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TIME & TEMPERATURE A Centennial Publication of the American Folklore Society Edited by Charles Camp

THE CENTENNIAL CENTENNIAL COORDINATING PUBLICATIONS COUNCIL

Centennial Publication of the | i he Centennial Coordinating | &Jach of the following volumes _ American Folklore Society published Council (CCC) was established by the __ related to the history of the American _ in conjunction with the 1989 Centen- Executive Board of the American Folk- Folklore Society and the history of nial Meeting, Philadelphia, Pennsylva- _ lore Society in October 1983 in order to folklore-folklife studies in the United nia, October 25-30, 1989. Funding for —_ plan, help implement, and organize States has been designated “A Centen_ this publication was provided by a activities related to the 1988-1989 cen- _ nial Publication” and bears the centen- | _ grant from the L.j. Skaggs and Mary C. _ tennial year. Its first meeting was held - nial logo of the American Folklore So- _

_ Skaggs Foundation. in Santa Fe, New Mexico, in December ciety. : Membership in the American Folk- _ 1983. Original members Marta Weigle _ Sj B American Eolkl

|_ ested , ;inudies: An Intellectual History (Univer- | folklore. Annual dues are: in- — Bronner, Jan H. Brunvand, Bruce - sity Press of Kansas, 1986) ! lore Society is open to all persons inter- (chair), Roger D. Abrahams, Simon J. | curio J > OFONNET, AINETICATE FO one

_ dividuals $50; students $20; partner (of Jackson, W. Edson Richmond, Ellen y ’

_ member) $20; and life membership Stekert, and William A. Wilson have — Debora Kodish, Good Friends and Bad _ $800. Members receive the Journal of since met during each AFS annual _ Enemies: Robert Winslow Gordon and the _ American Folklore (published four times meeting and have added to their num- Study of American Folksong (University _ per year) and The American Folklore So- _ ber that year’s president-elect: Rayna _ of Illinois Press, 1986)

| ciety Newsletter (published six times ~ Green, Judith McCulloh, Alan Jab- Simon J. Bronner, ed., Folklife Studies

_ per year). Institutional subscriptions to bour, and Henry Glassie. : the Cilded Ace: Object, Rite. and

: ; ; ustom in Victorian America (UMI Re_ the Journal of American Folklore are $50 In February 1986 Roger D. Abra- : from CAE ASE EO NS annually. Members may purchase pub- hams assumed the CCC chair, and its _ search Press, 1987)

_ lications of the American Folklore Soci- activities since then have been coordi- _ f

_ ety at a special discount. In order to nated from the University of Pennsyl- Burt Feintuch, ed., The Conservation of _ join the Society, order additional cop- _-vania in Philadelphia. The work of the _ Culture: Folklorists and the Public Sector

_ ies of this book, or inquire further ~ CCC has been carried out by nine (University Press of Kentucky, 1988) ,

|:| _ about the Society and its work, write: | committees with varying leadership R , .

| ; y : P ; _ Folklore Scholarship: A Dialogue of DisThe American Folklore Societ and membership since 1983: American Soren Levy Zumwalt, American

_ 1703 New Hampshire Avenue, N.W. — Academic Outreach Committee, AF5 sent (Indiana University Press, 1988)

| Washington, DC 20009 Matters Committee, Federal Agencies _ y ’

| Committee, Funding Committee, _ The Centennial Index: 100 Years of the _ edited by Charles Camp International Affairs Committee, Journal of American Folklore, edited by

©1989 The American Folklore Society Meetings Committee, Public Events _ Bruce Jackson, Michael Taft, and Har-

_ Washington, DC and Outreach Committee, Publications vey Axlerod (American Folklore Soci-

|| Societies Committee, and State and Regional ety, 1988) 3 and Resources Committee.

:| Skaggs Generous grants The L. J. :| and Mary C.from Skaggs Founda-

|| and tion have made possible the planning : | implementation of many centen- |

:: nial projects. Additional funding for | Philadelphia-area centennial activities || in 1989 has been provided by the Pew | Charitable Trusts. In supporting this

| _ 1988-89 commemorative and celebra- _ | _ tory year, and in supporting the Soci-

|| _The ety’sL.1984 publication —| J. Skaggs andFolklore/Folklife, Mary C. Skaggs

|| Folklore Foundation has helped the American _ : Society lay substantial | | groundwork for a second century of

| productivity and development. |

CONTENTS

The Centennial Coordinating Council... ieee eee eeceeeeceteceeeeneeeeteetteesttertsettteesneee Centennial Publications .0... eee ceeccseeeesseeeseesseeeecssecssecneecsaeceeessssstestsesstessessesseesd Welcome from the President ....... cece eecceessessecseesecnecnecseeessesessecsecseceseeasesessseaseaeereesees O Preface by Charles Camp oo... .ccececccseccsssssssesescsseesessessesecsecneseeesseesecaeseeseseeseateaseateasene 7 Part Orne: Names 0... ce ccecesessesssceceesecsseeesseessscseesaeeseseaecseseaeseeesesaeeesesseseseseeatenseeesens D

Members of the American Folklore Society, 1889 oo... ce eeeeeeeeeeteeteeteeteeeeee LO

Members of the American Folklore Society, 1989 wo... eeeseettteeteeeeee Ld Part TWO: Face oo. ccceeseseesesesseesetscsessseecssnscsecsseesecsssscsssssesssscssesssssssssesesseessssssesssssess LZ

The Folklorist as Academic Administrator by Polly Stewart oc. 18 The Folklorist as Archivist by Jay OF wo. cee ceeeseseeseeeeeeseeetetseesetsesssceatereeseene 19

The Folklorist as Bibliographer by James R. DoW oo... eccceneseeeeetereteteeteree 2D The Folklorist as Biographer by Edward D. Ives wo... ee eeeeceesecteeetetteenseeeeete 22

The Folklorist as Community Organizer by Lydia Fish oe eeeeeeeeeeees 24 The Folklorist as Cultural Critic by Archie Green ....... cece eeeeeeeseeeteeeteens 20 The Folklorist as Curator by Marsha MacDowell ........cccccceceesceeeesseeseeneene 27

The Folklorist as Dramatist by Robert McCarl 0... eeeeeeeneeeeneeeeeeeeeee OO

The Folklorist as Editor by Judith McCulloh oo. eterno Ol The Folklorist as Filmmaker by Tom Rankin .......c ccc eeesseesesseeneenetneeeeeee D2

| The Folklorist as Performer by Carol Silverman. ........ cee eesesserteeteeeeneee 4 The Folklorist as Public Servant by Robert T. Teske wees eeeeeeeeeeeeene OO

The Folklorist as Publicist by Elaine Eff... cece cesetsetsetesteseeeene OF The Folklorist as Publisher by Marta Weigle 0... cece eeeetrerseetteeneenneeees O9

The Folklorist as Record Producer by Neil V. Rosenberg ............c cee 40 The Folklorist as Teacher by Ellen J. Stekert 0. ceceneeserseeserneene AD Part Three: VieWS occ ccccesccsseeseeccseeesecesescsescsssssessscsssssesasssesssssssscessssssessseessresseenss BO

Song of the South by Carl Fleischhauer oo... cece cece cect tssstsentesseees 46 African-American Expressive Response to Performance by Roland Freeman .......cccecec ec cccesecssesscesesscssesseseccssssesseseessessssessesseseseetseessees DD

The Experience of Tongues: Pentecostal Seekers and Exhorters at a

Camp Meeting in Elkton, Virginia, 1977 by Jeff Todd Titon we 38 Part Four: SC@ne€S 2... eee ceeesceeeceecsecsseseessecssesecssecsecsseseeseessssssscasssasssssasesatsaeesateses OD

Beaded Adidas by Rayna Green oo. csceeeeessessstsscsesssesssessesesseseeseres OO The Commerce in Pie Safes by J. Roderick MOOre ....... cece eects eee eeeeneentees O7 Folklorists and Cowboy Poetry by Hal Cannon sessusesssssseesssuesssssiestsssiessssseesssseees 09

Retracing Steps: Folklore Research in ‘A Cavalier Commonwealth’

by Nancy J. Martin-Perdue and Charles L. Perdue ........cc cece 22 Urban Legends and the Mass Media by Jan Harold Brunvand ....... i 75

What Happened to Applied Folklore by Robert H. Byington... 77

5

WELCOME

FROM THE PRESIDENT | 4. 4 year ago in Boston we began the celebration of our Society’s centennial. .

Owing to the labors of many, among whom | would like to thank publicly Roger Abrahams and his Centennial Coordinating Council and my predecessor Alan Jabbour, the meeting was exhilarating and useful. We looked backward, re-

| minding ourselves of the diversity of the Society’s founders. We reflected on the ! success of their endeavor. Late in our first century, folklore matured as a profes- | sion and we began to claim a central position in the argument over the nature and destiny of humankind. In our success lies a potential for failure. As professionals we cannot allow i

our discipline or Society to narrow its vision. Turning our gaze to the future, we ! |

past. , | , , | Henry Glassie | . ) President must reaffirm the breadth and complexity of our heritage. Our Society should be a home to people of all vocations, academic and not, public and private, who cherish the human rights to creative expression and voluntary association, who |

are dedicated to the virtues of tradition, who are committed through serious 7 study and compassionate engagement to shaping a future that is better than the | | Well begun on our second century, we must join with all who share our

world and our predicament. Welcoming all to this meeting, I welcome with par- : ticular warmth the visitors from abroad who honor us with their presence and | offer us an invitation to international action on behalf of the singers of song and

hewers of wood who are the heroes of the epic we compose collectively. ' -

American Folklore Society | |

||

PREFACE

~~ hen it was determined that Bill Clements and I should divide the duties for the two centennial program supplements—with Bill editing the 1988 retrospective volume and my editing the 1989 “look ahead”—I complained that the apparent balance in this division concealed a disparity in the actual tasks: Bill had 100 years to consider, while I had only today and tomorrow. The approach to the 1989 program I finally settled upon is probably less ceremonial than the original mission implied, but more literally true to the division itself, bonding present to past in a way that will complete the cycle of celebration and recollection begun last year. Of course, the plans for this centennial year (and this book) were drawn five years ago, and I would like to thank their architects—Marta Weigle, Roger Abrahams, and Rayna Green — for guidance, and for the opportunity to pull together the varied threads that comprise this volume. Special thanks go to Tim Lloyd, who saw to it that this last piece of centennial business fell into place. Since I have chosen to let the writings that follow speak largely for themselves, let me say a bit about the composition of the book. The “Names” section is intended to conjure the past, present and future by offering both today’s and tomorrow’s readers a composite of the Society’s 1889 and 1989 membership. The “Faces” section began with a list of those roles commonly adopted by folklorists today—some, but not all of which we have become accustomed to referring to as professions. I invited people whom I knew to have occupied these roles to describe how their training and point-of-view bore upon the role, not as an occupational badge, but as one of several ways inwhich folklorists apply and exercise their abilities. There is as much variety in the interpretations my invited contributors made of their charge as in the roles themselves. For the “Views” section, I asked three contributors to assemble a portfolio about visitation, audiences, and ceremony, respectively. The images and words presented here are personalized responses to those themes. The “Scenes” section consists of invited essays on intersections between today’s folkloristic pursuits and the worlds in which they reside—the retrievable past and the changing present. This part of the book is intended to illustrate, through examples more particular than the other sections, the effects of what folklorists do upon the things we encounter, and vice versa.

| I would like to thank the people who wrote the words and took the pictures that appear in this book for their courtesy and willingness to suspend ordinary ways of doing things. Just about everybody I asked to contribute agreed to and did. I hope that today’s readers will see something of themselves and their world reflected in this book, and that future readers will experience some of the puzzlement and delight that went into producing it. Charles Camp Maryland State Arts Council Baltimore, Maryland 7

OS BLANK PAGE re

PART ONE: NAMES

FOLKLORE SOCIETY, 1889

F. E. Abbot L. E. Chittenden A. R. Frey A. P. Peabody H. E. Warner

(Cambridge, Massachusetts) (New York City) (New York City) George De B. Keim (Cambridge, Massachusetts) (Washington, D.C.)

F.G. Adams, for the (Rushville, Historical George C. (Boston) Clark Edward E. C. Pickering Joseph B. Warner Society of Kansas Indiana) D. H.Fuller Kelton(Philadelphia) (Cambridge, Mrs. Massachusetts (Cambridge, Massachusetts)

(Topeka, Kansas) Robert Clarke Robert W. Furnas (Detroit) W. J. Potts W. L. Way

I. Adler (Cincinnati) (Brownville, Nebraska) George C. Kennedy (Camden, New Jersey) (Topeka, Kansas) (New York City) Charles M. Clay (Readville, Massachusetts) J. W. Powell James W. Wesson 2 John Albee (Arlington, Massachusetts) A. S. Gatschet W. S. Kimball (Washington, D. C.) (Cross Plains, Alabama)

(New Caslte, New Hamp- S.L. Clemens (Washington, D. C.) (Rochester, New York) T. Mitchell Prudden William H. Wetmore ! shire) (Hartford, Connecticut) E. Jane Gay George Lyman Kittredge (New York City) (New York City) Abby Langdon Daniel Cleveland (Washington, D.C.) (Exeter, New Hampshire) | C.L. Pullen _Massachusetts) J. Gardner White| (Boston) (SanAlger Diego) Wolcott Gibbs Karl Knortz (Memphis, Tennessee) __ (Cambridge, Joseph H. Allen O. W. Collet, for Historical So- (Cambridge, Massachusetts) (New York City) W. H. Pulsifer John Williams White (Cambridge, Massachusetts) ciety of Missouri G.D. Brown Goode York Mary Lyman Kobbe (St. Louis)Alfred (Cambridge, Massachusetts) William F. Allen St. Louis) (Washington, C.) (New City) F. W. Putnam M. Williams

(Madison, Wisconsin) Robert Collyer W. W. Goodwin P. Koch (Cambridge, Massachusetts) | (Newport Rhode Island) American (New York City) (Cambridge, Massachusetts) (Bozeman, Montana) | #H. bre. illiams SocietyPhilosophical Harriet Maxwell Converse B. W. Green John Reade _ _ (Philadelphia)

(Philadelphia) (New York City) (Norfolk, Virginia) A. A. Lambing (Montreal) | Mrs. Davies Wilson

Amherst College Library Moncure D. Conway Sam S. Green, for Worcester (Wilkinsburg, Pennsylvania) | Arthur M. Reeves (Cincinnati)

(Amherst, Massachusetts) (New York City) Free Public Library Max Landsberg (Richmond, Indiana) James G. Wilson

Harcourt Amory Henry Coppee (Worcester, Massachusetts) (Rochester, New York) Caroline Richardson (Baltimore)

(Boston) (Bethlehem, Pennsylvania) M. J. Griffin G. M. Lane |(Louisville, Kentucky) Justin Winsor Cornell University LibraryAndrew (Ottawa) (Cambridge, Massachusetts)Massachusetts) G. M. Richardson -(Cambridge, _ W. H. Babcock (Ithaca, New York) Lang (Cambridge, _ Robert Massachusetts) G. Winthrop

(Washington, D. C.) F. Crane HaleLeighton (London) W.Women’s L. Richardson (Boston) Theodore Bacon (Ithaca, NewT. York) (Clinton,Horatio Ontario) G.E. (Boston) Anthropological |

(Rochester, New York) E. S. Crosier B. H. Hall (St. Louis) Alfred S. Roe Society |

Frank Baker (New Albany, Indiana) (Trov, New York) Henry M. Lester (Worcester, Massachusetts) (Washington, D. C.) (Washington, D. C.) Stewart Culin E. H. Hall (New York City) Henry Wood R. H. Baker (Philadelphia) (Cambridge, Massachusetts) —_L. J. B. Lincoln William H. Sage (Baltimore) (Norfolk, Virginia) Jeremiah Curtin Isabel F. Hapgood (Deerfield, Massachusetts) (Ithaca, New York) James A. Wright

C.(Cleveland) C. Baldwin D. C.) (Boston) H. Cabot Lodge Stephen Salisbury (Philadelphia) Frank (Washington, Hamilton Cushing Joel Chandler Harris (Nahant, Massachusetts) (Worcester, Massachusetts) Gabriel Bamberger (Phoenix) (Atlanta) Samuel Longfellow John W. Sanborn ~ (New York City) . W. T. Harris _ (Cambridge, Massachusetts) (Lockport, New York) H.Francisco) Bancroft(New Charles T. Daly (Concord, Massachusetts) H.E. Scudder _ H. (San York City) James C. Hart Hamilton W. Mabie ___(Cambridge, Massachusetts) Henry Barnard I. W. Danforth (Rochester, New York) (New York City) N.S. Shaler

Connecticut) (Cambridge, Massachusetts) — E. Sidney Hartland Clay MacCaule (Cambridge, Massachusetts) J.(Hartford, Davis Barnett Davenport Library Association (Swansea, Wales) (Minneapolis) C. B. Shea (Port Hope, Ontario) (Davenport, Iowa)(Baltimore) FE. M. Hartwell William MacDonald (Pittsburgh) John Bartlett Thomas Davidson (Lawrence, Kansas) L. A. Sherman (Cambridge, Massachusetts) (Edinburgh) Harvard University Library Garrick Mallery (Lincoln, Nebraska) B.(Baltimore) W. Barton Elise M. Davis (Cambridge, Massachusetts) (Wahsington, D. C.) Mrs. Annie Trumbull (Hartford, Connecticut) Thomas W. Flarvey Mrs. J. H. Martindale (New YorkSlosson City) |

W. M. Baskerville E. C. Dawes (Painsville, Ohio) (Albany, New York) C. F. Smith (Nashville, Tennessee) (Cincinnati) HoraceBarre, EdwinPennsylvania) Hayden Henry (New Marquand Tennessee) Newton Bateman Belden S. Day (Wilkes York(Nashville, City) De Cost Smith (Galesburg, Illinois) (New York City) R. B. Hayes Otis T. Mason (Skaneatcles, New York) George A. Bates Charles F. Daymond (Fremont, Ohio) (Washington, D. C.) Miss Jennie Spencer Smith (Salem, Massachusetts) (New York City) H. W. Haynes Albert Matthews (Cincinnati)

Sylvester Baxter Charles Deane (Boston) (Boston) William Henry Smith (Boston) (Cambridge, Massachusetts) Silvanus Hayward Washington Matthews (New York City) |

W. M. Beauchamp Deans (Globe MassachuWashington, D.C.) C. Hampshire) B. Stetson (Baldwinsville, York) (Victoria, British Village, Columbia) setts) Percy McElrath (Exeter, New C. J. Blake A.New D.James De Celles Thomas B. Helm (New York City) John L. Stettinius

(Boston) (Ottawa) (Logansport, W. McFarland (Cincinnati) James Vila Blake J. Hanno Deiler Mary Indiana) HemenwayR.(Oxford, Ohio) _ George W. Stewart

(Chicago) Orleans)H.(Boston) Marietta Melvin : (Visalia, California) Eugene Bliss(New E. S. Dixwell W. Henshaw _ (Lowell, Massachusetts) R. M. Stimson (Cincinnati) (Cambridge, Massachusetts) (Washington, D. C.) Nathaniel C. Moak (Marietta, Ohio)

Frank E. Bliss J. Owen Dorsey T. W. Higginson (Albany, New York) E. V. Stoddard

(New York City) (Washington, C.) Cambridge, | Montana SocietyL. (Rochester, New York) Franz Boas John B.D.Dunbar F.Massachusetts) Stanhope Hill Historical (Helena) A. Sturman (New York City) (Bloomfield, New Jersey) (Cambridge, Massachusetts) | James Mooney (Lincoln, Nebraska) |

H.(New Rarrington R. (Louisville, T. Durrett Mrs. Kentucky) William Newell Hobart (Washington, C.) Lindsay Swift YorkBolton City) (Cincinnati) C. H. D. Moore (Boston) Boston Public Library Edmund Dwight Richard Hodgson (Clinton, I]linois) H. H. Swinburne |

(Boston) (Boston) (Boston) William C. Morey (Newport, Rhode Island) | Charles P. Bowditch E. B. Holden (Rochester, New York) (Boston) Edward Eggleston (New York City) George F. Mumford Stephen Terry

(Boston) William H. Engle (Boston) A. H. Thompson

Robert H. Bowman (Lake George, New York) Oliver Wendell Holmes (Rochester, New York) (Hartford, Connecticut)

H.C. G. Brandt (Harrisburg, Pennsylvania) E. N.Massachusetts) Horsford W. Nelson (Topeka, Kansas) (Clinton, New York) Gustav A. Eisen (Cambridge, (Paterson, New Jersey) R. G. Thwaites, for Wisconsin | H. Pomeroy Brewster (Delano, California) G. H. Howison W. W. Newell Historical Society (Rochester, New York) Walter C. Eliot (Berkeley, California) (Cambridge, Massachusetts) (Madison)

D. G. Brinton (NewGeorge YorkE.City) WaylandMaine) Hubbard Maggie Newton Francis Tiffany (Media, Pennsylvania) Ellis (Ellsworth, (Brighton, England) (West Newton, Massachu-

N. L. Britton (Boston) T. F. Hunt Laura Norcross setts) (New York City) Frank W. Elwood (Salem, Massachusetts) (Boston) C. H. Toy

Mrs. W. Wallace Browne (Rochester, New York) Mrs. William Howard Hunt (Cambridge, Massachusetts)

(Calais,Bruhl Maine)(Cambridge, Woodward Emery (Watervliet, New York) Mrs. Hamilton Osgood H. Clay Trumbull Gustav Massachusetts) W.R. Huntington (Boston) . (Philadelphia) (Cincinnati) C. C. Everett (New York City) Howard Osgood, D. D. - J. H. Trumbull Loys Bruyere (Cambridge, Massachusetts) NewBayard York) (Hartford, Connecticut) : (Paris) Ernest Ingersoll Howard(Rochester, L. Osgood Tuckerman

C. B. Farwell (New York City) (Rochester, New York) (New York City) Lucien Carr (Chicago) C. I. Ireland Osterhout Free Library William Burnet Tuthill

Massachusetts) . Henry FergusonConnecticut) (Boston) (Wilkes Barre, Pennsylvania) . (New York City) J.(rambridge, H. York Caswel Moses Coit Tyler (New City) (Hartford, John Fiske A. Jacobi Francis L. Palmer (Ithaca, New York) A. F. Chamberlain (Cambridge, Massachusetts) (New York City) (New Haven, Connecticut)

(Toronto) Alice C. Fletcher George O. Jenkins Francis Parkman Henry H. Vail

(New York City) Nebraska) H. F. Jenks setts) L. J. Vance

Mrs. L. W. Champney (Winnebago Indian Agency, (Boston) (Jamaica Plain, Massachu- (Cincinnati)

George L. Chaney Alcee Fortier (Canton, Massachusetts) William F. Peck (New York City) | (Atlanta) (New Orleans) William Preston Johnston (Rochester, New York) George R. Van De Water Alice G. Chapman Gerard Fowke (New Orleans) (New (Milwaukee) (Washington, D. C.) Charles C. Jones,Pennsylvania Jr. Society W.Historical G. Vaughan : York City) . Addison Child J. N. Fradenburgh (Augusta, Georgia) (Philadelphia) (N Ashville Tennessee) . (Childwold, New York) (Oil City, Pennsylvania) John P. Jones Mrs. Gilman H. Perkins _ C.E. Vredenburgh

F. J. Child C. W. Frederickson (Coldwater, Kansas) (Rochester, New York) (New York City)

(Philadelphia) (Boston)

(Cambridge, Massachusetts) (New York City) John W. Jordan T.S. Perry . 10

FOLKLORE SOCIETY, 1989

Roger D. Abrahams Susannah J. Baker Chad Berry Lucy A. Breyer Pack Carnes Cecily Cook (averock. Pennsylvania) (Ann Arbor, Michigan) (Bloomington, Indiana) (Waterford, New York) (Lake Forest, Illinois) (Chapel Hill, North Caro-

Abramovitch, [lana Hannah Baldwin Anita M. Best Charles L. Briggs Carole H. Carpenter lina)

(Brooklyn, New York) Karen (Silver Spring, Maryland)Ann (St. John’s, Newfoundland) (Poughkeepsie, New (Downsview, (Springfield, Ontario) Timothy J. Coole James Abrams Baldwin Bever S. M. Broderick IntaYork) Carpenter illinois)

(Philadelphia, Pennsylvania) (Greenville, North Carolina) (Denton, Texas) Bromberg (Washington, Louis D.C.) (Bloomington, Indiana) Susan CorlOhio) Louise Sally Banes J. Marshall Bevil Joann Berlin N. Carreras (Mogadore, (Boise, Ackle Idaho) (Ithaca, New York) (Houston, Texas) (Bellevue, Washington) (Malden, Massachusetts) Carole Cornell

Pauline Adema Amanda Carson Banks Mario J. A. Bick Simon Bronner M. Ellien Carroll (Boston, Massachusetts) (Bloomington, Indiana) (Philadelphia, Pennsylvania) (New York, New York) (Middletown, Pennsylvania) (Albuquerque, New Mexico) | Martha Cornog Elizabeth Me Adler Alan H. Barbanel John W. Bierhorst Saul Broudy Thomas 6. Carroll (Philadelphia, Pennsylvania) (Lexington, Kentucky) (Los Angeles, California) (West Shokan, New York) (Philadelphia, Pennsylvania) (Philadelphia, Pennsylvania) | Donald J. Cosentino Shelley R. Adler Marjorie Bard Neil A. Big Carol J. Brown Margaret Anne Carswell (Los Angeles, California)

(Los Angeles, California) ‘Beverly Hills, California) (Rochester, New York) (McAllen, (Macon, Georgia) LynnIdaho) Cothern Thomas Adler Thomas E. Barden Roy James Birckhead David BrownTexas) Thomas Carter (Buhl, (Lexington, Kentucky) (Toledo, Ohio) (Albury, Australia) (Washington, D.C.) (Salt Lake City, Utah) Harold Courlander

Kodjo JB Afokpa Daniel R. Barnes Donald Allport Bird Mary Ellen Brown Ruth Anna Cary (Bethesda, Maryland) (Philade\phia, Pennsylvania) (Columbus, Ohio) ‘Brooklyn, New York) (Bloomington, Indiana) (Madison, Wisconsin) Artelia Court

Jean ay Alexander Robert BaronNew Esther K. (Hyattsville, Birdsall Mary Helen de(Los la Pena Brown Luis da Camara Cascudo (NewJohn York, New York) (Washington, D.C.) (Brooklyn, York) Maryland) Angeles, California) (Rio Grande de Norte, H. Cowley Tamara Alexandrova Didi Barrett John Bishop Ray Brown Brazil) (Hertfordshire, (Philadelphia, Pennsylvania) (New York, New York) (Milton, Massachusetts) (Columbus, Ohio) Gerald Cashion James E.England) Craft Al. Minas Alexiadis Mac E. Barrick Joyce Bishop Roberta Brown (Alexandria, Virginia) (Bowling Green, Kentucky) (Ioannina, Greece) (Shippensburg, Pennsylva- (Fair Oakds, California) (Logan, Utah) Richard L. Castner Peter J. Crane Dawn Allen-Carlson nia) Martha Blache Edward M. Bruner (Brockport, New York) (Belmont, Massachusetts) (Nashville, Tennessee) Garry W. Barrow (Buenos Aires, Argentina) (Urbana, Illinois) Frances Eattermole-Tally Helen Creighton

Barbara Allen (Blacksburg, Virginia) Anita D. Blackaby Jan H. Brunvand (Los Angeles, California) (Dartmouth, Nova Scotia) (Oakland, Kentucky) Peter T. Bartis (Somerset, Pennsylvania) (Salt Lake City, Utah) Luanne Cervelli Robert N. Croonquist Paul Almonte (Washington, D.C.) Stuart H. Blackburn M. M. Bryant (Bowling Green, Kentucky) (Edina, Minnesota) (Columbus, Ohio) Ilhan Bashgoz (San Francisco, California) (Clemson, South Carolina) Wallace L. Chafe Kathryn Cunningham R.(Winchester, Gerald AlveyKentucky) (Bloomington, BettyNuys, A. Blair Phyllis J. (Dayton, Brzozowska (Santa Barbara, California)Keith (Flagstaff, Arizona) RebaIndiana) Bass (Van California) Ohio) Anna L. Chairetakis @unningham

Barry J. Ancelet (Wilson, Wyoming) Thomas E. Blair David D. Buchan (Largo, Florida) (Flafstaff, Arizona)

(Lafayette, Lousiana) Patricia Batson (Berkeley, California) (St. John’s, KeithOregon) g Chambers Rebecca T. Cureau Ruth E. Andersen (Alston, Massachusetts) Pamela A.R. Blakely AmyNewfoundland) Bucher (Ashland, (Baton Rouge, Louisiana) (Austin, Texas) Ernest W. Baughman (Philadelphia, Pennsylvania) Wvashington, D.C.) Sheila Chamovitz Rick Custer Jay Anderson (Albuquerque, New Mexico) Thomas Blakely Theresa J. Buckland (Pittsburgh, Pennsylvania) (Washington, D.C.) (Logan, Utah)(Bloomington, Richard Bauman (Philadelphia, Pennsylvania) Michael Chiarappa CallieGree, Dalton June Indiana) Charles D. Blaney Tina(Cheshire, BucuvalasEngland) (Audubon, New Jersey) (Bowling (SanEnderson Francisco, California) John Bealle (West Terre Haute, Indiana) (Miami, Florida) Jennie Chinn Ted DanielsKentucky) Richard W. Anderson (Cincinnati, Ohio) Richard Blaustein Gulriz Buken (Topeka, Kansas) (Philadelphia, Pennsylvania) (Royal Oak, Michigan) Ileana Beardall (Johnson City, Tennessee) (Warrensburg, Missouri) Vv arick A. Chittenden Beth D. Daniels Margaret Andrews (St. Louis Park, Minnesota) Tyler Blethen Peggy A. Bulger (Canton, New York) (San Francisco, California) (San Francisco, California) Bruce A. Beatie (Cullowhee, North Carolina) Bene Mountain, Georgia) John A. Cicala Larry Danielson Mohammed S. Ansari (Newton, Massachusetts) Margo Blevin Thomas Eddie Bullard (La Cross, Wisconsin) (Urbana, linois) (Bloomington, Indiana) Roger D.Junction, Beatty (Elkins, Virginia) (Bloomington, Indiana) Lawrence Clayton LInda L. Danielson Pertti Anttonen (Princeton NewWest Robert Blinn John Bunch (Abilene, Texas) (Eugene, Oregon) (Philadelphia, Pennsylvania) Jersey) (Venice, California) (Charlottesville, Virginia) William M. Clements Frederick E. Danker

Mahadev Apte Ervin Beck Roslyn Blyn(Merion, Michael Buonanno (State University, Arizona) (Framingham, (Durham,L. North Carolina) (Goshen, Indiana) Pennsylvania) (Holmes Beach, Florida) Les Cleveland setts) | MassachuPatricia Arant Horace Beck Heather Bohannan Carole Burke (North Hollywood, Califor- Mary M. Dart (Providence, Rhode Island) (Ripton, Vermont) (Houston, Texas) (Baltimore, Maryland) nia) (Bloomington, Indiana) Annelen R. Archbold Thomas C. Beck Philip V. BohIman Nikolai Burlakoff Janet M. Cliff Gwenda Davey

(Decatur, Georgia) (Ripton, Vermont) (Oak Park, Ulinois) (Indianapolis, Indiana) (Los Angeles, California) (Canberra, Australia) Samuel G. Armistead Karin Becker Ethel Boissevain Judith F. Burns Jerry A. Clouse Jonathan C. David (Davis, California) (Hagersten, Sweden) (Charlestown, Rhode Island) (New York, New York) (Hummelstown, Pennsylva- (Philadelphia, Pennsylvania) Anne E. Armstrong Marshall Joseph Becker Dorothy M. Bollman Richard A. Burns nia) Robbie E. Davis-Floyd (Sepulveda, California) (West Chester, Pennsylva- (Albany, Oregon) (Austin, Texas) Bud T. Cochran (San Antonio, Texas)

Shirley L. Arora nia) George W. Boswell Lee Burress (Dayton, Ohio) Amma A. Davis (Los Angeles, California) Stephen A. Becker (University, Mississippi) (Steven Point, Wisconsin) Robert Cochran (Huntsville, Texas)

Wayne Ackley Ganta Fe, New Mexico) Ruth B. Bottigheimer John Burrison (Fayetteville, Arkansas) Andrew C. Davis (New York, New York) Sue B. Beckham (Stoney Brook,Anne New York) (Atlanta, Georgia) Cochrane (Bloomington, Indiana) John Ashton (Riverfalls, Wisconsin) Carole Boughter C. Burson-Tolpin (AnnTimothy Arbor, Michigan) Deborah R Davis

(St. John’s, Newfoundland) Helen M. Beglin (Philadelphia, Pennsylvania) (West Orange, New Jersey) Tristram P. Coffin (Wynnewood, Pennsylva-

Robert Atkinson Maine) (Westfield, Jersey) (Dublin, Angela Bourke Thomas G. Burton (Wakefield, Rhode Island) nia)L. Davis (Cape Elizabeth, DrewNew Beisswenger Ireland) (Johnson City, Tennessee) John M.-Coggeshall Gerald

Robert AttardiMaryland) (Columbia, Carolina) BetsyNew Bowden Dillon BustinMassachusetts) (Clemson, South Carolina) (Albuquerque, New Mexico) (SilverF.Spring, BeySouth J. Belanus (Camden, Jersey) (Hingham, Mary E. Cohane Jeffrey Ww. Davis

Brian Atteber (Washington, D.C.) Dayna Lee Bowker Beverly J. Butcher (North Adams, Massachu- (Washington, D.C.)

(Caldwell, taho) Michael E Bell (Natchitoches, Louisiana) (Philadelphia, Pennsylvania) setts) Lee Davis Jennifer Attebery (Providence, Rhode Island) Virginia) Deborah(Downsview, A. BowmanOntario) Gary R.(Highland Butler David Cohen (Albany, California) (Pocatello, Idaho) Merri Belland (Charlottesville, Park, New Jersey) | Martha E. Davis Louie W. Attebery (White Springs, Florida) Paddy Bowman Robert H. Byington Jeffrey H. Cohen (Bloomington, Indiana) (Caldwell, Idaho) Dan Ben-Amos (Alexandria, Virginia) (Wilmington, North Caro- (Bloomington, Indiana) Susan G. Davis Susan Auerbach (Philadelphia, Pennsylvania) | Ruth McDonald Boyer lina) Norman Cohen (La Jolla, California) (Pasadena, California) Bendix (Walnut Creek, Bynum (Venice, California) Douglas Turner Paul Austerlitz (Portland,John Oregon) Maria Boynton (SanCalifornia) Francisco, Joyce California) Edwin L. Coleman IJ (Brasstown, North Da Carolina) (Middletown, Connecticut) Regina Bendix (Buffalo, New York) Moyra Byrne (Eugene, Oregon) J. De Bouzek Anne Avakian fortland, Oregon) Joey Brackner (Washington, D.C.) Camilfs A. Collins (Santa Fe, New Mexico) (Berkeley, California) Mac Benford Alabama) Pat Byrne (Bowling Green, Kentucky) Francis A. DeLouisiana) Caro Kelly AverillOhio) (Trumansburg, York)(Montgomery, Erika (St. John’s, Newfoundland) Elizabeth Fuller Collins (Baton Rouge, (Sylvania, Elizabeth New S. Beninger (CapeBrady Girardeau, Missouri) Olivia Cadaval (Berkeley, California) Douglas De Natale David Axler - (Gaithersburg, Maryland) Margaret K. Brady (Washington, D.C.) Molly S. Collins (Carrboro, North Carolina) (Philadelphia, Pennsylvania) Gillian Bennett (Salt Lake City, Utah) James T. Callow (Canandaigua, New York) Larry De Vries David S. Azzolina (Stockport, England) Paul T. Brady (Detroit, Michigan) James Combs (Evanston, Illinois) (Philadelphia, Pennsylvania) Marjorie H. Bennett (Middletown, New Jersey) Miriam P. Camitta (Valparaiso, Indiana) Alexis B. Dean

Barbara Babcock (Mercer Island, Washington) Donald Braid (Philadelphia, Pennsylvania) Kathleen Condon (Bainbridge, Georgia)

(Tucson, Arizona) Margaret Bennett (Seattle, Washington) Charles Camp (Brooklyn, New York) Elizabeth A. Dear Cristina Bacchilega Scotland) B. Brassieur (Baltimore, Maryland) Congdon Fe,Dehnert New Mexico) (Honolulu, Hawaii)(Edinburgh, Ann Richman Beresin Amy (Columbia, Maryland) Hal Cannon (WinterKristin Springs, Florida)(Santa Edmund Camille Bacon-Smith (Philadelphia, _C. Ray Brassieur (Salt LakeD.City, Utah) JenniferOntario) J. Connor (Evanston, Illinois) (Philadelphia, Pennsylvania) CharlesPennsylvania) Bergengren (Columbia, Maryland) Loman Cansler (London, Luisa Del Guidice

Ellen BadoneOntario) (Philadelphia, Pennsylvania) Lorie Brau (Kansas City, Missouri) L. Connors (Los Angeles, California) (Hamilton, Dawn Berger (New York, New York) Patricia Vance CantrellAndrew (Washington, D.C.) Giovanna Del Negro Florence E. Baer (Bridgeport, Connecticut) Glenn V. Brauerman (Radford, Virginia) Dwight Conquergood (Bowling Green, Ohio) (Stockton, California) Maida Bergeron (Boston, Massachusetts) Robert Cantwell (Evanston, Illinois) Marie-Annick Desplanques Hafizulla Baghban (Baton Rouge, Lousiana) Carole D. Breakstone (Washington, D.C. Joseph L. Conrad (St. John’s, N ewtoundland) (Flushing, New York) Barry Bergey (Chapel Hill, North Caro- Jane E. Caputi (Lawrence, Kansas) Marion Dettinger James Bailey (Washington, (Albuquerque, New Mexico) Patricia Conroy (SanElke Antonio, (Madison, Wisconsin) Roy G. D.C.) Berkelelina) Linda Clare Breitag Ana Cara-Walker (Seattle, Washington) DettmerTexas) Suzanne Baizerman Ghaftsbury, Vermont) (Takoma Park, Maryland) (Oberlin, Ohio) Nicolae Constantinescu (St. John’s, Newfoundland) (St. Paul, Minnesota) Leo H. Berman Donald Laurence Brenneis Signe M. Carlson (Bucharest, Romania) James I. Deutsch - Holly C. Baker (Westport, Connecticut) (Claremont, California) (Grants Pass, Oregon) Cecelia Conway (Washington, D.C.) (Alexandria, Virginia) Bruce Bernstein Teri F. Brewer Simon J. Carmel (Boone, North Carolina) C. Kurt Dewhurst

(Terre Haute, Indiana) (Los Angeles, California)

Ronald L. Baker (Santa Fe, New Mexico) (Santa Monica, California) (Rochester, New York) Donald T. Conway (East Lansing, Michigan) 11

Nancy Diggs Vincent Erickson William S. Fox Christine Goldberg _ Grey Gundaker | Ruth Ann Hendrickson

(Maitland,V. Missouri) (Fredericton, Brun- (Saratoga Springs, New (Los Angeles, California) (Lookout, Ohio) Andrea Divito swick)New York) Jonathan Goldbergbell Vivian S. |Guze _ Tennessee) Steven |J.(Columbus, Henegar (New Castle, Delaware) J. Manuel Espinosa Judi Franzak (Beloit, Wisconsin) (Montclair, New Jersey) | (Wilmington, North Caro-

Knut Djupedal (Glen Echo, Maryland) Mexico)Massachusetts) — Michal Goldman Bruce M. Hackett (Fredheim, Norway) - David C. Estes (Albuquerque, Daniel 1 Freas New (Somerville, (Davis, California) Elissalina) Henken James Dean (New Orleans, Louisiana) (Titusville, Pennsylvania) Diane E. Goldstein Catherine J. aks (Bloomington, (Sunrise, Florida) L. Damiana Eugenio Diane C. Freedman (St. John’s, Newfoundland) (Chapel Hill, North Caro- Joseph HenningerIndiana)

Ronald Dobler (Diliman Quezon) (Philadelphia, Pennsylvania) | Kenneth S. Goldstein lina) (St. Augustin, West Ger-

(Morehead, Kentucky) Delrore Evan-Pritchard Roland L. Freeman (Philadelphia, Pennsylvania) Matyellen Hains many) Shannon Docherty (Los Angeles, California) (Washington, D.C.) Rochelle J. Goldstein (Kalamazoo, Michigan) Edward O. Henry

(Bloomington, Indiana) Oaks, R. J. Evanchuk Rachel J. Fretz (Thvladelphia, Pennsylvania) A. Hale (San Henry Diego, California) Christer Dominder (Sherman California) (Los Angeles, California) Linda Goodman (University| Thomas Park, Pennsylva| Helen

(Norrkoping, Sweden)Tennessee) David Evans Hugo Freund (SantaJoseph Fe, New Mexico) nia)A.(Philadelphia, Susan Domowitz (Memphis, (Philadelphia, Pennsylvania) P. Goodwin _ David Hales FlemmingPennsylvania) Hermmersam

|

(Bloomington, Indiana) James L. Evans LeeEllen Friedland (Muncie, Indiana) (Fairbanks, Arkansas) (Albertslund, Denmark) William F. Bonnelly (Edinburg, Texas) Myasungton, D.C.) Martin K.Maryland0 Gordon Patricia A.Tennessee) Hall Marcia HerndonCalifornia) (Grove City, Pennsylvania) Timothy H. Evans Adele Friedman (Columbia, (Nashville, (Richmond,

Barry Dornfeld (Laramie, Dana Wyoming) (Rochester, New(jamsville, York) Susan Gordon Stepranie A. Hall Maria Herrera-Sobek | (Philadelphia, Pennsylvania) Everts Albert B. Friedman SpringP.Maryland) (Irvine, California) Nancy R. Dorsey (Santa Fe, New Mexico) (Hollywood, California) SusanMaryland) J. Gordon(Silver ~ Morgiana Halley . Lani Herrmann (Columbus, Ohio) Kevin I. Eyster Roberta Friedman (Los Angeles, California) (St. John’s, Newfoundland) (Richmond, California)

John DorstWyoming) (Lexington, Kentucky) York, New York) Phyllis Gorfain _ Lynn Hamer Michael Herzfeld (Laramie, Mary A. Fabbro(New Annette Fromm (Oberlin, Ohio) | (Bloomington, Indiana) (Bloomington, Indiana)| Ellenere W. Doudiet (Pensacola, Florida) (Tulsa, Oklahoma) Lynn Gosnell Jeff Hamley Beth Hester (Castine, Maine) Rosanne Fabi Al Futrell (San Antonio, Texas) (Cambridge, Massachusetts) _ (Adorphus, Kentucky)

Mary E. Dougyas (East Rochester, New York) (Louisville, Kentucky) James A. Goss Joyce D. Hammond Joseph ickerson (Portland, Oregon) Susan J. Fagan Janice Gadaire (Lubbock, Texas) (Billingham, Washington) (Takoma Park, Maryland) Paul Douglas (eugene, Oregon) (Sterling, Massachusetts) Suzanne Gott Freda Hankins Ronald E. (Towson, Maryland) Peter F. Fagley Diana Gainer (Bloomington, Indiana) (Chapel Hill, North Caro- (Muncie,Hicks Indiana)

Robert Dover (Newburyport, Massachu(Greenville, Texas) Itzek Gottesman lina) Margaret HiebertWisconsin) Beissinger (Bloomington, Indiana) setts) Karen W. Gallob (Philadelphia, (Madison, James R. Dow Alessandro Falassi (Boulder, Colorado) Elizabeth Pennsylvania) T. Gould (WestRobin Bath, Hansen Maine) Nilda L. Hildalgo (Ames, lowa) (Siena, Italy) Sean Galvin Binghamton, New York) William F. Hansen (Rio Piedras, Puerto Rico) John A. Dowell Lisa Falk (Bloomington, Indiana) Alan Govenar : Bloomington, Indiana) Daniel Hildenbrandt (Louisville, Kentucky) (Arlington, Virginia) Hon Gammerdinger (Dallas, Texas) (Urbana, Debbie A.Illinois) HansonLynda (Austin, Texas)Hill Jennifer L. Dowling Doris Fanelli (Memphis, Tennessee) William J. Gradante Marion ; (Columbus, Ohio) (Ardsley, Pennsylvania) Joel Gardner (Fort Worth, Texas) ~ Paul W. Hanson (Brooklyn, New York) J. J. Doyle Robert N. Fanelli (Cherry Hill, New Jersey) | Andrea M. Graham (Philadelphia, Pennsylvania) | Donald M. Hines (Sumter, South Carolina) (Glenside, Pennsylvania) Susan Garfinkel (Virginia City, Nevada) James B. Hardin (Abha, Saudi Arabia) Robert C. Doyle Deborah Fant (Merion, Pennsylvania) Byrd H. Granger (Washington, D.C.) Glenn D. Hinson (State College, Pennsylva- (White Springs, Florida) Paul Garon (Carefree, Arizona) Lee Haring (Creedmoor, North Caro-

nia) Claire R.(Chico, Farrer California) (Chicago, Patricia Illinois)S.Alessandra GravesHill, Brooklyn New York) lina) Sam Hinton | Norine Dresser Garretson (Drexel Pennsylvania) lana Harlow (Los Angeles, California) Sara Faulds (Alachua, Florida) Thomas E. Graves (Cambridge, Massachusetts) (La Jolla, California)

Thomas A. Du Bois (Santa Monica, California) Suzanne Garrigues (Orwigsburg, Pennsylvania) — Vera Jean Harrah-Conforth Ketichi Hirano

(Philadelphia, Pennsylvania) Burt Feintuch (Baltimore, Maryland) Maria Green (Bloomington, Indiana) (Tokyo, Japan)

Audrey (Durham, Hampshire) MarciaArizona) GaudetRayna (Bloomington, Indiana)Massachusetts) Joseph Harris(Sewanee, Jerrold Indiana) Hirsch (Hadley,Duckert Massachusetts) NolanNew Feintuch (State University, D. Green (Cambridge,

Susan Dutfy (Austin, Texas) David E. Gay (Washington, D.C.) Laura A. Harris Karen Hirsch (San Luis Obispo, California) Steven Feld (Los Angeles, California) Thomas A. Green, Jr. (Bloomington, Indiana) (Sewanee, Indiana)

Dianne M.Colorado) Dugaw (Austin, Texas) Virginia Geddes (College Station, Texas) Harris Ting-Jui Ho Florida) (Boulder, Lisa Feldman (Ean Anselmo, California) Lendra Greenbaum (LosPenelope Angeles, B. California) (Tallahassee, Herbert J. Dunavent (Orono, Maine) Christopher D. Geist (Durham, North Carolina) Trudier Harris Margaret Hobbie (Sacramento, California) Ruth Feldman (Bowling Green, Ohio) Lisa W. Greenberg (Chapel Hill, North Caro- (Ithaca, New York) David King Dunaway (Alamo, California) Jill Gellerman (Lincoln, Massachusetts) lina) _ Melinda A. Hoder (Albbuquerque, Francis Femmimella York) Daniel Greene Sally Harrison-Pepper (Eugene, Oregon) ico) (Selkirk, New NewMexYork) Daniel J. Gelo(Flushing, (WalnutNew Creek, California) (Oxford, Ohio) _ James L. Hodge Alan Dundes _ Magda Ferl (San Antonio, Texas) Pauline Greenhill _ Phyllis Harrison | (Brunswick, Maine) (Berkeley, California) (N. Hollywood, California) Holly Gems (Waterloo, Ontario) cr acoma, Washington) _ Alison B. Hoffman

Kate Dunlay Pat Ferrero (Washington, D.C.) Gerald K. Gresseth E. Richard Hart (New York, New York) | (Toronto, Ontario) (San Francisco, California) Ken George (Salt Lake City, Utah) (Seattle, Washington) ~ Frank A. Hoffman John A. Dunn Bill Ferris (Ann Arbor, Michigan) Charmaine Grey Harriett Hart (Buffalo, New York) | (Norman, Oklahoma) Mississippi) A.California) Georges (Los Angeles, California) (Dekalb, Illinois) Delf Maria Hohmann | Raymond David Dunstan(Oxford, Barbara C. Fertig (LosRobert Angeles, Arthur Gribben Mimmn M.A. Hartiala-Sloan (St. John’s, Newfoundland) | (New York, New York) (Stonington, Eonnecticut) Peggy Gerds (Santa Monica, California) (Harvard, Massachusetts) Susan T. Hollis

Susan Dwyer-Shick Kathleen Figgen echumbus, Ohio) Charles Gribble Lynda R. Hartigan (Claremont, California) (Seattle, Washington) Indiana) Ridie E. W. Ghezzi (Columbus, Ohio) (Washington, D.C.)(Norcross, Gary Hollowa Doris Dyen Richard J.(Bloomington, Figone (Philadelphia, Pennsylvania) Sylvia Grider Angelia Gacesa Hartline Georgia) (Pittsburgh, Pennsylvania) (Millbrae, California) Byrd Gibbens (College Station, Texas) (Rashwille Tennessee) George M. Holt Helmut Eberhart Elizabeth Fine (Little Rock, Arkansas) Helen Griebel Clodagh Brennan Harvey (Durham, North Carolina) (Graz, Austria) (Blacksburg, Virginia) Joseph R. Gibino (St. Paul, Minnesota) (Oakland, California) Maggie Holtzberg

J.(Chester, JosephPennsylvania) Fdgette Gary A. Fine (Ridgewood, New York)(Bloomington, Hanna Griff Eve(Urbana, Harwood (Rthens, Georgia) (Minneapolis, Minnesota) Gloria ‘ Gibson-Hudson Indiana) Illinois) _ Otto Holzapfel

Carol Edison Meryl GriffithArizona) Elizabeth Harzoff Ohio) (Freiburg, West Germany) (Salt Lake City, Utah)Fingrutd (Amherst,(Bloomington, Massachusetts) Indiana) Carolyn F.James GilkeyS.(Tucson, (Columbus, | Robert Horan

Kathy Edmiston Lydia Fish (Eugene, Oregon) Anne L. Grimes Guy H. Haskell | (Menomonie, Wisconsin) (Greenbelt, Maryland) (Buffalo, New York) Angus Gillespie (Granville, Ohio) (Oberlin, Ohio) ' Lucille D. Horn Larry Edmiston Nancy E. Fister (New Brunswick, New Jer- Polly S. Grimshaw Anne Hatch (Reston, Virginia) |

(Greenbelt, (Los Angeles, California) sey) (Bloomington, Indiana) (Somerville, AliceCalifornia) E. Horner | Grace Toney Maryland) Edwards Robert Pearson Flaherty Janet Gilmore Alexandra F Griswold Joyce T.Massachusetts) Hathwa (Berkeley, (Radford, Virginia) (Los Angeles, California) (Mt. Horeb, Wisconsin) (Melbourne Village, Florida) | (Columbus, Ohio) Amy Horowitz | Elaine Eff ~ Carl Fleischhauer Eren Giray-Saul Nancy Groce Marit Hauan (Philadelphia, Pennsylvania) |

(Baltimore, Maryland) (Solomons, Maryland) (Urbana, Illinois) (New York, New York) (Tromsdalen, Norway) Laurel Horton Faith H. Eikaas Hugh M. Flick, Jr. Lew Girdler Joan E. Gross Shirley A. Hauck (Seneca, California) (North Haven, Connecticut) (New Haven, Connecticut) (Berkeley, California) (Philadelphia, Pennsylvania) (Anchorage, Alaska) Tonia Horton

John EilertsenNew Richard R. Flores Gjernes Gross Judith(Topanga, E. HautCalifornia) (Newport News, Virginia) (Southampton, York) (Austin, Texas)Marylou (Alexandria, Virginia)Linda (Nashville, Tennessee) - Karin Horwatt Mohammed Ragab El-Naggar Joyce Burkhalter Flueckiger Gregory Gizelis Kathryn Grow-McCormick Bess Lomax Hawes (Williamsburg, Virginia)

(Kuwait) (Madison, Wisconsin) Greece) NewGrushon York) (Arlington, G. Hotchkin Susan Eleuterio-Comer Wonda Lee(Attiki, Fontenot Henry(Brooklyn, Glassie Denise Thomas E.Virginia) Hawley, _Jr.Michael (Anchorage, Alaska)

(Oak Park, [linois) (Opelousas, Louisiana) (Bloomington, Indiana) (Huntington Beach, Califor- | (Baltimore, Maryland) | Cynthia Royden Houston Bill Ellis Kathleen Forrest Jeff Glauner nia) Ann K. Hayashi (Carbondale, Alabama) (Hazleton, Pennsylvania) (Syracuse, New York) (Kamuela, Hawaii) Jayne Krevetz Guberman (Columbus, Ohio) Dorothy G. Howard

Kristin Elmquist Deborah Forster Mark Glazer (Newton, Massachusetts) Eileen M. Hayes (Roswell, New Mexico) (St. Paul, Minnesota) Massachusetts) (McAlley, Texas)California) Gary Michael Gugelchuk (Seattle, Washington) Dana Howell Ronal G. Emoff Sarah(Somerville, E. Foster Stephen D. Glazier (Bomona, Michaele Haynes (Marlboro, Vermont) (Austin, Texas) (Los Angeles, California) (Kearney, Nebraska) Louis Guida (San Antonio, Texas) Harriet Hudson John Enright Edith Fowke Paul C. Gluck (Memphis, Tennessee) Jurretta Jordan Heckscher (Terre Haute, Indiana) | (Pago Pago, AM)Tanya (Toronto, Ontario) (Southampton, Anna Guigne Karen E. Hudson| Shifra Epstein Fowler setts) (Paradise,MassachuNewfoundland) Mike(Arlington, Heisley Virginia) (Tallahassee, Florida) (Austin,Erdener-Norkunas Texas) (Philadelphia, Pennsylvania) | Luanne Glynn William Guinee (SantaIndiana) Monica,~California) © David J. Hufford | Yildiray Jennifer C. Fox (Lewisburg, Kentucky) (Bloomington, Richard Heller (Hershey, Pennsylvania) | (Gardner, Massachusetts) (Rosendale, New York) Ann Grodzins Gold Andrew Gulliford . (El Cajon, California) Mary Hufford |

(Logan, Utah) (New York, New York) (Secane, Pennsylvania)

Lore M. Erf Margalit Fox (Ithaca, New York) (Silver City, New Mexico) Steve Helton (Arlington, Virginia) | 12

Linda A. Hughes Leslie Jones Nancy G. Klavans G. Malcolm Laws, Jr. Torporg Lundell Ted Mast (Cochranville, Pennsylvania) (Venice, California) (Merion, Pennsylvania) (Wynnewood, Pennsylvania) (dant Barbara, California) (Rockledge, Pennsylvania) Neil C. Hultin Louis C. Jones Barbro Klein James P. Leary Katharine Luomala Erick E. Masuyama ~

(Waterloo, Ontario) (Cooperstown, New Jones York) (Stockholm, Sweden) (Mt. Horeb, Wisconsin) Alison (Honolulu, Hawaii) (Eugene, Oregon) Linda T. Humphrey Michael Owen Hannah Kliger Wendy Leeds-Hurwitz Lurie Stephen Matchak (Claremont, California) (Los Angeles, California) (Amherst, Massachusetts) (Kenosha, Wisconsin) (Ithaca, New York) (Danvers, Massachusetts)

Theodore C. Humphrey Steven S. Jones Gail Kligman James K. Leger Mike Luster Elizabeth Mathias (Claremont, California) (Los Angeles, California) (Austin, Texas) (Las Vegas, Nevada) (Beaufort, North Carolina) (Seacliff, New York)

Marjorie Hunt Suzi Jones Michael Kline Gershon Legman Candace J. Lutzow Gloria Matskiw (Washington, D.C.) (Washington, D.C.) (Cullowhee, North Carolina) (Valbonne, France) (Honolulu, Hawaii) (Winnepeg, Manitoba) David Huntley Rosan A. Jordan Debora G. Kodish Robert Leibman Tom Lynch Gail Matthews (Belmont, Massachusetts) (Baton Rouge, Louisiana) (Philadelphia, Pennsylvania) (Albuquerque, New Mexico) (Eugene, Oregon) (Columbia, South Carolina) Dell H. Hymes Sister Mary Joseph Edward Kohn Outi Lentipuro David C. Lyne Peter Maund (Charlottesville, Virginia) (Ogdensburg, New York) (Windsor, Massachusetts) (Helsinki, Finland) (Warrenton, Virginia) (Lafayette, California)

Virginia Hymes Rosemary O. Joyce Jody Kolodzey Ruth (Forest SchouHills, {eopold Patricia J. Lyon Brinley MauryMaine) (Bhiladelphia, Pennsylvania) (Columbus, Ohio) (Philadelphia, Pennsylvania) New York) (Berkeley, California) (Bowdoinham, Joyce Ice Charles W. Joyner Kate Koperski Oliver B. Lerch Suzanne MacAulay Phyllis M. May-Machunda (Ithaca, New York) (Myrtle Beach, South Caro- ‘Buffalo, New York) (Oakdale, New York) (Nederland, Colorado) (lowa City, Towa)

Yoshiharu lijima Frank J. Korom Bruce M. Leroy Margaret MacArthur Dan MayerNew York) (Tokyo, Japan) Renee lina) Julien (King of Prussia, Pennsylva(Tacoma, Washington) (Marlboro, Vermont) (Cooperstown,

Silja Ikaheimonen-Lindgren (Santa Fe, New Mexico) nia) W. A. Lessa Larry MacBride Alan E. Mays (St. John’s, Newfoundland) David Kachadourian Peg Korsmo-Kennon (Los Angeles, California) (Little Ferry, New Jersey) (Lancaster, Pennsylvania) Hiroko Ikeda (Cleveland, Ohio) ikagan, Minnesota) Ben Levin Elizabeth J. MacDaniels Jeffrey A. Mazo (Honolulu, Hawaii) Alison Kahn Rae Korson (Boston, Massachusetts) (Columbus, Ohio) (Esses, England) Kay Ikeda (Washington, D.C.) (Allentown, Pennsylvania) Lawrence Levine MargaretWashington) R. MacDonald John Mazza (Urbana, Hlinois) Laurie B. Kalb Amy Kotkin (Berkeley, California) (Kirkland, (Trumball, Connecticut) Daniel H. H. Ingalls (Los Angeles, California) (Washington, D.C.) Mark D. Levine Marsha MacDowell — Cathy J. McAleer (Hot oprings, Virginia) Susan J.Virginia) Kalcik Luanne Gaykowski Kozma (Cambridge, Massachusetts) (East Lansing, Michigan) (Bloomington, Indiana) David J. Ingle (Manassas, (Nori, Minnesota) Susan Levitas Mary Villarreal Phillip H. McArthur (Nahant, Massachusetts) Jeffrey L. Kallen Patricia Krafcik (Washington, D.C.)MacGregor(Pasadena, California) (Bloomington, Indiana)

Niels Ingwersen (Dublin, Ireland) (Carlisle, Pennsylvania) Andrew Levitt Lorna Maclver Tom McCabe

(Madison, Wisconsin) Nancy Kalow Corinne A. Kratz (Greensboro, North Caro- (Los Angeles, California) (Philadelphia, Pennsylvania)

Genevieve R. Innes (Chapel Hill, North Caro- (Havertown, Pennsylvania) lina) John W. MacKay Brenda W. McCallum

(Chapel Hill, North Caro- lina) Bonnie J. Krause Elizabeth U. Lewis (Quebec, Quebec) (Pemberville, Ohio) lina) Sharif Kanaana (Alto Pass, Illinois) (Huntsville, Texas) Elizabeth Mackenzie Robert S. McCarl, Jr.

Emilienne M. Ireland (West Bank, Israel) Wendy Kreeger Isaac J. Levy (Philadelphia, Pennsylvania) (Boise, Idaho)

(Fairfax, Virginia) Stephanie Kane (Larchmont, New York) (Davidson, North Carolina) Carol S. Mackey William B. McCarthy Susan Isaacs (Chicago, Illinois) Hilda Kring Keh-nan Li (Vancouver, Washington) (Clarksville, Arizona) (Philadelphia, Pennsylvania) | Deborah A. Kapchan (Grove Pennsylvania) (Philadelphia, — Richard MacKinnon Margy McClain Peere Isabelle (Wayne, Pennsylvania) Jane City, G. Krizay Glen E. Lich Pennsylvania) (Sydney, Nova Scotia) (Chicago, Illinois)

(St. John’s, Newfoundland) Anne Kaplan (Carmel, California) (Waco, Texas) D. Soyini Madison Sandra McCosh-Leonard Edward Ives (St. Paul,Karwinsky Minnesota) Ben A. Kroup Libbenau (Durham, Carolina) (Los Angeles, California) (Orono,C.Maine) Esther (Waterford, New Arlene York) Hyattsville, Maryland)North Judith Madison Judith MeCulloh William Ivey (Sao Paulo, Brazil) Laura Krueger J. E. Lighter (Saratoga Springs, New (Urbana, Illinois) (Nashville, Tennessee) Graham S. Kash (San Francisco, California) (Knoxville, Tennessee) York) Elizabeth B. McCullough Michiko (Cookeville, Kruesi William E. Lightfoot Thelma Magaril ©(Washington, D.C.) (Bremen, Iwasaka West Germany) Eva KauselTennessee) (Philadelphia,Margaret Pennsylvania) (Boone, North Carolina) (Cambridge, Massachusetts) Mary Anne McDonald

Alan Jabbour (Wien, Austria) Jack M. Kugelmass Car] R. Lindahl Sabina Magliocco (Durham, North Carolina) (Washington, D.C.) Joann Kealiinohomoku (Madison, Wisconsin) (Houston, Texas) (Bloomington, Indiana) John H. McDowell Alta Jablow (Flagstaff, Arizona) Koenraad Kuiper Bernth Lind fors Carl R. Magnuson (Bloomington, Indiana) (New York, New York) Elizabeth Keatin (Christchurch, New Zeal- (Austin, Texas) (Topeka, Kansas) Dee L. McEntire

Ira Jacknis (Los Angeles, California) and) Charlotte Lindgren Marsha Maguire (Bloomington, Indiana) (Roslyn Heights, New York) | Madeline M. Keaveney Joel Kuipers (Auburndale, Massachu- (Chevy Chase, Maryland) Rosalyn McGillivray

Joyce Jackson (Chico, California) (Providence, Rhode Island) setts) Michele Mahan-Gautsch (Chico, California) (BatonJ.Rouge, Louisiana) Teresa F. (Greensboro, Keeler Elon North A. Kulii John LindowCalifornia) (Baltimore, Maryland) McGowan Herman Jaffe (Los Angeles, California) Caro(Berkeley, Linda A. MalcorThomas (Boone, North Carolina) (Brooklyn, New York) Martha L. Keiper lina) Jean C. Lindquist (Los Angeles, California) Jerrilyn McGregory Svatava Jakobson (Bloomington, Indiana) Richard Kurin (Washington, D.C.) Madhu Malik (Philadelphia, Pennsylvania) (Austin, Texas) Gary D. Keller (Washington, D.C.) Jill Linzee (Lewisburg, Pennsylvania) John McGuigan Roger L. Janelli (Tempe, Arizona) Gary Kuris (Takoma Park, Maryland) Rose Ann Maly (Charlottesville, Virginia) Bloomington, Indiana) Charles G. Kelley (San Francisco, California) Carolyn Lipson-Walker (New Baltimore, Michigan) Ellen McHale Clover Jebsen (Athens, Georgia) Kvideland Bloomington, Paula(Austin, M. Manini (Esperance, New York) (Philadelphia, Pennsylvania) Jane Reimund Glidden Kelton (Bergen, Norway) C. Indiana) Scott Littleton Texas) lan McKinnon

Jaclyn Jeffrey (New York, New York) Martin Laba (Los Angeles, California) Kathleen E. B. Manley (St. John’s, Newfoundland) (Waco, Texas) Deanna Kemler (Burnaby, British Columbia) — Jennifer Livesay (Greeley, Colorado) Francesa McLean Gregory K. Jemkins Phivadelphia Pennsylvania) | Luc Lacourciere (Bloomington, Indiana) Rachel E. Mann (Nashville, Tennessee) (Bowling Green, Kentucky) Homer C, Tennessee) emp (Beaumont-Bellechasse, Que- Timothy (Charlottesville, Marjorie L. McLellan Mary S. Jennings (Cookeville, bec) (Columbus, Ohio)Lloyd Bruce MannheimVirginia) (Minneapolish, Minnesota)

(Woodland Hills, California) Roma Kempe Ann Tandy Lacy Yvonne R. Lockwood (Ann Arbor, Michigan) Felicia McMahon (New York) Michael Kenney Ladenheim Guy(Tulsa, Logsdon (Bloomington, Steven L. McNabb Danelle York, JentgesNew (S. Weymouth, Massachu(St.Melissa John’s, Newfoundland) Oklahoma) AntoniosIndiana) Marathettis (Archorage, Alaska)

Paula Tadlock Jennings (Snohomish, Washington) Gpring ield, Illinois) (Grass Lake, Michigan) Priscilla Manwaring (Phuladelphia Pennsylvania)

(Liberty, Indiana) setts) Kelly A. Lally Alan Lomax (San Antonio, Texas) Brooks McNamara

Birgit Hertzberg Johnsen Kenneth B. Keppeler (Bowling Green, Kentucky) (New York, New York) Laura R. Marcus (New York, New York) slo, Norway) New Mexico) EnriqueNew R. Lamadrid BettyHill, R. Lombardi (Bloomington, Indiana) William View, K. McNeil Susan Johnson. (Albuquerque, Lu Judith B. Kerman (Albuquerque, Mexico) (Park Oklahoma) Marcelle F. Marcus (Mountain Arkansas)

(West Covina, California) (Ravenna, Ohio) Kathleen S. Lambert J. E. Lonegran (Santa Rose, California) James C. McNutt Barbara C. Johnson Catherine Hiebert Kerst (San Rafael, California) (Chapel Hill, North Caro- Vera Mark (San Antonio, Texas)

(Monpelier, Vermont) (Takoma Park, Maryland) W. Lambrecht lina) (University Park, Pennsylva-__ F. M. Mealing Benedicte Grima Johnson Kenneth Ketner (Providence, Rhode Island) Eleanor R. Long nia) (Castlegar, British Colum(Philadelphia, Pennsylvania) (Lubbock, Texas) Donald M. Lance (Los Angeles, California) Bonnie Marshall bia) Cyndee Johnson Cheryl L. Keyes (Columbia, Maryland) M. Long North Barbara L. Mearns (Gakona, Arkansas) (Bloomington, Indiana) Herbert LandarLucy (Bowling Green,(Davidson, Ohio) Howard W.Carolina) Marshall (Los Angeles, California)

Gladys M. Johnson David Elliott Kidd (Los Angeles, California) Martha A. Long (Columbia, Maryland) Elizabeth Walker Mechling

(Prospect Park, Pennsylva- (Columbus, Ohio) Susanne Lande (Bloomington, Indiana) John Marshall (Hayward, California)

nia) R. Killam (San Francisco, California) teryD.L.Lane Lon (New South Wales, AustraJay Mechling John W.N.Johnson (Denton, Texas) Brigitte (Newark, Bhio) lia) (Davis, California)

(Bloomington, Indiana) Linda Kimball (Cambridge, Massachusetts) Ormond H. Loomis Chris Martin Sally Meckling Kathryn Johnson (Bellingham, Washington) Yvonne Lange (Live Oak, Florida) (Fargo, North Dakota) (Columbus, Ohio) (Logan, Utah) Anne Kimzey (Santa Fe,Langen New Mexico) Albert B. Lord Lynn J. Martin Paul T. Medeiros Mary johnson (Chapel Hill, North CaroToby (Cambridge, Massachusetts) (Honolulu, Hawaii) (Milford, Connecticut)

(Arlington, lina) (Seattle, Washington) Lornell Patricia Martin Bohdan Medwidsky Paula JoknsonVirginia) Samuel Kinser Janet Langlois feerrum,Kip Virginia) (Lake Wales, Florida) (Edmonton, Alberta)

(Solomons, Maryland) (Oak Park, George Illinois)Lankford (Detroit, Michigan) Bonnie D.(Mt. I. Lotfizadeh Philip Martin ChuckBeach, MeideFlorida) Thomas W. Johnson Laura Kipnis (Davis, California) Horeb, Wisconsin) (Atlantic (Chico, California) (Columbus, Ohio) (Batesville, Arkansas) Martin Lovelace Russell L. Martin, II Samuel P. Menefee Anita Jones Joanna Kirkpatrick Michael D. Largey (St. John’s, Newfoundland) (Charlottesville, Virginia) (Charlottesville, Virginia) (Washington, D.C.) enningion Vermont) (Bloomington, Indiana) Lowe Wayne Martin Dale Jones B. Kirshenblatt-Gimblett Jan Laude (Albany, New York)Virginia (Durham, North Carolina) (LosHerminia Angeles,Menez California) (Baltimore, Maryland) (New York, New York) (Bloomington, Indiana) Peter B. Lowry Patricia Marton Eugene Metcalf Deb Dale Jones Liza Kirwin Robert H. Lavenda (Rosendale, New York) (Bloomington, Illinois) (Oxford, Ohio) (Minneapolis, Minnesota) Kisliuk (Washington, D.C.) Cloud,(Monterey, Minnesota) Brigitta Geltrich(Huntsville, Ludgate Melvin R. Mason Richard E. Meyer Glenn Jones Michelle James A.(St. Lavita California) Texas) (Monmouth, Oregon)

(Bloomington, Indiana) (Newton, Massachusetts) (Denver, Colorado) Jens Lund Maria Massolo Jennifer Michael Leigh Jones ElizabethVirginia) A. Kissling Elaine Lawless (Tumwater, Washington) (Oakland, California) (Philadelphia, Pennsylvania) (Woodbridge, (Champaign, Illinois) (Columbia, Missouri) Nancy Michael 13

(Lake City, Florida) Diana A. N’Diaye Carol] Orr K. Anne Phipps Dwight Reynolds _ Howard L. Sacks

Karen Michalsen (Brooklyn, New York) (Knoxville, Tennessee) (Greencastle, Indiana) (Cambridge, Massachusetts) — (Gambier, Ohio) (Eugene, Oregon) Gregory Nagy Ethelyn Orso Lynn A. Pifer . _ George P. Reynolds Judith R. Sacks Laura Middlebrooks (Fambridee, Massachusetts) (New Orleans, Louisiana) (Buffalo, New York) (Rabun Gap, Georgia) (Gambier, Ohio)

(Chapel Hill, Utah) North (Troy, Caro- Ohio) Nikki (Birmingham, Naiser Atanasia C. Osadca C. J. Pigford Loretta Rhoads Maurie New SacksJerlina) (Logan, Alabama) Illinois) (Upper Montclair, Wolfgang Mieder Kirin Narayan Takahiro Otsuki Kenneth(Brookfield, D. Pimple Rasalind Ribnick sey)

(Burlington, Vermont) (Amhersdt, Massachusetts) (Saitama, Japan) (Bloomington, Indiana) (Eureka, California) Christa Salamandra : Andrew i Miller Peter R. Narvaez Eleanor Ott Jeffrey Place _ Paul Rich (New York, New York) (Philadelphia, Pennsylvania) (St. John’s, Newfoundland) (Calais, Vermont) (Falls Church, Virginia) ~ . (Doha, Qatar) | Nabila I. Salem

Elaine K.New Miller Anne Nast Pamela J. Ow Jerry tPocius Howard S.(New Richmond (Cairo, Feypv) (Brockport, York)Jo (Carbondale, Illinois) (San Francisco, California) John’s, Newfoundland) York, New York) Rachelle Saltzman

Joseph C. Miller Ana M. Negron Blanton Owen Charline Poirier W. Edson Richmond (Lake City, Florida) (Conshohocken, Pennsylva(New Martha York, NewTeall York) (Virginia City, Nevada) (Bloomington, Indiana) Marilyn C. New Salvador nia) Margaret F. Nelson Oyler George H. (Portland, BollockOregon) Milton Rickels (Albuquerque, Mexico) Rebecca S. Miller (Stillwater, Oklahoma) (St. Simons Island, Georgia) (Chicago, Illinois) (Lafayette, Louisiana) Sue, Samuelson (New York, New York) Martha J. Nelson Arzu Ozturkmen - Edgar G. Polome | Patricia Rickels (Fremont, California) Linda J. Milligan (Chapel Hill, North Caro- (Bloomington, Indiana) (Austin, Texas) (Lafayette, Louisiana) _ Lynn Moss Sanders

(Columbus, Ohio) lina) Myrtha Pages Sandra J. Pomerantz Susanne S. Ridlen (Boone, North Carolina)

Clyde Millner, I Katherine D. Neustadt (Albuquerque, New Mexico) (Philadelphia, Pennsylvania) (Indianapolis, Indiana) Ben Sandmel

(Logan, Utah) (Lexington, Massachusetts) Carl R. Pagter Susan Pomerantz Barbara Rieti (New Orleans, Louisiana) (Philadelphia, Texas) Ulf Palmenfelt Polly Pope Diane California) Yvonne J. MilspawPennsylvania) Venetia Newall (Georgetown, (Ljugarn, Sweden) (Hacienda Heights, Califor(New York, NewRigo York)(Oakland, - Helene Sanko (Middletown, Pennsylvania) (London, England) Elisabeth Panttaja nia) J. Sanford Rikoon (University Heights, Ohio) Kristina Minister Laurie K. Newendor (Brookline, Massachusetts) James W. Porter (Columbia, Maryland) Mary Jo Sanna (Phoenix, Arizona): (Washington, pcb Sherry Pardee (Los Angeles, California) Michael Riley (Cambridge, Massachusetts) Yoko H. Mino Esther Newman (lowa City, lowa) L. Sheldon Posen (Austin, Texas) John F. Santino Margaret Mills Gwen K. Neville (Walnut Creek, California) (Yeadon, Pennsylvania) (St. John’s, Newfoundland) Jillian Steiner Sandrock

(Hiroshima, Japan) Amy N. York) ParkerJennifer (Ottawa, Ontario) Sheila Rile (Bowling Green, Ohio) Jerome R. Mintz Sarah(Chicago, E. NewtonIllinois) (New York, New Post (Nashville, Tennessee) | Leslie Satin (Bloomington, Indiana) (Chico, California) Diana Parker (East Middlebury, Vermont) Ralph C. Rinzler (New York, New York) Lawrence E. Mintz John D. Nichols (Rockville, Maryland) Randolph G. Potts (Washington, D.C.) Joan Saverino (Silver Spring, Cameron Maryland)Nickels (Winnipeg, Manitoba) TerryLucy ParkerA. (Chicago, Roach (Philadelphia, Pennsylvania) Craig Mishler (Urbana, fllinois) Powell Illinois) (Ruston,Susan Louisiana) Patricia Sawin (Eugene, Oregon) (Harrisonburg, Virginia) Lyubomira Parpulova (Greensboro, North Caro- Carol S. Roark (Bloomington, Indiana)

_ Maxine Miska Bruce E. Nickerson (Columbus, Ghio) lina) | (Hilton Head Island, South Susan L. Scheiberg

(Ottowa, Ontario) Massachusetts) Gerald E. Parsons, Jr. Marjory Power _ Carolina) (Los Angeles, California) Linda Mistele W. F.(Beford, H. Nicolaisen (Washington, D.C.) (Burlington, Vermont) Lester E. Robbins Harold Scheub (Milwaukee, Wisconsin) (Binghamton, New York) Eric Partee Paul S. Powlison (Dallas, Texas) (Madison, Wisconsin)

Carol Mitchell Susan Rliditch (Great Falls, Virginia) (Pucallpa, Peru) John W. Roberts Michael Schlesinger

(Ft. Collins, Colorado) (Amherst, Massachusetts) Therese Pasquesi Dennis R. Preston (Philadelphia, Pennsylvania) (New York, New York)

Eleonore Mitchell Erik K. Nielsen (Ann Arbor, Michigan) (Ypsilanti, Michigan) Warren Roberts Marilee Schmit (Elizabethtown, Kentucky) (Glostrup, Denmark) Thomas R. Passananti Michael J. Preston (Bloomington, Indiana) (Albuquerque, New Mexico) Roger E. Mitchell John D. Niles (Bloomington, Indiana) (Boulder, Colorado) J. Robinson Nancy Schmitz (Eau Claire, Wisconsin) (Berkeley, California) Phyllis Passariello Richard Price Beverly (Inglewood, California) (Quebec, Quebec) Stephen A. Mitchell Susan A. Niles (Danville, Kentucky) (Martinique) Danny Rochman George H. Schoemaker (Cambridge, Massachusetts) (Easton, Pennsylvania) Michael D. Patrick Richard K. Preibe (Bloomington, Indiana) (Bloomington, Indiana) Toru Mitsui Carolyn P. Norgaard (Rolla, Missouri) (Richmond, Virginia) Beatrice A. Roeder Sam Schrager (Kanazawa, Japan) (Dallas, Texas) Daniel W. Patterson Leonard Primiano (Colorado Springs, Colo- (Portland, Oregon) Virginia Mize Martha NorkunasMaine) (Chapel lina) Hill, North (Philadelphia, Pennsylvania) Gregory Schrempp (Austin, Texas) (Gardner, FrankCaroProschan Danielle M. Roemerrado) (Bloomington, Indiana) Marilyn E. Mobley Linda(Delhi, B. Norris Victoria (Alexandria, Virginia) (Highland Heights, Ken- (Columbia, A. E. Schroeder (Potomac, Maryland) New York)Patterson (Redwood Valley, CaliforLeslie Prosterman tucky) Maryland)

Michael Moloney Dorothy Noyes nia) (Washington, D.C.) Peter M. Rojcewicz _ Alvin Schwartz (Philadelphia, Pennsylvania) (Philadelphia, Pennsylvania) Raghavan Payyanad Jane E. Przybysz (New York, New York) _ (Princeton, New Jersey)

Mario Montano Elisabeth H. Null Kerala, India) (New York, New York) Shelly Romalis Joseph Sciorra (Boston, Massachusetts) (New Canaan, Connecticut) Barry L. Pearson Faye Purol (Downsview, Ontario) (Philadelphia, Pennsylvania) Lynwood Montell Philip Nusbaum Maryland) (Columbus, Ohio) Rosenber R. Scott (Bowling Green, Kentucky) (Saint Paul, (College Minnesota)Park, Nathan W. Pearson, id Teresa Pyott (LakeJan Worth, Florida)John (Osterville, Massachusetts) Eric L. Montenyohl N ancy Nusz (NewFlorida) York, New York)Peck (Philadelphia, Pennsylvania) Neil Newfoundland) V. Rosenberg Phyllis A.New Scrocco (Lafayette, Louisiana) (White Springs, Catherine Pamela Quaggiotto (St. John’s, (Rindge, Hampshire)

Susan N. wontepio J. Nyce (Newtons, Pennsylvania) (Tulsa, Oklahoma) RosenbergIinois) | William R. Seaburg (Norwalk, California) (Seekonk, Rhode Island) Philip M. Peek David P.Stuart QuinnJ.(Chicago, (Seattle, Washington) : Rita Moonsamm Holger Nygard (Madison, New Jersey) (Albany, New York) Anne L. Ross Anthony Seeger (Vincetown, New Jersey) (Durham, North Carolina) Shanny L. Peer Carol K. Rachlin (Washington, D.C.) (Chevy Chase, Maryland) W. B. Moore Bonnie B. O’Connor (Brooklyn, New York) (Oklahoma City, Oklahoma) Charlotte a Ross Judith Seeger (Minneapolis, Minnesota) (Wenonah, New Jersey) Judy Peiser Patricia M. Radecki (Boone, North Carolina) (Chevy Chase, Maryland)

William D. Moore Malachi O’Connor (Memphis, Tennessee) (Lacrosse, Wisconsin) Rita Ross Michael Seeger

(Winchester, Massachusetts) (Wenonah, New Jersey) Mary Catherine Pelini Juliet Radhayrapetian (Oakland, California) (Lexington, Virginia)

Genelle Morain Mary Jo O’Drain (Columbus, Ohio) (Simi Valley, California) Caroline H. Roston _ Charles H. Seemann, Jr. (Athens, Georgia) (Richmond, California) Manual Pena Jo Radner (Philadelphia, Pennsylvania) (Lebanon, Tennessee) Alice MorrisonIndiana) Mordoh(Willowdale, J. Patrick O'Neill California) (Washington, D.C.) Klaus Roth (Baton RobertRouge, SegalLouisiana) (Bloomington, Ontario)(Clovis, Marsha Penti Carl Rahkonen (Munchen, West Germany) Jamie Moreira Edmund O'Reilly (Hancock, Michigan) (Indiana, Pennsylvania) Steven Roud Henning K. Sehmsdorf (St. John’s, Newfoundland) (Washington, D.C.) William J. Pepicello M. L. Rahn (Surrey, England) Seattle, Washington) Kathryn L. Morgan Carol L. Oakey (Lodi, California) | Jeanmarie Rouhier-Willoughby Peter SeitelD.C.) (Swarthmore, Pennsylvania) (Richmond, California) (Watertown, Chuck PerdueMassachusetts) Olga Najera Ramirez (Charlottesville, Virginig __ (Washington,

Pamela S. Morgan Kathleen Odean (Madison, Virginia) Santa Cruz, California) Zelda J. Rouillard William E. Sellers (Goleta, California) (Barrington, Rhode Island) Aka Pereyma Pilar A. Ramos (Gunnison, Colorado) (Sarasota, Florida) Linda Morley Marion Oettinger (Troy, Ohio) (Madrid, Spain)Ramse _ Jan(Logan, E. Roush Neal SemelOhio) (Manchester, New Hamp(San Antonio, Texas) Kenneth PerimanOhio) MelodyVirginia Utah)Suzanne (Columbus, shire) Steven Ohrn (Durango, Colorado) (Columbus, Rowden Seriff Alvin Morrison (Des Moines, Iowa) Leialoha R Perkins Tom Rankin Etatesboro, Georgia) (Austin, Texas)

(Fredonia, New York) Felix Oinas Roland (Uahu,F.Hawaii) (Shaw, Raspa Mississippi) Charles Virginia) H. Rowell Ralph Sessions Rebecca Morse (Bloomington, Indiana) Perkins Richard (Charlottesville, (Alew York, New York) (Springfield, Vermont) Scot Oliver (Makaha, Hawaii) (Grosse Pointe Woods, Matthew B Rowley _ Adrienne Lanier Seward Caroline Moseley (Whitesburg, Kentucky) Ken Perlman Michigan) (Kirksville, Missouri) (Colorado Springs, Colo(Princeton, New Jersey) Susan Olsen (Granston, Rhode Island) Anthony T. Rauche Nicholas N. Royal rado)

James C. Moss (Rolling Bay, Washington) Patricia F. Perrin (West Hartford, Connecticut) (Santa Cruz, California) Lisa H. Shaffmaster

(St. Paul, Minnesota) Ruth Olson (Thibodaux, Louisiana) Russell J. Reaver, Jr. Hans Ruef (Philadelphia, Pennsylvania)

Marilyn F. Motz (Philadelphia, Pennsylvania) David Perry (Tallahassee, Florida) (Oberried, Switzerland) Diane Shammas

(Bowling Ohio) Mohamed Ahmed Omnan (Chapel Hill, North Caro- Roberta Reeder SigridGermany) RuschmeyerJeffrey (LagunaShandler Beach, California) Natalie K.Green, Moyle (Cairo, Egypt) lina) (Cambridge, Massachusetts) (Vlotho, West (Charlottesville, Virginia) j. Gpland New Linda Pershing J. Rhett Rushin (Brooklyn, New York) Marcela Orellana Muermann (Poughkeepsie, York) (Austin,Mary Texas)Ann (Salt Reichman Lake City, Utah) (Stanford, California) Guha Shankar

(Santiago, Chile) Shulamith Oppenheim NancyTennessee) Kammer(Richmond, Peters Donna Reid(Philadelphia, Alexander G. Russell (Washington, D.C.) Janne B. Mulcahy (Amherst, Massachusetts) (Columbia, California) Pennsylvania) _ Barry L. Shank

(Portland, Oregon) Priscilla A. Ord Sally Peterson Barbara Reimensnyder Ian Russell | (Philadel hia, Pennsylvania)

Patrick B. Mullen (Farmville, Virginia) (Creedmoor, North Caro- (Franklin, North Carolina) (Sheffield, England) Anne Dhu bnapiro (Columbus, Ohio) Elliott Oring lina) Robert M. Rennick Louise Russell (Newton, Massachusetts) Joyce Underwood Munro (Santa Rose, California) Alain J. Petit (Prestonsburg, Kentucky) (St. Johns, Arizona) Jody A. Shapiro (Ann Arbor, Michigan) Laura Orleans (New York, New York) Roger Deveer Renwick _ Melinda Russell (Morristown, New Jersey) Christopher R. Musello (Chapel Hill, North CaroEdward Philips (Austin, Texas) (Champaign, _ GregoryVermont) Sharrow (Salisbury, Maryland) lina) (Akita City,John Japan) Christine Reynolds Paul A. RussoIllinois) ; | (Randolph, Pamela Myers-Moro Anderson J. Orr, Jr. Marilynn J. Phillips (Somerville, Massachusetts) (Winston Salem, North ' Wendy Shay

(Berkeley, California) (Nashville, Tennessee) (Hamstead, Maryland) - Carolina) (Bethesda, Maryland) 14

Colleen Sheehy Laurie Sommers Charles W. Sullivan Mary L. True Jeff Warner John B. Wolford (Minneapolis, Minnesota) (E. Lansing, Michigan) (Greenville, North Carolina) (Berkeley, California) (Washington, D.C.) (Bloomington, Indiana) Daniel Sheehy Marcello Sorce-Keller Lawrence E. Sullivan Barbara Truesdell Michael J. Warner Carole A. Wood

(Washington, (Urbana, Illinois) Anca (Chicago, Illinois) (Ft. Truten Wayne, Indiana) (Olympia, Washington) (Haddonfield, New Jersey) Joan ShefflerD.C.) Jeanne Sorenson Surcel Jack Winifred S. Wasden Nathalie F.S. Woodbury (Pittsburgh,Sherman Pennsylvania) (Jamestown, Dakota) (Arlington, Virginia) (Havertown, Pennsylvania) City, Utah) (Amherst, Massachusetts) Josepha Howard J.North Sosis Scott H. Suter Marcello Truzzi James(Salt F.Lake Waters Fran Woods (Riverdale, New York) (Hackensack, New Jersey) (Alexandria, Virginia) (Ypsilanti, Michigan) (Arcata, California) (Chiengmai, Thailand)

Sharon R. Sherman Sarah Southerland Brian Sutton-Smith Ruth Tsoffar Nancy L. Watterson Jane Harris Woodside

(Eugene, Oregon) (Carrboro, North Carolina) (Wayne, Pennsylvania) (Berkeley, California) (Philadelphia, Pennsylvania) Johnson City, Tennessee) Joel Sherzer Bernard W. Southgate, IV Nancy Sweezy Tad Tuleja Sandra Weatherby Andrew Woolf

(Austin, Texas) (Covington, Kentucky) (Arlington, Massachusetts) (Belchertown, Massachu- (Altadena, California) (Wenham, Massachusetts) Kanako Shiokawa John Sowers Greta E. Swenson setts) Sabra J. Webber Mark E. Workman

(Philadelphia, Pennsylvania) (Turlock, California) (Lindsorg, Kansas) Sue Tuohy (Columbus, Ohio) (Birmingham, Michigan) Dorothy Shonsey Susan(Bristol, E. >palding Richard Sweterlitsch (Bloomington, Indiana) Sheila K. Webster-Jain Paul M. Wri ht (Long Pine, Nebraska) Virginia) (Burlington, Vermont) Laurier Turgeon (Bladensburg, Maryland) (Boston, Massachusetts)

Catherine A.Indiana) shoupe(Culver Louise S. California) Spear Pamela Swing (Quebec, Quebec) Suzann M. Weekly Robert L. Wright (South Bend, City, (Arlington, Massachusetts) Kay F. Turner (Piermont, New York) (East Lansing, Michigan) Mark L. Shrager Jean H. Speer ray E. Syndergaard (Austin, Texas) Mary E. Wehrle Vicky Risner Walff (Bloomington, Indiana) (Blacksburg, Virginia) (Kalamazoo, Michigan) Ray Turner (Westerville, Ohio) (Washington, D.C.)

David Shuldiner Nicholas R. Spitzer John Szwed (Ary, Kentucky) Rainer Wehse Donna Wyckoff

(Hartford, Connecticut) (Washington, D.C.) (NewMichael Haven, Connecticut) Diane TyeScotia) (Gottingen, West Germany) (Columbus, Ohio) Judith Shulimson Louisa C. H. Spottswood Taft (Pictou, Nova Karen Weidel ; Jongsung Yang

(Margate, Florida) (Philadelphia, Pennsylvania) (Peterborough, Ontario) Paul L. Tyler (Oaklyn, New Jersey) (Bloomington, Indiana) Amy E. Shuman Robert Massachusetts) St. George James M. Taggart (Chicago, Illinois) Lorre Weidlich Li Yang China) (Columbus, Ohio) (Boston, (Lancaster, Pennsylvania) Ruel W. Tyson (Austin, Texas) (Guangdong,

Daphne Shuttleworth Adrian D. Stackhouse Takashi Takahara (Chapel Hill, North Caro- Marta Weigle Donald L. Yarman

D.C.)Jr.(South Bend, Indiana) (Bloomington, Indiana) lina) (SantaElizabeth Fe, New Mexico) (Columbus, Ohio) J.Washington, Ashley Sibley, Kim Stafford Mikako Tan’Naka Gregory P. Urban Wein Sally M. Yerkovich (Shreveport, Louisiana) (Portland, Oregon) (Philadelphia, Pennsylvania) (Austin, Texas) (Philadelphia, Pennsylvania) (New York, New York) Judy Sierra Mark B. Stahl Timothy R. Tangherlini Takashi Utsugi Aviva Weintraub Margaret R. Yocom (Los Angeles, California) (Bloomington, Indiana) (Berkeley, California) (Los Angeles, California) (Philadelphia, Pennsylvania) (Fairfax, Virginia) Carol Silverman Sandra K.Indiana) D. Stahl Holly Tannen H. Vandergrift Robert Weir Katharine (Eugene, Oregon) (Bloomington, (Mendocino, California)James (Springfield, Missouri) (Northampton, Massachu(Merion,Young Pennsylvania)

Christine Simon David H. Stanley Maria Tatar Linda Degh Vazsonvi setts) Mary Jane Young

(Berkeley, California) (Salt Lake City, Utah) (Cambridge, Massachusetts) (Bloomington, Indiana) Chava Weissler (Albuquerque, New Mexico) Elizabeth R Simons Gary W. Stanton Paola Tavarelli Maria Teresa Venegas (Bethlehem, Pennsylvania) Patricia M. Young (Berkeley, California) (Columbia, South Carolina) (Los Angeles, California) (Los Angeles, Colifornia) Judith Weissman (Palm Springs, California)

Elizabeth gimpson Tuula Stark Bradley L. Taylor Thomas Vennum, Jr. (New York, New York) Carol Zafiropoulos (Seattle, Washington) (Hermosa Beach, California) (Ann Arbor, Michigan) (Washington, D.C.) Lael Weissman (Mountainview, California) Martha C. Sims Shalom Staub Carol S. Taylor Philip M. Verellen (Philadelphia, Pennsylvania) Gei Zantzinger (Columbus, Ohio) Flarrisburg, Pennsylvania) Ohio) (Flagstaff, Patricia Atkinson WellsRobbin (Devault, Pennsylvania) Odette P. Sims Ruth J. Staveley David A.(Mansfield, Taylor Deborah Vickers Arizona) (Murfreesboro, Tennessee) Zeff

(Modesto, California) (Columbus, Ohio) (Washington, D.C.) (Cambridge, Massachusetts) Paul Wells (Bloomington, Indiana) Eliot A. Singer Mary Beth Stein E. Joanne aylor Diana Vidal (Murfreesboro, Tennessee) Steven Zeitlin (East Lansing, Michigan) (Berlin, West Germany) eugene, regon) (Tucson, Arizona) . Jochen Welsch (Sunnyside, New York) John Sinton Delores G. Steinberg Jody . Taylor Teodoro Vidal (Hardwick, Massachusetts) Bernadine Zelenka (Port Republic, Jersey) (Merion, Pennsylvania) Indiana) (San Juan, Puerto Rico) Nebraska) Roger WelschYael (Redondo Beach, California) Steve Siporin New Lynne J. Steindel Lori Elaine (Rensselaer, Taylor Richard Vidutis (Dannebrog, Zerubayel (Logan, Utah) (Atlanta, Georgia) (South Jordan, Utah) (Takoma Park, Maryland) Kariamu Welsh-Asante (Philadelphia, Pennsylvania) Susan J. SitchieOhio) Margaret Steiner DennisIndiana) Tedlock (Buffalo, Veronique New Vincent-Campion (Philadelphia, Pennsylvania) Zimmerman (Columbus, (Bloomington, York) (Paris, France) Jerome WenkerZora (Ames, lowa)

Amy E. Skillman Shirley L. Steiner Alan Ternes Bitite Vinklers (St. Anthony, Minnesota) Jack Zipes

(Mechanicsburg, California) (NewJohn York, New (Brooklyn, New York) John O.Paul West (Gainesville, Florida) nia) Ellen J.PennsylvaStekert(Encino, St. John Terrell M.York) Vlach (El Paso, Texas) G. Zolbrod

Deidre Minnesota) Township, NewVoorhies Jer- (Washington, D.C.) Vickie WestElizabeth (Meadville, Pennsylvania) (BlueSklar Hill (Minneapolis, Falls, Maine) Heather (Ewing Stephens sey) Peter (Fairmount, Indiana) Zubritsky

Ellen Slack (Bloomington, Indiana) Robert T. Teske (Bath, New York) William Westerman (Baltimore, Maryland) (Wycombe, Pennsylvania) Martine L. Stephens (Cedarburg, Wisconsin) Susan Vorchheimer (Philadelphia, Pennsylvania) Charles G. Zug, III Deena F. Slade (Columbus, Ohio) Elaine Thatcher (Brooklyn, New York) William Jones Wheeler (Chapel Hil North Caro-

(Wilmington, Delaware) Robert Stephens (Salt Lake City, Utah) Becky v orpagel ‘Bloomington, Indiana) lina) Candace Slater (Upper Montelair, New Jer Janet S. Theophano (Philadelphia, Pennsylvania) | David Whisnant Zwolinski (Berkeley, California) sey) (Philadelphia, Pennsylvania) Jerome A. Voss (Chapel Hill, NorthE.Caro(So. Mary Milwaukee, Wisconsin)

Nellie B. Slaton Carrie Stern Kenneth A. Thigpen (East Lansing, Michigan) lina) Egle Victoria Zygas (Los Angeles, California) (Brooklyn, New York) (University Park, Pennsylva- Eleanor Wachs Barbara White (Chicago, Illinois) Mark Slobin Elizabeth Stern nia) (Quincy, Massachusetts) (Winnemucca, Nevada) (Middletown, Connecticut) (Santa Monica, California) Richard S. Thill Stephen Wade Marilyn White Edgar M. Slotkin Phillips Stevens, Jr. (Omaha, Nebraska) (Chicago, Ilinois) (Union, New Jersey) (Cincinnati, Ohio) (Buffalo, New York) Gerald Thomas Susan Snow Wadley Eleanor E. Wickett

Madeline Slovenz Mary Stevens (St. John’s, Newfoundland) (Syracuse, New York) (Windsor, Ontario) (Flushing, New York) (Wallingford, Connecticut) Jeannie B. Thomas Eleanor Walden J. D. A. Widdowson

Susan James Stewart (Eugene, (Berkeley, California) (Sheffield, England) (New Slyomovics York, New York) (Daytona Beach, Florida)Oregon) Fred Thomsen Suzanne D. K. Wilgus Katharine Smart Polly btewart (Philadelphia, Pennsylvania) (Logan,Waldenberger Utah) (Los Angeles, California) (New Castle, Delaware) (Salisbury, Maryland) Gloria Throne Barbara Walker Finn Wilhelmsen Guntis Smidchens Susan Stewart (Lawrence, Kansas) (Lubbock, Texas) (Los Angeles, California) (Chicago, Illinois) (Philadelphia, Pennsylvania) Cheryl T. Thurber Thomas U. Walker E. Henry Willett I] Doris Smith Craig Stinson (Cordova, Indiana) (Watertown, New York) (Montgomery, Alabama) (Bedford, Massachusetts) (Wilmington, North Caro- Judith Tillman W. Robert Walker Michael Ann Williams Gary Smith lina) (Signal Mountain, Tennes(Grand Forks, North Dakota) (Bowling Green, Kentucky) (Austin, Texas) J. Michael Stitt see} Warren Walker Ray A. Williamson

L. A. Smith (Las Vegas, Nevada) Randy Tindall (Lubbock, Texas) ‘Annapolis, Maryland)

(Sherborn, Massachusetts) Beverly Stoeltje (Carbondale, Illinois) Alf H. Walle Courtney Willis Michael P. Smith (Bloomington, Indiana) Michael Tisserand (Alfred, New York) (Burbank, California) (New Orleans, Louisiana) Kathleen Stokker (Minneapolis, Minnesota) Joe Don Wallin David S. Wilson Moira L. Smith (Decorah, Iowa) Jeff Titon (Lakewood, Colorado) (Davis, California)

(Bloomington, Indiana) Stoll (Providence, Island) Robert E. Walls Joseph Park, T. Wilson Paul Smith (San Dimas,Cynthia California) Mary Tivy Rhode (Bloomington, Indiana) (Takoma Maryland)

(Newfoundland) Kay F.Manitoba) Stone (Guelph, Ontario) Barbara M. Ward(Philadelphia, Kathryn Wilson Ronald R. Smith (Winnepeg, Tamara Tjardes (Salem, Massachusetts) Pennsylvania) (Bloomington, Indiana) Ruth Stone (Summerville, South Caro- Barry J. Ward William A. Wilson

Stephanie Smith Carolina) (Bloomington, (Morgantown, WestRobert Vir- (Provo, Utah) Frodd, North RuthIndiana) Stotterlina) Barre Toelken ginia) B. Winans John H. Snow (Tiburon, Utah) Daniel (Hampstead, Maryland) (Huntsville, Texas) Mary A. California) Stratman Peter(Logan, I. Tokofsky (Seneca Falls,Ward New York) Jesse Winch

Allegra Fuller Snyder (Columbus, Ohio) (Philadelphia, Pennsylvania) Donald J. Ward (Silver Spring, Maryland)

(Los Angeles, California) Geroge Stromeyer Peter Tommerup (Sherman Oaks, California) Sylvia Wing Jared Snyder (Philadelphia, Pennsylvania) (Los Angeles, California) Mary Louise Ward) (Philadelphia, Pennsylvania) (Philadelphia, Pennsylvania) Steve Stuempfle Diane Tong (Sherman Oaks, California) Stephen J. Winters Joseph D. Sobol (Gettysburg, Pennsylvania) (New York, New York) Carolyn Ware (Orange, Connecticut) (Granite Falls, North CaroJoanne Raetz Stuttgen Stefaan Top Cihiladelphia, Pennsylvania) DanielCalifornia) Wojcik lina) (Eau Claire, Wisconsin) (Herent, Belgium) Wilfred W. Wareham (Tarzana,

Emily Socolov David G. Such Ingrid K. Towey (St. John’s, Newfoundland) Charles Wolfe

(Philadelphia, Pennsylvania) (Los Angeles, California) ?Durham, North Carolina) Anne Warner (Murfreesboro, Tennessee)

Nancy Solomon Cynthia Marie Sughrue Laurie May ytippett (OldPark, Brookville, New York) Cheri L. Wolfe (Baldwin, New York) (Sheffield, England) (Takoma Maryland) (Flagstaff, Arizona) 15

PART TWO: FACES

THE FOLKLORIST AS ACADEMIC ADMINISTRATOR

Bare dean is like floating around For better or for worse, the single | money froma separate fund, whichit in a septic tank. You never know semester got stretched out considera-_ _—ihad a perfect legal right todo, the adwhen more’s coming down and you bly. After finishing the VP stint, was ministration purchased some Oriental _ can never rise above what you're al- asked to head the Liberal Studies pro- _ carpets, large gold-framed pictures, ! ready in.” That simile—which during gram and institute some procedures ~ and other furnishings to spruce up the ! my brief tenure as an academic ad- for enhancing student retention while — front hallway of the campus’s main | ministrator was recited in some form teaching half-time. This] did fortwo __ building in order to impress visitors, __

or other by some administrator or years, until it became clear that trying parents, and prospective students. : other at every second meeting—is to teach and do administrative work at | From the administration’s point of | wryly funny to administrators. To the same time is like trying to pat your view this was a smart business move. _ their foes, the faculty, such a joke is head and rub your stomach at the _ From the faculty’s point of view it was | not merely unamusing. It doesn’t even same time—the two jobs require dif- _ pure insult added to the injury of their _

_ register. fering sets of skills, and if youeverdo — pocketbooks. In subsequent interac- | We may place this fact at the heart get coordinated you will have accom- __ tions between the president andthe of the esoteric-exoteric conflict be- plished little except going around in faculty it became clear that the presitween the two campus camps. From two differents kinds of circles. WhenI — dent not only had not anticipated the _ my long experience as a faculty mem- returned from sabbatical it was to full- _ effect his move would have upon the |

ber, I know that a large number of fac- _ time teaching. faculty, but could not give credence to | ulty actually believe administrators What skills of the folklorist canbe the emotional content of the faculty’s

spend their waking hours plotting applied in an academic administrative response. |

ways to oppress (or at least to incon- job? One important skill is analytical. I Interactional skill, then, is the other | venience) faculty. From my short ex- spent a lot of time trying to help fac- — valuable quality a folklorist can bring perience as an administrator, [ know ulty and administrators get past the to academic administration. Knowing that administrators are far too busy esoteric-exoteric barriers, alluded to — “how to do field interviews—establish- | and too oppressed themselves to above, that were obviously impeding ing rapport, listening carefully for tacit © spend time thinking about faculty. communication. I did not use technical cues, all the things that make for a suc- | Administrative decisions perceived by _ terms in these efforts, but did point cessful field experience—came in : faculty as oppressive are often made out, reasonably, I hope, that, say, the handy for me countless times inthe in the total absence of thought, mali- innocent memo from the head of PR —_ administrative office. As in the Orien- | cious or otherwise, concerning faculty. that innocently offered a set of dead- __tal-carpet debacle, [learned that adIf faculty members realized this they lines for the printing of next semes- _ ministrators and faculty members | would feel even more insulted by ad- __ ter’s syllabi and workbooks need not — would get along a lot better if the for- _ ministrators than they already do. be cause for apoplexy on the partof mer used more skill in helping the lat- _ It got into academic administration my esteemed colleague on the psy- _ ter feel good about themselves. That’s — by accident. Several years back I ed- chology faculty, who actually believed where a lot of the difficulty lies. |

ited my school’s self-study for reac- that said head of PR was personally Pollv St t | creditation, rewriting everybody else’s outtogethim.(ThereisatermI did | ony Srewar ; ; :

; ; ; ; ; . | Salisbury State University |

reports into English, and in the proc- coin. Knee-jerk facultyism. The admin- Salisbury. Marvland :

ess learned a great deal more about istrators I tried it out on loved it.I got | smear yy, Marylee 2 _ the workings of the whole institution | away with trying it out on faculty be- | than a faculty member would ordinar- cause I was only temporarily anad- | _ ily have any reason to know. About ministrator and probably didn’t really — :

that same time, the vice-president for mean it.) | |

academic affairs vacated his post and Similarly, a folklorist in the admini- | | there was a sudden need for an acting stration can help administrative col- | VP. Because of my familiarity with in- leagues understand the power ofan 2 stitution-wide matters, the president institution’s symbology and its effect |

asked me to serve for a semester;I ac- upon faculty. Several years ago my | cepted, in part, because of curiosity to school was in a bad financial spot— | | _ know what it was that happened to not in any danger of going under, but _ | _ humans when they became adminis- without resources to provide faculty | _ trators. A single semester couldn’t put raises for a couple of years. During : |

_ me in too much danger. this hollow-cheeked period, using | | |

THE FOLKLORIST AS ARCHIVIST

~ . hen I moved to Memphis in care for the retired files of some Nash- who came from Mississippi.

1979 to work as an archivist at the ville record companies, but J also ac- When I finished my undergraduate Center for Southern Folklore, my new — quire and catalog books, just as a li- English degree, I decided to study lilandlady asked me to fill out a sheet brarian does; and I accept and process _ brary science and enrolled at the Uni-

providing vital information about my- donation of original manuscripts, versity of North Carolina at Chapel self. In the space that called for occu- ephemera, photos, and sound record- _— Hill in 1975. There I came into contact

pation I wrote “archivist.” ings, including both commercially-is- | with a community of string band enScanning the sheet, my landlady re- _ sued releases, radio transcriptions, test thusiasts that revolved more or less

acted with a start and a scoff. “Activ- pressings, and field recordings. around the Red Clay Ramblers. Many

ist!?” she hissed. I believe that the niche I occupy is of these musicians had actually taken I corrected her gently. “Archivist. unique. I’m a little bit archivist, a little the time to meet and learn from older

It’s something like a librarian.” bit traditional librarian, a little bit traditional musicians from North Caro“Good,” she replied. “We don’t manuscripts librarian, a little bit folk- _ lina and Virginia including Tommy need any activists living here.” lorist, and, sometimes, a little bit frus- Jarrell, Fred Cockerham, and Kyle My landlady’s mistake hit closer to trated that [have tolooktoa number — Creed. the truth than I was willing to admit. of different role models for guidance During my final semester of study in As an archivist with training in folk- in handling my diverse responsibili- library science I took an elective outlore, I care for collections that reflect ties. My training as a folklorist affects side the department. Dan Patterson’s

the cultural traditions of groups of and informs my work everyday. To course on the ballad promised some repeople historically under-represented — understand how, it is helpful to know __ lief from the rigors of the very techni-

in the libraries and archives of our a little about the experiences that cally-oriented library science courses. It country. I regard myself as an advo- brought me here in the first place. delivered much more than that—the cate for the people represented in My family comes from Mississippi | course was an epiphany. I was surthose collections. I guess that makes and I lived there until I was thirteen, prised to find that I could make a serime an “activist” in the sense that I from 1952 to 1965. Those were difficult | ous study of the musical and cultural imagine my landlady used the word— __ years for Mississippi. The struggle to traditions of the South, and that I

someone whose work plays off the uproot institutionalized racism fo- might apply my newly acquired inforstatus quo in such a way as to chal- cused international attention on the mation management skills to the or-

lenge the balance of things. state, tainting its image and causing ganization and administration of folk My landlady’s reaction is typical of | shame and sorrow for many who lived — cultural collections.

the surprised responses I get when there. In 1965 my family moved to Ar- I applied to and was accepted by the asked to name my occupation. I al- lington, Virginia, and I felt ready to University of North Carolina’s Cur-

ways have to elaborate. Once I’ve deny my southern heritage. riculum in Folklore. Over the next two managed to convey a vague sense of I slowly made peace with that heri- years I took folklore courses, worked what it is I do, people often express tage, helped along by the Smith- for a public radio affiliate, cataloged seenvy. I now work in Nashville for the — sonian’s Festival of American Folklife, rials in the graduate library, and

Country Music Foundation. My offi- which one year focused on Missis- helped out with various folk festivals cial title is “Head of Technical Serv- sippi's cultural traditions, and by a in the area. During the summer of 1979 ices” for the CMF Library and Media collegiate year abroad in England, [ worked for Bobby Fulcher in the TenCenter, one of the Foundation’s sev- which gave me new perspective on the nessee State Parks, doing fieldwork eral divisions. The Foundation’s mis- | United States and on Mississippi. (The and staging interpretive programs for sion, as mandated by its Board of BBC ran a weekly “country” show fea- three and a half months. My tenure in Trustees, is to “preserve and illumi- turing singers who couldn’t sing a lick Tennessee led to a job in Memphis at nate the rich heritage of country mu- of real country; and Thomas Hardy’s the Center for Southern Folklore, sic.” My job involves making choices Wessex, as revealed in his novels, bore where I worked for a year before head-

about what to collect, how to store it, a tremendous resemblance to my ing back east to free-lance on a couple

and what to do with itin order toad- — southern home.) of projects—archival in nature—with

vance the goals of the organization. I Throughout my undergraduate Carl Fleischhauer at the American am not an archivist in the strictest years I deejayed for the campus radio Folklife Center. After a year and a half | definition of the word. A true archivist station at William and Mary. In the at the Folklife Center, I accepted an ofcares for the noncurrent records of an _— quest for original and stimulating pro- fer from Bill Ivey and Charlie Seemann organization or institution, preserved § gramming, I discovered the wonderful to work at the Country Music Founda-

because of their continuing value. | bluesmen and string band musicians tion. 19

So that’s how I got here: hillbilly ings and studies that treat country _ingful to young hourly-wage tour | heritage, denial, acceptance, graduate — music directly are works that examine | guides who represent the Foundation, |

_ study in library science, graduate the contexts—historic, geographic, | and whose musical tastes often run , _ study in folklore, some concentrated and cultural—surrounding country _ more to Bon Jovi than to banjos. | _ periods of fieldwork, experience in a music. Once again, my training and Finally, my folklore training comes _ couple of archives, a brush or two work as a folklorist gave me my first | into play when represent the Foun_ with national folklore offices, and exposure to many of these sources, _ dation in professional activities out- !

_ some good luck. and my job requires that I stay abreast side the organization..[amamember _ | Now, as Head of Technical Serv- of the current literature. of the Tennessee Folklore Society, the | ices, I draw on all of those experiences. A large part of my job in recent National Academy of Recording Arts | As I've already suggested, I keep up years has involved research and writ- — and Sciences, and the Country Music |

_ with the current literature on tradi- ing. Frequently this means uncovering Association. I serve on the Folk Arts tional music, popular music, and the _ information about minor players and panel of the Tennessee Arts Commis_ study of culture, since I’m responsible | overlooked masterpieces. The work is sion. I have helped out with the Ten- | _ for seeing that our library collection is identical to the kind of cultural detec- —_ nessee Banjo Institute, the National | comprehensive. In doing so,] build on _ tive work I did as a fieldworker for the _ Folk Festival, the Tennessee River Folk _ the bibliography that formed the basis Tennessee Department of Conserva- _ Festival, the Davy Crockett Folk Festi- |

of my folklore studies. tion and the Smithsonian. I make _ val, and the Smithsonian’s Festival of

_ Talso oversee the acquisition of phone calls, pay visits, and show inter- American Folklife. I have moonlighted _ sound recordings by both current est in the artistic activity of people ~ aS a pop music journalist, liner note |

- Nashville hitmakers and by artists like who usually appreciate knowing that — writer, and talent scout. | ~ Uncle Dave Macon, Earl Johnson’s someone cares about their accomplish- —- The work is fulfilling. Iam lucky. I |

_ Clodhoppers, or the Dykes Magic City ments and talents. _ do regard myself as an activist, and my _ Trio, for instance, who are closer to the Weekly, I putin four hoursonthe __ training as a folklorist is a central commusical traditions from which modern CMF’s reference desk. My responsi- _ ponent of the perspective I bring to the |

country music evolved. I first became __ bilities include assisting patrons who __ work. | familiar with many of these artists, come in to do research, and answering | Jay Orr |

| , 4: _ Nashville, Tennessee | and with the record companies and phone inquiries from all over the na- C y trv Music Foundati |

_ distributors which produce or supply __ tion. My training as a folklorist has | Nach De aneanon :

_ their records, during my graduate taught me that, when fielding ques- | | _ study and subsequent work experi- tions from a broad range of patrons, : — ence as a folklorist. I learned about curiosity without condescension |

many of them from colleagues who works best. 2 | are themselves folklorists. At the reference desk and else- |

In the Foundation Library we seek — where [sometimes find myself medi- _ |

to represent not only the well-known ating between the complex business |

hitmakers and historic figures, but world of country music and the world | _ also musicians who are active and of community-based artists trying to | pepular at the regional and local level. understand and win acknowledge- | | _ Just as folklorists examine perform- ment from the country music industry. | |

_ ance that takes place outside the web This mediation can mean explaining to | _ of business relations that make upthe anaspiring songwriter the rudiments | | _ entertainment industry, so do we at of song publishing, copyright, or the : the Foundation try to document the tightly-knit politics of the recording __

many levels at which country music business; it can mean accepting the ! |

touches people’s lives. For every Dolly _ treasured photographs, manuscripts,

Parton or Willie Nelson record in our recordings, and other memorabilia ac- — | collection, there are dozens by re- cumulated by artists who have never |

— gional favorites like D. L. Menard, had any commercial success, but | | Flaco Jimenez, Junior Daughterty, whose music occupies a central place |

_ Slim Dusty, or Dave Evans and River in their life histories; or its can mean | | As important as the sound record- that undergird country music mean- : | |

Bend. trying to make the musical traditions _ |

THE FOLKLORIST AS BIBLIOGRAPHER

- ..merican folklorists by and large — and Volkskunde, all gave me a broad tion was devised for the traditional seem to have only a passing interest in _ basis from which to work, but it pre- Volkskunde/ folklore canon by Eduard bibliographies, even though they rep- — pared me only somewhat for the edi- Hoffman-Krayer back in 1917, and an resent an authoritative listing of work torial work I have been involved in for inaccurate and arbitrary indexing sysaccomplished during their careers. the last few years. | was not born with — tem. The thrill of receiving bibliograStill, there have been good bibliogra- a silver citation in my mouth, butI did phy cards from about 90 indexers all phies produced in the past, e.g., the have rather classical training in bibli- over Europe as well as many from old special issue of the Southern Folk- ography and research methods as a South and North America, was excit-

lore Quarterly which was later contin- graduate student. What I really ing, especially when I was able to see ued as separate volumes produced by _ needed to know was not part of my the depth and breadth of work being Merle E. Simmons, and recently there education, 1.e., computer applications undertaken by fellow folklorists. I have been very good specialized bibli- for all of my areas of training in lan- have also been able to follow closely, ographies like those of the Garland Se- guage and culture. This] hadtolearn by means of the entries submitted ries. The American Folklore Society, on my own, through hands-on contact froma country, just what kind of work however, has never seen fit to docu- with my own PC and with a univer- has been done, for example, in Albament its own research in an annual sity mainframe. By working closely nia, in the Scandinavian countries, in volume but has relied instead on the with the staff of the MLA’s Center for | Hungary, Estonia, etc. Through nuefforts of other professional societies Bibliographical Services (CBS), I was merous meetings in Germany and a here and abroad to assemble the drawn rapidly into the world of com- —_ few other European countries, and bibliographical record for its scholars. | puters, databases, and into the techno- _ through constant correspondence, | American folklorists who rely on regu- logical processing of our socio/hu- have also gotten to know personally larly published compilations for their | manistic studies of humans and their many of the people I was bibliograown research must look specifically to _ traditions. The appeal of technology phing. This direct and intense contact

the Modern Language Association’s was seductive. actually aided my day-to-day work,

(MLA) annual International Bibliogra- When the DGV appointed me pri- since I continued to meet more and phy, Volume V—Folklore, and to the mary editor of the JVB in 1982, it was more of my contributors personally. biennial Internationale Volkskundliche for the specific purpose of steering this On the negative side, editing nine Bibliographies (IVB), published under venerable old European research tool to ten thousand cards for each volume

the auspices of the Deutsche into the computer age and making it of the /VB became a test of my nerves, Gesellschaft fir Volkskunde (DGYV). available to more scholars by develop- my eyesight, and my Sitzfleisch. Most For the last 10 years Ihave worked in- _ ing subject indexes in three languages, challenging of all my tasks was the as-

directly and directly with these two German, English and French. The signing of index terms to bibliographireference works. As 1 am now writing, | number of problems to be solved was cal entries which have clever but nonI have just completed a six-year editor- almost beyond belief, not to mention descriptive titles. | had to use all of my ship of the VB, Europe’s oldest (1917) | how overwhelmingly expensive the language training in German and Engand most authoritative folklore and process of retooling was, but this mod- lish to come up with the seven to eight ethnology bibliography, a work which — ernization process was possible by thousand terms needed in each lanI helped convert to computer process- _ utilizing existing technology and by guage for each volume, and even

ing. Iam about to become co-section modifying the MLA computer pro- though I did not actually produce the head with Michael Taft of the MLA gram for bibliographical work to fit French index, my editorial and proofbibliography. He will be responsible the format of the VB. Some of the reading work taught me incredible for North American folklore studies, immediate problems to be dealt with numbers of French vocabulary words and I will assemble and edit the Euro- —_ included sloppy work by field index- _in folklore and ethnology. By my own pean contributions. My work with in- ers, inconsistent bibliographical style, calculations, it took somewhere in the ternational bibliographies has been ex- coding of diacritical markings, special neighborhood of one thousand hours

hilarating and extremely rewarding, letters, and different alphabets for all of editorial work every two years to but it has also been mind-numbingly European languages (e.g., umlaut, vir- produce a single volume of the IVB,

boring, and most recently there has gule, overcircle, cedilla, Icelandic and this does not count the actual key-

been a crushing defeat. thorn and eth, Cyrillic and Greek al- boarding of the entries and the correcMy training at universities in the phabets, etc.). Still more significant tions on the printouts. After the bibliUS and in Germany in several lan- problems were the major changes in ography cards had been edited into guages—German in particular, in lit- the discipline which had taken place the various fields for keyboarding and erature, linguistics, philology, folklore since the original system of classifica- _ all of the three language index terms 21

THE FOLKLORIST AS BIOGRAPHER

had been added, it was next necessary international scope of the annual MLA i have always been ambivalent : to proofread twice the 30 or more files _ bibliography. I have watched the MLA about generalities, recognizing that of the classified section with 300 items change its own bibliography from a social science has need of them yet | _ in each file. Then there was the final computerized but old-fashioned publi- distrusting them for their way of tak- __ - massive set of printouts of the dupli- cation with entries arranged by stan- ing over, of assuming an ersatz life of cate file, the type simulation of the dardized divisions, principally author _ their own. Not to look for or recognize — classified section, the author index, the and title, intoa modern research tool _ patterns in the lives of men and | _ three subject indexes in German, Eng- specifically designed for computer - women past and present would be to _ lish and French. There is no doubt storage and retrieval. In 1981 the CBS _—s make ourselves less than human in ,

~ some kind of masochistic gratification | converted its database to the new one direction, but not to keep con- : _ inall of this near-obsessive attention CIFT indexing system (Contextual In- _ stantly in mind that generalities are , to detail, but then there was always dexing and Faceted Taxonomic Access abstractions, mouths with no moisture _

the assurance that a beautifully System), which allows scholars to and no breath, would be to make ; printed volume would soon appear search the entire database contextu- _ those lives less than human in another. | and all of those coded citations would ally, through multiple facets. To date The individual life—counter, original, _ be correctly printed in the original lan- there are about 15,000 folklore items | spare, strange—has been the basis of __ - guage, including perfect diacritical stored and retrievable using CIFT all my work in folklore. Whatever lad- — markings and special letters. Even (from 1981 to 1988), plus all of the _ ders I may have climbed, that is where _ more meaningful, however, was the other files already available for online _ they started. 7 _ knowledge that these data were now searches (1968-1980) but which are still | My early-on interest in folksong led _ on magnetic tape and would become a __ organized and stored by the old fash-_ — me in two directions. First, there was __

_ part of a growing database on the dis- —_ ioned author/title arrangements. the hoary problem of origins, of “How _ _cipline of folklore as it is practiced These materials are available online _ got the apples in,” as Francis Barton

around the world. through DIALOG Information Serv- | Gummere once asked, and whileno

_ The final stage in the modernization ices, and have just recently become - folklorist worthy of the name still be_ of the IVB, storage of the data as a available on a CD-ROM, through | lieved with him in the “singing danc_ subfile of the MLA database, was un- | WILSONDISK. By the turn of the cen- ing throng,” no-one apparently had | _ derway during the summer of 1988, tury virtually all of the material pub- = seen a songmaker plain either. Basi_ but unfortunately this will not come lished in the MLA International Bibliog- _ cally, the maker was seen as present about for reasons which are nearly too —_ raphy, from 1928 to the present, should but unimportant, the tradition, :

gad to report. The Deutsche be online and on CD. At the moment = “communal re-creation,” being what | Gesellschaft fur Volkskunde decided there is no death knell for published = made the difference. My fieldworkin _ _ to break off its working relationship bibliographies, and scholars who like — Maine and the maritime Provinces | with the MLA and return the editor- to browse and learn through free asso- | made me acquainted with the names __ _ ship of the IVB to Germany. The rea- ciations will still be able to do that _ of many songmakers, notably Larry , _ son given was the high cost of produc- with the MLA bibliography and the - Gorman, Lawrence Doyle, and Joe | _ tion in the United States, butIamcon- __IVB. For those who are increasingly at- Scott, and—using a combination of 7 _ vinced that a ten-year international tuned to the thrill and near instantane- _ standard historical sources and mate_ cooperative effort to attach the IVB as _ ous speed of electronic searches, this is _ rials developed through the technique _ _asubfile to the MLA database was no longer some utopian dream; it is al- _ of oral history—I wrote their biogra_ viewed as an attempt to move the VB ___ ready a part of our daily capability. _ phies, which, if they did not contribute — _ from Europe and make an American __ The obvious benefit for all scholars is to any new theory of creativity |

_ work out of it. International coopera- that we can now spend most of our ~ amongst the so-called folk, at least | _ tion has suffered untold damage by time reading and writing and lesson — made it clear that the problem there _ | this abrupt halt and bibliographical searching out what our colleagues was at least as complex as for creativ-

_ work in the discipline will not easily have already done. ity on any other social level and |

| 22 |

_ recover from this enormous setback. RD _ should be studied in much the same _ Thave thus decided to take my ames ow ; _ ways. Whatever alterations the subse- | _kno knowledge of folklore European sfolklore stud9°"- State University | performers t chain of perfmig ight|| BE pean Ames. lowa quent chain of _ ies, including my knowledge of the ’ _ work, the individual maker was the |

: most significant scholars, journals, and _ primary alembic, fusing experience | _ book publishers in eastern and west- and tradition to form the work of art, _ _ ern Europe, and try to help expand the _ familiar yet forever new. :

Yet unquestionably that subsequent they cast themselves in the role of bi- certainly be wary of that one, but I _ chain of performers was extremely im- ographers, using selections from the find it not only an interesting portant, and biography could profita- _—_ interviews to illustrate what they had — thought—and one I can assent to with _ bly examine its individual links. That _ to say. In either case, the raw material © my experience—but perhaps a correc-

_ is an approach I[ have used myself was doubly filtered—the authors tive to any too great a fealty to the only in the most superficial manner, interviewing in terms of what inter- methods of science. _ but the relations between one’s life, ested them, the subjects telling their Edward DI - one’s repertoire, and one’s style are lives as they saw fit—and the end U ward IVES , _ important matters that others had product was always negotiated—noth- Orono. Maine

, niversity of Maine _ studied (Azadowskii, Henssen, ing going in without the subject’s full ’

_ Stekert, and Abrahams, toname only a approval. Looking as I do upon his- : _ very few), more than making up for torical objectivity as something be_ my own deficiency. The line between — tween an ignis fatuus and the end of creator and performer is not necessar- _ the rainbow, however, I have never ily absolute and sharp—sometimes, as seen those matters as insuperable

_ Albert Lord has shown us, it may not problems. exist at all—but generally it is as clear Finally, I find Iam frequently cred_ in, say, folk music as it is in classical ited with being an oral historian, and I - music. Joe Scott and Almeda Riddle guess that is correct enough, though | are as different as Bach and Heifetz. fell into oral history almost by acciMy special interest in songmakers dent, being a poor note-taker and still _ led me by the purest serendipity to an- wanting to get people’s exact words. other application of biography to folk- Yet I do not believe there is such a lore. I had heard stories about a noto- __ thing as oral history. It is not a genre rious Maine poacher named George or sui generis a special kind of history. Magoon, and I set out to see what I It is no more than a technique for crecould find out about the man himself ating documents relating to the past. _ through the same processes I had used _ But it is a technique that has opened

_ with Gorman, Doyle, and Scott. The great new vistas allowing us to reach :

_ result was a study comparing the Ma- _ out into the great silences and make _ goon the community remembered and — them more articulate than ever before,

_ made into a folk hero with the Ma- forcing us to take account of whole _ goon I was able to recover from docu- _—_ aspects of human experience that,

_ mentary sources, all of which led me while they have been there all along, _ to see that, however constituted, his- can no longer be ignored. _ tory (not to its detriment) is a fiction My interest in portraying individexisting only in and for the present. ual lives has been sustained not only

All of this work led by both logic by my faith in their intrinsic value but _ and predilection to an even broader also by my confidence that generalities _ application of biography to folklore: like “culture” and “tradition” will _ the creation of a series of life histories shine forth most significantly from the _ of ordinary people—woodsmen, fish- _ particulars in which they are imma-

- ermen, wardens, farmers, nurses— nent. In his book The Open Mind, J. _ which [ have published in our journal Robert Oppenheimer claimed that (actually it’s more of a monograph while it was of course useful to sub_ series) Northeast Folklore. A couple of sume particulars under a general orthem came to us as manuscript autobi- der it was “probably no less a great

: 23

_ ographies, but most have been devel- __ truth that elements of abstractly irrec-

oped through tape-recorded inter- oncilable general orders can be sub-

_ views by students of mine. Sometimes sumed by a particular,” and he won_ the authors acted strictly as editors, dered whether that notion might be _ keeping themselves out of sight except especially useful in the social sciences. _ for brief introductions, and sometimes __ If I am wary of generalities, I should

THE FOLKLORIST AS COMMUNITY ORGANIZER

| Deveral weeks ago, I received a years. _ and the veterans who return again and © witty little announcement for a pro- In the spring of 1965 I was teaching again to this “last firebase” of the Viet- _ posed paper section at the next meet- history for the University of North nam War. After several weeks Iletit ing of the Society. The section is to Carolina extension division at Fort _ be known that I was interested in | deal with such “recently emerged” Bragg. My students were members of _ interviewing people about their expe- _ legendary subjects as the survival of the Fifth Special Forces and the 82nd _ riences at the Wall and gradually they | _ Elvis, the epiphany of Satan on prom Airborne, on their way to their first or | began to come to me. During the next _

night, kidnapping of humans by ali- second tours in Vietnam, and I _ three years I taped interviews with ens, and the belief that there are still thought they were wonderful. I still | some of the most remarkable peopleI — MIA’s in Southeast Asia and the gov- __ do. By the fall of 1967 [had finished —sihave ever met, watched the ceremoernment is keeping the facts from the —§ mycourse work at IndianaandIwas __ nies with them on Veterans Day and

American people. teaching in Buffalo, where [spent the | Memorial Day, walked in their pa- | About ten minutes after tearing the __ rest of the war writing to my firstlot | rades and took part in demonstrations announcement into very small piecesI of students in Vietnam while helping — with them, helped keep the vigiland | calmed down enough to start thinking some of my second lot cross the Peace | acted as a volunteer guide at the Me_ about the implications of this kind of Bridge to Canada. Like many Ameri- —_— morial. These interviews and these ex(doubtlessly unintentional) insensitiv- cans, I came to oppose the war; unlike _ periences grew into a book, The Last ity and lack of contact with realityon | most Americans, I never hated the _ Firebase, published in the spring of | _ the part of folklorists. | thought about — warriors. But I became busy with 1987. :

_ Mike, who was fourteen when the nice other projects and I lost touch with _ During my interviews with veterman from Washington told him that them. Ten years later, atthe Vietnam —_ ans I picked up a great deal of folk- | his father’s plane had been shot down — Veterans Memorial, I found them _ lore: songs, cadences, terminology, |

_ in Laos, but that we weren't ever again. _ customary lore, jokes, legends and |

going to say that, because of course Inthe summer of 1981 I studied pil- . memorates. The veterans themselves there weren’t any Americans in Laos.I grimage behavior at the shrine of St. | were quite aware of this. “Do you | - thought about my neighbor, Mafalda, Anne de Beaupré in Quebec. In the _ know the difference between a fairy , who flew to Hawaii last year to bring — winter of 1982, when I showed slides _ tale and a war story?” they used to ask |

home the remains of her son Bobby, from this fieldwork to my classes, one me. “A fairy tale begins, ‘Once upona - missing in action since 1966, only tobe of my students commented that if I _ time’ and a war story begins, ‘Shit,I given his identification card and told were really interested in pilgrimageI was there.’ “ I was especially interested _ that this was proof of his death. I should visit the Vietnam Veterans Me- in the songs about the veteran experi- | thought about John, who has stood the morial in Washington. I went to Wash- _ ence, which are often sung at rallies | vigil at the Wall in Washington for ington during my Easter break in 1983 | and concerts at the Memorial, or by | five years for his brother-in-law, miss- | and returned that summer for eight _ groups like the Last Patrol, who walk | ing in action in Korea. I thought about __ weeks. In the ensuing six years have from cities around the country tothe helping Bruce Jackson proofread the made approximately thirty journeys to Wall to draw attention to the POW/

— subject headings of the index to JAF— __ the Wall. _ MIA issue. |

a list which included no mention of At Beaupré [had depended almost _I have talked to singers and pur- |

~ World War I, World War I, the Ko- completely on observation and pho- —_ chased cassettes at concerts and wel_ rean War, or, until his enlightened edi- tography for my research, partly be- | come home parades in Washington, | _ torship, the Vietnam War. I remem- cause I felt it would be inappropriate | New York, Cleveland and Philadel- | _ bered my theory seminar at Indiana, to interview people ina sacred place — phia. News of my interest has spread; _ with Richard Dorson railing against and partly because my spoken French often I will be sent a tape witha note | those presumptuous pseudo-scholars __ is minimal, to say the least. At the Me- saying, “I sang with Mike Martin in who thought that folklore might possi- _ morial, which is also sacred ground,I = Chicago and he says you are collecting . bly be an applied discipline, while ten again began by watching. I gradually __ vets’ songs.” The singers also send me | thousand miles away General Edward _ began to meet the people: the Park _ tapes of the material which they or | Lansdale, one of the great folksong Service Rangers, the tourists, veterans, | their friends wrote in Vietnam, or |

collectors of our generation, was mak- _ friends and families who visit. also = which they recorded during their | ing brilliant use of folklore in psycho- came to know what Peter Ehrenhaus _ tours. The widespread availability of logical warfare. And I thought about has called the guardians of the Wall: _—s inexpensive portable tape recorders in _ _ where the discipline of folklore and I the men and women at the POW/MIA | Vietnam meant that concerts, music | _ have been going for the past twenty vigils, the Park Service Volunteers, nights at the mess, or informal bar per- | 24 |

formances could be recorded, copied been tremendously supportive of my still has tremendous political resoand passed along to friends. Anamaz- project, giving me excellent inter- nance, seems to make the members of ing amount of this material has sur- views, research leads, and tapes from our profession particularly nervous. I vived and is circulated among veter- their Saigon days. Eventually, I hope hope that my work will help to intro-

ans. to write a book about the folksongs of | duce folklorists to a fascinating and vi-

In the summer of 1983, Mike Licht, Americans in the Vietnam War, using tal tradition, and to show the great who was at that time working at the the Lansdale collection as the focal contribution which the military has American Folklife Center, introduced point, and about Lansdale’s use of made both to the making and the colme to an extraordinary collection of folklore, especially folksong, in psy- lecting of folksong. I also hope that, in

Vietnam War folksongs in the Ar- chological warfare. some small way, it will help to bridge

chives of Folk Culture, made by the The veteran community is aware of _ the gulf between the men and women legendary General Edward Lansdale. my research, and I occasionally am who served in Vietnam and the men The first part of this collection was asked to speak about it to veterans’ and women, many of them now promade between 1965 and 1967, while groups, including the incarcerated vet- _fessors of folklore or working in the Lansdale was serving as head of the erans in Attica. The staff of the Buffalo public sector, who protested, or just Senior Liaison Office of the U.S. Mis- outreach center, as well as many other ignored, the war. As one of my vetsion in Saigon. The songs were re- local veterans, have helped to teach eran singer friends says, “Everyone corded at Lansdale’s house by singer, | my course on the effects of the Viet- who was on the planet is a veteran of composer and musician friends, both nam War on American culture. In the that experience.” American and Vietnamese: Saigon fall of 1987, Ernie Amabile of the New Lydia F;

i ; . a: ydia Fish

government officials, soldiers serving § York State Vietnam Memorial in AlI- Buffalo State College

as advisors to the Vietnamese, and ci- bany commissioned me and Chuck Buffalo. New ork.

vilians employed by USAID, the For- Rosenburg, a Special Forces veteran f eign Service, CORDS, and the CIA. singer, to produce a concert of VietLansdale put together a collection of nam War songs on Memorial Day 51 of these songs, with a narration ex- weekend, 1988. The concert, fody’s Got plaining the circumstances of their Your Cadillac, based primarily on ma- composition and performance, and terial from the Lansdale collection and sent copies of the tapes to Lyndon from my own collection, was exJohnson and members of his cabinet tremely successful. It will be presented and to several officials in Saigon, inan again in New York City this year and effort “to impart a greater understand- we are currently looking for funding ing of the political and psychological to present it in several other locations nature of the war to those making de- _ in New York State, as part of an ongocisions.” This is,as Les Cleveland has _ing project to collect, preserve, and pointed out, perhaps the only example make more widely known the songs of known to military history of folklore the Vietnam War. Veterans are invited being used as a device for the trans- to send us manuscripts, songbooks or mission of intelligence. The second tapes of songs which they sang or colpart of the collection was made after lected in Vietnam and so far we have Lansdale returned to the United States had very good results. A broadcast on _ in 1968 and consists mostly of taped Radio Smithsonian in the spring of material sent to him by friends and 1988 also created a good deal of intercomrades from Vietnam and Thailand. _ est. In addition, my collection serves For the past five years I have been as a resource for veterans who are attempting, with fair success, to track — looking for songs; I mailed out more down and interview Lansdale’s sing- than one hundred tapes during the ers. In 1987 San Francisco filmmaker past year. Cynthia Johnston, who is working on The military has never been a popua documentary film about Lansdale, lar subject of study in American acaintroduced me to his widow, Pat, and demia and military folk culture has some of the members of his Saigon been almost totally ignored by Senior Liaison Office team. They have __ folklorists. The Vietnam War, which 25

THE FOLKLORIST | AS CULTURAL CRITIC

4° Xsachild, when taken to a musical learn the shipwright’s trade on the San helped secure passage of the American _ or theatrical event, heard my parents —_ Francisco waterfront. My canny teach- Folklife Preservation Act by placing | voice “kulturni zachen.” Then, these ers, hailing from Scotland’s Clyde legislative achievement in the setting of — foreign words became an open sesame. _ River, carried arcane secrets and union _ vernacularity, artisanship, regionalism, — We heard Feodor Chaliapin sing and strategies to the New World. They initi- and traditionality. I did not believe that | Boris Tomashevski declaim. Kimono- ated me into an ancient craft commu- tax dollars widely collected should nur- » clad Japanese schoolmates undulated in nity, and an enclaved ideological group _ ture artistry and artifact for only a tiny © moon dances; Mexican playmates strut- (Local 1149), long before I became _ section of the population. Beyond fiscal

ted in sombreros on the Cinco del Mayo aware of the rubric “occupational fairness, programs in the preservation/ | holiday. Half a century passed before! _ folklife.” The rewards of a skilled trade _ presentation of folklife seemed neces- __ could formally assess these early im- included the means to collect phono-._ sary to sustain an open society. prints. Only in the 1970s did [ con- graph records of such figures as Hay- A 1976 report detailed our Act's his- | sciously label myself a cultural-plural- | wire Mac, Leadbelly, and La Nina de tory. (See “P.L. 94-201—A View from

ism advocate, a critic of the nation’s sin- los Peines. the Lobby” in The Conservation of Cul-

gular expressive direction. At the University of Illinois in the ture, editor Burt Feintuch, 1988.) In narIn college years at Berkeley, I had 1960s, I served as faculty advisor to the | row compass the Act created a Folklife — found excitement in H. L. Mencken, Campus Folksong Club, and took pleas- Center in the Library of Congress.

Vernon Louis Parrington, Edmund ure in inviting, among others, Sarah - Broadly, Congress asserted value in | - Wilson, and Lewis Mumford. I knew Gunning and Glenn Ohrlin to perform. | American diversity and in the decenthem as critics of language and litera- The former sang old Appalachian bal- _ tralizing of federal cultural efforts. Ulti- . ture, landscape and lore. However, I lads alongside 1930s coal-mine topical mately, it is this Congressional mandate had no clue as to how one became a numbers; the latter offered understated that gives public folklorists confidence _ professional reviewer. Nor did I sense — cowboy songs and stories. | saw no con-. in moving from mainstream to backwa-_

the connection between a specific evalu- tradiction between studying Sarah or _ ter, from center to periphery. | ation of a novel or recital and a state- Glenn’s songs in books, and helping Folklorists work regularly as teach- _

ment about large societal values. each reach new audiences. ers, writers, archivists, and collectors. In. Cultural information bombards us Club folksong fans used the terms two centuries of nationhood, some govdaily. We peer into the lives of fur- “authenticity,” “antiquity,” “survival,” | ernmental servants have quietly cham- | loughee, skinhead, rock star, game- “arrival,” and “tradition” as keywords — pioned folk culture. However, itisin show model, sports hero, and TV evan- _ in defining tastes and goals. We felt that the last two decades that folk programs | gelist. In reaction, some of us grope for — artists within folk societies held rights have proliferated in arts agencies, mu- _ analysis—mental elbow room, freedom _ to their material superior to those of in- seums, libraries, parks, and schools. In | to stand back. We gain personal auton- __ terpreters and merchandisers. We ac- part this expansion in sites and tasks omy by honing critical standards. To cepted “moldy fig” and “old timey” as __ stems from our sophistication in facing — account for one folklorists’ growth, I fall naming tags. We sensed the comple- _ issues of tax-based funding and legisla-_

back upon anecdotal descriptions, steps mentarity of public outreach programs __ tive procedure. | on the staircase to cultural criticism. and empirical cultural studies. One example illuminates the ties of During 1940, I had served in the Ci- Although most Illinois Club mem- study, criticism, and action. During | vilian Conservation Corps at a road bers favored conservative singers over | Washington lobbying years, | viewed _ camp in California’s Siskiyou Moun- protest composers, we began to decode Senate and House office buildings as an _ — tains. Our Forest Service foreman, Law- some of the truly radical impulses hid- | extended seminar room. Occasionally, I.

rence Roberts—my first “Indian” den in our actions. Recently, the chair | strayed off the Hilltotalkinartsand teacher—taught raw city boys to work — of an American Civilization program at humanities agencies. Visiting Nancy

cooperatively and to read nature’s a distinguished university commented — Hanks at the National Endowment for | signs. At that time, I did not know that upon Urbana student days: “The Club the Arts, I shared thoughts about art it- | Alfred Kroeber at Berkeley had pointed was to mea counter-hegemonic institu- self: contrasts between New Deal mu- | anthropology students to the Klamath __ tion, one of the first I clearly recognized _ rals and the abstract expressionism of _ River to gather Yurok and Karok tribal —_as such; it was instrumental in my po- her era; unseen links in the seeming op- :

lore from Roberts’ kin. I could not know litical awakening.” positions between avant-garde and folk | in 1940 that decades might elapse be- From Illinois, [ stepped directly to art; community norms in evaluating |

fore Kroeber’s precepts also guided my _ the national political arena with stints at folk artists. :

actions. the AFL-CIO Labor Studies Centerand _ Historical and esthetic mattersled

After the CCC year, I undertook to the Smithsonian Institution. Mainly, Miss Hanks to “price-tag” concerns on | 26

THE FOLKLORIST AS CURATOR

funding neglected and marginal pro- _ _he Michigan State University Mu- oversee development, cataloguing, grams. I have no pragmatic yardstick to seum, founded in 1857, is a campus- storage, and use of collections; and measure the effects of my mid-1970s based, land-grant state university mu- _ participate in the interpretation and talks in NEA offices. Today, applaud — seum that like the larger university in- exhibition of collections for both scholgood work by public folklorists in na- _ stitution is committed “to research, arly and general public audiences. The tional/state/local arts units. Like Janus, collection development and care,edu- MSU Museum is tied through ongoing I look back to Nancy Hanks’ acceptance cation, and public service, withanem- _ staff appointments and programming

of one folklorist’s role as a cultural phasis on the Great Lakes region.” The not only to other university academic critic, and ahead to the advances of curatorial divisions include Education, departments, but also to the statewide state folklorists from Alaska to Florida, History, Living Vertebrates, Inverte- Michigan Cooperative Extension Serv-

Vermont to Hawaii. brates, Mammalogy, Exhibits, Archae- ice and the Michigan Council for the A few academicians have long ology, and Anthropology. In 1977, the | Arts. Curators are expected to provide branded attention to civic cause and newest division—the Folk Arts Divi- consulting services to these other ormoral issue as debasing the coin of sion—was Officially established with ganizations as part of the museum’s pure scholarship. Others have faulted — the appointment of two full-time co- public service.

public efforts as neglecting emerging curators, myself and C. Kurt In the first few years of the Folk lore, treasuring fossils, and disregard- Dewhurst. The division was created in Arts Division’s existence, the lack of ing contemporary media’s stamp on recognition that the work on Michigan support staff and a limited budget refolklife. These positions continue to stir folk arts which we had been doing for __ stricted the scope of activities both our discipline on campus and within three years as museum research asso- _- within the division and consequently civic bureau; no magic wand exists to ciates was linked directly to the mis- the division within the museum. Howdissipate polarities. Regardless of con- _ sion of the university and to the mu- ever, as financial underwriting has ceptual difference, folklorists, who join seum. The description of our positions improved and additional staff have criticism to action, continue to present — was simply stated, “to continue re- been added, the activities of the divifiddlers, quilters (and their brothers search, documentation, collection, and _ sion have greatly expanded. This divi-

and sisters) in public forums. In the presentation of Michigan folk arts.” sional growth has had, in turn, a treend, these modest presentations speak According to the “Code of Ethics” mendous impact on the overall muto large issues: the social compact, the — for curators developed by the Cura- seum. First and foremost, the activities amplification of diverse voices in a tors Committee of the American Asso- _ of the Folk Arts Division have signifi-

democratic polity. ciation of Museums, “A Curator is cantly strengthened the museum’s

In looking back at personal steps to _ typically a specialist in a field related abilities to carry out its stated mission. critical formulations, | hear the echo of _ to the collection in his or her careand The division’s ethnographic emphasis parental “kulturni zachen” as marking __ is responsible for the overall well- on the investigation and interpretation expressive happenings: dance, drama, _ being and scope of that collection, in- _ of the culture of ordinary people in song, story. Creative teachers inclass- _—_ cluding acquisition and disposal, pres- everyday contemporary life of the reroom, CCC camp, union hall, and legis- ervation and access, interpretation and gion has effected changes in collecting

lator’s office combined to shape an ar- exhibition, and research and policies, exhibition content and deticulated commitment to cultural plu- — publication.”' Whether or not a collec- sign, and educational programming. A ralism—a belief derived from William tion is curated by a specialist in a re- new category of objects was introJames and Horace Kallen. Some lated field, and the extent to which the = duced into the collections. A brief de_ folklorists question Kallen’s formula as curator engages in all of the above ac- _ scription of the areas of activity of the a sufficient guide for action. Such intra- _ tivities depends directly on the mu- Folk Arts Division and the impact it disciplinary disputes can ready us for — seum’s size, type of collections, organ- _ has had on the institution are given large debate at national crossroads. For- izational structure, financial status, below. tunately, in the decade ahead, many history, or mission statement. At the public servants in cultural domains will Michigan State University Museum, RESEARCH combine scholarship and advocacy, curators typically are faculty appoint- One of the strengths of working ina criticism and accountability. At our ments who hold tenure in an academic university museum that reports to the

oe 27

best we fulfill American promises. department and teach academic Vice-President for Research is that,

Arch; courses to their museum simply, researchthat, activity is highly val-of rchieFrancisco, Greeninialaddition ibilities. Curators ued. I recognize unlike many San California curatorial! responsid! anerscoun y , are expected to conduct and report on __ the situations in which my colleagues field- or collection-based research; in other state folk arts programs work,

the MSU Museum is a supportive envi- quisition of artifacts for each division —_ Division’s guidelines for collecting spe-. ronment for research activity. In the which is part of the museum’s overall ___ cifically outline the philosophical and _ first few years at the MSU Museum, collection management policy. AsCu- _ ethical problems that a fieldworker en- _ the research conducted by the two cu- __rator of the Folk Arts Division,Iama —_— counters when doing work witha tra- _

rators was primarily focused on broad member of the museum’s Collection ditional artist. Research materials (ingeneral surveys of historicaland con- | Management Committee and in addi- | cluding objects) resulting from pub- | temporary folk arts in Michigan. These — tion attend meetings of the all-univer- _licly-funded projects should be main- _ initial surveys provided the foundation sity Council of Curators (consisting of tained in an appropriate public instituon which many of the subsequent in- all heads of collection-holding units). _ tion. Folklife research project leaders __ depth research projects by the curators Since 1974, the Folk Arts Division has —_ without collection-holding institutional | and other researchers have been based. assumed responsibility for cataloguing homes have often encountered prob- | Research undertaken by the expanded _ materials resulting from folklife re- lems in finding an appropriate deposi- _ regular staff (and sub-contracted con- __ search field collections (tapes, slides, tory for research materials. The story _ sultants) of the Folk Arts Division con- _ photographs, field notes, artifacts, etc.) has been often told about the number _ _tinues typically to be conducted in con- and from donations of artifacts specifi- | of state folk arts survey materials | junction with a planned public prod- _cally given to the Folk Arts Division. | which have remained in office or peruct, such as an exhibition, publication, Except for the artifacts, which are cared - sonal file drawers. Iam convinced that |

educational program, or festival. The _ for by the History Division staff, all _ amuseum provides an ideal home | staff has also undertaken several large- items are cared for by Folk Arts Divi- from which not only research can be |

scale, long-term research projects. For __ sion staff. - conducted, but also a place in which all | instance, five years ago the Michigan One of the ways in which the activi- _ field collections can be appropriately __ Quilt Project was initiated to systemati- ties of the Folk Arts Division hasim- maintained in public trust and acces-

cally collect information on Michigan —_ pacted museum practices is in the "sible for future use. | quiltmaking. Through interviews, realm of collection management. The | | questionnaires, and photodocumenta- __ set of procedures instituted for acces- | EDUCATIONAL PROGRAMMING, |

tion, information on over 5000 quilts sioning and cataloguing the collections | EXHIBITION DEVELOPMENT, |

representing 3000 quilters and numer- _ of materials that resulted from folklife | AND PUBLISHING | ous quilting traditions has been gath-__ fieldwork prompted a re-evaluation of | An area of intense activity by the Folk | ered and entered into a computerized —_ how fieldwork logs, photographs, site Arts Division staff has been the appli- : archival retrieval system. Other long- — maps, and archival materials from | cation of folklore theory to educational © term projects underway include the other divisions were processed. The _ programming—including in-museum _ Michigan Foodways Project and the Folk Arts Division’s focus on the col- and outreach programs and developMichigan Rag Rug Project. While indi- lection of materials used ina contem- __—s ment of curriculum materials. In 1977, ] | vidual staff members have continued __ porary traditional and regional context — initiated FOLKPATTERNS, a major !

to undertake small-scale research proj-_ denoted another major shift in the _ statewide folklife-in-education pro- | ects which would not immediately re- overall museum collecting orientation. | gram, created in partnership with the | sult ina public program, itisonlyre- _—_—‘ This focus has resulted in donations of | Michigan 4-H Youth Service. Subse- | cently that we have been able to begin —_ materials as wide-ranging asasneak quently coordinated by other Folk Arts |

to subsidize that research. boat used for duck hunting on the De- __ Division staff, the program remains | troit River near Pointe Mouilee, Michi- | one of our primary vehicles for educat- |

~AND CARE Peninsula bakery. _ theory. | ~COLLECTION DEVELOPMENT gan toa pasty wrapper from an Upper __ ing youth about folklife materials and |

Collections in the MSU Museum are I have often observed that folk re- | Along with other Folk Arts Division _ gathered almost entirely through search project leaders have tended to _ staff members, I have coordinated the |

28 |

fieldwork and donations. In its 132 consider that a field collection includes _ presentation of artists and performers years of history, the museum has accu- archival materials (tapes, notes, photo- in conjunction with folk arts exhibits | mulated massive holdings including graphs, maps, etc.) but excludes arti- and other exhibits, served as consultant | the 15th largest collection of agricul- facts. When publicly-funded research _ to folk-artists-in-schools programs, and |

ture-related artifacts in the United on material culture forms is under- _ conducted teacher training workshops |

States and the 13th largest collection of | taken, I feel that is is incumbent on the _ around the state. From 1985-1987, with | mammals in North America. Staff and researcher to consider the collection of =a grant from the National Endowment | contracted consultants follow the pol- _ objects as part of the final fieldwork _ for the Arts, was able to coordinate icy and procedures guidelines for ac- collection. The MSU Museum Folk Arts the compilation of folk-arts-in-educa- .

oo a . . . - . - . Se — ee . a TO rnd

tion resources drawn from individuals gan Cooperative Extension Service has “Whereas many museum professionand organizations across the country. | meant that curators and other staff als with a natural interest in artifact The resulting 350-page publication, members have always provided free collections joined the American FolkFolk Arts In Education: A Resource or low-cost consulting services to indi- lore Society in the early years, more Handbook, which I edited, included ex- viduals and organizations in Michi- academics with less concern for obcerpts from curriculum materials, de- = gan. With the formation of the part- jects later took up the rolls.”° Early scriptions of model projects, a bibliog- nership with Michigan Council for the | member and museum curator Steward raphy, and a listing of organizational Arts, the Folk Arts Division has been Culin once called for museums to

resources. able to work with the state arts council form collections which would convey Over the last dozen years, the Folk —_ in the review and change of policies the ideas about folklore to the public.

Arts Division has mounted over fif- concerned with the accessibility of “As folklore deals with ideas, so it teen exhibitions examining folklife funds to traditional arts and artistsin | would be the mission of the folk-lore through artifacts, photographs, and Michigan. Two new public service museum to collect, arrange, and clastext. | have served as curator, co-cura- = programs undertaken by the MSU sify the objects associated with them. tor, or consultant to many of these. Museum in the last few years have Such a museum would form an essenAmong the exhibitions mounted have _ been the Michigan Traditional Arts tial part of a museum of ethnology, been “Michigan Hmong Arts,” “Sto- Apprenticeship Program (funded and would serve an admirable part in ries in Thread: Hmong Pictorial Em- jointly by NEA and MCA) and the supplementing the existing collections _ broideries,” “Pasty, Sauna, and St. Michigan Heritage Awards. A portion _ of art and archaeology.”* In the nearly Urho: Finnish American Traditions in — of my time is devoted to the admini- one hundred years since Culin made

the U.P.,” “Downriver and Thumb stration of this partnership and in this call for more folklore scholarship Area Waterfowling,” “Grand Ledge sharing responsibilities for policy- in museums, relatively few folklorists _ Folk Pottery,” and “Michigan Quilts: making and program coordination have responded. As members of the

150 Years of a Textile Tradition.” with other staff members. American Folklore Society reflect on These exhibitions have attempted to Folk arts research and program- this first century of growth, I hope that communicate to both scholarly and ming in the MSU Museum have they will recognize that museum progeneral audiences the contexts and re- helped the museum to more effec- fessionals have not only played pivlationships of maker, object, and com- __ tively meet its mission by systemati- otal roles in that growth but also that

munity. cally collecting information and ob- museum-based folklore work remains

Because the museum has long en- jects related to the everyday life of or- | an important arena of activity for the _ gaged in the publication of research- dinary people, serving specialized au- _ future.

mre ; oe arsha MacDowell , , ichigan State University Museum

based information, we were able to diences, providing a forum in which M

initiate a series of publications relating community members can express their Mich; C to folklife. As curator] have servedas identity, and expanding the ways in East Lansine. Michi author, co-author, editor, and co-edi- which audiences learn about the cul- NESS MONE tor on a variety of publications. tural beliefs and values of their neigh- = NOTES

In 1987, we combined research, ex- __ bors.? As Curator of the Folk Arts Di- “Code of Ethics.” Museum News 61:3 (February

/ For a good description of one museum-based

hibition techniques, educational de- vision I have been engaged in many 1285, Pp. 3640.

sign, and artist-presenting activities in facets of folklife research, teaching, traditional arts program, see June M. Anderthe production of the first Festival of public programming, and public serv- son's “Something Special: A Museum Folk Arts _ Michigan Folklife. As co-director of ice work. Because I have found that Rrogram as Community Outreach,” Museu News, 64 (February 1986): 50-57. this event, I share responsibility for the institutional home provided by the = *Simon Bronner, In Folklife Studies from the overseeing fundraising, budget, per- university museum has proved such ee Ase Ann Arbor: UMI Research Press, sonnel, research activities, and pro- an ideal environment in which this Gtearnst Culin, “Object Lessons,” in Simon

gram content. Now in its third year, work has been and continues to be Bronner, ed., p. 254.

this annual event has providedacen- —_ supported, it surprises me that folktral activity with which other exhibi- lore scholars in recent years have not tion, research, and educational pro- more vigorously pursued employment gramming is coordinated or launched. in museums. Certainly museum professionals were key players in the for-

PUBLIC SERVICE mative years of the American Folklore

i a | a 29

_ The long-standing relationship of the — Society. As Simon Bronner pointed out ~ MSU Museum to the statewide Michi- in In Folklife Studies from the Gilded Age,

THE FOLKLORIST | AS DRAMATIST

grew up in Oregon. After my in front of the arch on St. Louis’s freez- strators and the malaise of the ever-fe- | obligatory years as an “Oregonian” ing waterfront. My task was to find verish folklorists hovering around our paper boy, I spent my summers pick- “something” to puton the mall,and area. “This isn’t folklore,” was a contining beans and berries in the valley, since I knew this was the first of some ual leitmotif of our festival experience. mucking out cow barns ona Roseburg _ sixty forays into the working gut of the | This lack of concern on the part of | farm, and joining my first fire crew at country, I decided that I betterlearn _folklorists for the emerging traditions _ age sixteen. Without being aware of it, | my skills fast. What I found was that! — of the workplace continues. It is due, I | _ this exposure to a variety of jobs led was a fool, playing a fool’s game and __ think, not only to the lack of rusticity _ me to an awareness of, and an appre- likely to get killed in the process. Five — or romance within the industrial arena,

ciation for, the stories and legendary minutes out in the almost sleepily ma- | but more to the ability of many work- | exploits of my predecessors on these levolent current of the Mississippi, our ing people to resist and challenge out- | _ jobs. More than cautionary tales, these small boat was stuck on a sand bar and _ sider’s notions of their needs and skills.

narratives reduced the information turned sideways, heeling over until the I use the SIU presentation because it © necessary to survive by compressing gunwhales on the port side disap- _ illustrates the arrogance of this type of — an awareness of technique into highly _ peared under the brown, quiet water.I public contextualization which relies imaginative and compelling dramati- could see people walking merrily up on the museological conventions of : zations. Without knowing it, was re- toward the arch, cars humming over _item-oriented display within which the _ sponding to a level of occupational the bridges to the war zone that is east — worker is simply installed like another — _ folklife that continues to fascinateme — St. Louis, and quiet but determined item. In spite of these limitations, sponto this day: the relationship between discussions taking place between our _ taneous interchanges between festival _ the spoken word and the physical ac- captain and the engine room as they —_ goer and cable splicer did take place. In’ tivity it both depicts and assesses. worked us off the sand bar. The vast —_ some of our narrative sessions, the ten- _

As a graduate student at Oregon, array of skills brought into play during sion and excitement of the verbalor Indiana and later Memorial, I was that tense ten minutes of precarious _ technical performance transcended the | _ primed for the performance approach — work could never be accurately por- | wood-chipped and color-coded artificibefore I ever studied the literature. The trayed, but they exemplified the tech- ality of the mall tocreateadialogue western literary tradition from Jack niques, priorities, values and artistry of _ that had meaning to both the towboat- | - London and Stuart Holbrook through this trade. Later that night while shar- man and the festival visitor. I recall at _ Kesey and Norman Maclean weds the _ ing a beer with Captain John and his one point our cable splicer engaging a | _ practical realities of work to an appre- crew I listened as our close-call earlier | group of VIPs (including the Dillon Ri- — - ciation for the artistry of a well told in the day was laid up alongside its _ pleys) in a heated diatribe against for-

story. In a parallel manner, the open predecessors, eye-balled and jawed eign shipping and its destruction of the verse poets form Ferlinghetti to Mike about for fit. I began at this point to _ American seaman’s way of life. PuncMcClure and most significantly (to me) better understand the festival context — tuating his points with practiced stabs Charles Olson and Robert Creeley, - because I felt that I could, at least, stage ofa marlin spike, the old bossun got so — took poetry off of the page and into the the narrative portion of the work expe- loud and excited that the splice seemed |

streets. As Hymes, Tedlock and others rience on the mall. to form itself by the sound of his voice would later point out, the printed page The festival area we constructed for alone. Twisting wire between his | should more accurately portray the the seafarers and inland boatmen con- bunched forearms, he railed on about _ performed word by carrying the en- sisted of photographs of both deep sea his glory days as a deep water sailor _ ergy and strength of the speech act and inland maritimes tradespeople at | when America had ships, the industry _ from the writer through the reader / work, ships models and even a mock- _had guts and (by implication) he had performer. All of the stories became up set of timberheads, cleats and bits reason to be proud of his trade. The

(directly or indirectly for me) dramati- used to demonstrate line and reason that this sticks out in my mind

30 |

zations of skills or attitudes toward breastwork used in the trade. This pale is that it was one of the times during _ skills. I left Indiana to work on the depiction of the inland boatman’s _ the festival that our artificially created Smithsonian’s bicentennial festival and work, however, could never be consid- context actually resulted in a dialogue © there I got an opportunity to test these ered a dramatization. It was a physical, _ reflecting the true dialectic in the trade © _ ideas in a highly unusual, public fo- work-like context within which cable- — between the skills, the narratives and |

rum. splicing and breastworking skills could the power of an individual’s point of _

My very first fieldtrip found me lug- take place. The lack of interest in this | view and that of an outsider. In spite of - ging eighty pounds of video equip- skills area was matched by the desul- — our attempts to control the context, the © ment aboard a fleeting tow boat right — tory presentations by the SIU demon- __ bossun took control of our ‘display’ :

THE FOLKLORIST AS EDITOR

and made it work for him. ~~ hen I first joined the Univer- time permits) to develop it into optiIt has been twelve years since I sity of Illinois Press as an editor in mum shape; arrange for readers’ reworked on that festival. I have spent 1972, [heard comments to the effect ports; encourage or decline projects (if half of them completing my degree, “Oh, it’s too bad you couldn’t get a the latter, trying to suggest other apworking in an anthropology depart- real job teaching.” At first that troub- propriate publishers); negotiate revi- ment and more recently, making my led me. Then, as the job market sions; work up financial forecasts living as a public sector folklorist. I changed, the inquiries changed to based on size of press run, estimated have had a great number of occasions “How did you ever land that great production costs, and the going price to act as a dramatist—documenting job?” The more I thought about that for similar books; conduct market surand presenting fire fighter, Native earlier criticism, the more | realized veys; ask other publishers how comAmerican drum maker and Mexican- that through the books I could help parable books have sold; present the American corona-maker alike. Asmy send into the world—Bob Cantwell’s case for publication to our Press experience grows, my confidence in Bluegrass Breakdown, Norm Cohen’s Board; arrange for contracts and exboth the theories and the practice of Long Steel Rail, Archie Green’s Only a plain why royalties can’t be more genthese presentations falls under greater Miner, Bob Hemenway’s Zora Neale erous; look for (or help authors look scrutiny by myself and the people I Hurston, Sandy Ives’s Joe Scott, the for) subsidies; write letters supporting present. Increasingly, I see my job as Woodsman-Songmaker and George Ma- grant applications; advise copyeditors providing a forum within which con- — goon and the Down East Game War, De- _ about special features in a manuscript;

flicting and often highly emotional is- | bora Kodish’s Good Friends and Bad check music transcriptions; undertake sues of personal and community value Enemies, Nolan Porterfield’s Jimmie some layout (especially on the music and power are being worked out.lam = Rodgers—I had the power to reach and _ books); consult with the production much less confident or interested in influence more hearts and minds,ina department about using disks or

academic assessments of these drama- lasting way, than many other tapes; consult with the art and design tizations, and much more interested in _ folklorists have through their class- staff about illustrations and format;

the reactions of the tradition-bearers rooms. check whether permissions are needed

themselves. I have learned that a cow- Let me outline briefly what I do at and whether they’re all in hand; adboy poem told by a third generation the Press. At every single point I’ve vise the rights-and-permissions derancher who is filing for bankruptcy, had occasion to draw upon my train- partment about copublishing possibilior a Lemhi saddle made by a young ing and experience as a folklorist, to ties; negotiate terms for copublication, _ girl who is struggling with her Indian — work froma folklore perspective as distribution, or paperback reprint aridentity ina hostile white community, well as an editorial perspective. The rangements; track schedules; advise are not texts designed to entertain out- teaching allusion actually covers more _ the marketing department about re-

siders or folklorists. These are than just the audiences I hope my view lists, ads, direct-mail pieces, struggles which pit individual need books reach. It extends to my dealings _ class-adoption, exhibits, and first-seand artistry against ethnocentrism and __ with authors, potential authors, manu- __rial-rights possibilities; write some the capriciousness of change. I cannot script readers, and other outside con- catalog and jacket copy; organize and and should not see myself asadrama- _ sultants. It also extends to my dealings mind exhibits; note prizes and awards

tist in the sense of presenting these with colleagues at the Press and for which books should be submitted; dialogues as entertainments againsta — within the larger publishing commu- do other promotion; write policy state-

pleasing backdrop of models and pho- __ nity. ments; fill out innumerable forms and _ tographs. The drama is inherent Mainly, I acquire and develop book attend lots of staff meetings and genwithin the hands and minds and bod- —=manuscripts. I’m a talent scout, an erally work late into the night.

ies of the people I meet and engage as A&R person, for manuscripts. Which hat I don—that of folklorist a folklorist. Like Olson’s Maximus, the Through correspondence, phonecalls, — or editor—depends on who I’m talk-

power of the human act/message sim- attending meetings, talking with col- ing to, who I’m trying to persuade ply passes through me. My skill is leagues, reading books and journal ar- about what. Although I notice that tested in my ability to transfer that ticles and reviews, and generally keep- sometimes the “we” shifts imperceptipower to the audience as clearly and ing eyes and ears open, I try to find bly between the two, and occasionally

honestly as possible. out what books need to be written and I hear that I want to publish certain

Robert McCarl who can write tem, I respond to nr ma SCT ES Not pecause they d make Idaho Commission on the Arts quinies proposals, manuscripts, an good books ut “only because I'ma Boise. Idaho ot tips. Ifa prospect looks likely for folklorist, I think I keep things rea-

’ Illinois, I work with the author (as sonably straight. Scholarly publishing 31

THE FOLKLORIST AS FILMMAKER

is a business that has to deal with in- hanced the Press’s stature as a schol- O, a sultry August morning in | tellectual excellence, fine writing,and = arly publisher. As a folklorist, it’s _ 1983 I was helping film a reunion serv- | - economic survival all at the same knowing I’ve helped shape the quality ice at the Rock Springs Baptist Church _ _ time. Balancing the ideal world and _ and course of the discipline. _ in Granville County, North Carolina

the real world requires constant vig- Judith McCulloh | for a documentary film project CO-pro- —

ilance. University of Illinois Press : duced by Tom Davenport Filmsand _

I would like to be able to publish Champaien, Illinois _ the Curriculum in Folklore at the Uni- —

_ more folklore books (as I would like parol _ versity of North Carolina/Chapel Hill. — other presses to publish more folk- NOTES _ We were filming the 49th annual Har- — _ lore books), but the really outstand- Wate “° World" about ins see _ ris-Landis-Lawrence-Byrd-Green Re- |

_ ing manuscripts and the market are Folklore OL. 402 (july-Se tember, 1988), 593. union service at Rock Springs, the old- :

- limited.’ At Illinois, folklore is an im- 301. — est black church in that community.

_ portant but relatively small part of _ The Landis family, exceptional gospel _ our list; moreover, it’s only part of _ singers and one of five families that my editorial assignment. That means _ gather annually for the service, are |

_ [have to be very selective about central to the celebration at Rock folklore projects, Springs.organizers Bertha Landis, of theis| _when whentotoencourage “spend points” arguing for __original of the one reunion, _ books that I know are important, _ the matriarch of the family and in |

even if they’ll probably not sell lots of _ many ways of the reunion. We had | _ copies. The best books, I believe, are _ filmed throughout most of the reunion —

_ those that will be as significant a _ service that began at 11:00 a.m. Tired

quarter-century from now as they and hot, the film crew of Barry : _ will be next year. I created Illinois’ - Dornfeld (camera), Allen Tullos 2 Folklore and Society series precisely (sound), Brett Sutton (sound), Dan | to provide such models. Making | _ Patterson (sound), Tom Davenport | judgments about what's profound, (director), and myself (camera) exited _ about what’s narrow or faddish, _ through a side door to enjoy the shade | _ about who is or could be an impor- _ of a large oak tree and whatever | tant author is risky business. Know- _ breeze came our way. As we sat, we | ing folklore, its history, its practitio- talked among ourselves about what | ners, and its potential gives me cour- _ we had just seen and how it might | age to take those chances and means look on film, how it might work intoa | to fight for the books I want. , _ finished film, and what we needed to | I don’t win all the time (no editor do next. It was nearly 12:30 and after

does), but Ido pretty well, and each ~ over an hour of filming I was relieved _ successful book makes the way a _ to get to take the heavy 16mm movie _ _ little easier for the next one. It’s fair camera off my shoulder for a few min- — to claim, I believe, that Illinois has ~ utes. Not long after we relaxed with | _ published some outstanding folklore _ the feeling that the service was “wind- | _ books that might have gone else- ing down,” we heard the sound of | _ where or might not have come into - emotional congregational singing. | being at all if I had not known to go - Quickly and a bit disorganized, we as- | after them, to respond favorably to _ sembled our equipment, took our | inquiries, to serve as an enthusiastic _ places in the church and began to film | and knowledgeable in-house advo- _ the action. Fleming Landis, Bertha | cate, to influence effective promotion _ Landis’ third son who now lives in : and marketing. The immediate re- , Akron, Ohio, had begun to sing “Un_ ward is seeing a good project de- _ ion in Heaven,” a hymn written by his — velop, then holding the first copy of _ mother. A powerful song, “Unionin _ the book before sending it on to the - Heaven” has special significance for

32 OS |

author. The lasting reward, speaking _ the Landis family and the Rock | as an editor, is knowing I’ve en- Springs community. The combination _

of Fleming’s powerful voice and the from beginning to end, from the initial made as to what to include and what song’s message had the churcherupt- _ shooting of the footage to the final to let go of. With each one of these deing with emotion. Fleming handed the _ cuts in editing. Barry, JeffandI chose __ cisions the film-makers play a very microphone to his brother Claude who _ to make Powerhouse for God in large strong hand as they slowly fashion a lead the song for a verse or two, and part out of friendship. To be sure, Jeff | product that interprets the subject then he passed the lead to Tony, an- had the perspective of over 10 years of matter as they see it. I think the most

other Landis brother, who in turn research and documentation with Rev- successful folklife films are in a way passed it to John Landis. The song erend John Sherfey and his church (in _ fictions; they are carefully constructed ended with Tony, the youngest son of _ fact, Barry and I first learned of Rev. interpretive narratives that are true to Bertha Landis, embracing his brothers — Sherfey in classes with Jeff at Tufts the lives, traditions, emotions, motivaand mother in the center aisle of the University); but, for me at least, it was _ tions and histories of the people and church. I saw all of this through the our friendship and desire to work col- __ place. lens of the camera as I moved to fol- laboratively that drove us to make the The successful documentary film low the action into the aisle of the film. And, ultimately, the same friend- can transport viewers, however church, trying to anticipate who might — ship is what made the project enjoy- briefly, to places and events they

sing next while also paying attention able. would never see on their own. Like-

to technical considerations like focus My interest in making films has al- _ wise, the sheer carrying of the camera and exposure. My memory preserves ways paralleled my interest in folklife can give the photographer an “excuse” _ those moments just as I saw them studies. For me, they are difficult to to enter and observe in places he or through the lens. When I watch it in separate. I came to both through the she doesn’t necessarily belong. Howthe finished film—The Singing Stream study of American social and cultural ever, at least with documentary films (1986)—I get the same chill of emotion history, and at the same time that I about folk culture, the medium of film

I got that August day. “discovered” folklore as adisciplineI also offers a chance to support, verify, We nearly missed that scene while —_ was simultaneously beginning to and reinforce the indigenous subject we regrouped outside in the shade. work in photography and film. ”... matter of the film. Hopefully made And then, in a certain sense | think it The camera seems to me,” pronounced with trust and understanding from the was our position outside that allowed James Agee in Let Us Now Praise Fa- subjects of the film, this kind of docuthe song and celebration to begin. We — mous Men, “next to unassisted and mentary becomes not only a collaboraleft and the spirit entered. And then weaponless consciousness, the central __ tive effort among the film makers, but _we re-entered. As the Landis brothers instrument of our time.” Influenced also a kind of collaboration between and the church performed, so did we. deeply by Agee’s words and the im- the film makers and the people or We took our positions, Barry with one ages of his fellow “spy” Walker Evans, community represented in the film. camera, me with another, Allen crawl- I gravitated toward the camera, even- Make no mistake, however, the filming on the floor with the microphone tually making it the “central instru- makers are nearly always in control, in hopes of staying out of the frame, ment” of my own work. As I learned though the subjects can become active and Tom Davenport directing measI more about the camera I was simulta- _ participants in the production phase of

attempted to follow the passing of the neously understanding more about the film. microphone from one brother to the the complexities of folklife research. We recently showed Powerhouse for

next. Agee, | believe, placed more faithin God to the congregation at the FellowSince those first experiences with the objectivity of the camera thanI do. ship Independent Baptist Church in Tom Davenport and Allen Tullos, | Film-making requires many decisions — Stanley, Virginia. Some 75 church have worked on other films, most of- that influence the final product: what |= members were present, along with ten with Barry Dornfeld, first in the to include and exclude, who to inter- most of the Sherfey family. This was a making of “Dance Like A River”: Oda- view and who to pass over, which moment I had long anticipated, for not daa Drumming and Dancing in the songs to film and which songs to ig- only did it signal near-completion of United States (1985) and more recently —_ nore, just to mention a few. And even __ the film project (something

with Barry and Jeff Titon on Power- within these decisions film makers di- _ filmmakers begin to long for after sevhouse for God (1988). On both of these rect “informants,” requesting certain eral years of fundraising, production, films the work has been necessarily songs “for the film,” asking fora story and editing), but it also was a chance collaborative. Decisions are made asa ___ to be told again or arranging fora to feel the response of church memgroup, with discussion and debate family gathering in order to film fam- __ bers and the Sherfey family, whose sometimes lasting weeks before a gen- __ ily activity and interaction. Through- lives, beliefs, and traditions we were eral consensus is reached. This occurs __ out the editing still other decisions are _ trying to represent with honesty and 33

THE FOLKLORIST AS PERFORMER

integrity. After the nearly hour-long f [ hadn’t been a Balkan folk dancer _ gion, context, technique, and a host of _

_ film ended and the lights came on, we and folk singer, I probably would _ other factors. | asked Reverend Sherfey—the central never be a folklorist today. In my case, | _ Being a singer was a tremendous ! character in the film and the church— __ the path led from being a performer to asset to fieldwork in the Balkans. It | what he thought. “I laughed, I cried, | studying performance, and the two _ provided a role for me that was some- | and I almost shouted,” he responded roles have continually intersected, _ what understandable to villagers and |

- slowly, an emotional quaver in his both in complementary and conflict- allowed rapport to develop along es-

voice. Hours later I reflected on his ing ways. ! tablished lines of pupil/teacher. In | comment and thought how in the Before I knew what “folklore” was _ studying the training of professional |

making of Powerhouse I had experi- (that is, a discipline), I was passion- | musicians, I was able to participate in enced a similar range of emotions. _ ately collecting it in the form of songs, classes at a folk music high schoolas _ There are many reasons to make films, | dances, and costumes in Yugoslavia | well as observe them. I not only inves- | _many of mine having todo withade- — and Bulgaria and performing it at fes- — tigated the process of transmission, | _ sire to communicate an understanding _ tivals and coffee houses in the New _ but I also was involved in it myself. I | _ of folk culture to a broad “public” au- York area. I viewed myself as animi- __ have heard similar sentiments from | _ dience. However, underlying allsuch _tator, striving to copy the best Balkan | my husband, an ethnomusicologist |

_ reasons is the fact that Ilargely doit —_ singers with my limited resources. whose mastery of the Bulgarian gaida | _ because I enjoy it. Though the cata- When the opportunity to study folk- = (bagpipe) gave hima strong identity | _lysts for our emotions were very dif- _ lore at the University of Pennsylvania | in the community, and froma student _ _ ferent, working with John Sherfey and presented itself, I thought, “Great, _ of mine who used her “passport” (a | his community provided me with the | now [can really understand those _ towel she had woven in Bulgarian | - full plate of emotions. And, simply _ singers over there.” Little didI realize _ style) to establish instant rapport with |

y/:

om Rankin | ; vs , |

_ put, that makes for good and fulfilling that I would be studying myself too!I weavers. |

work. spent three years taking classes at _ Mantle Hood, in advocating “bi- | 7 ; Penn, but every weekend Icommuted | musicality,” the mastering of another _

Delta State Universit toN ew York to rehearse and perform | musical tradition plus one’s Own, com- | Cleveland Mississippi with Zenska Pesna, a women’s Balkan | mented that participating as a per- |

’ PP vocal group. _ former should be a constant habit of

, One of the most rewarding things —_ the ethnomusicologist, and should be , about being a performer of the tradi- considered one of the “essential en| tions one studies is the hands-on qual- | ergy-building habits for the sterner | ity of immersion and involvement— ____ stuff of which academia is made.” | | tactile, technical, emotional, aesthetic. | However, while many ethnomusicol- | : The first time I produced the correct ogy programs feature classes in per| Balkan vocal sound was a thrilling _ formance, these classes are often not - moment; the subsequent refinement of | regarded as academic or necessary. |

| _ that sound has given me more insight — Folklore programs are even more pro- | : _ into (and respect for) Balkan singers —— nounced in their neglect and some- | : _ than years of passive listening. When _ times disdain for the “doing of” per! one learns a performing art through _—_— formance. In Bulgaria, most profes- |

3 participation, as opposed to observa- _ sional folklorists are suspicious of retion, all of the senses are involved and _ searchers who perform. In the United | : one is challenged to shift point of view States, folklorists have sometimes had |

| _ in profound ways. One begins to make to conceal their performing activities _| : _ aesthetic decisions, not merely to ob- _ or risk academic credibility. This atti- | | _ serve them, and one, furthermore, suf- | tude is quite ironic, considering that | | _ fers the consequences of those deci- _ the opposite is stereotypically ex- | | _ sions, good or bad. In one Bulgarian _ pected by lay people: the folklorist is | village, my rendition of a local ballad | supposed to show up with a guitar | | was greeted coldly because the variant and entertain! So while the public says , I had chosen to sing came froma rival entertain, the academy says don't. | _ village. I quickly learned to pay atten- | Some folklorists have, unfortunately, , _ tion to village origin as wellastore- _—ihad to choose, but others have man-

34 |

THE FOLKLORIST AS PUBLIC SERVANT

_ aged to combine roles. tem: [am neither a “folk artist” nor a “S,.~ edarburg, Wisconsin lies ap- , What is the origin of academia’s “revival artist” since I lack Balkan an- _ proximately twenty miles north of _ ambivalent attitude of respecting per- _—cestry. A Russian Jew from the Bronx = Milwaukee, along what was once a _ formance when done by “the folk” but — singing Bulgarian music does not fit foot path traveled by the Menomonee

not when done by a folklorist? My into preconceived schemes. ’mallthe and Potawatomi Indians. Irish, Eng_ feeling is that it is tied to the emer- more anomalous because | sing older lish and a few Yankee settlers reached _ gence of the discipline as “scientific,” village music as opposed to the more the area during the 1830s, but German _ and the perceived need to establish popular forms that young Bulgarians immigrants were responsible for be“objective distance” in the cultural sing. And yet there are numerous ginning the first community in 1842. “laboratory.” A “performing scientist” | people in the same category (even Nestled along the banks of Cedar just doesn’t fit the image. In more re- prominent folklorists), from Whites Creek, Cedarburg became an early cent years, of course, the whole ques- _ playing Black blues to Blacks playing milling center with five fully opera_ tion of objectivity has been reexam- Yiddish music. This phenomenon is tional mills by the time of the Civil _ ined and the reflexive interactive na- certainly worthy of increased schol- War. Today, the community of 9,000

ture of all fieldwork, whether per- arly attention. still looks to its mills as a source of |

_ formance-oriented or not, has been Finally, becoming a folklorist has civic pride. The impressive five-story explored. Folklorists who perform are | made mea more responsible and self- | Cedarburg Mill, a stone structure con_ often in a unique position to investi- conscious performer. No longer do I structed in 1855, stands tall at the very _ gate the issue of reflexivity, beginning — throw around words like “authentic- —_ center of the community. The Cedar-

_ with their own experiences. ity” and “tradition.” [am more careful burg Woolen Mill and the Concordia In some cases, being a performer with terminology and with presenting Mill in neighboring Hamilton also releads to a presence that is quite promi- _ the contexts and the historical circum- _— main standing, largely as a result of

nent, whether intended or not. none __ stances of the people whose music I the community’s early recognition of Bulgarian village I was outfitted with — sing. When I teach Balkan singing to the benefits of historic preservation.

~a local costume and pushed to the other Americans, I often ponder the When Cedarburg celebrated its cen_ front of the dance line (a position of sticky question of whose music it is. tennial in 1985, a group of residents _ honor) on St. George’s Day. I ended For me, even after sixteen years of organized a weekend exhibition of arup prominently featured in a film of singing, I still feel like an imitator tifacts related to the community’s his_ the event that my husband shot. What — rather than an artistic creator.[ know __ tory. The exhibit reminded those re-

_ a wonderful pastime for students to that I can never be Bulgarian no mat- sponsible for its planning and presen_ try to identify me in the line of short ter how perfectly I master Bulgarian tation that no permanent repository

stocky women! During recent singing. Others may see themselves for such materials existed in Cedarfieldwork among Macedonian Koma more readily as creators or even as burg. While the community’s historic (Gypsies) in New York City, my danc- “natives,” but for me the role of edu- preservation efforts had produced an ing ata New Years’ Party gave mea cator is most congenial. I see all per- impressive array of carefully restored prominent role in videotapes sent to formers as implicit educators and the buildings and structures, the contents

_ relatives in Yugoslavia. folklorist/performer asa particularly — of those stores and shops, home and Performing ultimately led me to effective educational combination. In factories were rapidly disappearing. study myself, to ask what kind of per- _ my case, this path has been very re- The exhibition organizers quickly con-

—— , arol Silverman , vo

_ former Iam and how my performance warding. cluded that Cedarburg needed a mu-

; Eugene, Oregon

_ of Balkan music in the United States C ; seum. Drawing upon the community’s differs from performance in the Bal- University of Oregon long-established tradition of volunteer _kans. I realized that, unlike Balkan vil- y 6 service, more than 100 residents began |

— lagers (but like ensemble singers), I meeting to plan the new educational _ sing multiple regional styles, that I facility. Over the next two years, the _ classify repertoire differently from group formed a nonprofit, tax-exempt _ them, that I sing in totally different organization and secured space in Ce- contexts from them, and, further, that darburg’s historic Lincoln School | _ they employ different criteria to judge Building for the storage and exhibition _ me than to judge themselves. I also re- of its incipient collections. More imalized that there is no category for me portantly, the group also took care to _ in the standard National Endowment define the organization’s goals very for the Arts-derived classification sys- clearly. They determined that the out-

| 35

come of their efforts should be more —_and its surroundings by Bernhard Sch- | art and craft by members of the Cedar- | than a museum; they decided instead —_ neider and Edmund Schildknecht, aca- | burg Artists Guild with CEDARBURG: : that a “cultural center” would better == demically trained artists who livedin § A TRADITION OF CRAFTSMAN- | satisfy the community’s needs. Inad- | Cedarburg between 1893 and 1927, and_ SHIP. This small show presented early : _ dition to developing, preserving, and selections from the extensive collection examples of utilitarian crafts from the | _ exhibiting a permanent collection of of historic photographs of the commu- | community—barrels, baskets, quilts, _

artifacts relating to Cedarburg’s his- nity assembled by long-time Cedar- and a fire department hose cart—betory, the planning committee felt the | burg resident Edward A. Rappold.In | side Old World antecedents brought | _ center should look to the community’s addition, one of the four classrooms of here by early settlers and later manucultural heritage and sponsor a variety the 1894 Lincoln School occupied by _ factured variants. Winter of 1988-1989 | _of programs and civic events relating — the Cultural Center was restored to its | brought an exhibition of “feather | to Cedarburg’s vital contemporary cul- 1920-1930 configuration in recognition — trees,” an early form of artificial Christ- |

_ ture. of the building’s ninety years of service mas tree made of goose feathers | With these goals in mind, in 1987 to the community as elementary and/ | wrapped around wire branches. Origi- | the Cedarburg Cultural Center’s board | or high school. Approximately 1,000 —_ nally developed in Germany, the trees | _ of directors began their search for a people attended the opening celebra- _ played an important role in the holiday | _ qualified, professional director toim- tion, and during the festivities Ed Rap- | celebrations of early immigrants to Ce- | plement their plans and to playa ma- _— pold announced the donation of his _darburg and other heavily German | jor role in shaping the community’s 1,300 photographs to the Cultural Cen- communities. In order to place the ex- _

newest cultural facility. When I first ter’s permanent collection. _ hibition in the broader context of ethmet with the board, I was impressed Throughout the course of the Cedar- nicity and its influence on life in the , not only by their commitment and burg Cultural Center’s first year of con- Upper Midwest, the Cultural Center _ professionalism, but also by the tinuous programming, many of the or- sponsored a one-day symposiumenbreadth of their vision. As a folklorist | ganization’s exhibitions and related | titled CHRISTMAS PAST. Funded by | interested in ethnicity and material presentations have reflected my inter- | the Wisconsin Humanities Committee, | culture, I was accustomed to “trans- _ests and my influence as a folklorist. | the program featured slide lectures by | forming” myself to meet the expecta- | During the summer of 1988, the exhibi- folklorists on topics including Swedish | tions and demands of the arts organi- tion THE MALONE FAMILY FARM: A | Ijuskrona, Norwegian-American Christzations, English departments, and his- . CENTURY IN CEDARBURG explored | mas mumming, and the display of out- |

torical societies which employ most _ the area’s agricultural heritage by fo- door holiday decorations. | -members of the discipline. In this in- cusing on an 80-acre farm passed down Throughout spring of 1989, the Cestance, however, I found that such a over three generations from one of Ce- | darburg Cultural Center presented an _ “transformation” was unnecessary. darburg’s earliest Irish settlers. At the | exhibition of quilts drawn primarily _My interest in folk art, my apprecia- same time, the Cultural center also from Ozaukee and Washington Coun- | tion for Cedarburg’s pervasive Ger- mounted SIMPLE PLEASURES: SUM- © ties and other parts of southeastern | _man heritage, my desire to flesh out ~MER RECREATION IN OLD CEDAR- | Wisconsin. All the quilts displayed | _the skeleton of local history with exhi- | BURG. In conjunction with this exhibi- were discovered through a “Quilt His- |

_bitions documenting customs and tra- tion, which examined sports and _tory Day” program held six months | ditions were not viewed as “related” games, the County Fair,a local resort __ prior to the opening of the exhibition. | or “supportive” but rather as “ger- called Hilgen Spring Park, and the Nearly 150 quilts were photographed -mane’” to the director’s position. The community’s many brass bands, the and documented during the day’s procombination of clearly defined goals,a | Cultural Center sponsored a series of | gramming by volunteers from Cedar- | _ sympathetic board, and the opportu- Sunday afternoon community band _burg’s Heritage Quilters Guild, and the nity to work with a new organization —_ concerts on the lawn of City Hall. | results of the documentation were from its very inception made the posi- These popular concerts demonstrated — made available to the Wisconsin Quilt | tion seem a dream come true. | _ the continuation into the present of the | History Project, a statewide survey in |

! 36

jumped at the chance. old German tradition of civic bands not | the early stages of development. |

_ The Cedarburg Cultural Center only in Cedarburg but in other south- — All of these programs have beena opened its doors on Sunday, April 10, | eastern Wisconsin communities as delight and a challenge for me asa |

1988, ten weeks after I began work as well. _ folklorist. Happily, they have also been |

_its director. Its inaugural exhibitions, During autumn of the same year, | extremely well received by the Cedar- | entitled IMAGES OF CEDARBURG, the Cultural Center complemented its | burg community. Not only have Cefeatured paintings of the community exhibition of contemporary works of | darburg’s residents attended the Cul-

THE FOLKLORIST AS PUBLICIST

~ tural Center’s exhibitions and related ~. rom 1985 until 1989 my missionas gible records. The rewards of an ami_ programs in substantial numbers, they Baltimore City Folklorist was toiden- —_ cable, even symbiotic relationship _ have also shown extraordinary support tify, document, preserve and promote — with journalists and marketing spe- : for the organization in other ways. traditional culture as found in that ur- _ cialists are considerable. Nearly 300 local residents have become _ ban center. The first three tasks, the Baltimore Traditions’ Rolodex and members of the Cultural Center during _ stuff of folklore, are learned as part of its successor in the State of Maryland’s _ its first year. Many of them have also our academic fieldwork and skills Cultural Conservation Programs has served as volunteers, installing exhibi- _ training. To “promote” or “present” its usual A-Z listings, but is distintions, guiding tours, planning pro- the fruits of our labors, however, calls | guished for quick reference by a front - grams, and working with student upon creative resources and networks “Media” section. At my fingertips for groups. In addition, community mem- — which are normally the realm of the immediate recall are cards for “Calenbers have donated artifacts to the Cul- _ public relations or marketing profes- dars,” “Sunpapers” (the local daily),

tural Center’s permanent collection sional. “Weeklies,” “Out-of-state,” “Radio,”

and graciously loaned items from their Once, folklorists were content to “Television” and “Freelance writers.”

personal collections for temporary ex- share their findings with other The activities or findings of the hibitions. The residents of Cedarburg, _ folklorists, with their students or with _ folklorist, if presented enthusiastically in other words, have taken the organi- _ the world of readers of the arcane or in the proper time frame to the appro_ zation which they conceived, planned familiar. Buoyed by the increase of priate staff person rarely fail to cap_ and developed to their hearts. They public sector folklorists, the need to ture interest. Folklife subjects offer the have made a commitment to it, taken | develop new audiences through new human side of current events, the nonresponsibility for it, and made it anim- communication channels has likewise controversial “feel good” antidote to portant part of life in Cedarburg today. expanded. Progressive public outreach hard news. During Christmas, a slow

As a folklorist, I feel privileged to in the form of community and mu- news time, I suggested photographing have worked so closely with the Cedar- seum-based exhibitions, festivals, a Ukrainian “Blessing of the Baskets.” burg community in realizing its dream workshops, and tours are inexorably It made the front page in color, and of a cultural center. It has been gratify- linked to existing publicity networks acted as an important catalyst to a ing to see exhibitions addressed to tra- within print and electronic media. drive for a new church building for

ditional culture attended and appreci- When I approached Baltimore’s the group pictured. Such unsolicited ated; to see the relationships between —_ four-term Mayor with the seemingly tips probably added to a reliance on _ past and present, folk culture and fine far-fetched idea to add a chronicler of our office for ethnic information. In

_ arts understood and accepted; to see urban traditions to his city’s list of turn, when preparing for the numerlong-time residents and newcomers firsts, | knew he saw promise in the ous ethnic festivals celebrated locally, _ _ united in their efforts to learn about union of preservation and promotion. _ their planners have relied on us to : and learn from Cedarburg’s past. If I Challenged by the opportunity to suggest the appropriate feature writ_ have helped this community’s lifelong — bring Baltimore’s folk culture to the ers until they develop their own netmembers to value their heritage more _—_ forefront, my term as Baltimore City work.

highly, if I have helped Cedarburg’s Folklorist and Director of Baltimore In Baltimore, our office has pio- | many recent arrivals to understand Traditions may have officially begun neered a number of non-traditional what daily life was like for early set- with the now ritual distribution of a avenues which borrow a page from _ tlers, if Ihave helped the many tourists simple press release. It served twoim- _ the world of advertising, including en_ drawn to the community by its historic mediate functions: to announce the gineering a local bank’s donation of a structures and antique shops to grasp _— position and gain the attention of fu- billboard at one of the city’s major the forces of ethnicity, occupation and __ ture informants and audiences. The crossroads. The message invited locals

religion that shaped its character, 1 feel media thus hastened and stimulated to contribute their knowledge toareI have made good use of my training as_ the educational process, while helping — search project, at the same time creat-

obert T. Teske Ly: ; Cedarburg, Wisconsin ; ; - va 5 yy

a folklorist. | have returned to the com- _ to define folklore fora previously un- ing a visible presence for the folklore |

_ munity all that it has given to me. identified constituency. office. Similarly, free-standing installa-

R With proper nurturing and respect, tions featuring historic and contempo-

- Cedarbure Cultural Center the media provides immeasurable | rary photographs resulting from a

ee . benefits, at no cost, by building audi- community study were exhibited in ences and sponsorship while legiti- - non-traditional “galleries” —stores, of-

: mizing our efforts through the crea- fices and public buildings, as an im-

: _ tion of memorable ephemeral and tan- _ mediate way to return research to the

_ participants while announcing future ship with the press. We learned to an- __ later to find out if the 20-minute event _ phases which could involve local par- __ ticipate certain cyclical calls with the —_ was “still going on.” Because a feature |

ticipants. preparation of fact sheets. We wonder story was so important fora perma-

We cannot rely exclusively on the to this day who fields the myriad of nent record of the novel installation, __ traditional publicity channels even calls processed daily, before this of- _ the principals begrudgingly agreed to _ though our leads fill their voids while _fice’s creation and since its closing. reconvene the following morning to _ the free press coverage simultaneously All the publicity we can gatherin —_— recreate what they could of the event answers our needs for advance public- — this field helps, especially when we _ for the story. |

ity or later affirmation. Poor atten- are faced with constant fundraising _ We must not overlook the impordance at a recent folklife film festival from the private sector and when our __ tance of publicity. The press helpsus

was attributed to the last minute loss own staffs are notoriously short onde- reach the numbers that we need to get | of The New York Times feature on velopment and public relations per- _—_—‘ future grants, to prove to our sponsors _ which organizers short-sightedly de- sonnel. Name and program recogni- _ that we serve the public and to pro- |

pended. tion are vital, and despite continuous — vide much-needed appreciation for |

_ Activities sponsored by our office staging of public events, the biggest _ our efforts. : _ seemed to draw media attention but numbers and a certain legitimization © +‘ The press alone, however, cannot only when accompanied by a press re- come from print and electronic media. _ be relied upon to do the important job — lease and personal follow-up.Wecan “I read your article,” “Iheard youon __ of networking with allied profession-

never assume that a good program the radio,” may goa lot fartherthan _ als, developing grassroots support, | necessarily attracts an audience. Like the memory of a mega-festival which — updating mailing lists and distributing _ _ it or not, we must hand feed the press, attracted thousands, exacted months __ well-designed information in appro- | _ often courting them weeks in advance _ of toil and is rarely matched withits priate locations. The many new hats

_and repeatedly, to assure the assign- dedicated producers. _ the folklorist wears today cannot help _

_ ment of writers and photographers. If there is a negative side to public — but turn around a regressive percep_ The process requires saintly vigilance. | attention, it would be the way in _ tion of what folklore is as it certainly _ Avenues worth pursuing include ——— which press events must be molded to impresses the public with what

| -. ; ; aine Eff |

_ radio talk shows which are frequently — cater to their formats and deadlines. _folklorists do. | _ segmented and rebroadcast. Noontime “Can we do this live?” means arrang- | Flaj | _ news television chats, albeit short, ad- _ ing a special schedule for tv cameras. _ Marvland Cultural C ti |

dress an entirely new audience. An _ The presence of camera and micro- | AE YEN ED MEETALN ONSEEV ANON !

; i Lo. _ Baltimore, MD |

_ easy route is to submit occasional phone wielding reporters is intrusive. _ B Programs |

OpEd pieces or occasional letters to The featured activity and artist is com- | _ the editorial pages, thus eliminating promised by the necessary, albeit hur- | |

the middle man. Folklorist Jan Brun- ricane-paced staging. : 2

_vand used late night television to pro- = =—« | was amused recently when the :

_ mote his urban folklore volumes, be- press liaison of a co-sponsoring , |

coming so popular that his newspaper agency showed up atanevent witha | | column was syndicated nationally. _ filmless 16mm movie camera perched _ | _ Nebraskan Roger Welsch was such a on his shoulder, “to make it look like a | |

_ reliable informant for CBS Television’s media event.” | |

_ Charles Kurault when his “On the A special kick-off press conference | | - Road” reached the Plains, that now for a recent photographic exhibition | _ Welsch himself is a regular featureon brought together artists, community __ |

— “CBS Sunday Morning.” leaders and oldtimers to share their | | “Calling the Folklorist” forarun- _ stories about the featured locations. : | _ down on what projects are on tap, for = The event’s completion was marked : _ opinions on timely preservation issues — by packing each of the photo stands in | |

_and to get relevant quotes and leads an awaiting balloon-bedecked vanto | on subjects as varied as rumor, ethnic- _ begin distribution of the exhibition | :

_ ity, holidays (the requisite Halloween _ along its five mile route. The desig- | |

_ “Ghost” call), or local characters is a nated reporter for the leading daily | | _ regular occurrence and an important courted by our office for weeks, not | | _ part of nurturing a positive relation- only did not show, but called 3 hours |

THE FOLKLORIST AS PUBLISHER

- £_ublishing prompts considerable folklife—grew out of those gatherings. and added Native American and An- _ concern among those who would per- — Kadlec introduced us to one another glo titles and other books of regional ish without accomplishing it. The en- and to other helpful, like-minded per- _ interest. Many of these are tourist-ori- _ _ terprise is no less anxiety-provoking in sons and worked with us to develop ented, since tourism and recreation are — _ those whose livelihood or at least par- | our manuscripts. Unfortunately, both — the major industries in New Mexico, if —

_ tial solvency depends on some success Ancient City Book Shop (but not the not the entire Southwest. (The largest _ _in meeting a publisher’s primary re- Press) and Villagra Bookshop have book market in the region is at the |

- sponsibility, “to publish abroad,” i.e, since closed. _ Grand Canyon, but its annual millions —

_ to perform the task etymologically in- Real bookpeople (booklovers and come from the sale of a very few, care- _ _ herent in the verb, which comes from __ booksellers) like Kadlec stimulate fully screened titles. New Mexico’s : the Latin publicare, “to make public.” interest not just in books but in the equivalent is the Chimayo Valley just _ This is a matter of publicity and mar- lore of an area generally. They create north of Santa Fe. Traditionally a bus_ keting, not simply soliciting, acquir- and sustain a distinctive audience and _ tling trade, weaving ,and pilgrimage _

ing, and editing manuscripts. market, and their businesses are places center, the old Hispano community | I came to publishing by way of An- _ to meet people, to exchange book _ now thrives on both religious and | _ cient City Book Shop, a small Santa Fe — news and gossip, to do research, and secular/tourist pilgrims year-round.)

_ bookstore then selling out-of-print even to initiate fieldwork. Without The dilemma for the academic folk- | _ titles and Southwest paperbacks in the _ their perspective, enterprise, and en- lorist is to “publish abroad” attractive _ _ historic Sena Plaza, a block east of the — thusiasm small press publishing at books while not compromising the _ Palace of the Governors on the main least would fast become parochial, scholarly integrity of the discipline. In | _ plaza. When I met him in 1961, An- vanity, or simply in vain, and the cor- _ the case of the titles we distribute for cient City proprietor Robert F. Kadlec porate, actuarial approach to publish- —_ the Archaeological Society of New _ was launching his first publishing ing would prevail over the more dar-_ —- Mexico, the Center for Land Grant |

_ project—native New Mexican architect ing, grassroots ventures. Studies, the Taylor Museum of the | - William Lumpkins’s pioneer work on In 1981, several partners and I en- Colorado Springs Fine Arts Center, : _ adobe architecture, La Casa Adobe. A tered this “grassroots” arena by join- Regis College, and the Spanish Colo_ premier bookman originally from Chi- ing Robert F. Kadlec in Ancient City nial Arts Society, this presents no cago, Kadlec had met Lumpkins and Press, Inc., which is now held by problem. I have encouraged students _ _ many other Southwesterners and afi- Kadlec, myself, and Mary Powell, who _ to prepare manuscripts, but to date _ cionados of the Southwest througha _ currently serves as president and gen- _ only Elizabeth Kay’s Chimayo Valley _ longstanding Santa Fe custom newly eral manager. We have tried to define —_ Traditions has reached fruition. Be- | _ revived and adapted by him and his a middle ground in regional publish- cause of our reputation, we frequently _ partner Nancy Lane, proprietor of the ing between the large popular presses, receive proposals from native New _ other Sena Plaza bookstore, Villagra the university presses, and the very Mexicans (Anglo, Hispano, and more |

- Bookshop. The town’s second book- small, specialized presses with only a recently Indian), andI met ElbaC.de | store, Villagra opened in 1927 and few titles. We publish four to six titles | Baca of Las Vegas this way. My edit-

_ soon became known as acenter forart a year. ing work with her on Two Guadalupes:

colonists, Santa Feans, and tourists. It Our books are for the most part per- Hispanic Legends and Magic Tales from _ for many years maintained a tradition — ennials, with modest but continuing Northern New Mexico was carried on _ of daily literary / gossip sessions fea- sales. (Some ten thousand copies of by mail, just as much of my work with _ turing martinis delivered at four p.m. __ three printings of my Penitente book Lorin W. Brown had been in the early _ by waiters from the nearby La Fonda have been sold since 1970.) Many of 1970s.

Hotel. In the early 1960s, Kadlec and our titles are reprints, a good way to Many of our books come from pro_ Lane offered mid-afternoon Eskimo maximize earnings while minimizing fessional colleagues whose work Ial- |

| 39

_ Pies to both customers in the store and production costs. Cookbooks and chil- ready know—though editing still _ locals who regularly stopped by toen- __dren’s books sell very well, and both must be negotiated. We can grant

_ joy these informal and informative oc- are represented on our list, which con- more latitude than university : _ casions. Ancient City Press’s next tains a range of titles from the very presses—and sometimes more, or at _ three books—my own on The Peniten- scholarly to the contemporary guide- least more longlasting, sales. lam par- |

_ tes of the Southwest, John F.O’Connor’s — book. ticularly pleased at the opportunity to _ _ The Adobe Book, and Lorin W. Brown’s Ancient City Press has builtonthe — bring out The New Deal and Folk Cul- (writing as Lorenzo de Cérdova) Ech- —_ adobe architecture and Hispano ture Series, “folklore, oral history,

_ oes of the Flute on Hispano village folklife emphases Kadlec established drawings, and documentary photos)

THE FOLKLORIST AS RECORD PRODUCER

collected during the 1930s and early = 4 t’s only a phonograph record _ Since then many folklorists have | - 1940s by workers on the... New Deal But it carries my message to you” _ been involved in the production of al- |

_ projects ... volumes [which] will pres- _ bums which present field recordings, _

_ ent previously unpublished ‘gems’ _ Those lines from a Charlie Monroe _ newly-made studio recordings, or reis_ from New Mexico and other states.” song immediately came to mind when | sues of earlier recordings. Inallcases | _ Chuck Perdue’s contribution to this _ Charles Camp asked me to write about | the goal is the same—to show howa | _ series, Outwitting the Devil: Jack Tales = my experience as a record producer. | group of recordings relates toa social | from Wise County, Virginia, is our first _ My next thoughts were about the term | context with folkloric dimensions. | _ venture outside this region but cer- “producer,” with whichI wasnoten- __‘The first step in producing an album | | tainly well within the field of folklore/ _ tirely comfortable. The record industry | is arriving at the concept. This requires _ life. In this Iam able to accomplish really doesn’t agree ona word tode- _ negotiation between the record label, | some of what Ken Goldstein and his —_ scribe what I and other folklorists have | which may be privately owned or part |

| Folklore Associates partners in Hat- — done in this domain. The activity, | of a public institution, and the pro- | _ boro, Pennsylvania, did in furthering | somewhat akin to that of what record | ducer. Sometimes the producer may | _ folklore by publishing otherwise-inac- | companies used to call A&R (“Artist | suggest a concept; in other cases the

_cessible works. _ _ and Repertoire”) men, varies from rec- | producer may be asked to respond to

In her 1987 presidential address _ ord to record, but parallels present day | an idea put forward by the label. In ei- | _ Journal of American Folklore 1988: 293- _ activities performed by film “direc- | ther case the producer must possess |

— 301), Judith McCulloh urged tors,” by museum “curators,” and by __ the knowledge about the materials | | folklorists to understand “the basic “editors” in the world of publishing. | needed to realize the concept. | _ concept ‘book’” and to “write for the On my cv L use the phrase “Records | The next step in putting together |

_ world.” I would hope that moreand __ Edited” to describe my work inthis —__ such records entails bringing together |

_ more folklorists can school themselves area. _ the contents by creating new record-

' to break the myopic, publish-perish, Like many other American _ ings or locating previous recordings. __ _ parochial bonds and envision a wide- _ folklorists of my generation] wasin- | Today folklorists rarely publish every- _ _ ranging, interested public whose com- troduced to folk music through phono- thing they collect. Instead we choose | - munity is in part generated andenli- —_—_ graph records. As a teenager I pur- _ from the repertoires we study those | vened by well-published books. chased pop and r&b singles, but it was | performances deemed significant and _

Sg mM ; _ theWeigle LP album, a new medium in the fif- | useful in to illustrating points wecul| _ Marta ties, that captured my imagination. The wish make aboutthe individuals,

_ University of New Mexico | a - ia: 4 eo h d traditions. Maki h |

| Albuquerque, New Mexico experience O sitting y the phono- | tures and tra } itions. Making suc |

! _ graph and reading the notes as the rec- | choices for reissue albums requires ex- |

| _ ord played was an exciting kind of | pertise in a special kind of historical | | _ puzzle-solving in which the auraland archeology called discography.2The : _ written pieces were fitted together. The | original recordings—either in the form i

:: _albums I liked those cf acetate, or tape masters, or || had notes that best took were you band bywhich band _| copies of themetal rare original printings of | through the record, carefully explain- | 78s or 45s—are artifacts. The digging |

i _ ing the actual sound the way a good _ one does to unearth them is a combina- | | map explains the real world. In the fif-__ tion of bibliography and ethnography; | | — ties new LP albums of Woody Guthrie, | the goal is not just to locate these publi- | | Leadbelly, Jean Ritchie, Jesse Fuller, cations, but also to date them, name the | : _ and Pete Seeger on Folkways, River- __ performers, and identify the contents. | | _ side and other specialty labels had bro- The result is an historical outline of the | | _ chures or liner notes which told about | event at which each recording was | | _ the music and its history, and about the | made. To this researchers must add | , performers and their lives. They were _ their own knowledge, based on field |

| written by people like Kenneth 5. _ and library research, of the wider social | | Goldstein, writing in what I now recog- milieu represented by the recordings. | nize as the tradition of Child’s head- | Most of the albums that I have | : notes. They made the listening experi- | worked on present bluegrass music. I : | ~ ence intellectually as well as estheti- = approached them as a folklorist who |

| cally challenging. | wanted to show how this body of mu-_|

THE FOLKLORIST AS TEACHER

sic was relevant to the interests of the | curating a museum display of artifacts = hy dol teach folklore? Why

discipline. relating to a traditional process, I at- does this discipline live at the center of Each album I have edited has, inthe tempt to structure the contents of the my life? Or, should I ask, do I really selection of its contents, reflected a liner notes and the sequence of the al- teach folklore at all? Don’t I teach, number of competing criteria. These bum cuts to lead the listener through instead, a subject into which I and

criteria reflect ideas which folklorists the album. many of my colleagues grew only

have been developing about reper- The sequencing itself must be care- —_ after we had been trained by the - toire—how it is created, used and fully considered, for the aural portion “then” experts in the field? The maintained. Bluegrass is a relatively of the album has a life of its own— answer is not surprising; it is the same new form of music which has itsown — some people do not read the notes.So —_—in many fields, especially those in the

canons. Its audiences and performers the listening experience must be organ- humanities and the social sciences recognize certain songs or tunes as ized to give a sense of pace and variety today. Yes, we teach our fields of being part of the standard repertoire. to keep the listener’s attention. I par- expertise, and yes if we have been Usually these are compositions by ticularly enjoy this part of the editing, | worth our salt we have continually bluegrass pioneers which have become as I try to anticipate the responses lis- | changed ourselves, our approaches, well-known and widely performed. | teners may have to the record the first | and much of our subject matter have been able in some cases to issue time they put it on the turntable. through insistent dialogue. the original versions of such standards. Today the 12" 33 1/3 LP album is But the academic world is becomI have also sought to include songs that being squeezed out of the marketplace ing dramatically different from what it existed in tradition before bluegrass by cassettes and compact discs. | have — was when I first began teaching emerged and had been recorded by yet to work with these new formats, twenty-six years ago. It is under attack more than one bluegrass band, thus re-__ but although neither allow the same from without, and at the same time it flecting cultural continuities. Inaddi- | amount of space as the LP album for is experiencing major upheavals from tion I wished to include performances — written commentary in brochures or within; purse strings are tight; crosswhich may not have become part of the liner notes this is not necessarily alia- disciplinary studies and even mainstandard repertoire but were consid- bility. One can use at most a few thou- — stream disciplines have taken to ered to be classics within the genre. I sand words to realize the concept, but teaching what many folklorists had also placed on my list songs that inter- _it is possible to accomplish much by begun teaching long ago; new fields ested me as a folklorist. Even though juxtaposing carefully organized aural have developed Centers and old fields they may not have held prominence in _ items along with a few well-chosen have appropriated new domains. the bluegrass performing repertoire, words. This can lead the listener to new Cultural studies, American studies, they were of interest either because of insights unforeseen to the producer. women’s studies, and popular culture

ws. St. ,; ;John’s, Neil Newfoundland V. Rosenberg . ,-

their wide-spread distribution in oral . courses cry out for the expertise of

tradition, or their borrowingMemorial of content . . . folklorists, of yet Newfoundland there are increasingly "; from other realms of folk expression, or ,University few specific calls for folklorists to fill

some other dimension which seemed advertised positions in colleges and worth pointing out for folkloristic rea- © NOTES universities. We have a problem.

sons. Also of interest were newly-com- ee are me ast two anes rom the chorus of The problem is not, as some posed songs which utilize older struc- composer Charlie Alonroe, accompanied by ya claimed before, that we need to “protures, forms and techniques. Finally, as — Kentucky Pardners, on RCA Victor 20-2304 (D7- fessionalize” our field;! we have

an historian of the form I wanted to VB-0353). Recorded in Chicago, Illinois, March supposedly done that. But “profeslace i int the musical perform- 24, 1947, it was subsequently reissued on two LP ional” or not, as teachers we hav ances that I was writing about. Golden Blue Grass Highlight, Vol. 3: The Best of failed to make our students valuable Whether intended for specialists or — Charlie Monroe, and in 1969 by RCA Camden to the current academic community. t d albums which present folk- C4°2310(e), Who's Calling You Sweetheart To- This is evident if you make even a loric materials are rarely purchased from Richard K. Spottswood, “The Commercial _ short list of scholars who are the only by folklorists—there are many Recordings of Charlie Monroe,” Bluegrass trained folklorists known outside of

piace In prt ~ Pp albums: in 1967 on Victor of Japan RA 5257, ’ e NO 7 recor P night. This discographical information comes y

th ] hpeople nt tedwho in thare Unlimited (May and from my perfolk] ‘tclesinbvthe th mainnth other interested3.11 in the ona)1969): record 3-6; collection. olklore circles by those

material we study. So the challenge in giccuse these techni ques in “The Folklorist and Stream of current intellectual disproducing such albums is to present the Phonograph Record: An Introduction to course. Such a list certainly would ideas of relevance to the discipline ina Analytic pAScOBraP ay, Canadian Folklore include Susan Stewart, whose doctor-

way that will be accessible to non-spe- #40 9.2 C981): 125-95, ate in folklore from the University of

- cialists. Consequently, like a folklorist Pennsylvania was mentioned only as a

i

minor footnote by President Barbara or ‘popular culture,’ to be ridiculed | ourselves as an outdated hegemony, | , Herrnstein Smith who introduced her — and enjoyed, and passed down | we must work in concert with those |

_at the 1988 MLA Convention. Susan outside of the classroom.” Instead of | who have at long last come toregard | _ Stewart was one of three honored validating this dichotomy of arbitrary | folklore as worth studying. While we |

_ speakers at that convention who categories, she continues, “One of the __ certainly can offer new insights into _ presented major papers in a high- humanist’s jobs is to show their _ the canons of traditional disciplines, it |

_ lighted session entitled “Breaking Up/ synchronic relationships: to map how _just might have been a gross mistake | ~ Out/Down: A Presidential Forum on _ they fit and move together.” Does this for us to attempt to fit ourselvesinto _ the Boundaries of Literary Study.” Her sound familiar? One of the folklorist’s the academic power hierarchies of the | _ work is brilliant and insightful,?and it prime tasks as a teacher is to effect this _ 1960s and 1970s, a time when the |

is deeply grounded in her folklore “bringing together,” even while _ boundaries of what were “acceptable” | training. But Susan Stewart is seen by — working within a college or university | studies were beginning to shift. |

_ our fellow academicians as an English — whose very structures perpetuate the —_—si[f our “professionalization” failed __

_ professor, not as a folklorist. And she — dichotomy. There are others out there us, then in some ways that failure can | is not the only folklorist who is visible | who are interested in what we do; we | be seen as a blessing. What we need to |

_ only through identification with are just a bit better trained than most —_ do now, through both teaching and | _ departments and programs which fit scholars to deal with the value-ridden — scholarship, is to reach out and work | currently acceptable categories within categories of “low” and “popular.” _ with those who share our vision. We | _ the academy. Folklore is notonthat —_—~Follklorists are painfully aware that __can do this if we take a twofold ap- ° | — list of valued fields of study. We might _ the hierarchies of our academic _ proach: first, we must show that + | be “professionalized” but we are not world(s) trivialize much of what we _ folklore can reveal new insights into

seen as relevant. study. I teach folklore, in part, to _ the subject-matter of established disci- |

Do not misunderstand me. I am reveal the arbitrariness of those _ plines; second, we must stay current | _ well aware that a folklorist by any _ encrusted hierarchies, the folk tradi- | with emerging fields of study and | other name, is. But how can our tions of the academy. And both the _ share our insights with them while |

_ students obtain jobs if folklore is not subject matter and the approaches | _ learning from their work. When I | _ regarded as a relevant discipline? teach are congruent with the postmod- teach I can not forget that folklore can | Certainly there isa place for what we _ ernism that is transforming higher _ engage both the student of the canon

_ teach in the academy, not just room education. _ as well as the student who questions |

_ for it in the public sector. (And we [ am not proposing that teachers of — the worth of examining those works. |

_ realized long ago that unless one is a folklore rise up and deal the academy — Phyllis Gorfain shows us how we can | _ sound scholar one can not bea decent _ its death blow; rather, 1am suggesting | gain new insight intoShakespeare

_ public sector folklorist.”) _ that in the current transformation of through the study of riddles,> and Carl — | If we look about us, we would see higher education, folklore can find a | Lindahl illuminates canonized | _ new fields emerging which have sound and respected role. We can - Chaucer in Earnest Games: Folkloric | _ interests very similar to ours. Therein, redefine our place as scholars and _ Patterns in the Canterbury Tales.6 Bruce | _ [ think, lies the answer to our quan- teachers, but as we do so we will have Jackson enters into the new areas of | _ dary. One such area is cultural studies, _ to realize that folklorists can no longer discourse when he articulates major | _ and it presents us with a good ex- think of themselves as the only ones —_—concerns about the very data we use in | _ ample of how we can learn from, and who know and teach about the every- | our courses. His article, “What People

also contribute to,a common intellec- | day world or the ignored past. One _ Like Us are Saying When We Say | tual community. By working as _ glance at the journal Cultural Critique | We’re Saying the Truth” alerts the | _ folklorists with and within these fields — should tell us that. It features new _ student to both the problems and the | _ we can, by example, show our profes- | approaches to subjects from Mozart to | richness in reported data, and it |

- sional worth. _ Mardi Gras; the theme for its special _ addresses imperative questions of |

Catharine Stimpson, an articulate issue for fall, 1988, was “Popular . central interest to contemporary | _ voice in the nascent field of cultural Narratives, Popular Images.” _ anthropologists and literary critics.® | _ studies, writes in her book Where the It seems to me that in order for us | The panels on “Authenticity,” organ- | _ Meanings Are: Feminism and Cultural to continue teaching what we do so | ized by Barbara Kirshenblatt-Gimblett |

_ Spaces‘ that as a child she was taught a__ well, we must “reprofessionalize” our _ for the 1985 American Folklore Society _

“dualistic theory of culture: ‘high _ field. We must look around and look —— meetings, opened new categories of | culture,’ to be respected and feared, forward rather than looking back. _ material for our study and for our |

_ and taught in the classroom, and ‘low’ _ Instead of canonizing and validating _ teaching.

I find teaching folklore exciting room. There is a value in teaching NOTES today because both the subject matter — folklore if for no other reason than that | Richard Dorson sought this goal in 1957. See and the approaches I use are amplified it has been the field which has studied his reprinted paper in American Folklore and this Historian, “A Theory for American Folklore,

by the most constructive aspects of the marginal and marginalized. And (Chicago: University of Chicago Press, 1971), postmodernism, which is changing the _ the study of the disenfranchised is of 47-48, where he says “Ultimately American

academy in vital and exciting ways. central interest to currently emerging ore wat take its Politics the history of.

As a lone folklorist ina department of fields. Even though folklore also has American ideas, and other studies that English, Ino longer feel myself onthe — studied the traditions of the empow- illuminate the American mind.” fringe of the acceptable academy. ered (for even CEO’s use proverbs), it~ See, for example, Nonsense (Baltimore: Johns These days I approach work with a has been marginalized, ironically, for Loneiine (Baltimore, Johns Hopkins Uniers ,

knowledge that both my students and __ its unorthodox subject matter as well Press, 71984). | *

many of my colleagues share my as its inter-disciplinary methodologies. ° See Barbara Kirshenblatt-Gimblett’s incisive devotion to my subject; no longerdoI Folklore simply has not fit. Our disci- —_ article which traces the history and clarifies the

need to “convert” entire classes. pline has suffered a fate similar to that rarionale for Po AL toga pie

‘ (New York: Methuen, 1988). See her essay

Fatiguing as it may be, know that __ of its subject matter. But the areas of f ) — : |

to continue teaching folklore I must our study have finally been recognized “The Humanities in Everyday Life,” p. 166 for

continue learning. I know that I have as fit for intellectual consumption. the cited following quotes. no respected academic tradition,asdo Times do change, but we must be Among her many works, see “Remarks the established and canonized fields, ready to respond to the changes. pear a Folkloristic Approach to Literature: which can protect the old “itemistic Tomorrow I will go to the university “Contest, Riddle, and Prophecy: Reflexivity

, oy iddles in Shakespearean Drama,” and

ways of thinking (if that were the way and teach folklore because I believe it — Through Folklore in King Lear,” Southern

I thought). Yes, I realize that it is still cultivates a way of looking at the Folklore Quarterly, 40 (1977), 143-157, possible to teach folklore as a colonial- — world which allow us to live our lives pe comngton, Indiana, Indiana University ist. Presenting folklore out of context, _ as fully as possible. I will continue to “TA S 101 (1988), 276-292

; ; ee James Clifford and George E. Marcus, eds.,

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