ENGH 412(CRN 72572) 591 (CRN 72574), Public Folklore, 2019 Meets Tuesdays 4:30-7:10 Pm in Enterprise Hall 174

Total Page:16

File Type:pdf, Size:1020Kb

ENGH 412(CRN 72572) 591 (CRN 72574), Public Folklore, 2019 Meets Tuesdays 4:30-7:10 Pm in Enterprise Hall 174 ENGH 412(CRN 72572) 591 (CRN 72574), Public Folklore, 2019 Meets Tuesdays 4:30-7:10 pm in Enterprise Hall 174 Professor: Dr. Lisa Gilman Email: [email protected]/ Phone: 541-285-7043 Office: 418 Robinson B Office Hours: Thurs 10-noon and by appt Communication. Email is preferred method oF communication. Allow 24 hours for response. GMU’s policy is to use only GMU accounts to communicate with students. Check your Mason email account regularly and use it For all communication related to this class. Course Description: This course explores the theory and practice oF arts and cultural programming in the public sphere. Readings, focused discussions, guest speakers, and a Fieldtrip to DC cultural institutions will illuminate a range oF proFessional opportunities available to cultural workers of varied backgrounds. Learning Outcomes: • Improve written and oral communication skills • Learn about history and theory oF public Folklore • Strengthen writing skills important For jobs in public Folklore • Become familiar and begin developing network with public Folklorists in the DMV • Build grant writing skills ReQuired texts: All readings available on Blackboard. Optional Texts: • Baron, Robert and Nick Spitzer, eds. 1992. Public Folklore. Washington & London: Smithsonian Institution Press. • Cadaval, Olivia, Sojin Kim, and Diana Baird N'Diaye, eds. 2016. Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival. Jackson: University Press of Mississippi. • Feintuch, Burt, ed. 1988. The Conservation of Culture: Folklorists and the Public Sector. Lexington: University oF Kentucky Press. • HuFFord, Mary. 1994. Conserving Culture: A New Discourse on Heritage. Urbana: University of Illinois Press. • Jones, Michael Owen, ed. 1992. Putting Folklore To Use. Lexington: The University Press of Kentucky. Assignments and Grading: Undergraduate students • Attendance and participation (20%): students will be assessed on their attendance, participation, and completion oF in-class writings and activities. Be prepared for un-announced in-class essays about assigned readings. • Attend a folklore eVent (10%). Attend one Folklore lecture or event during the semester (instructor approval required). Submit 1-page paper with title, date, and location oF event, brieF description, and brieF analysis using one concept From class. Due one week aFter event. • ReVieW of public folklore programs (10%, due 9/17) • InterVieW a public folklorist (20%, due 10/22) o Interview a public Folklorist. o Log audio oF interview o Write a 300 word bio • Grant proposal (40%): o DraFt (15%, due 11/12) o Presentation (5%, due 12/3) o Final version (20%, due 12/9 by 5:00 pm) Graduate students • Attendance and participation (10% ): students will be assessed on their attendance, participation, and completion oF in-class writings and activities. Be prepared for un-announced in-class essays about assigned readings. • Attend a public folklore eVent (10%). Could be a perFormance, Festival, exhibit, etc. • Write a blog entry describing it to the general public. Due one week aFter event. • ReVieW of public folklore programs (10%, due 9/17) • InterVieW a public folklorist (20%, due 10/22) o Interview a public Folklorist o Log audio oF interview o Write a 300 word bio • Job application letter (20%) • Find a job posting or use the one provided on Blackboard • Write a letter oF application to the position • DraFt to share with other student (5%) • Final version (15%, due 11/26) • Grant proposal (30%): • DraFt (10%, due 11/12) • Presentation (5%, due 12/3) • Final version (15%, due 12/9 by 5:00 pm) Attendance • Class meetings are used For discussions, lectures, group assignments, writings, and other activities. Attendance is mandatory and Fundamental to your success. • When academic requirements conFlict with observance oF religious holidays, students must inForm instructors in advance oF holiday. • If you miss class, it is your responsibility to obtain notes and materials. IF your absence is due to excusable circumstances, you may meet with me to review missed materials and determine schedule For completing any missed work. • If excusable circumstances prevent your attendance or turning in an assignment on time, communicate with me before or within 24 hours after due date via e-mail (this requirement liFted in extreme circumstances). Late papers (not due to excusable circumstances or to agreement with me) will drop one letter grade each day they are late. Use of electronic deVices: Cell phones, pagers, and other communicative devices are not allowed in this class. Please keep them stowed away and out of sight. Laptops or tablets are permitted for the purpose of taking notes only. Engaging in activities not related to the course (e.g., gaming, email, chat, etc.) will result in a significant deduction in your participation grade. Academic Integrity: Mason has an Honor Code with clear guidelines regarding academic integrity. Three principles to follow are that: (1) all work submitted be your own; (2) when using the work or ideas of others, including fellow students, give full credit through accurate citations; and (3) if you are uncertain about the ground rules on a particular assignment, ask for clariFication. Plagiarism means using the exact words, opinions, or factual inFormation from another person without giving the person credit. Writers give credit through accepted documentation styles, such as parenthetical citation, footnotes, or endnotes. Paraphrased material must be cited. If you have doubts about what constitutes plagiarism, see me. No grade is important enough to justiFy academic misconduct. Diversity and Inclusion: This course seeks to create a learning environment that fosters respect for people across identities. We welcome and value individuals and their diFFerences, including gender expression and identity, race, economic status, sex, sexuality, ethnicity, national origin, first language, religion, age and ability. We encourage all members of the learning environment to engage with the material personally, but to also be open to exploring and learning from experiences diFFerent than their own. Accessibility: Disability Services at GMU is committed to providing equitable access to learning opportunities for all students by upholding the laws that ensure equal treatment of people with disabilities. If you are seeking accommodations for this class, please first visit http://ds.gmu.edu/ for detailed inFormation about the Disability Services registration process. Then please discuss your approved accommodations with me. Disability Services is located in Student Union Building I (SUB I), Suite 2500. Email:[email protected] | Phone: (703) 993-2474. Sexual Harassment, Sexual Misconduct, and Interpersonal Violence: GMU is committed to providing a learning, living and working environment that is Free From discrimination and a campus that is free of sexual misconduct and other acts of interpersonal violence. We encourage students who believe that they have been sexually harassed, assaulted or subjected to sexual misconduct to seek support. University Policy 1202: Sexual Harassment and Misconduct speaks to the specifics oF Mason’s process, the resources, and the options available to students. Notice of mandatory reporting of sexual assault, interpersonal violence, and stalking: As a faculty member, I am designated as a “Responsible Employee,” and must report all disclosures of sexual assault, interpersonal violence, and stalking to Mason’s Title IX Coordinator per University Policy 1412. You may seek assistance from Mason’s Title IX Coordinator, JenniFer Hammat, by calling 703-993-8730 or email [email protected]. If you wish to speak with someone conFidentially, please contact one of Mason’s conFidential resources, such as Student Support and Advocacy Center (SSAC) at 703-993-3686 or Counseling and Psychology Services (CAPS) at 703-993-2380. The 24-hour GMU Sexual and Intimate Partner Violence Crisis Line is 703-380- 1434. *********************************************** SCHEDULE OF CLASS READINGS AND ASSIGNMENTS PART I: WHAT IS PUBLIC FOLKLORE: DEFINITIONS, HISTORY, AND THEORY WEEK 1, 8/27: What is Public Folklore? Readings: • Robert Baron and Nick Spitzer. 1992. Introduction. Public Folklore, pp 1-14. Washington & London: Smithsonian Institution Press. • Michael Owen Jones, 1992. Applying Folklore Studies: An Introduction. In Putting Folklore To Use, pp. 1-41. Lexington, KY: The University Press oF Kentucky. • Alvarez, Maribel and Gary Paul Nabhan. 2018. Strategies to Broaden Knowledge: Citizen Scientists and Citizen Folklorists. Local Learning: The Journal of Folklore and Education. 5(1). https://www.locallearningnetwork.org/journal-of-folklore-and-education/current-and-past- issues/jFe-vol-5-2018/journal-of-folklore-and-education-volume-5-issue-1/strategies-to- broaden-knowledge/ WEEK 2, 9/3: History Readings: • Erica Brady. 1988. The Bureau of American Ethnology: Folklore, Fieldwork, and the Federal Government in the Late Nineteenth and Early Twentieth Centuries. In The Conservation of Culture, ed. Burt Feintuch, pp. 35-45. Lexington: University oF Kentucky Press. • Hawes, Bess Lomax. 1992. Happy Birthday, Dear American Folklore Society: ReFlections on the Work and Mission oF Folklorists. In Public Folklore, eds. Robert Baron and Nick Spitzer, pp. 65- 73. Washington & London: Smithsonian Institution Press. • Hirsch, Jerrold. 1988. Cultural Pluralism and Applied Folklore: The New Deal Precedent. In The Conservation of Culture, ed. Burt Feintuch, pp. 46-67. Lexington:
Recommended publications
  • 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.
    [Show full text]
  • FOLK STUDIES 585: Public Folklore Policy and Practice in Washington DC Syllabus & Itinerary Winter 2015, January 9-23 Brent Bjorkman ([email protected])
    FOLK STUDIES 585: Public Folklore Policy and Practice in Washington DC Syllabus & Itinerary Winter 2015, January 9-23 Brent Bjorkman ([email protected]) For years, folklorists have made it their lives’ work to help document, present and conserve the traditional arts and cultural heritage of our nation. Even from the earliest days of these passionate pursuits, key figures like Benjamin Botkin, chairman of the Federal Writer’s Project, helped to shape the importance and understanding of these vernacular expressions of culture and “insisted that democracy is strengthened by the valuing of myriad cultural voices” of Americans, not only those of a chosen few. Folklorists have recognized the need to create mechanisms at the national level to foster the growth of their efforts nationwide and to ensure that traditional arts and culture are a national priority. After the turn of the last half of the 20th century these notions to preserve and promote the traditional arts and culture of the country were furthered by the creation of folklife programs within federal cultural entities like the National Endowment for the Arts, the Library of Congress, and the Smithsonian Institution. In this course, we will travel to the nation’s capital to explore the diverse range of work being done in the area of cultural policy as it relates to public folklore documentation, presentation and conservation by the folklife agencies based there. Over this five-day period the class will meet with a variety of cultural policy specialists from The American Folklife Center at the Library of Congress, Smithsonian Center for Folklife and Cultural Heritage, National Endowment for the Arts, and the National Park Service, among others.
    [Show full text]
  • AMERICAN FOLKLORE ARCHIVES in THEORY and PRACTICE Andy
    CORE Metadata, citation and similar papers at core.ac.uk Provided by IUScholarWorks ARCHIVING CULTURE: AMERICAN FOLKLORE ARCHIVES IN THEORY AND PRACTICE Andy Kolovos Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of Folklore and Ethnomusicology, Indiana University October 2010 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee Gregory Schrempp, Ph.D. Moira Smith, Ph.D. Sandra Dolby, Ph.D. James Capshew, Ph.D. September 30, 2010 ii © 2010 Andrew Kolovos ALL RIGHTS RESERVED iii For my Jenny. I couldn’t have done it without you. iv Acknowledgements First and foremost I thank my parents, Lucy and Demetrios Kolovos for their unfaltering support (emotional, intellectual and financial) across this long, long odyssey that began in 1996. My dissertation committee: co-chairs Greg Schrempp and Moira Smith, and Sandra Dolby and James Capshew. I thank you all for your patience as I wound my way through this long process. I heap extra thanks upon Greg and Moira for their willingness to read and to provide thoughtful comments on multiple drafts of this document, and for supporting and addressing the extensions that proved necessary for its completion. Dear friends and colleagues John Fenn, Lisa Gabbert, Lisa Gilman and Greg Sharrow who have listened to me bitch, complain, whine and prattle for years. Who have read, commented on and criticized portions of this work in turn. Who have been patient, supportive and kind as well as (when necessary) blunt, I value your friendship enormously.
    [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]
  • Dr. Lisa Daly Cast Net Throwing with Alex Howse Storytelling with Dale Jarvis
    WHO WE ARE Heritage Tomorrow NL supports the development of the next generation of heritage enthusiasts. Heritage Tomorrow NL works to build a network of post high-school-aged youth and emerging heritage professionals within the province. We strive to encourage and promote youth participation in Newfoundland and Labrador’s heritage field. PAGE ONE SCHEDULE OF EVENTS 9:30AM: Registration 10:00AM: Introductions Morning Snacks/Caffeinated Beverages 10:30AM - 11:30AM: Learn Heritage Skills with Heritage-Bearers 11:30PM – 12:30PM: Lunch - Volcano Bakery “Adultier Adults” Shop Talk 12:30PM – 1:30PM: Heritage Skills Competition 1:30PM – 2:00PM: Closing Remarks Heritage Skills Winners Evaluations PAGE TWO hERITAGE SKILLS CHALLENGE A guaranteed-to-be-a-good-time activity (inspired by the Wooden Boat Museum) that introduces participants to heritage skills they will master within minutes! (Okay, maybe not “master”, but you’ll be better than you were before.) This year’s skills include: Cross-stitch with Katharine Harvey Northern Games with Peter Geetah a member of the St. John’s Native Friendship Centre Pot reconstruction (smash & fix!) with Dr. Lisa Daly Cast net throwing with Alex Howse Storytelling with Dale Jarvis Heritage bearers are on site to teach participants the task at hand. After learning from a pro, everyone will show-off their new-found skills in a timed challenge in the name of fun and friendly competition. AND PRIZES! PAGE THREE “adultier” adults shop talk Do you have questions about working in the heritage field? Are you looking for someone to share experiences with? Or maybe you just want to make some new friends! This session is a chance to pick the brains of your peers.
    [Show full text]
  • Survey of Public Folklore Collections in the Upper Midwest 2005-2006 Center for the Study of Upper Midwestern Cultures University of Wisconsin-Madison Csumc.Wisc.Edu
    Survey of Public Folklore Collections in the Upper Midwest 2005-2006 Center for the Study of Upper Midwestern Cultures University of Wisconsin-Madison csumc.wisc.edu Location of publicly-funded folklore fieldwork collections in the Upper Midwest Survey of Public Folklore Collections in the Upper Midwest 2005-2006 Author: Nicole Saylor Editors: Ruth E. Olson, Janet C. Gilmore, and Karen J. Baumann Online Adaptation: Mary Hoefferle, Karen J. Baumann, and Janet C. Gilmore Publisher: Center for the Study of Upper Midwestern Cultures 901 University Bay Drive Madison, WI 53705 http://csumc.wisc.edu The “Survey of Public Folklore Collections in the Upper Midwest, 2005- 2006” report was first printed and distributed in Summer 2007. This Winter 2009 online version of the survey includes modifications based on responses from survey participants. The publication of this report, and the survey on which it is based, were made possible with funding from a National Historical Publications and Records Commission grant, 2005-2006. Additional funding from the National Endowment for the Arts, and advisory assistance from folklorists and archivists regionally and nationally, have supported research leading to the survey and following from it. 2 INDEX Overview.......................................................................................................................................4 Survey Findings.............................................................................................................................8 Key to Collection Profile
    [Show full text]
  • Resource Guide for Graduate Students and New Professionals
    Professional Development in Folklore: A Resource Guide for Graduate Students and New Professionals Presented in conjunction with the Professional Development Sessions at the American Folklore Society 2003 Annual Meeting Albuquerque, New Mexico, October 9-10, 2003 Compiled by Laura R. Marcus, Program Associate The Fund for Folk Culture In collaboration with the American Folklore Society Supported by the National Endowment for the Arts Copyright The American Folklore Society, 2003 2 Professional Development in Folklore and Folklife: A Resource Guide for Graduate Students and New Professionals TABLE OF CONTENTS Preface 3 Graduate Programs in Folklore in the US and Canada 4 National Folklore and Folklife Resources 5 Resources for Finding Funding and Employment Opportunities 9 Academic Folklore 12 Funding Resources for Scholarly Research 12 Additional Resources for Identifying Sources of Support For Scholarly Work 20 Career Resources 21 Scholarly Organizations Serving Allied Fields 21 Public and Applied Folklore 23 Funding Resources 25 Career Resources 30 Additional Service Organizations 31 A Word About Public, Applied, and Independent Folklorists Working in Alternative Professional Contexts 33 Acronym Cheat Sheet 35 3 PREFACE The American Folklore Society and the Fund for Folk Culture, with funding from the National Endowment for the Arts, present A Resource Guide for Graduate Students and New Professionals, in conjunction with a series of Professional Development Sessions held at the 2003 American Folklore Society Meetings in Albuquerque, New Mexico. This guide is geared towards graduate students and to professionals who are at the beginning stages of their careers as professional folklorists. We hope that folklorists interested in pursuing academic, public/applied, or independent work will use this guide to locate educational, funding, and employment opportunities, and to familiarize themselves with the national, regional and local resources serving the field of folklore.
    [Show full text]
  • Public Folklore Programs in the United States by Tina Bucuvalas
    1 Public Folklore Programs in the United States By Tina Bucuvalas Prologue I would like to thank Villy Fotopoulou and Yiannis Drinis for the very kind invitation to share information about the field of public folklore in the US—and thanks are also due to my colleague Vassiliki Chryssanthopoulou for facilitating the emerging dialogue about public folklore and ICH policy and practice. It is a great honor to have been asked to speak tonight. One reason is that I have tremendous respect for the work of Greek scholars in sustaining their cultural heritage. A decade ago, I was fortunate to receive a Fulbright award to research what I saw as public folklore programs in Greece. While most were not directly government- sponsored, I interviewed and explored the work of many who worked with impressive and innovative programs—in museums, local and private organizations, universities, and other places. For those of you who work in this arena, I think you will find that we have much in common. Introduction To introduce the field of public folklore, I will cover the training of public folklorists, then explore our institutional infrastructure, and provide you with examples drawn from my work. As in most nations, our discipline focuses on living traditional culture as practiced among families, communities, and folk groups during everyday life—and now as it is presented on stages, at public events, and in museums. While most traditional activity occurs outside institutional settings, some intersects with commerce and popular culture and other portions are supported by public and private funding. American folklorists are usually trained at the graduate level and work either in the academic or public sectors—and many have worked in both.
    [Show full text]
  • The Maine Folklife Center Celebrating Traditional Arts and Culture of Maine and the Region
    The Maine Folklife Center Celebrating Traditional Arts and Culture of Maine and the Region Volume 17: Issue 2, Fall 2012 Introducing the new Archives Manager, Katrina Wynn lived in the south. I earned my bachelor’s degree in anthropology from American University in Washington, D.C. and lived there for two years following graduation, during which time I fell even more in love with the city. For my degree, I had to do an internship and I ended up at the Smithsonian Center for Folklife and Cultural Heritage working on the Folklife Festival. It was my first introduction to folklife and I loved it. In fact, I ended up interning there again the next year and volunteering after I graduated. Then I moved even further south when I did my master’s work in folk studies at Western Kentucky University. At WKU, I focused on public folklore. This meant learning about public folklore centers (including this one!), learning to write grants and lesson plans, and doing a public folklore internship in addition to taking the core classes. Most people ask me if I focused further on say, Native American folklore or British folklore, but my program didn’t work like that. However, my professors were very open to letting us write our term papers on any topic we wanted, so I ended up writing four papers (and doing two term projects) on one of my favorite areas: foodways. Happy winter Maine Folklife Center members! I am You may be wondering how a public folklorist ended the new Archives Manager, so I thought I’d take this up as an archives manager.
    [Show full text]
  • National Heritage Fellowships II 2016 NEA National Heritage Fellowships NATIONAL ENDOWMENT for the ARTS 2016 National Heritage Fellowships
    NATIONAL ENDOWMENT FOR THE ARTS 2016 National Heritage Fellowships II 2016 NEA National Heritage Fellowships NATIONAL ENDOWMENT FOR THE ARTS 2016 National Heritage Fellowships Clarissa Rizal regalia Photo by Jeff Laydon/Pagosa Photography COVER Theresa Secord basket Photo by Theresa Secord Elk flute by Bryan Akipa Photo by Mike Wolforth, Rapid City, SD Contents 5 Message from the President of the United States 6 Message from the Chairman 7 Message from the Director 2016 NEA National Heritage Fellows 8 Bryan Akipa Dakota Flute Maker and Player, Sisseton, SD 10 Joseph Pierre ”Big Chief Monk” Boudreaux Mardi Gras Indian Craftsman and Musician, New Orleans, LA 12 Billy McComiskey Irish Button Accordionist, Baltimore, MD 14 Clarissa Rizal Tlingit Ceremonial Regalia Maker, Juneau, AK 16 Theresa Secord Penobscot Nation Ash/Sweetgrass Basketmaker, Waterville, ME 18 Bounxeung Synanonh Laotian Khaen Player, Fresno, CA 20 Michael Vlahovich Master Shipwright, Tacoma, WA/St. Michaels, MD 22 Leona Waddell White Oak Basketmaker, Cecilia, KY 24 THE 2016 BESS LOMAX HAWES AWARD Artemio Posadas Master Huastecan Son Musician and Advocate, San Jose, CA 26 Acknowledgments 27 Concert Credits Master of Ceremonies 28 NEA National Heritage Fellowships, 1982–2015 n the 34th year of the NEA National Heritage Fellowships, we are pleased to present to this year’s Fellows an award that Icarries with it the passion and knowledge of cultural traditions passed down through the generations. Ornamental ironwork found in Charleston, South Carolina, and Osage Nation ribbonwork were two craft traditions celebrated in 1982, the inaugural year of the NEA National Heritage Fellowships. Joined together, these traditions represent legacies of perpetuation, distinction, and extraordinary commitment to cultural heritage.
    [Show full text]
  • Bulletin De L'association Canadienne D'ethnologie Et
    BULLETIN DE L’ASSOCIATION CANADIENNE D’ETHNOLOGIE ET DE FOLKLORE BULLETIN OF THE FOLKLORE STUDIES ASSOCIATION OF CANADA VOLUME 42 MAY 2018 MAI Editor / Rédacteur: John Bodner Translations / Traductions: Van Troi Tran, Tiffany Hancock, & Jennifer Boivin The Bulletin of the Folklore Studies Association of Canada is published annually, and Le Bulletin de l’Association canadienne d’ethnologie et de folklore est une publication distributed at the time of the Annual General Meeting. It is available to annuelle et est distribué au moment de l’Assemblée générale annuelle aux members of FSAC. The Bulletin is now an electronic publication and is available membres de l’ACEF. Le Bulletin est une publication électronique et disponible on the FSAC website. sur le site web de l’ACEF. Memberships in FSAC run for the calendar year, January 1 to December 31. L’adhésion à l’ACEF est valable du 1er janvier au 31 décembre de l’année d’abonnement. BULLETIN Deadlines Dates limites Volume 43 Volume 43 For the next publication, contributions to the Bulletin should be received by the Les soumissions au Bulletin pour le prochain numéro doivent parvenir aux Editors by rédacteurs au plus tard le 1 April 2019 1 avril 2019 The Editors offer thanks to the organiser of the 41th Annual meeting, Tiber Les rédacteurs veulent exprimer leur gratitude a l’organisateur de la 41ieme Falzett. réunion annuelle, Tiber Falzett. Notice Attention As the Bulletin is published only once a year, current news may be found on the Comme le Bulletin ne paraît qu’une fois l’an, on pourra retrouver les nouvelles Association’s website, below.
    [Show full text]
  • National Support Systems for Folklife, Traditional Arts, and Cultural Heritage
    National Support Systems for Folklife, Traditional Arts, and Cultural Heritage Summary Report of Field Convening organized by the Alliance for California Traditional Arts and the American Folklife Center September 27-28, 2018 The American Folklife Center, Library of Congress, Washington, D.C. _____________________________________________________________________ Report prepared by: Amy Kitchener, Executive Director, Alliance for California Traditional Arts and Elizabeth Peterson, Executive Director, American Folklife Center Published: September 2019 1 National Support Systems for Folklife, Traditional Arts, and Cultural Heritage Summary Report Prepared by Amy Kitchener and Elizabeth Peterson On September 27-28, 2018, the American Folklife Center (AFC) and the Alliance for California Traditional Arts (ACTA) co-convened a meeting at the American Folklife Center, Library of Congress in Washington, DC, bringing together a group of folklorists and others in related fields to explore the topic of existing infrastructure for the folk and arts and cultural heritage in the United States and opportunities and challenges for future collaborative strategies. The directors of both organizations, Betsy Peterson (AFC) and Amy Kitchener (ACTA) served as co-conveners and both organizations contributed funding to subsidize out-of-town travel for participants. This convening was loosely connected to and helped inform a larger gathering planned by the National Endowment for the Arts (NEA) Folk and Traditional Arts Program which was held in conjunction with the National Assembly of State Arts Agencies meeting in November 2018. A dozen or so people attended both meetings. MEETING BACKGROUND AND FOCUS: The field of folk arts and traditional culture is decentralized with no national service organizations providing comprehensive services, advocacy or support.
    [Show full text]