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Betty Jane Belanus
Betty J. Belanus 3504 21st Avenue North Arlington, VA 22207 202/633-6582 (w) 703/527-1813 (h) [email protected] or [email protected] Current Appointment 1993- Present Folklorist/Curator/Education Specialist, Smithsonian Institution Center for Folklife and Cultural Heritage Past Appointments 1990 – 1992 Adjunct Professor, University of Maryland/Baltimore County American Studies Department 1987 - 1990 Contract positions, Smithsonian Institution, Office of Folklife Programs 1984 – 1987 Education Assistant, Indianapolis Children’s Museum Co-Director, Materials at Hand, not-for-profit cultural organization 1982 -1984 Indiana State Folk Arts Coordinator, Indiana Arts Commission Education Indiana University, Ph.D. in Folklore (Minors: Anthropology and Educational Media), 1990 Indiana University, M.A. in Folklore, 1979 Smith College, B.A., in American Studies, Concentration History, 1977 Research Foci Material culture, traditional medicine and foodways research and presentation Folklore and Education research, training and publication Educational media and publication Mentorship of interns and fellows as future professionals 1 Curatorial Positions Programs for Smithsonian Folklife Festival Curated: 2017, “50th Anniversary Weekend” 2012, “Campus and Community” 2010, “Smithsonian Inside Out” 2009, “Wales Smithsonian Cymru” 2007, “Roots of Virginia Culture” 2004, “Water Ways: Mid-Atlantic Maritime” 1999, “New Hampshire Stories” 1997, “African Immigrants to Washington, DC” 1996, “Working at the Smithsonian” 1991, “Family Farming in the Heartland” -
RESOUND a Quarterly of the Archives of Traditional Music
RESOUND A Quarterly of the Archives of Traditional Music Volume 24; Number 3/4 July/October 2005 Sound Recordings and Ethnomusicology: From the Director Theoretical Barriers to the Use of Archival Collections Daniel B. Reed Ronda L. Sewald Part two, continued from Resound Vol. 24, No 1/2 We Keep Getting Busier Defining Disciplinary Boundaries: The Struggle For many decades, the Archives ofTraditional between Anthropologists and Musicologists Music has prided itself as being an open and accessible Since the founding of the Society archives. We have a Listening Library which is staffed for Ethnomusicology in the 1950's, many and open to the public thirty-five hours a week. The vast ethnomusicologists have declared the use of others' majority of our collections is cataloged and searchable sound recordings as a research methodology on-line via Indiana University's electronic catalog used by comparative musicologists as opposed to IUCAT. We receive a constant flow of orders from ethnomusicologists. This methodology has been researchers, educators, members of the communities transformed into a token representing the mistakes where recordings were made, and others· from around of the past and its rejection has become a means of the world. As archives go, we have always been quite symbolically distancing ourselves from the imperialistic heavily used. and ethnocentric theories generated by earlier In the past several years, however, we have seen a researchers. the scapegoating and stigmatization of dramatic growth in orders for our collections. Simply others' sound recordings, however, has not only served comparing statistics from 2004 and 2005 clearly as a device for demarcating the past from the present demonstrates the rate of increase in use of the ATM. -
Anthropology of Race 1
Anthropology of Race 1 Knowing Race John Hartigan What do we know about race today? Is it surprising that, after a hun- dred years of debate and inquiry by anthropologists, not only does the answer remain uncertain but also the very question is so fraught? In part, this reflects the deep investments modern societies have made in the notion of race. We can hardly know it objectively when it constitutes a pervasive aspect of our identities and social landscapes, determining advantage and disadvantage in a thoroughgoing manner. Yet, know it we do. Perhaps mis- takenly, haphazardly, or too informally, but knowledge claims about race permeate everyday life in the United States. As well, what we understand or assume about race changes as our practices of knowledge production also change. Until recently, a consensus was held among social scientists—predi- cated, in part, upon findings by geneticists in the 1970s about the struc- ture of human genetic variability—that “race is socially constructed.” In the early 2000s, following the successful sequencing of the human genome, counter-claims challenging the social construction consensus were formu- lated by geneticists who sought to support the role of genes in explaining race.1 This volume arises out of the fracturing of that consensus and the attendant recognition that asserting a constructionist stance is no longer a tenable or sufficient response to the surge of knowledge claims about race. Anthropology of Race confronts the problem of knowing race and the challenge of formulating an effective rejoinder both to new arguments and sarpress.sarweb.org COPYRIGHTED MATERIAL 3 John Hartigan data about race and to the intense desire to know something substantive about why and how it matters. -
Creating a Roadmap for the Future of Music at the Smithsonian
Creating a Roadmap for the Future of Music at the Smithsonian A summary of the main discussion points generated at a two-day conference organized by the Smithsonian Music group, a pan- Institutional committee, with the support of Grand Challenges Consortia Level One funding June 2012 Produced by the Office of Policy and Analysis (OP&A) Contents Acknowledgements .................................................................................................................................. 3 Introduction ................................................................................................................................................ 4 Background ............................................................................................................................................ 4 Conference Participants ..................................................................................................................... 5 Report Structure and Other Conference Records ............................................................................ 7 Key Takeaway ........................................................................................................................................... 8 Smithsonian Music: Locus of Leadership and an Integrated Approach .............................. 8 Conference Proceedings ...................................................................................................................... 10 Remarks from SI Leadership ........................................................................................................ -
The Woody Guthrie Centennial Bibliography
LMU Librarian Publications & Presentations William H. Hannon Library 8-2014 The Woody Guthrie Centennial Bibliography Jeffrey Gatten Loyola Marymount University, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/librarian_pubs Part of the Music Commons Repository Citation Gatten, Jeffrey, "The Woody Guthrie Centennial Bibliography" (2014). LMU Librarian Publications & Presentations. 91. https://digitalcommons.lmu.edu/librarian_pubs/91 This Article - On Campus Only is brought to you for free and open access by the William H. Hannon Library at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in LMU Librarian Publications & Presentations by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Popular Music and Society, 2014 Vol. 37, No. 4, 464–475, http://dx.doi.org/10.1080/03007766.2013.834749 The Woody Guthrie Centennial Bibliography Jeffrey N. Gatten This bibliography updates two extensive works designed to include comprehensively all significant works by and about Woody Guthrie. Richard A. Reuss published A Woody Guthrie Bibliography, 1912–1967 in 1968 and Jeffrey N. Gatten’s article “Woody Guthrie: A Bibliographic Update, 1968–1986” appeared in 1988. With this current article, researchers need only utilize these three bibliographies to identify all English- language items of relevance related to, or written by, Guthrie. Introduction Woodrow Wilson Guthrie (1912–67) was a singer, musician, composer, author, artist, radio personality, columnist, activist, and philosopher. By now, most anyone with interest knows the shorthand version of his biography: refugee from the Oklahoma dust bowl, California radio show performer, New York City socialist, musical documentarian of the Northwest, merchant marine, and finally decline and death from Huntington’s chorea. -
Scanned Document
The Center for Folklife and Cultural Heritage Needs to Improve Its Financial Management Operations Office of the Inspector General Accounting Information Systems at the Center for Folklife and Cultural Heritage, Report Number A-11-09 September 28, 2012 Smithsonian Institution Office of the Inspector General The Center for Folklife and Cultural Heritage In Brief Needs to Improve Its Financial Management Operations, A-11-09, September 28, 2012 Why We Did This Audit What We Found We conducted this audit to We found that the Center for Folklife and Cultural Heritage assess whether the (CFCH) needs to increase oversight of the accounting accounting information information system that Smithsonian Folkways Recordings systems (1) reconcile to (Folkways) uses to capture sales, inventory, accounts receivable the Smithsonian’s data, and other financial information. We also determined that Enterprise Resource CFCH needs to improve management of the Festival Marketplace Planning system, (2) point of sale system, which is used to manage Festival provide management an Marketplace operations. In addition, we found that CFCH needs accurate view of Center for to improve segregation of duties and cross-train staff to perform Folklife and Cultural key financial tasks. Heritage’s (CFCH) business activities, and (3) can be CFCH’s ability to make sound business decisions is impaired improved to increase because the inventory and accounts receivable records are efficiencies. inaccurate. In addition, because information from these subsidiary ledgers is transferred to the Enterprise Resource Background Planning (ERP) system, the Smithsonian’s official accounting records, specifically inventory and accounts receivable, are also CFCH is a research and inaccurate. -
The Blues – a Gateway Into Improvisation a Smithsonian Folkways Lesson Designed By: Terry Jones North Idaho College Summary: J
The Blues – a Gateway into Improvisation A Smithsonian Folkways Lesson Designed by: Terry Jones North Idaho College Summary: Jazz is at the heart of American music. At the heart of the style, and more importantly listening to and appreciating Jazz, is an understanding of improvisation. To those with limited musical experience, an understanding of improvisation is often extremely difficult and even frightening, that music is seemingly ‘made’ in a spontaneous manner. This lesson is design to give students a way into the world of improvisation as it exists in one of the fundamentally most influential styles of American music: the blues. Suggested Grade Levels: (6-8) Country: American Roots Region: South Culture Group: African American Genre: Blues Instruments: Guitars Language: English Co-Curricular Areas: Creative Writing; Social Studies – American History National Standards: Music Education standards 3,4,6 Prerequisites: Knowledge of rhythm and melody Objectives Students will be able to demonstrate their understanding of the common characteristic of Blues lyrics and the structure of Blues lyrics by composing Blues lyrics. Students will be able to demonstrate their understanding of how improvisation works by creating Blues lyrics spontaneously. Materials: Paper to write lyrics. The following recordings: Smithsonian Folkways. Son House’s “Country Farmer Blues” from the album Classic Blues from Smithsonian Folkways Recordings SFW40134 http://www.folkways.si.edu/classic-blues-from-folkways/african-american- music-folk/album/smithsonian and Bill Broonzy’s “Backwater Blues” form his album Big Bill Broonzy Sings Folk Songs SF40023. http://www.folkways.si.edu/big-bill-broonzy/sings-folk- songs/american-folk-blues/music/album/smithsonian Lesson Segments: 1. -
Integrative Anthropology and the Human Niche: Toward a Contemporary Approach to Human Evolution
AMERICAN ANTHROPOLOGIST Integrative Anthropology and the Human Niche: Toward a Contemporary Approach to Human Evolution Agustın´ Fuentes ABSTRACT A niche is the structural, temporal, and social context in which a species exists. Over the last two million years, the human lineage underwent clear morphological changes alongside less easily measurable, but significant, behavioral and cognitive shifts as it forged, and was shaped by, new niches. During this time period, core human patterns emerged, including the following: hypercooperation; lengthy childhood and complex parenting; intricate and diverse foraging and hunting patterns; novel and dynamic material and symbolic cultures; and complex communication and information sharing, eventually resulting in language. Approaches to human evolution grounded in paleoanthropology and archaeology offer fundamental insights into our past, and traditional evolutionary the- ory offers a strong grounding for explaining them. However, given the centrality of distinctive physiological, social, semiotic, and cognitive processes in human evolutionary histories, a broader anthropological approach can facilitate additional understanding of the human story. An integrative anthropology, reaching across subfields and foci, com- bined with contemporary evolutionary theory is an approach that can enhance our abilities to model and understand human evolution. [integrative anthropology, niche construction, evolution, extended evolutionary synthesis, Homo, semiosis, Pleistocene] RESUMEN Un nicho es el contexto estructural, -
Agustín Fuentes Department of Anthropology, 123 Aaron Burr Hall, Princeton University, Princeton NJ 08544 Email: [email protected]
Agustín Fuentes Department of Anthropology, 123 Aaron Burr Hall, Princeton University, Princeton NJ 08544 email: [email protected] EDUCATION: 1994 Ph.D. Anthropology, University of California, Berkeley 1991 M.A. Anthropology, University of California, Berkeley 1989 B.A. Anthropology and Zoology, University of California, Berkeley ACADEMIC POSITIONS: 2020-present Professor, Department of Anthropology, Princeton University 2017-2020 The Edmund P. Joyce, C.S.C., Professor of Anthropology, University of Notre Dame 2013-2020 Chair, Department of Anthropology, University of Notre Dame 2008-2020 Professor, Department of Anthropology, University of Notre Dame 2008-2011 Director, Institute for Scholarship in the Liberal Arts, University of Notre Dame 2005-2008 Nancy O’Neill Associate Professor of Anthropology, University of Notre Dame 2004-2008 Flatley Director, Office for Undergraduate and Post-Baccalaureate Fellowships, University of Notre Dame 2002-2008 Associate Professor, Department of Anthropology, University of Notre Dame 2000-2002 Associate Professor, Department of Anthropology, Central Washington University 1999-2002 Director, Primate Behavior and Ecology Bachelor of Science Program, Interdisciplinary Major-Departments of Anthropology, Biological Sciences and Psychology, Central Washington University 1998-2002 Graduate Faculty, Department of Psychology and Resource Management Master’s Program, Central Washington University 1996-2000 Assistant Professor, Department of Anthropology, Central Washington University 1995-1996 Lecturer, -
Reminiscences of Anthropological Currents in America Half a Century Ago
UC Berkeley Anthropology Faculty Publications Title Reminiscences of Anthropological Currents in America Half a Century Ago Permalink https://escholarship.org/uc/item/2vk1833m Journal American Anthropologist, 58(6) Author Lowie, Robert H. Publication Date 1956-12-01 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Reminiscences of Anthropological Currents in America Half a Century Ago ROBERT H. LOWIE University of California HE Editor of the AMERICAN ANTHROPOLOGIST has asked me to offer "some T discussion and analysis of the intellectual ferment, the various ideas and interests, and the important factual discoveries in their relationship to these ideas, that were current during the period of your early years as an anthropolo gist." In responding I shall have to go far afield. The task suggested implies nevertheless two noteworthy restrictions. Factual discoveries are irrelevant (except as they influenced ideas), as is administrative promotion of scientific interests. Accordingly, though sharing Sapir's judgment that as a field worker J. O. Dorsey was "ahead of his age," I must ignore him for present purposes. Again, there will be only brief references to Frederic Ward Putnam (1839-1915) and to Frederic Webb Hodge (1864-1956); as to Powell and McGee, only their thinking demands extended notice. It is well to recall that in 1904, when I began graduate work, only Columbia, Harvard, and California had full-fledged academic departments of anthropol ogy, but the Field Museum, a descendant of the Chicago World's Fair of 1893, had been fostering research, as had the Bureau of American Ethnology and the United States National Museum. -
Smithsonian Folkways Recordings: a Question of Balance
Smithsonian Folkways Recordings: A Question of Balance D. A. Sonnebom How does a small record label, operating within a large museum setting, balance its educational mission's imperatives against economic need, a pair of priorities inherently in conflict? The following is a personal and reflexive view, affected in some measure by oral transmissions received from institutional elders but based always on my own experience. When I was a child, my home was filled with music from all over the world, including many releases from Folkways Records. Individually and as a collection, the music opened windows of my imagination and initiated a sense of curiosity and wonder about the experience and perception of others. The material ignited a musical passion that has proved lasting. I have served as Assistant Director of Smithsonian Folkways Recordings since 1998 and thus have had opportunity to live with the tensions of its "mission vs. operational needs" polarity, both to ask and try to answer the question on a daily basis. I offer this essay to readers in hopes that it may help demythologize and demystify the process whereby recordings of community-based traditions are promulgated from the setting of the United States national museum and into the increasingly globalized marketplace. The attacks on the World Trade Center and the Pentagon in September 2001 exacerbated an economic contraction already in progress in the U.S. and produced a precipitous drop in recording sales during that year's last few months. The North American music industry continued depressed in 2002, with sales down on average more than ten percent as compared to the prior year. -
ANTH 445: African American Anthropology Section 10637D Fall 2015 T 2-4:50PM KAP 164
ANTH 445: African American Anthropology Section 10637D Fall 2015 T 2-4:50PM KAP 164 Professor: Lanita Jacobs Office: Kaprielian Hall (KAP) 356 Phone: 213-740-1909 Email: [email protected] Office Hours: T/Th 11AM-12PM; also by appt. You can also contact me Monday-Friday via email. Course Website: Course materials are accessible through Blackboard; to access, click on: https://blackboard.usc.edu/ Required Texts: 1. Gwaltney, John Langston. 1993. Drylongso: A Self Portrait of Black America. New York: The New Press. 2. Hurston, Zora Neale. 1990 [1935]. Mules and Men. New York: HarperCollins. 3. Jacobs-Huey, Lanita. 2006. From the Kitchen to the Parlor: Language and Becoming in African American Women’s Hair Care. Oxford: Oxford University Press. 4. Jackson Jr., John L. 2005. Real Black: Adventures in Racial Sincerity. Chicago: University of Chicago Press. 5. Price, Richard and Sally Price. 2003. The Root of Roots, or How Afro-American Anthropology Got Its Start. Chicago: Prickly Paradigm Press. [included in RDR] 6. 499 Reader. [This text is abbreviated RDR in the Reading & Exam Schedule.] Highly Recommended Texts: 7. Harrison, Ira E. and Faye V. Harrison, Eds. 1999. African-American Pioneers in Anthropology. Chicago: University of Illinois Press. 8. McClaurin, Irma, Ed. 2001. Black Feminist Anthropology: Theory, Politics, Praxis, and Poetics. London: Rutgers University Press. NOTE: Required and Optional Texts, along with the Course Reader (RDR) are on reserve in Leavey Library. Course Description: Anthropology has undergone dramatic changes in recent decades. Historically, anthropologists resembled what Renato Rosaldo (1989) characterized as the “Lone Ethnographer” riding off into the sunset in search of the “native.” Today, those so-called natives are vigorously gazing and talking back as students, professors, and attentive audiences, with palpable implications for how anthropology is practiced.