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Jataka Tales: Layers of Meaning from the Universal to the Personal
Jataka Tales: Layers of Meaning from the Universal to the Personal Grade Level or Course Type: English, Social Studies, adaptable for grades 6 through 10 Overview of the Lesson Jataka Tales: Birth Stories of the Buddha are among the world’s oldest collection of stories. Many, about endearing animals who misbehave – and then learn to behave better – are appealing to children throughout the world. In this lesson students compare an Aesop’s fable to a Jataka Tale to see what they share in common. Students then learn about the Buddhist context of the tales, through which they deepen their appreciation of what makes a Jataka Tale unique. Finally, students approach a Jataka Tale through the meaning it held in the life of Noor Inayat Khan (1914-1944), whose classic collection Twenty Jataka Tales is still in print. She was a Muslim who worked as a covert agent for the British in Occupied France. She died at Dachau in 1944. In all three activities, students gain insight into what makes stories important in our lives. Learning Outcomes: • Identify stories by genre as fable, parable, folktale and fairy tale. • Decipher the moral of a story. • Understand Buddhist concepts (Ten Perfections, cycle of death and rebirth) • Learn about the life and appreciate the artistry of Noor Inayat Khan. Materials Needed • This lesson and the handouts included with it. They include: Handout 1. Life of Noor Inayat Khan with photos and scrapbook activity Handout 2. The Monkey and the Dolphin credited to Aesop and genre definitions Handout 3. The Patient Buffalo, a Jataka Tale Handout 4. -
DOCUMENT RESUME UD 031 738 Cultural Expressions. a Cultural
DOCUMENT RESUME ED 408 385 UD 031 738 TITLE Cultural Expressions. A Cultural Arts Education Program Featuring Assembly Programs, Close-Up Workshops and Special Engagements with Culturally-Based Artists. INSTITUTION Crossover Project, Aurora, CO. PUB DATE 96 NOTE 24p.; Additional support provided by a number of cultural and social organizations. PUB TYPE Reference Materials Directories/Catalogs (132) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Cultural Awareness; Cultural Differences; Cultural Enrichment; *Curriculum Development; Dance; Elementary Secondary Education; Music; *Programs; Story Telling; Theater Arts; *Workshops IDENTIFIERS *Colorado (Denver) ABSTRACT The Crossover Project of the Aurora and Denver (Colorado) areas is a networking and resource nonprofit organization that delivers multicultural programs to attempt to create social transformation through the arts. The Project sets up an environment to support personal, group, neighborhood, community and social change through its educational, cultural, and neighborhood-organizing programs. This directory lists workshops and assembly programs offered through the Crossover Project to supplement or enhance a curriculum or occasion. The programs are grouped into the following categories:(1) dance;(2) music;(3) poetry;(4) storytelling; and (5) theater. A series of seven hands-on workshops called "Cultural Closeups" presented in one or two classes is also described. Each program description tells about the content and the artists performing. Three additional programs are described. The application form to arrange one of these programs is attached. (SLD) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. ******************************************************************************** A CULTURAL ARTS EDUCATIONPROGRAM FEATURING ASSEMBLY PROGRAMS, CLOSE-UP WORKSHOPS,AND SPECIAL ENGAGEMENTS WITH CULTURALLY-BASED ARTISTS. PERMISSION TO REPRODUCE AND U.S. -
Storytelling
Please do not remove this page Storytelling Anderson, Katie Elson https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643385580004646?l#13643502170004646 Anderson, K. E. (2010). Storytelling. SAGE. https://doi.org/10.7282/T35T3HSK This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/09/24 13:02:38 -0400 Chapter 28- 21st Century Anthropology: A Reference Handbook Edited by H. James Birx Storytelling Katie Elson Anderson, Rutgers University. Once upon a time before words were written, before cultures and societies were observed and analyzed there was storytelling. Storytelling has been a part of humanity since people were able to communicate and respond to the basic biological urge to explain, educate and enlighten. Cave drawings, traditional dances, poems, songs, and chants are all examples of early storytelling. Stories pass on historical, cultural, and moral information and provide escape and relief from the everyday struggle to survive. Storytelling takes place in all cultures in a variety of different forms. Studying these forms requires an interdisciplinary approach involving anthropology, psychology, linguistics, history, library science, theater, media studies and other related disciplines. New technologies and new approaches have brought about a renewed interest in the varied aspects and elements of storytelling, broadening our understanding and appreciation of its complexity. What is Storytelling? Defining storytelling is not a simple matter. Scholars from a variety of disciplines, professional and amateur storytellers, and members of the communities where the stories dwell have not come to a consensus on what defines storytelling. -
Introduction To
Introduction to EXPLORING ANCIENT MEXICO INSPIRED BY THE EXHIBIT CERAMICS OF WESTERN MEXICO 1 HOW MAKE PICO DE GALLO Background AGES 7 and up In the Pre-Columbian era as today, salsa was made by utilizing ingredients commonly found in the SKILL LEVEL environment. Pre-Columbian salsas were made from Beginner (may need help from parents) squash, fruits, tomatoes, tomatillos, onions and spices. The exact recipe would be different depending on DESCRIPTION community and region. Salsas transformed through the For this project you and your family will be making fresh salsa called years. One of the famous salsas from Mexico is called Pico de Gallo. We are going to give you a simple recipe that you can Pico de Gallo. It has become a staple in Mexican cuisine. customize for future salsa making. Pico de Gallo translates directly as “Rooster Beak.” MATERIALS Although the origins of this name are unknown, there 2 Large Bowls Cilantro (½ bunch) are many theories as to where it came from. Many Spoon Knife believe that the name came from the way people ate it. Serrano Peppers (0-3)* Tomatoes (2-5) Fingers were used rather than utensils. This might mimic Onion (1) Salt / Pepper (to taste) the way a bird pecks at food. Another theory is that Cutting Board Other Peppers (0-3)* the salsa is called Pico de Gallo because the pieces are Lime / Lemon* (1-3) chopped to the size of bird feed. Whatever the name may mean, this salsa is delicious, simple to make, and Materials with an (*) are optional, use only if available customizable! ALTERNATIVE MATERIALS Remember this recipe can be customized. -
Rethinking the Role of Folklore in Museums: Exploring New Directions for Folklore in Museum Policy and Practice
Rethinking the Role of Folklore in Museums: Exploring New Directions for Folklore in Museum Policy and Practice A White Paper prepared by the American Folklore Society Folklore and Public Policy Working Group on Folklore and Museums Prepared by: Marsha Bol, C. Kurt Dewhurst, Carrie Hertz, Jason Baird Jackson, Marsha MacDowell, Charlie Seemann, Suzy Seriff, and Daniel Sheehy February 2015 2 Introduction The American Folklore Society’s working group on Folklore and Museums Policy and Practice has taken its cue from the growing number of folklorists who are working in and with museums to foster a greater presence for folklore in museum theory, practice, and policy. This work emerges from formal and informal conversations already underway among museum-minded folklorists. The Folklore and Museums Policy and Programs working group has been committed to synthesizing and extending these discussions through its activities and publications. Building upon past contributions by folklorists, the working group has held a series of regular phone conferences; a convening in Santa Fe in the fall of 2013 and a second convening in conjunction with the 2014 American Alliance of Museum’s Annual Meeting in Seattle; initiated a series of professional activities; conducted a series of sessions and tours related to folklife and museums for the 2014 American Folklore Society Meetings in Santa Fe; created a new Folklore and Museums Section of the Society; developed a working e-list of folklorists interested in a listserv on folklore and museums; and initiated or completed reports/publications to examine arenas where folklore can contribute to public and museum practice policies. A series of articles will be forthcoming on folklife and museums in Museum Anthropology Review (ed. -
CFAES OSUE 180 Rev 1948.Pdf
Contents page page WHAT Boox:s CAN Do FOR YouR CHILD 4 READING TO THE CHILD 18 Books give pleasure. 4 Before the child can read 18 Books develop imagination. ; Regular reading periods. ..... 19 Books give know ledge . 5 "What to select . 19 Books build a good life habit. 6 The pleasant voice 20 BUILDING THE CHILD'S LIBRARY 21 GooD Boox:s FOR THE YouNG CHILD 7 A few \\ell chosen books.. 21 Qualities of good books. 7 Meeting the child's changing interests zz The form of good books. 8 The joy of O\rning books zz Pictures in good books . 7 Teaching care of books. 23 The right books for the right child 8 THE Youso CHILD'S Boox:sHELF 24 Worthwhile books for children..... 24 WHAT INTERESTS THE YouNG CHILD.. 9 Picture books . 24 Picture books 9 Picture books and nursery rhymes 25 Picture books and rhymes . 9 Stories of everyday experiences. 25 Stories about everyday experiences. r 1 Fairy tales and fantasy. 26 Fairy tales and fantasy ............. 12 Animal tales. 26 Animal tales . I 3 Read-to-me stories. 27 Read-to-me stories . r 3 The widening world . 28 The widening "orld. r4 Bible stories and religious books. 28 Bible stories. I 5 Poetry . .................... 29 Poetry . ................ 15 Stories and rhymes on records. 29 Acknowledgment The Agricultural Extension Service of The Ohio State University is indebted to the following firms for their courtesy in supplying the illustrations mentioned below: The Book House for Children, Chicago, Ill.: "My Book House - in the Nursery" Vol. I. Sketches, pp. -
Mexican Folk Art and Culture
Mexican Folk Art Mexican Folk Art Written and Designed by Nicole Mullen Based in part by the exhibition Tesoros Escondidos: Hidden Treasures from the Mexican Collections curated by Ira Jacknis, Research Anthropologist, Phoebe A. Hearst Museum of Anthropology. Object Photography: Therese Babineau Intern assistance: Elizabeth Lesch Copyright © 2004. Phoebe A. Hearst Museum of Anthropology and the Regents of the University of California. All rights reserved. This publication was made possible in part by a generous grant from the William Randolph Hearst Foundation. PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY TABLE OF CONTENTS Mexico 4 Map 5 Ancient Mexico 6 The Spanish Conquest 8 The Mexican Revolution and Renaissance 10 Folk Art 11 Masks 13 Pottery 17 Laquerware 21 Clothing and Textiles 24 Baskets, Gourds and Glass 28 Female figurine. Made by Teodora Blanco; Toys and Miniatures 30 Santa María Atzompa, Oaxaca. Teodora Paper Arts 33 Blanco (1928-80) was a major Mexican folk artist. While in her late twenties she began Tin and Copper 35 to make her female figurines, for which she is best known. This pot-carrying figure wears Art of the Huichol 36 a Oaxacan shawl around her head. Oaxacan Woodcarving 38 Fireworks 39 Food 40 Day of the Dead 43 Vocabulary 47 Review Questions 48 Bibliography 50 3 MEXICAN FOLK ART PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY Mexico Mexico is very diverse geographically. It is made up of fertile valleys, tropical forests, high mountain peaks, deep canyons, and desert landscapes. Clockwise: Pacific coast, south of Puerto Vallarta, Jalisco, 1996. Lake Pátzcuaro, as seen from Tzintzuntzan, Michoacán, 1996. -
A Magical Country : Stories from Appalachia
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2014 A magical country : stories from Appalachia. James Eric Leary 1977- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Appalachian Studies Commons, Folklore Commons, and the Modern Literature Commons Recommended Citation Leary, James Eric 1977-, "A magical country : stories from Appalachia." (2014). Electronic Theses and Dissertations. Paper 1754. https://doi.org/10.18297/etd/1754 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. A MAGICAL COUNTRY: STORIES FROM APPALACHIA By James Eric Leary B.A. Eastern Kentucky University, 2001 M.A. University of Louisville, 2005 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Department of Humanities University of Louisville Louisville, Kentucky December 2014 Copyright 2014 by James Leary All rights reserved A MAGICAL COUNTRY: STORIES FROM APPALACHIA By James Leary B.A., Eastern Kentucky University, 2001 M.A., University of Louisville, 2005 A Dissertation Approved on November 24, 2014 by the following Dissertation Committee: _________________________________ Dissertation Director Dr. Annette Allen _________________________________ Paul Griner _________________________________ Dr. -
A Comparative Study of Saraiki Animal Tales with the American Animal Tales
International Journal of English Linguistics; Vol. 9, No. 5; 2019 ISSN 1923-869X E-ISSN 1923-8703 Published by Canadian Center of Science and Education A Comparative Study of Saraiki Animal Tales with the American Animal Tales Zahoor Hussain1 & Saiqa Imtiaz Asif2 1 Ph.D. Scholar, Department of English, Bahauddin Zakaryia University, Multan, Pakistan 2 Professor of English, Department of English, Bahauddin Zakaryia University, Multan, Pakistan Correspondence: Zahoor Hussain, Ph.D. Scholar, Department of English, Bahauddin Zakaryia University, Multan, Pakistan. E-mail: [email protected] Received: May 21, 2019 Accepted: August 19, 2019 Online Published: September 6, 2019 doi:10.5539/ijel.v9n5p307 URL: https://doi.org/10.5539/ijel.v9n5p307 Abstract Recently, the researchers and scholars have developed a tradition of reviving past and fostering nationalism among the speakers through their past/history. Saraiki civilization has also its both tangible and intangible assets like other oldest rural civilizations of the world. There at international level, a lot of work has been done in the field of folktales so far as their classification according to their types structures and functions. In Pakistan, no significant work has been done. The study is aimed to compare the Saraiki animal tales with the American animal tales through the American model developed by Uther in 2004 popularly known as Aarne-Thompson-Uther model. The current study is the comparative structural analysis of the Saraiki folktales. The Saraiki folktales were collected through participant observation, observation and interviews. The study was conducted in the rural areas of Southern Punjab, Pakistan. The multistage approach was applied to collect the folktales from the research area on the principle of probability sampling through the informants from the study area. -
Folk Studies 561: Folk Art Fall Semester 2010, Monday 5:30-8:15
FOLK STUDIES 561: FOLK ART FALL SEMESTER 2010, MONDAY 5:30-8:15 Instructor: Timothy H. Evans Office: FAC 245 Office Hours: Monday 1-3, Tuesday 10-12, or by appointment Phone (207) 745-5897 (office) E-mail: [email protected] This graduate seminar is an interdisciplinary survey of the field of folk art studies. Drawing primarily on folk studies but also on anthropology, art history, literature, visual studies, cultural studies and other areas, the course will be an introduction to the study of visual arts within cultural context, while encouraging students to apply this knowledge in a variety of possible venues. The course is thematically organized but will also focus on matters of methodology, research and presentation of folk art. Lectures and discussions will be supplemented with films, field trips and other activities. COURSE REQUIREMENTS 1. Class participation (20% of final grade). In a graduate seminar, participation is the heart of the class. To participate, you will need to keep up with the readings. 2. Oral book review (10% of final grade). Not a detailed summary of the book, but a critical evaluation of the book’s purpose, scope, theoretical framework, and major arguments, using examples from the book. Approximately 15- 20 minutes. Reports may include handouts, slides, power point presentations, etc. 3. Semester project (40% of final grade: 10% for oral presentation, 30% for written paper). A research project involving fieldwork with folk art or artists. 1-2 page proposals are due 10/4, 20 minute oral presentations are 11/22 and 11/29, the final project is due 12/6. -
Korean Folk Art
Korean Folk Art Folk paintings are an invaluable part of Korea’s cultural heritage and convey the mythology, religion and views of the Korean people. They are the artistic expressions of individuals who drew paintings to decorate homes and to celebrate joyful family occasions, such as weddings and sixtieth birthdays. It has been said that the tradition of folk painting endured for so long because they “touched the soul of the people.” One is easily charmed by Korean folk art. The unknown artisans who created folk paintings had an optimistic outlook on life. In their agrarian society “they perceived a miraculous order of the universe that they attempted to express.” They used symbolism to convey their feelings of happiness, anger, love and delight in everyday life. Humor and satire are important elements of the paintings. In Korea, folk art has traditionally been viewed as a secondary art form despite its rich tradition and widespread popularity. Due to this misperception, minhwa (“folk painting”) has been devalued or misunderstood and compared unfavorably with the tradition of the aristocratic class known as muninhwa (“scholarly painting”). Recently, minhwa has begun to attract serious scholarly attention and is beginning to enjoy long overdue recognition as an important genre with its own distinctive aesthetic qualities and historical significance. Folk paintings are grouped into two major categories of folk belief: wishing for good luck and repelling evil spirits. Every folk painting contains people’s wish for happiness. Folk paintings have two underlying themes: longevity and blessings for all people. Wishing for longevity, artists displayed paintings of the sun, clouds, pine trees, bamboo, cranes, deer, turtles, water and rocks. -
Folk Art” Reevaluating Bengali Scroll Paintings
Beatrix Hauser University o f Frankfurt/Main From Oral Tradition to “Folk Art” Reevaluating Bengali Scroll Paintings Abstract This article contributes to the scholarship on the politics of production and consump tion of the arts in modern India as well as to relating issues of aesthetics and develop ment. It describes the tradition of scroll painters— Patuas (patuya)— and the practice of storytelling in contemporary West Bengal, where a small number of picture showmen who follow this caste-based occupation can still be found. In this article the process by which this tradition was recognized as “folk art” is analyzed and a shift of genre from a primarily oral tradition to a primarily visual tradition (i.e., from the performance of scrolls to their selling as art products) is demonstrated. It is argued that “Patua art,” as it is perceived today, is a quite recent phenomenon, generated to a great extent by the urban intellectual elite of Calcutta. Keywords: Storytelling— scroll painting— folk art— politics of authenticity— Bengal Asian Folklore Studies, Volume 61,2002: 105—122 HOULD YOU COME to Calcutta one day, you might be invited to the house of a Bengali family. And while you are in their house, a Patua Smight happen to call in. Your host will introduce him as a atradition al scroll painter,” who comes by from time to time to sell his scrolls. He will ask you whether you are interested in seeing his paintings. Okay, why not? Both of you go out on the veranda, where the old man is already waiting for you.