The whole field of "world music" is folk music, at least it's folk-based. It's just that the definition of folk might be expanding to include non-European, English-speaking folk music. Which I believe is a very important and wonderful development.

I think it's important, as someone mentioned above, to be flexible -- the task is to hold the line enough that tradition does keep in the mix, but to be inclusive enough that "trad" doesn't become (or continue to be) a Members-only club.

And when young people do show up, don't interact with them as if they're the ignoramuses and you're the keeper of the flame. Not being a "regular folkie" (I'm an irregular, just as in every other aspect of my life), I've seen this treatment up close and personal. It's even worse when a young person is involved.

People are hungry for good stories, and so many folk songs have endured because they're wonderful stories. People (children, especially) are also hungry for music and ready to be turned on to the fact that they can participate in music, not just consume it. I think one way to go is to involve the musicians in our communities with programs that somehow teach kids to take music into their own hands. And to make sure that we allow our "folk" music to reflect the diversity of our cultures.