Artists and organizations in New York State will receive a combined total of over $600,000 in grants, thanks to their partnerships with New York Folklore. These funds from the the New York State Council on the Arts (NYSCA) support artists, specific cultural...
(1) Behind the Mask: Vernacular Culture in the Time of COVID offers a profound reminder that the pandemic was not merely a medical or logistical crisis but also a deeply cultural one. The book underscores how communities adapted, coped, and ultimately persevered through vernacular creativity and collective resilience in a social way. (2) Anna Morcom’s Illicit Worlds of Indian Dance: Culture of Exclusions (2014) explores the profound cultural shifts that occurred with the advent of British colonialism in India, particularly, focusing on the hereditary female dancers—once the most esteemed artists in precolonial India. With the onset of
colonization, their status shifted drastically.
Fairy tales have been retold, rewritten, and reproduced across media for centuries. Although traditionally, fairy tales have championed reproductive future by celebrating the heteronormative “happily ever-after,” indicated by the union between heterosexual couples, Queer rewritings of fairy tales and scholarship on this matter are not completely scarce in the West. There is, however, a dearth of Queer fairy tales for the Desi audience, and naturally, therefore, limited scholarship available on the matter….The absence of Queer fairy tales in traditional Indian folklore keeps Queerness invisible in the cognitive landscape of children while perpetuating heteronormativity.
.
There is a long-standing association between phenology and traditional foodways. Arguably, all phenology is connected to foodways, in that whether hunting, fishing, foraging, propagating, and/or cultivating food, all food based in the landscape is inextricably connected to natural processes, ecological conditions, and seasonal cycles—whether or not they are explicitly and obviously food-related.
South Asian regional cinema has consistently served as a medium for exploring the multifaceted nature of identity and complex social structure. Currently, amid the newly emerging film genres, a subgenre of horror, featuring supernatural entities, illuminates the role of religious belief and narratives in shaping South Asian worldviews. The emergence of such films topples the East/West dichotomies, by bringing to the forefront the dynamics between the regional/vernacular and the dominant/mainstream within the Indian context. Therefore, this study proposes an appendage of intersectionality to subalternity, arriving at the framework of intersectional subalternity, manifesting at the level of ideas and ideologies to study the movement from the periphery to the center in the South Asian cinematic genre.
Like so many ancient crafts, handspinning is far from dead and gone, and there’s a vibrant international community of spinners with their own literature, events, and makers of new tools. Still, the old wheels are constantly at risk, as collectors pass away, institutions shut down and disperse their collections, and time and circumstances take their toll through water damage, fires, woodworms, pet damage, and lost parts. Collectors and users of old spinning wheels are a fraction of the larger handspinning community, so there are only so many homes for these grand old tools,
and each spinner can only take in so many spinning wheels.
Shewly emerges as a compelling example, within a cohort of women in New York, who congregate and share experiences within their community, extending their interactions to a broader virtual community. …Traditionally, the relationship between grandparents and grandchildren in Bangladesh and its diaspora enjoyed relative openness and freedom from censorship of male–female relationships. Criticisms directed at virtual activities, mainly by trolling, highlight anxieties surrounding the expansion of social ties into the virtual realm.
Folklore, not confined to boundaries of nationalism,
homogeneity, and diversity, manifests across
digital platforms, like TikTok, YouTube, and Facebook,
shaping how people navigate in the virtual
era. These platforms enable rapid dissemination
of cultural expressions, transcending geographical
and temporal boundaries. The shift challenges the
approach to studying and defining folklore.
We are pleased and honored to introduce Rasel Ahmed, our Fall-Winter 2023 special issue editor. In early 2023, New York Folklore issued a Call for Proposals for guest editors and identified two talented emerging folklorists. Each proposed a specific theme or focus, with Rasel Ahmed’s issue focusing on folklore in a transnational context.
This study investigates the re-creation of the korovai baking tradition within the Ukrainian diaspora in New York, offering a detailed case study of how the cultural practice has been adapted and revitalized in a new environment. Although korovai, a traditional Ukrainian wedding bread, is deeply rooted in the culinary practices of Ukraine, its continuation in the diaspora reflects a dynamic process of cultural adaptation. The research explores the establishment and operation of korovai baking classes in The Ukrainian Museum in New York and the personal baking practices of Mrs. Larysa Zielyk, demonstrating how these efforts contribute to the ongoing re-creation and transmission of the tradition.
I developed a research interest in foodways while doing my Master of Arts in Folk Studies & Anthropology at Western Kentucky University in 2015, but my cultural interest in food dates back much further, to when I was 18 years old and living in New York City for the first time as an undergraduate student. I remember that first semester vividly—the classes, meeting new friends, adapting to living in a city after having spent my entire life in a quiet college town. What I remember most of all are the tastes—meeting up with classmates for sushi during study breaks; sipping an egg cream for the first time at a diner at three o’clock in the morning; biting into a knish outside of Lincoln Center in the freezing February wind.
In early 2023, New York Folklore put out a Call for guest editors for our journal. Each potential guest editor proposed a special issue with a specific theme or focus. Two talented folklorists are being featured for the 2023 issues of Voices: The Journal of New York Folklore. This issue, by Sarah Shultz, has its focus on foodways.
At nineteen, Maeve Flanagan is one of the
finest young Irish fiddlers in New York and
the world. Daughter of fiddler and multi-instrumentalist
Mike Flanagan—“My dad
knows every tune imaginable,” says Maeve—
and fiddle player and teacher Rose Conway
Flanagan, Maeve is well aware of the Irish
American musical and cultural legacy she
has inherited:
Our History. The New York Folklore Society was founded in 1944 by a group of folklorists, historians, writers, and enthusiasts—dreamers and visionaries emerging from the Great Depression. Sharing a vision for cultural democracy after World War II, they felt that it was essential to collect, save, and share the folk arts and cultural traditions of the many cultures that made up the urban and rural areas of the state, its historic regions, and the American literary traditions it inspired. The founders’ goal was to “plow back”: to give back traditional arts to the people who created and maintained them.
A Call to Action.
Just before the new
year, along with hundreds of arts nonprofits across
the state, the New York
Folklore Society received
alarming news. New
York State’s deficit reduction
plan instituted in December 2008 included
extensive cuts to a number of state programs—
including the grants budget of the
New York State Council on the Arts. The cuts
to NYSCA meant that pending requests for
fiscal year 2008–9 funding, including the New
York Folklore Society’s request for general operating
support, could not be considered.