Pub Date : 2024-01-01DOI: 10.5406/15351882.137.543.13
Amy Horowitz, Amy Shuman
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Pub Date : 2023-10-01DOI: 10.5406/15351882.136.542.10
Stephen Stuempfle
Gordon Rohlehr passed away in Trinidad on January 29, 2023. With a career of writing, teaching, and community engagement spanning more than half a century, he was widely recognized as the premier authority on the calypso song form and one of the Caribbean's leading literary scholars. He published on an array of verbal art (oral and written) in the anglophone Caribbean and was unparalleled in his ability to elucidate the significance of this literature for the region and the wider world.Rohlehr was born in British Guiana (Guyana) in 1942 and spent his childhood in the Essequibo coastal area to the west of the capital city of Georgetown. His father was the superintendent of a boys’ reform school, while his mother was a teacher and administrator at an Anglican primary school. He recalled in his memoir that the family's home on the reform school grounds was surrounded by fruit trees and flowers and offered “a view of sunrises over the Atlantic and sunsets over the giant silk-cotton (cumacka, ceiba) tree at the edge of the forest” (Musings, Mazes, Muses, Margins: A Memoir 2020:8). Rohlehr entered Queen's College in Georgetown on a scholarship in 1953, the same year as future historian/activist Walter Rodney. The two would remain friends until Rodney's assassination in Georgetown in 1980. Queen's College was an elite secondary school, with a rigorous curriculum based on that of English grammar schools, a strict code of discipline, and an expectation that its alumni would become leaders in Guyanese society. Rohlehr graduated in 1961, with A-Level courses in literature and history, and won a scholarship to attend the University College of the West Indies in Mona, Jamaica.Rohlehr's years at Mona (1961–1964) were a tumultuous time: the breakup of the West Indies Federation, the independence of Jamaica and Trinidad and Tobago in 1962, and the political and ethnic violence in Guyana that preceded independence in 1966. During this period, he gained a broader sense of Caribbean consciousness through interactions with students from various parts of the region. Although he had initially planned to study history, he switched to English literature and was awarded a First Class Honours degree in this subject. He also won a scholarship that enabled him to pursue postgraduate studies in 1964 at the University of Birmingham (UK), where he wrote his dissertation on the fiction of Joseph Conrad and received a doctorate in 1967.During his time in England, Rohlehr frequently traveled to London and became involved with the Caribbean Artists Movement (CAM), which was founded in late 1966 by poet/historian Kamau Brathwaite (Barbados), activist/writer/publisher John La Rose (Trinidad), and writer Andrew Salkey (Jamaica). The Caribbean Artists Movement's loose network of participants included West Indian artists and intellectuals who had migrated to the UK or were students there. Among the group's topics of debate was the possibility of defining a Caribbean aesthetic. At a mee
{"title":"Gordon Rohlehr (1942–2023)","authors":"Stephen Stuempfle","doi":"10.5406/15351882.136.542.10","DOIUrl":"https://doi.org/10.5406/15351882.136.542.10","url":null,"abstract":"Gordon Rohlehr passed away in Trinidad on January 29, 2023. With a career of writing, teaching, and community engagement spanning more than half a century, he was widely recognized as the premier authority on the calypso song form and one of the Caribbean's leading literary scholars. He published on an array of verbal art (oral and written) in the anglophone Caribbean and was unparalleled in his ability to elucidate the significance of this literature for the region and the wider world.Rohlehr was born in British Guiana (Guyana) in 1942 and spent his childhood in the Essequibo coastal area to the west of the capital city of Georgetown. His father was the superintendent of a boys’ reform school, while his mother was a teacher and administrator at an Anglican primary school. He recalled in his memoir that the family's home on the reform school grounds was surrounded by fruit trees and flowers and offered “a view of sunrises over the Atlantic and sunsets over the giant silk-cotton (cumacka, ceiba) tree at the edge of the forest” (Musings, Mazes, Muses, Margins: A Memoir 2020:8). Rohlehr entered Queen's College in Georgetown on a scholarship in 1953, the same year as future historian/activist Walter Rodney. The two would remain friends until Rodney's assassination in Georgetown in 1980. Queen's College was an elite secondary school, with a rigorous curriculum based on that of English grammar schools, a strict code of discipline, and an expectation that its alumni would become leaders in Guyanese society. Rohlehr graduated in 1961, with A-Level courses in literature and history, and won a scholarship to attend the University College of the West Indies in Mona, Jamaica.Rohlehr's years at Mona (1961–1964) were a tumultuous time: the breakup of the West Indies Federation, the independence of Jamaica and Trinidad and Tobago in 1962, and the political and ethnic violence in Guyana that preceded independence in 1966. During this period, he gained a broader sense of Caribbean consciousness through interactions with students from various parts of the region. Although he had initially planned to study history, he switched to English literature and was awarded a First Class Honours degree in this subject. He also won a scholarship that enabled him to pursue postgraduate studies in 1964 at the University of Birmingham (UK), where he wrote his dissertation on the fiction of Joseph Conrad and received a doctorate in 1967.During his time in England, Rohlehr frequently traveled to London and became involved with the Caribbean Artists Movement (CAM), which was founded in late 1966 by poet/historian Kamau Brathwaite (Barbados), activist/writer/publisher John La Rose (Trinidad), and writer Andrew Salkey (Jamaica). The Caribbean Artists Movement's loose network of participants included West Indian artists and intellectuals who had migrated to the UK or were students there. Among the group's topics of debate was the possibility of defining a Caribbean aesthetic. At a mee","PeriodicalId":46681,"journal":{"name":"JOURNAL OF AMERICAN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136206369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-01DOI: 10.5406/15351882.136.542.07
Tayshu Bommelyn, Martha Gonzalez, Debora Kodish, Selina Morales, Elizabeth Peterson, Langston Collin Wilkins, Andrew Zitcer
Abstract This is Part III of a three-part forum published in this issue. Part I is the “Executive Summary” and “Introduction” of The Alliance for California Traditional Arts’ Tending the Taproot: Opportunities to Support Folk & Traditional Arts in the United States report by Amy Kitchener, Shweta Saraswat-Sullivan, and Lily Kharrazi, published in December 2022, Part II is a summary of the Living Cultural Heritage and the Traditional and Folk Arts in the Nonprofit Sector report by Carole Rosenstein, Mirae Kim, and Neville Vakharia. Part III is a forum of essays in response to the two reports, by people with diverse engagement with and perspectives on the data and findings: Tayshu Bommelyn, Martha Gonzalez, Debora Kodish, Selina Morales, Elizabeth Peterson, Langston Collin Wilkins, and Andrew Zitcer.
{"title":"Response Essays","authors":"Tayshu Bommelyn, Martha Gonzalez, Debora Kodish, Selina Morales, Elizabeth Peterson, Langston Collin Wilkins, Andrew Zitcer","doi":"10.5406/15351882.136.542.07","DOIUrl":"https://doi.org/10.5406/15351882.136.542.07","url":null,"abstract":"Abstract This is Part III of a three-part forum published in this issue. Part I is the “Executive Summary” and “Introduction” of The Alliance for California Traditional Arts’ Tending the Taproot: Opportunities to Support Folk & Traditional Arts in the United States report by Amy Kitchener, Shweta Saraswat-Sullivan, and Lily Kharrazi, published in December 2022, Part II is a summary of the Living Cultural Heritage and the Traditional and Folk Arts in the Nonprofit Sector report by Carole Rosenstein, Mirae Kim, and Neville Vakharia. Part III is a forum of essays in response to the two reports, by people with diverse engagement with and perspectives on the data and findings: Tayshu Bommelyn, Martha Gonzalez, Debora Kodish, Selina Morales, Elizabeth Peterson, Langston Collin Wilkins, and Andrew Zitcer.","PeriodicalId":46681,"journal":{"name":"JOURNAL OF AMERICAN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136206370","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-01DOI: 10.5406/15351882.136.542.01
Anastasiya Astapova
Abstract This research stems from ethnographic interviews about COVID-19 conspiracy theories that uncovered that the interviewees (members of the Russophone minority residing in Estonia) perceived a significant connection between the pandemic and the war in Ukraine. I analyze major themes that bring two conspiracy theories together, one theory about the pandemic and the other about the war in Ukraine—and other narratives that tend to gravitate toward them to form a system of vernacular knowledge. I also explore the reasons and vulnerabilities behind this group's beliefs in conspiracy theories.
{"title":"Conspiratorial Thinking among Russian Speakers in Estonia: From COVID-19 to the War in Ukraine","authors":"Anastasiya Astapova","doi":"10.5406/15351882.136.542.01","DOIUrl":"https://doi.org/10.5406/15351882.136.542.01","url":null,"abstract":"Abstract This research stems from ethnographic interviews about COVID-19 conspiracy theories that uncovered that the interviewees (members of the Russophone minority residing in Estonia) perceived a significant connection between the pandemic and the war in Ukraine. I analyze major themes that bring two conspiracy theories together, one theory about the pandemic and the other about the war in Ukraine—and other narratives that tend to gravitate toward them to form a system of vernacular knowledge. I also explore the reasons and vulnerabilities behind this group's beliefs in conspiracy theories.","PeriodicalId":46681,"journal":{"name":"JOURNAL OF AMERICAN FOLKLORE","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136206372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-01DOI: 10.5406/15351882.136.542.12
Gregory Hansen
For well over a century, the Ozark region has captured the interest of folklorists and folklore aficionados. A major area of research has focused on the collection and documentation of ballads—much of it completed by both professional and amateur researchers. Sarah Jane Nelson's new book is an engaging treatment of one of the major, but relatively overlooked, amateur collectors. Max Hunter was a traveling salesman from Springfield, Missouri, who compiled an impressive collection of recordings of ballad singers from the region. He also promoted ballads and folk musicians as director of music programs at Silver Dollar City, the Ozark Folk Festival, and numerous presentations in schools and libraries. Following his death in 1998, performers and researchers have extensively used the Max Hunter Folk Song Collection, now at Missouri State University's library. As Nelson demonstrates, Hunter's 1,600 recordings not only contribute to research and scholarship on Ozark folk song, but also fittingly supplement fieldwork collections from Vance Randolph, Mary Celestia Parler, John Quincy Wolf, and numerous other researchers.Nelson's Arkansas roots form an important basis for her interest in Hunter's field research. Nelson is an acclaimed singer, songwriter, and performer, and Ballad Hunting with Max Hunter: Stories of an Ozark Folksong Collector shows that she is also an excellent researcher and writer. She frames the book around Hunter's biography, which focuses primarily on his forays that involved collecting ballads from the late 1940s to well into the 1980s. Hunter was an unabashedly amateur collector; his preservationist ethos was central to his mission. He did, however, learn excellent fieldwork techniques from his friendships with Randolph, Parler, and other folklorists, and he left an important legacy of rich documentation and write-ups from his research. Nelson presents readers with well-chosen accounts of his visits with important balladeers, including Almeda Riddle, Aunt Ollie Gilbert, Fred Smith, and numerous other well-known singers within the region. Although Hunter had completed little field documentation by the late 1970s, he continued to influence folk music scenes in the Ozarks through his work as a music promoter and his own performances. One of the performers who clearly benefitted from his contributions is the book's author. She gives readers rich accounts of Hunter's many adventures, including his encounters with sometimes recalcitrant ballad singers and his admirable patience in working with musicians who sincerely valued his company. Hunter emerges as a friendly and likeable personage, and readers will gain a vibrant sense of connections between folklorists and folksingers who are integral to the region's musical history.Nelson (perhaps) identifies a bit with Hunter. She obviously loves the music, and she is an excellent singer and performer. Although she has written for numerous publications, she generally works outside academia. Her
一个多世纪以来，奥扎克地区一直吸引着民俗学家和民间传说爱好者的兴趣。一个主要的研究领域集中在民谣的收集和记录上，其中大部分是由专业和业余研究人员完成的。莎拉·简·纳尔逊(Sarah Jane Nelson)的新书对一位主要但相对被忽视的业余收藏家进行了引人入胜的处理。马克斯·亨特(Max Hunter)是密苏里州斯普林菲尔德(Springfield)的一名旅行推销员，他收集了该地区民谣歌手的唱片，令人印象深刻。他还在银元城、奥扎克民乐节担任音乐节目总监，并在学校和图书馆做了许多演讲，以此来推广民谣和民间音乐家。在他1998年去世后，表演者和研究人员广泛使用了马克斯·亨特民歌合集，该合集现藏于密苏里州立大学图书馆。正如Nelson所展示的那样，Hunter的1600张唱片不仅对欧扎克民歌的研究和学术研究做出了贡献，而且还适当地补充了Vance Randolph, Mary Celestia Parler, John Quincy Wolf和许多其他研究人员的田野调查收集。纳尔逊的阿肯色州出身是她对亨特的实地研究感兴趣的重要基础。尼尔森是一位广受赞誉的歌手，词曲作者和表演者，和马克斯·亨特的民谣狩猎:奥扎克民歌收藏家的故事表明，她也是一位优秀的研究员和作家。她以亨特的传记为框架，主要讲述了他从20世纪40年代末到20世纪80年代收集民谣的尝试。亨特是一位毫不掩饰的业余收藏家;他的保护主义精神是他使命的核心。然而，他确实从与伦道夫、帕勒和其他民俗学家的友谊中学到了出色的实地调查技巧，他的研究留下了丰富的文献和文章，这是他的重要遗产。尼尔森向读者展示了他与重要民谣歌手的访问，包括阿尔梅达·里德尔，奥利·吉尔伯特阿姨，弗雷德·史密斯，以及该地区许多其他知名歌手。虽然亨特在20世纪70年代末完成了很少的现场记录，但他继续通过他作为音乐推广人和自己的表演影响着奥扎克地区的民间音乐场景。从他的贡献中明显受益的表演者之一就是这本书的作者。她向读者讲述了亨特的许多冒险经历，包括他与有时桀骜不驯的民谣歌手的相遇，以及他与真诚重视他的音乐家合作时令人钦佩的耐心。亨特是一个友好而讨人喜欢的人物，读者将获得民俗学家和民间歌手之间充满活力的联系，他们是该地区音乐史上不可或缺的一部分。纳尔逊(也许)有点像亨特。她显然热爱音乐，而且她是一位出色的歌手和表演者。虽然她为许多出版物写作，但她通常在学术界之外工作。她在图书馆的研究以及与认识亨特的人的亲自接触都令人钦佩。她还利用民俗学思想史的相关方面，为民俗学家和民族音乐学家提供了坚实的学术基础。这本书增加了我们关于田野工作者和民俗学家的文献，他们在大学民俗学课程建立之前完成了他们的工作。尼尔森提供了大量的描述，这些描述强烈地促进了人们对来自实地文献的故事的普遍兴趣，这对于理解实地研究的历史非常有价值。然而，有一些错误可能会引发一些不满。纳尔逊掩盖和混淆了1976年美国民间生活中心的建立和美国民歌档案的早期工作之间的联系。当她错误地把西肯塔基大学的民俗学项目当成鲍灵格林大学时，还有一个主要问题。这本书也可以包括更多的讨论亨特的工作的地方在公共部门的民间传说在亨特的一生中合并。读这本书可能会激起一些怀旧之情，尤其是那些在民间传说中伤痕累累的老狗。亨特自己的作品中的段落唤起了人们对田野工作不断变化的本质的思考。到20世纪70年代中期，亨特发现的藏品越来越少。他也写到了通往奥扎克社区的道路工程如何改变了社会生活的规模，他还哀叹由于在该地区修建湖泊阻塞水道而造成的社区损失。这不仅仅是一个多愁善感的人的模糊反映。它们准确地代表了试图识别该地区未录制的民谣和民歌的挑战。值得注意的是，民俗学家自己也认识到了这些挑战。
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Pub Date : 2023-10-01DOI: 10.5406/15351882.136.542.04
Juwen Zhang, Wanda G. Addison, Margaret Magat, Mark Y. Miyake, Raymond Summerville, Anthony Bak Buccitelli
Abstract As we enter the twenty-first century, reflexive approaches to the history of folklore studies around the world, along with the antiracist and decolonizing efforts in academic studies in general, have led to a series of paradigmatic shifts away from the Eurocentric systems of defining genre, folk, racial group, and identity. What remains to be essential, yet to be fully subverted, is the concept and practice of “racial/ethnic groups” that is still used by folklorists in studying folklores in cultural groups. Continuously drawing the boundaries through the concept of “race” is nothing but reinforcing the existing racist system. Unless we build dialogues across the existing “racial” boundaries and seek new common terms and concepts, we are not able to make progress in understanding and accepting the nature and reality of our hybridized folklore traditions that inform the folk groups that we are in, as well as our own personal identities. It is with this premise that the authors contributing to this piece initiate this cross-boundary dialogue, expecting to inspire more people to join in.
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Pub Date : 2023-10-01DOI: 10.5406/15351882.136.542.02
Timothy Corrigan Correll
Abstract This article explores how everyday concerns related to Irish emigration are symbolically addressed in a range of supernatural legends documented in the late nineteenth and twentieth centuries. It seeks to illuminate how uncanny tales that feature emigrants departing from Ireland relate to the shared worlds of meaning of those who told and listened to them, showing how legends about affliction and miraculous abundance both draw on and construct cultural scripts. It also considers stories that articulate and reinforce traditional ideas about community members who were said to be abducted by the fairies and living in their midst. This was just one aspect of supernatural beliefs that was condemned as part of a larger rationalist and religious campaign by the Catholic Church and others to root out vernacular customs or “superstition,” a theme that informs a number of legends.
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Pub Date : 2023-10-01DOI: 10.5406/15351882.136.542.06
Carole Rosenstein, Mirae Kim, Neville Vakharia
Abstract This piece is the second of a three-part forum published in this issue. Part I is the “Executive Summary” and “Introduction” of The Alliance for California Traditional Arts’ Tending the Taproot: Opportunities to Support Folk & Traditional Arts in the United States report by Amy Kitchener, Shweta Saraswat-Sullivan, and Lily Kharrazi, published in December 2022. Part II is a summary of the Living Cultural Heritage and the Traditional and Folk Arts in the Nonprofit Sector report by Carole Rosenstein, Mirae Kim, and Neville Vakharia. Part III is a forum of essays in response to the two reports, by people with diverse engagement with and perspectives on the data and findings: Tayshu Bommelyn, Martha Gonzalez, Debora Kodish, Selina Morales, Elizabeth Peterson, Langston Collin Wilkins, and Andrew Zitcer.
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Pub Date : 2023-10-01DOI: 10.5406/15351882.136.542.08
Susan Eleuterio
Folklorist and educator Jan Rosenberg passed away on January 7, 2023, in Bloomington, Indiana. She was a founding member of the Folklore and Education Section of the American Folklore Society (AFS) and held a BA in Folklore from Indiana University and a PhD in Folklore and Folklife from the University of Pennsylvania. She devoted her career to folklife education, using fieldwork and school ethnography to develop and present curriculum and traditional artists in schools and for a variety of organizations, including the Florida Folklife Program, the Smithsonian Center for Folklife and Cultural Heritage, and the Texarkana Regional Arts and Humanities Council.In 1997, Jan created Heritage Education Resources, through which she developed and provided research materials and services to educators, schools, and folklife organizations, for the exploration of heritage and cultural diversity. Her work included ethnographic documentation and fieldwork, archive development, and workshops for educators and health professionals.In addition to this work, she researched and wrote about pioneers in intercultural and folklore education, such as Rachel Davis Dubois and Progressive Era educator Dorothy Howard. Jan's research led to Howard being honored by having the AFS Folklore and Education Prize named after her. Jan's book Intercultural Education, Folklore, and the Pedagogical Thought of Rachel Davis Dubois was published in 2019. She also published These Are Our Stories: Women's Stories of Abuse and Survival (2007) along with a bibliography of works about folklore and education between 1929 and 1992. Her series of essays on traveling and exploring 11 Southern states during an 8-month period from 1999–2000, “Southern Journeys” can be found at https://web.archive.org/web/20021002000009/http://www.ariga.com/southernjourney/preface.htm/.Jan was Jewish, uncompromising, gay, and in her own words, “a Damn Yankee” who loved the South. In “Southern Journeys,” she wrote: I chose to explore the American South because it is a place where I am personally most at ease. To me, its textures, smells, and emotions are strong, and people are articulate about them. While stereotypes of Southern conservatism, elitism, racism, and ignorance seem to persist, everyone's concept of home bores through misshapen perceptions. Home causes wonder and a feeling of safety and comfort. People's descriptions are like a fabric that cools in the summer and warms in the winter. Concepts of home help to keep familial continuity and social cohesion. And when a child comes of age, he or she will know that home can be visited in joy and returned to in sorrow.Her third book, on the subject of Arthurdale, West Virginia, the nation's first New Deal community and its educational programs, Arthurdale: Cultural Intervention, Education, and Folklore in a New Deal Setting, was in its final edits at the time of her passing and will be finished and published by her beloved colleagues. She continued to share her de
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Pub Date : 2023-10-01DOI: 10.5406/15351882.136.542.14
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