The Changing Faces of Tradition
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The Hollow of Echoes Kathleen Danker Felix White, Sr
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications -- Department of English English, Department of 1978 The olH low of Echoes Kathleen Danker University of Nebraska-Lincoln, [email protected] Felix White Sr. Winnebago, Nebraska Follow this and additional works at: http://digitalcommons.unl.edu/englishfacpubs Part of the Comparative Literature Commons, English Language and Literature Commons, Indigenous Studies Commons, Modern Literature Commons, Other American Studies Commons, and the Reading and Language Commons Danker, Kathleen and White, Felix Sr., "The oH llow of Echoes" (1978). Faculty Publications -- Department of English. 161. http://digitalcommons.unl.edu/englishfacpubs/161 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications -- Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THE HOLLOW OF ECHOES KATHLEEN DANKER FELIX WHITE, SR. Nebraska Curriculum Development Center The Hollow of Echoes Kathleen Danker Felix White, Sr. Copyright © 1978 by Kathleen Danker and Felix White, Sr. Experimental. royalty-free, non-commercial edition for school use. Published by the Nebraska Curriculum Development Center University of Nebraska lincoln, Nebraska 68588 To All the Winnebago people, to whom the stories belong. ACKNOWLEDGMENTS I wish to thank Felix White, Jr., Paul Olson, and Linda Hassel strom for their suggestions and encouragement in the writing of this book, and my parents, Donald and Emma Danker for encouragement and arranging to have the manuscript typed. I also wish to thank all of the people of Winnebago, Nebraska who made me feel welcome in their town and from whom I learned so much. -
Ukrainian Folk Singing in NYC
Fall–Winter 2010 Volume 36: 3–4 The Journal of New York Folklore Ukrainian Folk Singing in NYC Hindu Home Altars Mexican Immigrant Creative Writers National Heritage Award Winner Remembering Bess Lomax Hawes From the Director Since the found- a student-only conference. There are prec- Mano,” readers will enjoy fresh prose pieces ing of the New York edents for this format, also. In commenting and poetry in English and Spanish from a Folklore Society, the on the 1950 meeting, then-president Moritz recently published anthology, produced by organization has pro- Jagendorf wrote, “Another ‘new’ at the Mexican cultural nonprofit Mano a Mano, vided two consistent Rochester meeting was the suggestion to the New York Writers Coalition, and a group benefits of member- have an annual contest among students of of New York’s newest Spanish-language ship: receipt of a New York State colleges and universities for writers. Musician, discophile, and Irish- published journal— the best paper on New York State folklore. American music researcher Ted McGraw since 2000, Voices— The winner will receive fifty dollars, and his presents a preliminary report and asks Voices and at least one annual meeting. or her paper will be read before the mem- readers for assistance in documenting the In the early years, the annual meeting bers.” (It is unclear whether this suggestion fascinating history of twentieth-century took place jointly with the annual gathering was implemented!) button accordions made by Italian craftsmen of the New York Historical Association, The 2010 meeting was held at New York and sold to the Irish market in New York. -
6 Inspiring Cajun Musicians
LeadingLadies 6 INSPIRING CAJUN MUSICIANS In what has become our now annual music their voices have been heard and met with guide, we decided to do something a little praise – even Grammy nominations. All six different. Rather than focus on venues, clubs of these women are carrying on the tradition and places to go, we chose to focus on faces of their Cajun ancestors and bringing it to look for – and more importantly, voices to into the future, and we hope that the trend hear. In the music industry in general – and of women leading their own bands will gain especially when it comes to Cajun music, momentum as they continue to inspire others. women are outnumbered by men. Fortunately, That, we think, is worth singing about. By Michael Patrick Welch \\ Photos by Romero & Romero acadianaprofile.com | 31 gigs as Petite et les Patates (Little and the AT THE AGE OF 18, Potatoes), a quieter three-piece traditional musician Jamie Lynn Fontenot was Cajun band. overtaken by the desire to learn Cajun Along with accordion player Jacques French. “My grandparents, Mary ‘Mimi’ fontenotBoudreaux, Petite et les Patates also often Fontenot and John ‘Toe’ Fontenot, from features Fontenot's husband, French fiddle Opelousas are great, really strong Cajun player Samuel Giarrusso, who moved to speakers,” says Fontenot from her home in Louisiana in 2012 from France to be near his Lafayette. “My siblings and I wanted them father, also a Cajun French musician. “Petite to teach us Cajun French, so she would play et les Patates is actually a constantly rotating me all these old Cajun vinyl records, and band, where I am the only constant,” says she’d tell me the stories the singers were Fontenot. -
Horse Motifs in Folk Narrative of the Supernatural
HORSE MOTIFS IN FOLK NARRATIVE OF THE SlPERNA TURAL by Victoria Harkavy A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Master of Arts Interdisciplinary Studies Committee: ___ ~C=:l!L~;;rtl....,19~~~'V'l rogram Director Dean, College of Humanities and Social Sciences Date: ~U_c-ly-=-a2..!-.:t ;LC>=-----...!/~'fF_ Spring Semester 2014 George Mason University Fairfax, VA Horse Motifs in Folk Narrative of the Supernatural A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at George Mason University by Victoria Harkavy Bachelor of Arts University of Maryland-College Park 2006 Director: Margaret Yocom, Professor Interdisciplinary Studies Spring Semester 2014 George Mason University Fairfax, VA This work is licensed under a creative commons attribution-noderivs 3.0 unported license. ii DEDICATION This is dedicated to my wonderful and supportive parents, Lorraine Messinger and Kenneth Harkavy. iii ACKNOWLEDGEMENTS I would like to thank my committee, Drs. Yocom, Fraser, and Rashkover, for putting in the time and effort to get this thesis finalized. Thanks also to my friends and colleagues who let me run ideas by them. Special thanks to Margaret Christoph for lending her copy editing expertise. Endless gratitude goes to my family taking care of me when I was focused on writing. Thanks also go to William, Folklore Horse, for all of the inspiration, and to Gumbie, Folklore Cat, for only sometimes sitting on the keyboard. iv TABLE OF CONTENTS Page Abstract .............................................................................................................................. vi Interdisciplinary Elements of this Study ............................................................................. 1 Introduction ........................................................................................................................ -
Community Education Handbook
COMMUNITY EDUCATION HANDBOOK Maria Garcia LITTLE PRIEST TRIBAL COLLEGE 601 EAST COLLEGE DRIVE WINNEBAGO, NE 68071 Contents HISTORY OF THE WINNEBAGO TRIBE .................................................................................. 2 HISTORY OF LITTLE PRIEST TRIBAL COLLEGE.................................................................. 3 PHILOSOPHY & MISSION OF LITTLE PRIEST TRIBAL COLLEGE .................................... 5 PHILOSOPHY ............................................................................................................................ 5 MISSION .................................................................................................................................... 5 COMMUNITY EDUCATION DEPARTMENT ........................................................................... 6 ABOUT THE DEPARTMENT .................................................................................................. 6 WHO IS ELIGIBLE? .................................................................................................................. 6 PROGRAM GOALS .................................................................................................................. 6 PROGRAM AREAS ................................................................................................................... 6 CUSTOMIZED WORKSHOPS ................................................................................................. 7 CONTINUING EDUCATION UNIT (CEU) ................................................................................ -
Bess Lomax Hawes Student Folklore Collection
http://oac.cdlib.org/findaid/ark:/13030/c85d8v11 No online items Guide to the Bess Lomax Hawes Student Folklore Collection Special Collections & Archives University Library California State University, Northridge 18111 Nordhoff Street Northridge, CA 91330-8326 URL: https://library.csun.edu/SCA Contact: https://library.csun.edu/SCA/Contact © Copyright 2020 Special Collections & Archives. All rights reserved. Guide to the Bess Lomax Hawes URB.BLH 1 Student Folklore Collection Contributing Institution: Special Collections & Archives Title: Bess Lomax Hawes Student Folklore Collection Creator: Hawes, Bess Lomax, 1921-2009 Identifier/Call Number: URB.BLH Extent: 10.50 linear feet Date (inclusive): 1959-1975 Abstract: Bess Lomax Hawes is the daughter of famed folklorist John A. Lomax. Ms. Hawes had an active musical career as a singer, instrumentalist and songwriter. Her career as an educator began in 1954 when she became an instructor in guitar, banjo and folk music in the extension division at the University of California, Los Angeles. In 1963, she joined the Anthropology Department at San Fernando Valley State College. The material contained in this collection consists of folkloric data collected between 1958 and 1977 by students enrolled in Anthropology 309: American Folk Music, Anthropology 311: Introduction to Folklore, and various senior seminars at San Fernando Valley State College (now California State University, Northridge). Language of Material: English Biographical Information: Bess Lomax Hawes was born in Austin, Texas in 1921 to Bess Bauman-Brown Lomax and John A. Lomax, famed folklorist and author of Cowboy Songs, American Ballads and Folksongs, Adventures of a Ballad Hunter, and director of the Archive of American Folksong at the Library of Congress. -
A Conversation with Jeff Todd Titon
A Conversation with Jeff Todd Titon Interviewed by John Fenn via e-mail January 2003 JF: What's been your involvement with applied ethnomusicology so far? You can speak generally on this, as well as specifically on things like the "public interest" issue of Ethnomusicology, the Society for Ethnomusicology (SEM) Applied Ethnomusicology Section, your teaching, or projects you've done. JTT: I've done different kinds of applied ethnomusicology, much of it in connection with my academic work as a professor and research scholar in folklore and ethnomusicology. As a festival presenter for Old Regular Baptists at the Smithsonian Folklife Festival I've been a musicculture broker. As a member of the Folk Arts Panel of the National Endowment for the Arts I've helped make and implement cultural policy on traditional musics in the USA. As an album producer for blues musicians Lazy Bill Lucas and his friends, for old-time fiddler Clyde Davenport, and for the singing of Old Regular Baptists, among others, I've made field recordings and helped publish well-documented LPs, cassettes, and CDs that benefited those people and their music-cultures. As a grant writer I've gotten communities money and training so that they could record, preserve, and transmit their musical heritage. I've produced concerts and given lectures to the general public designed to promote and celebrate various kinds of community music. One of the courses I teach each semester at Brown is free and aimed at the local community: an old-time string band ensemble that is a gift to anyone who wants to learn and play. -
The Changing Faces of Tradition
The Changing Faces of Tradition A Report on the Folk and Traditional Arts in the United States Written, edited and compiled by Elizabeth Peterson Research Division Report #38 National Endowment for the Arts Cambodian silk weaver Bun Em and her daughter Pech Yuos, Harrisburg, Pennsylvania. (Photo by Jane Levine ©1996/courtesy of Pennsylvania Heritage Affairs Commission) 1 Copyright © 1996 National Endowment for the Arts Library of Congress Cataloging-in-Publication Data Published by the National Endowment for the Arts Peterson, Betsy. Statistical Research: The changing faces of tradition : a report on the folk and traditional arts NuStats, Inc., Austin, Texas in the United States / written, edited and compiled by Elizabeth Peterson. National Assembly of State Arts Agencies, Washington, D.C. p. cm. -- (Research Divison report ; 38) Includes bibliographical references. Design: 1. Folk art--United States. 2. Arts, Modern--20th century--United States. Cox & Associates, Inc., Silver Spring, Maryland I. Title. II. Series: Research Division report (National Endowment for the Arts. Research Division) ; 38. Visually or learning impaired people may obtain a cassette NX504.P48 1996 recording of this report by contacting the Endowment’s Office 700' .973'0904--dc20 96-41191 CIP for AccessAbility at the address below. Phone: (202) 682-5532 Voice/TT: (202) 682-5496 Permission to copy, to disseminate or to otherwise use information from this report is granted as long as appropriate acknowledgment is given. Copies of this report can be obtained by contacting: -
Folk and Traditional Arts and Social Change a Working Guide to The
A Working Guide to the Landscape of Arts for Change A collection of writings depicting the wide range of ways the arts make community, civic, and social change. Folk and Traditional Arts Hugo Arroyo of Los Cenzontles engages young people in a Son Jarocho music and dance class. and Social Change By Betsy Peterson Folk arts include a constellation of artistic activities and cultural expressions in community life that are informal, often popular in orientation, amateur, voluntary, and occurring in myriad social contexts. As expressions of deep cultural knowledge, creative expression, activism, cultural durability, and community values, folk and traditional arts can be tools for community empowerment and social change. In this paper, author Betsy Peterson captures a range of cultural activity beyond familiar forms such as protest songs that use cultural tradition to explicitly address or mobilize public opinion on political or social issues. She characterizes subtle but potent ways that cultural workers, activists, and others intentionally draw upon folk and traditional arts and culture to name and interpret their own experience, to test their own boundaries, and to affirm a cultural continuity in the face of social concerns. Preservation in the form of cultural engagement and participation can be a form of place based advocacy; it can also be an act of naming, resistance, and critical affirmation for communities whose cultural values, languages, and art forms find little support or recognition mainstream systems. Increasingly, individuals and organizations are employing ethnographic field methods of listening and observation and the tools of documentation in community development and planning processes, for cultural and creative capacity building, and in arenas of education, social justice, and mental health and healing. -
Folklife Sourcebook: a Directory of Folklife Resources in the United States
DOCUMENT RESUME ED 380 257 RC 019 998 AUTHOR Bartis, Peter T.; Glatt, Hillary TITLE Folklife Sourcebook: A Directory of Folklife Resources in the United States. Second Edition. Publications of the American Folklife Center, No. 14. INSTITUTION Library of Congress, Washington, D.C. American Folklife Center. REPORT NO ISBN-0-8444-0521-3 PUB DATE 94 NOTE 172p.; For the first edition, see ED 285 813. AVAILABLE FROMSuperintendent of Documents, P.O. Box 371954, Pittsburgh, PA 15250-7954 ($11, include stock no. S/N 030-001-00152-1 or U.S. Government Printing Office, Superintendent of Documents, Mail Stop: SSOP, Washington, DC 20402-93280. PUB TYPE Reference Materials Directories/Catalogs (132) EDRS PRICE MFOI/PC07 Plus Postage. DESCRIPTORS *Archives; *College Programs; Cultural Education; Cultural Maintenance; Elementary Secondary Education; *Folk Culture; Foreign Countries; Higher Education; Library Collections; *Organizations (Groups); *Primary Sources; Private Agencies; Public Agencies; *Publications; Rural Education IDENTIFIERS Ethnomusicology; *Folklorists; Folk Music ABSTRACT This directory lists professional folklore networks and other resources involved in folklife programming in the arts and social sciences, public programs, and educational institutions. The directory covers:(1) federal agencies; (2) folklife programming in public agencies and organizations, by state; (3)a listing by state of archives and special collections of folklore, folklife, and ethnomusicology, including date of establishment, access, research facilities, services, -
“The Wreck of the Julie Plante” and Its Offspring
Fall–Winter 2016 Volume 42: 3–4 The Journal of New York Folklore “The Wreck of the Julie Plante” and Its Offspring What’s Your Watershed? Folklore and the Environment Hello, Hannah! NYFS’ Upstate Regional Rep Puerto Rican & Garifuna Drums Democratizing the Folk Arts Workplace American Public Folklore In Nanjing From the Director From the Editor According to New “Save the Date,” and join us at the Castellani Thirty years ago I began York State’s Office of Art Museum of Niagara University. Details my first consultant job New Americans, one will be posted on our website, www.nyfolklore. as a folklorist in upstate in four New York State org. New York. adults of working age The New York Folklore Society, in col- Crandall Library want- are foreign born and laboration with Green Worker Cooperatives ed to expand their bud- almost one-third of (GWC), hosted the second in a series of ding Folk Arts Program New York’s business workshops on October 23, in Brooklyn, on and agreed with the folks owners are immigrants. Our state’s diversity “Democratizing the Folk Arts Workplace: at the New York State Council on the Arts provides a tapestry of colors and patterns of Forming a Worker-Owned Cooperative” that a young folklorist working and studying culture, language, and arts that enriches us all. with GWC’s Ileia Burgos. You can read in Washington, DC, could breathe new life Although New York City has been histori- about both workshops in this issue in a into their program. cally the destination for immigrants, Upstate report from NYFS’s NYC Regional Repre- I was to conduct a Folk Arts Survey of New York has most recently benefitted from sentative Eileen Condon. -
Perspectives of Saskatchewan Dakota/Lakota Elders on the Treaty Process Within Canada.” Please Read This Form Carefully, and Feel Free to Ask Questions You Might Have
Perspectives of Saskatchewan Dakota/Lakota Elders on the Treaty Process within Canada A Dissertation Submitted to the College of Graduate Studies and Research In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy In Interdisciplinary Studies University of Saskatchewan Saskatoon By Leo J. Omani © Leo J. Omani, copyright March, 2010. All rights reserved. PERMISSION TO USE In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of the thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis was completed. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain is not to be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Request for permission to copy or to make other use of material in this thesis, in whole or part should be addressed to: Graduate Chair, Interdisciplinary Committee Interdisciplinary Studies Program College of Graduate Studies and Research University of Saskatchewan Room C180 Administration Building 105 Administration Place Saskatoon, Saskatchewan Canada S7N 5A2 i ABSTRACT This ethnographic dissertation study contains a total of six chapters.