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AUTHOR Graham, Andrea TITLE Nevada Folklife: A Curriculum Unit for Junior High and Middle School Students. INSTITUTION Nevada State Council on the Arts, Carson City.; Nevada State Dept. of Education, Carson City. PUB DATE 91 NOTE 42p.; Funded in part by grants from the Nevada Humanities Committee and Nevada 125th Anniversary Committee. AVAILABLE FROMNevada State Council on the Arts, 329 Flint St., Reno, NV 89501. PUB TYPE Guides Classroom Use Teaching Guides (For Teacher) (052)

EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS Artists; Community Resources; *Cultural Education; Curriculum Design; Elementary School Students; *Folk Culture; Handicrafts; Intermediate Grades; Junior High Schools; Junior High School Students; *Material Culture; Middle Schools; *Oral Tradition; Social Studies IDENTIFIERS Middle School Students; *Nevada

ABSTRACT Folk culture is everyday culture. Since all students have a folk culture, a folklife unit is a good starting place for the study of personal, local, state, and national history, and by comparing similarities and differences, for the study of the folk traditions of others. The guide begins with an introduction to the field of folklife and the lessons it can teach. Five daily lesson plans for a unit on folklife follow: What is Folklore?; Family Folklore (two lessons); Folk Groups; and Community Folklife. Seven additional chapters go into more detail on specific forms of folk traditions. Suggested classroom activities are given for each area: (1) "Oral Traditions";(2) "Music and Dance";(3) "Folk Crafts and Art";(4) "Occupational and Recreational Lore and Skills";(5) "Material Culture";(6) "Folk Beliefs and Medicine"; and (7) "Foodways." Folklore throughout the curriculum suggests opportunities for incorporating folklife into established subject areas. The guide concludes with suggestions for finding artists and resources in the community and bringing them into the classroom, and a list of resources, organizations, books, and films. (MM)

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BEST COPY AVAILABLE NEVADA FOLKLIFE A Curriculum Unit for Junior High and Middle School Students

By Andrea Graham

Distributed by the Nevada State Council on the Arts and Nevada Department of Education

Funded in part by grants from the Nevada Humanities Committee and Nevada 125th Anniversary Committee NEVADA FOLKLIFE A Curriculum Unit for Junior High and Middle School Students By Andrea Graham

©1991 Nevada State Council on the Arts

FIJNDING PROVIDED BY

NEVADA HUMANITIES COMMITTEE

STEVX1-5A 1864 .1989 NEVADA 125TH ANNIVERSARY COMMITTEE 0NEVADA STATE COUNCIL ON THE ARTS

NEVADA DEPARTMENT OF EDUCATION

Additional copies may be ordered from:

Nevada State Council on the Arts Nevada Department of Education 329 Flint St. Basic Education Rena, NV 89501 400 W. King St. (702) 688-1225 Carson City, NV 89710 (702) 687-3136

2 NEVADA FOLKLIFE Contents

5 INTRODUCTION 6 WHAT IS FOLKLORE? 9 GOALS 10 TEACHING SUGGESTIONS

11 LESSON PLANS 11 One 13 'Dvvo 14 Three 16 Four 17 Five

18 ADDITIONAL LESSONS 19 Oral Traditions 21 Music and Dance 23 Folk Crafts and Art 24 Occupational and Recreational Lore and Skills 26 Material Culture 28 Folk Beliefs and Medicine 30 Foodways

31 FOLKLORE THROUGHOUT THE CURRICULUM 33 FIELDWORK: Finding Folk Artists in Your Community 35 FOLK ARTISTS IN THE CLASSROOM 37 NEVADA FOLKLORE RESOURCES 38 FOLKLORE BIBLIOGRAPHY

NEVADA FOLKLIFE 3 Acknowledgements

11he Nevada Folk life Curriculum Unit Dayton Elementary. Thanks also to was developed with funding from a folklorists Nancy Nusz of Oregon and Nevada Humanities Committee grant Dave Stanley of Utah for helpful com- and matching time and money from the ments and suggestions. Douglas County School District, the This publication was designed by Paul Nevada State Council on the Arts and Cirac of White Sage Studios in Virginia the Nevada Department of Education. City, and printed by the Nevada State Behind each of these organizations are Printing Office. Design and printing of specific individuals who made the job the unit were made possible through a easier: Judy Winzeler, Executive Direc- grant from the Nevada 125th Anniver- tor of the Humanities Committee; Tho- sary Committee. mas Covault, Assistant Superintendent for Education with the Douglas County Schools; Blanton Owen, Folk Arts Pro- gram Director with the Arts Council; Andrea Graham and Bill Abrams, Education Consultant Nevada State Council on the Arts at the Nevada Department of Education. May 1991 This curriculum would not have been possible without the participation of working teachers in the Douglas County system, who helped organize the lessons and tried them out on their students. Howard Bennett, Tom Morgan and Susan Williams sketched out the lesson plans; Susan Williams used the lessons in her class and made them better. Nine Nevada teachers participated in an in-service class in the fall of 1990 to use the lessons with their students and refine the unit further; their help was invaluable. Thanks to Janet Anderson, Carson City High; Judy Armstrong, E.W. Fritsch Elementary, Carson City; Christina Carter, BillinghurSt Middle, Reno; Dixie Crook, Vaughn Middle, Reno; Kathleen Johnson, Towles El- ementary, Reno; Derek Larson, Gomes Elementary, Reno; Ellyn MacKenzie, Vaughn Middle, Reno; Pete Simone, Washoe High, Reno; and Tom Zachry,

4 NINADA FOLKLIFF, Introduction

Theinformation in this guide is in- busy people with lots of requirements to tended as a starting point for introduc- meet already, and a folklife unit longer ing teachers and students to the field of than a week simply would not fit into folklife. Folk life is all around us, it is most schedules (although a semester part of all of our lives; in fact it is so could easily be spent on the subject). close that we usually don't see it as a However there are lots of opportunities subject worthy of study. Folk culture is to incorporate examples of folklife into everyday culture. But it is precisely established subject areas, and the pur- because folklife is so integral to who we pose of the additional lessons is to give are that it is so revealing and can teach you ideas on how to do this. us so much about our family, our com- While the suggestions in those lessons munity and our nation. By extension, are mostly aimed at social studies and studying the folk traditions of another English courses, I have included some brief person can help us understard their suggestions for ways folk traditions can be view of the world, too, and help us see brought into other classes as well. The that people are not so different in their final two sections talk about finding folk basic needs and feelings, just in how artists and resources in your community, they express them. and bringing them into your school. This Since everyone, even the youngest takes time and work, but the results of schoolchild, has and uses folklore, there exposing students directly to tradition is plenty of material for students to draw bearers and folk artists are worth the on. This makes a folklife unit a good effort. The final section of this unit con- starting place in the study of state or tains lists of resourcesorganizations, national history and culture, and even books, and filmsfor those interested in for the study of other countries. Folklife learning more, or looking for aids to en- topics are great for writing assignments hance their students' study of folklife. because they let students write about themselves and something they are familiar with. And traditional systems and styles of math, science, crafts, and music can be brought in to the classroom as a way of connecting students to the local culture. This guide begins with an introduc- tion to the field of folklife and the les- sons it can teach. Five daily lesson plans for a unit on folklife, with specific activi- ties and assignments, are next. Seven additional chapters go into more detail on specific forms of folk traditions, and suggested classroom activities are in- cluded for oach of these. Teachers are

NEVADA FOLKLIFE WHAT IS FOLKLORE?

Thelegislation that set up the American Folk life Center in the Li- brary of Congress in 1976 defines American folklife as "the tradition- al,expressive, shared culture of 4 various groups in the United States: 'VI,-1:41' familial, ethnic, 1 $74T- occupational, reli- .4`,. .4, 4 gious, and region- 4 . ., 4-, al." It continues, 4C."';' 'le.:...-`,\., ._4'%'..)'.L'i..4", MI7147: ... '.-....-r..:,'7-r:'''.."4-t4, -'-': "Expressive cul- >., -.0'.4. ,. t.. .:;.,,,,,..1%, , * ture includes a . U.. -,-.....,,,S, tiktow ' +WM: wide range of cre- Z.4. " 4 400, ative and symbol- A, $ "kflelik 4144- . '21" .4.- ic forms, such as custom, belief, technical skill, language, informally, usually by word of mouth or literature, art, architecture, music, play, by example in face to face situations. It dance, drama, ritual, pageantry, and is not the information we gain from handicraft. Generally these expressions books or by watching TV. It is the joke are learned orally, by imitation, or in we hear from a friend and pass on at the performance, and are maintained or dinner table that evening; it is learning perpetuated without formal instruction to make a paper airplane by watching or institutional direction." and trying ourselves. Definitions are very neat and con- Second, folklife is traditional; that cise, but it is usually easier to under- is, it has some depth in time. A story we stand what folklife is by using specific tell about a strange experience that examples (we use the terms folklore and happened to us yesterday is not folklore, folklife interchangeably, although folk- although it may well contain some ele- lore tends to imply oral traditions, and ments of traditional narrative. A story folklife includes the broader range of about the poodle who blew up while material and customary traditions such being dried in a microwave, heard from a as crafts, architecture, occupational "friend of a friend," has been spread skills, and holiday celebrations). around the country for years by oral Folk life is characterized by several transmission and is an example of folk traits. First, it is learned and passed on tradition.

NEVADA FOLKLIFF

BEST COPY AVAILABLE Third, folklife is shared within groups discussionfolk, popular and elite. of people, the "folk" in folklore. The group Elite arts are those which are can be a school class, a family, an occupa- taught in formal institutions, passed on tional group such as teachers or ranchers, in the network of "high culture," prac- or an ethnic group. Folklore binds a group ticed by professionals in their field, and together, reflects its shared values and include what most people mean by "the interests, and can serve to educate new- arts." Operas, novels, symphonic music, comers into the ways of the group. An fine art sculpture, gourmet food and individual's good luck belief or ritual is large buildings designed by architects probably not folklore; a similar practice or are all part of elite culture. belief subscribed to by a whole group of Popular culture is that which comes sixth graders is. to us through the mass media: the na- Fourth, folklore exists in different tional culture of television, popular versions. Two people can tell the same romances, rock music, tract houses, joke, recognizable as such, but each frozen microwave dinners and craft kits version will be a little different. Every- are all part of popular culture. Pop one can make a paper airplane, but each culture is national culture, availablc will be a slight variation on a theme. everywhere at the same time and in Fifth, folklore is usually anonymous almost exactly the same form. in origin; no one knows who made up the In contrast, folk arts are informal first knock-knock joke, or who the first and local or regional. Examples include person was to make a particular kind of southern fiddle and banjo music, local saddle. Traditions are added to and historical legends, Basque food, log changed constantly, so they are really houses, cowboy poetry, town celebra- group productions as well as individual tions, family holiday customs, handmade creations. saddles and home remedies. Folk arts Finally, and perhaps most crucially, are different in different parts of the folklore is creative. It goes beyond the country; they tend to change little over functional to include someone's idea of time, but vary widely from place to beauty or fun. It expresses something place. important about the culture that sup- Of course, there is a tremendous ports it. It makes life interesting. And it amount of interchange among these is central to what makes us human. different aspects of culture, since we are all involved in all of them. The division Folk, Popular and Elite Arts is not meant to rank the worth of these A useful way to understand folklife different kinds of culture, either. They is is to think about it in contrast to other are all important, and they all contrib- aspects of culture. Although the bound- ute to the richness of our society. For a aries are often indistinct and overlap- long time, however, the folk arts have ping, human cultural life can be divided been overlooked. They have been taken into three dimensions for the purposes of for granted or accorded lesser status

NEVADA FoLKLIFE 7 ,1 What is Folklore?

dancers, craftsworkers, cooks and story- tellers are to your community, your church, your ethnic group, and your family. It is folklore that makes Ffe personal and real and relevant. The Functions of Folklore We would not create, use and pass on folklore if it didn't serve some pur- pose in our lives and our communities. Many types of folklore are entertain- ingmusic, stories, gamesbut often they also serve as important means of educating people, particularly young people, into the values and beliefs of their culture. As such, they also are a strong tool for maintaining group soli- darity, expressing shared esthetics and attitudes, and validating cultural norms. Interestingly, folklore sometimes seems to express ideas that are contrary to a group's values; this may actually rein- force those values by going to the oppo- site extreme. And we can't overlook the because they are part of the everyday important function of "letting off steam" world. There seemed to be nothing "spe- and testing limits that such things as cial" about them. But imagine what life dirty jokes, song parodies, and graffiti would be like without the rituals of fulfill. everyday life we share with our families, colleagues and friends. Think how much The Lessons of Folklore it means to be able to share a joke with Aside from the ability of folklore to fellow teachers, a joke probably no one educate us about our local community else would understand. Think about the and make us aware of the importance of things that make your community tradition in our own lives, what can it uniquethe look of farms and ranches tell us and our students about the larger on the land, the style of houses, the world? Because everyone has folklore, no ethnic restaurants, the community one is left out. Students have a wealth of celebrations, the stories about how local examples from their own lives that can landmarks were named. Think about be used to understand the lives and how important the skills of musicians, traditions of others. Folklore is so close

8 1\11NA1)A FoLKLIFF

BESTCOPYAVAII_ABLE to home that problems of relevancy are nities, and then to the state, the whole nonexistent. country; and even to other cultures From an understanding of their own around the world, students can make traditions and folk groups, students can leaps of understanding. They can learn reach out to the folk cultures of other to appreciate div( rsity, even to revel in groups in their community. Folklore is a uncovering the similarities and differ- road into other ways of life. Other people ences between themselves and others. aren't weird or odd, just different; they From this comes, we hope, tolerance of do the same things we do, they just others and an openness to new and express them a little differently. By different experiences that can be carried moving from themselves to their commu- on through life.

GOALS

1. To clearour minds of erroneous ROOTS AND WINGS notions of what folklife is. "I felt that roots and wings were the 2. To developan understanding that most important things we could try folklife is all around us, and that to give our children. Roots would be everyone shares folklore with oth- the place and the people to which ers. they would want to return, to get 3. To developan understanding of our love and security and pass on to own traditions and an appreciation their children. The wings could of the traditions of others. mean the courage to leave security and try new things, new places, ncw 4. To developa sense of identity in thoughts" relationship to family, community, cultural groups, region, state and Chase Lansbury, quoted by Linda Constant nation. Buki in Folk Arts in Education: A Resource Handbook (East Lansing; Michigan 5. To promote creativity and self- State University Museum, 1987), p. 75. expression within one's own tradi- tions.

N EN:AD A FOLKI.IFE 9 TEACHING SUGGESTIONS

-Whilethis unit was prepared with junior mention in the letter that parents who prac- high and middle school students in mind, the tice a folk art form such as music, crafts or lessons are adaptable to almost any grade food preparation might want to make a level. Some of the simpler activities, such as classroom visit to share their knowledge. making paper airplanes, talking about Both because some parents may be wary names, or collecting recipes would work for of providing information, and because there elementary students, although probably not are so many dysfunctional families these for the youngest kids. One teacher used the days, a teacher will need to be flexible in unit in her third grade class and they pub- making assignments. Some students may not lished a very nice collection of recipes gath- live with either parent, or may rarely see a ered with the help of parents. Special Educ- parent who works late shift, or may not feel tion students can also do some of the activi- they can talk to a parent, and so will have a ties. And there is enough information in the hard tincie with a few of the assignments (how additional lessons, and in bibliographic they were named, collecting a family recipe). references, to develop interesting activities for Alternatives might have to be suggested in high school students as well. Also, folklore is a these cases, such as having a student write subject that older students can teach to about his or her nicknames rather than a younger students, if that happens in your given name, or getting information from school. These lessons don't have to be kept in another adult like a neighbor or foster parent. a classroom setting, eitherthey would make Several teachers who have tried this unit engagingtivities for dubs, boy or girl scout cPmmented on the lack of any family celebra- troops, and summer camps. In or out of the tions, rituals or other traditions among their classroom, a folklore unit is a good way to get students; in this case, you might get them to a group working together, learning about talk about celebrations or traditions in some each other, and ready to be open-minded other group they belong to, such as a club, about other people and places. sports teams, or even the classroom. A number of the activities deal with This unit is designed to fit into a social family traditions or require that parents or studies class, Nevada history in particular, other relatives be asked for information, such but with very little modification it can be used as how a child was named. For this reason, it for English classes as well, and the assign- might be a good idea to send a letter home at ments made into writing exercises. Toward the start of the unit explaining the folklore the end of the unit I have made some sugges- lesson and asking for help and cooperation tions for including folklife materials in a when children come home asking questions. number of different subjects, from math to Some families may not want to share some of vocational education. Once you and your the information asked for, and that's fine students have a basic understanding of what cultural traditions are very personal and often folklife is, you will see examples of it every- private, especially those connected to religion where. In this way, without a lot of extra time or other belief systems. Most of the time, or special lessons, folklife can become a recur- however, people are honored to be asked ring theme in all subject areas, just as it is about their unique traditions, and you might woven throughout all facets of our lives.

10 NEADA FOLKLIFE LESSON ONE What is Folklore?

Objective: Students will examine the 3. Do you think your parents or basic characteristics of folklore using older brothers and sisters know how to examples of their own lore. make paper airplanes? They probably do; the tradition has been passed on for Room organization: small groups of 2 a long time, it is not new. to 5 students 4. Do paper airplanes serve a pur- pose? Or are they for fun? They are not Activity 1: Have each student make a really functional, they serve as an outlet paper airplane; anyone who does not for creative expression. know how can learn from another mem- 5. Are all of the planes here exactly ber of the group. alike? They are all a little different, but they are still all recognizable as paper Activity 2: By asking questions about airplanes; they exist in versions. the making of paper airplanes, elicit a 6. Who made the first paper air- list of chanacteristics of folklore which plane? No one knows, but the idea has should be written on the board. been picked up and passed down by generations of school children. Folklore is: 1. learned informally Many different types of objects and 2. shared within groups activities are included under the heading 3. traditional in nature of folklife: oral lore such as stories, jokes 4. creative or expressive and legends, songs, instrumental music, 5. exists in versions dance, beliefs and superstitions, celebra- 6. anonymous in origin tions and holidays, games, occupational skills, vernacular architecture, crafts For example: and food, to name a few. 1. "How did you learn to make a paper airplane?" should get answers The students will probably be itching to about learning from other kids, by throw their airplanes; you may want to watching and doing, not in school or let them do so before you get back to the from books. This illustrates the first lesson, or tell them to wait until the end point, that folklore is learned and passed of class. A target on the blackboard to on informally. aim for will help direct their energy and 2. Who makes paper airplanes? the planes. You might also suggest that Kids, not adults (although all adults they start a bulletin board on folklore, were once kids and do know how to and put up a selection of airple nes to make airplanes, they probably don't start it off much anymore); the lore is shared by that group. Kids also share other tradi- Activity 3: In small groups, discuss and tions, such as games and jokes, that share various cures for hiccups. Let the other groups don't use. kids talk about how they cure hiccups,

NEvADA FOLKLIFE LESSON ONE What is Folklore? and see how many different cures they students may come up with examples of have heard. After a few minutes, lead a games from popular culture (board games, class discussion on hiccup cures, asking baseball, etc.). You can use this opportuni- for all the different examples. Repeat the ty to explain the differences between them characteristics of folklore in relation to and folk games; they have formal rules, the cures. 'sometimes written down; the game is played the same way everywhere; it is Activity 4: In small groups, talk about learned in gym class, etc. some kids' games, such as hopscotch, hide and seek, jump rope, or whatever is popu- Assignment: Find out how you got your lar at your school. Such things as rhymes name (ask parents or other relatives). to choose an 'it' in games, telephone Who picked your name? When was it pranks, tongue twisters, and jump-rope chosen? Is it a family name? How are rhymes are all examples of children's others in your family named? Do you folklore. Ask the students to think about have any nicknames, and how did they how they learned the games, who plays originate? Who calls you by nicknames? them (boys or girls, younger or older kids), Children who have family problems how the rules are set and if they can be may have a hard time with this assign- changed, variations described by different ment as given; suggest that they focus kids. In a discussion with the whole class, on nicknames as an alternative. ask for examples, and again relate games This activity might be a good one to back to the characteristics of folklore on start the school year, since it allows the board. Have students draw different students to tell a little about themselves hopscotch boards, playing fields or other and get to know each other as they get to visual aspects of games on the board. Some know names.

1 t 12 NEvADA FoLKLIFF LESSON TWO Family Folklore

Objectives: 1. Students shall identify aspects of family folklife through discus- sion of traditions of their own names.

2.Students shall look at family k bonding and continuity through ;';;;;," . 4 folk traditions. Room organization: small groups of 2 to 5 students. Activity 1: In small groups, share information gathered from assign- ment on how they got their name. Activity 2: As a class, share exam- ples of unusual naming traditions, different reasons for naming of two students with the same name, etc. Naming traditions can be based on religious or ethnic heritage (always naming the first son after the father or grandfather; saints' names in Catholic tradition), regional tradi- tions, or individual family traditions (such as giving all the children the same Student Worlds, Student Words also has initials). There are also traditional a chapter on naming traditions and patterns of nicknames, for example some activities that can be developed when a parent and child have the same using them. name. Relate the discussion back to the characteristics of folklore discussed in lesson one: naming traditions are shared Assignment: Collect a family recipe. in groups (family, ethnic, etc.), learned Write it down, along with information on informally, passed down in groups, its origin (from another country or part creative, varied, etc. This discussion can of the U.S.), when it is prepared (special easily fill a class session, and lead to days, holidays), who makes it, and any other family stories. See the book A special ingredients required. Alterna- Celebration of American Family Folklore tively, the recipe can come from a friend (in bibliography) for examples and types or neighbor, or from the student's own of stories you can elicit from the kids. experience outside the family.

NEVADA FoLKLIFE 13 .1 3 BEST COPY AVAILABLE LESSON THREE Family Folklore

Objective: FOLKLORE CART) GAME Students shall identify those family activities which meet the criteria of (Adapted from "4-H FOLKPAITERNS: folklore and folklife. Family Folklore" produced by the Coop- erative Extension Service of Michigan Activity 1: As a full class, share some of State University) the recipes students have brought in. Relate the discussion back to the charac- Prepare ahead of time 3-by-5 index cards teristics of folklore. Some of the recipes or pieces of paper with one of the follow- may be posted on the folklore bulletin ing questions on each. Place the cards board, or printed in a class cookbook. face down in the middle of the table. The first player picks a card and chooses a Activity 2: In small groups of 5 or 6 second player to answer the question on students, play Family Folklore Card the card. After answering the question, Game for 15-20 minutes (instructions the second player picks a card to ask a next page). third player. This continues until all the questions have been answered. The Activity 3: As a full class, have each game has no right or wrong answers, group choose the most interesting story and there are no winners or lasers. After that came up during the game, and some of the answers are given, let others share it with the class. Ask the students share their answers to the same ques- to relate the examples back to the char- tion. By sharing, the players will see acteristics of folklore discussed in the that there are many similarities in the first lesson. ways families traditionally behave. &. QUESTIONS What music, songs or musical in- struments does your family or other group enjoy? How did your parents meet and get married? Do you own anything that is not worth much money, yet is a prized possession you plan to keep? Think of a holiday, such as Christ- mas, Hanukkah, Easter or Thanks- giving, and the foods your family prepares for it. What one food would your family be sure to include in the celebration? Is there anything that has been

14 NFNADA FOLKLIFI: passed down through the genera- heard your family tell again and tions in your family? (this could be again? an object, a story, or a tradition: a Does anyone in your family make hunting rifle, a piece of furniture, faces or use gestures when they talk jewelry, a picture, a family Bible, or at other times? etc.) What is your favorite holiday and Did you have any beliefs or fears how does your family celebrate it? when you were very young that you Can you name all the places you no longer believe or fear? have lived since you were born? Describe your favorite family photo- What do you remember about bed- graph. time when you were very young? Can you recall the funniest mistake Were there any rules in your home or worst accident that has happened that you could not break? in your kitchen? How do or did your grandparents Where do you keep your personal earn a living? treasures? Has your family had any unusual How does your family celebrate good or bad luck? Christmas/Hanukkah/birthdays? Tell us about a "first" for youyour Describe a favorite costume or first time to sleep over with a friend, dress-up outfit you have worn. first pet, first trip alone, first food Have you ever bought or collected a you learned to cook, etc. souvenir? Is there an eccentric or stl ange What do you to get well when you character in your family? Who is it have a cold? and why? What special privileges does the How do you get out loose baby birthday person in your family have teeth? What do you do with them? on his or her birthday? Do you sing songs or play games on Is there a food your family prepares long car or bus trips? What are that others consider delicious? they? Can you think of a practical joke or What do you do for good luck? prank that you have pulled or that What things bring bad luck? has been pulled on you? What games do you play in the Do you know the story of your name snow? or nickname? How are you disciplined if you do `..i-lave you been to a family reunion, something wrong at home? wedding, or anniversary party? How did you celebrate? Other questions may be added to this Has your family saved any of your list. One teacher suggested that these baby things such as toys, clothes, or questions would make good short free identification bracelets? writing assignments; later they could be Can you tell any of the stories you've used as the basis for an autobiography.

NEVADA FOLKLUM. 15 LESSON FOUR Folk Groups

Objective: _ Students shall identify 4414 .eX a, various folk groups they 43Fik Ala belong to and folk tradi- tions of those groups. Folk groups are com- posed ofpeople who have 1;5 something in common, something that binds them together more than l'!;;;"" superficial (such as be- ing stuck in an airport together for a few hours, --11111re or living in the same apartment building). People who are related, who share the same reli- gion, ethnicity or occu- pation, who live in a par- ticular region of the country, or who belong to a common organization or meet together clubs). As a class, ask several students regularly, may develop traditions out of to list the groups to which they belong, that shared experience or heritage. and to name one folk tradition they share in each group (a children's joke, a Activity: In small groups, students will game played only by girls, an ethnic list the various folk groups to which they food, a family birthday celebration, a belong. Everyone is a member of numer- local ghost story, a Girl Scout. camp song ous groups, and each has its own folklore parody). and traditional culture. Examples in- clude age groups (kids, teenagers, Assignment: Write about your favorite adults), sex groups, ethnic groups, reli- group tradition. It can be a family birth- gious groups, regional groups (Carson day celebration, an object that has been Valley, Elko County, the Westside alias handed down for generations, a joke that Vegas, Nevada), occupational groups, is pulled on new members of a club or the family (whether it is traditional, team, the way a religious holiday is single-parent, adoptive, extended, etc.), celebrated, a food from your ethnic and interest groups (sports teams, Boy group, a legend about your part of the Scouts and Girl Scouts, 4-11, band, state, etc.

3 16 NEVADA F)LKLIFE

BESTCOPY AVAILABLE LESSON FIVE Community Folklife

Objective: Students shall examine local artists, and on arranging for a classroom community folklife and traditions. visit. In a subject such English, where Several alternative activities are field trips are not usually undertaken, suitable for this lesson. A field trip can this lesson can be devoted to the oral be made to local museum or historic site traditions of the local area. This would to examine artifacts related to tradition- be a good time to talk about the differ- al life in the local community. The trip ence between history and folklore; the may encompass local history, but should history of a place has to be understood in be focused on the traditions of average order to understand its folk traditions, people (ranchers, miners, housewives) but folklore is very much aliveit is the and the things they made and did, and past actively carried into the present. probably still do, as part of their every- Students will doubtless know local leg- day life. If possible, have a local story- ends about lost treasures, interesting teller or long-time resident accompany characters, haunted places, how certain the class to talk about local traditions, spots were named, etc. or an assignment legends, occupational practices. Ask can be given to find such a local story students for stories they know about and write it down. More than one ver- local characters, landmarks, haunted sion will often be told by different stu- places, etc. If a cemetery is nearby, the dents; this can lead to an interesting class can go there to learn about tradi- exercise by looking at what they have in tional gravestones and how people per- common and how they differ. sonalize them (epitaphs, photographs, A final possible activity is to watch a engravings of favorite things or pas- videotape on some aspect. of Nevada times, grave decoration). Graves of traditional life (see resource listing) and famous local people can be used to elicit discuss the elements of folklore that are stories and legends about them, too. shown. Another possibility is a visit to the home or shop of a local traditional artist, such as a quilter, woodcarver, instrument maker or cook, or a trip to a ranch, mine, or other location where occupational traditions can be seen. A variation of this idea is to have an artist, performer, dancer or local storyteller come into the classroom and work with students, either demonstrating their skills, teach- ing the kids and letting them try them- selves, or being interviewed by the stu- dents. See the sections later in this guide on doing fieldwork to locate local

NEVADA FOLKLIFE 17 ADDITIONAL LESSONS

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Thefollowing lessons deal with specif- A.Oral Lore: legends, stories, jokes, ic aspects and genres of Nevada folklife. rhymes, proverbs, language, naming Once the first five introductory lessons are B.Music and Dance complete, the class can go on to study any or all of these units. You may choose those C.Folk Crafts and Arts that are especially relevant to your com- D.Occupational and Recreational Lore munity, that relate to a particular folk and Skills artist who will be visiting the classroom, that fit the interests and knowledge of the E.Material Culture: architecture, teacher and the students, or that can be landscape, cemeteries introduced into other areas of study during F.Folk Beliefs and Medicine the school year. G.Foodways

NEVADA l'OLKLIFE ORAL TRADITIONS

Orallore is perhaps the most perva- interesting to talk with bilingual stu- sive of the traditional arts, which makes dents about when they use English and it both very accessible (everyone knows when their other language. jokes and tells stories) and also very Jokes and riddles are obvious likely to be taken for granted. In this examples of traditional oral forms. They lesson, students can be encouraged to are learned from other people, and become aware of aspects of oral tradition change form slightly with each retelling. in their own lives and to become attuned While a joke about a recent event may to elements of tradition in what they. not have the depth in time usually asso- hear around them in their family and ciated with folk traditions, the fact that community. it has spread so rapidly indicates that it Folk speech includes regional is widely shared and that it addresses accents, local terms, specialized lan- something important in the culture. guage, and other elements that make up Jokes can be a way of dealing with some- the distinctive speech patterns of a times uncomfortable situations. The region or occupation. Because Nevada rash of jokes about the Challenger disas- has always been a transient state, with ter and the rapidity with which they people passing through or moving in spread across the country indicated how from other parts of the country, it is not important the tragedy was to the nation- strongly associated with a regional al psyche. Many of the jokes were mor- accent. There is a slight "Mormon ac- bid and crude, but they fulfilled an cent" in parts of eastern Nevada; a word important function in working through like 'barn' may be pronounced 'born', feelings about the explosion. People only 'barbecue' becomes 'borbecue', and 'Mor- make jokes about things they care about mon' is 'Marmon'. There is also a more and that affect their lives. nebulous Elko County accent, particular- Proverbs are short, usually fixed, ly among cowboys and ranchers. phrases that encapsulate some bit of Ethnic and occupational groups of wisdom to be passed on at appropriate course have their own specialized lan- moments. Students can no doubt come guage, some of which has been added to up with dozens once they are prompted the vocabularies of other Nevadans. with a few suggestions. Perhaps stu- Local communities also have their own dents could give a situation when each shorthand for referring to landmarks proverb might be used, putting it in and giving directions; it might be fun to context. Another interesting exercise is have students think of local terms that to come up with pairs of proverbs that could be confusing to outsiders, and to seem to give opposing advice, for exam- discuss how they caine to know about ple, "Too many cooks spoil the broth" them. versus "Many hands make light work;" Many ethnic and tribal groups in or "Look before you leap" versus "He who Nevada have maintained the native hesitates is lost." If your classroom has language of their people; it might be students from different ethnic groups,

NEVADA FOLKLIFE 19 ORAL TRADITIONS

ask them for proverbs from their culture they mean and why people tell them. and an explanation of what they mean; Your students will doubtless have exam- then see if there is an equivalent Anglo- ples of these kinds of stories, although American proverb. they probably do not realize that they Legends are stories, usually con- are told all over the country, and may nected with a specific place or person, even protest vehemently that they are and generally told as if they were true. true and really happened to 'a guy my The teller may not admit to personal cousin met.' Some of these tales un- belief in a legend, but it is still told and doubtedly do have a factual foundation, passed on. Ghost stories, haunted places, but they certainly haven't occurred in as local heroes and tragic events all serve many places as their telling suggests. as the basis for legends. Nevada has Rhymes and folk poetry have Native American legends, often connect- gotten a lot of attention lately in Neva- ed with natural features such as moun- da, due to the rediscovery of the century- tains or creeks; legends about historical old tradition of cowboy poetry. The figures such as Kit Carson, Snowshoe Victorian era, when cowboy culture was Thomson, or local pioneers; tales about in its heyday, was full of poetry and had bodies mysteriously preserved in the a strong tradition of composing and cold depths of Lake Tahoe; stories about reciting verses. Everyone did it; the mine disasters, mishaps on the emigrant cowboy just kept it up after most people trail, and workers killed building Hoover had dropped it. Cowboy poetry expresses Dam; lost gold mine stories; and count- the interests and feelings of the people less local ghosts. who write it; it is their form of creative Urban legends are a more recent culture, to be shared with other mem- variant of the typical legend form, and bers of their occupational group. Cowboy are found all over the country. Details poetry deals with everyday things are changed to fit the local community horses, cows, fixing tractors, the land (they are always set in a recognizable whatever strikes the writer as worth nearby location) and they are alleged to commenting on. have happened to a 'friend of a friend.' Everyone has heard about the rat in the Kentucky Fried Chicken, the woman who tried to dry her dog in the micro- wave, the babysitter who gets scary phone calls, or the horrible things that happen to teenagers parked in the local lovers lane. Jan Brunvand's four books on urban legendsThe Vanishing Hitch- hiker, The Choking Doberman, The Mexican Pet, and Curses! Broiled Again!are good collections of these stories with explanations about what

20 N EVADA FOLMAR', MUSIC and DANCE

Folkmusic includes both vocal and Jolly Good Fellow," cowboy songs, Native instrumental traditions, everything from American chants and songs, and songs a child singing a parody of a television from different ethnic cultures. commercial to a Basque dance band. Instrumental music covers a Folk songs are learned informally and broad range, from a guitar played to shared within family or community accompany a cowboy, song, to old-time grour; what is popularly called folk fiddle traditions, to the drum groups of music is often the creation of an individ- Native American culture, to Mexican ual songwriter, perhaps in the style of mariachi ensembles, to accordions and traditional music but not truly a tradi- clarinets playing Basque jotas. The tional song or performance. "Happy fiddle tradition is not strong in Nevada, Birthday" is a good example of a folk possibly because it tends to be a rural song, as are all the parodies it has musical form and so many of Nevada's spawned, and which your students towns were settled by urban people. Old doubtless know and would be glad to timers tell of dances with fiddles that sing. Students know lots of parodies, used to be held on ranches and in town, many of them about school and teachers. but very little is left of that music. The They also parody popular songs and town of Austin holds Nevada's only commercials. fiddle contest, each June, which is a good Other traditional songs include such place to hear what the state has to offer favorites as "On Top of Spaghetti," songs in the way of traditional fiddle and sung on long trips such as "Ninety-Nine guitar music. Bottles of Beer," sports cheers and songs, Cowboy music is to a large extent an congratulatory songs like "For He's a outgrowth of cowboy poetry, and many Ii

NEVADA FOLKLIFE 21

BEST COPY AVAILABLE MUSIC and DANCE

4 Accordions were popular in the Basque, Italian and Eastern European cultures that settled Nevada. Any of the several Basque festivals around the state will feature accordion music, usu- ally to accompany traditional dancing. Indian pow-wows, such as those held at the Stewart Indian School in Carson City, the Reno-Sparks Colony, the Owyhee Reservation in Elko County, and the Pine Nut Festival on the Walker River Reservation in Schurz, always feature Native American drumming, singing and dancing. Closely related to music is dance, which is a form of expression found in every culture. Native American round dances, Basque jotas, Hawaiian hula, Western two-steps, and break dancing are just a few examples of traditional dances. Wherever there is traditional music, there is likely to be dancings well. 1 favorite songs were originally recited as poems. Instruments were hard to carry along on trail drives and roundups, altholigh more recently guitars have become popular for accompanying sing- ing. There is also a tradition of unaccom- panied cowboy singing. In the mining and railroad towns of Nevada there were always a few pianos, used for dancing and singing in saloons and to accompany dances. Players per- formed traditional songs and popular tunes of the day, often picking up the melody by ear. A few of these performers still play, although you may have to hunt for them.

22 NENADA FOLKLAFE

6EST COPYAVAILABLE FOLK CRAFTS AND ART

Aswith other aspects of folklife, folk Some communities have a resident crafts are those learned informally, from known for his or her fantastically deco- family and community members in face- rated yard, or a collection of artifacts, or to-face interactions. Practitioners of folk a unique construction of some sort. crafts and arts are good choices for These are sometimes called environmen- classroom visitors. Students can some- tal artists, and while they may be acting times try their own hands at the skill if based on an individual and personal enough materials can be found, which vision, they often use traditional materi- helps them understand the complexity of als and skills, and they are part of a folk arts and the time needed to master larger pattern of environmental art them. found all over the country. Nevada's Examples of traditional craftspeople best-known example is Rolling Thun- to look for in your community are quil- der's construction, Thunder Mountain, ters, embroiderers, rug braiders and at Imlay, between Lovelock and Winne- other needleworkers from many ethnic mucca on Inte'rstate 80, but nearly every groups; Indian basketmakers, beadwork- community will have a couple of yards ers and buckskin tanners; makers of decorated with old bottles, collected cowboy gear such as saddles, braided artifacts, painted rocks, or more elabo- rawhide gear, boots, horsehair mecartys, rate constructions that are smaller bits and spurs, and hitched horsehair versions illustrating the same principle. gear; blacksmiths and farriers; Mexican Folk craftspeople are sometimes piñata makers; musical instrument hard to find, since they usually produce makers; and woodcarvers. Old-timers their work for family members or friends may have collections of local crafts and rather than commercially for a larger tools accumulated over the years that market. There is also likely to be some they would be willing to share with overlap between the folk and popular students in a classroom visit or field trip. levels of culture, as with the traditional Another type of folk craft found in quilter who learned from her mother, larger cities, and particularly relevant to but gets ideas for patterns from maga- Nevada, is the bending of glass tubes for zines and books, or the rawhide braider neon signs. Glass benders learn their who taught himself new knots from a skill through an apprenticeship system, book on braiding. and have to know how to convert a design on paper into a three-dimensional sign. Their knowledge extends to know- ing what gases to use to produce particu- lar colors as well. The audio tape "Home Means Nevada" includes a segment on glass bender Stan Forrest of Las Vegas talking about his skill and hoy it was 1 earned.

NEVADA FOLK LIFE 23 OCCUPATIONAL & RECREATIONAL LORE & SKILLS

A.ny group of people that spends a lot of time together will soon develop its own folk traditionsstories, jokes, beliefs, language, crafts, and skills not learned formally. Thus, many occupa- tional groups have specialized terms and - tools connected with their work, and will tell stories about events and incidents that may be unintelligible to the outsid- er. Their traditional culture serves to bind them together and give them a sense of belonging, while at the same time setting them apart from others. A large portion of the time newcomers spend "learning the ropes" is actually initiation into the folk culture of the group. Teachers have their own traditional culture, full of funny and not-so-funny stories, esoteric knowledge about dealing with difficult kids, strange parents or a frustrating administration, and little tricks passed on from teacher to teacher over lunch or in the lounge. These are the things that weren't taught in educa- tion classes in college, but that are vital for survival in the classroom, and that stories and songs about their life. Min- create a community of shared experience ers, especially underground miners, and knowledge passed on within the have an incredible specialized vocabu- group. lary for describing the parts of a mine Other examples of folk groups in and the tools and skills they use. They Nevada are ranchers, cowboys, farmers, also acquire beliefs and superstitions miners, prospectors, military and gov- about the dangers in a mine, and tell ernment workers, hunting and fishing stories of near-misses and fatal acci- guides, casino workers, waitresses, dents. Their lore has been passed on nurses and firefighters. Cowboys, for from the time of the Comstock Lode, example, have all kinds of tools and when underground mining got its start, equipment with specialized uses and and is still relevant toda,. names (bosal, mecarty, hackamore, the Prospectors may have traditional parts of a saddle), a wide knowledge of knowledge about what to look for in the horse.; and cattle, and traditional poems, hunt for minerals (although they m: ty he

24 NEVADA I 'OLKEN-T. ) reluctant to share their secrets); Nevada students abcat their special knowledge. Test Site workers have stories about Hunting, fishing and camping are mutant animals in underground tunnels; important forms of recreation for many fishing guides have traditional ways for Nevadans, and have rich forms of folk- finding their quarry; casino workers also lore associated with them. A youngster's have a special language; and farmers first hunting trip is always memorable, have ways of predicting weather and a and probably has been preserved in knowledge of the yearly cycle of planting family stories. There are traditional and harvesting. foods cooked in camp, and sometimes A member of such a groupan only in camp. There are favorite places insideris almost a necessity to help to hunt and fish, rituals for finding students study and understand occupa- animals, family rifles that have been tional lore. A parent may be a good passed down through generations, theo- source; find out if' they are willing to ries as to the best kind of bait, and songs come to class and be interviewed by the and stories that are a part of camp life.

NEVADA FOLKLIFE 2 5

BEST COPYAVAILABLE MATERIAL CULTURE

Whilematerial culture refers to any German farmers in Carson Valley built tangible element of folklife, as distin- big barns; ethnic neighborhoods in Las guished from stories, music, beliefs or Vegas or Reno have their own character- skills, this lesson will deal with the istic uses of space. material elements of the larger environ- To understand why a particula- ment: architecture, landscape, and area looks the way it does, then, you cemeteries. Often the most distinguish- have to know something of its history. ing feature of a community is how it Because buildings and landscapes are looks; how it is laid out on the land, the more permanent than other elements of types of houses, barns, fences, yard traditional culture, that can be used to decorations and landscaping that are understand local history in a new way, typical of the area. The neighborly and to make it come alive. History is not ranches of western Nevada's farming dead, it lives on all around us in our valleys contrast with the remote settle- houses and our daily environment. And ments of the eastern ranching counties. it is traditional culture that makes the A mining town has a distinctive profile, connections between the past and the often nestled in a steep canyon or present. perched on a mountainside, and differs Specific elements of the countryside sharply from the flat, square street plan to look for include houses, barns, and of a railroad town stretched along the outbuildings such as sheds, blacksmith tracks. In a city, neighborhoods are often shops, granaries, cellars, animal houses distinguishable by the styles of houses (how are they used? has their use and yards; decorations, religious shrines, changed over the years? what materials paint colors, and gardens are unique to are they built of? why are they arranged particular groups. the way they are?); fences, gates and Geography, climate, economics, corrals (how are they built and used? are transportation and ethnic heritage all they decorated?); hay derricks and stack- contribute to a region's appearance. A ers; yards and yard decorations (plants, inining town in the Toiyabes will of old machinery, antlers, collections of physical necessity look different from a "stuff'); and mailboxes. mining town in a valley. A ranch in a Another fascinating aspect of the rainy area will need a big barn to store environment to study is cemeteries. hay, while another where there is little Changes in markers over time can tell a precipitation will have hay kept in lot about changing attitudes toward stacks outside. A railroad town has death, and shifts in ethnic populations, different needs than a farming town. religious groups and occupations. Old Proximity to sources of outside supplies, Victorian stones often featured senti- via roads or rails, can determine a mental symbolism popular at the time town's size and layout. Ethnic makeup the weeping willow, broken rose, parting can also affect a community's appear- hands, lambs for children, etc. Epitaphs anceItalian stonemasons in Paradise are frequently written in the language of Valley built distinctive rock buildings; the old country of the deceased, and the

26 NEVADA FOLKLIFE t , place of birth is listed on the stone; this indicates how important the person's heritage was, and that he or she wanted it remem- bered by future genera- tions. One ethnic tradition found in Nevada is the use of photographs on stones of Italians; the cemeteries in Dayton and Yerington have good examples of this practice. along the pile of dirt. More recent stones frequently have The overall landscaping and layout some indication of the interests or per- of cemeteries can be interesting to study sonality of the deceased. Often a repre- as well. In Nevada, trying to maintain a sentation of the person's occupation or lawn is usually futile effort, so many hobby will be carved on the stonea cemeteries are bare &rt. In some places, horse or a brand for a rancher, a pickaxe the graves are bare as well, except for and shovel for a miner, a train engine for the flowers and objects left by mourners. a railroad worker, a fish or deer for an Other communities will have a tradition avid.sportsman, motorcycles, airplanes, of putting astroturf or carpet over pets; just when you think you've seen graves, frequently on a cement slab, and everything, something new will pop up. family plots, whether bare or covered, This trend illustrates the growing need often have a low wall or fence around for individual identity even in death, a them. Graves almost always face east (in result of our increasingly regulated and Christian tradition, the direction Christ homogenized society. Religious symbols will rise at the Second Coming); where are on the wane on tombstones, and there are exceptions to this rule, it can secular interests are taking their place. be illuminating to try to find out why. Grave decorations can also indicate a lot No one is formally taught how to about about the deceased, since family arrange a cemetery or decorate a grave members often place favorite objects on or choose a marker. This knowledge is a grave, especially for a child. Any part of the community; people see what graveyard will have its share of home- others around them are doing, or ob- made markers as well as commercially serve religious, ethnic or family tradi- made ones. These range from simple tions connected with death and burial, wooden crosses to large cement obelisks and base their actions on what has gone inlaid with local rocks. In many cemeter- before. Changes are slow and subtle, but ies, there is a separate section for Native a graveyard that has been used for 100 American burials. These graves are years can be used to learn a great deal often mounded and have a row of flowers about the history and culture of a place.

NEVADA FOLKLIFE 27 Ar., BEST C:OPY AVAILABLE FOLK BELIEFS & MEDICINE

Folkbeliefs include such things as Nevada is especially rich in gam- good and bad luck signs, traditional bling lore, naturally; a classic case of weather predictions, omens and signs beliefs centering on unpredictable situa- that predict the future, and planting tions. Slot players have theories about lore. Students will no doubt have dozens where the good machines are located in of examples to contribute, from beliefs a row, and whether a machine is due for involving Friday the thirteenth, to find- a jackpot. Craps players have ways of ing lucky pennies, to the tooth fairy, to making dice lucky and sayings to en- beliefs about lucky items of clothing courage good rolls. Card players have (worn during tests or important athletic superstitions about good and bad hands, games), to games for predicting the as well as traditional systems of when name of one's future spouse (usually and how much to bet. Women tend to played by girls). More examples can be pick lucky or significant numbers when gathered from family members, for playing Keno; men will choose numbers example weather and planting lore in a in rows or other regular arrangements farming or ranching community which on the card. The examples are endless. depends on the weather. Dowsing or Folk medicine usually exists water witching is also a common practice alongside modern, conventional medi- in agricultural communities and where cine, and many people use both systems. wells need to be dug. Beliefs and super- Folk medicine may be used for minor stitions tend to cluster around events ailments, such as hiccups or scrapes or and situations that are unpredictable upset stomachs, where the full force of and to an extent uncontrollable, like the modern medicine is not called for. It may weather or future events. also be used in addition to a visit to the Certain life cycle events seem to doctor or hospital, with the explanation call forth traditional beliefs as well, espe- that it can't hurt and may even help. cially transitional times such as birth, Folk medicine is most often connected marriage and death. These events are with maladies that are least understood, called "rites of passage" and are important such as the common cold, warts, fever but stressful moments in a person's life. blisters, and cancer; as with folk belief, Marriage, for example, has the traditions the more uncertainty is involved, the of the bride wearing "something old, some- more traditional cures will be called into thing new, something borrowed, something play. blue," the belief that the woman who Certain ethnic or regional groups may catches the bouquet will be the next to get have beliefs about sickness caused by married, the practice of saving a piece of witchcraft, spells, or the evil eye. There the wedding cake to be eaten on the cou- may be traditional beliefs to determine ple's first anniversary, and in some com- who caused the illness, and traditional munities the "shivaree," a loud late niht cures for it. In such cases, community visit to the couple's house to play tricks on specialists in folk medicine may be called them. in to help cure the afflicted person.

28 NkVADA FOLKLIFF: ' MIK;g1 , It`

Native American tribes also have Folk religion, like folk medicine, traditional "Indian doctors" who may use exists alongside the formal and stan- herbal medicine along with songs and dardized practices of the larger culture. prayers to cure the sick. Smoke is an Specialists such as faith healers may call important part of ritual Indian curing, on religions power in their work, but although the traditional sagebrush their role is often not accepted within smoke may be replaced by cigarette the formal hierarchy of the church. smoke. This is a nice example of how Stories of religious experiences often ancient practices can be continued by follow traditional patterns; the Three adapting them to modern circumstances; Nephites of Mormon tradition are a good the belief and the Effect are the same, example of this, as are conversion stories only the means have been changed. among other Christian groups.

tl NEVADA FOLKLIFE 2 9

BEST COPY AVAILABLE FOODWAYS

Becausefood is necessary for survival wood stove in their sheepwagon or over and so much a part of everyday life, it is an open fire if they live in tents. Like- often the longest-lasting element of wise, cowboys out on a roundup will cook traditional culture. Members of ethnic over an open fire, using dutch ovens for groups who come to this country may everything from biscuits and bread to take on modern American dress, lan- stew. The ranch cook, presiding over a guage, and jobs, but at home they eat large cookhouse where hired hands eat like they did in their home country. together, is another unique representa- Even if new foods are introduced, tradi- tive of Nevada's culinary heritage. tional foods will be kept for special Ethnic restaurants and groceries occasions and holidays, and can serve as are good places to start in researching symbols of heritage and pride in one's food traditions of a particular group. origins. Restaurant food will often be modified to Foodways includes everything suit American tastes, and home cooking connected with eating and drinking, may he considerably different. Students from the growing of a garden and raising from various ethnic groups can be good of livestock, to gathering wild foods, to sources of classroom discussion of tradi- preserving food, or acquiring it commer- tional foodways, and parents can be cially, and preparing, serving and eat- asked to demonstrate the making of ing. In addition to ethnic or cultural certain foods in a class visit. heritage, location and occupation can Foodways encompass more than just also affect the foods traditionally eaten the particular food and its recipe, howev- in a community. Ranch families usually er. Foods are often connected with cer- have all the beef they can use, often tain ev 3nts, holidays, religious celebra- eaten at three meals a day. Residents of tions 0'7 times of the year. A particular a remote mining camp, on the other food may always be made by a particular hand, must often subsist on canned penon, or handed down through the goods much of the time, although with women in a family. There may be taboos modern transportation and electricity about eating certain foods at certain available this is less so today than in the times. Table manners, playing with food, past. Sheepherders have food brought to and food as folk medicine all come under their camp once a week, and cook on a the heading of foodways.

30 NEVADA FOLKLIFE FOLKLORE THROUGHOUT THE CURRICULUM

Althoughthis curriculum is aimed at incorporating folklife into social studies classes, it should be obvious that almost any subject area could benefit from the inclusion of local folk traditions. The following list is just a preliininary sug- 16, gestion of the potential folklife has to OP' bring life and variety to every class in a school. English: Have students use their own traditions and stories as subject matter for writing assignments. Asking kids to write about how they were named, or their favorite holiday traditions, will guarantee interest, and no one will say they can't think of what to write. Eliza- beth Simons' book Student Worlds, Student Words (listed in the bibliogra- phy) is an excellent resource for using folklore in writing classes. Another approach in English classes is to look for elements of folklore in the literature your students are reading. Writers such as Mark Twain incorporate things like jokes, superstitions, local legends, nick- amounts with traditional formulas. names, and lots of children's lore in their stories. Harper Lee's To Kill A Mocking- Science: Science classes can explore the bird is full of examples, as are Laura scientific basis for such folk practices as Ingalls Wilder's Little House on the dowsing or water witching, the use of Prairie books. plants for medicine, traditional agricul- tural skills and beliefs, natural materi- Math: The geometry of quilt patterns, als used in crafts such as willow basket- measuring lumber to build a shed, ry or buckskin tanning, and the ecology counting cows or sheep being branded or of ranching, farming and hunting. sold, and measuring ingredients for cooking are just a few examples of the Art: Traditional artists can be used very ways math is applied in traditional life. effectively in the classroom. Demonstra- There are math riddles that kids test tions and hands-on practice in quilting, each other with; and we are always cowboy le'atherwork and rawhide braid- approximating costs, distances and other ing, Native American willow basketry,

NEVADA FOLKLIFE 31 o , BEST COPY AVAILABLE FOLKLORE THROUGHOUT THE CURRICULUM

dancers can add a lot to a music class- room. As with artists, musicians are all around us and students can see how music can be a part of life even if one is not a professional performer. In an ethnically diverse urban area, similar traditions of several groups can be pre- sented and comparedfor example Mexican guitarists, Greek bozouki play- ers and Hawaiian ukelele players. Vocational Education: Woodcarvers, musical instrument makers, builders, saddle makers, leatherworkers, ranchers 4 , and farmers, miners, neon glass benders and members of just about any occupa- tional group will have their own tradi- tions and skills that can be shared with students. The skills they have learned on the job and from old-timers in their profession are often the richest and most important, and this is an important idea for'students to understand. This does not denigrate what is learned formally in school, but just makes us aware that there is more to a job than the routine be. Iwork, embroidery, or woodcarving skills. wi. expose students to different esthetics and techniques. Students can Home Economics: Traditional cooks also see that art and artists are all from various ethnic groups can share around them in their community. their recipes and skills in cooking class- es, and traditional quilting, knitting or Music: Traditional fiddlers, accordion embroidery would be wonderful addi- players, piano players, singers and tions to a sewing class.

32 NEVADA FOLKI.IFE

BESTCOPY AVAILABLE FIELDWORK Finding Folk Artists and Resom-ces in Your Community

Thekey to bringing a unit on Nevada knowledge, a little fieldwork may be in folklife alive for your students is using order. The booklet "Folklife and Field- real-life examples from their own lives work," available free from the American and their community. You can see how Folklife Center (see bibliography) is a well they respond and learn when their good basic introduction to field tech- own traditions are used to illustrate niques and what to look for. Talk to points in the lessons; use that same friends and family about the project and sense of relevance to broaden their the kinds of people you are looking for; exposure by using local folks to extend they may have leads in areas of your their understanding beyond the class- community you are unfamiliar with. room and family. This brief unit cannot Then broaden your net and approach hope to list specific examples and practi- local businesses, clubs, storesanyplace tioners of traditional arts and skills for that might have a connection to tradi- every area of the state, so you will need tional artists. The following list is just to to do some research on your own to find get you started; the kinds of places you resources for the classroom. will look will of course depend on the A good place to start is with the list size and nature of your community. of resource people and institutions at the Ethnic restaurants and groceries: end of the unit. Some fieldwork in your ethnic traditions including food, area may well have already been done, music, dance, crafts; history of partic- and the resource people can put you in ular ethnic groups in your area. touch with people who would be good Ethnic clubs and associations: same sources of information on local traditions as above. and who could visit your classroom. You Western stores, tack and feed stores: yourself may know old-timers, craftspeo- long-time ranchers; cowboy poets; ple or performers alreadyby all means makers of saddles, bits and spurs, ask them about helping out. The families horse gear, farriers, etc. of your students are also a good source of Agricultural extension offices: history informationmaybe someone's father is of ranching and farming, local crops a Mexican corrido singer or a cowboy and livestock, yearly cycle of ranch- poet, or maybe their grandmother cooks ing, water witching, local ranchers. traditional black soul food or spicy Thai Churches: especially those with fare. The students themselves, in fact, ethnic congregations, such as black, may be members of a Basque dance Greek Orthodox, Hispanic Catholic, troupe, live on a ranch, or be learning or Korean, Jewish synagogues, and Armenian embroidery from their moth- Mormon congregations. Churches ermake them a "visiting folk artist" often sponsor cultural events such as and have other students interview them festivals, bazaars, and saints' days about their knowledge. that incorporate traditional foods, If calling on all these resources still music and beliefs. leaves you with some gaps in your Indian tribal offices and senior cen-

NEVADA FOLKLIFE- 33 FIELDWORK

ters: many tribes have cultural pro- The information you gather through grams already set up, and can help fieldwork can be used in a number of identify basketmakers, beadworkers, ways. You will have specific examples to storytellers, musicians, dancers and use in class lessons on various aspects of traditional cooks. Smoke shops and Nevada folklife. If you took pictures of other tribal stores usually sell Indian people, events, or objects, they can be crafts and may direct you to local used to make lessons even more interest- makers. ing. Tape recordings of music or stories Mining and prospecting supply stores are also good for classroom use. Fabric and quilt stores: traditional To really help your students under- quilters and needleworkers. stand local traditions, you can invite a Bars and saloons, especially in a folk artist or performer into your class, small town or take a field trip to his or her home or Senior citizens centers shop (see the next section on how to Hunting,and fishing guide services: arrange such a visit). You might also guides have.an intimate knowledge of want to plan a trip to a local museum the local landscape and wildlife, often with an old-timer, who cap talk about learned traditionally. the displays and help bring them alive Local festivals and celebrations: for the students. While traveling, be sure Indian pow-wows, Basque festivals, to have students notice the local land- saints day celebrations, rodeos, coun- . scape,buildings, neighborhoods, ceme- ty fairs, food festivals, church home- teries, mines and other elements of the comings, ethnic and religious holi- area that make it unique. days (Columbus Day, St. Patrick's Finally, if you have the time and a Day, Mormon Pioneer Day [July 24], capable class, you can have the students Chinese New Year, Cinco de Mayo, themselves conduct tape recorded inter- Juneteenth, etc.). These occasions are views with tradition bearers, take photo- usually rich in traditional perfor- graphs, and write up articles for publica- mances, crafts, beliefs, and foods and tion, either in a local newspaper or in a can provide an opportunity to observe school publication. The well-known folk culture in action and to talk to Foxfire cultural journalism program in outstanding artists and knowledge- Georgia does just this with great suc- able members of a folk community. cess. They have been putting out a mag- Local museums, historical societies azine for 20 years, and have had a dozen and libraries: don't forget these obvi- best-selling books, all written by high ous sources of local history and cul- school students. See the bibliography for ture. Often paid or volunteer staff references on this program, and where to members have an extensive knowl- write for information on a network of edge of the community and can direct Nevada teachers that is being developed. you to old-timers with traditional knowledge and skills.

r-. t) 34 NEVADA FOLKLIFE FOLK ARTISTS IN THE CLASSROOM

Bringinga folk artist or tradition folk arts are intimate in scale (with the bearer into school may be the only way exception of some music and dance some students can get to see and talk to traditions) and are not suited to large a tra ditional artist face to face. Often workshops or assemblies. Students folk arts are maintained and passed on should be able to see what is going on, within a close commtmity and outsiders and should be encouraged to ask ques- may never know they even exist. By tions. They should be prepared ahead of making students and others aware of the time with background information on diversity of skills and cultures in their the artist and his or her art. own locale, they can learn to appreciate Check with the visitor when setting different traditions and to become more up a day and time for the visit, make atttmed to artistic elements in their own sure they have transportation to the lives. school and that someone will meet them Arranging for a folk artist to visit when they arrive. Ask what materials your school should not be difficult or and samples they will be bringing, and if complicated, but there are a few things there is anything you can provide, such to think about to make the experience as tables, water, containers, etc. If they pleasant for everyone. The ideal visit will be visiting more than one class, try will be with one class at a time. Most to have a break in between, since work-

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i3ES1 COPYAVAILABLE FOLK ARTISTS IN THE CLASSROOM ing with kids can be tiring. Offer the use poet, for example, could perform for a of the teacher's lounge, something to larger group as long as he or she is at drink, and lunch if they will be there the school and is willing, so more kids during lunchtime. It can be lots of fun could at least be exposed to their art. for students to try their own hands at a If at all possible, visiting folk artists craft, but finding enough materials can should be paid for their time and mile- be a problem. An alternative is to have a age. Many folk artists hold regular jobs few samples and let students take turns and may have to take time off to come to trying; this might work with rawhide your school. Others are self-employed in braiding, willow basketry, or quilting, their art or craft (a saddle-maker, quil- for example. Work with the artist ahead ter or basketmaker, for example) and of time to prepare these kinds of sam- should be compensated for their time ples. Performers can let children join in away from paying work. Professional on songs, try a mugical instrument, or painters, dancers and musicians are teach them a dance as a way of getting paid for their work as artists in resi- them involved. dence, and folk artists should be, too. An artist. from a performing tradi- Even if the artist is the parent of a tion may also be appropriate for a school student and offers to volunteer, it is nice assembly, although classroom visits will to make the effort to pay them, even if probably be more beneficial to the stu- only for mileage if they must travel a dents. A musician, singer, or cowboy significant distance.

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36 NEVADAFOLKL1FE

BEST COPY WAILABLE NEVADA FOLKLORE RESOURCES

FOLK ARTS PROGRAM Nevada State Council on the Arts 329 Flint Street Reno, NV 89501 (702) 688-1225 Contact: Andrea Graham, Folk Arts Program Director The Folk Arts Program was established at the Arts Council in 1985 to research, promote and present the traditional arts of Nevada. The program provides techni- cal assistance and information; maintains an archive of photographs, sound recordings and other materials; con- ducts surveys of traditional arts; runs a Folk Arts Ap- prenticeship program; and produces exhibits, publica- tions, festivals and audio-visual materials on Nevada folklife. The Arts Council also has a grants program to fund projects in the folk arts, and an Artists-in-Resi- dence program that can be used to pay folk artists for residencies in schools. This is a g, od place to start when looking for information and resources from your area of the state. traditional culture, and which are available for loan. All the films listed in the bibliography are available through the resource center; write for a complete catalog. COWBOY POETRY GATHERING P.O. Box 888 FOXFIRE IN NEVADA Elko, NV 89801 cio Donald Bear (702) 738-7508 College of Education Contact: Tara McCarty, General Manager University of Nevada Reno Reno, NV 89557 The first Cowboy Poetry Gathering was held in 1985, and (702) 784-4951 has been held annually ever since on the last weekend in January in Elko. This event brings poets and reciters The Foxfire Program is a whole educational philosophy from all over the West to share the century-old tradition based on student-centered and -directed learning and of cowboy poetry. The event features free poetry sessions the need for students to be involved in the larger commu- all day, special evening performances, cowboy music, nity. A statewide teacher network is developing and craft exhibits and films. It has become the cowboy's there are periodic workshops on the Foxfire Program, cultural event of the year and receives national publicity. coordinated by the UNR College of Education. The orig- Books, tapes and films on cowboy poetry and cowboy inal Foxfire program in Georgia started with students culture are also available through the Gathering office; interviewing local residents about their traditions and write for a free catalog. history, and publishing articles in their own magazine.

NEVADA HUMANITIES COMENHTTEE FIFE FOLKLORE CONFERENCE 1101 N. Virginia St. Utah State University P.O. Box 8029 Logan, UT 84322 Reno, NV 89507 (702) 784-6587 The Fife Folklore Conference is held for a week every Judith Winzeler, Director year in early June, and is aimed primarily at teachers (recertification and college credit are available). It pro- The Nevada I lum ani ties Committee has been good about vides a basic introduction to folklore and folklife, and funding folklife-related projects, including the Cowboy then focuses on a particular aspect of that field--story- Poetry Gathering and the development of this curricu- telling, supernatural lore, ethnic lore, etc. Faculty mem- lum. They have a resource library of films, videotapes, bers include university professors and public sector slide shows and exhibits, a number of whic'. deal with folklorists from around the country.

NEVADA FOLKLIFE 37

BEST COPY AVAILABLE FOLKLORE BIBLIOGRAPHY

INTRODUCTORY TEXTS Brunvand, Jan H. The Vanishing Hitchhiker: Ameri- These are college-level textbooks, useful for gaining a can Urban Legends and Their Meanings. New more in-depth understanding of folklore and York: W. W. Norton, 1981. folklife. Analysis of those stories we all know, the ones that happened to "a friend of a friend," such as Brunvand, Jan H. The Study of American Folklore: An the "Kentucky Pried Rat," scary babysitter Introduction (third ed.). New York: W.W. stories, and dogs in microwaves. Brunvand has Norton, 1988. written three more books on the subject, The Choking Doberman , The Mexican Pet, and Dorson, Ri hard M., ed. Folklore and Folklife: An Curses! Broiled Aga i n! Introduction. Chicago: University of Chicago Press, 1972. Bronner, Simon J. American Children's Folklore. Little Rock, August House, 1988. Dorson, Richard M., ed. Handbook of American A collection of contemporary children's lore, Folklore. Bloomington: Indiana University including jokes, tongue twisters, games, auto- Press, 1983. graph inscriptions, song parodies, riddles, ghost stories, beliefs and toys. A good source for Toelken, Barre. The Dynamics of Folklore. Boston: examples to get kids started thinking of their Houghton Mifflin, 1979. own traditions. Allen, Barbara and Lynwood Montell. From Memory to History. Nashville: American Association for FIELDWORK State and Local History, 1981. Bartis, Peter. Folklife and Fieldwork: A Layman's About using and evaluating oral sources in Introduction to Field Techniques. Washington, historical research, including recognizing D.C.: American Folklife Center, 1990. elements of folklore. A good, short introduction to fieldwork, with a list of suggested topics. Single copies available free from the American Folklife Center, Library NEVADA and of Congress, Washington, D.C. 20540. WESTERN EXAMPLES Ives, Edward D. The Tape-Recorded Interview: A Graham, Andrea. Nevada Folklife: A Guide. Reno: Manual for Field Workers in Folklore and Oral Nevada State Council on the Arts, 1990. History. Knoxville: University of Tennessee Fress, 1980. Graham, Andrea and Blanton Owen. Lander County Excellent, practical, concise guide to field Line: Folklife in Central Nevada. Reno: Nevada techniques. State Council on the Arts, 1988. Booklet based on a survey of folklife in Lander Jackson, Bruce. Fieldwork. Urbana and Chicago: County conducted in the spring of 1988. University of Illinois Press, 1987. More theoretical and ethical details, along with Luster, Michael and Blanton Owen. In a High and the practical. Glorious Place: Folklife in Lincoln County, Nevada. Reno: Nevada State Council on the Arts, 1987. SPECIFIC EXAMPLES A 1987 survey of southern Nevada folklife Zeitlin, Steven J., Amy J. Kotkin and Holly Cutting resulted in this booklet and an exhibit. Baker. A Celebration of American Family Folklore. New York: Pantheon, 1982. Nevada Folk Arts Apprenticeships 1988-1989 and Excellent resource for examples of family 1989-1991. Reno: Nevada State Council on the stories; includes a chapter on collecting one's Arts. own family folklore. This biennial publication features the artists

38 N EVADA FOLKLIFE who have participated in Nevada's Folk Arts Siporin, Steve, ed. "We came to where we were sup- Apprenticeship Program, which pays master posed to be": Folk Art of Idaho. Boise: Idaho traditional artists to teach their skills to Commission on the Arts, 1984. dedicated apprentices. Jones, Suzi, ed. Webfoots and Bunchgrassers: Folk Art Marshall, Howard W. and Richard E. Ahlborn. of the Oregon Country. Salem: Oregon Arts Buckaroos in Paradise: Cowboy Life in Northern Commission, 1980. Nevada. Lincoln: University of Nebraska Press, 1981. Exhibit catalog resulting from the American EDUCATION Folklife Center's two-year study of traditional Belanus, Betty J., et al. "Folklore in the Classroom." ranching in Paradise Valley, north of Winne- Indianapolis: Indiana Historical Bureau, 1985. mucca. Workbook developed for Indiana school teachers; includes definitions and essays on aspects of Carter, Thomas and Carl Fleischhauer. The Grouse folklife. lesson plans, activities, resources. Lots Creek Cultural Survey: Integrating Folklife and of useful suggestions and background. Available Historic Preservation Field Research. Washing- for $5.00 from Indiana Historical Bureau, 140 ton, D.C.: Library of Congress, 1988. North Senate, Indianapolis, IN 46204. Report on an intensive, interdisciplinary survey of the ranching community of Grouse Creek in The Foxfire Fund, Inc., Rabun Gap, GA 30568. The northwestern Utah. Foxfire organization (see publications under Wigginton, below) has a teacher outreach Cannon, Hal, ed. Cowboy Poetry: A Gathering. Salt program, publishes a newsletter, and helps Lake City: Peregrine Smith, 1985. organize regional networks of teachers using the An anthology of classic and modern cowboy Foxfire approach to education. This is an poetry, inspired by the annual Cowboy Poetry excellent resource and a great way to get kids Gathering in Elko. There are lots of other involved in their communities; folklore is just cowboy poetry books and tapes, many self- one aspect of what Foxfire does. Write for more published by local authors. information.

Wheat, Margaret. Survival Arts of the Primitive MacDowell, Marsha, ed. Folk Arts in Education: A Paiutes. Reno: University of Nevada Press, Resource Handbook. East Lansing, MI: Michi- 1967. gan State University, 1987. Despite its unfortunate title, a good study, in A compendium of essays, bibliographies, and words and photos, of traditional Paiute crafts sample curriculum materials from folk arts in and skills. education projects around the country. Lots of ideas and practical examples, as well as the Fife, Austin and Alta Fife. Saints of Sage and Saddle: rationale behind such programs. Folklore Among the Mormons. Salt Lake City: University of Utah Press, 1980. Simons, Elizabeth Radin. Student Worlds, Student Words: Teaching Writing Through Folklore. Portsmouth, NH: Heinemann Educational The following three folk art exhibit catalogs are Books, 1990. examples of the kinds of things folklorists study. An excellent guide to teaching fiAlore and using All include detailed essays on regional tradi- it in student writing; written for high school age tions, some of which are similar to those in students, but adaptable to younger grades. Nevada. Highly recommended. Cannon, Hal, ed. Utah Folk Art: A Catalog of Material Culture. Provo: Brigham Young University Press, 1980.

N EVADA FOLKI.IFE 39 FOLKLORE BIBLIOGRAPHY

Silnutzer, Randi and Beth Gildin Watrous, eds. "Favorite Cowboy Recitations." Audio cassette of Drawing from the Well: Oral History and Folk classic and newer traditional cowboy poems. Arts in the Classroom and Community. Several reciters from eastern Nevada are Greenfield, MA: Pioneer Valley Folklore Society, included. Available from Cowboy Poetry Gather- 1990. ing, P.O. Box 888, Elko, NV 89801. Numerous Descriptions, examples and lesson plans from other tapes and books of cowboy poetry are several folklife and oral history projects in available from the Gathering; write for a Massachusetts. complete catalog.

Wigginton, Eliot, ed. The Foxfire Book. Garden City, "Eighteen Mile: A Day in the Life of a Ranch Family." NY: Doubleday, 1972. Twenty-minute slide show, available on video, Followed by Foxfire 2, 3, 4, etc. up to about nine about life on an Elko County ranch. For more or so books by now. information, write or call the Folk Arts Pro- Articles originally written by high school gram, Nevada State Council on the Arts, 329 students in northern Georgia for a student- Flint Street, Reno, NV 89501; (702) 789-u225. produced magazine, based on interviews with Also available from the Humanities Resource local residents. Topics include log cabin build- Center. ing, quilting, traditional foodways, folk medi- cine, crafts, ghost stories, music, etc. Excellent "Cowboy Poets." An hour-long film featuring three example of what kids can do with the local cowboy poets at home, working, and reciting and culture around them. discussing their poetry. Nevada's Waddie Mitchell appears first, followed by Slim Kite of Wigginton, Eliot. Sometimes a Shining Moment: The Arizona and Wally McRae of Montana. Foxfire Experience. Garden City, NY: Anchor Press/Doubleday, 1986. "Lige: Portrait of a Rawhide Braider." A 30-minute Part I is a review of the history of the Foxfire film, also available in VES format, about Lige program and how it grew out of Wigginton's Langston, a cowboy and rawhide braider from experience teaching high school English in rural the northern Nevada-California border area. Georgia. Part II presents general theories and lessons on teaching, gleaned from the Foxfire "The Highly Exalted." Hour long film/video about a experience. Part III an outline for a twelve-week northern Nevada ranch, and the buckaroos who English course using the Foxfire model. The travel with a wagon on fall roundup. Suitable book is both inspirational and practical, written for high school and adult audiences. in an informal, conversational style. "The Stone Carvers." An entertaining and fascinating half-hour documentary film/video about immi- Audio-VisualMaterials grant Italian stonecarvers who work on the Most of the videotapes are available in VHS format on Washington Cathedral. The men talk about loan from the Nevada Humanities Committee learning to carve through apprenticeships in Resource Center, 1101 N. Virginia St., P.O. Box Italy, and the little-known skills of their art. 8029, Reno, NV 89507; 784-6587. The film won an Academy Award in 1985 for Best Short Documentary. "Home Means Nevada." Audio cassette of 13 short radio shows on various aspects of Nevada "Ranch Album." An hour long documentary video folklore. Includes music, gambling lore, cowboy about working cowboys on a large Arizona poetry, Shoshone cradleboards, Paiute songs, ranch, showing the yearly cycle of work and rawhi le braiding, boot making and prospecting. family life. Available for $7.00 from Folk Arts Program, Nevada State Council on the Arts, 329 Flint Street, Reno, NV 89440. Many school and local libraries already have a copy of the tape.

40 NEVADA FOLKLIFE