Folklore and Fakelore

Dorson, Richard M.

doi:10.4159/harvard.9780674330207

Cited by 60 publications

(13 citation statements)

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“…La segona és que, en aquestes mateixes institucions culturals, l'atenció a l'estudi, la promoció i la difusió del folklore sol estar sempre condicionada pels vaivens polítics i no ja solament pels interessos del Go-vern -central, autonòmic o local-de torn, sinó fins i tot per les directrius doctrinals dels partits que donen suport a aquests governs. No és cap novetat -i, en el context de la cultura democràtica deficitària en què ens movem, em fa l'efecte que és fins a cert punt comprensible-que les institucions culturals que depenen del poder polític es desentenguin de promoure l'estudi del folklore i que, en canvi, orientin la seva activitat i destinin recursos públics a subvencionar i promocionar el folklorisme i, fins i tot, el que Dorson (1969) va designar amb el terme fakelore. El folklore sempre és incòmode i problemàtic, perquè qüestiona, impugna, confirma o referma les ideologies, les pràctiques i les dinàmiques socials vigents, al més sovint conflictives.…”

Section: Jaume Guiscafrè Danúsunclassified

Arxivers, filòlegs o folkloristes: per fer què i amb quines eines?

Danús

2014

Estudis De Literatura Oral Popular / Studies in Oral Folk Literature

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ResumEn aquest treball plantejo un conjunt de reflexions i de propostes relatives a la pràcti-ca i a la docència de la folklorística als Països Catalans. Hi parteixo d'algunes idees i d'algunes constatacions que Josep Maria Pujol va incloure a «Literatura tradicional i etnopoètica: balanç d'un folklorista», un article del 1985 del qual el meu treball vol ser una actualització, però també un homenatge. Amb el propòsit explícit de reivindicar-hi la folklorística com a disciplina, hi faig un repàs a la situació dels estudis sobre el folklore en relació amb la resta de disciplines acadèmiques i científiques en l'àmbit de l'educació universitària. Hi discuteixo així mateix l'atenció que les institucions polítiques i culturals del país dediquen a l'estudi, la promoció i la difusió del folklore. Finalment, hi reflexiono sobre l'organització, la preservació i el maneig dels corpus, a partir de la idea fonamental que els folkloristes catalans d'avui dia no solament hem d'atendre els materials gens menyspreables que els folkloristes precedents ens han llegat, sinó que també tenim l'obligació de detectar, documentar i estudiar aquelles pràctiques discursives amb què les persones gestionem i construïm quotidianament la realitat. Paraules clauJosep Maria Pujol; història del folklore; teoria del folklore; folklorística; arxius i corpus Abstract This paper presents a set of ideas and proposals for the practice and teaching of folkloristics in Catalan Countries. My starting point are some ideas and some findings that Josep Maria Pujol included in «Literatura traditional i Etnopoètica: balanç d'un folklorista», an article published in 1985 of which my work is intended to be a partial upgrade and also a tribute. With the explicit purpose of claiming Folkloristics as a discipline, I review the status of folklore studies in relation to other academic and scientific disciplines in the field of higher education. I also discuss the attention political and cultural institutions dedicate to the study, promotion and dissemination of folklore. Finally, I reflect on the organization, preservation and management of corpora, from the fundamental idea that nowadays catalan folklorists not only have to meet the important materials that earlier folklorists have left us, but we also have the obligation to identify, document and study those discursive practices by which people construct and manage everyday reality.

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Section: Jaume Guiscafrè Danúsunclassified

Arxivers, filòlegs o folkloristes: per fer què i amb quines eines?

Danús

2014

Estudis De Literatura Oral Popular / Studies in Oral Folk Literature

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“…As a teenager I remember how wonderful I thought it would be to be able to tell the whole white world to "kiss my ass." 11 And, in the words of Esten Beal, his grandson, he "awed" the bully of Peak's Island with his strength. Caddy had been sold to a man in Goodman, Mississippi.…”

Section: Karen Baldwinmentioning

confidence: 99%

“…13 Like Barney Beal, of Beal's Island, Maine, Damazy Savicki, of Scranton, Pennsylvania, was a "very good giant," a man about whom family tales demonstrate the same Aarne-Thompson motif as Barney Beal's" F610, "Remarkably strong man." He was about six feet and a half tall, great big broad shoulders.…”

Section: Karen Baldwinmentioning

confidence: 99%

"One Thing about Your Granddad. He Never Lied. He Just Told Stories": The Importance of Family Narratives to Ethnic and Regional Studies

Baldwin¹

1983

MELUS

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Important and coherent centers for what is ethnic, what is regional, in the literatures and cultures of Americans can be found in private, unassuming "family" space and time and folk tradition. Like other folk groups, families have well-developed, traditionally persistent and artistically recreative bodies of oral narrations as well as their own proverb forms and folk speech, rhymes and rituals, folk poetry, music and song. Families generate and transmit jokes and anecdotes, homilies and hero legends -and whole fictions -which celebrate and tell of current and historic circumstances; aspirations, failed and realized; and exploits of the famous, infamous and ordinary among their kin and kind. Indeed, the entire life cycle of the family is framed in narrative performance. 1 Families will mark funeral and reunion gatherings in some quiet or clatterful corner of traded and "topped" reminiscences about a deceased member. All the while storytelling turns on the lamentable drunkenness, or the remarkable cheerfulness, or the uncompromising honesty of the dead kinsman, he is "remembered alive" by the surviving family. "His very words" are part of the dramatically performed dialogues which carry the action of the tales. He is, in these circumstances, still counted a member of the group, at the same time that the tales about him serve to reintegrate, entertain and console his remaining relatives. 2 When my maternal, Scotch-Irish, upper-Appalachian Solley kin gather in late summer for their central Pennsylvania Church of the Brethren homecoming and family reunion, the after-dinner storying often reiterates and explicates the tandem Solley family "traits" of stubbornness and "York State Yankee" ingenuity. Invariably, my grandad, Leo Solley, is remembered, once again "alive," and often "more contrary than a mines mule" by his younger brother, Roscoe, who connects "contrariness" and cleverness won out.

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“…And yet, at the same time, folklorists often dismissed and devalued revival processes and revival cultures as inauthentic and therefore unworthy of academic study or governmental funding, with clear demarcations being drawn between so-called revivalists and traditional folk artists, source musicians, or primary culture-bearers (see Conlon, Jabbour, Rosenberg, and Shay, this volume, as well as Rosenberg 1991 andTiton 1993). This delegitimizing of revival culture is best epitomized by folklorist Richard M. Dorson's (1950) distinction between folklore and "fakelore"-a term that is still occasionally employed in the early twenty-first century by scholars who wish to distinguish between what they perceive to be authentic and inauthentic folk music.…”

Section: <2>revival Scholarship and Scholar-revivalistsmentioning

confidence: 99%

An Introduction to Music Revival as Concept, Cultural Process, and Medium of Change

Hill

Bithell

2013

Oxford Handbooks Online

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Acts of revival, restoration, and renewal have been influential forces shaping and transforming musical landscapes and experiences across diverse times and places. In this volume we set out to examine the many faces and impacts of musical revival from a contemporary and global perspective. We offer a combination of theoretical essays and ethnographic case studies, many of which present new research on folk, traditional, indigenous, roots, world, and early music scenes in a variety of post-industrial, post-colonial, and post-war contexts. Supported by the insights and perspectives offered by a cohort of thirty contributors, we aim to (a) review and expand existing revival theories, and explore new avenues for understanding revival processes; (b) examine music revival as a crucial cultural process for constructing meaning and effecting socio-cultural change; (c) consider the potential of post-revival as a theoretical concept, and propose new paradigms for analyzing the transformative dimensions and contemporary ramifications of revival movements; and (d) reveal the extent to which the legacy of revivalist visions continues to shape our musical and social worlds.<1>The Significances of Revival A music revival comprises an effort to perform and promote music that is valued as old or historical and is usually perceived to be threatened or moribund. Generally speaking, revival efforts engage a number of intertwined processes and issues. First, revivals are almost always motivated by dissatisfaction with some aspect of the present and a desire to effect some sort of cultural change. Revival agents usually have agendas specific to their socio-cultural or political contexts, and in this sense may also be regarded as activists. Second, identifying musical elements and practices as old, historical, or traditional, and determining their value, often involves selecting from or reinterpreting history and establishing new or revised historical narratives (a process implicating scholars as well as performers and promoters). Third, transferring musical elements from the past to the present (or from one cultural group perceived as preserving lifeways that are in direct continuity with the past to a cultural group that perceives itself as being more modern) entails a decontextualization and a recontextualization-or what Owe Ronström (1996 and this volume) refers to as shifts. Such recontextualization may be temporal, geographical, and/or social; the social shifts discussed in this volume include appropriations across class, gender, age, religion, ethnicity, nationality, and political persuasion.In the process of recontextualization, various transformations may take place. Fourth, the elements of activism and recontextualization inherent in revivals necessitate the establishing of legitimacy, in order to persuade others to accept the musical and cultural changes being promoted and to allow the appropriating group to be perceived as legitimate culture-bearers. The act of legitimization frequently relies upon invocations of authentic...

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Folklore and Fakelore

Cited by 60 publications

References 0 publications

Arxivers, filòlegs o folkloristes: per fer què i amb quines eines?

Arxivers, filòlegs o folkloristes: per fer què i amb quines eines?

"One Thing about Your Granddad. He Never Lied. He Just Told Stories": The Importance of Family Narratives to Ethnic and Regional Studies

An Introduction to Music Revival as Concept, Cultural Process, and Medium of Change

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