stage of

in

Russia. Daily

demon-

of the construction and dismantling of a yurt

strations

Workshop: Turkic Connections from

are highlighted by the loading and transport of the yurt

Istanbul to Kashgar

on

Alevi

Demonstrations

Gypsy

the

11:30

12:30

4:15

Sufi

5:00

Fashion runway presentations feature the work of Silk

Road designers.

Music and Dance:

1:30

Bukh: Legendary Wrestling Tradition of

Mongolia

Shoghaken Ensemble: Folk Music of Armenia

3:30

Zurkhane: Iranian

4:00

Roots of Jackie Chan: Chinese Martial Arts

5:00

1:15

Asian Martial Arts

Road

3:15

Workshop: Musical Instruments

4:00

Muqam: Uyghur Courtly Music

11:00

12:30

Muras: Virtuosos from Kyrgyzstan

5:00

Madan Gopal

2:45

Workshop:

3:30

Uzbek Puppet Theater

4:15

Chinese Storytellers

5:00

Indian Mela: Behrupias. Jugglers, Magicians

Storytellers

2:00

Samarkand Square the Sultan's Palace

Demonstrations by carpet weavers from

Roots of the Gypsy

Tibetan

furniture.

Monks from Drepung Monastery

the

Jazz-Rock with

a Tabla

Please see page

Music from Bengal

3:30

Workshop: Voices

4:15

Songs of Love and Devotion:

Bukharan Jews

Mugham: Courtly Music of Azerbaijan

2:00

Badakhshan: Songs and Dances from

talks, tours,

Tajik Courtly

Music

the Bukharan Jews

111

the Silk

Road

Italy:

Lotus Bazaar Sales areas offer craft demonstrations and

from Bengal

New Sounds

performances.

Assyrian, Chinese, Uyghur. and

Turkish calligraphy: Tibetan thongtas; Iranian. Armenian,

and Hindu devotional paintings; kites;

tions

Italian

masks; Indian

and paper prayer making. Cooking demonstrain

the Paper

Garden Kitchen of Armenian.

Persian, Turkish, and

Uzbek foods.

Garden and

for detailed schedule of exhibitions,

Paper Garden Turkey, and

Italian,

concerts and storytelling.

Demonstrations by paper makers from Japan. China.

Tajikistan

the Jewel

Syrian foods.

from Japan

1:15

in

Freer and Sackler Galleries

Songs of Love and Devotion:

Kojiro Umezaki: Old and

Cooking demonstrations

Kitchen of Afghan. Azerbaijan, Chinese.

Assyrian Voices: The Urhoy Choir

5:00

Italian

beads; Syrian and Turkish blown glass; and Syrian inlay

Trail:

Workshop: Devotional Music

Sufi Music

Shashmaqam: Music and Dance of

Maqam: Courtly Music of

Tibet,

Afghanistan, Turkey, and the United States.

carved stones from Pakistan; Turkmen and

2:45

Masters of Afghan Music

4:00

Road Fashion

Demonstrations of Bangladeshi and Damascene metal-

Sufi

Indian Music of the Spirit

Shashmaqam: Music of

Silk

Jewel Garden

Indian Ocean:

1:15

Singh:

3:30

America

Silk

Mongolia

Manganiyar Music of Rajasthan 11:45

4:30

Maqam: Uzbek and

in

2:00

work; Indian and Syrian jewelry; Buddhist figurative

Kathputli Indian Puppet Theater

2:45

Road Instrument

Bukh: Legendary Wrestling Tradition of

Nara Gate

Uzbek Puppet Theater

2:45

12:30

Spiritual Bodybuilding

Workshop: Throat-singing

Bezmara: Sounds from

Play a Silk

Kathputli Puppet Theater

and Beijing Opera

Devotional Music of Bengal:

Indian Mela: Behrupias. Jugglers. Magicians

11:45

from China

3:00

Semofi of Hubyar

2:00

11:00

Opera featuring Qi Shu Fang

Storytellers

The Kushtia Bauls 12:45

Make and

America

2:15

Kashgar Teahouse 12:00

in

Hua Family Shawm and Percussion Band

Beijing

1:15

Bezmara: Sounds from the Sultan's Palace

Alevi

Asian Martial Arts

from China

Devotional Music of Bengal:

The Kushtia Bauls 3:30

Grove Fashion Court of

designers from Japan, Kyrgyzstan. and Uzbekistan.

11:00

Trail:

monks of Drepung Monastery.

the Silk

Zurkhane: Iranian Spiritual Bodybuilding

Manganiyar Music of Rajasthan 2:45

in

Family Oasis

Tower

Xi'an

Semah of Hubyar

Roots of

Area include the construction of a

draping, piecing, construction, and fashion sketching, by

"12:30

2:00

Life

Bactnan camel.

a

Shoghaken Ensemble: Folk Music of Armenia Music and Dance:

of

sand mandala by the

the

Assyrian Voices: The Urhoy Choir

Sufi

the Tree

felt

nomad

from Kazakhstan and

Tuvan Autonomous Republic

spin-

silk

brocade weaving. Uzbek and Gujarati

embroidery, and Indian block printing, as well as velvet

in

Ongoing demonstrations nearby

dyeing and weaving, tussah

ikat

cutting by the International Silk Association. Activities

Tournament of Minstrels and Bards

making, stone carving, instrument making, and

Istanbul Crossroads

Grove

Silk

and the Steppe

3:45

The

and Hindu

tiles;

Demonstrations of Bangladeshi jamdani weaving, Uzbek

Calicanto: Troubadours of Venice

Tajikistan

and

from Bangladesh.

Workshop: Nomadic Traditions

3:00

4:30

rative pottery; Turkish cini pots

Khakasia

the Past,

Present, and Future

2:00

Demonstrations of Chinese blue-and-while porcelain

and the Steppe Sabjilar: Epics

11:45

Road Ensemble: Music of

Ceramics Courtyard

Mongolia: Music from the Mountains

Indian.

^EVENING

SCHEDULE

FRIDAY JULY

Venice Piazza 11:00

11:30 12:15

Ait

and Throal-singing

Sabjilar: Epics

Sta

lis

11:00

from Khakasia

12:00

Calicanto: Troubadours of Venice

12:45

Roksonaki: Kazakh Folk-Rock

s

Aitus:

Tournament of Minstrels and Bards

Demonstrations of Chinese blue-and-white porcelain

Workshop: Throat-singing

and tea pots: Japanese porcelain; tea bowls, and figu-

Mongolia: Music from the Mountains

rative pottery; Turkish c/ni pots

and the Steppe

devotional icons

and

and Hindu

tiles:

from Bangladesh.

Tournament of Minstrels and Bards

1:00

Bezmara: Sounds from

1:30

Aitus:

1:45

Mugham: Courtly Music of Azerbaijan

2:30

Workshop: Nomadic Traditions

Muras: Virtuosos from Kyrgyzstan

3:15

Bukh: Legendary Wrestling Tradition of

Demonstrations of Bangladeshi jamdani weaving, Uzbek

Mongolia

and Indian

Mongolia: Music from the Mountains

ning. Syrian

"2:30

(he Sultan's Palace

3:00

Roksonaki: Kazakh Folk-Rock

3:45

Workshop:

4:30

Sabjilar: Epics

3:45

Inspired by Tradition

Silk

Road Jam Session

Ongoing demonstrations nearby

the Aifys stage of

making, stone carving, instrument making, and

Istanbul Crossroads °n:oo

hospitality by participants

of Hubyar 11:45

Sboghaken Ensemble: Folk Music of Armenia

from Bengal

Roots of

the

Gypsy

Workshop: Turkic Connections from Istanbul to Kashgar

2:45

Assyrian Voices: The Urhoy Choir

3:30

Shoghaken Ensemble: Folk Music of Armenia Bezmara: Sounds from

5:00

Yansimalar:

the Sultan's Palace

New Music from Turkey

Masters of Afghan Music Muras: Virtuosos from Kyrgyzstan

Uzbek Puppet Theater

1:30

Hua Family Shawm and Percussion Band

2:00

Kathputli Indian Puppet Theater

2:30

Madan Gopal of the

a

Xi'an

Tower

11:00

Asian Martial Arts

Workshop: Musical Instruments Roots of

the

Gypsy

in

Storytellers

12:45

Workshop: Voices on

America

Zurkhane: Iranian

2:15

Asian Martial Arts

3:15

Hua Family

the Silk

Road

Spiritual Bodybuilding

Shawm

in

America

and Percussion Band

Zurkhane: Iranian Spiritual Bodybuilding

4:30

Bejing Opera featuring Qi Shu Fang

Silk

Shashmaqam: Music of

Tajik Courtly

the

Badakhshan: Songs and Dances from Tajikistan

Maqam: Courtly Music of

the Silk

Shashmaqam: Music and Dance of

Road

4:45

Asian Martial Arts

5:00

Chinese Storytellers

in

America

Demonstrations by carpet weavers from

Tibet,

Assyrian Voices: The Urhoy Choir

furniture.

Workshop: Devotional Music

Kitchen of Afghan. Azerbaijan. Chinese,

Sufi

The

Silk

the Jewel

in

Italian,

Garden and

Syrian foods.

Jazz-Rock with a Tabla

Music and Dance: Alevi

Cooking demonstrations

Italian

Semah

Freer and Sackler Galleries

Road Ensemble: Music of

the Past.

Please see page talks, tours,

Kojiro Umezaki: Old and

New Sounds

111

for detailed schedule of exhibitions,

concerts and storytelling.

Evening concert: Parisa and Dariush

Music of

Iran,

Talai:

Classical

6:00 p.m.

Songs of Love and Devotion:

Lotus Bazaar

Music from Bengal

Tibetan

Monks from Drepung Monastery

Sales areas offer craft demonstrations and

performances.

Paper Garden Demonstrations by paper makers from Japan, China. Turkey, and

Italy;

Assyrian, Chinese. Uyghur. and

the

Bukharan Jews

Turkish calligraphy; Tibetan thangkas; Iranian, Armenian,

and Hindu devotional paintings; Badakhshan: Songs and Dances from kites;

tions

Masters of Afghan Music

4:45

Mugham: Courtly Music of Azerbaijan

Italian

masks; Indian

and paper prayer making. Cooking demonstra-

Tajikistan

4:00

ndicates sign-language interpreted

Uzbek Puppet Theater

beads; Syrian and Turkish blown glass; and Syrian inlay

Music

Bukharan Jews

3:30 4:15

The Kushtia Bauls

Sufi

Maqam: Uzbek and

11:45

Workshop: Felt-making

work; Indian and Syrian jewelry; Buddhist figurative

from Japan

11:00

Storytellers

Silk

2:45

carved stones from Pakistan; Turkmen and

Present, and Future

4:00

Road

2:00

Devotional Music of Bengal:

of Hubyar

3:30

Road Instrument

Demonstrations of Bangladeshi and Damascene metal-

Indian Ocean:

2:45

Play a Silk

Indian Mela: Behrupias. Jugglers. Magicians

Jewel Garden

Nara Gate

The Kushtia Bauls

3:15

work of

Afghanistan, Turkey, and the United States.

4:00

1:15

Samarkand Square

Make and

Mongolia 1:45

2:00

Indian Mela: Behrupias. Jugglers, Magicians

Workshop: Calligraphy

11:45 1:15

Trail:

Devotional Music of Bengal:

11:00

Bukh: Legendary Wrestling Tradition of

Manganiyar Music of Rajasthan

1:00

designers from Japan. Kyrgyzstan, and Uzbekistan.

from China

12:00

12:30

3:45

^2:30

Grove Fashion Court of

Bactnan camel.

11:45

Singh: Indian Music

Spirit

3:00

12:15

the Silk

Road designers.

11:00

from China

4:45

draping, piecing, construction, and fashion sketching, by

from China

1:00

4:15

the

demon-

in

Fashion runway presentations feature the

Kashgar Teahouse 12:30

of Drepung Monastery.

Demonstrations

are highlighted by the loading and transport of the yurt

1:15

4:15

12:00

monks

nomad

Trail:

Manganiyar Music of Rajasthan 2:00

Russia. Daily

sand mandala by the

Songs of Love and Devotion: Sufi Music

1:15

in

felt

strations of the construction and dismantling of a yurt

on 12:30

from Kazakhstan and

Tuvan Autonomous Republic

Semah

Sufi Music and Dance: Alevi

spin-

the Tree of Life Area include the construction of a

in

5:00

silk

cutting by the International Silk Association. Activities

AKys: Tournament of Minstrels and Bards

4:30

dyeing and weaving, tussah

brocade weaving. Uzbek and Gujarati

embroidery, and Indian block printing, as well as velvet

and the Steppe

and Throat-singing

from Khakasia

ikat

in

the Paper

Garden Kitchen of Armenian,

Persian. Turkish, and

Indian,

Uzbek foods.

All

Schedules are subject to change; please check area

schedule signs for the most up-to-date information.

107

SCHEDULE

SATURDAY JULY

6

Ceramics Courtyard

Ait us Stage

za 11.00

Roksonaki: Kazakh Folk-Rock

Mongolia: Music from the Mountains

Demonstrations of Chinese blue-and-white porcelain

and the Steppe

and tea pots; Japanese porcelain; tea bowls, and figu-

11:45

Workshop:

12:30 1:15

Inspired by Tradition

Indian Ocean:

The

Silk

Jazz-Rock with

Road Ensemble: Music of

2:30

A/fys:

Tournament of Minstrels and Bards

1:15

A/tus:

Tournament of Minstrels and Bards

and Throat-singing from

Khakasia

Roksonaki: Kazakh Folk-Rock

Workshop: Nomadic Traditions

3:00

Mongolia: Music from the Mountains

and Indian

dyeing and weaving, tussah

ikal

ning, Syrian

silk

spin-

brocade weaving, Uzbek and Gujarati

embroidery, and Indian block printing, as well as velvet Bukfi:

3:45

Legendary Wrestling Tradition cutting by the International Silk Association. Activities

of Mongolia

do

Yansimalar:

5:00

Badakhshan: Songs and Dances from

New Music from Turkey

in

Aitys:

4:30

Tournament of Minstrels and Bards the Aitys stage of

Ongoing demonstrations nearby

Tajikistan

making, stone carving, instrument making, and

Istanbul Crossroads

hospitality by participants

from Kazakhstan and

Tuvan Autonomous Republican Russia. Daily

11:00

Assyrian Voices: The Urhoy Choir

11:45

Workshop: Turkic Connections from

Istanbul

the Tree of Life Area include the construction of a

monks of Drepung Monastery.

sand mandala by the felt

Demonstrations

Grove Fashion Court of

the Silk

in

nomad

draping, piecing, construction, and fashion sketching, by

the

designers from Japan, Kyrgyzstan. and Uzbekistan.

demon-

strations of the construction and dismantling of a yurt

Fashion runway presentations feature the

work of

Silk

Road designers.

are highlighted by the loading and transport of the yurt

to Kashgar

on 1:15

Grove

2:15

and the Steppe

Silk

3:45

and Hindu

tiles;

Demonstrations of Bangladeshi jamdani weaving, Uzbek

Road Jam Session

3:00

12:30

Silk

and

from Bangladesh.

devotional icons

12:15

Muras: Virtuosos from Kyrgyzstan Sabjilar: Epics

rative pottery; Turkish c/n/ pots

and Throat-singing

from Khakasia

the Past.

Present, and Future

2:00

Sabjilar: Epics

11:45

a Tabla

a

Family Oasis

Bactnan camel.

Shoghaken Ensemble: Folk Music of Armenia Music and Dance: Alevi Semah of Hubyar

2:00

Bezmara: Sounds from

2:45

Devotional Music of Bengal:

11:00

Tower

Xi'an

12:30

Make and

Play a Silk

Road Instrument

Kathputli Puppet Theater

the Sultan's Palace 11:00

lurkhane'. Iranian Spiritual Bodybuilding

11:30

Asian Martial Arts

12:30

Hua Family

America

in

1:15

Indian Mela: Behrupias, Jugglers. Magicians

Road

Storytellers

2:00

Silk

2:45

Workshop:

3:30

Chinese Storytellers

4:15

Uzbek Puppet Theater

5:00

Asian Martial Arts

The Kushtia Bauls 3:30

Roots of the Gypsy

Shawm

and Percussion Band

from China Beijing

1:15

4:15

Sufi

5:00

Opera featuring Qi Shu Fang

Music and Dance:

Alevi

Semah of Hubyar

Shoghaken Ensemble: Folk Music of Armenia

from China

2:15

Storytellers

3:00

Bukh: Legendary Wrestling Tradition of

Mongolia

Kashgar Teahouse 12:00

Devotional Music of Bengal:

3:30

Zurlchane: Iranian Spiritual Bodybuilding

Roots of Jackie Chan: Chinese Martial Arts and Beijing Opera

5:00

Workshop: Throat-singing Uzbek Puppet Theater

1:45

Masters of Afghan Music

Workshop: Musical Instruments

3:30

Muras: Virtuosos from Kyrgyzstan

Muqam: Uyghur Courtly Music

4:30

Madan Gopal

Singh:

Indian Music of the Spirit

11:00 11:45

12:30

Sufi Music

3:30

Workshop: Voices of

4:15

Songs of Love and Devotion:

the

5:00

the Silk

2:45

Badakhshan: Songs and Dances

Tajik Courtly

Music

Shashmaqam: Music of

4:00

Maqam: Courtly Music of

the

the Silk

Italy:

Italian

masks; Indian

and paper prayer making. Cooking demonstrain

the Paper

Garden Kitchen of Armenian,

Persian, Turkish, and

ndicates sign-language interpreted

performances.

Assyrian, Chinese, Uyghur. and

and Hindu devotional paintings:

tions

7th Street at 2:00 p.m.

Sales areas offer craft demonstrations and

Turkish calligraphy; Tibetan thong/cas; Iranian. Armenian,

kites;

for detailed schedule of exhibitions,

Lotus Bazaar

New Sounds

Demonstrations by paper makers from Japan. China.

Road

111

concerts and storytelling.

between Nara Gate and

Paper Garden Turkey, and

3:30

Please see page

from Bengal

Kojiro Umezaki: Old and

Tajikistan

Bukharan Jews

Garden and

Polo demonstration given by the Potomac Polo Club

Azerbaijan

Maqam: Uzbek and

Italian,

Polo Field

Road

from Japan

2:00

the Jewel

Road Jam Session

Silk

Sufi Music

Muqham: Courtly Music of

in

Freer and Sackler Galleries talks, tours,

Assyrian Voices: The Urhoy Choir

Masters of Afghan Music

from

Monks from Drepung Monastery

2:45

Bukharan Jews 1:15

Tibetan

2:00

Bezmara: Sounds from the Sultan's Palace

Shashmaqam: Music and Dance of

Italian

Syrian foods.

from Bengal

Samarkand Square

Cooking demonstrations

Kitchen of Afghan. Azerbaijan. Chinese.

Trail:

Songs of Love and Devotion:

1:15

Indian Mela: Befirupias. Jugglers, Magicians

work; Indian and Syrian jewelry: Buddhist figurative

Workshop: Devotional Music

12:30

5:00

Jewel Garden

furniture.

Roots of the Gypsy

Manganiyar Music of Rajasthan 11:45

4:00

Tibet.

beads; Syrian and Turkish blown glass; and Syrian inlay

Nara Gate

2:45

America

carved stones from Pakistan; Turkmen and

Kathputli Indian Puppet Theater 11:00

in

Demonstrations by carpet weavers from

Demonstrations of Bangladeshi and Damascene metal-

Hua Family Shawm and Percussion Band

from China 1:15

2:15

Opera Make-up

Afghanistan. Turkey, and the United States.

4:00

The Kushtia Bauls 12:45

Beijing

Trail:

Manganiyar Music of Rajasthan

Uzbek foods.

Indian,

^EVENING CONCERT at

Nara Gate, 5:30 p.m.

Deaf Way

II

Concert

Movement along

the Silk Road:

Dance from China,

All

India,

and Japan

Schedules are subject to change; please check area

schedule signs for the most up-to-date information.

108

SCHEDULE

SUNDAY JULY

Ait if s S t a

Venice Piazza O

u:oo

Sabjilar: Epics

and Throat-singing from

Khakasia 11:30

The

Road Ensemble: Music of

Silk

ihe Past,

Aitys:

11:00

Workshop: Throat-singing

and lea pots; Japanese porcelain; tea bowls, and figu-

12:45

Mongolia: Music from the Mountains and the

rative pottery; Turkish

Assyrian Voices: The Urhoy Choir

Road Fashion Show

with Live Music

Silk

2:00

Muras: Virtuosos from Kyrgyzstan

2:30

Bezmara: Sounds from

3:15

Roksonaki: Kazakh Folk-Rock

4:00

Workshop: Inspired by Tradition

5:00

Sabjilar: Epics

A/tys:

Workshop: Nomadic Traditions

3:15

3:45

4:30

8ukh: Legendary Wrestling Tradition of

Demonstrations of Bangladeshi jamdani weaving, Uzbek and Indian

Mongolia: Music from the Mountains

ning. Syrian

Aitys:

in

Sufi Alevi

11:45

hospitality by participants

the Aitys stage of

Semah of Hubuar

Roots of the Gypsy

Trail:

Songs of Love and Devotion: from Bengal

Sufi Music 1:15

2:00

2:45

the

demon-

Shoghaken Ensemble: Folk Music of Armenia

Xi'an

Tower

11:00

Asian Martial Arts

from China

12:45

Workshop: Voices on

designers from Japan, Kyrgyzstan, and Uzbekistan.

11:00

Uzbek Puppet Theater

11:45

Workshop: Calligraphy

12:30

the Silk

Road 1:15

Bukh: Legendary Wrestling Tradition of

1:15

Devotional Music of Bengal:

3:30 4:15

Shoghaken Ensemble: Folk Music of Armenia

5:00

Silk

Zurkhane: Iranian

1:45

Road Jam Session

Workshop:

2:15

Kathputli Puppet Theater

Asian Martial Arts

Road

in

America

Storytellers

2:00

Silk

2:45

Indian Mela: Behrupias. Jugglers. Magicians

3:30

Chinese Storytellers

4:15

Make and

Mongolia

Assyrian Voices: The Urhoy Choir

Spiritual Bodybuilding

Athletics

on

the Silk

Road

Play a Silk

Road Instrument

Hua Family Shawm and Percussion Band

3:15

Demonstrations by carpet weavers from

from China

Tibet.

Afghanistan. Turkey, and the United States.

Kashgar Teahouse 12:00

Muqam: Uyghur Courtly Music

12:30

Muras: Virtuosos from Kyrgyzstan

°i:oo

Uzbek Puppet Theater

4:00

Zurkhane: Iranian

4:30

Beijing

Spiritual

Bodybuilding

Opera featuring Qi Shu Fang

Jewel Garden Demonstrations of Bangladeshi and Damascene metal-

Nara Gate

Hua Family Shawm and Percussion Band

11:00

work; Indian and Syrian jewelry; Buddhist figurative

Devotional Music of Bengal:

carved stones from Pakistan; Turkmen and

The Kushtia Bauls

from China 2:00

Kathputli Indian Puppet Theater

2:30

Madan Gopal

11:45

furniture. Silk

Workshop: Musical Instruments

3:45

Roots of

2:00

Sufi Alevi

Manganiyar Music

The

2:45

of Rajasthan

Road Jam Session

Indian Ocean:

1:15

Spirit

Masters of Afghan Music

4:45

Indian Mela: Benrupias, Jugglers, Magicians

3:30

Cooking demonstrations

in

the Jewel

Kitchen of Afghan. Azerbaijan. Chinese.

Jazz-Rock with

a Tabla

Italian,

Garden and

Syrian foods.

Music and Dance:

Freer and Sackler Galleries

Semah of Hubyar Silk

Road Ensemble: Music of

the Past,

Present, and Future

4:15

Italian

beads: Syrian and Turkish blown glass; and Syrian inlay

Workshop: Devotional Music

12:30

Singh: Indian Music

3:00

:

Grove Fashion Court of

draping, piecing, construction, and fashion sketching, by

America

in

Istanbul to Kashgar

Trail:

monks of Drepung Monastery.

the Silk

Road designers.

Storytellers

Gypsy

in

Fashion runway presentations feature the work of Silk

12:00

the

Demonstrations

are highlighted by the loading and transport of the yurt

Workshop: Turkic Connections from

of the

Area include the construction of a

the Tree of Life

sand mandala by the

strations of the construction and dismantling of a yurt

The Kushtia Bauls

1:30

spin-

on a Bactrian camel.

Manganiyar Music of Rajasthan 12:30

Russia. Daily

in

fell

nomad

from Kazakhstan and

Tuvan Autonomous Republic

Music and Dance:

silk

brocade weaving. Uzbek and Gujarati

cutting by the International Silk Association. Activities

Tournament of Minstrels and Bards

making, stone carving, instrument making, and

Istanbul Crossroads

dyeing and weaving, tussah

ikat

embroidery, and Indian block printing, as well as velvet

Ongoing demonstrations nearby

Khakasia

and Hindu

Mongolia

and the Steppe

and Throat-singing from

tiles;

Tournament of Minstrels and Bards

1:30

2:30

the Sultan's Palace

cim pots and

from Bangladesh.

devotional icons

Steppe

1:00

11:00

Demonstrations of Chinese blue-and-white porcelain

Tournament of Minstrels and Bards

12:00

Present, and Future 12:15

7

Please see page talks, tours,

Kojiro Umezaki: Old and

111

for detailed schedule of exhibitions,

concerts and storytelling.

New Sounds

from Japan

Samarkand Square °n:oo 11:45 12:15

Maqam: Uzbek and

Tajik Courtly

Shashmaqam: Music of

4:00

the Bukharan Jews

Badakhshan: Songs and Dances from Tajikistan

1:00

Maqam: Courtly Music of

2:30

Masters of Afghan Music

3:15

Songs of Love and Devotion: Sufi

Music

between Nara Gate and 7th Street 4:45

Tibetan

2:00 p.m.

Lotus Bazaar Sales areas offer craft demonstrations and

the Silk

Road

Demonstrations by paper makers from Japan. China. Turkey, and

Badakhshan: Songs and Dances from

Italy;

Turkish calligraphy: Tibetan thangkas; Iranian,

kites;

Shashmaqam: Music and Dance of

tions

Muqham: Courtly Music of

indicates sign-language interpreted

Italian

Armenian,

masks: Indian

and paper prayer making. Cooking demonstra-

the

Bukharan Jews

performances.

Assyrian, Chinese, Uyghur, and

and Hindu devotional paintings;

4:45

at

Monks from Drepung Monastery

Paper Garden

Tajikistan

4:00

Polo demonstration given by the Potomac Polo Club

Music from Bengal

in

the Paper

Garden Kitchen of Armenian.

Persian. Turkish, and

Indian.

Uzbek foods.

Azerbaijan

All

Schedules are subject to change; please check area

schedule signs for the most up-to-date information.

109

EVENING CONCERTS AND SPECIAL EVENTS

Evening Concerts Wednesday. June

Thursday. July

26. 5:30 p.m.

4. 5:30 p.m.

Istanbul Crossroads

Venice Piazza

Troubadours Today: Music from Venice and Armenia

Ballads and Beats of Today's Silk Road:

Indian Ocean and Roksonaki Thursday, [une

z~, 5:30 p.m.

Nara Gate

Friday. Jul

Mountain Music, Desert Music:

Venice Piazza

Folk Traditions of Mongolia and Rajasthan

The

1

5,

5:30 p.m.

Road Ensemble:

Silk

Exploring Tradition and Innovation Friday. June 28. 5:30 p.m.

Mever Auditorium,

Istanbul Crossroads

Sounds

of the Steppe:

Nomadic Music from Inner Asia

Classical Mever Auditorium.

Freer Gallery, 6:00 p.m.

Concert: Parisa and Dariush Talai:

Music

of Iran

Freer Gallerv. 6:00 p.m.

Concert: Masters of Afghan Music

S

\i

i

kiiay.

July

6.

$-.1,0

p.m.

Nara Gate

Way

Saturday-. June 29, 5:30 p.m.

Deaf

Nara Gate

Movement along

Ethnos Shingigaku: Asian Mask Dance Theater

Dance from China,

Sunday. June

Special Events

30. 5:30 p.m.

Concert

II

the Silk Road: India,

and Japan

Istanbul Crossroads

Wednesday. June 26

Ralph Rinzler Memorial Concert

Opening Ceremony (Samarkand Square)

in

honor of Prof. Henry Glassie:

Music from Bangladesh,

India,

a.m.

11:0(1

and Turkey Saturday. June 29 - Sunday. June 30:

Wednesday, July

Saturday.

3. 5:30 p.m.

Istanbul Crossroads

From

the Emir's Court: Classical

Jun

6

-Sunday,

Juli

-

2:00-3:00

Music

of Central Asia

Polo Polo, a

game

of

horsemanship and

skill is

derived from

dated to about 2.500 years ago. British officers colonial India,

game

now at

the border of Pakistan

of buzhashi, played

sheep carcass

into a goal.

in the

a

Central Asian

and Afghanistan, observed the

by teams of hotsemen competing

The game was adapted

no

local

to deposit a goat or

for plav in

from there, the United States. For the Festival, the game

Potomac Polo Club.

game

northwestern region of

Great Britain, and is

plaved bv the

OF RELATED INTEREST

Freer Gallery of Art and Arthur M. Sackler Gallery The

Festival

extends into the Freer Gallery of Art and Arthur

Sackler Gallery

Asian

art)

i

M.

which together form the national museum

of

with a series of exhibitions and public programs cele-

brating the Silk Road.

SCHEDULE OF EVENTS

AT

THE FREER AND SACKLER GALLERIES

June 26

June 28

[1:00-11:45

Storytelling:

11:30-12:15

Tour: Arts

Adventures of Hamza

of

the Silk

Road

12:00-12:45 Storytelling: Adventures of Hamza 12:30-1:15

Curatorial Talk: Luxury Arts of the Silk Route

Storytelling:

11:30-12:15

Tour: Arts of the Silk

12:00-1:00

Mugham:

1:00

ImaginAsia: Gifts for Kings and Queens

1:30-2:00

Tour: Arts of the Silk

2:00-2:45

Concert: Parisa and Danush

Road

12:30-1:15

1:00-1:45

Storytelling:

Adventures of Hamza

Road

1:30-2:00

Tour: Arts of the Silk

Classical Music of Iran

2:30

ImaginAsia: Gifts for Kings and Queens

ImaginAsia: Gifts for Kings and Queens

3:00-3:45

Storytelling: Silk

4:00-5:00

Concert: Parisa and Dariush

Talai:

Adventures of Hamza

Storytelling:

11:30-12:15

Tour: Arts of the Silk

12:00-12:45 Concert:

Tour: Arts of the Silk

Road

Mugham: Courtly Music of

Road Stones Talai:

Storytelling:

Adventures of Hamza

12:30-1:15

Tour: Arts of the Silk

1:00-1:45

Storytelling:

Road

Adventures of Hamza

1:00

ImaginAsia: Gifts for Kings and Queens

1:30-2:00

Tour: Arts of the Silk

2:30

ImaginAsia: Gifts for Kings and Queens

Road

SilkRoadStories

3:00-3:45

Storytelling:

4:00-4:45

Concert: Parisa and Dariush

6:00

Tajik Courtly

June 29 11:00-11:45

Storytelling:

Concert: Masters of Afghan Music

Adventures of Hamza

Curatorial Talk: Sacred Sites: Silk

Road

11:30-12:15

July 3

Road Stories

Storytelling:

Sift

Storytelling:

Adventures of Hamza

Tour: Arts of the Silk

Road

Canvas: Hidden Imaqes of Worship along the

12:00-12:45 Concert:

Tour: Arts of the Silk

Bezmara: Sounds from the

Storytelling:

Adventures of Hamza

1:00-1:45

Storytelling:

1:00

ImaginAsia: Gifts for Kings and Tour: Arts of the Silk

Queens

Road

Concert: Parisa and Dariush

12:30-1:15

Curatorial Talk: Adventures of Hamza

1:00-1:45

Storytelling:

1:00

ImaginAsia: Gifts for Kings and Queens

Adventures of Hamza

Talai:

Road

1:30-2:00

Tour: Arts of the Silk

2:30

ImaginAsia: Gifts for Kings and Queens

2:00-3:00

Concert: Parisa and Dariush

3:00-3:45

Storytelling:

SilkRoadStories

5:00-6:00

Storytelling:

Tales

and Legends Along

Road

From Ancient Tellers of Tales: The Hamzanama at the Mughal Court, Meyer Lecture:

2:30

ImaginAsia: Gifts for Kings and Queens

3:00-3:45

Storytelling: Sft

Road Stories

the

Adventures of Hamza

12:30-1:15

Curatorial Talk: The Adventures of Hamza

1:00-1:45

Storytelling:

1:00

ImaginAsia: Gifts for Kings and

1:30-2:00

Tour: Arts of the Silk

2:00-3:00

Concert: Mugham:

Adventures of Hamza

Queens

Road

Courtly Music of Azerbaijan

Talai:

Classical Music of Iran

Road Sounds from

Sultan's Palace Storytelling:

Adventures of Hamza

Classical Music of Iran

the Silk

Storytelling:

11:30-12:15

Sultan's Palace

Road

Adventures of Hamza

11:00-11:45

12:00-12:45 Concert: Bezmara:

Photographs of Kenrolzu and The Cave as

Silk

Talai:

Classical Music of Iran

Road

Maqam: Uzbek and

Music

7:00

Adventures of Hamza

Classical Music of Iran

11:00-11:45

2:00-3:00

Sift

Storytelling:

Azerbaijan

Curatorial Talk: Luxury Arts of the Silk Route

Empires

June 27

1:30-2:00

11:30-12:15

Road Stories

Storytelling:

12:00-12:45 Concert:

Courtly Music of Azerbayan

Adventures of Hamza

Storytelling:

12:30-1:15

Concert:

11:00-11:45

Road

12:00-12:45 Storytelling: Adventures of Hamza

Empires 1:00-1:45

2:30

June 30 Adventures of Hamza

11:00-11:45

2:30

ImaginAsia: Gifts for Kings and Queens

SilkRoadStories

3:00-3:45

Storytelling:

4:00-5:00

Concert: Parisa and Dariush

Talai:

Classical Music of Iran

Auditorium. Freer Gallery

111

July 4

July 6

Adventures of Hamza

11:00-11:45

Storytelling:

11:30-12:15

Tour: Arts of the Silk

12:00-12:45 Concert:

Road

Maqam: Uzbek and

Tajik Courtly

11:30-12:15

Music Adventures of Hamza

12:30-1:15

Adventures of Hamza

Storytelling:

1:30-2:00

Tour: Arts of the Silk

Adventures of Hamza

Tour: Arts of the Silk

Road

Concert: Parisa and Dariusfi

Storytelling:

Silk

11:00-11:45

Talat:

Road Stories

Road

11:30-12:15

Mugham:

11:00-11:45 11:30-12:15

Adventures of Hamza

Storytelling:

Tour: Arts of the Silk

Adventures of Hamza

Storytelling:

Curatorial Talk: Luxury Arts of the Silk Route

Road Talai:

12:30-1:15

Adventures of Hamza

Curatorial Talk: Sacred Sites:

S//fc

Road

Photographs of Kenrolzu and The Cave as Canvas: Hidden Images of Worship along the

Adventures of Hamza

Storytelling:

1:00

ImaginAsia: Gifts for Kings and

1:30-2:00

Tour: Arts of the Silk

2:00-3:00

Concert: Parisa and Dariush

Road

Road Stories

Storytelling:

ImaginAsia: Gifts for Kings and Queens

Concert: The

Silk

Adventures of Hamza

1:00-1:45

Storytelling:

1:00

ImaginAsia: Gifts for Kings and Queens

1:30-2:00

Tour: Arts of the Silk

2:30

ImaginAsia: Gifts for Kings and Queens

Talai:

2:30

Silk

Road

Silk

Queens

3:00-3:45

Road Ensemble: Music

3:00-3:45

Storytelling:

4:00-5:00

Concert:

Silk

Road

Road Stones

Muqam: Uzbek and

Tajik Courtly

Music

of the Past. Present, and Future

12:00-12:45 Concert: Parisa and Dariush Talai:

Tour: Arts of the Silk

Classical Music of Iran

1:00-1:45

4:00-5:00

Road

of Hamza

Road Stories

12:00-12:45 Concert: Parisa and Dariush

Classical Music of Iran July 5

Storytelling: Adventures Storytelling: Silk

Empires

Classical Music of Iran

3:00-3:45

Storytelling:

Storytelling:

Empires

2:00-3:00

Silk

Courtly Music of Azerbaijan

Curatorial Talk: luxury Arts of the Silk Route

1:00-1:45

Road Stories

Storytelling:

12:00-12:45 Concert:

Storytelling: 12:30-1:15

July 7

11:00-11:45

Classical Music of Iran

Program Locations:

Adventures of Hamza

Storytelling: 12:30-1:15

Curatorial Talk: Luxury Arts of the Silk Route

ImaginAsia: Classroom. Sackler second

Empires

Storytelling: Adventures of Silk

Adventures of Hamza

1:00-1:45

Storytelling:

1:30-2:00

Tour: Arts of the Silk

Road Stories, Sackler

Tour and Curatorial Talks: Sackler

Road

level

Hamza. Sackler second

first

level

level

first

level

Concerts: Meyer Auditorium. Freer Gallery 2:00-3:00

Concert: Masters of Afghan Music

Road Stories

3:00-3:45

Storytelling: Silk

4:00-5:00

Concert:

6:00

Concert: Parisa and Danush

Muqam: Uyghur Courtly Music Talai:

Classical Music of Iran

Related Exhibitions at the Sackler Gallery

The Adventures

of

Hamza

The Cave as Canvas Hidden Images of Worship along

June 26-Septembcr 29. 2002

The Adventures

of

Hamza

story based loosely

on the

Muhammad, who teachings of Islam. chases,

and

(or

Hamzanama)

exploits of

is

a fantastical

Ham:a, an uncle

adventure

of the

Prophet

traveled throughout the world spreading the

The

narrative tells of abductions

of encounters with giants,

and hair-raising

demons, and dragons.

Through

The

July 7.

Road

dissemination of luxury items, religious traditions, and cultural

ideas along the Silk

Road

facilitated

innumerable

devotion as well as the construction of bustling royal

tombs,

Silk

impressive

fifteen wall-painting

from the Buddhist caves cut into the ishing

acts of individual cities,

and important Buddhist monasteries and cave

complexes. This exhibition presents

Road

Autonomous Re"ion

112

the Silk

2002

city

located

of Xinjiang.

in

cliffs

what

fragments

flanking Qizil, a flouris

now

the

Chinese

Sacred Silk

Road Photographs by Kenro Izu

|une9, 2002

In the

last

brought

|anuar)

two

5,

years,

.ind

April 14

2003

Japanese-bom photographer Kenro tzu has camera along the same

his large-format

merchants

that

National Museum of African Art Gifts and Blessings: The Textile Arts

Sites:

monks

Road

Silk

routes

traveled for centuries. In his photographs.

Izu seeks to capture the resonance of stone

monuments worshiped

Madagascar, an island nation located Africa.

The

dynamism

exhibition

of the Silk

Madagascar

examines

of!

the

gill

<>l

the people of

the southeast coast oi

context

historical

contemporary cloth production through

ol

and cotton wrappers,

porary fashions, and

Luxury Arts

of

2002

2,

Cloth has long been considered the ultimate

silk

over millennia.

September

and

a collection oi

contem-

burial shrouds, marriage cloths,

textile ait.

Route Empires

Continuing indefinitely

Two thousand

years before the development of todays

economy, an exchange network linked the continent Road. These trade routes served

Silk

global

of Asia via the

channels through which

as

luxurv arts created for secular and religious purposes could travel great distances,

China.

between the Mediterranean coast and northern

Richly decorated cosmetic containers, silver and gold

banqeting vessels, and

objects used in religious rituals illustrate the

National Museum of Natural History Modern Mongolia: Reclaiming Genghis Khan fuly 3

September 29, 2002

Mongolian

from the beginning of the 20th century to toda)

life

reconstructed through three authentic gcrs (traditional Mongolian yurts or tents):

one from the feudal Manchu dynasty during the

woven throughout

Smithsonian Associates The Smithsonian Associates lectures, courses,

June 29.

and seminars

10.

July

complement

to

July

related

the Folklife Festival: 6,

Reclaiming Genghis Khan;

8,

The Caves of Dunhuang: China's Silk Road Treasures;

The Culinarv Legacy

of the

Understanding Tribal Carpets: July July IN, Signposts of the Silk 27.

Road

Chinese Ceramics: East Meets West: July 2-August

Following the Caravans: July 9,

offers a variety of Silk

Nomads

of the Steppes:

Road

16.

Silk

The

Silk

in Italian

September

IS,

state.

The

legacv of Genghis

Khan

is

the exhibition.

Arts and Industries Building The Silk Road Ensemble: Portraits and Places [une20

10.2002

July

Portraits

the

of

artists

by acclaimed photograher Cylla von

Tiedemann, snapshots from

private

artists

Road: July 12-13.

personal stories, and short biographies offer a

Road Ends

and varied

in Italy:

early

20th century, one from the communist period during the 1960s, and

one from todays democratic

lively artistic interaction of the period.

is

lives ot these extraordinary

collections,

window

quotes,

into the rich

musicians.

Renaissance Art: July

Where

the Silk

Road and

The Textile Museu m

the Spice Route Meet.

Secrets of Silk For further information about Resident Associates programs, call

Opens June 2S

202. 357. 3030 or

This exhibition focuses on the

visit

www.SmithsonianAssociates.ore.

historical

importance of

production and trade, with examples of both silk textiles that

National Gallery of Art and Smithsonian National Museum of Natural History During the two weeks film

programs

the

Smithsonian

Details can

nearbv s

Festival,

the

National

National

be found

www.mnh.si.edu

of the at

at

Museum

there will

Gallery of

be related

of

Natural

Art

and

The

Textile

silk in textile

silk fibers

and luxury

were exchanged between cultures.

Museum

D.C. Hours: Monday

is

located at

2320 S

Street.

NW.

Washington,

Saturday 10 a.m. - 5 p.m.: Sunday

I

5 p.m.

Free Admission. Phone: 202.667.0441

History.

www.nga.gov/programs/film.htm and

cal events.html.

113

SPONSORS AND SPECIAL THANKS

The Silk Road Project,

Inc.,

Support and Special Thanks Lead Funder and Key Creative Partner

Tan Dun

Laura Mitgang

Jean During

Frank Molinaro

Monreal

Michelle Errante

Luis

Barkat Fazal

Olima Nabiva

John

X.

Fernandez

Jr.

Fairouz Nishanova

The Aga Khan Trust for Culture

Niv Ficbman

Stacie O'Beirne

Global Corporate Partners

Rosemarie Garipoli

Franz Xaver Ohnesorg

Ford Motor

Company

Siemens

Blair Talcott

Joe Parent

Catherine Gevers

Margot Perman

Founding Supporter

Kim

Sony

Elisabeth

Classical

Gilbert Gill

Goteiner

Neil

Major Funders

Orloff

Peter Gelb

Jason Gelman

Sam

Pickens

Phillipa Polskin

Anne Postel-Vinay

Michael Gorfaine

Mark Ptashne

Bud Grebey

Anthony Richter

The Starr Foundation Mr. and Mrs. Henry R. Kravis Richard

Ara Guzelimian

JLirgen Riehle

Louis Hamel

Josh Robinson

Li

William Rondina

Donors Lam

Barry

Sheryl Handler

Sharon Ruebsteck

Thomas Hanold

William Russell

Sophie Henderson

Walter Scheuer

Chuck Hirsch

Susan Schiffer

Geoff Holland

Fred Schroeder

Mr. and Mrs. Peter Asada

Karen Hughes

Peter Sellars

The Wolfensohn Family Foundation

Frank Hydash

Bright

Maria Rebekah Hunter

Margaret Smilow

Octavian Society National

Endowment of

the Arts

Sheng

Special Thanks Amyn Ahamed Jun

Arii

Mr.

&

Tom

Mrs. Peter Asada

Atkins

Barbara Badalamenti

Habib Jamal

Isabel Soffer

Jane Janosko

Eric Steinhilber

Meredyth Jensen

Earnest

Amir

Brooke Thompson-Mills Sandy Ulsch

Tom

Cylla

Mr.

Mary

Pat Buerkle

Arthur Ceria

Barry Chait Laura A. Cincotta Ernest

Chung

Florence Davis Nicole de

Remer

Amanda Domizio

IH

Thompson

Ruth Kaplan

Alex Bagnall Cristin Canterbury Bagnall

Kanji

Kessinger

&

Mrs. Henry R. Kravis

von Tiedemann

Toshio Watanabe

Robert Laconi

David Westin

Barry Lam

Doug Wheeler

Lori-Nell Lazzeri

Mr. and Mrs. James D. Wolfensohn

Celia Lowenstein

Sara Wolfensohn

Tim Manteau

Grace

David McCarthy

Margie Yang

Molly McBride

Jim

McManus

Orhan Memed

Won

SPONSORS AND SPECIAL THANKS

Smithsonian Support and

Ashby & Associates Video Production Services

Special Thanks

Baby Lock

Festival Leadership Committee

Museo ItaloAmericano Inc.

National Anthropological Archives

Blanc de Chine

Boni Productions Sen. Joseph Biden (Co-chair)

Sam Brownback

Sen.

(Co-chair)

Media Visions Video Duplication

John Boos

& Co.

National

Museum

National

Museum of

Jiro

of African Art the

American Indian

Okura

Century Martial Arts

Palace Arts Foundation Inc.

CMC Company

Stefano Pandiani

Grant Couch

Priefert Manufacturing

ExxonMobil

Jean During

A Quest

The Recording Industries Music Performance Trust Funds

Earthues/Color Trends

Ricola

East River Bagel Inc. doing business with

Saratoga Polo Club

Festival

Donors

Department of State

U.S.

Carolyn G. Mugar

f° r Fresh Natural

Food Company

Chesapeake Bagel Factory Pravina Shukla

Arthur Pacheco

Folklore Society of Greater Washington

Trust for Mutual Understanding

The Freer Gallery of Art

Asian Cultural Council

Fu Ssu-Nien Library

Starbucks Coffee

J.S.

FUJ1FILM

Lee

Company

Sam Sweezy TDK

Electronics

USA Taiwan Bodleian Library

SKF International

The Getty Conservation

Edele Hovnanian

Henry Glassie

The Armenian Assembly of America Inc.

Glen Echo Park

Institute

Target Distributing Audio/Video Division

Tyson's Bagel Market

The Armenia Tree Project

Made

in

Chuba

Armenia Direct.com

Electric

Power Company

University of

Wakefield High School Global Village Productions

Greenberg & Hammer,

Inc.

Festival Special Thanks Observatory

Griffith

Hafiz Abbasi

Healthway Natural Foods

Major Festival

Parviz Gharib Afshar

Heidelberg Pastry Shop

In-Kind Support

Alexander

Hot Glass Beads

APL

Oxford

Glen Echo Pottery

Turkish Airlines

The Huntington Archive of Buddhist and Related Arts

International Silk Association

Institute

of History and Philology

Ahmedov

Carol Ailes

Mairam Akaeva Phil

Almeida

ANA

Italian

Motorola/Nextel

Japan Information and Culture Center

American

Kitefliers

Go-Ped

John Paulson Productions

American

Silk

Fresh Fields/Whole Foods Market

Kalustyans

Amtrak

Kohler

Doug Kim

Catherine Anderson

Potomac Polo Club

Kohls

Arci Milano

Krispy

Government

Kreme Doughnuts

Festival In-Kind Contributors

Theodore Levin

Academia Sinica

Maribeth's

Amernick Bakery and Palena Restaurant Nicole Anderson

Tourist

Board

Inc.

Jennifer Alt

Association

Company

Ufficio Cultura e Spettacoli Leslie

Ashby

Azienda Promozione Turistica

Sri.

Venezia

Maryland Sewing & Vacuum Center

Cesare

Maskroad Project

Battisti

Doug Baum

Maxell Corporation of America

US

SPONSOR S AND SPECIAL TH A N K S

Milo Beach Julie

Ali

Hanako Matano

Gunertem

Hiroshi Matshuda

Badrul Haque

Benbow

Giorgio Mattiello

Harrison

Francine Berkowitz

Patricia

Marty Bernstein

Hiroyuki Hashimoto

Lincoln

Mary Bochman

Asad Hassan-ul-Din

J.J.

Thomas Brady

Fiona

Ken

Brochier Soieries

Hilton Hotels

Elizabeth

Margo Brown

Hohenberg Bros. Company

Uxi Mufti

Division of Cargill

Brown

Michelle

Bureau of Education and Cultural Affairs, U.S. Department of State Bureau of European and Eurasian Affairs. U.S. Department of State

Caravan Design Group Alicia

Hill

Carter

McLaughlin Miller

Moynihan

Alyse Best Muldoon

Paul Holloway

Charles Muldoon

Meredith Hubel

Joseph Muldoon

Jr.

Intersole France

Joseph Muldoon

III

Elizabeth Jacobsen

Suzan Murray

Khalid Javaid

National

Central Asia Crafts Support Association

Murakami

Zhu Changhe

Kathy Johnson

Mary

Elizabeth

Endowment

Ma

Jinichi

Ning

Mine Okamoto Olsson's Books

Jones

& Music

Sonya Cohen Cramer

Jusuf Kamal

Kayoko Ota

Tony

Bobby Kamp

Gul Berna Ozcan

Melik Karapetyan

Joyce Painter

Collini

Companies Weisbrod Zuerrer Francis

Cooper

Nancy Corbett

Andrew Cortez-Greig

Laura Kaufman

Patrizia Pallaro

Ambassador Laura Kennedy

Cecilia

James Kenney

Peggy Parsons

Pang

Janet Cullum

Ambassador Shavkat

Prachi Dalai

Anne Kong

Adam

Nicole Krakora

Judith Petroski

Kathy Kruse

Rep. Joe Pitts

Krupp

Steven Prieto

Tracy Drea

Ambassador Jargalsaikhany Enkhsaikhan Cihad Erginay

R.E.C.

Sihar Erozan

Massumeh Farhad Fashion Institute of Technology

Susan Fraser

Nan Freeman

Ann

Froelich

Gambosurengiin Ganzorig

Gessner Janice M. Glowski

Fred

Gordon

John Gordy Laurel Victoria

116

Grey

S.

Khamrakulov

Nell

Payne Peterson

Alma Kunanbay

Pyramid

Donna Larson

Aziz

Richard Larson

Fiorano Rancati

Peter Leggieri

Carol Reed

Jodi Lehr

Roslin Art Gallery

Brian

Tsend Ganbat

LeMay

Atlantic

Rahman

Debbie Rothberg

Danny Leone

Bryan Saylor

Jonathan Liebenau

Raymond

Lok Virsa

Lynne Shaner

Susan

J.

Lutzker

for the Arts Folk

Traditional Arts

Yin-Xin Jian

Cliff

McCurdy

Seefeldt

Anna Leon Shulman

Derrell Lyles

Frank Joseph Shulman

John Major

Silk

Road Dance Company

Chinara Makasova

Silk

Road Foundation

SUPPORT AND SPECIAL THANKS

Brian Silver

Smithsonian Office Support

Renny Smith

Office of the Secretary Office of Development

Deborah

Office of the Inspector General

Sullivan

Mark

Office of the Under Secretary for American Museums and National

Company

&

Allen Thrasher

Center for Education and

Tourmobile Sightseeing

National

Dai-ni Tsou

Behring Center

Museum

Museum of American

Studies

History.

Unesco Kyrgyzstan

Department of Development and Affairs Education Department

Public

Office of Special Exhibits

The O. Orkin

Department of Information, Technology

Dayanisma Dernegi

Natural History

AnthroNotes

Industries Building

Arts

Art Salon

Museum of

Department of Anthropology

Programs

Elizabeth ten Grotenhuis

Turhal Kultur ve

African Art

Office of the Under Secretary for Science National

Target, Reston, Virginia

Tumar

Museum of

Office of Sponsored Projects

Taplin

Taroni

Sculpture Garden

Curatorial Staff

Office of the General Counsel

Summerour

Marty

Museum and

Public Affairs Office

National

Sport Soie

Youssef Summad

Hirshhorn

Insect

Zoo

National Zoological Park

and Society Division of Exhibit Interpretation Director's Office

Museum Support

U.S.

Embassy Kazakhstan

National Numismatics Collection

U.S.

Embassy Kyrgyzstan

National Postal

U.S.

Embassy Turkmenistan

Research Services Department

U.S.

Embassy Uzbekistan

Center

Office of Fellowships and Grants

Museum Office of International Relations

University of Maryland Clarice Smith

Office of Communications

Office of the Under Secretary for Finance and Administration

Office of Public Affairs

Accessibility

Program

Performing Arts Center Visitor Information

Uzbek Dance and Bill

Cultural Society

Monica Williamson Michael Wilpers

Xilin

Human Resources Physical Plant

Office of Special Events and Conference Architectural History

&

Historic

The Smithsonian Associates

III

Yuriko Yamaguchi

Seeroon Yeretzian Koji

Environment Management and Safety Office of

Preservation

The World Bank

Qin

Center

Services

Dwain Winters

Wunder

Services Group

Office of Government Relations

Wendy Wasserman

S.

Facilities

Engineering and Design

Veale

Van

and Associates Reception

Yoneda

Kumi Yoshiike

Horticulture

Office of the Director, International Art Office of the Comptroller

Museums Cooper-Hewitt, National Design

Museum

Office of Contracting Travel Services Office

Department of Applied Arts and Industrial Design. Image Rights and

Office of Imaging. Printing and Photographic

Reproductions

Services

Freer Gallery of Art and Arthur M. Sackler Gallery

Office of Risk and Asset Management

Anna Zagorski Curatorial Staff

Zurich Silk Association Digital

Office of Planning, Management and Budget

Office of the Chief Information Officer

Information Systems Office of Information Technology

Public Affairs and Marketing

Smithsonian Business Ventures Publications Staff

Smithsonian Magazine Registrar

117

STAFF

Smithsonian Institution

Research Associates: Gigi Bradford.

Sound Production Supervisor:

Roland Freeman, Ivan Karp, Cormne Kratz,

Pete Reiniger Secretary: Lawrence M. Small

Under Secretary for American Museums and National Programs: Sheila P. Burke

Alan Lomax, Worth Long, Rene Lopez,

Marketing Manager: Richard Burgess

Kate Rinzler, Rajeev Sethi

Marketing Assistant: John Smith

Rhea Combs, Steven Garabedian,

Fellows:

Production Coordinator: Mary Monseur

Center for Folklife and Cultural Heritage

Manufacturing Coordinator: Judy Barlas Licensing and Royalties: Margot Nassau

Audio Recording

Norman

Fulfillment

Diana Parker

Program/Publications Manager: Carla M. Borden

Program

Arlene Reiniger

Specialist:

Technical Director:

Rob Schneider

Ronnie Simpkins,

Demsey,

Fulfillment Staff: Lee Michael

Judy Mitoma,

Helen Lindsay, John Passmore Interns: Nathaniel Berndt. David

Campana,

Cormac Symington. Sara

Ella

Administrative Officer: Barbara Strickland

DeVito,

Jenkins, Fred Silber

Waller.

The Silk Road Project,

Ralph Rinzler Archives

The

Silk

Road

Inc.

Project, a not-for-profit arts

Archivist: Jeff Place

organization,

Cataloger, Assistant Archivist: Stephanie Smith

Yo-Yo Ma, who serves as

was founded

The purpose of the Archives Intern: Greg

Don

Barney. Hal Cannon,

Phyllis

Weber

Administration

Scott Raecker. Ricardo Trimillos

Folkways Advisory Board: Michael Asch (Chair).

Barry Weber. Jonathan Zalben

Specialist: Charlie

J.

(Chair)

Clancy Cox, Jonathan Haupt, Noel Oakes,

Kerri Sheingold,

Media

Gittens. Pat Jasper. Barbara Kirshenblatt-

Gimblett. Enrique Lamadrid. David Maybury-Lewis,

Jacob Rogers, Carolina Santamaria,

Graphic Designer: Caroline Brownell

Sarah Reeder. Carley Williams

Anthony

Manager: Sharleen Kavetski

Director of Design and Production: Kristen Fernekes

Gamier,

Galy Modan,

Liepin,

Center Advisory Council: Kurt Dewhurst.

van der Sluys

Smithsonian Folklife Festival Festival Director:

Specialists:

McCann

Ava Jones, Indra

Director: Richard Kurin

Deputy Director: Richard Kennedy

Khanal, Anthony

Interns: Adriana Cutler, Marie-Isabelle

Mark Jackson, Ajaya

1998 by

in

cellist

artistic director.

its

Road Project

Silk

is

to

Adams illuminate the Silk Road's historical contribution

Fiscal

Manager: Helen O'Keefe Save

Computer

Specialist: Michael

Page

Office Manager: Sheila Naylor

Our Sounds

Volunteers:

Bill

its

cultural legacy

Archive Technician: Michael Pahn today, and support innovative collaborations Interns:

Tracy Clonts

technologies, and musical traditions, identify the voices that best represent

Administrative Assistant: Rachelle Hardy Financial Assistants: Lillian Phifer-Brown,

to the cross-cultural diffusion of arts,

Project Director: Frank Proschan

Jason Dooley. Jeff Eastman.

Huong Nguyen, Bjorn Quenemoen

among the Silk

outstanding artists from the lands of

Road and

the West.

Smithsonian GlobalSound Aldacusion. Linda Benner.

Sandie Cole. Dale Dowdal,

At the center

Project Director: Jon Kertzer

Ramona Dowdal.

Jerry Gay, Enid Hairston, Gorgui N'Diaye,

of the

Technical Director: Toby

Dodds

Renny Smith, Marty Summerours

Project Manager: Susan Golden

Development

Cultural Heritage Policy

a

is

North

festivals in

America, Europe, Central Asia, China, and Japan

which began

in

summer

Director of Development: Josh Silver

Director:

Development Associate: Rebecca Smerling

Cultural Research and Education

Smithsonian Folkways Recordings

Chair: Olivia Cadaval

Early

2001.

Co-produced

major presenting organizations and

with

institutions, the festivals

James

Road Project

Silk

two-year-long series of

draw upon

of chamber works commissioned by the

Road

Project, traditional music

of the

Silk

from

cultural

new body

a

Silk

the lands

Road, and existing works by Western

composers such as Ravel and Debussy who Director: Daniel Sheehy

Senior Ethnomusicologist Emeritus:

Director Emeritus: Anthony Seeger Assistant Director: D. A.

Sonneborn

Thomas Vennum,

Manager: Betty Derbyshire

This

Curators, Folklonsts, Education Specialists: Betty

Financial Operations

Marjone

were profoundly influenced by Eastern

Jr.

J.

&

Cultural

Belanus, Nancy Groce,

Hunt, Diana Baird N'Diaye, Peter Seitel,

Cynthia Vidaurn, Nilda

summer's Smithsonian

the result of a creative partnership Silk

Road Project and

traditions.

Folklife Festival

is

between the

the Smithsonian's Center

for Folklife and Cultural Heritage.

Villalta

Program Manager: John W.

Franklin

For

more information about

the Silk

Road

Project, please visit www.silkroadproject.org.

118

STAFF

The Silk Road Project, Board of Directors

Smithsonian Folklife Festival

Inc.,

Festival Director:

Diana Parker

Assistant to the Festival Director: Natalie Hisczak

Treasurer: Ms. Cristin Canterbury Bagnall

Co-Curators: Richard Kennedy. Theodore Levin

Amyn Aga Khan

Camp. Guanghui Chen, Rta Kapur

Curatorial Committee: Milo Beach. Jean During.

Henry Glassie.

Dr. Milo C. Beach

Tom

Kessinger,

Alma Kunanbay.

Hornor

Jill

Rahman

Choudhury. Jerome Cler, David

d'Heilly.

Tenzin Dickyi. Hermine Dreyfuss. Jean During.

Jean Davidson. Catherine Gevers, Richard Kennedy, Richard Kurin, Theodore Levin,

Diana Parker, Esther

Ng

Secretary: Ms.

Festival

Brooke Thompson-Mills

Forman. Helen Frederick, Ganbold.

Henry Glassie. Harold Hagopian. Rachel Harris. K.

Dr. Daniel

Chishti,

Dinara Chochunbaeva. Shafique

Gail

Production Committee: Cristin Bagnall,

Yo-Yo Ma

Al-Kahouaji.

Jane Farmer. Walter Feldman, Alysia Fischer,

Yo-Yo Ma Dr. Elizabeth ten Grotenhuis

Mr.

Bassam

Akaki;a.

Camilla Bryce-Laporte, Sertac Qakim. Charles

Vice Chairman: Ms. Catherine Gevers

Ms.

Omer

Dina Amirova. William Belcher, Susan Blader.

Chairman: Dr. Merton Flemings

Prince

Presen ters Sibel Akad.

Won

David Harrison. Bhagawati Prasad Hatwal.

Neslihan Jevremovic, Alison Allen

Kenoyer, Catherine Kerst.

Scenographer: Rajeev Sethi

Jia,

Dipti Khera,

Mark

Doug

Kim,

Benjamin David Koen, Peg Koetsch,

Alma Kunanbay. Gavyn Lavergne. Tom Leech,

The Silk Road Project, Artistic Director:

Inc.,

Staff

Researchers and Local Coordinators:

Theodore Firoz

Yo-Yo Ma

Curatorial Director:

Theodore Levin

Yo-Yo Ma. LaVerne Magarian. Nataliya Mussina,

Eden Naby. Joan Nathan, Liesbet Nyssen,

Abduvali Abdurashidov, Mila Ahmedova,

Managing Director: Jean Davidson

Levin.

Mahmud, Peter Marsh,

Nilgun Peksalli, Susan Pertel-Jain, Steven Prieto,

Omer

Akakga, Bassam Al-Kahouaji,

Dinara Amirova, Nahomi Aso, Najmieh Batmanglij,

Frank Proschan, Marjorie Ransom.

Philip Schuyler.

Shubha Sankaran. Pravina Shukla. Project Director: Esther

Won

Betty Belanus, Laura Beldiman, Susan Blader,

Robin Ami Silverberg. Madan Gopal Singh,

Guanghui Chen. Rta Kapur Website Architect: Kimberly Freeman

Shafique

Chishti,

Rahman Choudhury, Jerome

Nancy Sweezy. Takashi Takahara. Geshe Lobsang Cler.

Tenzin.

Research and

Editorial

Coordinator:

Oguzhan

Kojiro Umezaki,

Hermine Dreyfuss, Cloe

Rachel Derkits

Tugral. Michael Twitty.

Ardasher Dekhoti, James Deutsch,

Mark van Tongeren,

Drieu, Jean During,

Yuriko Yamaguchi, Curatorial Assistant: Shayna Silverstein

Wang Yousheng,

Chris Walter.

Jane Farmer. Sasan Fatemi, Walter Feldman, Philippa Watkins. Jeffrey

Werbock

Henry Glassie. Chen Guanghui. Harold Hagopian, Stewardship Assistant: Ellen Ko Elias

Education Researcher: Blair McLaughlin Administrative Assistant: Allison Lee

Exclusive

1CM

Management

for

Yo-Yo Ma:

Hanna. Rachel Harris.

David Harrison.

Translators Syeda Ahmed. Bassam Al-Kahouoji.

George Jevremovic. Neslihan Jevremovic,

Harika Bickicioglu, Maggie

Stephen Jones. Richard Kennedy,

Prachi Dalai. David Davtian, Radha Dutta.

Cummings

Jonathan Mark Kenoyer, Stephen Kidd, Doug Kim,

Naz Ebrahimi. Monica Gonsalves,

Peg Koetsch, Alma Kunanbay, Gavyn Lavergne,

Jyldyz Kadrakunova,

Gourgen Karapetyan.

Artists. Ltd.

Theodore Press Representation: Ruder Finn Arts and

Communications Counselors Braun & Martel. LLP and

Legal: Farella

Hale

K.

Bhagwati Prasad Hatwal, Martha Huang,

& Dorr,

Levin, Firoz

Mahmud, Elshan Mansurov.

Ashok Kumar

Peter Marsh, Andranik Michaelian, Nataliya Mussina, Afanassij Myldyk,

Eden Naby,

Mohammed

Olima Nabiva,

Nasseripour.

Liesbet Nyssen. Susan Pertel-Jain, Aziz

LP

Development: Ganpoli Consulting

Marjone Ransom. Arlene

Insurance Advisors:

Marsh USA.

J.H.

Albert and

Reiniger. Rajeev Sethi.

Inc.

Consultant: Catherine Gevers

Shu-m Tsou, Oguzhan Senc

Tugral.

Walli,

Rajput. Raju Sitaula. Shu-ni Tsou.

Jeffrey Werbock, Yuriko Yamaguchi

Alimjan Abdulkerim, Adiba Asadova,

M. Prachi Dalai, Naz Ebrahimi, Helen

Faller.

Mina Girgis. Altinay Kuchukeeva,

Atesh Sonneborn, Youssef Summad,

Nancy Sweezy, Takashi Takahara,

Kurban

Cultural Liaisons Rahman.

Pravma Shukla, Razia Sirdibaeva, Accounting Firm: Parent. McLaughlin & Nangle

Peter Marsh. Yumjir Munkh-Amgalan,

D. Tserenpil,

Mark van Tongeren.

Sushmita Mazumdar. Celal Mutu, Rosita Petrova, Siddiqur Rahman.

Kosuke Yamashiro,

Hui

Asli Z. Mutlu.

Shoko

Sasaki.

Zhang

Walley, Philippa Watkins. Chris Walter,

Toshio Watanabe

119

STAFF

Program Staff

Marketplace Assistant Manager: Joe Williams

Design & Production

Program Coordinators: James Deutsch,

Marketplace Operations Manager: Marlene Graves

Art Director: Kristen Fernekes

Stephen Kidd. Arlene Reiniger, Shayna Silverstein

Marketplace Interns:

Senior Designer: Caroline Brownell

Program

Bridgatt

Assistants: Elizabeth Smart.

E.

Michael Crawford,

Mahoney. Arturo

J.

B.

Pacheco

Beverly Simons. Shu-ni Tsou

Folkways Festival Sales Manager:

Program

Mary Monseur

Interns: Siddhartha Chatterjee,

Christmas, Mary

Elvin

Kevin Daugherty

II,

B.

Considine.

Jr..

III

Designer: Rachele Riley

Design

Intern: David

Antoine

Concessions Manager: Eddie Mendoza

Publications

Foodways Coordinator: Amanda Pike

Publications Manager: Carla Borden

Caroline Dolive.

Elena Gugicheva, Marinella Lentis. Kara Lustig.

Walman

Petra Meindl-Andrews. Zsofia Molnar.

Foodways

Elana Newberger

Program Book Sales Coordinator:

Intern: Rachel

Writers/Editors: Betty Kelly

Posey

J.

Belanus. Carla Borden,

James Deutsch, Mark Kenoyer, Stephen

Kidd,

Martha Huang, Marjorie Hunt, Richard Kennedy, Participant Coordinator:

Dorey Butter

Richard Kurin. Theodore Levin, John Major.

Technical Support

Diana Baird N'Diaye. Lucia Pierce, Frank Proschan,

Assistant Participant Coordinators:

Technical Director:

Karyn Caplan. Reyhan ilhan

Assistant Technical Director: Teresa A. Ballard

Shu-ni Tsou

Technical Consultant: Shakeel Hossain

Consultants: Jennifer

Cultural Liaison Coordinator: lndrani deSilva Cultural Liaison Intern:

Maho

Saito

Housing

Intern:

Peter

Shayna

Silverstein, Elizabeth

Alt,

Smart,

Milo Beach,

Farhad. Laura Kaufman,

Alma Kunanbay, Eden Naby, Lynne Shaner, Electrician:

Hitt

Tommy

Starkey

Anna Leon Shulman. Frank Joseph Shulman,

Carpenters: Paul Aune, Toby Milby, Tim Raridon

Mina Girgis

Crew

Family Activities Coordinator: Betty Belanus Exhibit

Paper Garden Coordinator: Jane Farmer

Documentation

Workers: Joseph David, Nicole Davis,

Michelle

De Cesare. Kendra Denny,

Alicia

Documentation Coordinator: Jeff Place Photo Documentation Coordinator/Webmaster:

William Iverson, Kathleen McBride,

Grove Coordinator: Marjorie Hunt

Elizabeth ten Grotenhuis. Allen Thrasher

Leaders: Lawrence Jewell, Michelle Kadikian,

Ariadne Pineda

Silk

Seitel.

Massumeh

Administrative Assistant: Sheila Naylor

Lead Program Volunteer: Renny Smith

Housing Coordinator: Jennifer

Rob Schneider

Stephanie Smith

McCauley. Terry Meniefield. Elsa

Miller,

Video Documentation: Charlie Weber

Fashion Court Coordinator: Diana Baird N'Diaye Colin O'Bnan, Mariya Strauss, Alaric Strickland. Interns: Beth Fortune, Alia

Luqman

Documentation

Mike Texada, Donn Williams

Interns: Kelly Duke,

Jacquelyn Erdman. Brendan Kredell, Chris

Magana

Rigger: Frank Caulder Festival

Web

Site Architect: Kimberly

Freeman

Chief Volunteer. Documentation: Marilyn Gaston Trucker: Dave Laming

Administrative and Fiscal Support

Shipping Coordinator: Heather Ward

Administrative Officer: Barbara Strickland

Sound/Stage Supervisor: Pete Reiniger

Fiscal

Education and Program Support

Stage Managers: David Adcock, Jeanette Buck,

Manager: Helen O'Keefe

Education Specialists: Betty Belanus

Education Assistant: Merrill Feather

Rachel Cross. Stephen Jamison, Sissie Lang, Administrative Assistants, Folklife:

Mike Monseur, Claudia Tracy Clonts, Rachelle Hardy,

Lillian

Intern Coordinator: Arlene Reiniger

Telliho

Phifer-Brown Engineers: Saul Broudy. David Clements,

Administrative Intern: Kelsey Scott

Henry Cross, Alison Goessling, Gregg Lamping, Administrative Fellow: Jason Yen

Dean

Computer

Alyssa Rivers. Paul Watson. James Welsh

Specialist: Michael

Page

Languell, Al

McKenney, Charlie

Pilzer.

Volunteer Coordinator: Judy Luis-Watson

Supply Assistant: Katina Epps

Sharbaugh

Volunteer Interns: Alima Bucciantini, Lauren

Chow

Logistics Coordinators: Jason Dooley,

Anne Mercer Marketplace Coordinator: Rachel Delgado

120

Jennifer Neely, Jennifer Sandusky Accessibility Coordinator:

Public Information: Vicki

John Franklin

Moeser

Public Information Interns:

Supply Coordinator: Patricia Bradley Assistant Volunteer Coordinator: Abigail

Education Interns: Helen Louise. Kate Marshall,

Rom Pomerantz

Amy

Shapiro,

STAFF

on

Wood

and Canvas: Mohan

Sign-Lanuage Interpreters: Jean Bergey.

Painted Textures

Candas Barnes. Martin Hiraga, Diana Mele.

Malviya, Manish Ratnaparke

Flex

Kafil,

Sambia Shivers-Barclay. Kimberly Underwood,

Chinese Wall on Particleboard: Manish Pushkale,

Hank Young

Santosh Kumar

Sign Master: Ernest Hairston

Painting

Imran. Masroor.

on Canvas and

Meghansh, Avadesh

Flex:

Mosaic

Board of Governors: Dr. Naresh Trehan.

Painting and Paper Collage

Kumar.

Shabana Azmi. Javed Akhtar

Angels: Jitendra Vyas. Satish Narayania

Saxena.

Amar

Sameer

Arvmd

Sharma. Badri Burfa

Parihar. Amit Mahtre, Piyush

Tirkey.

Sunil

Sheila Lunkad.

Oroon

Ranjan,

Naveed Ahmed

Das.

Pramod

Bharti.

Kumar.

P.

Neeti

Lai.

Deputy Director. National Park Service:

Upendra Regional Director. National Capital Region: Terry R. Carlstrom

Muhammad.

Fabricators (Metal): Abid,

Wall:

Bhim. Chintu. Narendra. Radheshyam. Kamal. Tara.

Astronomy Soni, Bheru

Kapil.

Lai.

Sonu

Gyan Prakash

Tent:

United States Park Police, Special Forces Branch: Sgt.

Ahmed,

Ahmed

Nabil

Om

Wasim Ahmed.

Tailoring: Abdul Rashid, Irfan,

Manish Soni. Yogdeepak Soni, Sunika Soni.

Ram

Bamboo

Weaving: Jagat Narain,

Kumar. Ramesh Kumar.

Kumar

Madan

lal,

Avtar, Laxmi,

Rampal

Ram

Mohammed

Kapudaskar, Sanjay Gade, Siddhi Ghadigankar,

Muhammad,

Salim, Azmuddin, Raish

Sachin Chalke. Pragati Mistri. Vidhya Vesave,

ikramuddin.

Jiya,

Sandip Dhuri. Vishalakshi. Jadav. Poshni Gavde,

Singh. Devender Kumar. Daya

Rokde, Swati Lubde, Yogita. Abhishek

Ashok Gurav, Sanjay More Artists:

Zia and

Team

Dunhuang on Canvas and Papier-Mache:

Kishore, Irshad, Aash

Ahmed,

&

Printers:

Programs: Leonard Lee

Robert Karotko Associate Superintendent, Maintenance: William

Newman,

Jr.

Aslam, Shami, Zameer. Harbans

Deepak

Deputy Chief of Maintenance: Sean Kennealy

Ram, Montu,

Shamboo. Chotu, Umesh, Rajkumar, Abdul Dyers

Merryman

Chief, Division of Visitor Services:

Carpentry & Woodwork: Darshan, Irfan, Raju, Vikas,

Thermocol

Lakhan,

Radheshyam & Team Patil,

Rick

Special Event Coordinator, Division of Park

Ram

Pankaj Salunkhe. JT Mane. Santoah Parab. Nilesh

Baiker,

Chief, Division of Park Programs:

Sonu, Bhagwan,

Laxman.

Vaishali

Deputy Superintendent, National Capital ParksCentral: Vikki Keys

Design Supervisor: Mr. Narendra Malhotra Artisans:

Carpet Walls on Canvas: Moreshwar.

Superintendent. National Capital Parks-Central:

Prakash

Bamboo

Raj

ilias

Sharad Soni, Shiv Prakash Soni.

Vijay

Roxanne Brown-Ankney

Arnold Goldstein

Tnlok Prakash Soni, Dinesh Soni, Kiran Soni,

Monika Soni,

Teresa C. Chambers

Ismail,

Prasad KP, N Suresh, Shahjad. Bhola, Manoj.

Mustaquein Ahmed. Umar, Ajmeri, Soni.

Chief, United States Park Police:

Qamruddin. Suresh Kumar, Roymon. Kunjappy,

Ramprasad. Sohan Singh, Prassanan KP. Matloob

Hoshiyar Singh. Sujata Bansal.

Anup, Vjay. Ravi.

Zain-uddin.

Kasliwal,

Ms. Ritika Jagu. Gaurav Bhutada

Bamiyan

Kamal Kumar

Ms. Rta Kapur Chisthi.

Faroukh. Imtiaz. Salim. Riaz-Uddin, Soli Shankar,

Narang

Madhok, Suruchi

Saurashtra Impex, Coircraft. Sanchita, Ranjit

Director. National Park Service: Fran P. Mainella Textile Consultants:

Zameer, Allauddin. Kanan, Pramod, Gitika

Little

Secretary of the Interior: Gale A. Norton

Finance: Parna Patkar.

San Marco & Istanbul Panels: Chandu Nafde,

Monica Ranaker,

The Shop.

Hali, Industree.

Donald W. Murphy

Balasubramanian, K.A. Lakshmanan. Motilal

Madan

Ikat.

Flower Ashram, Bereket

Japanese Calligraphy Consultant: Yuriko Lochhan

Marwah

Saini.

Abhinandan

National Park Service

Financial Consultants: Sudhir Saluja,

Chandra

V.

Logistics,

Dutta

Arpana Bisht

&

APL

Pvt. Ltd..

Ram

Control, Trinity

Furniture Consultant: Mr. Ayush Kasliwal

Research Team: Pramod Kumar KG. Kavita

Project Administration

Tarini. Capital Pest

Sharma. Ayush

Parker. Gurpreet Singh. Siddhartha

Chatterjee. Prakash Kumar. Priyanka Bhasin

Singh, Sunil

Manu, Naresh,

Cargo, Duggal Visual Solutions, Manasa

Site:

Structural Consultants: Mr. Amit

Prashant. Saurabh Sharma.

Graphic Design Team:

Dinesh

Flex:

Team

Architects: Rajeev Lunkad. Vijay Kate.

Yogeshwar Kanu,

on

Hagia Sophia: Yogesh Kasera. Harbajan Singh &

Scenographer: Rajeev Sethi

Ram Vilas. Dhan Omkar Singh

Kannaiyha. Mahesh.

Removals Muttreja. Dr. Shiv

Shaheed

In-Kind Contributors: Ratna Handlooms. Tota

Paul

Founder Trustee: Rajeev Sethi

Madhu Trehan. Poonam

Iqbal,

Office Staff: Mr. Ghanshyam, Rajesh, Vinod, Vjay.

Yadav, Sundar Gurjar, Dilip Paranjiya. Mr. Rajesh

The Asian Heritage Fou ndation

Block Makers: Sardar Hussain. Arshad

Ansar Hussain. Manshoor Alam. Mehfaz.

Sattar

Srivastav, Sagar Dyers.

Special Assistant for Partnerships: Lisa

Mendelson-Ielmini the National Park Service and the

Ashirwad Dyers, Venugopal, Consortium

Employees of

International

United States Park Police.

Bhupendra Singh

121

For more information about the Smithsonian Folklife Festival

visit

www.folklife.si.edu. mian Folklih ..iJVrft'MY*

books about

Find

research behind

the

: ;

tival

and the

it

Learn about the ,

the Festival and

which produces

S

recordings developed from the Festival

As

well as an array

from

of recordings

the archives and collections of

Folkways Records

Learn

how you can

help archival

preservation projects

like

Save Our

Sounds, and Smithsonian Global Sound, a Web-based project to

digitize

and distribute the world's recorded

sound heritage

Find resources, like cultural education kits

and materials for schools, and

publications concerning cultural heritage

£ encourage From top

right:

(

'ulture.

Folkways Recordings) \merican Folk

Iowa

Folklife

Musk

.

Of

New

By.

policy and practice

MA

cultural

democracy across

the nation and

and For the People by Richard kurin; The StoneCarvers by Marjorie Hunt; Reflections

York City:

Qbbal

Beat of the Boroughs; Taquachito Nights; Classic Bhegrass;

Woody

(from Center for Folklife and Cultural Heritage Education) Safeguarding Traditional Cultures:

Education Kit

of a

Quthrie:

A

(

'ulture

around the world. Broker by Richard Kurin; (from Smithsonian

The Asch Recordings; The Bat

Qlohal Assessment; Discovering

of Broadside;

Our

Anthology

of

Delta Education Kit; and

Learn more about CD

SI

LKR®AD

project

at The that

a

Road Ensemble Recordings Instruments o1 work with the Project Map with routes of th Along the

more about

Road Encounters,

Silk

Road

Elizabeth ten Grotenhuis, ed.

comprehensive education

initiative

This richly illustrated, lively book

exploring the

keynoted by Yo-Yo Ma's candid contemporary music and the Silk Road; distinguished is

cross-cultural influences of the

insights into

Road, commissioned by Ford Motor Company and developed by the Silk Road Project historical Silk

in

www.silkroadproject.org

Silk

Also, learn

Silk

inc.

who explore the present-day Silk Road and its absorbing history include a composer, ethnomusicologist, archaeologist, photographer, scientist, film critic,

contributors

collaboration with the Asia

Society.

teachers.silkroadproject.org

and two

art historians.

Buy online

Mongolian long song Ganbaatar Khongorzul. performs a traditional Mongolian long song. © 2001 Axel Nickolaus, Germany

or at the Folklife Festival.

Folklife Festival participant,

vocalist

The

Silk

Road

Connecting Cultures, Creating Trust The 2002 Smithsonian

Folklife Festival

Ensemble Sabjilar members Anna Burnakova, and Slava Kuchenov.

Folklife Festival participants

www.silkroadproject.org/smithsonian

Sergei Cherkov,

© Ted

Levin 2000. Khakasia

a map of this year's Festival. Get to know more at schedule with daily updates. Get recipes from food demonstrations.

See photos and

I

Road Project, a not-for-profit arts and culture organization, was founded in 1998 by cellist Yo-Yo Ma, who serves as its artistic The purpose of the Silk Road Project is to illuminate the Silk Road's historical contribution to the cross-cultural diffusion of arts, technologies, and musical traditions; identify the voices that best represent its cultural legacy today; and support innovative collaborations among outstanding artists from the lands of the Silk Road and the West. The

Silk

director.

Music that travels

in

extraordina

new directions.

/

limftF Silk

Road Journeys s

kTATJ

Hil

Meet join

renowned

cellist

Yo-Yo Ma as he

explores the rich cultural traditions along the Silk Road— the historic link between East and West— and celebrates the many

music

What

if

Marco Polo had owned

a tape \nd what

il

his epic travels across the heart ol Asia

hut at the beginning ol the 21st? the vast

and

Silk Road:

rich musical territory that

important region today. Produced Folklile Festival, this Tajikistan,

The

2-CD

in

A

had taken place not

Musical Caravan presents

an adventurous traveler

like

set includes

music from Afghanistan, China, ol

it

discs, traditional

and

contemporary, kindred and diverse, illustrates the dazzling,

sometimes daring-

Road

getting connected— to their roots, their

neighbors, and, at

moment,

some usually anonymous

to strangers."

-Yo-YoMa A

world of sound from the Smithsonian

is

available at your doorstep!

Smithsonian Folkways Recordings brings you musical treasures from distant places and your own backyard on over 3,000 recordings. Available from record and book stores, online, or mail order.

800--i 10-98 15

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THE SILK ROAD results of musicians along the Silk

a

cooperation with the Silk Road Project and the

and other Central Eurasian nations and peoples, most

"The music on these

the cm\ of the 13th century,

at

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3 Smithsonian Folkways Recordings

Specially priced at the Lotus Bazaar

Iran,

_!()()!_'

in this vitally

Smithsonian

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never previously released.

A

Musical Caravan

FESTIVAL SITE MAP

to Smithsonian National

JEFFERSON DRIVE

Museum of American

History

FESTIVAL SITE MAP

T to Smithsonian National

JEFFERSON

OftTVE

Museum of American

History