INTRODUCTION by Jodi McDavid

I think that you will be pleasantly surprised with this issue of Transmission, so much so that I wish I could take all the credit, instead, I want to thank Patrick Carroll for all his diligent work. 2 FOLKLOREFIELDWORK AND This issue reflects some of the great THE AESTHETICS OF work being done in the department DOCUMENTARY by graduate students, many of PHOTOGRAPHY:IN SEARCH OF whom are offering new A VISUAL FOLKLORlSTICS interpretations of theory, new BY JUSTINPARTYKA approaches to old technologies, or new areas for interpretation. 4 THEHERMENEUTICS OF If you are interested in what ADHESION,OR, THE PRINCIPLES some of the graduate students are OF STICK-TO-IT-IVENESS:POST- working on, during the February IT NOTESAND THE INSIGHT break the Annual Aldrich LEGEND Interdisciplinary Conference will BY IAN BRODIE go on ohce again on our very own campus. I have already heard that 5 'NANCYNEW YEARS': several of us 'folkies' will be HOGMANAYIN THE NEW presenting some of our research at WORLD? that time. If you have never BY JODIMCDAVID attended an academic conference, this may be a good cheap way to 6 HISTORYOF FOLKMUSICIN get an idea of what it's all about - GARY CRISTALL and what is expected. SUBMITTED BY PATRICK More opportunities to attend CARROLL conferences come up in May and June with the Association 6 A SONG IN HER HEART:AN of Canada conference in Halifax INTERVIEW WITH DR. from May 28 to June 1 and the BEVERLEYDIAMOND International Society for Contem- INTERVIEWEDBY PATRICK porary Legend Research in Comer CARROLL. Brook from June 25-28. Since both conferences are in university towns, accommodation can be had in residence for approximately $25 a night if you book+++ soon.

BROWN BAGLUNCHES

The following articles by Dufferin Murray, Justin Partyka, and Ian Brodie were recently presented at 15 CALLS FOR PAPERS Brown Bag Lunch presentations. 1 Please contact organizer Gary I Lundrigan if you are interested in presenting at a Brown Bag Lunch, a great way to communicate and discuss your research! I 17 OUR NEXT ISSUE I AN ARBORIST ALONE- efficacy of his application of his At the one-hundred year RECONSIDERING ROBERT technique. anniversary meeting of the MCCARL'S u~~~~~~~~~~~~ Thus, this self-characterization American Folklore Society in 1988, FOLKLIFE:A THEORETICAL put forward by the arborist attempts delivered a HYPOTHESIS.~ to posit an occupational identity, paper entitled: "Happy Birthday by Dufferin Murray via his technique, in opposition to American Folklore Society: the canon of technique expressed Reflections on the Work and Robert McCarl's approach to by other arborists. In other words, Mission of Folklorists." During this the folkloristic study of where McCarl suggests that paper, she makes the statement occupational groups involves "an technique "is the pattern of that: "Fieldwork .. . no matter how understanding of the ... complex manipulations, actions, 'and grudgingly performed, [or] how techniques, customs, and modes of rhythms which are the result of the brief the encounter+emains the expressive behavior which interaction between an individual absolute sine qua non of the characterize a particular work and his or her work environment folklore profession" (68). My own group [and] comprises its and which are prescribed by the personal journey into the study of occupational folklife" (3). Based group and used as criteria for the folklore resulted partly fiom an on three years of fieldwork1 determination of membership and interest in folksong, but mainly apprenticeship with an arborist, I status within it" (7), my case because I wanted the fieldwork propose that McCarl's concen- suggests that technique also can be "experience." Following Hawes's tration on work groups needs to be considered as a method of comment, it is my opinion that, if re-tooled in order to discuss those differentiating one's occupational you are privileged enough to be occupations that are performed by self from the prescriptions of a able to study folklore, the least you an individual whose occupational group. While my informant works can do in return is to do good technique is expressed without the as an individual, he does have fieldwork. presence of group. some, though little, interaction with If you are doing good The arborist I have worked with others arborists, though there are fieldwork, it should accepted that is the owner and operator of an few practitioners in his immediate you are using photography. As independent business and generally geographic area. But, in all, there is folklorist David Taylor points out: works alone. When he requires no community of arborists of which "Photography is an invaluable tool another body for a job, he will hire he is a part and thus no group to for recording many subjects of an assistant. My fieldwork1 which he feels he must turn to for cultural significance, from single apprenticeship is a by-product of validation of his occupational artefacts to complicated events" performing the duties (the ground technique. (34). And to emphasise this point - work) of an assistant. McCarl's Rather than turn to a peer group at the 2002 AFS meeting, during a reference to technique as a "form of for evaluation of his technique, this panel entitled Photography in the interaction with tools, environment, arborist seeks a sense of personal Field, Henry Glassie remarked that, and other workers that connotes gratification and awaits the "I never trust an ethnography expertise and esoteric knowledge" response of the trees he has helped without photographs."' (6) is particularly salient when to nurture and heal. It is, he Since heavily utilising applied to an examination of the suggests, the continued growth and photography during the fieldwork arborist's occupation, especially in health of the trees that best speaks for my MA thesis two years ago, I terms of the relationship between of the efficacy of his technique. have been contemplating the role the worker, the tools and the that photography has within the environment. That is, in the case of McCarl, Robert S. "Occupational fieldwork process.2 Often photo- the arborist I have worked with, it Folklife: A Theoretical Hypo- graphs are used as a basic means of is precisely his technique that thesis." Working Americans: information or illustration. Or distinguishes him from any type of Contemporary Approaches to folklorists take cameras into the (imagined) occupational peer- Occupational Folklife. Ed. Robert field and use them as a visual note group. This arborist is fond of H. Byington. Los Angeles: Cali- pad, to assist in remembering, to recounting how he is the only fornia Folklore Society, 1978.3- facilitate the ethnographic arborist in the region who does 80- ' 18. experience. Such approaches are 90% of his work with hand tools perfectly justifiable, and if that is (saws and pruners) rather than with how you want to use a camera gas- or electric-powered tools such during your fieldwork, that is fine. as chainsaws. As a non-arborist, I FOLKLOREFIELDWORK AND THE However, I would like to introduce find myself in the position of being AESTHETICS OF DOCUMENTARY the idea that the potential exists to able to describe his technique(s), PHOTOGRAPHY: IN SEARCHOF A utilize photography on a more but as a co-worker, I am in no way VISUALFOLKLORISTICS sophisticated level within folklife qualified to comment upon the by Justin Partyka studies. As I have explored this trivialize the complexity and ology can we start to fully relationship between photography important value of photographs incorporate the potentials of and fieldwork, I have immersed within the logo-centricity of the documentary photography into our myself within the work of academy. This concern has recently studies - creating original, documentary photographers, been addressed by the American pioneering work in the process, in specifically those that work on Folklife Centre photographer, Carl the quest to form a visually based projects which can be considered Fleischhauer. In discussing the sub-discipline of folkloristics, within the defines of folklife. American Folklife Centre's 1981 along the same lines as visual Folkloristics prides itself on the publication, Blue Ridge Harvest: A anthropology. freedom to draw upon other Region's Folklife in Photographs, To put these ideas into practice, disciplines and approaches of for which Fleischhauer was both a I spent six weeks during September study. I consider that the time has photographer and joint editor, he and October 2002 photographically come for the field of documentary remarks that one of the main documenting the rural folklife of a photography to become another one criticisms of the book was its "near region in Great Britain known as of our resources--an idea which absence of text." As a photo- the Fens. The Fens is a unique area, was highlighted at the 2002 AFS grapher, Fleischhauer adeptly consisting of 1300 square miles of meeting during the panel, Folklife responded by suggesting that a predominantly man-made and Documentary Photography: A "people should learn to 'read' the landscape. At one time the Fens Conversation Between ~isciplines.~ photographs, to study them as you was mainly covered by swamp and Upon investigating the field of would an event seen during marshland, with smaller settlements documentary photography, it fieldwork in order to extract and towns existing as islands on became apparent that the best meanings from them" (174). isolated areas of higher ground. documentary photographers have This idea needs to be given This all started to change in the the ability to capture an underlying greater consideration by folklorists, early seventeenth century, when sense of feeling or emotion-an especially graduate students. I am moves were made to gradually underlying aesthetic, which exists amazed by the number of theses drain the region for arable within the people and cultural submitted to the Folklore farmland, a process which took environments they photograph. Rob Department at MUN which do not until the 1850s to complete, with Amberg, a documentary photo- feature a single photograph. Many smaller sections being drained right grapher, who specialises in the students seem to perceive up until the 1940s. With most of documentation of rural folklife in photographs as page-fillers, the land lying below sea level, the North Carolina, points out that: believing that the inclusion of extensive drainage system of the "Photographs can teach us to look photographs devalues their work Fens is still crucial in maintaining at the very texture and feeling of academically. Obviously this is true the landscape as it appears today. life around us" (xii). with poorly used photographs, but With no major urban industrial As folklorists, we are trained in when used well, photographs will centres, as found in the North of the ability of a sensitive perception only greatly enhance one's work. Britain, the economy of the Fens of subtle cultural expressions, When thoughtfully constructed, has always been dependent upon along with the awareness and the photographic image is able to the landscape. Prior to drainage, understanding of informal and reveal to us aspects of a place and this was marsh and water based, traditional behaviour and ways of its people in a unique, stimulating, including reed and sedge cutting, life. With these skills, doesn't the and exciting way, therefore eel catching, wild fowling , and potential exist for us to produce the allowing us the potential to add a peat digging. The emphasis best documentary photography that further dimension to both our work gradually shifted to arable farming is possible? as documentarians and our as the drainage process developed. Although some may argue that understanding of culture. To reach Today, whilst agricultural land such a heightened awareness is these goals, we inevitably need to predominates the area, the intuitive, I believe that with seek out new ways of seeing, to economy has expanded to include practice and hard work, along with photographically approach familiar increasing retail and service the careful consideration of, and an ' subjects in ways not done before. industries. These have been crucial openness to, the concept of artistic As the master documentarian John in providing employment to those expression, all of us are able to Cohen proposes, borrowing the no-longer needed in an ever locate and document photograph- words of Josef Albers, his art developing mechanized agricultural ically this underlying cultural teacher at Yale, we should industry. aesthetic. undertake "'a search, not My own interests in rural and Whilst on a basic level a research"' (emphasis mine, 24). occupational folklife influenced the photograph is visually immediate - Perhaps it is only when we break kinds of subjects which I one of its strengths being its free fiom the shackles of documented. I was mainly accessibility - we must not previously established method- concerned with the importance of the landscape and the role it has in Amberg, "Sodom Laurel Album;" the relationship between public people's lives. Even today, both Cedric N. Chatterley, "Looking sector folklore &d the academy. modem, and the remnants of an Down the Road: The Intersection The former work, highti was older traditional dependence on the of Documentary Photography, an effort to develop a cognitional landscape can still very much be Folklore, and History;" Tom theory. The book takes as one of its found. Ultimately, I attempted to Rankin, "The Lure of the Picture premises that understanding document a unique sense of place and the Nature of the Tradition." requires an "insight into and its people, through carefilly phantasm." By phantasm is meant made photographic images of any structuring of the data so that regional folklife. the superfluous disappears and the THEHERMENEUTICS OF elements necessary to elicit the Works Cited ADHESION,OR, THEPRINCIPLES insight remain. To understand Amberg, Rob. Sodom Laurel OF STICK-TO-IT-IVENESS:POST- understanding, then, requires a Album. Chapel Hill: U of North IT NOTESAND THE INSIGHT phantasm which illustrates the act Carolina P, 2002. LEGEND of understanding, or the act of Cohen, John. There Is No Eye. New by Ian Brodie insight into phantasm. To phrase it York: powerHouse, 200 1. more cumbersomely, there is Eiler, Lyntha Scott, Teny Eiler, The origins of this brownbag required an insight into a phantasm and Carl Fleischhauer, eds. Blue lecture came fiom the classic which is of an insight into a Ridge Harvest: A Region's Folklore 6030 exercise of three phantasm. Lonergan's own Folklfe in Photographs. Wash- approaches to an object of material illustration is a retelling of the ington: American Folklife Center, culture. My object was the Post-It Archimedes' bathtub legend. 1981. Note, and one of my approaches The brownbag lecture, Fleischhauer, Carl, and Neil V. was a folk literary analysis therefore, took as its start a Rosenberg. Bluegrass Oessey: A applying Thompson's Motif Index, diachronic analysis of the Documentary in Pictures and Propp's Morphology of the Archimedes legend, fiom its first Worak, 1966-86. Urbana: U of Folktale, and Olrik's "Epic Laws of telling in Vitruvius' Ten Books on Illinois P, 200 1. Folk Narrative" to the narratives Architecture to contemporary Hawes, Bess Lomax. "Happy concerning its origins. I discovered internet sources, including Birthday American Folklore that, over time, the tale was examples fiom both Lonergan's Society: Reflections on the Work transformed into a pattern that Insight and another work of and Mission of Folklorists." resembled other legends of cognitional structure, David Public Folklore. Eds. Robert discovery, most notably Perkins' The Eureka Eflect Baron and Nicholas R. Spitzer. Archimedes' discovery of the (previously published as Archi- Washington: Smithsonian Insti- principles of hydrostatics. medes' Bathtub). Using an tution P, 1992.65-73. Prior to my , my approach similar to Gillian Taylor, David A. Documenting central research interest has been Bennett's in her "The Phantom Maritime Folklife: An Intro- the work of Bernard Lonergan, the Hitchhiker: Neither Modem, ductory Guide. Washington: Canadian Jesuit philosopher. His Urban, Nor Legend?", Labov's American Folklife Center, 1992. two main works, Insight (1 957) and paradigm was used to discern the Method in Theology (1972), were five elements essential to the Notes originally envisaged as one long legends: (I) question; (2) tension of ' During this panel the following opus. Combined, they were an inquiry; (3) phantasm; (4) insight papers were presented: Ray effort to introduce the stringency of into phantasm; and (5) answer. The Cashman, "Places: Evoking a philosophy grounded not in a precipitating event, which is the Locality in Nothern Ireland;" priori assumptions but in a solid phantasm, is in the narratives a Pravina Shukla, "Public cognitional theory to the operations tableau. ,Presentations: Photography of of the academic enterprise. The A structure having been Celebration;" Karen Duffy, eponymous "method" of the latter discovered, I then applied. it to "Artistic Process: Documenting .' work has proven fmitfil in fields as other legends or narratives Potters at Acoma Pueblo;" Henry disparate as theology, chemistry, concerning discoveries and Glassie, "The Portrait: A Sign of linguistics, and economics, as it insights: Newton's Apple, KekulC's Ethnographic Integrity." incorporates the methods particular dream, the invention of the Post-It Justin Partyka, "The Occupational to a specific discipline and Note. and others. What I found was Folklife of a Norfolk Lurcherman," demonstrates patterns of that, the precipitating events of a MA thesis, Department of Folklore, interrelations on both an intra- and discovery are told and retold, the Memorial University, 200 1. interdisciplinary level. It would be narrative tends to conform more During this panel the following most helpful to many of the current and more to the pattern of a papers were presented: Rob debates in folkloristics, particularly precipitating event leading to an immediate realisation, even when Eve. It was also explained that even that was given a new twist in the (a) the movement from event to if Nancy New Years had never new world. I realisation is slower, more arduous, come to you before, that was Because the gifts are received at 1 and not as direct and (b) the simply because you did not know a time when children have little precipitating event, as it is retold, ab~uther. Once you were told interaction with school friends I does not actually serve to illustrate about the fairy, you too would be (people here are bussed outside the the insight that sprung forth. visited by her on New Years Eve. community) the tradition stays I Newton's Apple, for example, Nancy New Years was typically localized. Today, many people still in many of its versions, has Newton discussed as visiting only children, practice the tradition, although, ~ sitting under a tree. He either sees however, in practice, this was much like Christmas, each family an apple drop or is hit on the head simply not the case, as parents has their own variation. Typically, with a falling apple, and often bought gifts for each other as among my fiiends and the children "discovers" gravity, or in slightly well. The types of gifts brought by that I babysat for on New Years nuanced versions, has the impetus Nancy New Years were typically eve, Nancy New Years would bring I to figure out gravity. In his own small, as Nancy was a small fairy hit, nuts, candy, chocolate, small accounts, what was of actual that could carry neither large things games or puzzles, a magazine or , interest to Newton was not that nor a large number of things. On book, special necessities and other I things fall - a fairly banal insight - New Years Eve only one's miscellaneous items. There would but that the apple fell while the Christmas stocking would be filled typically be one larger or more moon, which he could see at the with gifts 6om Nancy New Years. expensive gift, such as a watch, same time, did not. But it is the The custom of Nancy New Years earrings, a toy, or a collectable. apple, and not the moon, which is was not widespread, and seemed to From a functionalist standpoint, the stock image of the incident. be hinged on certain families. As a Nancy New Years gave parents Thus a narrative predilection for child I encountered people in my some much needed sleep on New conformity to a pattern comes at community that did not practice it Years Day after a late night of the expense of logical (or historical, as well as people who did. The revelry. I remember that for most or scientific) accuracy. Not all community was continually children, parents had to be woken I insights conform to the Archimedes "converting" people to the tradition at Christmas before gifts could be I pattern, but there seems to be a because of the fact that according opened, but for most families, desire to make them so. What this to local narrative, knowledge of her Nancy New Years had no such conformity implies is beyond the existence is all that is required for stipulation. Something that only scope of this paper. her visitation. struck me much later, when I was For the past few years, I have in charge of getting Nancy New , casually been trying to figure out Years .gifts for my brother and why Nancy New Years exists in husband, was that many of the 'NANCYNEW YEARS': such as small area with a Christmas related items such as HOGMANAYIN THE NEWWORLD? population of less than one hundred candy (and even non-Christmas by Jodi McDavid people. Why did this tradition items) are on discount at this time begin and what does it stem from? and so Nancy New Years can fill a When I was five years old my The families in the area are largely stocking for the 6action of the cost mother remarried and we moved thought to be Irish, however, this is that Santa Claus can. Nancy New from the city of Campbellton in not necessarily so, as many people Years typically brings things that northern New Brunswick immigrated from various places are fun, inexpensive and necessary (population 10,000) to a small farm and married Irish settlers in the anyway, such as hit, and personal in Flatlands (population 1OO), about area. Many of the families in the items like soap and shampoo. fifteen minutes away. At that age, area have the influence of Scottish With the lack of employment everything done on the farm was and English backgrounds as well, opportunities 4 the area and the intriguing and fascinating, and and a huge influx of families was increased mobility of North above all new and definitely alien felt here after the American Americans, it is probable that the to my experience. There were revolutionary war when United custom of Nancy New Years is various customs that took place on Empire Loyalists were given land more widespread than one might the fm, but most of them had to in the area. Included in this group think due to out migration. It also do with seasonal harvesting and were those of Dutch descent. Gift seems that people of my parent's were adult-orientated. The one giving on New Years Day is found generation, unlike those of my exception to this was New Years in many European countries, grandparent's generation, are celebrations. although, to my knowledge, there practising the custom longer, 'Nancy New Years' was are not any gift-giving fairies. It is buying more, and extending the gift explained to me as a small fairy my guess that this New Years eve giving to each other. that brought gifts on New Years custom is an old world tradition +++ HISTORYOF FOLKMUSICIN CANADA- GARYCRISTALL submitted by Patrick Carroll

The following is the introduction to Gary Cristall's proposed book on the History of Folkmusic in Canada. For further information check out the webpage at: http:/flolkrnusichistory.cod I want to tell the story of the popular history of the development of in Canada as a form of popular music that embraced both traditional, anonymous songs, the classical definition of a folk song, and contemporary songs written outside the commercial music industry. I want to explain the coexistence within the folk repertoire of traditional songs and political and social "message" songs, how a singer like Ed McCurdy could write Last Night I Had The Strangest Dream, one of the fmt anthems of the peace movement, and at the same time record albums of traditional songs; why Edith Fowke collected Ontario folk songs and co-edited the definitive collection of North American Labour songs- Songs of Work and Struggle; why a contemporary ensemble like Stringband performed feminist songs written by a group member Mrs. Violetta Halpert leafs through and traditional Quebecois folk Holly Everett's Roadride Crosses songs and Celtic fiddle tunes. Why at the book launch (see story, p. was this seen as one musical genre? 16). (Peter Narvdez) Where do these songs come from? Where does the songwriting The book launch party attendees tradition come from? enjoy both the conversation and In short I want to tell the tale of vittles. (Peter Narvdez) how folk music in English speakin Canada evolved through the 20B century. I am looking for lots of information. I am also looking for the opinions of anybody who cares. This web site is where I plan to lay out my research and pose questions , that conhse and intrigue me. It is also where I will list who and what I need for my research. If you want to get in touch with me, please do. Gary Cristall, PO Box 21547, 1850 Commercial Dr. Vancouver, BC, V5N 4A0. Phone: 1-604-215-9077. Email: info@folk musichistory.com A SONGIN HERHEART: AN INTERVIEWWlTH DR. develop ways of looking at the social groundedness and BEVERLEYDIAMOND multiple meanings of musical practices and not treat Interviewed by Patrick Carroll. music as an autonomous thing? P.C.: Music is a vehicle for you to look at societies, as I interviewed Dr. Beverley Diamond on December 11, cultural expression? 2002 in her then ofice in the School of Music Building. B.D.: As expression, but also as a negotiation of identity On one side of the room was a portable music player and issues. As a political tool. As a sort of multinuanced a small stack of music CDs, on the other was a piano. Dr. statement about cross-cultural encounter and alliances. Diamond was in the process of moving to the new ofices P.C.: I was reading some of Robert Klymaz's work on of MMAP on the thirdjloor ofthe Annex, in the Arts and Ukrainian macaronic songs. As a hybrid they present such Culture Building. a nice point of transition between two cultures. B.D.: Yeah, it happens in a lot of different ways in that P.C.: What is your position at Memorial? culture and in others. Sometimes there are different texts I B.D.: I've come as a Canada Research Chair in traditional combined, as in that particular instance. Sometimes in music and ethnomusicology. These are federally funded, different languages. Sometimes there are different layers research intensive positions that are occurring in in diverse styles. There are a many instances where there universities across the country and in all disciplines. As might be really old and rather socially conservative lyrics you might expect, there aren't too many of them that go to for songs, the songs that people knew, but they'll put disciplines like folklore or music. Memorial has done a absolutely new accompaniments or slightly new dance good thing by putting this in place. steps to them. That's happened with the Albanian P.C.: Before you were in this position, were you community, for instance as Jane Sugarman's studies teaching? revealed. There was a study of Armenian choirs in B.D.: Yes, forever it seems. I taught for a couple of years Toronto a few years ago by Margaret Sarkissian. She at McGill and then for sixteen years at Queen's found one choir had assumed a very different repertoire University in the music school, then for fourteen years at and way of teaching the music than the other and it York University where they have a large graduate depended a little bit on to what extent they wanted to program in reinforce their roots to the old country and to what extent ethnomusicology. they wanted to be modem. Small groups of people make P.C.: Has it always been ethnomusicology? these decisions all the time and it's fascinating what they B.D.: It's always been ethno-musicology, yes. choose to do and become. My own work, for decades P.C.: Do you have a musical background then? now, has been with Native American artists, largely, so B.D.: Yes, yes. there's lots of exchanges and cross-cultural issues that P.C.: Is this your piano? come into those repertoires. B.D.: This is not my piano. This is the School of Music's P.C.: Native American cultures in general? ! piano, but, indeed I am a keyboard player and trained as a B.D.: I did my doctoral work in the central Arctic on classical piano player. I stay a little bit active. I dabble in Netsilik Inuit music and there was, still is, a strong drum all sorts of other things. Sat around a pow-wow drum for dance tradition there and the throat singing that you may a couple of years which is a rare experience for a woman have heard women do. (Incidentally, we're going to have because it's a male-oriented tradition. throat singers here in February!) That research was P.C.: You were actually playing the drum? exciting, but it was really oriented more to traditional B.D.: Yes. One of the relatively rare contexts in which repertoires, although, I recorded some of the pop music you could do that, at that particular time, was in the prison that was starting to emerge in Inuit communities. for women in Kingston. I also took South Indian Vina P.C.: Like Susan Aglukark? lessons for a couple of years. And actually, since I've B.D.: Well, forerunners of Susan Aglukark. People like come here I took one of the button accordions home fiom Charlie Panagoniak, or Charlie Adams. There was a the School of Music and I've been practising. So, I like to whole host of them back in the '70s. Some of them are learn new things. But I can't say that I'm advanced as a still going, actually. performer at very many of them, except the piano. P.C.: Is this in a country style? P.C.: How did you get to ethnomusicology? B.D.: It's kind of an interesting blend of styles. It's got B.D.: I did a straight Bachelor of Music degree in some country elements, but in some songs, there is a lot classical music and then started graduate school thinking of influence fiom Christian hymns. Some of them are I'd be interested in twentieth century classical traditions. I more like pop songs or gentle rock songs. Different style was a bit frightened by ethnomusicology thinking "how choices by different people. could you know about the whole world?" But I had done My Inuit work was way back in the 70s and early 80s some undergraduate world music courses and realized and then I came to Labrador and worked in Davis Inlet that that's where my real love was. I was also interested in with the Innu community there, several trips over a couple a lot of social issues and how they would relate to music. of years in the early 80s. That was interesting because How do we deal with social diversity? How can we there was still the old repertoire of songs with drumming that people got through dreams and people were, for the performers in one space together or it won't work. And most part, willing to share that although the contexts in then the idea that you would separate a part out and which they can be used are somewhat restricted. There record it on its own and rerecord it and maybe cut up little was also a fascinating repertoire of Christian hymns in the pieces of it and all of those things, that just doesn't make IMU language that had been indigenised and adapted for any sense in terms of how their music works. their use. There were a number of people who had lived in P.C.: So you are viewing the recording process as having convents or residential schools at some point and these it's own social context? repertoires were quite deeply important to them. I never B.D.: Absolutely. So, I like doing ethnography in had any thought of going to study Christian music in a recording studios these days. For traditional music, even native community but I ended up doing quite a bit of whether or how it gets arranged is an interesting question. work on that because people thought that it needed to be Do you take it into the popular world? Do you become recorded and there were less concerns about an outsider some sort of a...do you engage in the discourse of recording that repertoire. There were wondefil narrators authenticity and say, oh no no no this is pure, this is of the classic myths of the language [the atnohana]. I somehow real traditional or do you modernize it? All started recording the myths because they were performed those sorts of questions which are always debated. almost in a musical manner, often with little songs in the So that all brings me up to the present. I'm still working middle of them. So I have a collection of legends from with indigenous recording artists. I've expanded that work that work that's quite substantial and really interesting. to Scandinavia. The reason for that was that so many of P.C.: You mentioned some of the drum songs and their my Native American acquaintances were now interested performance context. Do you mean there are certain times in a pan-Indigenous sound and I thought, wow, nobody's when these should be played? They can't be played just to really looking at these international links among people be recorded? who self-identify as indigenous people. Even that self- B.D.: No. They're generally quite personal songs and the identification is really interesting. So I thought, I really people use them partly in divination. They would dream need to understand at least one other indigenous tradition the song and singing the song sometimes seemed to relate at a level that is more than superficial at any rate and I to recalling other kinds of knowledge. Perhaps the really like Sami yoiking. A Finish singer named Wimme location of the next successful hunt. People would tell Sarri was at all the major Canadian folk festivals last year. stories about looking into the skin of the drum and I heard him in Vancouver and Toronto. He's one of the actually seeing images there. It's hard to fully understand. most interesting singers out there, I think. So I've spent Also, the drums have snares. One on the top and one on three years now doing some field work in Scandinavia, the underside with either little pieces of bone or quill or generally about a month each year, although last year I matchsticks sometimes. One bounces on top of the snare only managed a little over a week, doing interviews with and one bounces at a ninety degree angle on the other side artists, visiting some of the Sami run recording studios. of the snare, on the underside. It's a lovely sound. Those Just trying to get a sense of what some of the issues are. snares are sometimes described as carrying spirit voices. Going to festivals. There's a huge festival around Easter. They listened inside that buzzing sound and it was Last summer I went to one the Sami community runs for evocative in a way that was important. These are frame northern indigenous people all around the world. The drums rather than the big circular drum that you would Inuit women who are coming here, I met them at that have seen at pow-wows. Hand drums but suspended from festival. a rafter or a ridge pole in a tent. And then as I mentioned P.C.: You're looking at more than just the social context there was the pow-wow drum in Kingston. Most recently of the music now. You're looking at sound? I've been interviewing recording artists and have become B.D.: For me you can't divide them. I think the sound is really interested in how First Nations and Inuit and Metis shaped socially. It's shaped by the things that will people are choosing to put certain kinds of music into the influence people's aesthetic preferences. It's sometimes public domain. There's a really careful selection of what shaped in terms of power. I mean, what kinds of sounds they put out there and then all the issues of who controls encompass other sounds? What kinds of sounds are what in the recording studio. Recording shidios don't layered with other sounds? What kind of sounds allow know what to do with Native American ensembles. You people to participate? I'm interested in the social can't lay down tracks the way you can with a pop song. practices, but I'm really interested in how those social P.C.: Why can't you just lay down tracks? I'm not sure practices also shape the sound itself I just can't what you mean by that. disentangle those things. B.D.: The way in which popular music is generally P.C.: Is music the pure universal? People often say that recorded is that often a group will go in and record what music is the one thing which is universal. they call the bed tracks first, then overdub the bass guitar B.D.: It's a question that drives ethnomusicologists mad, I and the drums, (there's the assumption that you're going think, because we tend to think of musical practices as to have bass guitar and lat.) Then they'll do the solos and quite localized, but of course now embedded in all sorts punch them in over top. But with Native American artists global and trans-national processes, some of them there is so much visual cueing going on in the economic, some of them in terms of media: who's performance that frst of all you have to have all the listening and who has access to what? But universal, no. Almost everybody does some sort of structuring of the collections that we do through the projects that are done sound in their lives. so at that level universal? Yes. will become part of MUNFLA. What we are doing is P.C.: But sound is universal? trying to find ways to make that archival material more B.D.: And some sort of socially shaped ideas mapping vital intellectually by doing more extensive contextual onto sound seems widespread. research around it and some analysis in some cases. And P.C.: Is it a universal behaviour? If you take one sound then more accessible by trying to negotiate permission to and everybody can hear that sound, it doesn't mean that do some CD production and maybe internet pedagogical everybody is going to hear that sound the same way. modules down the road. We've talked about many When we talk about telling stories, sound is the major different kinds of media. Maybe we're at a juncture now component that we don't consider. We accept sound as a where you don't think about just one kind of media but basis for music because we don't have a text, a linguistic you think about connections between many kinds of text, but oral performance is using the voice, manipulating media. We're going to start just with a website. I've got a the tone of the voice. This changes my concept of the little bit of funding to start developing a website for storytelling performance. It's sound. traditional music after Christmas. Can you recap some of what you were telling me earlier P.C.: It's interesting how this work still relates back to about the project you are currently developing? your original interest in the social context of music. B.D.: I've proposed what I call a research program rather B.D.: Practically everything relates to how so-called than a specific project. 0ne.prong of it is to establish a traditional material, however you define that, is being put research centre that we are calling the Music MAP into modem circulation. Whether it's copyright or access Centre. The anagram is MMAP, so Music, Media and issues, whether it's technological issues, whether it's Place. Media being the element that takes sound beyond questions of different audiences and contexts and social its local environment and place being the thing that ties it context for performance and all of those things, they're all back to community and local circumstances. So there is questions that are somehow interconnected by this issue an interplay between the local and global for a lot of the of tradition in the modem world. research. I hope that not only does my work with P.C.: You've moved well beyond your initial interest in indigenous musicians fit into that scenario, but that it also European Classical music to traditional music and now enables many other kinds of work by researchers and into this work on the social context of music. I find it collectors, some of them trained in the folklore program, interesting to see how academics, how their ideas expand some of them professionals, some of them amateurs who and what they grow to encompass. just want to get uncle's fiddle tunes on tape. I hope the B.D.: It is a fascinating thing. On the other hand I think it centre will serve as a vehicle to enable that kind of work. is also partly how institutions felt the best preparation We're going to have equipment and technical services would be. Music schools, until relatively recently, figured available to people. We are going to have the ability to that you had to train by becoming a good classical restore some of the archival tapes in the MUNFLA musician. I think I already had lots of questions about so- (Memorial University of Newfoundland Folklore and called vernacular practices because I grew up in a rural Language Archives) collection. We're hoping to set up a community myself and I realized the way in which people state-of-the-art audio restoration studio and do some made music in the community was not the same thing I multimedia production of archival material as well. We was studying when I went off to study music at don't intend to get into the recording business because university. So, the questions were already there, but you there are some fine recording studios in the province that had to cut it in the classical world in order to get do that, so I don't think that's its needed at the University. credentialed. And of course, it is good training. There's P.C.: This will all be accessible by people of the Province no question that it is relevant training. but also beyond that as well? P.C.: Do you have anything that you would like to B.D.: We want to make the vibrant music of the province mention? absolutely central to what that centre is about but not B.D.: Yeah, I'd like to say that I think this university is at exclusive. We're certainly starting as a provincial concept a very special juncture in that they have this world-class and I've established an advisory group of people from folklore program that is turning out really exciting young different parts of the province, from different com- scholars and that the School of Music, I think, is on a real munities and different ethno-cultural backgrounds. But I upward curve in acquiring increasing international respect hope that the work we are doing will eventually interest and, while it's a little younger than the folklore program, people from other places, both within Canada and it's a real golden opportunity for these two departments to internationally. work together. I feel really lucky to be here at this P.C.: So the collection itself will take a character that is particular point in time. world-oriented? B.D.: I don't want to set up something that competes with the Folklore and Language Archive. I think that any ABSTRA~ folklorist Charlotte Burne to the Late Victorian folksong compiled by Kelly Roubo revival in England. It will examine which ballads and folk lyrics she obtained from local villagers and fiom Abstracts ffom the Canadian Society for Traditional travellers who passed through the region, and it will Music Conference 2002, November 1-3, held at Memorial discuss her method of presenting this material in her University, St John's, Navfoundland major publication on Shropshire folklore. The selective use of her work made by Francis Child in "The English Beverley Diamond was in attendance and gave a short and Scottish Popular Ballads" will also be analysed. The introduction to her position as Chair in Canadian paper will be illustrated by sung examples of two of the Traditional Music at Memorial University. songs she collected, a ballad and a carol.

Holly Everett. 'me Many Lives of 'Cotton Eyed Joe.'" Anna Kearney Guignd "An Operative Model for Rednex's 1995 hit dance mix of "Cotton Eyed Joe" Analyzing Kenneth Peacock's Newfoundland Song has been a favourite at country dance clubs and hockey Collection." arenas internationally, and featured on the Fox TV series Between 1951 and 1961, Kenneth Peacock, a classical "Malcolm in the Middle." The tune has been played in musician and composer visited Newfoundland 6 times to Canada for at least 60 years. The Canadian variants are collect songs on behalf of the National of often traced back to Don Messer, who recorded and Canada later publishing two-thirds of his field collection published it as sheet music. This fiddle favourite has also in a 3-volume collection Songs of the Newfoundland been committed to vinyl by Saskatchewan Brian Sklar, Outports (1965). The work was pivotal to the shaping of Quebecers Ti-blanc Richard and Bill Sawyer, Ontarians the Newfoundland-centered folk music revival, providing Dan Penny, Geny Seaboyer and Graham Townshend, as source material by way of songs and singers for those well as by Carl Elliot and his Nova Scotians. interested in discovering their own musical heritage. As I Newfoundland fiddlers Don Randell and Ted Blanchard, discuss, despite its on-going popularity, the published and Barachois's Louise Arsenault also play it. Joe collection has always presented considerable diff~cultyfor Pancerzewski, the North Dakota-born "Fiddling researchers because Peacock had a propensity to create Engineer," knows it as a Canadian tune, which he composites and because of his editing practices. As I probably picked up in Saskatchewan. Ed McCurdy used show Outports is an interesting case-study of the kinds of "Cotton Eyed Joe" as the theme song for his CBC radio intellectual and artistic agendas collectors have always and television series in the forties and fifties. brought to their work. Considering its size and magnitude, Folklorist Dorothy Scarborough was one of the first to folklorists and other researchers cannot readily dismiss publish the traditional song in an academic work,.noting the importance of Outports as by simply calling it a that it predated the American Civil War. In her 1925 collection. But in their attempts to use it as a resource, the collection of African-American song, Joe is a "hoodoo" publication's limitations in terms of Peacock's man who rolls into town with the travelling medicine subjectivity and editing stand out. I show how the creation show. Other variants cast Joe as a slave, a hired hand, or a of an operative analytical model and a new working tool, talented fiddler. Michelle Shocked has recently theorized in the form of a computerized data base that integrates that Joe could perform abortions. Regardless of the Peacock's published materials with his field collection, particulars, "Cotton Eyed Joe" appears to have become a provides a tangible method for both evaluating and staple of both African and Euro-North American musical accounting for Peacock's treatment of the Newfoundland traditions by the mid to late 1920s, and was commercially collection. This specific approach serves to illustrate that recorded at least six times in that decade alone. there are viable ways we can overcome the limitations This paper, through the presentation of several North imposed by the makers of such collections, in turn American tune and text variants, will argue that the song's opening up new avenues for exploration and enigmatic title character, much like Foucault's "author" interpretation. (1 984: 10 1-120), embodies multiple, sometimes disparate meanings which may be utilized in diverse performance Kristin Harris. "Integrating Veniacular Dance into practices (Ake 2002; Burton 1978; Radner and Lanser Traditional Music Performance: An Ethnographic 1993). As with many traditional songs, the ambiguity of Account of the Auntie Crae Band." the variant texts and the polysemic nature of the Despite sharing many theatrical, rhythmic and protagonist are precisely what enable Cotton Eyed Joe's performative qualities, dance and music are often chameleon-like transformations--fiom tragic tale to considered separate artistic genres. Dance may utilize dance-floor favourite--and easy adaptation to regional music merely as a support, providing background to the musical styles. movement on display, whereas music stands on its own in terms of both auditory and visual completeness. When David Gregory. "Forgotten Folklorist: Charlotte Burne dance and music truly merge artistically, then, the result is and Shropshire Song." something quite unique. From an ethnographic and auto- The paper will explore the contribution of Shropshire ethnographic approach, this paper examines such an amalgamation between two traditional Newfoundland groups and to perform another groups7 songs is folk arts, step dance and traditional music, and how the unacceptable. At the end of the year, residents of one artists involved negotiate these newfound possibilities and particular house show their prowess in understanding the boundaries. genre and become songwriters within the aesthetics of their house. Zainab Haruna. "Ethnomusi-cological Observations of African Traditional Music and Its Performance." Peter Narvdez. "Regendering The Blues." Today, despite the threats of globalization, and the The winning of the Juno Blues Award in 2000 by homo-genizing effects of modem media, African Montrdal solo blues artist Ray Bonneville for his album traditional music is still alive and well. From Egypt to Gust of Wind publicly sanctioned a path of intimate, and South Africa, and from Morocco to Senegal, one could ofien gentle, blues performance that has long been still encounter this rich and ancient tradition on the followed by singers in Canada such as Bonneville, Ken African continent. This paper will outline and illustrate Hamm, Colin Linden, Mose Scarlett, and internationally, (with accompanying videos, tape recordings, and wherever blues is heard. This performance path has photographs) the performance, collection and study of contested the macho image and codes of the urban male African traditional music, with emphasis on traditional blues singer, first described by Charles Keil, in his classic music in Nigeria. The descriptions would include study Urban Blues, as accenting "bravado and virility" dimensions of traditional African music events; modes (71). While such braggadocio epitomizes the posture of and occasions for performing folk music; types of African many male blues singers, particularly the legendary blues music; common traits among African folk musicians, and great Muddy Waters (McKinley Morganfield), many the social and cultural roles of the performers and their generations of women blues singers (Ma Rainey, Bessie performances. Information provided in this paper is part Smith, Etta James, Koko Taylor) have employed the of the author's fieldwork data recorded during many years macho agenda as well, by assuming the "red hot mama" of field observations, and studies of African traditional role whereby the singer takes a tough stance in order to music. kick her man out or at least keep him in line. This paper will argue that the alternative, more Philip Hiscock. "Ten Things to Consider about 'The Star feminine, gentle blues style was popularized in the mid- of Logy Bay. "' 1960s when a series of senior African-American singers Newfoundland song-maker Mark Walker (1846 - who played at major North American folk festivals 1924) is best known for two songs that are sung widely (Newport, Mariposa), particularly Mississippi John Hurt today: "Tickle Cove Pond" and "The Antis of Plate (1 893-1966) and Elizabeth Cotten (1 895-1987), Cove." Several other Walker songs have less fame but are "regendered" the blues. well-known among singers. Among his descendants, he is additionally said to have written one of Newfoundland's Johanne Devlin Trew. "Conflicting Visions: Don Messer, most famous songs, "The Star of Logy Bay." Liberal Nationalism and the Canadian Unity Debate." Nonetheless, there is no direct evidence of his authorship. In this paper, the popularity of commercial fiddler ! In this paper, I investigate some of the pros and cons of Don Messer is explored within the wider Canadian the family's claims, looking at the relative weight one can context of the emerging Liberal nationalism of the 1960s. place on style, narrative form and other aspects of the Its legacy of conflict, which has resulted in the song. suppression of traditional culture in favour of elite culture, is deconstructed by examining the versions of Jodi McDavld. "'The Raiders of the Night': Residence Canadian identity as expressed in traditional or folk Songs of St. Peter's University." culture, as promoted by the government and as portrayed

This paper is based on twenty songs that were in the ' media, and their relationship to the current \ recorded and documented at residences during field politicaVcultural crisis in the country. i research at a small Canadian university throughout the academic year of 2001-2002. These songs are considered traditional by the participants, and are a major part of the rituals which surround Orientation or "Frosh" Week. The Special thanks to York University and songs have interesting influences and history. Because of The Canadian Society for Traditional Music for the a lack of documentation of student life at this particular university, this is the first time that these songs have been previous abstracts. More details can be found at: examined from an academic standpoint. The lyrics of the http://www.yorku.ca/cstm/conferences.htm songs are especially bawdy in some instances, although many songs are being changed as a result of suggestions of the university community at large. There are specific +++ ways in which residents are instructed songs: they learn techniques and use the songs to "defend" their space on a small campus. Songs are always associated with specific Terri Thompson, Neil STUDENTREPRESENTATIVES

Rosenberg and Lee Everts Here , is a list of your graduate at the Halloween party. representatives on various (Photo courtesy of Julie committees: LeBlanc). Graduate Review Committee: Lynne McNeill, Patrick Carroll Archive Sub-committee: Anne LajJierty. GavLundrigan MUNFLA Publication Commitee: D.F. Cook Recital Hall. Ian Brodie Faculty Meeting Representative: Many fantastic (mostly Dufferin Murray classical) concerts - a Graduate Student Co-ordinator: Ian sample below. Brodie For full schedule, Graduate Student Union www.mun.cd music1 Representative: Dufferin Murray conc/index.htm "Space Cadet" (person who handles Feb. 8: Winds of Change issues dealing with graduate Feb. 16: Atlantic String student spaces such as the grad Quartet's Recital #4 room and Field Hall): Gary AROUNDTOWN Mar. 13: Artist in Residence Lundrigan compiled by Kristin Harris Mar. 15: Sinfonia #3, Viola, Voila! Mar. 27: Concert Band Final Show Folk Club: Wednesdays, starting at 9:OO-ish, Arts and Culture Centre - St. AWARDS& PRIZES Ship Inn. Featured performer and John's The editors of Transmission would open mic session Many, many shows - music, dance, like to congratulate the following www.sjfac.nf.net~folkclub.html theatre - some highlights listed individuals: Feb. 5: Dermot O'Reilly below see Feb. 12: Dave Penny www.artsandculturecentre.coml Patrick Carroll was the recipient of Feb. 19: Greg Walsh stjohns for complete listings. David Buchan Graduate Research Feb. 14: Masterworks 3: Music Award in Folklore for 2002. LSPU HaU From the Heart www.rca.nf.ca Feb. 16: Figaro Holly Everett was the recipient of Feb. 13-16: The Jailer's Daughter Feb. 22: Terry Kelly with Joy an Anna Templeton award for and Other Mad Fools Cracking Norman 2003. Their Livers to Pieces for Love : A Mar. 10: David Francey in Concert new play about love, addiction and Mar. 15: Jimmy Rankin in Concert Julie LeBlanc was awarded School madness. Mar. 16: St. Patrick's Day Concert of Graduate Studies F.A. Aldrich Feb. 18-19: New Dance Pieces : Mar. 27-29 - Oklahoma! Fellowship for 2002-2003. Sarah Stoker Feb. 26-March 1: Death of a MUN Cinema Series Jodi McDavid was named "Fellow Salesman : Arthur Miller's classic www.mun.cdcinemd of the School of Graduate Studies" play, as performed by the Beothuck All screenings are at 7:00 pm, and was awarded the Women's Street Players. Thursday, in Empire Theatres's Association of Memorial Studio 12 Cinemas in the Avalon University of Newfoundland Auntie Crae's: Mall. (WAMUN) scholarship for 2002. Tuesdays, 12:OO-2:00, the Auntie, Feb. 13 Roger Dodger Crae band performs in the common Feb. 20 Far fiom Heaven room of the shop on Water St. Feb. 27 Bollywood/Hollywood FREE! Mar. 6 Sex and Lucia Mar 13 May 2002 Rabbit-Proof Fence Brahm Gawdan, M.A. Mile One Stadium: Mar. 20 Bay of Love and Sorrows www.mi1eonestadium.ca Mar. 27 Chaos and Desire October 2002 St. John's Maple Leafs - baby Apr. 3 Gambling, Gods and LSD Pamela Coristine, M.A. Leafs play all winter long.. . Apr. 10 Naqoyaatsi Madelyn Crocker, M.A. Feb. 6: Our Lady Peace Jodi McDavid, MA.+++ THEGREAT GRAD SURVEY OF 2002 John Drover. From: Windsor, Newfoundland. Past compiled by Patrick Carroll Education: B.A. Folklore (Chemistry) Memorial University of Newfoundland; M.A. Folklore (Current) Memorial Using questions about areas of interest and past University of Newfoundland Current Research: "Potential, education, here we provide a sketch of graduate students Currents and Resistance: A Queer Look at the Circuit. Areas in their own words. of interest: Pop Culture, Urban and Sexual Subcultures, MuscleIPhysique Culture, Afro-American Music Forms, Gay John Bodner. From: Gasline (fmd it on a map & win 25 Pornography. Character you most resemble: Speed Racer cents). Past Education: BA Trent U.; MA MUN; PhD MUN In progress. Previous Research: M.A. "Slash Holly Everett From: Austin, Texas. Past Education: BA Romance: An Ethnography and Occupational Folklore English Literature, University of Texas at Austin; MA Study of a Northern Ontario Treeplanting Company." Folklore, Memorial University of Newfoundland. Previous

Y Current Research: PhD. "Sheltering Narratives: An Research: "Roadside Crosses in Central Texas." Current Ethnography of a Homeless Youth Community in Research: "Food and Tourism in Atlantic Canada." Areas of Downtown Toronto." Areas of interest: Youth interest: belief, material culture, music. Character you most r Subcultures, work, popculture and representation, theory. resemble: Marcie from Peanuts I Character you most resemble: Esmerelda (gonzo's chicken "friend") or Mojo Jojo (some mornings you just Lee Everts. From: A bunch of places and nowhere in I feel like a charismatic monkey with a giant brain and a particular really. Past Education: B.Sc Physical Geography, I Napoleon complex). Guelph; MA Landscape Archaeology, Sheffield. Previous Research: MA "Animating the Isles of ~hahai~hand Kate Bride. From: Toronto, Ontario. Past Education: BA Bhatarsaigh." Areas of interest: archaeology1 biking, of York University; MA Art History, York University. courselcostume and clothing design1 environmental studies- Previous Research: "Remembering the Newfoundland fluvial, coastal, agricultural/ fir trade history (newly Sealing Disaster of 1914: Some Reflections on the Crisis rekindled)/ history and folklore of northern and western isles1 of Representation." Areas of interest: Trauma, memory interest in Canada, its history and how this country does not and representations; contemporary feminisms; the suffer 6-om an identity crisis1 landscape and land use studies1 production of "queer" culture. Character you most zebras. Character you most resemble: I'm not sure about resemble: hmmm - not sure. resemblance, but Oblio from the Land of Point is one of my heroes. Ian Brodie. From: Ottawa, Ontario. Past Education: BA, Religious Studies, St. Thomas University, Fredericton, Jillian Could. From: Toronto, Ontario - but most recently NB; MA (in progress) Theology, University of St. 6-om Brooklyn, NY. Past Education: Hon. BA Major: Jewish Michael's College, Toronto; MA, Religious Studies, History and Literature, Minors: English and Women's Memorial University of Newfoundland. Previous Studies, University of Toronto; MA Performance studies, Research: BA: "Gender inclusive/exclusive language New York University. Previous Research: "Consuming from the perspective of Bernard Lonergan and Max Nostalgia: Drinking Egg Creams, Performing Memory." Scheler." MA (Theology): "Bernard Lonergan and Current thesis: "How the Elderly Jewish Residents of the Comedy." MA (Religious Studies): "Bernard Lonergan Baycrest Terrace Make Home." Areas of interest: Jewish and Religious studies: Functional Specialisation and the studies; food; memory culture. Character you most resemble: Academic Study of Religion." Current Research: Stand- Sally J. Freedman (as herself). up Comedy and Folkloristics. Areas of interest: Popular Culture, Comedy, Parody, Belief. Character you most Douglas Jole. From: The Pacific Northwest. Past Education: resemble: Foghorn Leghorn I Bunsen Honeydew 1Jesus 1 BA Humanities, BW; MA Comparative Literature, BW. Lauri Honko I That guy who buries the other guy in Poe's Previous Research: MA thesis, "Oral Performance in "Cask of Amontialldo" Beowulf." Current Research: "Scrapbooking as Autoethnography." Areas of interest: Material culture, Patrick Carroll From: Winnipeg, Manitoba. Past traditional music, folk literature. Character you most Education: BA Anthropology1 Archaeology, Lakehead resemble: Muppet: the obscure but lovable Lew Zealand and University, Thunder Bay Ontario. Previous research: his boomerang fish. "Land Use History of Wapusk, National Park"; "Hay CampIEjere K'Elni Kue: A Social and Land-Use History Julie LeBlanc. From: Ottawa, Ontario. Past Education: B.A. 1922-2001, Wood Buffalo National Park." Current Medieval Studies, University of Ottawa; Certificate in Research: "The Past in the Present: Oral History, Material Anthropology and Medieval Studies Universitk de Montrhal; Culture, and Self-Identity in Placentia, Newfoundland." Master's of Philosophy in Medieval History, Trinity College, Areas of interest: , Community history, Canadian Dublin. Prbious Research: "Lamentations of the Past: An cultural identity. Character you most resemble: Echo of the Medieval Irish Keening Woman." Current Apparently I look like anyone but me. Research: "Female Deaths Customs on the Island of Ouessant (Brittany, France)." Areas of interest: Death Internet, I'm either Jiminy Cricket, Fems Bueller, or Lando customs, beliefs. Character you most resemble: Some Calrissian. Hmmm .. . people say Sailor Moon .. . I beg to differ! !!! ! ! ! ! ! ! ! ! ! Dufferin A. Murray. From: Fredericton, NB. Past Jon Lee. From: St. George, Utah. Past Education: BA, Education: BA Anthropology, St. Thomas University, Gonzaga University; Secondary Education Teaching Fredericton, NB.; MA Anthropology, University of Western Certificate, Southern Utah University; MA Utah State Ontario, London, ON.; PhD Folklore, Memorial University of University. Previous Research: MA Thesis, "Alternative Newfoundland, St. John's, NF, In Progress. Previous Herbal Cancer Therapies: An Examination of the Research: BA, "Processes and Antinomies: 'Race' and Other Efficacies of Four Remedies." Current Research: Lay Relations"; MA-"From the Word Up: The Poetic Message of Health issues (with Diane Goldstein). Areas of interest: Rap Music"; Current Research: PhD-"In Moments of Folk medicine, eating, 5 1. Character you most resemble: Silence: Oral Narratives of New Brunswick's Second World The son from "For Better or Worse"/Sir Didymus from War Veterans." Areas of interest: Music, poetics, linguistics, LabyrintWAlbert Einstein (no shit: an Internet test told me theory, mimetics. Character you most resemble: Uncle so!) 1 ? / Arthur Philip Dent. Travelling Matt

Christopher Lewis. From: Grand Falls, Newfoundland. Tristin Norenberg-Goodmanson. From: Winnipeg, MB. Past Education: BA Anthropology / Geography, Past Education: B.Ph. Isl, University of Iceland, Reykjavik. Memorial University of Newfoundland; LLB University Previous Research: "Havda saga birtist i tjodsagnahedi of New Brunswick. Current Research: Company Town Vestur-Islendinga?" (What History is Revealed in the Oral Architecture. Areas of interest: Vernacular Architecture, Narratives of the western-Icelanders?). Areas of interest: "legal" humour. Character you most resemble: You tell Popular culture, traditional culture, ethno-musicology, audio- me! visual realm, circumpolar studies, folklife

Gary R. Lundrigan. From: London and Stratford Ontario. Havala Osdoba. From: Seattle, USA. Past Education: BA Born in St. John's NL before Confederation. Yes ... I am Comparative History of Ideas, University of Washington. really that old. Past Education: My undergrad degree is Previous Research: "Why Anthro-pologists Shouldn't from the University of Western Ontario and the Answer Rhetorical Questions: Discursive Perspectives on University of British Columbia with other courses from "The Ecological Indian."" Areas of interest: post-colonial the University of Toronto and York University .. . and .. . dialogue; travel narrative; community "biography"; big trees; well you know, a teachers lot. Previous Research: I am a small children; sudden rainstorms; high altitudes. Character secondary school teacher. After graduating 6om UWO you most resemble: Lisa Simpson with a undergrad degree in Classics and Social Psychology I attended Althouse College of Education Justin Partyka. From: Heacham -a rural, coastal town in the where I received my Education degree I have a specialist county of Norfolk on the east coast of England. Past in Drama and Theatre. Current Research: "The Good Education: BA Hons, American Studies, Minor English Man - The Common Hero of Newfoundland." Areas of Literature, Brunel University; MA Folklore, Memorial interest: Music, trying to stay warm, and the people of University of Newfoundland; PhD candidate in Folklore, Newfoundland. Character you most resemble: The dog Memorial University of Newfoundland. Previous Research: from Fraggle Rock. Hons thesis: "Take Me Back to the Sweet Sunny South: The Bluegrass Music of Bill Monroe and Sentimental Romance"; Jodi McDavid From: Flatlands, NB. Past Education: MA thesis: "The Occupational Folklife of a Norfolk MA, MUN, "'We're Dirty Sons of Bitches:' Residence Lurcherman"; current thesis: "Folklore Fieldwork and the Rites of Passage at a Small Maritime University." Current Aesthetics of Documentary Photography: In Search of a Research: Anticlerical Legends and Belief. Character you Visual Folkloristics." Areas of interest: Documentary most resemble: Eric Cartman photography, fieldwork theory and method, occupational folklife, rural folklife, bluegrass .and old-time music. Lynne Sullivan McNeilL From: Lafayette, CA. (A small Character you most resemble: Frankie Lee. town in the San Francisco bay area).,Pmt Education: BA, Interdisci-plinary StudiesIFolklore, UC Berkeley; MA, Wendy Welch. From: Born American, now living in American Studies / Folklore, Utah State University. Scotland. Past Education: BS Journalism, University of Previous Research: BA, "Word and Image: Illustration Tennessee; M.Ed. Storytelling (yes they do) East Tennessee and Text in 'Little Red Riding Hood"'; MA, "The State University. Previous Research: "Storytelling in Waving Ones: An Examination of Cats in Folklore." Education." Current Research: "The Story-telling Revival Current Research: I've only been here a few months; give and its Relation to Tradition." Areas of interest: Humour, a girl time to decide! Areas of interest: Legends, beliefs, ballads, women's material culture, cultural and group folktales. Character you most resemble: According to interaction theory. Character you most resemble: Grover, three different pop culture personality tests 6om the except he was taller. CALLSFOR PAPERS program, institution, mailing and e- as Public Culture; (3) Fieldwork mail addresses, telephone and fax and Ethnographic Patterning; (4) Culture & Tradition vol. 24 & 25: numbers, title of paper, and300- Scholarship by and about Barbeau. Doing forward: The Even Younger word abstract by March 17, 2003. Of primary importance in this Turks Panels: Send three copies of a one- collection are the implications of The past four years have seen a page vita for each participant; a Barbeau's work for Canadian number of folklore journal issues, 150-word abstract of the session's culture, and historical and political panel discussions, entire con- theme including the title of the directions of ethnography and ferences devoted to retrospection. session; a 300-word abstract for folklore in twentieth-century Fundamental methodological issues each participant including name, Canada. We intend this book to be like the interplay between academic departmentlprogram, institution, multi-disciplinary, reflecting and public folklore and the inherent mailing and e-mail addresses, Barbeau's own disciplinary interdisciplinarity of folklore 1 telephone and fax numbers, and breadth, as well as current critical ethnology have (re-)surfaced as title of paper; contact data for the and reflexive approaches. Conse- -I they do in times of existential session coordinator (please include quently, we are looking for a wide despair, a natural symptom of home and office telephone numbers range of authors writing from 2 anniversaries and turnings of the and preferred mailing address and different cultural contexts and from calendar. e-mail addresses, especially if different disciplinary perspectives. This double volume of Culture & different from institutional It is our intention that, through its Tradition, which will be the addresses). AN Requirements: multivocality and broad thematic journal's twenty-fifth, is seeking to Please specify your audio-visual scope, this text will add to our set aside these matters, important equipment needs within your understanding of though they are, and not simply proposal. Contact: Culture, and the emergence of Canadian look to the future of the discipline Bowling Green State University, cultural paradigms in the twentieth but engage in it. The editorial board Bowling Green, OH 43403-0226 century. We ask that articles be is calling for papers which (a) are USA; fax (419) 372-2577, e-mail between 3500-6000 words and based in ethnographic research; (b) [email protected]. follow endnote documentation are studies of communities, format. Please submit double-

occupations, , artistic forms, spaced duplicate copies with foodways, narratives, etc. which computer disk by September 1, have seldom, if ever, been studied Around and About Marius 2003 to the following address: from a folklore / ethnology Barbeau: Writings on the Politics Gordon E. Smith, School of Music, perspective; and (c) struggle with of Twentieth-Centuty Canadian Queen's University, Kingston, the limitations of folklore's basic Culture Ontario, Canada K7L 3N6, Tel. premises and standard definitions. Submissions are invited for a (613) 533-2066, Email: For example: What is "intimate forthcoming book exploring the [email protected] communication" in an online cultural work of Marius Barbeau, For firther information, please world? What, if any, are the real the noted Canadian folklorist and contact the editors: distinctions between folk, popular, ethnographer. We are seeking Lynda Jessup, Department of and elite culture? It is hoped that by articles in English or French that Art, Queen's University, email: bringing new contexts for folklore deal with Barbeau's work in Ilj [email protected]; research to the fore, foundations for various fields, with different Andrew Nurse, Canadian folklore may emerge that will guide constituencies, and with regard to Studies, Mount Allison University, different media (e.g., Barbeau and * the discipline until the next crisis. email: [email protected]; Papers should follow the the Group of Seven, Barbeau's Gordon E. Smith, School of submission guidelines available on work on ethnographic films, his Music, Queen's University, email: A the Culture & Tradition website, at informants, his contributions to [email protected] http://www.ucs.mun.ca~-cuIture/ music, or his tourist promotion work). Contributors should also The Seventh Annual Conference on feel fi-ee to explore his Holidays, Ritual, Festival, collaborations with individuals Celebration, and Public Display, such as William Beynon, Laura Bowling Green State University, Boulton, John Murray Gibbon, Bowling Green, Ohio, May 29-31, Juliette Gaulthier, Ernest 2003 MacMillan, Edward Sapir, and Individual papers and media Ramsay Traquair, among others. presentations: Send three copies of The book is organized around the a one-page vita and a proposal that following sections: (1) Barbeau and includes your name, department / Institutional Politics; (2) Folklore SOMETHING TO CROWABOUT general reader, and allows us to give back to the people of Recently many of us had the plemure of gathering at a Newfoundland and Labrador a selection of the tales that book launch for two publicatiom: Little Jack and Other they so generously shared with the collectors over the Newfoundland Folktales, edited by John Widdowson and years. Roadside Crosses in Contemporary Memorial Culture by The fifty folktales in this selection were all originally Holly Everett. For your reading and viewing pleasure, recorded on tape. Following principles adopted in here are some photosfi.om the book launch (courtesy of Folktales of Newfoundland (1996), the tales in the present Peter Narvriez) and an excerptfiom each book volume are transcribed as closely as possible to the original recorded performance. The intention is to present the stories in an accessible way to readers, with minimal disturbance of the original storytelling, and so preserving as far as possible the storyteller's actual words, individual voice and style, in order that readers will be able to "hear" the living speech which identifies the stories with the various parts of the province where they were told. (xi)

(From Roahide Crosses in contemporary Memorial Culture, by Holly Everett. Denton, TX: U of North Texas P, 2002. )

ike most residents of my hometown, Austin, Texas, I took roadside crosses for granted. When I Lfmt became conscious of them, as a teenage driver, I thought of them as grim warnings. I did not know then that the crosses had a long history in Mexico and the southwestern , nor that they had analogues in several other countries. I had no firsthand knowledge of the construction of those I drove past almost daily. Nonetheless, I found them fascinating and disturbing. The communicative process of roadside crosses, as tangible evidence of extremely personal pain, inevitably affects an entire community. As centerpieces of fragile, dynamic memorial assemblages, such crosses are only now being examined as more than incidental specks in the cultural landscape of certain groups. A unique form of public, belief-centered material culture, roadside accident Department Head, Martin Lovelace, greets those in markers occupy a rare space not only in the realm of attendance (Peter Narvbz) roadside attractions, but in the ongoing cognitive map of the individual, a uniqueness that renders them extra-legal, (From the introduction to Little Jack, and other or "outlaw" and almost untouchable markers of liminal Ndoundland Folktales, ed. John Widdowson. St. space. They represent the continuation and adaptation of John's: Memorial University of Newfoundland Folklore one of the oldest forms of memorial culture. (1) and Language Publications, 2002.)

ecause of their rarity in still being part of the oral tradition of adult English-speaking storytellers in Bthe second half of the twentieth century, these folktales were singled out for particular attention. In 1976, and I began the transcription, editing and annotating of 150 of the tales collected in the province mainly in the years 1964-1979. Twenty years later the collection was published as Folktales of Newfoundland (1996). The transcriptions aimed to set down on paper the exact words of the storytellers. The detailed notes in Folktales of Neyfoundland were intended mainly for academic readers but, as we always also intended, the present volume makes many of the stories available to the Holly Everett speaks to Patrick Carroll while Kate Bride leafs through a copy of Roadside Crosses (Peter Narvhez).

OUR NEXT ISSUE

In the April issue we are also Transmission is an occasional publication. Submissions may be sent at any time including a section called "So .. . and will be included in the next issue. We welcome short essays, reviews, notes how's your thesis goin'?" which & queries, as well as news from folklore departments and fellow travellers across we will pose the much hated Canada. question to some of our fellow i students. Since the onset of summer Correspondence may be sent to: also means the beginning of Culture & Tradition fieldwork for many individuals, we Memorial University of are also looking for advice from Newfoundland those that have completed Box 2 1, Hickrnan Bldg. fieldwork and have something St. John's, NL .* helphl to pass on to those just AIC 5S7 starting out. Recent thesis writers are also encouraged to submit tips Email us at: for those in the lonely writing [email protected] process. Check out our Home Page at http://www.ucs.mun.ca/-culture Please feel free to submit your summer address (email or postal) , Editor: Jodi McDavid for the next issue as we will be ([email protected]) including a segment on how to Contributing Editor: Patrick Carroll contact each other during the Web assistant: Jon Lee summer months. Contributors: Kelly Roubo, Kristin Harris, Peter Narvhez, and Julie LeBlanc Technical Assistance: Culture & Tradition, Department of Folklore, Memorial University Cuffure& Tradition is Canada's oldest bilingual folklorejournal. Published annually by the Folklore Students of Memorial University of Newfoundland, the editors welcome manuscripts on any subjects of interest to folklorists, such a. traditional arts, music, foodways, architecture, beliefs, oral literature, cultural psychology, and the structure of regional ethnic, religious, and industrial groups in Canada and internationally. Information on books available for review, an index of past journal articles and other information about the journal can be found on our web-page at h~fp://www.ucs.mun.ca~~lfure/.

Recent Issues Volume 22 - 2000 Volume 23 - 2001 Student Roundtable, FSAC 2001 Taking it Like a Man: ReExamining the Power Structure in Sports Initiations Jay On the Meaning of Folklore and its Johnson Significance in Finding Employment Frances Cooper "Defiant Bodiesw:Power. Fdomand the "Gypsy" Bridget Cauthery A Proposal for the Professionalition of Canadian Folklore Michael Tafi Nains de Jardins: Perceptions. Ma#rialit& et Immaterialit& Jocelyn Gadbois Responses to Taft John M. Bodner, Madeleine Pastinelli, Ottoline Willwood, Michael A. Lives Reflected Through Home Decoration Robidoux, Bruce Lionel Mason in a Small Village in Turkey Sllheyla Cavqer Putting a Face on the Past: An Interview Authenticity of Folklore and Folk Songs in with Ronald Labelle Jodi McDavid the Works of Stan Rogers Paul Moore Ideology, History, and the Discipline of Social Order Within the Disorder at Folklore: Reading Media Sense Fifteen Newfoundland House Wakes Kieran Walsh Years Later Marc Kuly Dance DeTmed: An Examination of Unit6 et Perspectives de la Recherche en Canadian Cultural Policy on Multiculhnl Ethnologie Olivier Maligne Dance Katherine Cornell Folklore 1 Ethnology Studies in Canada: Dories: A Proud Part of Newfoundland Towards a Pan-Canadian Interdisciplinary Culture Brion Robison Perspective Pauline Greenhill and Diane Tye

Callfor Papers - Vol.24-25: "DoingForward: fie Even Younger Turks" This double volume of Culture & Tradition.which will be the ioumal's hventv-fifth.. . is seeking- to set aside the millennia1 project of introspection and not simply look to the future of the discipline but engage in it. The editorial board is calling for papers which (a) are based in ethnographic research; (b) aksildies of subjects which fall withinthe jodal's mandate but which have seldom, if ever, been studied from a folklorelethnologyperspective; and (c) shuggle with the limitations of folklore's basic premises and standard definitions. It is hoped that by bringing new contexts for folklore. researchto the fore, foundations for folklore may emerge that will guide the discipline until the next aisis. Deadline for submission: July 15, 2003

Correspondence and subscription requests may be addressed to: Culture & Tradition Box 21, Hickman Building Memorial University of Newfoundland St. John's. NL AIB 3x8 Canada e-mail: [email protected]