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| reciprocal ethnography, how the text changes according to context |
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-importance of text and process, practice of sharing things among groups that find them meaningful
-transmission (through time/space/group to group)
-continuity (repeated because it matters) |
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| People have equal access and voice |
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-Treasury of American Folklore
-he believed modernity was not a threat to tradition and that people were smart enough to hold on.
-he worked with immigrants in NYC
-he was the National Folklore Editor of the WPA Federal Writers Project and wrote about slave narratives and brought hidden voices to light
-he introduced the idea that government might have a role to play in preserving folklore
-anti racist agenda
-put material in the hands of the people |
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-Power in formal patterns
-Familiar outlines (genre is important here)
-keying into performance
-formal language, figurative language, rhythm
-variation--each teller had a different way of telling the story |
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-community base (what is pleasing)
-standards shared
-in order to judge something it comes from the outside but in folklore it's an internal thing |
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-something made by skill or craft
-most objects (functional) can serve an artsy function
-detachable from context (an antique with no history is just a thing)
-they will outlast you and are collectible
-communicate aesthetically and functionally--heirlooms accrue value over time |
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| multiple meanings and functions--sensitivity to context (teapots can be old or little girly), multidimensional shape an dsize, ephemerally (is there a true purpose--sand castles wash away) |
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| cup of coffee in styrofoam cup--something produced those materials |
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| one framed performance within a whole thing, dimension that heightens your every day interactions |
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| mode of communication, another lens that we look things through, event centered approaches, has an aesthetic or artistic dimension, special or marked in some way (frame around it) |
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| applied to things other than verbal |
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| if your view is narrow, context doesn't matter |
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| depends on the audience, cross-cultural issues, lack of history/context |
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| relativity, context, performance, diffusion, variation, social base, performer bio |
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-comes to LA as an immigrant, people came from everywhere to see his All Saints Altar
-he worries a lot about the aesthetics of his display |
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-personal narrative (signs and warning, labels/labeling)
-JFK--political/pop culture
-mexican legends, historical
-social function--moral dimension, process |
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| -community cohesion but also very functional |
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| "art is the birthright of all humanity, not just the privilege of a rare talented view or the possession of prosperous white men" |
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| Glassie's definition of folk art |
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-defines folk art as something appealing to you and engages your whole self
-he finds folk art interesting because he wants to critique western art because it's too individual |
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-ethical (has a social dimension)
-communicates and is relevant to your group
-spiritual dimension (art will touch you in a personal way)
-everyday use: values conflict in a household |
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| three principles of folk art |
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| personal, aesthetic, ethical dimensions |
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-it's a creative act of patterns of utility and beauty
-social action and has an ethical dimension
-it's a performance of a memory |
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| importance of text and process, practice of sharing things among groups who find them meaningful |
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| Toelken's twin laws of folklore, creativeness is held in check by tradition |
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| authenticity of tradition |
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| authentic in the eye of the beholder |
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| strongest markers of cultural identity, last to go during social change, draws people together |
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| agreement on what is expected from that food (everyone knows what makes a pie good) |
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| making places of spaces, our relationship is important to the places we live (Hufford) |
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| the idea that we "story" places and our social dimension is what makes space into place |
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| pound net fishers who have an everyday life intertwined with the landscape they live |
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| collaboration between folklorist and people they're gathering from (Martha King and Madison Co Project with the blog), they gave feedback |
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| gives people money to live on for traditional music |
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| American Folklore society |
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-founded in 1888
-helps neglected groups (like rural americans)
-helps neglected dimensions of culture |
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| idea that we're going to tread on social issues when we work with people |
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| goes on in arts councils, museums, radio programs--public presentation |
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| people have equal access and voice |
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| worked in the NEA and helped the infrastructure that got states public funding to get folklore |
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-object
-discipline
-communication/performance
-means of cultural intervention |
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-do lots of grant writing and fundraising
-work with folk as collaborators
-develop a sense of regional and group identity |
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| American folklife preservation act |
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| 1976, Archie Green was the key reason this was passed, helped to get a national commitment to cultural representation and diversity to preserve |
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| first smithsonian folklife festival |
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| performance challenges social norms |
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-pushes boundaries
-gives space for things that don't normally happen |
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| art is a flexible term, gospel singing was used as a social context and context of tradition |
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| you can read a landscape like you read literature because you know about the land and you live there and it has meaning to you (Hufford) |
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| social roles of cultural landmarks |
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| provide continuity in a community |
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| dynamism-already existing folklore becomes something else |
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| web of culture (lore and process osmosis, just by being around it and near it we make it our own)-Clifford Geortz |
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