Folklife

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Everyone across the nation engaged in multiple sectors of education and folklore with Training opportunities in folklife, folk arts, and oral history for K12 teachers, artists, and folklorists.

CONNECT WITH K12 TEACHERS AND ADMINISTRATORS 

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 @folkculturekeep


Pennsylvania Center for Folklore Hosts 2018 Pennsylvania Folklore Symposium

The Pennsylvania Folklore Symposium, taking place May 17–19, 2018 at Penn State University, Harrisburg, will bring together academic and public sector folklorists and students from across the state and region in order to highlight the achievements and issues in the field of folklore, and open a discussion on how to better collaborate and coordinate between institutions and with artists, participants, and creators.  
The presentation sessions at this meeting are organized by the sponsoring institutions and there are no open panel sessions to apply for. However, all are welcome to attend and participate! The program will also include film screenings, a local tour, and public lectures.  

The registration deadline is March 15, 2018 to register, visit the registration website

For more information contact the Center staff at folklore@psu.edu 

The preliminary program 
This meeting is sponsored by the Pennsylvania Center for Folklore, Folk Art PA/Pennsylvania Council on the Arts, and the Middle Atlantic Folklife Association.

Dr. Simon Bronner Prospect for Globalizing the Pennsylvanian Attitude Toward Folklore 

Selina Morales, Director of the Philadelphia Folklore Project
What are folk arts? Folk arts are names for the arts that are rooted in community traditions, in collective experiences. This means that while individuals make up folklore, new stories, songs, or sayings, these arts endure because they name the experiences of many people. When we share stories at the end of the day, recall a proverb that gets to the heart of a situation, or eat traditional foods at holidays, we are using our own folk arts.  
Calling these arts "folk" is a way of naming what is collective, community-based, or a peoples' tradition. It is a way of distinguishing arts that represent more than an individual point of view. The term is also used because, in this country, the creative expressions of ordinary people are not always seen as art, or as significant, or as part of a tradition. Because mainstream and elite notions of art generally marginalize the majority of world cultural and artistic traditions, the notion of "folk" art is a way of making equal room for all peoples' habits of expression and creativity.

Q&A with Lindsey Whissel Fenton (WPSU) and Dr. Simon Bronner (Penn State)
You Can't Say That  video producer Lindsey Whissel Fenton, won an Emmy in the education/schools – program/special category Folklore: Woven Together


The American Folklore Society's 129th Annual Meeting  

October 17-20, 2018
Buffalo Niagara County Convention Center, in Buffalo, New York
The theme for the meeting, on which presentations are encouraged but not required, is “No Illusions, No Exclusions.”

Independent Folklorists' Travel Stipend
contact the Selection Committee Chair, Joan Saverino

Timothy Lloyd, PhD | Senior Advisor for Partnerships
American Folklore Society  614/330-2078

Dorothy Noyes noyes.10@osu.edu President The American Folklore Society 
Ohio State University - Professor, Departments of English and Comparative Studies; The Center for Folklore Studies,  The Mershon Center for International Security Studies
 


Arts Education Partnership @aep_arts

March 10 2018 Washington DC

How can the #Arts and #ArtsEd build civically engaged & empowered students? Attend to learn more in the Access and Agency in the Arts workshop w/ @BostonSchools @masscultural
This annual event convenes leaders from across the arts and education sectors for a day-long discussion exploring key policy topics impacting the arts in education. In addition to two timely plenary sessions – one addressing how arts education is faring under the implementation of the Every Student Succeeds Act, and the other providing insight on how to use data to inform policy decisions – in-depth workshops focused on the priority areas of AEP’s 2020 Action Agenda will provide attendees with applicable tools and strategies for increasing access to the arts in education for all students.

Clifford Murphy murphyc (@) arts.gov
Folk & Traditional Arts Director | Multidisciplinary Arts National Endowment for the Arts
400 7th Street SW | Washington DC 20506
p 202-682-5726 f 202-682-5669


National Council for the Traditional Arts

Founded in 1933, the NCTA is the oldest folk arts organization in the nation. Founded 80 years ago, the National Folk Festival was first presented in 1934 in St. Louis, Missouri, and is the nation’s longest-running multicultural celebration of traditional arts and culture. The National Council for the Traditional Arts is a private, non-profit arts organization based in the United States that promotes the traditional arts. It organizes the National Folk Festival. Salisbury, Maryland to host National Folk Festival, 2018-2020 
First Eight Performers Announced for 78th National Folk Festival


TAKE AWAY FROM THE 2018 CREATIVE COMMONS SUMMIT

Traditional Knowledge (TK) labels have been crafted in collaboration w/ Indigenous communities - acknowledging how traditional metadata often reflects colonial practices: e.g. a photo might attribute the photographer, but not the Indignenous subject in the photograph. 

The TK Labels are a tool for Indigenous communities to add existing local protocols for access and use to recorded cultural heritage that is digitally circulating outside community contexts.

Traditional Knowledge (TK)

 

 

 

 

 

 

 

 

 

 

 

TK Secret / Sacred (TK SS)

Why Use This TK Label? This label should be used when you want to let external users know that the material that is openly circulating contains secret/sacred information and that it has specific conditions of access and use. These conditions potentially include restrictions upon access. Using this label helps to alert external users that this material is special and requires respectful and careful treatment. It asks users to make different decisions about using it and, importantly, to discuss any potential use with you.

 

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The State and Regional Arts Organizations are Key to Building a Strong Economy

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THE ARTS in K-12 is Key to Building a Strong Economy

The State and Regional Arts Organizations are Key 

#STEAM #STEM - SCIENCE, TECHNOLOGY, ENGLISH, MATH
#STEAM - SCIENCE, TECHNOLOGY ENGLISH, MATH, + ARTS

 

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PROJECTS

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CLASSROOM ACTIVITIES: PROJECTS

TELL US ABOUT YOUR SCHOOL

USE  STORYMAP.org to tell your story.

STORYMAP.org  is designed for K-12 teachers to help their students experience history through stories, by our partner  Doug Denatale who has been working with the nonprofit sector to improve practices through research and the development of new web-based technologies. He is a trained ethnographer skilled at helping people tell their stories.  

Tell us about your school, or the playground songs and chants happening at your school, your playground, or your community!

  • Help Build Your School To Be The School You Want It To Be.
  • Prepare find your subject
  • Use the Song Catching Worksheet if you are collecting playground chants and songs or stories.
  • Capture photos or video of kids playing using your phone or whatever else you want to use
  • Use the STORYMAP to show us your school or street on the map, the playground, or wherever you are
  • Prepare your story
  • Add your audio text, music and captions in panels that you can place anywhere on the map.
  • Add free music Download Creative Commons Music for Free for your video or for the background if you like here

FIND YOUR SCHOOL ON THIS SITE

SHOW US YOUR PROJECT:

UPDATE YOUR SCHOOL INFO WITH YOUR PROJECT # AND STORYBOOK URL FOR ANY PROJECT BELOW

#Folklife #Folklore #Music #NCFR, #PlayGround #Play #Health #Literacy #Reading #Poetry #OralCulture #History #StoryTelling, #CommonGood #COOP #FakeNews #Hate #Technology
 


NCFRNATIONAL CHILDRENS FOLKSONG REPOSITORY

#NCFR Folklore Project CLASSROOM ACTIVITY : COLLECT EXAMPLES OF PLAYGROUND POETRY

EVERYONE CAN USE THE STORYMAP to video and upload your video of children singing and chanting their playground songs from your school / playground / or community!

INTEGRATE: #TECHNOLOGY #PLAY #HEALTH #MUSIC #LITERACY #READING #POETRY AND #ORAL CULTURE

LANGUAGE IS MUSIC MUSIC IS LANGUAGE ~ Karen Ellis

Promote Children's Playground Poetry, jump rope chants, clap pattern chants and songs. Use technology to save and promote their own oral culture. Academics state the important role listening to nursery rhymes, and in many cases watching the accompanying actions, help in language acquisition.The ability to listen and discriminate between sounds in the language is an important predictor of children's later success in learning to read, and of course rhymes can play an important part in that. All cultures are hard-wired for the language of music.

YOU CAN DO THESE FOUR THINGS:

  • COLLECT VIDEO OF CHILDREN'S PLAYGROUND CHANTS, PLAY PARTIES, AND CLAP PATTERN SONGS from the school yard, back yard, neighborhood playground, shopping mall, anywhere you see it.

  • COLLECT OUR AMERICAN VERNACULAR SONGS

  • HELP PROTECT AND PRESERVE CHILDREN'S INDIGENOUS PLAYGROUND; AND ORAL CULTURE

    Tell your family's story and let Grandmom sing Miss Mary Mack for you the way she used to do it !

  • BE A PATRIOT SAVE OUR HISTORY
    THE EXTENT TO WHICH AMERICAN CHILDREN’S FOLK SONGS ARE TAUGHT BY GENERAL MUSIC TEACHERS THROUGHOUT THE UNITED STATES By MARILYN J. WARD

#NCFR PROJECT RESOURCES

Nursery Rhymes are the foundation for reading readiness.
Understand the connections between speech, music and reading.

FOUR WHITE HORSES ON A RAINBOW
Greetings All: My name is Karen Ellis. I published a book and cassette titled Domino in 1991 of live sound field recordings; children's songs and chants from the United States Virgin Islands which were collected in 1976 - 1979. It is no longer in print, but plan to publish in the future.  This is where teachers have gotten Four White Horses from. Contact me if you want more info. The original words are much sexier :-)

Interdisciplinary connections between Language, Music, Evolution, Reading.

Rhythmic patterns underlie the human language.  As language develops some cultures pay attention to the pitch of the word and the rhythm of the word. In all cultures, If it doesn't have the right rhythm nobody will understand.

Nursery Rhymes promote Play for Healthy Development and Reading Readiness.

Why Use Playground Game Chants to Teach Reading

PLAY IS SERIOUS WORK for the young and old from the novice to the experienced. RESEARCH PDF It's about all the different ways we play to learn. Larger brains are linked to greater levels of play. In other words, playing makes you intelligent. Rich or poor, young or old, male or female, play has evolved to shape the overall architecture and to build big brains, explaining why children need the playground just as much as the classroom.

IMITATION IS THE FIRST IMPULSE SO WE CAN GET IN SYNCH.  
Children Learn by Monkey See, Monkey Do. Chimps Don't. 
EMOTIONS LOCK IN MEMORY A specific area of the brain's temporal lobe called the amygdala is the center of emotion in the brain and, it is becoming clear, a very strong tool for solidly hammering in a memory. When the amygdala detects emotion, it essentially boosts activity in areas of the brain that form memories" And that's how it makes a stronger memory and a more vivid memory."

CONNECTIONS BETWEEN EVOLUTION, MUSIC, LANGUAGE, READING.

ORIGINS OF FOLKSONGS, NURSERY RHYMES, PLAY PARTIES, AND INDIGENOUS PLAYGROUND POETRY 

Online Nursery Rhymes and the Oral Tradition

COLLECT CHANTS / ORAL CULTURE USE NURSERY RHYMES USE PLAY

LORE AND LANGUAGE OF SCHOOL CHILDREN #Linguistics #child-originated culture #skip rope songs, #counting out rhymes, #parodies, #singing verses, #superstitions, #420

Learn about Language Evolution and Memetics   ORAL CULTURE  NURSERY RHYMES USE PLAY 

 

DOMINO by Karen Ellis

Domino by Karen Ellis
 

 

Micky

USA Jump Rope

Hot Topics in Health and PE

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CO OP PROJECT - Common Good Communities  

K-12 teachers throughout the United States have embraced oral history as a way of making classes more interesting, but they have largely approached this through two somewhat divergent means. By far the most dominant has been the effort to develop curricula that teach students how to conduct interviews.

While there are some programs and organizations that have tried instead to incorporate existing oral histories into lessons, the latter is a much less utilized technique. In the first instance, relevant lesson plans are usually developed by individual teachers based on the intent of a class project, but in the second category, it has been more likely that curricula have been created by various oral history programs and archives and then provided to educators as a finished product that they can work into their current plans.

The Common Good system is all about community-centered economic democracy.

Economic democracy shifts power from big business and big government back to communities, where we know and care more. As a Common Good member, you buy things with your Common Good Card (from participating businesses), get an every-growing zero-interest line of credit, and occasionally move some money into or out of your account. 

We can't create US Dollars, but we can create Common Good Credits.

Alternate Banking -  Your Common Good Card generates funds for community projects and the common good every time you use it. You and other members decide together what to fund. 
EMAIL info [at] CommonGood.earth  
PO Box 21, Ashfield, MA 01330 USA
+1 413 628 1723

Can Your School Tell Us About Their Community?
Help Build Your School To Be The School You Want It To Be.
Use our partner STORYMAP  designed for K-12 teachers to help their students experience history through stories. 

USE THE STORYMAP to upload your video, tell us your story and show us how this is working for the common good.

Websites for Storytellers and Their Teachers Incorporating Oral History into K-12 Curricula by Mary Larson
K-12 teachers throughout the United States have embraced oral history as a way of making classes more interesting, but they have largely approached this through two somewhat divergent means. By far the most dominant has been the effort to develop curricula that teach students how to conduct interviews. While there are some programs and organizations that have tried instead to incorporate existing oral histories into lessons, the latter is a much less utilized technique. In the first instance, relevant lesson plans are usually developed by individual teachers based on the intent of a class project, but in the second category, it has been more likely that curricula have been created by various oral history programs and archives and then provided to educators as a finished product that they can work into their current plans.

Learn about Story Telling Find Websites for Storytellers.
The Oral Tradition, Bards, Ballads, Folk music, Folk Tales, Gossip and Myth used in the classroom.

Albert Einstein ~ "If you want your children to be intelligent, read them fairy tales. If you want them to be more intelligent, read them more fairy tales."
 

  • Learn about Story Telling Find Websites for Storytellers.
    The Oral TradItion, Bards, Ballads, Folk music, Folk Tales, Gossip and Myth used in the classroom.
     
  • Folklore and folklife are not about the long-ago and faraway but about the power of place and time and the dynamic creativity of traditional culture.

JOB SKILLS

Professional Story Tellers Who Work for a Living are Freelance Editors.
They will prepare a Story Telling Timeline and Tools.

- Background research, proposed questions, and biographical data form
- Unedited digital audio recording 
- You should have your own equipment capable of producing such documentation
[minimum 48/16 or 96/24 wav files ] 
- Abstract of main topics of interview [submitted as electronic file] 
- Field notes [submitted as electronic file] 
- Index of main topics and location [time stamp or time code] within interview [submitted as electronic file]

Science of Story Telling

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


HOW TO COMBAT HATE WEBSITES, FAKE NEWS AND THEIR RECRUITING TOOLS

“Stealing Ideas”: Folklore and Education by Betty Belanus

Folklorists working in education often joke that we are great at stealing each other’s ideas, and we don’t mind a bit. “If you have a good idea, share it” is our guiding motto, and the AFS meetings are a great place to gather purloined ideas for one’s own use.

K12 Classroom / School Activity -- Betty Belarus  "Pop Up Exhibition"

Choose a theme and find the ways you can become involved as a formal or informal participant: Read more about Pop Ups 

The idea is simple:  bring an object (or a few) which follows a theme and be prepared to tell the story of that object to your audience and start a conversation around the story. 

Opening Doors, Opening Dialogues:  Sharing Cultural Knowledge and Memories from Homelands

What happens when one must leave a "homeland" and establish a new one?
Whether moving to a new town or a new country, or making a life move (such as changing career paths), how do the artifacts that we take with us, whether tangible or intangible, help us hold on to important cultural knowledge and memories, in order to share them with new friends and neighbors while creating a new identity in a new (literal or figurative) place?  
This Pop Up Exhibit invites participants and visitors to *open doors* (inviting visitors into the shared space of the small exhibit displays of objects, images and text) and *open dialogues* (using the displays as a means to explore together how cultural knowledge and memories can define and recreate homelands).


WHAT DOES IT MEAN TO BE AN EDUCATED PERSON?

TEACH HISTORY THROUGH SONG 

SONGS THAT TEACH RESPECT AND TOLERANCE 

Folk and work songs always have been windows into culture and history. But many of the Hate songs being sung by "folk groups" at "folk music events" show the Intersection between Cultural Identity and Racist Ideology.

TEACH CHARACTER EDUCATION  

THERE WERE MANY WARS ON TERROR INSIDE THE UNITED STATES  AND THEY STILL EXIST

THE CULTURE OF HONOR AND THE ONLY MUMMERS YOU NEVER HEARD OF

  • ROUGH MUSIC  AND THE KKK
  • ROUGH MUSIC - WHO IS A REBEL VS WHO IS A PATRIOT
  • INTERSECTION BETWEEN CULTURAL IDENTITY AND RACIST IDEOLOGY

DO YOU KNOW YOUR STATE SONG? Get Help to Teach Your Songs in Context.

You have to make connections between "disciplines". Do you find the use of the word "darkeys" offensive in Florida's current State Song? The OFFICIAL words are the original words for The Swanee River (Old Folks at Home) authored by Stephen Foster, America's Troubadour and written in imitation of dialect.

2018 'We Shall Overcome' Ruled Public Domain In Copyright Settlement! 

The music publishers, who collected well over a million dollars in royalties from the copyright, owe attorney's fees and court costs.

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PETE SEEGER: "It was known among the food and tobacco workers, mainly Negro union members. And I heard them singing it in 1947."

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It's not how pretty a song is but what good a song does ~ Woody Guthrie

Woody

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

WHAT IS SO BAD ABOUT SINGING KUMBAYA?

Language Arts / Literacy / Linguistics / Dialect Speakers / Reading

More about: Creole speakers Definitions - Dialect Speakers 
African American Vernacular, AAVE, Dialect, Creole, Patois, Pidgin, ESL, American Virgin Islands Creole, American Indian words in Louisiana, Dialect Speakers, Irish American Vernacular


"Pete Seeger sings "Kumbaya" and talks about the song's history in 1963.

"Kumbaya"? Why are these politicos invoking a sincere, melodic popular American folk song in a disparaging manner? And it's not just the Republicans. If this nation is not about everyone getting along, what is it about? And read about when singing "Kumbaya" become such a bad thing. 

Come by ya A Long Road from 'Come by Here to Kumbaya and About That Song You’ve Heard, Kumbaya. A Simple, Sincere Song  Like many political phrases these days, says Richard E. Vatz, a professor of political rhetoric at Towson State University, "Kumbaya" is used "irrespective of its derivation.

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CITIZEN SCIENCE / LANGUAGE

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PUBLIC FOLKLORE LANGUAGE PROJECT

Human Voicebank Initiative  #Linguistics #Health #Science

HELP SOMEONE LIKE STEPHEN HAWKING WHO NEEDS A PERSONALIZED VOICE!

You can also find out more about how to donate your own voice. Their goal is to collect one million voice samples by 2020 to create the world’s largest repository of voices. This corpus would allow us to generate unique vocal identities for hundreds of recipients for whom we do not yet have matching donors.

PUBLIC FOLKLIFE CITIZEN SCIENCE PROJECTS

NASA -- Citizen Science App to Combat Mosquito-borne Disease

Citizen scientists can play a role in helping prevent Zika and other mosquito-transmitted diseases. The free GLOBE Observer smartphone app can be downloaded from Google Play or the App Store. With the app the public can report where they find mosquito breeding habitats and larvae, information that scientists and public health officials use to map the range and population density of mosquitoes in your neighborhood. Visual System

MicroPlants Project  #Science
Scientists want YOU to help them study in the field 

Scientists want YOU to help them study amphibious lil plants 
POPULAR SCIENCE explains: https://www.popsci.com/liverwort-plant-citizen-science

Scientists from the Field Museum, Duke University and international researchers need your help.

ALL ARE WELCOME TO PARTICIPATE
Toddlers, teens and retirees are helping researchers understand how tiny plants respond to climate change. Help discover biodiversity! Take part in scientific research anywhere and at anytime.

The world's biodiversity is diminishing rapidly and undergoing an extinction crisis

Help discover biodiversity! Take part in scientific research anywhere and at anytime.

The underlying theme is to connect biological research and collections with education and outreach. The project has the specific goal of engaging a broader audience, especially students (K-12 and college) and citizen scientists to partner with our efforts in recording critical data sets from digitally rendered images.

How can these activities be implemented into my curriculum?

K-12 programs: Educators from the Education Department at The Field Museum developed Virtual Visits from The Field – an NGSS aligned program that virtually brings our MicroPlants Scientists into the classroom. This sixty minute live broadcast is accompanied by pre and post activities that easily integrates MicroPlants into your curriculum.

Scientists and educators at The Field Museum (Chicago) partnered with Citizen Science and Zooniverse at the Adler Planetarium to coordinate a network of students and professionals at universities, city colleges, high schools, and middle schools to accelerate the pace of scientific discovery.

 

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OPEN SOURCE JOURNALS / BOOK REVIEWS

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TRADITIONAL FOLKTALES

John Henry

Story Telling, The Oral Tradition, Ballads, Folkmusic, and Folktales used in the classroom.

Folktexts Compiled by Professor D. L. Ashliman is one of the best.

Folktexts is deeply underwhelming in the looks department, but the way that it's organized is pure genius. Instead of simply presenting the stories as so many other online resources do, Professor Ashliman has gone through the bother of categorizing hundreds, if not thousands of stories by their central themes and related tales.

Let's say that you've read "The Emperor's New Clothes" and want to find out if other cultures have their own version of the story. No problem: just look under 'E.' There, you'll find information on the different names that the story is known by and what culture the story comes from. If that's not enough for you, the page even links to the text of all of the versions of the story that the professor is aware of. It's as much a labor of love as it is a work of scholarship.

The Funk and Wagnalls Standard Dictionary of Folklore, Mythology and Legend

Folkstreams Films  

Folkstreams portray diverse cultural groups and communities and they offer unique American voices for the study of film, art, music,  history, and media literacy for the classroom.
Unlike feature films, documentaries are not fictionalized accounts but are filmmakers' attempts to capture the reality of some situation or group of people. Like feature films, documentaries are framed in a point of view. Folkstreams films try to capture what it is like to be an insider in local cultural groups from cowboys to urban Go-Go musicians. Many Folkstreams documentaries are made by folklorists, who study the myriad forms of traditional culture that are often invisible in mass media and history books but are essential to how we live our lives and formulate our worldview.

Folktale Project  @FolkTaleProject 
A new folktale every Monday, Wednesday and Friday. From Ayerton to Grimm and from the US to Japan. 

OPEN SOURCE JOURNALS

IUScholarWorks Journals is a service of the Indiana University Libraries to support open access journal publishing at Indiana University. The Libraries provide server space and support for Open Journal Systems (OJS), an open-source solution for managing editorial processes and online publication.

BOOK REVIEWS

Curatorial Conversations: Cultural Representation and the Smithsonian Folklife Festival.
Edited by Olivia Cadaval, Sojin Kim, and Diana Baird N'Diaye. 2016.
Jackson: University Press of Mississippi. 352 pages. ISBN: 978-1-4968-0598-0 (hard cover).
2018 Reviewed by Maggie Holtzberg, Massachusetts Cultural Council 

In July 2017 the Smithsonian Folklife Festival celebrated its fiftieth anniversary. The book under review was conceived in anticipation of this anniversary. The ten-day annual Festival presents music, dance, craft, foodways, occupational skill, and ritual practice, always striving to recreate contexts in which these cultural traditions naturally occur. Visitors over the years have watched Kentucky tobacco being planted, timber framers at work, home cooks preparing ethnic food, Mariachi musicians performing alongside churros (cowboys), and railroad track-laborers singing work chants, with lining bars in hand.

Held in our nation's capital on the symbolically charged National Mall, the Festival has gained worldwide recognition as a model for community-based research, intercultural dialogue, cultural equity, and shared authority in staging living cultural heritage. Presented by the Smithsonian Center for Folklife and Cultural Heritage, it is common knowledge amongst folklorists and other cultural specialists that many working in the field of public folklore today had formative experiences working for the Festival. As co-editor and Smithsonian curator Diana N'Diaye remarks, "Many folklorists saw the Festival as the midwife for public folklore practice" (276).

Curatorial Conversations contributes to the growing body of critical writing about public folklore and the complexities of staged cultural representation. The hardbound book brings together fourteen essays written from the perspective of past and present festival curatorial staff. It is a fascinating look into the theory and practice of festival curation over the past half-century.

The book is organized into four parts: Early Vision and Transformations, Collaborations and Cultural Politics, The Poetics of Representation, and The Festival as Catalyst. The preface by C. Kurt Dewhurst and Marsha MacDowell provides helpful background on the shifting roles of museums in society and the changing role of curators from being primarily caretakers of collections (conservation) to being catalysts for civic engagement (conversation).

After exploring Ralph Rinzler's founding vision for the Festival, Robert Baron's prologue touches on the multiple mediations that continue to take place in the planning, framing, staging, and interpretation of Festival programs. He commends the deep reflection and self-criticism by Smithsonian Folklife curatorial staff that has refined and developed its practice over decades as the staff learns from challenges and mistakes, such as learning to be less didactic and more engaging as presenters or how to successfully resist the demands of government or corporate partners in shaping programs.

Olivia Cadaval and Sojin Kim, the book's other co-editors who are also curators at the Center, provide the introduction for the essays that follow. Readers get a feel for what distinguishes the Smithsonian Folklife Festival, including the research-based nature of the curatorial work, which always includes community scholars or folklorists working in the local region, and the sensitivity surrounding the public exhibition or representation of culture. The book includes an impressive list of folklorists, historians, educators, and other cultural specialists who have contributed to this truly collaborative effort over so many years. Their combined expertise makes for good reading.

Jack Santino recounts Ralph Rinzler's guiding principle for the Festival--the cultural validation of often marginalized arts and artists--which sets the curatorial tone going forward. The early years of the Festival broke new ground by conducting field research to find the best possible representatives of a chosen traditional art, by juxtaposing several different cultural groups, and by staging more intimate performance settings. Santino acknowledges that there is plenty of anecdotal evidence of the Festival's positive impact on participants returning back to their home communities, but he notes that systematic research on this has yet to be done. In recounting the early days of the Festival and subsequent programs focusing on family and occupational folklore, Steve Zeitlin writes about the impact the Festival, with its focus on telling one's story, has had on American popular culture.

Dan Sheehy reflects on the values, purposes, and practices at play during his own curatorial work with Mexican musicians in the 1970s. He acknowledges the presenter's challenge of how to convey insider knowledge without falling prey to ethnic stereotypes. Noting the need to recruit more community members to explain cultural meaning, Sheehy reminds us of the Festival's most distinctive feature, which, in the words of former Center director Richard Kurin, is "its attempt to foreground the voices and tradition bearers as they demonstrate, discuss and present their culture" (59).

Frank Proshan offers two case studies from his work. The first focuses on what led to the 1972 Baltimore Greek program, which ended up including a four-hour Olymbos glendi (a highly structured ritual celebration), which drew Greek Americans from Baltimore and Washington. His recounting of the work that went into the 1987 Lao American program and the restaging of a Boun Bang Fai rocket festival is a testament to the creativity and resourcefulness of curatorial work. (One of those judging the rocket competition was a Smithsonian curator from the National Air and Space Museum!)

Richard Kennedy addresses the challenges curators face working with highly charged political relations, where serious political differences and a history of conflict exist. His essay looks at some interpretive strategies that program teams developed to address these challenges in working with a variety of Festival programs, such as The Silk Road: Connecting Cultures, Creating Trust (2002) and The Mekong River: Connecting Cultures (2007). Another take on this kind of challenge is offered by Cynthia Vidaurri, who writes about research for a Cuban program, which began in 1994 and is yet to be realized due to complicated relations between the United States and Cuba.

James Deutsch shares his experience working to present domestic government agencies (e.g., the US Forest Service, NASA, and the Peace Corps), recounting anecdotes in trying to avoid micromanaging by public relations staff and agency administrators. While promoting the active engagement of tradition bearers in the curatorial process, Olivia Cavadal relates how things can get messy when the Festival is actually under way. She describes some tense interactions between participant groups over the use of space on the Festival grounds and relates interesting examples of how cultural identity was contested and negotiated.

Marjorie Hunt begins her essay by sharing a wonderful story about master stonecarver Roger Morigi who had worked on the Washington National Cathedral. During a workshop, an audience member asked if he had worked on any other D.C. buildings. Morigi pointed to the larger-than-lifesize, carved female figure adorning the Commerce Building on Constitution Avenue, just off the Mall. He received a standing ovation. Hunt reminds us that how culture bearers are presented and interpreted is the key to success. Can they engage and interact with the public and with one another? Can they be heard?

Using three past Festival programs, Masters of the Building Arts (2001), Carriers of Culture: Living Native Basket Traditions (2006), and One World, Many Voices (2013), she gives tangible examples of hands-on activities, signage, and pop-up presentations. Using his experiences working on the Bristol Sessions Country Music Program, Jeff Place provides useful information on how to scale back an ambitious festival program when resources are limited. Without having to build expensive infrastructure, planners conceived of a way to populate the area by creating a "parking lot" jam-session picking area with picnic tables. They also recreated a famous mural that was originally painted on a building close to where the 1927 Bristol recording sessions took place.

Betty Belanus explores what can be gained by curators putting themselves in the visitors' shoes. Using "Teaching for Understanding," a guide developed for classroom use that aims to help students reach deeper levels of understanding, Belanus and her colleagues take a critical look at the 2008 Bhutan Program. They develop a framework for describing and analyzing visitor engagement with the hope of improving future efforts in curatorial practice.

Amy Horowitz is intentionally inconclusive in her essay about her involvement on the Jerusalem Program, which like the Cuba Program, involved working in politically charged territory. It has been twenty-five years since the Jerusalem Program was conceived, postponed, and eventually reborn at Ohio State University, but it has yet to take place on the National Mall.

Using her experiences working on the 1997 African Immigrant Folklife and the 2013 Will to Adorn programs, Diana N'Diaye shows the value of deep community involvement in researching and developing festival programs. The training of youth and community-based groups to research their own expressive culture led them to organize their own folklore projects. It's a shining example of shared ownership of the curatorial role.

James Early's epilogue reflects back on the key players and early guiding principles of the Festival, noting that the multi-voiced volume is a window into how cultural heritage policy was formulated, diffused, and is continuing to evolve. He suggests that we scrutinize legacy terminology (living exhibition, curator) which grew out of a nineteenth-century institutional ethos. While his writing might be less accessible to the lay reader than the rest of the book, he asks good questions, such as, "What motivated so many prominent people in folklore and folklife festival work to be. . .passionately associated with cultural, social, and economic justice and public inclusion?" (321).

The book is rich with thoughtful reflections and honest self-criticisms; it also captures the magic that occurs when the Festival is at its best. Most useful are the essays that describe the process and interactions involved in attempts to share curatorial authority. We witness the evolution of festival curation from the early days of putting living culture on display to the recent era in which cultural practitioners form an integral part of the curatorial dialogue. That said, no one addresses how the Festival's early focus on individual states and regions in the United States has shifted toward representations of cultural groups from abroad. It would have been helpful to have included a chronological listing of all the Festival themes and programs, beginning with the very first in 1967. One minor complaint--a handful of the photos are not dated. The book also would have benefited from some color images.

I welcomed the opportunity to read (and review) a book devoted to conversations about festival curation, not only because of my own work in this area, but also because of what the book conveys about how far our field has come in the work of staging cultural representation beyond simple celebration. I came away with renewed respect for the groundbreaking work that has taken place over the past half-century by the Smithsonian's Center for Folklife and Cultural Heritage staff, community scholars, and cultural participants.

I highly recommend this book for anyone involved in teaching, producing, or attending festivals that frame and represent traditional culture. The book encourages us to expand our thinking and dialogue about how cultural knowledge, competence, and artistry are best shared with the public (who are most likely cultural outsiders). It is also worth noting that the book was recognized by the Smithsonian Institution, when it received a 2017 Secretary's Research Prize presented by Secretary David J. Skorton and organized by the Smithsonian Congress of Scholars. The pan-institutional prize recognizes excellence in recent research by the Smithsonian Institution's employees.
http://www.jfr.indiana.edu/review.php?id=2100

 

Peggy Seeger: A Life of Music, Love, and Politics By Jean R. Freedman.
2017. Urbana: University of Illinois Press. 368 pages. ISBN: 9780252040757 (hard cover).
Reviewed by Patrick Ryan

This comprehensive overview of Peggy Seeger's life also serves as an absorbing history of the folk music revival. Jean R. Freedman provides the usual pertinent as well as lesser-known details that make any successful biography, with information gleaned from her subject and Seeger's extended family, friends, and acquaintances. As a participant of the folk scene in her youth, Freedman began an acquaintanceship with Seeger that, renewed over years, grew into a close friendship (which Freedman acknowledges in her introduction). Given access to a wealth of resources through conversations, interviews, and countless private papers and public documents, the author successfully places the events and artistic oeuvre of a multifarious life in sociocultural and historical contexts. As a folklorist, Freedman manages enormous detail with a clarity and honesty that absorbs the reader. This is no hagiography, though the author clearly admires the artist and her work, nor is it an affectionate light-hearted laudatory summary of a life. It provides insight into folk music and the folk revival, which makes the publication of interest to any reader, whether a neophyte or veteran on the folk music scene, or a scholar of twentieth-century popular culture.

Freedman succeeds through prose as approachable and entertaining as Seeger's lyrics and informal, intimate performance style. The book is a page-turner, particularly (for me) the first half that presents Seeger's early life and development within the context of her family history, especially with regard to her parents' ground-breaking work, and then Seeger's initial years of independence as an undergraduate and then burgeoning performer and fieldworker on tour in post-war Europe. Freedman skillfully connects and contrasts Seeger's development as an artist with the practices of her parents and siblings, and also with a wide array of political and cultural movements--specifically in music, of course, but also in relation to education and other arts. She does so by exploring Seeger's and, when appropriate, the other Seegers' uses of folk music to explore or drive change in race relations, feminism, class struggles, and domestic and international politics over the decades.

The second half of the biography outlines Seeger's relationship with Ewan MacColl as well as their collaborative work and especially her individual professional practices, and also their numerous collaborations in the British folk, theatre, and media scenes. It also traces Seeger's developing political and feminist consciousness. This section is a proficient but packed report on a lot of life experiences, with slightly less discussion of causes and effects in social, cultural, or political terms compared with the first part of the book. It would not be fair to describe this part as a summary--Freedman does well in her continuing analysis of experiences contributing to Seeger's development as an individual and an artist, their impact on her repertoire and performance style, and, in turn, its influence on MacColl, other artists, and the development of the folk scene. I have to confess, having arrived late on the British scene myself, in a way similar to Freedman although half a decade after, I found this section enjoyable and disconcerting at the same time. Knowing some of the other actors in the British Folk Revival and their views of many events and ideas covered here, I was obliged to rethink my own understanding of the past, which is no bad thing. Freedman's is an accurate account, but like the Irish proverb there are two versions of every story and twelve versions of every song; and her version, and her reports of others' versions of events I witnessed or heard of, prompted a mix of memories and new questions regarding what I know of the work and experiences of my contemporaries on the folk scene.

Which reveals the strength and importance of this volume. Freedman could have ended with the twentieth chapter, where she summarizes Seeger's life, thoughts, and outputs in latter years. But instead she concludes with an essay responding to the question, "What Is a Folk Revival?" This final chapter echoes questions put, and partially answered, earlier by her analysis of Seeger's life and art. Questions such as: What is a folk song? What is tradition? What is authentic? But here she summarizes recent scholarly literature on folklore and the folk revival produced by both folklorists and cultural critics. Rather than resolve anything or provide definitive answers, her biography of Seeger becomes an object lesson letting us know that such questions must be regularly returned to, explored, and challenged. This is due to the depth and richness of any content we recognize as folk music or folklore, a repertoire continually added to and which can be seen in a new light in every iteration, whether in artistic or social performances, or in scholarship. As Freedman acutely observes, "The anxiety about cultures disappearing--the anxiety that created the concept of folk culture in the first place--is perhaps a false anxiety. The very factors that threatened to obliterate folk culture--growing capitalism and growing literacy--also fostered its preservation and its revival" (303). This could be an uncomfortable truth for those most active in combining folk arts and politics who believe that their work counters capitalism and champions--or romanticizes--the lesser educated or empowered.

Inherent contradiction and paradox in folklore performance and study is partly handled by strong publications such as this one, which joins recent biographies of mid-twentieth-century folk revival artists, and which will stand well amongst future biographies on other cultural actors of that time, which are surely yet to come.

http://www.jfr.indiana.edu/review.php?id=2146