My late father, Samuel Margolis, was
unwittingly caught in the anti-Communist
hysteria of the early 1950s. His troubles
began when he was accused of being a
Communist by coworkers who disliked him.
He was investigated by the FBI and other
federal agencies and lost his livelihood for
several years, but he was eventually able to
clear his name.
New York State
In Praise of Women
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:
Dynamic yet Fragile:
Archives, historical societies, and museums
today have inherited the task
of caring for a swelling mass of audiovisual
materials. A 2005 Heritage Health Index
survey calculated a staggering 2,423,568
moving image collections and 2,189,992
audio collections safeguarded within the
United States alone. Alarmingly, more than
40 percent of audio and video collections
are maintained in unknown conditions. The
same report concluded that many cultural
institutions lack essential resources to care
for these artifacts. These collections are
in peril if left unattended, as over time the
fragile plastic-coated tapes can deteriorate
and fail to play.
From the Editor
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.
From the Director
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.
Play
Abner Cartwright, Alexander Doubleday. . .
these composite names stand for an exceedingly
odd couple whose identities have been
stolen, accomplishments merged, and stories
intertwined for more than a century now. What
both men share is that their lives were hijacked
after their deaths, and as a result, each was
credited with something he did not do—that
is, invent baseball.
From Wild Man to Monster:
When the first European settlers
entered what is now New York
State and its environs, they brought with
them not only their material culture, but also
an array of beliefs in mythical beings. Such
creatures had been part of the European
psyche for centuries. A central character in
this pantheon was the “wild man” thought
to inhabit the darker parts of the European
countryside. Also known as the woodwose,
wooser, or “wild man of the woods,” it
was conspicuous in folklore between the
thirteenth and fifteenth centuries and holds a
prominent place in later medieval European
artwork and literature.
Carving Out a Life:
I was born in 1950 in Doylestown, Pennsylvania.
I started carving at age twenty-two,
when my father gave me a gift of a
painted wood-carving he had made of me
at the farm where I grew up. This gift from
my father inspired me to begin to make my
own carved and painted pictures. Since then
I’ve made more than one thousand pieces in
thirty-five years. I think of my pictures as a
visual diary that helps me make sense of the
events and feelings of my life.
From the Editor
The articles featured
in this issue of Voices
contain a variety of
voices whose messages
are “traditional”—in the
surprising, the comforting,
and even the most
alarming senses of that disciplinary keyword. In the photo essay “Carving Out a Life:
Reflections of an Ithaca Wood-Carver,”
self-taught carver Mary Michael Shelley describes
how she responded simultaneously
to her Northeastern farm family heritage,
liberal arts education, and the emerging
feminism of her time to claim a form of
man’s work—carpentry and carving…
From the Director
As we look back
on our organization’s
sixty-fifth year,
I would like to thank
all of our supporters
on behalf of the entire
New York Folklore
Society family.
2009 was a year of
great upheaval and rethinking of the organization….Partnerships in
2009 … helped us to realize programming goals: Union College, the Albany Institute
for History and Art, the City of Schenectady,
and the Erie Canalway National Heritage
Corridor were invaluable in helping us to
continue to provide folklore and folk arts
programming
The Vodou Kase:
Focusing inquiry on the kase, a drum pattern strongly associated with spirit possession, I compare episodes of transcendence that occur in Hall’s class [Pat Hall Dance and Movement Class, Brooklyn] with possessions that occur during the rites of Afro-Haitian Vodou, during acoustically similar if not identical performances. Reflections derive from documentation of classes; interviews with the instructor, lead drummer, and selected students; and my participation in classes. I argue that various experiences of transcendence in the class occupy points on a continuum, that the same may be true in the temple, and that an area of overlap may pertain. These statements challenge the divide between sacred and profane and bring nuance to notions of music and spirituality.
From the Director
Folklorists are uniquely positioned to lend
an important voice to the debates around
immigration and immigration reform. As
globalization brings the world together, folklore
works to draw attention to that which is
local, individual, and expressive. Throughout
the next decade, it will be important for
folklorists to continue to draw attention
to the field of folklore through alliances
with disciplines and organizations outside
of folklore, thus providing a folkloristic
perspective on contemporary life.
From the Editor
This issue of Voices offers readers a cornucopia of food for deep thoughts on New York. We experience the transcendent freedom of Vodou dancing in the city, survey the shape-shifting history of Rip van Winkle stories, and wend our way through the psychological landscape of a post-9/11 urban legend. We also encounter Afro-Colombian music in Queens and Native New York handcrafts.
Saint Rip
Patron saint of the Catskills, Rip Van Winkle has belonged to all America, coast to coast, almost from the moment he was born, by passage through Washington Irving’s pen, in 1819. Only seven years later there was a Rip Van Winkle House along the road from Palenville to the nation’s first resort hotel, the Catskill Mountain House; in 1850 there was another Rip Van Winkle House on the corner of Pacific Wharf and Battery Street in San Francisco. Rip’s real-life presence was attested by nonagenarians who claimed to have known him and his hectoring dame.
Downstate
Fundraising
is about individuals and groups with
different resources collaborating around a
vision shared: a good and workable marriage,
like the simple tin cup I imagined picking
up in the forest. Funders are collaborators.
As Bob Dylan put it, “I’ll let you be in my
dreams, if I can be in yours.”