The sections of articles about the U.S. Virgin Islands and Senegal have statements from two sets of authors. One article in each section is a general, inclusive statement written by a member of our curatorial staff.
Employing a point of view generally defined by Smithsonian imperatives for "the increase and diffusion of knowledge," the author engages in the characteristic practices of the Festival. These include: identifying and valorizing traditional cultural practices; explaining them primarily in historical, economic, and social terms; replying to popular stereotypes and supplanting them with empirically derived characterizations; representing geographically and historically bounded cultural wholes.
The other statements are written by authors from the geographic areas featured- the U.S. Virgin Islands and Senegal. These articles are more richly detailed. They address a variety of audiences, reply to a variety of implicit and explicit assertions, and are couched in a variety of styles. They have, of course, been solicited, selected, and edited - processes which are ineluctably based in our Institutional practice. We hope that in spite of this practice, and also in some degree because of it, these short critical pieces do incorporate a variety of voices speaking on noteworthy aspects of folklife.
In this sense, the organization of this year's Program Book represents the practice of the Festival as a whole.
The dialogue of viewpoints, understandings and of cultural styles strengthens the discourse of our national cultural Institution.

The lessons in this issue of Smithsonian in Your Classroom introduce the work of botanists and botanical illustrators, specifically their race to make records of endangered plant species around the world. “Very little of the world’s flora has been fully studied,” says one Smithsonian botanist, “and time is running out.” In the first lesson, students gets to know six endangered plants. They examine illustrations, photographs, and dried specimens of the plants as they consider this question: If a scientist can take a picture of a plant, are there advantages in having an illustration? They go on to consider some of the big questions that botanists themselves must ask: Which of these species are most in need of conservation efforts? Are any of these plants more worth saving than others?In the second lesson, the students try their own hands at botanical illustration, following the methods of a Smithsonian staff illustrator. All that is required for the lesson are pencils, markers, tracing paper, and access to a photocopier.