Metro Music
odd: label: Introduction
content: Washington, the capital city, has long been known for its official culture and public celebrations such as presidential inaugurations, Independence Day pageantry, military band concerts, state funerals, and embassy receptions. Yet it has another reality, one sometimes hidden behind official functions. Washington, the residential city, burgeons with cultures transplanted from beyond urban, state, and national boundaries as well as hybrid traditions newly rooted in an urban environment.

Metropolitan Washington, with over four million residents in 1993, was home to more than one million African Americans, 250,000 Hispanic Americans, nearly 250,000 Asian/Pacific Americans, and thousands of other peoples from around the world. The metropolitan area had been enriched by a continual influx of people from the South and, more recently, immigrants from Central America, the Caribbean, Southeast Asia, and the Horn of Africa. Viewing the city as an environment of distinctly American possibilities, people have flocked to Washington throughout its 200-year history, in search of refuge, a better life, and greater opportunities for freedom, education, power, respect, employment, and financial security. While some came with abundant wealth, others brought little more than themselves, their values, and their traditions to sustain themselves in their transition to a new situation.

Music was always among the most vital of the intangible traditional resources that helped to support these Washingtonians. Each community developed particular institutions and networks of support facilitating social interaction and exchange of information. Some of these communities were defined by geographical boundaries, such as a neighborhood, and traditions emerged out of that experience. Other communities might have lacked geographic definition but shared common characteristics such as age, ethnicity, occupation, social interests, or even family relationship. The sharing of values, perspectives, and experience created a basis for the existence and growth of tradition. Music provided a channel for the expression of community-based values, on display to Festival visitors in the Metro Music program.

Richard Kennedy and Thomas Vennum, Jr. were Program Coordinators. Metro Music was made possible with the support of the recording industries Music Performance Trust Funds.
label: Presenters
content: Enrique Avilés, Philippa Jackson, Richard Kennedy, Michael Licht, Barry Lee Pearson, Jeff Place, Thomas Vennum, Jr.
label: Participants
content: Participants

Baltimore Korean Dancers

Ji Eun Ahn, Baltimore, Maryland

Soon Hee Ahn, Baltimore, Maryland

Ayang By Chi, Baltimore, Maryland

Nanhui Kang, Baltimore, Maryland

Eun Soo Kim, Baltimore, Maryland

Hyum Joo Kim, Baltimore, Maryland

Jung Sook Lee, Baltimore, Maryland

Hye Sook Lim, Baltimore, Maryland

Jung Sook Park, Baltimore, Maryland

Chu Me Yu, Baltimore, Maryland

Ann Yim, Baltimore, Maryland

Jum Bok Yim, Baltimore, Maryland

Chu Me Yi, Baltimore, Maryland

Ann Yim, Baltimore, Maryland

Jum Bok Vim, Baltimore, Maryland

The Country Gentlemen

Charlie Waller, guitar, vocals, Gordonsville, Virginia

Jimmy Bowen, mandolin, vocals, Nashville, Tennessee

Greg Corbett, banjo, vocals, Troy, North Carolina

Ronnie Davis, bass, vocals, Charlottesville, Virginia

Ganga, Bengali Folk Music

Hitabrata Roy, 1927-, dotara, Falls Church, Virginia

Minati Basu Roy, 1931-, khamak, Falls Church, Virginia

Broto Roy, 1957-, tabla, Falls Church, Virginia

Krishnakali Roy, 1955-, ghungar, Falls Church, Virginia

The Gospel Pearls

Beatrice Cooper, Washington, D.C.

Paulette Goodlin, Capitol Heights, Maryland

Brenda Little, 1947-, Washington, D.C.

Verna Locus, 1950-, Washington, D.C.

Connie Monroe, 1946-, Washington, D.C.

Sam Hubbard and Reverb, Gospel

Sam Hubbard, 1937-, Washington, D.C.

Steve Langley, 1959-, Washington, D.C.

Reginald Moore, Washington, D.C.

Bruce O'Neal, 1966-, Washington, D.C.

Victor Pinkney, 1960-, Washington, D.C.

John Jackson, 1924-2002, Piedmont blues, Fairfax Station, Virginia

Johnson Mountain Boys

Tom Adams, banjo, Gettysburg, Pennsylvania

Dudley Connell, guitar, vocals, Germantown, Maryland

David McLaughlin, 1958-, mandolin, Winchester, Virginia

Eddie Stubbs, fiddle, Gaithersburg, Maryland

Earl Yager, bass, Spring Grove, Pennsylvania

Djimo Kouyate, Senegalese griot, Washington, D.C.

Little Bit A Blues

Warner Williams, guitar, Gaithersburg, Maryland

Jay Summerour, harmonica, Poolesville, Maryland

Andy Vorhees, bass, Poolesville, Maryland

Alfredo Mojica and His Orchestra, Latin Dance Music

Alfredo Mojica, Sr., band leader, Silver Spring, Maryland

Ralph Eskenazy, 1952-, keyboards, Wheaton, Maryland

Adrianne Galler Lastra, 1954-, bass, Wheaton, Maryland

José Lopez, 1959-, percussion, Gaithersburg, Maryland

Heather McKay, 1959-, guitar, Potomac, Maryland

Alfredo Mojica, Jr., 1958-, percussion, Bethesda, Maryland

Eugene Okonsky, piano, 1965-, Silver Spring, Maryland

Scott Young, saxophone, Wheaton, Maryland

Irish Music & Dance

Winifred Horan, dancer, New York, New York

Donna Long, piano, Baltimore, Maryland

Brendan Mulvihill, 1954-, fiddle, Alexandria, Virginia

Odadaa, Ghanaian Music & Dance

Yacub Addy, master drummer, Alexandria, Virginia

Siboney, Cuban Music

Nelson Rodriguez, director, Washington, D.C.

Veltones, Doo Wop

Joe Herndon, Washington, D.C.

Larry Jordan, 1947-, Washington, D.C.

Sunny Payton, Washington, D.C.

George Spann, Washington, D.C.

Moe Warren, 1947-, Bladensburg, Maryland
name: label: Collection Creator
content: Smithsonian Institution. Center for Folklife and Cultural Heritage
setName: label: See more items in
content: Smithsonian Folklife Festival records: 1993 Festival of American Folklife
dataSource: label: Archival Repository
content: Ralph Rinzler Folklife Archives and Collections
identifier: label: Identifier
content: CFCH.SFF.1993, Series 4
objectType: label: Type
content: Archival materials