Using of Folk Art to Enhance Learning at English
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Horse Motifs in Folk Narrative of the Supernatural
HORSE MOTIFS IN FOLK NARRATIVE OF THE SlPERNA TURAL by Victoria Harkavy A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Master of Arts Interdisciplinary Studies Committee: ___ ~C=:l!L~;;rtl....,19~~~'V'l rogram Director Dean, College of Humanities and Social Sciences Date: ~U_c-ly-=-a2..!-.:t ;LC>=-----...!/~'fF_ Spring Semester 2014 George Mason University Fairfax, VA Horse Motifs in Folk Narrative of the Supernatural A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at George Mason University by Victoria Harkavy Bachelor of Arts University of Maryland-College Park 2006 Director: Margaret Yocom, Professor Interdisciplinary Studies Spring Semester 2014 George Mason University Fairfax, VA This work is licensed under a creative commons attribution-noderivs 3.0 unported license. ii DEDICATION This is dedicated to my wonderful and supportive parents, Lorraine Messinger and Kenneth Harkavy. iii ACKNOWLEDGEMENTS I would like to thank my committee, Drs. Yocom, Fraser, and Rashkover, for putting in the time and effort to get this thesis finalized. Thanks also to my friends and colleagues who let me run ideas by them. Special thanks to Margaret Christoph for lending her copy editing expertise. Endless gratitude goes to my family taking care of me when I was focused on writing. Thanks also go to William, Folklore Horse, for all of the inspiration, and to Gumbie, Folklore Cat, for only sometimes sitting on the keyboard. iv TABLE OF CONTENTS Page Abstract .............................................................................................................................. vi Interdisciplinary Elements of this Study ............................................................................. 1 Introduction ........................................................................................................................ -
Folk and Traditional Arts and Social Change a Working Guide to The
A Working Guide to the Landscape of Arts for Change A collection of writings depicting the wide range of ways the arts make community, civic, and social change. Folk and Traditional Arts Hugo Arroyo of Los Cenzontles engages young people in a Son Jarocho music and dance class. and Social Change By Betsy Peterson Folk arts include a constellation of artistic activities and cultural expressions in community life that are informal, often popular in orientation, amateur, voluntary, and occurring in myriad social contexts. As expressions of deep cultural knowledge, creative expression, activism, cultural durability, and community values, folk and traditional arts can be tools for community empowerment and social change. In this paper, author Betsy Peterson captures a range of cultural activity beyond familiar forms such as protest songs that use cultural tradition to explicitly address or mobilize public opinion on political or social issues. She characterizes subtle but potent ways that cultural workers, activists, and others intentionally draw upon folk and traditional arts and culture to name and interpret their own experience, to test their own boundaries, and to affirm a cultural continuity in the face of social concerns. Preservation in the form of cultural engagement and participation can be a form of place based advocacy; it can also be an act of naming, resistance, and critical affirmation for communities whose cultural values, languages, and art forms find little support or recognition mainstream systems. Increasingly, individuals and organizations are employing ethnographic field methods of listening and observation and the tools of documentation in community development and planning processes, for cultural and creative capacity building, and in arenas of education, social justice, and mental health and healing. -
The Black Dog Motif in Modern English Folklore and Literary Culture Sheilagh Quaile University of Guelph, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scholarship at UWindsor The Great Lakes Journal of Undergraduate History Volume 1 | Issue 1 Article 3 2013 “The black dog that worries you at home”: The Black Dog Motif in Modern English Folklore and Literary Culture Sheilagh Quaile University of Guelph, [email protected] Follow this and additional works at: http://scholar.uwindsor.ca/gljuh Part of the History Commons Recommended Citation Quaile, Sheilagh (2013) "“The lb ack dog that worries you at home”: The lB ack Dog Motif in Modern English Folklore and Literary Culture," The Great Lakes Journal of Undergraduate History: Vol. 1: Iss. 1, Article 3. Available at: http://scholar.uwindsor.ca/gljuh/vol1/iss1/3 This Article is brought to you for free and open access by the Undergraduate History Collections at Scholarship at UWindsor. It has been accepted for inclusion in The Great Lakes Journal of Undergraduate History by an authorized administrator of Scholarship at UWindsor. For more information, please contact [email protected]. “The black dog that worries you at home”: The lB ack Dog Motif in Modern English Folklore and Literary Culture Cover Page Footnote Sheilagh Quaile is from Rockwood, Ontario. She is currently completing her Honours BA at the University of Guelph in History, with minors in Art History and Studio Art. Her undergraduate work has focused on British and Irish history and art during both the medieval and modern periods, and she plans to continue her studies in Art History at the graduate level. -
“The Wreck of the Julie Plante” and Its Offspring
Fall–Winter 2016 Volume 42: 3–4 The Journal of New York Folklore “The Wreck of the Julie Plante” and Its Offspring What’s Your Watershed? Folklore and the Environment Hello, Hannah! NYFS’ Upstate Regional Rep Puerto Rican & Garifuna Drums Democratizing the Folk Arts Workplace American Public Folklore In Nanjing From the Director From the Editor According to New “Save the Date,” and join us at the Castellani Thirty years ago I began York State’s Office of Art Museum of Niagara University. Details my first consultant job New Americans, one will be posted on our website, www.nyfolklore. as a folklorist in upstate in four New York State org. New York. adults of working age The New York Folklore Society, in col- Crandall Library want- are foreign born and laboration with Green Worker Cooperatives ed to expand their bud- almost one-third of (GWC), hosted the second in a series of ding Folk Arts Program New York’s business workshops on October 23, in Brooklyn, on and agreed with the folks owners are immigrants. Our state’s diversity “Democratizing the Folk Arts Workplace: at the New York State Council on the Arts provides a tapestry of colors and patterns of Forming a Worker-Owned Cooperative” that a young folklorist working and studying culture, language, and arts that enriches us all. with GWC’s Ileia Burgos. You can read in Washington, DC, could breathe new life Although New York City has been histori- about both workshops in this issue in a into their program. cally the destination for immigrants, Upstate report from NYFS’s NYC Regional Repre- I was to conduct a Folk Arts Survey of New York has most recently benefitted from sentative Eileen Condon. -
Family Folklore
Goals/Objectives/Student Outcomes: Students will: lesson and asking for help and cooperation when children come home asking questions. Some families may not want to share some of the • Define in writing family folklore. information asked for, and that's fine—cultural traditions are very • Identify aspects of family folklife through discussion of personal and often private, especially those connected to religion or traditions of their own names. other belief systems. • Identify examples of family heirlooms, family stories, and Because some parents may be wary of providing information, and family recipes as types of family folklife. because there are so many non-traditional families, a teacher will need to be flexible in making assignments. Some students may not • Look at family bonding and continuity through folk live with either parent, or many rarely see a parent who works late traditions. shift, or may not feel they can talk to a parent, and so will have a hard • Identify family activities which meet the criteria of folklore time with a few of the assignments (how they were named, collecting and folklife. a family recipe). Alternatives might need to be suggested in these cases, such as having a student write about his or her nicknames rather than a given name, or getting information from another adult like a neighbor or foster parent. If there are no family celebrations, Materials: rituals or other traditions among their students; in this case, you might 1. Family photographs get them to talk about celebrations or traditions in some other group they belong to, such as a club, sports teams, or even the classroom. -
The Significant Other: a Literary History of Elves
1616796596 The Significant Other: a Literary History of Elves By Jenni Bergman Thesis submitted for the degree of Doctor of Philosophy Cardiff School of English, Communication and Philosophy Cardiff University 2011 UMI Number: U516593 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U516593 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DECLARATION This work has not previously been accepted in substance for any degree and is not concurrently submitted on candidature for any degree. Signed .(candidate) Date. STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. (candidate) Date. STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. Signed. (candidate) Date. 3/A W/ STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed (candidate) Date. STATEMENT 4 - BAR ON ACCESS APPROVED I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan after expiry of a bar on accessapproved bv the Graduate Development Committee. -
Masarykova Univerzita V Brně
MASARYKOVA UNIVERZITA PEDAGOGICKÁ FAKULTA Katedra anglického jazyka a literatury One Hundred Years of the Morris Dance: The Role of Tradition Diplomová práce Brno 2016 Supervisor : Written by: PhDr. Irena Přibylová, Ph.D. Bc. Ivana Maršálková Bibliografický záznam MARŠÁLKOVÁ, Ivana. Morris dance and its portrayal within works of art : diplomová práce. Brno : Masarykova univerzita, Fakulta pedagogická, Katedra anglického jazyka a literatury, 2016. 65 l.. Vedoucí diplomové práce Irena Přibylová. Anotace Tato diplomová práce s názvem One Hundred Years of the Morris Dance: The Role of Tradition pojednává o podobě tradičního anglického tance Morris ve vybraných dílech, na nichž je ukázané, jak se vyvíjel vztah k tradici a konkrétně k tanci Morris. Vybranými díly jsou kniha od novozélandské autorky Ngaio Marsh Smrt za zimního slunovratu, film natočený formou dokumentu Morris: Life with Bells on podle scénáře Charlese Thomase Oldhama a dokument Tima Plestera Way of the Morris. Tato díla jsou analyzována a srovnávána zejména s teoretickými pracemi Erica Howsbawma a Nigela Watsona, které se zaměřují na význam tradice a životního stylu v současné době, popř. postmoderního životního stylu. Ve srovnání je patrný rozdíl mezi pojetí a vnímání tance Morris díly současnými, jmenované dva filmy (rok 2009 a 2010), a detektivním románem Smrt za zimního slunovratu (poprvé vyšla v roce 1957). V díle Ngiao Marsh je tanec Morris součástí každodenního života, i když je prezentován pouze v dané dny v roce. Toto pojetí reflektuje postavení tradice v tehdejší společnosti. Zatímco ve filmu Morris: Life with Bells on jsou patrné známky postmoderního pojetí tradice. Tanec Morris je životním stylem a kukátkem do minulosti, nikoli tradice v pravém slova smyslu. -
Missouri Folk Arts Program
Missouri Folk Arts Program Lisa L. Higgins MFAP Director One hundred and fifty years ago, the largest of the 2012 festival’s themes: Palmer on behalf of the Mississippi River President Lincoln signed a legislative “Campus and Community.” Smithsonian Hills Association in Ste. Genevieve. MU act sponsored by Congressman Justin S. curators helped MU staff develop activities, Folklore graduate student Claire Schmidt Morrill, ultimately establishing land grant exhibits, lectures, demonstrations, and also provided assistance. After a year of universities across the country to broaden performances to showcase the ways a planning, drafting, brainstorming, building, access to higher education “for all social twenty-first century land grant university organizing, coordinating, and staging, classes.” Forty-five years ago, folklorist “puts research into action.” MU and our peers from all corners of the Ralph Rinzler co-founded the Smithsonian To coordinate Missouri’s contributions U.S. welcomed visitors at several venues Folklife Festival, a living museum held to the festival, I partnered with LuAnne within the festival. From Reunion Hall and outdoors each summer on the National Roth, folklorist and Mizzou Advantage Smithsonian U (a site for short, engaging Festival curators also created Reunion Hall, a designated area Mall in Washington, D.C. and billed as education coordinator, along with a lectures) to the Test Kitchen, Morrill Stage, for universities’ alumni to check-in and share stories about their “an exercise in cultural democracy.” team including Ana Compain-Romero and The Commons, MU staff engaged experiences at land grant universities. Chancellor Deaton and Dr. This summer, those two milestones and of University Affairs; Jo Britt-Rankin, thousands of festival visitors, despite a Anne Deaton visited on day three of the ten-day event. -
A Midsummer Night's Dream" Alexandra Larkin College of the Holy Cross, [email protected]
The Criterion Volume 2018 | Issue 1 Article 5 5-8-2018 Forgotten Fairies: Traditional English Folklore in "A Midsummer Night's Dream" Alexandra Larkin College of the Holy Cross, [email protected] Follow this and additional works at: https://crossworks.holycross.edu/criterion Part of the Comparative Literature Commons, Folklore Commons, Literature in English, British Isles Commons, and the Rhetoric and Composition Commons Recommended Citation Larkin, Alexandra (2018) "Forgotten Fairies: Traditional English Folklore in "A Midsummer Night's Dream"," The Criterion: Vol. 2018 : Iss. 1 , Article 5. Available at: https://crossworks.holycross.edu/criterion/vol2018/iss1/5 This Essay is brought to you for free and open access by CrossWorks. It has been accepted for inclusion in The rC iterion by an authorized editor of CrossWorks. Ali Larkin 12/7/17 Shakespeare Forgotten Fairies: Traditional English Folklore in A Midsummer Night’s Dream One of the most popular sets of characters in Shakespeare’s comedy A Midsummer Night’s Dream is the powerful and mysterious fairies, whose magical antics drive the action of the play. Based in traditional English folklore, the fairies stand in contrast to the upper class Athenians and the Athenian peasant players. The play, which is set in Athens, follows in part the marital discord of Oberon and Titania, King and Queen of the Fairies and their servants, which reflects the aristocratic tendencies both of the Athenian court and the patrons of Shakespeare’s work. The two fairies rule over the woods outside of Athens, and yet their lives are extremely intertwined with those within the city. -
Rethinking the Role of Folklore in Museums: Exploring New Directions for Folklore in Museum Policy and Practice
Rethinking the Role of Folklore in Museums: Exploring New Directions for Folklore in Museum Policy and Practice A White Paper prepared by the American Folklore Society Folklore and Public Policy Working Group on Folklore and Museums Prepared by: Marsha Bol, C. Kurt Dewhurst, Carrie Hertz, Jason Baird Jackson, Marsha MacDowell, Charlie Seemann, Suzy Seriff, and Daniel Sheehy February 2015 2 Introduction The American Folklore Society’s working group on Folklore and Museums Policy and Practice has taken its cue from the growing number of folklorists who are working in and with museums to foster a greater presence for folklore in museum theory, practice, and policy. This work emerges from formal and informal conversations already underway among museum-minded folklorists. The Folklore and Museums Policy and Programs working group has been committed to synthesizing and extending these discussions through its activities and publications. Building upon past contributions by folklorists, the working group has held a series of regular phone conferences; a convening in Santa Fe in the fall of 2013 and a second convening in conjunction with the 2014 American Alliance of Museum’s Annual Meeting in Seattle; initiated a series of professional activities; conducted a series of sessions and tours related to folklife and museums for the 2014 American Folklore Society Meetings in Santa Fe; created a new Folklore and Museums Section of the Society; developed a working e-list of folklorists interested in a listserv on folklore and museums; and initiated or completed reports/publications to examine arenas where folklore can contribute to public and museum practice policies. A series of articles will be forthcoming on folklife and museums in Museum Anthropology Review (ed. -
Kentucky Folk Arts and Crafts
IIDEA GGUIDE KENTUCKY FOLK ARTS AND CRAFTS “Kentucky Originals” Make Perfect Lexington Visitors Center 215 West Main Street Souvenirs of Lexington and the Bluegrass Lexington, KY 40507 (859) 233-7299 or (800) 845-3959 www.visitlex.com Kentucky has long been famous for its quilts, sive W.T. Young Library on the University of pottery, woodcarvings, dulcimers, hand-woven Kentucky campus maintains a collection of quilts on the blankets and other handcrafted products. Whether you top floor. (859) 257-0500. just want to admire the works of traditional and con- temporary Kentucky artists and artisans, or are looking for a unique souvenir of your visit, you'll find an unfor- Amber Inspiration gettable collection of creative expressions at galleries, In this case, we mean the spirit! A number of craftsmen shops, studios and museums in Lexington and nearby have been inspired by Kentucky’s amber elixir to find communities. creative uses for old Bourbon barrels. One solution can be found at Bourbon Barrel Guitars. Lexington In and Around Lexington: Woodworker Mike Mandel fashions electric guitars and basses out of recycled white oak from Bourbon barrels Traditions Old and New (859-809-7769). At Kentucky Knows in Frankfort, local entrepreneur Tony Davis dismantles barrels and Your “craft tour of the Bluegrass” begins in offers one-of-a-kind items from lazy susan’s to cutting Lexington at two unique stores. Artique, at Lexington boards, coffee scoops and even sunglasses. collection, Green off Nicholasville Road (859-272-8802) has every- Tony strives to share the history and culture of thing from fine jewelry to birdhouses. -
Masters of Traditional Arts Education Guide
Masters of Traditional Arts Education Guide Paddy Bowman Betty Carter Alan Govenar Masters of Traditional Arts Education Guide Published by Documentary Arts, Inc. Supported in part by National Endowment for the Arts Pennsylvania Council for the Arts City of Dallas Office of Cultural Affairs Ohio Arts Council Photographs by Alan Govenar Education Guide designed by Katy Parker Copyright © 2011 by Documentary Arts, Inc. Contents Preface The National Heritage Fellowship Meeting Education Standards Opportunities for Learning Tools for Learning Educators’ Suggested Applications Overarching Student Activities Mini-Lessons Decoding Different Media Studying Photographs Reading Artist Profiles Listening to Audio Viewing Video Comparing Media Creating Multimedia Presentations Unit 1. Sense of Place Cultural Insiders and Outsiders - Sensing Place through the Five Senses Finding Clues to Sense of Place Sample Sense-of-Place Chart Unit 2. Sense of Wonder Indigenous Teachers Genres Music and Dance Crafts and Material Culture Unit 3. Sense of Discovery Fieldwork Collecting and Organizing Mapping Culminating Projects Resources Printable Student Handouts Photo Analysis Artist Bio Notes Video Analysis Listening Log ~ Musical Elements Listening Log ~ Audio Profile Artifact Analysis Exploring Sense of Place Vocabulary Fieldwork Rubric Portfolio Rubric Interview Form Release Forms Defining Folklore Folklore in Education Bibliography Folklore in Education Webography Folkstreams Films about Heritage Fellows Suggested Student Readings Preface Teachers across the country face mounting pressure to help students achieve state and national standards. With expectations continually increasing, these teachers are searching for strategies that incorporate new curriculum standards in creative, meaningful and purposeful ways. As I listen to requests from teachers and librarians in my district and throughout the nation, I hear them ask for materials that help accomplish these goals.