Martin brings up a valuable point. I think of folk music as a form of expression whereby anyone can participate. In America, we have become a spectator culture. We don't play sandlot baseball like we used to. Instead of making music themselves, many vote for performers on American Idol.

I think that the solution is for performers who do folk music to include a lot more people in the participation through introducing songs that have choruses that audiences can sing.

Pete Seeger thought that the "hootenanny" served this function.

I think that the rise of folksong clubs where people get together to make music would solve this problem. We saw a lot more of it in the Fifties and Sixties than we do today. I used to go to gatherings in people's homes where accompaniment instruments would be brought in and songs would be sung and played, particularly American folksongs that were simple and accessible.

Folk music classes concentrating on playing different instruments as accompaniment to songs are important here too.

Somehow, these valuable groups of people became either an exercise in academic criticism or limited to those who were outstanding or professionals entertaining others. I have nothing against those who are accomplished performers but they require a concert or a performance venue.

I think the answer to Martin's question lies in the fact that people don't participate in music making as much nowadays. I think that living room "hoots" or sharing songs would solve the problem.

The Old Town School of Folk Music in Chicago was created to answer this need. It's core approach was inclusion of all kinds of interest in a variety of folk music that could be shared through group participation. We taught people to play so that they could go out on their own and share their love of singing and playing with others.

We also provided a venue for those who were more accomplished to perform and get started.

I found that when people became interested in folk music and "owned" it, they became interested in where it came from and the people who originated it. They delved into the history and the various cultures.

A big mistake would be to exclude. I have always stated that folk music is not an exclusive club. It's fine for people to have their preferences and this is healthy but
nothing that people consider valuable needs to be shunned.

I think an attitude of sharing musical knowledge and songs is what may be missing these days. In many ways, the popular music field is responsible by making a "star system" that discourages amateur participation. Music is music before it is a business.

I believe that it's important, however, to encourage people be get better at what they do by learning to play and sing through lessons or mentoring.

Also, I think it's good if people start to memorize songs and not rely on keeping noses in songbooks. If songbooks are used, I think it's important to occasionally look up from it and acknowlege those who are sharing the music with you. Certain lines of songs can be remembered at a casual glance at the songbook.

I think workshops are valuable if the leader can communicate what is important in the music that is being presented. So often. workshops are ego trips for accomplished artists.

The next folk music revival (if there is one) will be in the living room. BTW, The Old Town School of Folk Music is like a great big living room with the emphasis on "living".

Frank Hamilton