Folk Tales and Fairy Tales in Performance

Folk Tales and Fairy Tales in Performance

Perhaps more than any other single aspect of the discipline of folklore, the collection, study, and analysis of narrative arts, storytelling, and storytellers has been a central part of folklore scholarship since the field was founded in the mid-Nineteenth Century.   European collectors such as Perreault (France – seventeenth century) and the Brothers Grimm (Germany- eighteenth century) collected and published many of the well-loved “fairy tales” known today, including Little Red Riding Hood, Cinderella, Rapunzel, and Hansel and Gretel.   In the twentieth century, American collectors Zora Neale Hurston, Roger Abrahams, Alan Lomax, and others expanded the storytelling canon to include tales with Afro-centric origins.   Stories with characters such as Anansi the Spider, Papa Bwa, and the Soucouya, were introduced to a wider audience beyond solely Caribbean and African American communities.Today’s fascination with storytelling is encouraged by the “me” story, fueled by Story Corps, reality TV, Facebook, Snapchat, and a host of other social media that encourages one to tell one’s “story.”  This current focus on the individual marks a significant cultural shift away from the historic role of traditional story and storytelling as shared collective expressions intended to stimulate and encourage ideas about family, community, political, secular, and religious values.

If you would like to experience the performative nature of stories, two events are taking place in the Capital District that will provide opportunities.  On February 29 (Schenectady) and March 1 (Troy), Nazmo Dance Company will join with folklorists Kay Turner and Rose October-Edun to explore European and Caribbean tales as interpreted through modern dance.  Performances will take place at the Schenectady Light Opera and at the Arts Center for the Capital Region in Troy.  Tickets can be obtained here:  www.nyfolklore.org/grimm.

A second opportunity to hear live storytelling will be the annual conference of Northeast Storytelling.  “Sharing the Fire 2020” will offer three days of performances and workshops at the Gideon Putnam Spa and Resort in Saratoga Springs.  More information can be found at www.NEstorytelling.org.

NYSCA/New York Folklore Folk Arts Graduate Internship Program

NYSCA/New York Folklore Folk Arts Graduate Internship Program

The Brooklyn Arts Council presents The Crimean Tatar Ensemble at the Sheepshead Public Library

The NYSCA/New York Folklore Folk Arts Graduate Internship program serves as an important educational and outreach opportunity for the Folk Arts Field in New York State. Conceived by the Folk Arts Program of the New York State Council on the Arts and administered by New York Folklore, the program provides a paid internship to graduate students in folk and traditional arts or in allied fields such as ethnomusicology. Through the program, current graduate students or recent degree recipients are paired with an experienced regional folklorist working in a New York cultural institution. In this position, they are able to pursue their own research, hone their skills as a public sector folklorist, and provide their own current academic and research knowledge to the organization. In 2019, Donald Bradley – a student of folklore and ethnomusicology at Indiana University – worked alongside Chris Mulé, regional folklorist at the Brooklyn Arts Council. He had this to say about his experience:

The work that I have been able to do through Brooklyn Arts Council has been intellectually, politically, and personally rewarding. Preconceived notions I held about the various roles that arts councils play in local communities were challenged, and, simultaneously, my own deeply held beliefs of the importance of collaborative and dialogic work with artists, particularly folk and traditional artists, were strongly reinforced. I gained a great deal of skills and knowledge, particularly in documentationsomething that is not strictly taught in my graduate program. Through the many diverse applied experiences that were offered, this internship affirmed my public folklore-oriented trajectory as a graduate student at Indiana University’s Department of Folklore and Ethnomusicology.

Internship applications will again be available in February 2020. For information, or to receive application specifics, please contact New York Folklore.

My Mentorship with Eric Charry about Jola Bougarabou Drumming

My Mentorship with Eric Charry about Jola Bougarabou Drumming

Within five minutes of his arrival on April 6, 2018, my mentor, Professor Eric Charry of Wesleyan University, taught me something I did not know about interviewing musicians. Pulling up a photo of Nfamara Badjie playing bougarabou, Eric immediately notices that drum bodies are the traditional bougarabou shape, but the drum heads are not bougarabou. They are djembe, relating to the way in which the drums are tuned. Bougarabou drums are traditionally tuned by heating (putting the drums close to a fire), while the djembe is tuned with a hammer, a more viable system in the United States. I now know to ask how an instrument changes as it moves from one country to another and over time.

The difference in drums led to a discussion of the notion of ethnicity tied to a particular instrument. Is the essence of bougarabou and Jola the instrument or the rhythms and songs associated with it? Or a combination? At what point does the instrument change enough to not be bougarabou? Who gets to decide? Eric and Nfamara helped me to place the tradition of bougarabou within the Jola and within the various tribal cultures found in Gambia and Senegal. We also discussed the lineage of bougarabou musicians of which Nfamara is one of the last. Nfamara told us that some Jola believe that he is killing the culture because he is in the United States and not in the Gambia sharing and teaching the bougarabou.

Eric reminded me that I need to apply these same questions about changes in instrument or materials, across the genres and not just in music.

For information about applying for the Mentoring and Professional Development Program in Folk and Traditional Arts, please contact me at [email protected] to discuss an application.

Local Students to Become Junior Curators for Smithsonian Traveling Exhibition about Water

Local Students to Become Junior Curators for Smithsonian Traveling Exhibition about Water

New York Folklore and Schoharie River Center Partner for Smithsonian Educational Initiative

New York Folklore has been selected to create one of sixteen projects nationwide for the Smithsonian’s Stories from Main Street: Youth Engagement and Skill-building Program (Stories: YES). The program is a collaboration between youth participants of The Schoharie River Center and New York Folklore to develop stories around the theme of the Smithsonian Museum on Main Street Exhibition “Water/Ways”.

Stories: YES participants weave national narratives from the exhibition into the history of their own region by conducting research and interviews to create a project highlighting their communities. The program engages kids with regional history and contemporary local issues, while providing an opportunity to use professional equipment and learn real-world skills. Youth projects will be displayed locally and their digital stories will be shared on Museum on Main Street’s website. Equipment purchased through the project will be available for future student success.

Funding for Stories: YES is generously provided to Museum on Main Street (MoMS) with internal Smithsonian Institution Support from the Smithsonian Youth Access Grants Program. MoMS is a partnership between the Smithsonian Institution Traveling Exhibition Service (SITES) and state humanities councils. It was created to serve museums, libraries and historical societies in rural areas, where one fifth of all Americans live. SITES has been sharing the wealth of Smithsonian collections and research programs with millions of people outside Washington, DC for over sixty-five years. It connects Americans to their shared cultural heritage through a wide range of exhibitions about art, science, and history, which are shown wherever people live, work and play.

Since 2010, New York Folklore has been working in partnership with the Schoharie River Center, a youth development program that engages youth in educational and scientific inquiry of their regions’ waters, to document the region and to create digital portraits of the Mohawk Watershed.

For information on the local Stories: YES project or to participate, please contact John McKeeby, Executive Director of the Schoharie River Center at [email protected] or Ellen McHale, Executive Director of New York Folklore at [email protected] or 518-346-7008.