October-December 1984 The American Folklije Center at the Library oj Congress, Washington, D . C. Volume VII, Number 4

Square Dance To Be National Folk Dance?

The Kalevala: 150th Anniversary

Publications novels ofpioneer and ethnic romance, and that moral commitment. Further, my

FOLKLIFE CENTER NEWS with fi'nding quaint people. I havefound correspondent is certainly right that that people who romance about the past the wider public cultivation of nostal­ a quarterly publication of tbe and about "old times" often do not really gia is sometimes attended by exploita­ American Folklife Center care about the people they are romanticiz­ tion of old-fashioned traditions in a ing about. They have no desire to help condescending or self-centered way. at tbe these people but are more interested in ad­ But the letter also hints at a difference Library of Congress vancing a personal ideal-a patronizing between folklorists and much of our ideal. Simply, tradition-bearers are used society in their fundamental view of

Alan Jabbour, Director to fuel a personal fantasy. The truth of what is past, what is present, and how the tradition is lost in the shuffle and the they are related. Ray Dockstader, Deputy Director tradition-bearer eventually realizes he is Discussion of how folklorists deal Elena Bradunas being used by someone he thought was with past and present is complicated, Carl Fleischhauer a friend. curiously, by consensus within our Mary Hufford I'm a romantic at heart - I spentyears field. I am reminded, in a season of Folklife Specialists working in western North Carolina and political campaigns, of the commen­ Peter T. Bartis, Folklife Researcher wrote most of my research papers on tator's remark that one could decipher

Eleanor Sreb, Executive Assistant "dying" arts. And I was for years a a candidate's political point of view Brett Topping, Writer-Editor square-dance fiddler. But I guess I've only by studying the relation of depen­ Magdalena Gilinsky, Contracts Specialist tried to put my romance for the past and dent to independent clauses: "Although Doris Craig, Administrative Secretary Lisa Oshins, Staff Assistant for the oldtimer in check during my we must be sensitive to people's needs, work . . . . Idolizing a person or the the deficit must be curbed" versus "Al­ Tel: 202 287-6590 past breeds false expectations. I think though the deficit must be curbed, we romantic approaches suffer the same con­ must be sensitive to people's needs." Archive of Folk Culture sequences. Don't you? Similarly, debates within our field are When an antiquarian impulse is often studies in adjustment to the pen­ Joseph C. Hickerson, Head Gerald E. Parsons, Jr., Reference Librarian rooted in a sincere desire to know the dulum that sways across the epicenter Patricia M. Markland, Indexer-Secretary truth, I think it is noble indeed. But . . . of broad consensus. Our rhetoric seeks Sebastian LoCurto, Staff Assistant Michael Licht, Staff Assistant more often I think there is a point to to correct what we perceive as an im­ make, an ax to grind, a fantasy to balance, and words at the poles are Tel: 202 287-5510 develop, or a thesis to write. Maybe the designed to pull the pendulum back Washington, D.C. 20540 word ''antiquarian''just hits me funny. toward the center. It sounds like an antique collector (which Unfortunately, there are different again I am) who feels an emotional pendulums for different audiences. Managing Editor: Brett Topping pleasure owning something very old. It When I am making presentations doesn't sound like a person interested in about folklife to various public audi­ helping a community better understand ences, I find I rarely need to assert a themselves and their traditions, which is, connection to the past. That is already for me, the joy of my work. Maybe the presumed, and my energies are de­ DIRECTOR'S antiquarian impulse is perfectly appro­ voted to reminding them that things priatefor a folklorist - I certainly think past can also be alive today; that pop­ COLUMN we have a responsibility to document ex­ ular fashion is not the only gauge of cellence in traditional expressions - but I believe this impulse is often complex My last column, which mused over andfilled with less constructive roots and the "antiquarian responsibilities" of biases. I guess . .. being an antiquarian, folklorists, has stirred up the sorts of or collectingfor the sake ofcollecting and lively responses that gladden an author's for the romance of it, is fine (and even heart. One correspondent in particular necessary) in one's personal life, but under has articulated a view that, if not the banner iffolklorist it can be prob­ downright opposite from the view I lematic. espoused, certainly takes a different tack. There is much to commend in this statement, particularly in its moral It seems to me that romance for the past commitment to tradition-bearers and andfor "the country life" is at an all-time to the cultural communities they arise high these days, and, frankly, this from and speak to. We can draw con­ romance movement causes me marry prob­ siderable hope from the fact that a lems in my work. There is a fascination whole generation of folklorists has not with getting back to the country, with only embraced but debated and refined

2 FOLKLIFE CENTER NEWS presentness and pastness; that folklore val" section of the textbook (and hence tunes as a boy from Quincy Dillon, and folklife comprise cultural expres­ the lectures). Folklorists may fulminate who was in his 80s and 90s at the time sions that are always present in some that the traditional ballad does not and had learned tunes in the early 19th form. belong in the medieval section of the century. Thus as I play certain tunes Conversely, when I am speaking to survey, but moving it to "the Renais­ I am conscious that, with only one per­ my fellow folklorists, I seem to per­ sance" or "the Romantic Period" is no son as our cultural intermediary, I am ceive a need to re-emphasize the time­ better. Ballad singing has been going wondrously close to the Jacksonian dimension in tradition; to remind us on, in one form or another and within era. all that we have a responsibility to the one group or another, for half a mil­ The third problem with periodicity past as well as to cultural groups in the lenium or so in the English-speaking is that it gets applied, as a metaphor, present; to assert the importance of a world. To assign it to anyone literary to things that are present. Thus some historical dimension in our studies. period is to fall prey to periodicity as people, when listening to the music of The tilt of my comments reflects my a VIce. a splendid oldtime fiddler, can enthu­ judgment that our professional field The second problem with periodic­ siastically epitomize his art as "the way has tilted too far in recent years toward ity is that, as an organizing principle it used to be" - denying, by implica­ emphasizing the ethnographic present for thinking about history, it has the tion, the evidence of their own senses and stressing the group-factor over the effect of boxing off the past from the that this fiddling is the way it is now. time-factor in tradition. present. Using period categories tends Describing cultural expressions that It has occurred to me that the pen­ to overemphasize differences between are present as if they were past is a dulum swing of folklorists toward the periods as critical factors in evaluating widespread phenomenon in American present just might represent, by some the cultural history of a group, region, society today. I often think it is a com­ preternatural instinct, a collective or nation. Change defines; continuity forting device for people confronted effort to countervail the public swing is ignored. Thus "theJacksonian Era" with things that are culturally unfa­ to dwelling upon the past. Be that as seems far away from the 1980s, sepa­ miliar. Boxing that living expression it may, folklorists are at their best, as rated from us by a host of intervening mentally into the periods of the past­ a profession, when their interest in periods. Yet in the mid-1960s I learned . "the islanders still speak Elizabethan present and past is in balance. As indi­ old time fiddle tunes from Henry Reed English" - may help people account viduals they may of course prefer one of Glen Lyn, Virginia. He was in his for an unanticipated encounter with or the other emphasis, but when the 80s at the time and had learned many cultural diversity, but it simultaneously whole network tilts too far in one distances the categorizer from the direction or the other, we obscure one encounter. of our field's most important contribu­ Folklorists are interested in the peri­ tions to society. BOARD OF TRUSTEES odicities of history, too, but one of That contribution, put simply, is their special contributions, I believe, connecting past and present through the Ronald C. Foreman, Jr., Florida, is heightening society's sensitivity to concept of tradition. Most people in our Chairman history's continuities. Tradition, one society deal with history by applying David E. Draper, Louisiana, Vice of the key concepts in the study of to it a frame of periodicity. The past Chairman folklore and folklife, is a concept that . emerges as a row of consecutive Edward Bridge Danson, Arizona crosscuts the boxes of periodicity and periods, each characterized by its own Jeanne Guillemin, Massachusetts reconnects the past and the present. identifying traits. Periodicity works Bruce Jackson, New York Perhaps my espousal of our "antiquar­ well enough as an intellectual approach William L. Kinney, J r., South Carolina ian responsibilities" is a bit melodra­ to some aspects ofthe past - the Amer­ St. John Terrell, New Jersey matic- a rhetorical device for tugging ican Revolution was no doubt a water­ J. Barre Toelken, Oregon at our profession's pendulum. But only shed in our history, as was the advent when our field embraces firmly its ofelectricity. But it often seems to miss responsibilities to folk culture in both the mark in dealing with cultural his­ Ex Officio Members the past and the present are we well tory - oldtime fiddling and harvest positioned to communicate to the festivals are no more "out" today than Daniel J. Boorstin, The Librarian of public how tradition fuses the two. they were "in" in the 19th century. Congress The first problem with periodicity Robert McCormick Adams, Secretary of is that people extend it from a useful the Smithsonian Institution tool to a governing principle in look­ Francis S. M. Hodsoll, Jr., Chairman, ing at the past. Cultural expressions National Endowment for the Arts are defined by thrusting them into William Bennett, Chairman, National period categories such as "the 18th Endowment for the Humanities Century" or "the Civil War Era," even Alan Jabbour, Director, American if the categorization does not fit. Thus Folklife Center many college surveys of English litera­ ture include folk ballads in the "medie-

OCTOBER-DECEMBER 3 SQUARE DANCE TO BE NATIONAL FOLK DANCE?

For the past twenty years there has prepared a report replying to these bill were legislators Panetta, Earl been a movement, generated by the questions. Hutto (D-Fla.), and Mickey Leland Western style square-dance clubs of The report included comments by (D-Texas). the United States, to designate the Judith Lynne Hanna from the Univer­ The square dance community also square dance this country's national sity of Maryland; Martin Koenig, spoke up enthusiastically in favor of dance. Working toward a goal ofhav­ Co-Director of the Ethnic Folk Arts the bill. George and Ann Holzer, ing the square dance join the ranks of Center in New York City; Bess Lomax along with Mac and Mary McClure­ our other national symbols, dance Hawes, Director of the Folk Arts Pro­ officers of the National Folk Dance clubs have introduced a total of thirty­ gram of the National Endowment for Committee established in 1970 to two bills since 1965. the Arts; Alan Lomax of the Canto­ encourage passage of the bill- spoke The most recent bill to be consid­ metrics/Choreometrics Project at Co­ from the perspective of couples who ered in the House of Representatives lumbia University; Ralph Rinzler, have enjoyed square dancing for many is H .R. 1706, which was introduced Assistant Secretary for Public Service years. Explaining the five most impor­ on February 28, 1983. Sponsored by of the Smithsonian Institution; and tant reasons that square dancing has Congressman Norman Y. Mineta (D­ Joseph T. Wilson, Executive Director the appeal it has, Mac McClure said, Calif.) and Congressman Leon E. of the National Council for the Tradi­ "It promotes stamina, endurance, and Panetta (D-Calif.), the bill has more tional Arts in Washington, D .C . The friendliness. Two, it can conveniently than 270 co-sponsors. A similar mea­ consensus of these commentators was fit into one's schedule. Three, it is a sure passed in the Senate earlier this that the square dance form is a won­ year-round activity. Four, it is afford­ year. The proposed bill finds that derful expression ofhuman grace and able. Five, and most important, it is square dancing has a long history as ingenuity, but that to confer an official fun set to music with pageantry and a popular tradition in this country, preeminence upon it risked giving beauty." Catherine Burdick, Co-Editor that it is a '1oyful expression of the offense to Americans whose heritage and Co-Publisher of American Square vibrant spirit of the people of the included other dances with an equal Dance, spoke of the universality of the United States," that square dancing claim both to aesthetic quality and pastime, noting that there are square encourages etiquette and is a form of historical precedent. dance clubs associated with U.S. dance family recreation, and that "square Because the June 28 hearing of the clubs in England, Germany, Sweden, dancing epitomizes democracy because Subcommittee coincided with the 33rd the Netherlands, Japan, Spain, and it dissolves arbitrary social distinc­ National Square Dance Convention in Saudi Arabia, as well as in other tions." On the basis of these findings, nearby Baltimore, the hearing room countries. the proposed bill would designate was filled with H.R. 1706's supporters. Bob Osgood, Editor ofSquare Danc­ square dancing the "national folk Congressman Mineta addressed the ing, added a patriotic note to Burdick's dance of the United States." Subcommittee first. One of his initial observation: "Whether you square A public hearing on the bill was points was that the bill would not dance in Maine, or California, in held by the House Subcommittee on designate the square dance as the na­ Tokyo, or in Stockholm, what you Census and Population, chaired by tional dance, but rather the national enjoy is the same brand offriendly folk Congresswoman Katie Hall (D-Ind.), folk dance. Addressing the issue of fun participated in by those who on June 28, 1984. The Subcommit­ whether the square dance is represen­ helped weld the Thirteen Colonies into tee (through which pass many com­ tative of a broad American culture a single nation, by those who danced memorative measures) turned to the he said, "the square dance is indeed beside their wagons in the West prai­ American Folklife Center for help American. It is American American." ries of America, and by those through­ in considering the bill prior to the Mineta also pointed out, "If the square out our country's history who wish to hearing. "Is contemporary American dance is formally made our national dance to celebrate a victory, or to bury square dancing in fact deeply rooted folk dance, it will become even more a sorrow." in this country's history?" Subcommit­ visible in our society, and will give Smithsonian Assistant Secretary tee staff wondered. "Have any other schools and other institutions further Ralph Rinzler was the first speaker nations in the world officially desig­ impetus to teach this rewarding activ­ against the bill at the hearing. He nated a specific national folk dance?" ity." He concluded his remarks by noted the legislation did not define the "What would be the pros and cons of stating that he could think of no bet­ term "folk" and urged the necessity of so designating the square dance in the ter dance to be our national folk dance doing so. "I, as a folklorist, find it dif­ United States?" InJanuary of this year and to be carried to other countries as ficult to comprehend, especially in a Gerald E. Parsons, Reference Librar­ a representation of American tradi­ multi-cultural society like ours, how ian for the Archive of Folk Culture, tion. Joining him in his praise of the one could have a national folk dance.

4 FOLKLIFE CENTER NEWS '~ square dance at Skyline Farms, a U.S. Resettlement Administration Project" near Scottsboro, Ala., 1937; photo by Ben Shahn. (Prints and Photographs Division)

Such a term appears to us to be a self­ of American Folklife this year, said In the light of this historic caution con­ contradiction, as 'folk' is usually asso­ that he never saw square dancing until cerning the multiplication of national ciated with a subculture, and national he was in his twenties. A second Fes­ symbols, the House Subcommittee on indicates belonging to or representing tiva1 performer, Paul Tiulana, an Census and Population determined all. To make something national would, Inupiaq Eskimo from King Island, that the proposed designation of the from the point of view of folklorists Alaska, said he never saw square square dance was sufficiently serious and, I think, from the point of view dancing as a young man either. He and complex to warrant the formal ofmany people in traditional commu­ suggested that before deciding to make hearing. nities around this country numbering square dancing the national dance, the The purpose of a Congressional several million, strip the tradition of Subcommittee should study Inupiaq hearing is, normally, to gather infor­ its folk characteristics." Rinzler went dancing, which was being done before mation rather than to pronounce on to speak of the "deleterious" effect Europeans came to America. judgement. It is accordingly difficult that the bill would have on the regional The hearing set old-timers on Capi­ to report on the outcome of the event. variety of American dance forms; prac­ tol Hill to reminiscing about the But whatever the outcome, the Folklife titioners of alternative dance forms oratorical battles fought in the 1960s Center hopes that the hearing, having would be made to feel that their dance, between Senator Everett Dirksen (R­ introduced square-dance lovers, ethnic not being designated the national Ill.) and Senator Paul Douglas (D­ spokesmen, and cultural specialists to dance, was less worthy. Pa.) - champions for two different each other, will be a prelude to further Other speakers who joined Rinzler candidates for a National Floral Em­ contacts and conversations among in opposing the legislation included blem. Senator Dirksen fought for the them all to deepen their mutual aware­ Joseph T. Wilson from the National marigold, Senator Douglas for the ness of each other's passions and Council for the Traditional Arts; rose. Though the combat thundered perspectives. ethnomusicologist Thomas Vennum, through several legislative sessions (no Jr. from the Smithsonian Institution; doubt to the dismay of the Senate dance historian Gretchen Adel Schnei­ charforce which was obliged to clean der; Carol Robertson, President of the two varieties of petals from the Visi­ Society for Ethnomusicology; Charles tors' Gallery carpets after each engage­ On August 15 Representative Camp, Maryland State Folklorist and ment), the Congress finally declined Katie Hall, Chairwoman of the Executive Secretary of the American to add any flower to the very limited House Subcommittee on Census Folklore Society; and Robert Dalsemer, array of national symbols. and Population, issued a statement Vice President of the Country Dance It is interesting to note that while saying that she had discussed H.R. and Song Society of America. our states have made official symbols 1706 with the other members ofthe Other dancers were heard from, of everything and anything- animal, Subcommittee and decided that too. Levon Robinson, a tap dancer vegetable, and mineral-our Federal there was insufficient support to and teacher from the Philadelphia government has selected only four such mark it up in its present form. College of Performing Arts who par­ representative entities: the anthem, ticipated in the Smithsonian's Festival the great seal, the flag, and the eagle.

OCTOBER-DECEMBER 5 THE KALEVALA: 150TH ANNIVERSARY

Those who enjoyed the film Star Wars would probably fall under the spell of the Finnish epic Kalevala. Though first published nearly 150 years ago, many of the adventures in the epic could easily be scripted into scenes for our modern fantasy adven­ ture films. Instead of battling with advanced technological gadgets such as rockets and laser beams, however, the heroes of the Kalevala engage in bouts with words ofwisdom and magic runes that cast spells of enchantment over their foes. Thus, when wise old Viiiniimoinen, the greatest singer of runes, is challenged by a young up­ start Joukahainen, it takes but a few magical charms to bury the young man neck-deep in the ground. The frightenedJoukahainen offers his sister Aino as ransom for his release, and Viiiniimoinen accepts. The young girl, dismayed by the prospect ofmarrying such an old man, drowns herself and becomes a fish. Viiinamoinen later catches the fish, but does not recognize her and she escapes, leaving him grieving. Though Vainamoinen suffers set­ backs now and then, as a skilled musi­ cian and wise charm-singer he is the central figure of the Kalevala. Other heroes are either his friends or foes. One adventure follows another, filled with marvelous and fantastic feats. For example, the smith Ilmarinen, who wins the girl of the Northland whom Vainamoinen had set out to court, remains his steadfast friend. Together they go to seek the release of the sun and moon, which Louhi, the evil mis­ tress of the Northland, has sung into hiding. Another memorable episode recounts how Lemminkainen, the handsome and restless playboy of the epic, is killed while trying to fulfill tasks to win a maiden; his body is chopped into pieces by Death's son. Raking the pieces of the body from the black river of Death's domain, his mother is able to sing life back into him through her knowledge ofcharms. These fantastic adventures of charm­ "And he sang Joukahainen yet deeper into the swamp" from Heroes of the Kalevala by chanting heroes and sorcerers were Babette Deutsch with drawings by F. R. Eichenberg (New York: Julian Messner, Inc., 1940).

6 FOLKLIFE CENTER NEWS known to illiterate Finnish singers for The Kalevala was indeed something many hundreds ofyears. The episodes of which to be proud, for soon after its were sung as individual songs by tradi­ publication in Finnish it was translated tional singers who lived in isolated into Swedish, French, German, and villages along the Finnish-Russian Russian, as well as into Estonian borderlands. They became known to and Hungarian-the two non-Indo­ educated, urban Finns only after the European languages related to Fin- texts of some songs were set down on I nish. In America the work generated paper. Although a few of these songs considerable publicity when Longfellow had been sporadically recorded since published his Song ofHiawatha in 1885 the 18th century, it was primarily and critics accused him of plagiarizing the work of one individual- Elias the Finnish epic. Longfellow admitted Lonnrot - that clearly demonstrated that he was acquainted with the work the richness of these oral traditions. A through German translations and that medical doctor by profession, but an he purposely copied the trochaic meter avid folklore collector by avocation, of the Kalevala in order to imbue his Lonnrot logged many miles on foot in work with a certain ancient and noble the early 1830s, writing down as many tone and cadence. Prompted by the variants as he could find of the songs controversy, the English translation about Vainamoinen, Lemminkainen, appeared in 1889. Since those times Ilmarinen, and others. Instead of pub­ translations have been printed and lishing the songs as individual pieces, reprinted in thirty languages. The however, he arranged them into a Kalevala is probably the best known linear storyline. In 1835 he published "Elias Lonnrot, district doctor of Kajaani, Finnish literary work throughout the the Kalevala as an epic - the Finnish 1841" from Kansanruno-Kalevala, world. counterpart to the Nordic Edda, Ger­ edited by Matti Kuusi (Keuruu, Finland: Any folklorist who has studied the manic Niebelunglied, Scottish Ossian Otava Publishing Co., 1977). history of the folklore discipline will poems, and, harkening back to the recognize the names of both the epic classics, the Greek Iliad and Odyssey. and the compiler. The recognition For Finland the publication of songs KALEVA LA comes about because Lonnrot's work sung by the ordinary folk in the hinter­ inspired other scholars to develop a lands of their country served as a SYMPOSIUM particular methodology for the study of major stimulus to the building and folklore which for many years influ­ fostering of a distinct national identity. To commemorate the 150th anni­ enced the development of the folklore Until then the Finnish language and versary of the Kalevala's publication, discipline: the comparative historic­ identity were held in rather low the American Folklife Center, in geographic method or, referring esteem; Finland's educated, urban cooperation with the Finnish Em­ directly to its origins, the Finnish elite had accepted, for the most part, bassy and colleagues in Finland, Method. Julius Krohn, born the year the language, culture, and traditions will present a day-long symposium the Kalevala was published, is credited of the governing Swedes. Through at the Library of Congress on as one of the first to articulate the prin­ Lonnrot's Kalevala the intelligentsia Thursday, January 24, 1985. The ciples which later served as guidelines began to awaken to the richness of the program will feature scholars from for the comparative historic-geographic Finnish heritage. Finland and the United States ad­ method. Realizing that Lonnrot's un­ Although it took some time, the dressing a number of topics con­ published collection consisted of many Kalevala actually helped to kindle na­ cerning the Kalevala, its impact on variants of the same song recorded in tional aspirations that eventually led history, literature, and folklore different locations, Krohn wondered to the establishment of an independent scholarship, and the correlation about the origins and eventual spread Finland. For the Finnish people, much between folklore and national iden­ of the songs, feeling that some answers under the sway of the general Roman­ tity in Finland and among Finnish­ to those questions could result from a tic trends of the times, the Kalevala Americans. The symposium will be comparison of text variations from dif­ presented a past of which they could open to the public. To facilitate ferent locales. He was much caught up be proud. Scholars argued about the planning and the distribution of in the 19th century's intellectual fasci­ historicity of the heroes, and engaged program information, those wishing nation with Darwin's evolutionary in discussion about the evolution or to attend the Kalevala symposium theory, which underscored the value of devolution ofthe songs through time. are encouraged to register by writ­ empirical studies of variants. After his It became required reading in second­ ing or phoning: The American early death, his son Kaarle Krohn ary schools, and playwrights, com­ Folklife Center, Library of Con­ further developed the method, which posers, and other artists were soon gress, Washington, D.C. 20540, served as the basis of early folklore using its themes and motifs for their tel. (202) 287-6590. scholarship both in Europe and Amer- own creative ventures. Continued on overleaf

OCTOBER-DECEMBER 7 KALEVALA ANNIVERSARY Continued from previous page

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~iiiiiii;:;)emlltrinkiilnelll, lieto poika, I tse kaunis Kaukolltrieli, Saapi siikkihin eviistii, Kesiivoita vakkahansa, uoekJseIlBa voita syoii, Toiseksi sianlihoa; Siitii liiksi piilemiihiin, Sekii liiksi jotta joutui, Sanan virkkol, noin nimesi: )J 0 liihenki, jo pakenen Koko kolmeksi kesiiksi, Viitiseksi vuotoseksi, Heitiin maat matojen syoii, Lehot ilvesten leviitii, Pellot peuran piehtaroia, Ahot hanhien asua. Hyviisti, hyvii emoni! Kun tulevi Pohjan kans8,

Three maidens sorrowfully watch Lemminkiiinen's departure (L)from Kalevala with illustrations by Akseli Gallen-Kallela (Porvoo, Finland: Werner Soderstrom Co., 1951); and his mother rakes Death's river (R)from The Wizard of the North by Parker Fillmore with drawings by Jay Van Everen (New York: Harcourt, Brace and Company, 1923). ica. Kaarle Krohn became the first solid academic footing. The method It is no wonder then that the Finns professor of Finnish and comparative also laid the foundation for the organi­ value the Kalevala and consider it part folklore at Helsinki University, founded zation ofmany folklore archives around oftheir national treasure. Nor is it any the network of International Folklore the world and led to the publication of wonder that they take every oppor­ Fellows, and started publishing the classificatory indexes such as Stith tunity to celebrate and commemorate famed FF Communications series Thompson's Motif-Index ofFolk-Literature its creation. Throughout 1985, which which continues to the present. and The Types of the Folktale by Antti marks the 150th anniversary of its Although the comparative historic­ Aarne and Stith Thompson. For this publication, there will be many cele­ geographic method and its underlying reason references to Lonnrot, the brations of the Kalevala, not only in premises are not so widely employed Kalevala, the Krohns, and the Finnish Finland but in many parts of the within folklore scholarship today, its comparative historic-geographic method world. development played a major role in will always be part of academic train­ establishing the study of folklore on a ing in folklore. - Elena Bradunas

8 FOLKLIFE CENTER NEWS RECIPE BOOKS

From Watermelon by Ellen Ficklen: "The Watermelon Market at Charleston, S. C., "an engravingfrom a sketch by James E. Taylor; Frank Leslie's Illustrated Newspaper, December 15, 1866. (Prints and Photographs Division)

The tart, petite cranberry and bogs in which they grow. Locally­ white illustrations, ranging from ail sugary-sweet, oversized watermelon designed harvesting machines or "beat­ ancient Egyptian mural to an 1813 oil appear to have little in common, ex­ ers" are driven through the flooded on canvas of melons and morning cept that they are both red fruits and bogs to dislodge the ripe berries from glories by Raphaelle Peale and exam­ they are both used in cooking. Both their shrubs. The berries floating on ples of contemporary merchandise are also the subject of two new recipe the water are then pushed towards sporting the watermelon motif. The books published by the Folklife Cen­ conveyor belts that empty them into recipe portion of Watermelon includes ter - Cranberries and Watermelon . trucks waiting on the banks. "tried-and-true" recipes, like "Old­ Cranberries combines full-color illus­ Watermelon by Ellen Ficklen is for Fashioned Watermelon Pickle," and trations with traditional recipes to pro­ everyone who has ever relished the newer thoughts on the subject ofwater­ vide a glimpse ofcranberry cultivation taste ofcool watermelon juice flowing melon consumption, like "Gingery and use in the Pine Barrens of New down a parched throat, spit a single Watermelon Spritzer" and "Spicey Jersey. The 32-page book grew out of watermelon seed, or liked the red and Watermelon Pie." the Folklife Center's Pinelands Folklife green of a watermelon image adorn­ Cranberries (AFC B1) is available for Project, a survey of regional folk cul~ ing a tray or mug. It combines histor­ $5 and Watermelon (AFC B2) for $10 ture conducted in the fall of 1983. The ical and dietary facts with humorous from the sales counters in the Jeffer­ recipes such as "Spiced Cranberry observations, poetry, and a touch of son and Madison buildings of the Relish," "Cranbleberry Pie," and serendipity to capture something of Library of Congress, or by mail order "Cranberry-Mincemeat Sweet Sour the good-times feeling that water­ from the Information Office, Box A, Bread"- collected from Pine Barrens melons seem to produce. A list of Library of Congress, Washington, residents - have been perfected through annual watermelon festivals locates the D.C. 20540. For single orders please generations of family cooking. Many sites of watermelon-eating and seed­ include an additional $1 postage and ofthe book's photographs capture fea­ spitting contests, queen pageants, and handling; for multiple orders please tures ofthe modern harvesting ofcran­ barbecues. The 64-page book includes include an additional $2. berries, which is done by flooding the numerous full-color and black-and­

OCTOBER- DECEMBER 9 Articles and books on theory and other the Berlin Phonogramm Archiv shortly PUBLICATIONS topics, antecedent references from the after World War I. Mail order with CURRENTLY British Isles, and resources dealing remittance, citing stock number, to: with specific regions of the country. Superintendent of Documents, Gov­ AVAILABLE No. 10 - Cultural Conservation: The ernment Printing Office, Washington, Protection oj Cultural Heritage in the United D.C. 20402. States by Ormond Loomis, 123 pp.; $4.50. A report on means of preserv­ Unless otherwise noted, available at RECORDINGS: no charge from the American Folklife ing intangible features of the nation's Center. cultural heritage, with an appendix Children oj the Heav'nly King: Religious American Folklife Center. A general that traces the history of relevant Expression in the Central Blue Ridge (AFC brochure on the Center. legislation and a bibliography. Mail L69170) , edited and annotated by Archive of Folk Culture. A general order with remittance, citing stock Charles K. Wolfe, two discs and a 48­ brochure on the Archive. number, to: Superintendent of Docu­ page illustrated booklet; $14. Avail­ An Inventory of the Bibliographies and ments, Government Printing Office, able from the Recording Laboratory, Other Reference and Finding Aids Prepared Washington, D.C. 20402; stock no. Motion Picture, Broadcasting and by the Archive of Folk Culture. Informa­ S/N030-000-00 148-6. Recorded Sound Division, Library of tion handout. No. 11- Traditional Crafts and Crafts­ Congress, Washington, D.C. 20540. A Guide to the Collections of Recorded manship in America: A Selected Bibli­ Checks payable to the Library ofCon­ Music and Folklore in the Library of Con­ ography by Susan Sink, 84 pp. An gress must accompany order. American Folk Music and Folklore Re­ gress. Information handout. indexed bibliography, citing Library of Congress call numbers. Produced cordings 1983: A Selected List. An anno­ Folk/ife Center News. A quarterly in cooperation with the National tated list of thirty-one 1983 recordings newsletter. Council for the Traditional Arts. selected by a panel as outstanding examples of records containing "root" folk-musical traditions. PUBLICATIONS OF THE STUDIES IN AMERICAN "Folk Recordings Selected from the AMERICAN FOLKLIFE FOLKLIFE: Archive of Folk Culture, Library of CENTER: No. 1 - Ethnic Recordings in America: Congress and Issued by the Motion No. 3 - Folklife and Fieldwork by A Neglected Heritage, edited by Judith Picture, Broadcasting and Recorded Peter Bartis. A 25-page introduction McCulloh, hardbound, 269 pp.; $13. Sound Division." Order form. to fieldwork techniques. A collection of essays on the history No . 6-Buckaroos in Paradise: Cowboy and current status ofthe ethnic record­ Life in Northern Nevada by Howard ing industry, with numerous illustra­ RECIPE BOOKS, BROCHURES, Wight Marshall and Richard E. tions and a complete index. Mail order AND GREETING CARDS: Ahlborn (reprint), 120 pp.; $15.95. A with remittance, citing stock number, All items for which a price is indi­ companion publication to the Smith­ to: Superintendent of Documents, Gov­ cated are available at the sales counters sonian exhibit, including an essay on ernment Printing Office, Washington, in the Jefferson and Madison build­ buckaroo life, a catalog ofexhibit arti­ D .C. 20402; stock no. S/N030-001­ ings of the Library of Congress and by facts, and numerous photographs. 00098-2. mail order from the Library of Con­ Available from the University of Ne­ No.3 - The Federal Cylinder Project: gress, Information Office, Box A, braska Press, Sales Department, 901 A Guide to Field Cylinder Recordings in Washington, D.C. 205'40. Please in­ North 17th Street, Lincoln, Nebraska Federal Agencies. Volume 1-Introduction clude $1 postage and handling for 68588. and Inventory by Erika Brady, Maria single orders, and $2 postage and No. 7 - Blue Ridge Harvest: A Region's LaVigna, Dorothy Sara Lee, and handling for multiple orders. Those Folklife in Photographs by Lyntha Scott Thomas Vennum,Jr., 110 pp.; $8.50 for which no price is ' given are avail­ Eiler, Terry Eiler, and Carl Fleisch­ (Stock no. S/N030-000-00153-2). An able free of charge from the Folklife hauer, 115 pp.; $6. A close look at the indexed listing by collection of more Center. cultural landscape, communities, reli­ than 10,000 field-recorded wax cylin­ Recipe books - Cranberries, 32 pp.; gions, and life-style portraits of men ders for which preservation tape copies $5. Combines full-color cover and and women from the area. Mail order exist at the Library of Congress. illustrations with traditional recipes to with remittance, citing stock number, Volume 8 - Early Anthologies, edited by provide a glimpse of cranberry cultiva­ to: Superintendent of Documents, Dorothy Sara Lee with a foreword by tion and use in the Pine Barrens of Government Printing Office, Wash­ Sue Carole De Vale, 96 pp.; $8 (Stock NewJersey. The book grew out of the ington, D.C. 20402; stock no. S/N030­ no. S/N030-000-154-1). Describes Pinelands Folklife Project, and the 000-00127-3. Benjamin Ives Gilman's cylinder recipes were collected from residents No.9-American Folk Architecture: A recordings from the 1893 World's of the region. Watermelon by Ellen Selected Bibliography by Howard Wight Columbian Exposition and the "Dem­ Ficklen, 64 pp.; $10. For watermelon Marshall with assistance from Cheryl onstration Collection" edited by Erich lovers everywhere. Includes historical Gorn and Marsha Maguire, 79 pp. Moritz von Hornbostel and issued by and dietary facts, humorous obser-

10 FOLKLIFE CENTER NEWS vations, poetry, and a touch of seren­ Staples & Charles Ltd. Black tree with Fiddle, March to the Fife Instrumental Folk dipity to capture something of the blue, orange, yellow, and black birds, Tunes in Pennsylvania, Samuel P. good-times feelings that watermelons and orange lettering at base; twenty Bayard, ed.Journal ofAmerican Folklore, seem to produce. Amply illustrated in by twenty-six inches. Signed, hand Vol. 97, No. 385, July-September full color and black and white. Con­ printed and colored, limited edition 1984: 345-46. tains "tried-and-true" recipes and newer (100), $50; printed edition, $10. thoughts on the subject ofwatermelon T -Shirt with a green tree-of-life consumption. emblem and red lettering "American FOLKLIFE Greeting cardlbrochures - Egg Art. Folklife Center, Library of Congress" Full-color cover; ten pages of text and on the front; heavy 100 percent tan ANNUAL 1985 illustration on the traditions associated cotton in sizes S, M, L, and X-L, with eggs and egg decorating techni­ $6.95. The July-September 1983 issue of ques. Papercutting. Color covers­ Folklife Center News (Volume VI, Num­ Polish wycinanki by Magdalena Gilin­ ber 3) announced the publication of sky of blue reindeer and fir tree on COWBOY PARAPHERNALIA: Folklife Annual, a yearly collection of a red background, and papercut by essays edited by Alan Jabbour and Claudia Hopfofa black tree, leopards, Greeting cards - Pony Tracks, a James Hardin, published by the Li­ and fowls on white background in the color lithograph by Edward Penfield brary of Congress. The editors wish German scherenschnitte style; ten pages circa 1895 from the Poster Collection to express their appreciation for the of text and illustrations on the origins of the Library's Prints and Photo­ response to that announcement, and of papercutting and techniques used; graphs Division; "1877 A Round Up particularly to those who submitted blank centerfold for greeting with pat­ 1887," a chromolithograph advertising manuscripts or proposals for consid­ terns for cutouts on reverse side. Card label from the Prints and Photographs eration. with envelope, $2 . Division. Package of six blank cards Originally scheduled for late 1984, Brochures - The Art ofBasketmaking with envelopes, $2.75. Frederic Rem­ the first annual will be published in the by Rosemary Joyce; Halloween: The ington etchings- six etchings from spring of 1985. It will include nine Folklore and Fantasy of All Hallows by Theodore Roosevelt's Ranch Life & the essays, most of them extensively illus­ Jack Santino; Rag Rugs by Geraldine Hunting- Trail printed in dark brown trated. Though it is not a "thematic" Johnson; and Weaving Harvest Grains by ink on quality cream stock. Twelve volume, four themes, all ofwhich have Caroline Schultz. blank cards, two ofeach image, $3.50. concerned the Center in recent years, Greeting cards - Rag Rug, a sec­ Postcards - a selection of postcards emerge from the volume: the tradi­ tion of a colorfully woven rag rug by reproducing twenty images from The tions of New Jersey's Pine Barrens as Esther Petershein; "Black Hen, Where American Cowboy in full color and duo­ a cultural region, the collections and It Is," a crayon, ink, and felt-tip pen tone. Package of twenty, $3.50. development of the Center's Archive drawing by Nellie Mae Rowe; Yo Yo Poster-Dustin Farnum, the first of Folk Culture, the cowboy as an Quilt by Elizabeth Smith; Cutting actor to play The Virginian on stage, ideal and reality, and the nature offolk Carrots; Papercut by Magdalena from a photograph among the Owen art. An announcement on how to Gilinsky; and "Farm Animals in a Wister papers in the Library's Manu­ order Folklife Annual 1985 will appear Woodland Setting" papercut by Clau­ script Division; black and white duo­ in a later issue of Folklife Center News. dia Hopf. Package of six blank cards tone on heavy poster stock, nineteen The second volume, Folklife Annual with envelopes, $2.75. by forty inches, $5. 1986, is now being planned, and once Recipe greeting cards - Canning T -Shirt with a four-color reproduc­ again the editors invite contributions. Jars in the home of Mae Willey from tion of the official exhibition image The annual seeks to promote the docu­ Baywood, Virginia with Ruth New­ from The Log ofa Cowboy and lettering mentation and study ofAmerican folk­ man's recipe for uncooked relish on the "The American Cowboy, A Library of life, share the traditions, values, and back; Tomato Meringue Pie card with Congress Exhibition" on the front; activities ofAmerican folk culture, and Ruth Newman's pie recipe on the heavy 100 percent white cotton in serve as a national forum for the dis­ back. Package of six blank cards with men's sizes small and medium, $10. cussion of ideas and issues in folklore envelopes, $4.25. Available from the sales desks in the and folklife . Essays, based on thorough Postcards - a selection of postcards Library's Jefferson and Madison fieldwork and sound scholarship, reproducing quilt photographs from buildings; not available by mail order. should be written for a wide and di­ the 1978 Blue Ridge Parkway Folklife verse audience. Authors will receive a Project. Package of eight postcards, modest honorarium upon acceptance $2. RECENT SThFF PUBLICATIONS: ofa manuscript. Please submit manu­ scripts or proposals to: The Editors, Alan Jabbour, "American Folklore Falklife Annual, Publishing Office, POSTERS AND T-SHIRTS: Studies: The Tradition and the Library of Congress, Washington, Future," Folklore Forum, Vol. 16, D.C. 20540. Poster- "Washington Meeting on No. 2, 1983: 235-47. Folk Art," designed byJohn Crank of --, book review of Dance to the

OCTOBER-DECEMBER 11 A typical "song village" in Karelia, the region in which Elias Lonnrot collected many ofthe stories in the Kalevala,from Epic of the North: The Story of Finland's Kalevala by John I. Kolehmainen (New York Mills, Minn. : The Northwestern Publishing Company, 1973). Story begins on page 6. Front cover: Viiiniimoinen fishing from Kalevala: Karjalais-Soumalainen Kansaneepos (Petroskoi, U. S. S. R: Karjala Publishing Co., 1975).

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