Spring–Summer 2002 Volume 28: 1–2 The Journal of New York Folklore Camp Woodland, 1939–1962 Alleys of New York The Grange: A Photo Essay The Play-Party of Rural America c. 1900 Remembering Vaughn Ward From the Director In late April, I involved them in program concep- community scholars who have been doing participated in the tualization or implementation. As New important cultural work in their own conference “Building York works to put into place a successful communities. It is exciting that many Creative Economies,” heritage tourism program, it will be community scholars will be presenting their in Asheville, North important to involve regional folklorists to work at the American Folklore Society Carolina, which ensure the program’s success. conference and lending their voices to the highlighted economic Successful models showcased during the academic discourse. I encourage as many development and the conference highlighted the importance of community scholars as possible to attend arts in the Appalachian region. In the regional artistic traditions for economic the conference and participate. The field preconference working papers, folklorist development in a region. Rather than of folklore can learn a lot from the Kathleen Mundell stated, “Creating relying upon large corporations to move perspective of community scholars. sustainable heritage programs first begins their operations into a region, economic Another exciting aspect of the meeting by cultivating a sense of pride in place and development officials sought successful in Rochester is the involvement of scholars respecting local ways of doing business.” economic development from within and of deaf folklore. Rochester is home for the This crucial task for any cultural tourism looked to local entrepreneurs and local National Technological Institute for the program has at its heart the ethnographic artists for leadership. This conference, Deaf, and this year’s American Folklore enterprise—an immersion process of which was funded by the Appalachian Society conference is drawing upon the identifying the important players and Regional Commission, is the first step expertise of the institute’s affiliated activities in any community. Folklorists are toward a proposed successful collaboration scholars for presentations on deaf folklore. uniquely qualified for this task, as folklorists between folklorists, community arts, and Special events, keynote speeches, and are trained in the processes of observation tourism in New York State. several of the regular paper sessions and critical inquiry. Because they rely on throughout the four days will be sign- ethnographic research to document and American Folklore Society interpreted for the deaf and hearing understand a community, its history and Conference in Rochester impaired. Please contact me at traditions, folklorists should be an important From October 16 through October 20, [email protected] if you will need the part of any cultural tourism conversation. Rochester will serve as host for the 114th service. A folklorist is a resource for identifying meeting of the American Folklore Society. Ellen McHale, Ph.D. community resources and can be an During this period, more than six hundred Executive Director, New York Folklore Society [email protected] important mediator between communities folklorists and other cultural specialists will www.nyfolklore.org and a wider potential audience. arrive in Rochester for formal academic Kentucky, Maryland, Pennsylvania, presentations, forums, workshops and Erratum Wisconsin, and other states have involved discussions, films, music and dance In “I Do? Northern New York’s Mock folklorists at every level of their planning performances, receptions, tours, and a wide Weddings” in the Fall-Winter 2000 issue, for successful heritage tourism programs. variety of other presentations—all having Naticoke Valley was described as being New York has not done so. Folklore to do with the expression of folklore and in northern New York; it is in Broome documentation has been a part of the folklife in the United States and throughout County, New York. regional arts scene for a quarter of a the world. century, and heritage projects throughout This is a great opportunity to recognize New York State have extrapolated many the many talented traditional artists who ideas from the work of regional folklorists. live and work in New York State. It is also Planners have not, however, directly a great opportunity for the many “Certainly it is difficult to write about the present, but in part that is exactly what the folklorist must do. He must be able to see the major currents of his day as well as ones of the past.” —Ellen Stekert, 1966 Contents Spring–Summer 2002 6 Features 6 Camp Woodland by Dale W. Johnson 14 The Alley: A Back Street History by Theodore Corbett 19 Alley Cats by Mick Green 21 The Great Document Exchange by Carol Kammen 24 Picturing the Grange: 130 Years by Andrew Baugnet 29 Exhibit Review: The Great Migration by Nancy Solomon 30 The American Play-Party in Context by Nancy Cassell McEntire 35 Vaughn Ward: A Tribute 36 Introduction to The Witch of Mad Dog Hill by Vaughn Ward 41 Stacked Enchilidas and Pizza Pie 14 by Vaughn Ward 44 Transition: Hanna Griff by Mary Zwolinski Departments and Columns 24 3 New York Folklore Society News 4 Upstate by Varick A. Chittenden 5 Downstate by Steve Zeitlin 13 Eye of the Camera by Martha Cooper 22 Foodways by Lynn Case Ekfelt 29 28 On Air by Lamar Bliss 34 Lawyer’s Sidebar by Paul Rapp 41 Archival Questions by Nancy Johnson Singer and jig dancer Etson Van Wagner was among the tradition 43 Media Works bearers who performed at the by Barry Dornfeld annual Catskill Folk Festival, c. 1941. The festival was the 45 Book Reviews culmination of Camp Woodland’s summer session. Photo: Courtesy 47 Announcements of the estate of Herbert Haufrecht. Spring–Summer 2002, Volume 28: 1–2 1 scripts submitted as articles. The review process Submission Guidelines for takes several months. Voices: The Journal of New York Folklore Deadlines permitting, authors read and cor- Voices: The Journal of New York Folklore rect galley proofs for typographical errors. Authors receive two complimentary copies of the Voices: The Journal of New York Folklore is a spond; both pieces may be published together. issue in which their contribution appears and may membership magazine of the New York Any subject may be addressed or rebutted once purchase additional copies at a discount. Authors Folklore Society (www.nyfolklore.org). by any correspondent. The principal criteria for of feature articles may purchase offprints; price The New York Folklore Society is a nonprofit, publication are whether, in the opinion of the information is available upon publication. statewide organization dedicated to furthering editor or the editorial board, the comment con- cultural equity and cross-cultural understanding stitutes a substantive contribution to folklore Submission Deadlines through programs that nurture folk cultural ex- studies, and whether it will interest our general Spring–Summer December 31 pressions within communities where they readers. Fall–Winter issue June 30 originate, share these traditions across cultural Letters should not exceed 500 words. Manuscripts should be sent by regular mail (not boundaries, and enhance the understanding and e-mail) to Voices at the following address: appreciation of folk culture. Through Voices the Style society communicates with professional folklor- The journal follows The Chicago Manual of Style. New York Folklore Society Publications, 133 Jay ists and members of related fields, traditional Consult Webster’s Third International Dictionary for Street, Schenectady, NY 12301. artists, and a general public interested in folklore. questions of spelling, meaning, and usage, and Voices is dedicated to publishing the content avoid gender-specific terminology. of folklore in the words and images of its cre- Footnotes. Endnotes and footnotes should be ators and practitioners. The journal publishes avoided; incorporate such information into the research-based articles, written in an accessible text. Ancillary information may be submitted as style, on topics related to traditional art and life. a sidebar. It also features stories, interviews, reminiscences, Bibliographic citations. For citations of text essays, folk poetry and music, photographs, and from outside sources, use the author-date style Spring–Summer 2002 · Volume 28: 1-2 artwork drawn from people in all parts of New described in The Chicago Manual of Style. Editor Karen Taussig-Lux York State. Columns on subjects such as pho- Language. All material must be submitted in Acting Editor Sally Atwater ([email protected]) tography, sound and video recording, legal and English. Foreign-language terms (transliterated, Photography Editor Martha Cooper ethical issues, and the nature of traditional art where appropriate, into the Roman alphabet) Design Mary Beth Malmsheimer Printer State Color, Schenectady, NY and life appear in each issue. should be italicized and followed by a concise parenthetical English gloss; the author bears Editorial Board Steve Zeitlin, Varick Chittenden, responsibility for the correct spelling and orth- Amy Godine, Kate Koperski, Cathy Ragland, Kay Editorial Policy Turner, Dan Ward Feature articles. Articles published in Voices ographics of non-English words. British spellings represent original contributions to folklore stud- should be Americanized. Voices: The Journal of New