DOCSLIB.ORG

Magazine of the Philadelphia Folklore Project I Choose to Stay Here We

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Magazine of the Philadelphia Folklore Project I Choose to Stay Here We magazine of the philadelphia folklore project Volume 18:2/3 summer/fall 2005 ISSN 1075-0029 ● I choose to stay here ● We are here to make changes ● Acrobatics and freedom ● The dance is an offering ● We shall not be moved ● Arabic song, flamenco footwork ● Folk arts education Works in progress is the magazine of the Philadelphia Folklore Project,an 18- year-old public interest folklife agency. We work with people and communities inside in the Philadelphia area to build critical folk cultural knowledge,sustain the complex folk and traditional arts of our region,and challenge practices that diminish these local grassroots arts and humanities. To learn more,please visit 3 From the editor us: www.folkloreproject.org or call 215.726.1106.(Note: we’ve moved to 735 S.50th Street,Phila.,PA 19143) 4 I choose to stay here By members of Community philadelphia folklore Leadership Institute project staff Editor/PFP Director: Debora Kodish Associate Director: Toni Shapiro-Phim 8 Joaquin Rivera: We are Designer: IFE designs + Associates here to make changes Printing: Garrison Printers By Elizabeth Sayre [ Printed on recycled paper] 10 Acrobatics & freedom philadelphia folklore By Bill Westerman project board Germaine Ingram Ife Nii-Owoo 12 The dance is an offering: Ollin Ellen Somekawa Yoliztli Calmecac Deborah Wei By Kay Turner Dorothy Wilkie Mary Yee Juan Xu we gratefully acknowledge support from: ● The National Endowment for the Arts, which believes that a great nation deserves great arts ● Pennsylvania Council on the Arts ● Pennsylvania Historical and Museum Commission ● The Humanities-in-the Arts Inititative, administered by The Pennsylvania Humanities Council, and funded principally by the Pennsylvania Council on the Arts ● The Philadelphia Cultural Fund ● The William Penn Foundation ● Dance Advance, a grant program funded by The Pew Charitable Trusts and administered by the University of the Arts ● The Pew Charitable Trusts 14 We shall not be moved ● The Malka and Jacob Goldfarb Foundation By Thomas B. Morton, ● The Samuel Fels Fund Lois Fernandez & Debora ● Independence Foundation Kodish ● The Connelly Foundation ● The Philadelphia Foundation ● Stockton Rush Bartol Foundation 18 Arabic song, flamenco ● Windcall/Common Counsel Foundation footwork ● The Hilles Fund By Toni Shapiro-Phim ● The Walter J. Miller Foundation ● The Henrietta Tower Wurts Foundation ● The Douty Foundation Front cover: 22 Folk arts education ● Aramark & The Philadelphia Arts & Business Arisa Ingram and By Toni Shapiro-Phim Council a celebrant ● and wonderful individual Philadelphia ovecome with Folklore Project members the spirit, at the Membership form river, at 32 thank you to all ODUNDE. Photo: Thomas B. Morton from the editor Home, and the hard work of including the lifetimes of care, that feel right, good, beautiful, making and keeping a home, is work, and memories that add and just. much on our minds these days. intangible value to their homes. Trying to reorient peoples’ I write this from the West This is a different kind of math questions, Northwest Native Philadelphia rowhouse that we than that practiced by city poet Elizabeth Woody once told have been rehabbing for the officials deciding whose an audience of folklorists, “You Folklore Project’s new home. homes should be removed all are Native people, too. You The Folk Arts–Cultural and leveled, and which have just forgotten where Treasures Charter School, a families displaced. you come from.” Challenging joint effort with Asian People can build up a kind of how her listeners defined Americans United, was granted freedom and comfort in a themselves, Woody was also a charter this spring and will place, and over the course of 30 talking about our responsibility open this fall—a new home years, the ODUNDE festival has to cultivate a deep sense of for much of our folk arts created that kind of free zone in relationship and belonging to education work. Huge dreams, the blocks around 23rd and place—wherever we are. We both of these major efforts at South on the second Sunday of invite you to read about people home-making happened every June. The space that is who are engaged in just because so many people ODUNDE is built in time, not in such work. invested their time, labor and bricks, but it is as enduring and vision. Collective effort and life-sustaining. On the 30th —Debora Kodish community made both of these anniversary of ODUNDE, we homes possible—and even are proud to offer an exhibition imaginable. of Tom Morton’s powerful These two building projects photographs, on display in our leave no trace in these pages, new home through December. but essays in this issue A handful are shown in these introduce other efforts that pages. (A sampling of his were part of this past year’s images also illustrate the 30th work at the Folklore Project— anniversary ODUNDE our arts education and artist calendar, for sale through residency programs, a our office). documentary video, and an Considering takraw players, exhibition—touching in Bill Westerman writes, “Beauty different ways on the and justice—whether interrelated questions of how comprised of free movement or we make homes, become free ideas—are defined and responsible to place and to one redefined locally.” In a world another, explore where we where folk arts are so often come from, and build (and considered to be exotic, easily hold onto) places where we learned, simple, or something can belong. that can be bought and sold, Length of time or investment put on and put off, the artists of labor in a place is no described in this issue— guarantee of safety, people Joaquin Rivera, the members have learned. Fighting the City of Herencia Arabe, Chamroeun of Philadelphia’s takings of Yin, the Aztec dancers of Ollin private homes, residents from Yoliztli Calmecac, the takraw West Kensington talk about players—are using folk arts to what their homes mean to shape languages, times, and them. They count what is places in which they can name priceless and irreplaceable, themselves and others in ways 2005 Summer/Fall WIP 3 < point of view > Below: Bodine Street before. Photo: Bahiya Cabral. Above: Bodine Street in the process of demolition. Photo: Debora Kodish 4 WIP Summer/Fall 2005 by Rosemary Cubas & members of the Community Leadership Institute I choose to stay here: perspectives from people fighting the city’s “takings” of homes The Neighborhood year CLI spearheaded the nic communities. But the Transformation Initiative City-wide Coalition of transformation of place is (NTI) sounded good at Concerned Residents and seldom seen from the view- first—a new commitment began organizing to help point of the poor and work- by the city of Philadelphia to individual families, raise ing people affected. rebuild and revitalize poor questions about what NTI Residents fighting and working-class neighbor- was doing (and how it was today’s takings by the city hoods. But some people in doing it), and get a morato- are articulating both impor- those neighborhoods are ask- rium on the takings. tant theories of value and ing whether the city is remak- At heart were basic ques- different versions of neigh- ing their communities for tions about who benefited borhood past, present, and their benefit or someone and who suffered for the future than those used by else’s profits. sake of“development.” city officials. How can we Under NTI, the city of In 1950, 23% of Center get others to hear displaced Philadelphia used its power City residents were people residents’ sides of the story? of eminent domain and of color. By 1980, only 10% And, even more, how can other means to condemn were, and that number has we make sure that the city’s and acquire more than 5,000 continued to drop even as future hopes will not properties in the year 2003 the diversity of the city as a demand sacrifices—even alone, arguing that these whole rises. Between those thefts—from particular resi- were necessary steps to two dates, a series of urban dents? In order to address “save” the city, bring in new renewal programs had a these questions, PFP residents, and build a bigger massive impact on North worked with CLI to develop tax base. In 2004 the Philadelphia and Center a documentary video, I Community Leadership City. Writing a decade ago, choose to stay here, over Institute (CLI) and others sociologist Nancy the course of 2004. discovered that about 250 of Kleniewski found communi- Describing what is price- the impacted properties ty people’s feelings still sim- less and irreplaceable, resi- were occupied homes mering, condensed in their dents reckon value in con- whose residents were to be description of such pro- nection to a place over gen- relocated. Some residents grams as “urban removal.” erations, in terms of homes had accepted relocation As they saw it, “poor and and legacies that can last deals, but others did not non-white people have had and be passed on to one’s want to move from the to bear the brunt of the children, recognizing built neighborhoods in which demolitions and displace- environments filled with they had lived for decades, ment from redevelopment lifetimes of work and care. or even generations. Adding projects.” There is an Zinka Hoxha says, “It’s not insult to injury, much of this important body of scholarly just losing your house. property was taken without work about the decline of You’re losing your neighbor. any apparent plan in place Philadelphia’s industrial You’re losing all your years for redevelopment. That base and about specific eth- experience in that house. All [Continued on next page ➝] 2005 Summer/Fall WIP 5 i choose to stay here/continued from p. 5 that.
Load more

Recommended publications
  • 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 ........................................................................................................................
    [Show full text]
  • 599-2291, [email protected]
    CONTACTS: Cara Schneider (215) 599-0789, [email protected] Deirdre Childress Hopkins (215) 599-2291, [email protected] Tweet It: Fill your calendar with 2020’s annual events in @visitphilly: vstphl.ly/2Qf2WMH ANNUAL EVENTS IN PHILADELPHIA AND THE COUNTRYSIDE IN 2020 Philly’s Yearly Lineup of Festivals, Shows, Holidays And More Shine In 2020 PHILADELPHIA, March 1, 2020 – Year after year, Philadelphia and the Countryside’s annual events provide irresistible reasons for visitors to come to — and to fall in love with — Philadelphia. That a city so rich in history continues to both celebrate and improve on its legacy is a testament to Philly pride and invention. The 2020 calendar starts with the 123rd Mummers Parade and continues with the world’s largest indoor Flower Show, the food-packed South 9th Street Italian Market Festival, the idiosyncratic Kensington Sculpture Derby, the epic Philly Beer Week, a multi-day Fourth of July celebration (Wawa Welcome America) and the nation’s oldest Thanksgiving Day Parade, to name a few. Here’s a look at what’s going on this (and every) year in the Philadelphia region (dates updated monthly): January: • Mummers Parade – The lineup for the 123rd Mummers Parade includes 10,000 colorfully costumed people of all ages strutting down one of the city’s main streets. The troupes in the String Band division entertain crowds with live music and choreographed dances; the Fancy Brigades stage two elaborate indoor performances at the Pennsylvania Convention Center. January 1, 2020. phillymummers.com • Center City Restaurant Week – Select restaurants in the Center City District offer signature three-course dinners for $35 per person and three-course lunches for $20 per guest.
    [Show full text]
  • Cara Schneider (215) 599-0789, [email protected] Donna Schorr (215) 599-0782, [email protected] Tweet Us: @Visitphillypr.Com
    CONTACTS: Cara Schneider (215) 599-0789, [email protected] Donna Schorr (215) 599-0782, [email protected] Tweet Us: @visitphillyPR.com Tweet It: Fill your calendar with 2019’s annual events in @visitphilly: https://vstphl.ly/2TljXSF ANNUAL EVENTS IN PHILADELPHIA IN 2019 Philly’s Yearly Lineup of Festivals, Shows, Holidays And More Shine In 2019 PHILADELPHIA, April 10, 2019 – Year after year, Philadelphia’s roster of annual events provides irresistible reasons for visitors to come to—and fall in love with—Philadelphia. That a city so rich in history continues to both celebrate and improve on its legacy is a testament to Philly pride and invention. The 2019 calendar starts with the 122nd Mummers Parade and continues with the world’s largest indoor Flower Show, the food-packed South 9th Street Italian Market Festival, the idiosyncratic Kensington Sculpture Derby, the epic Philly Beer Week, a 10-day Fourth of July celebration (Wawa Welcome America) and the nation’s oldest Thanksgiving Day Parade, to name a few. Here’s a look at what’s going on this year (and every year) in the Philadelphia region: January: • Mummers Parade – The lineup for the 122nd Mummers Parade includes 10,000 colorfully costumed people of all ages strutting down one of the city’s main streets. The troupes in the String Band division entertain crowds with live music and choreographed dances; the Fancy Brigades stage two elaborate indoor performances at the Pennsylvania Convention Center. January 1, 2019. phillymummers.com • Orchid Extravaganza – Longwood Gardens creates an absolutely transcendent experience for orchid lovers, perching and planting the rarest and most beautiful of flora from conservatories to outdoors.
    [Show full text]
  • 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.
    [Show full text]
  • “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.
    [Show full text]
  • Family Folklore
    Goals/Objectives/Student Outcomes: Students will: lesson and asking for help and cooperation when children come home asking questions. Some families may not want to share some of the • Define in writing family folklore. information asked for, and that's fine—cultural traditions are very • Identify aspects of family folklife through discussion of personal and often private, especially those connected to religion or traditions of their own names. other belief systems. • Identify examples of family heirlooms, family stories, and Because some parents may be wary of providing information, and family recipes as types of family folklife. because there are so many non-traditional families, a teacher will need to be flexible in making assignments. Some students may not • Look at family bonding and continuity through folk live with either parent, or many rarely see a parent who works late traditions. shift, or may not feel they can talk to a parent, and so will have a hard • Identify family activities which meet the criteria of folklore time with a few of the assignments (how they were named, collecting and folklife. a family recipe). Alternatives might need to be suggested in these cases, such as having a student write about his or her nicknames rather than a given name, or getting information from another adult like a neighbor or foster parent. If there are no family celebrations, Materials: rituals or other traditions among their students; in this case, you might 1. Family photographs get them to talk about celebrations or traditions in some other group they belong to, such as a club, sports teams, or even the classroom.
    [Show full text]
  • Towards a Missiological Model for Worldview Transformation Among Adherents to African Traditional Religion in Yorubaland
    Andrews University Digital Commons @ Andrews University Dissertations Graduate Research 2014 Towards a Missiological Model for Worldview Transformation among Adherents to African Traditional Religion in Yorubaland Kelvin Okey Onongha Andrews University Follow this and additional works at: https://digitalcommons.andrews.edu/dissertations Part of the African Languages and Societies Commons, History of Religions of Western Origin Commons, and the Missions and World Christianity Commons Recommended Citation Onongha, Kelvin Okey, "Towards a Missiological Model for Worldview Transformation among Adherents to African Traditional Religion in Yorubaland" (2014). Dissertations. 119. https://digitalcommons.andrews.edu/dissertations/119 This Dissertation is brought to you for free and open access by the Graduate Research at Digital Commons @ Andrews University. It has been accepted for inclusion in Dissertations by an authorized administrator of Digital Commons @ Andrews University. For more information, please contact [email protected]. Thank you for your interest in the Andrews University Digital Library of Dissertations and Theses. Please honor the copyright of this document by not duplicating or distributing additional copies in any form without the author’s express written permission. Thanks for your cooperation. ABSTRACT TOWARDS A MISIOLOGICAL MODEL FOR WORLDVIEW TRANSFORMATION AMONG ADHERENTS TO AFRICAN TRADITIONAL RELIGION IN YORUBALAND by Kelvin Okey Onongha Adviser: Bruce L. Bauer ABSTRACT OF GRADUATE STUDENT RESEARCH Dissertation Andrews University Seventh-day Adventist Theological Seminary Title: TOWARDS A MISSIOLOGICAL MODEL FOR WORLDVIEW TRANSFORMATION AMONG ADHERENTS TO AFRICAN TRADITIONAL RELIGION IN YORUBALAND Name of the researcher: Kelvin Okey Onongha Name and degree of faculty adviser: Bruce L. Bauer, D.Miss. Date completed: April 2014 Seventh-day Adventist missions in the western region of Nigeria are a century old, yet reversion to pre-Christian practices such as divination and sorcery are reported, especially during periods of personal crises.
    [Show full text]
  • Get Physical
    A publication of Philadelphia Corporation for Aging May 2016 • Free Inside Discover our city’s public art & sculpture Get Physical Elder honored: Wisdom, spirituality, integrity Bocce began in Egypt ... 14 By Marcia Z. Siegal “Go, Marie! Try to find strength!” “Give ‘em hell, Julie!” “Terry, we need you!” “Green’s in!” “Red got two!” “The stress is killing me!” At Guerin Recreation Center in South Phila- delphia, bocce is serious business. Just ask mem- bers of its women’s bocce teams. Ranging in age “Swann Memorial Fountain” at from 45 to 90, the players meet Thursday eve- Logan Square was originally named nings from October until May, when the finals “The Fountain of Three Rivers” for are held. At the Guerin Center, as traditional Philadelphia’s main waterways: the • continued on page 18 Delaware River, Schuylkill River and Wissahickon Creek. In Season: VisitPhiladelphia for B. Krist by Photo Two delicious strawberry recipes ... 16 By Alicia M. Colombo civic organization dedicated to creating a “museum without walls” by integrating public art and urban design. Philadelphia is known as the “The Many of Philadelphia’s most iconic City of Murals,” but it’s also home to sculptures represent the people and plac- a collection of 1,500 pieces of outdoor es of our region. When “Swann Memo- sculpture, with a tradition of public art rial Fountain” opened in 1924 at Logan that goes back almost a century and a Square (Benjamin Franklin Parkway at half. 19th Street), it is said that 10,000 people “Philadelphia is unique in that we danced the tango in the streets to music have one of the largest and oldest collec- played by the police band.
    [Show full text]
  • Missouri Folk Arts Program
    Missouri Folk Arts Program Lisa L. Higgins MFAP Director One hundred and fifty years ago, the largest of the 2012 festival’s themes: Palmer on behalf of the Mississippi River President Lincoln signed a legislative “Campus and Community.” Smithsonian Hills Association in Ste. Genevieve. MU act sponsored by Congressman Justin S. curators helped MU staff develop activities, Folklore graduate student Claire Schmidt Morrill, ultimately establishing land grant exhibits, lectures, demonstrations, and also provided assistance. After a year of universities across the country to broaden performances to showcase the ways a planning, drafting, brainstorming, building, access to higher education “for all social twenty-first century land grant university organizing, coordinating, and staging, classes.” Forty-five years ago, folklorist “puts research into action.” MU and our peers from all corners of the Ralph Rinzler co-founded the Smithsonian To coordinate Missouri’s contributions U.S. welcomed visitors at several venues Folklife Festival, a living museum held to the festival, I partnered with LuAnne within the festival. From Reunion Hall and outdoors each summer on the National Roth, folklorist and Mizzou Advantage Smithsonian U (a site for short, engaging Festival curators also created Reunion Hall, a designated area Mall in Washington, D.C. and billed as education coordinator, along with a lectures) to the Test Kitchen, Morrill Stage, for universities’ alumni to check-in and share stories about their “an exercise in cultural democracy.” team including Ana Compain-Romero and The Commons, MU staff engaged experiences at land grant universities. Chancellor Deaton and Dr. This summer, those two milestones and of University Affairs; Jo Britt-Rankin, thousands of festival visitors, despite a Anne Deaton visited on day three of the ten-day event.
    [Show full text]
  • 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.
    [Show full text]
  • Kentucky Folk Arts and Crafts
    IIDEA GGUIDE KENTUCKY FOLK ARTS AND CRAFTS “Kentucky Originals” Make Perfect Lexington Visitors Center 215 West Main Street Souvenirs of Lexington and the Bluegrass Lexington, KY 40507 (859) 233-7299 or (800) 845-3959 www.visitlex.com Kentucky has long been famous for its quilts, sive W.T. Young Library on the University of pottery, woodcarvings, dulcimers, hand-woven Kentucky campus maintains a collection of quilts on the blankets and other handcrafted products. Whether you top floor. (859) 257-0500. just want to admire the works of traditional and con- temporary Kentucky artists and artisans, or are looking for a unique souvenir of your visit, you'll find an unfor- Amber Inspiration gettable collection of creative expressions at galleries, In this case, we mean the spirit! A number of craftsmen shops, studios and museums in Lexington and nearby have been inspired by Kentucky’s amber elixir to find communities. creative uses for old Bourbon barrels. One solution can be found at Bourbon Barrel Guitars. Lexington In and Around Lexington: Woodworker Mike Mandel fashions electric guitars and basses out of recycled white oak from Bourbon barrels Traditions Old and New (859-809-7769). At Kentucky Knows in Frankfort, local entrepreneur Tony Davis dismantles barrels and Your “craft tour of the Bluegrass” begins in offers one-of-a-kind items from lazy susan’s to cutting Lexington at two unique stores. Artique, at Lexington boards, coffee scoops and even sunglasses. collection, Green off Nicholasville Road (859-272-8802) has every- Tony strives to share the history and culture of thing from fine jewelry to birdhouses.
    [Show full text]
  • Masters of Traditional Arts Education Guide
    Masters of Traditional Arts Education Guide Paddy Bowman Betty Carter Alan Govenar Masters of Traditional Arts Education Guide Published by Documentary Arts, Inc. Supported in part by National Endowment for the Arts Pennsylvania Council for the Arts City of Dallas Office of Cultural Affairs Ohio Arts Council Photographs by Alan Govenar Education Guide designed by Katy Parker Copyright © 2011 by Documentary Arts, Inc. Contents Preface The National Heritage Fellowship Meeting Education Standards Opportunities for Learning Tools for Learning Educators’ Suggested Applications Overarching Student Activities Mini-Lessons Decoding Different Media Studying Photographs Reading Artist Profiles Listening to Audio Viewing Video Comparing Media Creating Multimedia Presentations Unit 1. Sense of Place Cultural Insiders and Outsiders - Sensing Place through the Five Senses Finding Clues to Sense of Place Sample Sense-of-Place Chart Unit 2. Sense of Wonder Indigenous Teachers Genres Music and Dance Crafts and Material Culture Unit 3. Sense of Discovery Fieldwork Collecting and Organizing Mapping Culminating Projects Resources Printable Student Handouts Photo Analysis Artist Bio Notes Video Analysis Listening Log ~ Musical Elements Listening Log ~ Audio Profile Artifact Analysis Exploring Sense of Place Vocabulary Fieldwork Rubric Portfolio Rubric Interview Form Release Forms Defining Folklore Folklore in Education Bibliography Folklore in Education Webography Folkstreams Films about Heritage Fellows Suggested Student Readings Preface Teachers across the country face mounting pressure to help students achieve state and national standards. With expectations continually increasing, these teachers are searching for strategies that incorporate new curriculum standards in creative, meaningful and purposeful ways. As I listen to requests from teachers and librarians in my district and throughout the nation, I hear them ask for materials that help accomplish these goals.
    [Show full text]