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A colorful horizontal painting of the Washington Monument against a yellow and red sky, with two flags flying nearby. A shield-shaped frame surrounds the scene with the words “SmithSonian Folklife Festival 2019” and colorful floral and leaf designs filling the entire surface area.

Photo by Sonya Pencheva, Ralph Rinzler Folklife Archives

Image Description A vibrantly colorful horizontal painting of the Washington Monument against a yellow and red sky, behind the Reflecting Pool and adjacent to American and Pakistani flags waving in the breeze to the left of the monument. The scene is enclosed within a shield-shape outline with the words: “SmithSonian Folklife Festival 2019” painted across the top in a bright yellow band. The lower two-thirds of the shield is outlined in blue and red. This central motif is surrounded by vibrantly colored floral and leaf patterns in reds, pinks, and green, with a swirling blue vine-shaped garland filling the rest of the surface area.

Festival Painting

The 2019 Social Power of Music program put a spotlight on D.C.’s musical heritage, the legacy of Pete Seeger, and demonstrated music’s capacity to create common ground among strangers. In an unexpected twist, it also linked together music and a painting, rekindling a relationship that started in 2002.

Serendipity brought a Pakistani truck painter back to the Festival—and his new painting found a home

The Festival’s 2002 Silk Road program was unparalleled in its size and conceptual breadth. Two weeks of music and art transported the large crowds that attended the first Festival after September 11 to the historic trade route between Europe and East Asia. One of the visual highlights was a large Pakistani truck, vividly painted top to bottom by twenty-two-year-old Haider Ali, a truck painter who apprenticed to his father at age eight and painted his first truck at sixteen. Six years later, he was on his way to Washington, D.C., to participate in the Silk Road program.

Fast forward to 2019, when Haider Ali traveled to Virginia to paint a truck on commission. After those plans unexpectedly fell through, he contacted Festival director Sabrina Motley to see if there was something he could do at that summer’s short, two-day Festival. She found him a large panel to paint and asked only that he include “Smithsonian Folklife Festival” and an image from the National Mall. The result was the Washington Monument piercing a bright, yellow-red sky, with the U.S. and Pakistani flags flying side by side.

Gallery
  • Haider Ali paints at the 2019 Festival.
  • A younger Haider Ali paints scenes on the Pakistani truck in 2002.
  • Jamil Uddin, who carved the teak decorations and cut-metal ornaments for the truck, observes Haider Ali painting trim around a wheel well in 2002.

I somehow missed everything to do with Haider Ali’s visit that weekend and was surprised to find his large painting resting against a wall when I returned to the office the following week. When I looked for a record of his visit in the Ralph Rinzler Folklife Archives, I found a few images of him painting outside on the National Mall, not far from the Smithsonian Metro entrance. Images from the following day—after he was gone—show his painting hung on a tent wall, above two banjo players tuning up. Later in the sequence, a crowd filled the small space—all singing and all with strong Festival ties. Staff, volunteers, and close friends had privately gathered to participate in a celebration of life for a person dear to the Festival family. Unintentionally but perfectly, the painting was a backdrop for the “social power of music” to help heal and restore.

Gallery
  • Archivist Greg Adams (right) tunes up with Scott Odell (a fellow banjo player and close friend of the Rinzler family) prior to the celebration of life for Marni Hoyt. Her stepfather, Ralph Rinzler, cofounded the Smithsonian Folklife Festival, and her mother, Kate Rinzler, curated children’s programs as a longtime Festival associate.
—Erin Younger, exhibition curator

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