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Posted by: Stephen Winick
This guest post by Jennifer Cutting is part of a series of blog posts highlighting performances by contemporary artists at special “Archive Challenge” showcase stages, both at the Folk Alliance International conference, and at the Library of Congress as part of the Homegrown concert series. (Find all entries in the series here!) In both of …
Posted in: Archive Challenge, Bluegrass
Posted by: Stephen Winick
Take the Archive Challenge–From Home! The following post was co-authored with Jennifer Cutting At the American Folklife Center, we know it’s been hard for those of you who are cooped up at home in order to contain the spread of the COVID-19 virus. Most of the staff live in areas under stay-at-home orders, and have …
Posted in: Archive Challenge
Posted by: Stephen Winick
The popular essay often known as "You Are Quoting Shakespeare," suggests that many common phrases have their origin in Shakespeare's works. This post shows that most of those phases were proverbial folklore, known well before Shakespeare's time. It suggests that attributing them to Shakespeare is a form of what Stephen Jay Gould called a "Creation Myth," and that the credit for many of the phrases should go to ordinary speakers of English. It argues that part of Shakespeare's greatness lay in his ability to use such phrases to create natural dialogue.
Posted in: Metafolklore (Folklore about Folklore), Myths, Proverbs, Shakespeare
Posted by: Michelle Stefano
Our journey in the Folklife at the International Level series last took us to long-established East Asian “Living Human Treasures” programs for safeguarding intangible cultural heritage (ICH). As discussed, during the 1990s, UNESCO recommended to Member States that they adopt similar systems of subsidizing (or, at the least, officially recognizing) people in their own territories …
Posted in: Bess Lomax Hawes, Cultural Heritage, Intangible Cultural Heritage, WIPO
Posted by: Stephen Winick
This guest blog post by Matthew Barton about the playwright Arthur Miller is part of a series called “Hidden Folklorists,” which examines the folklore work of surprising people, including people better known for other pursuits. It was written soon after Miller’s death in 2005 for the publication Folklife Center News. Matthew Barton worked at the …
Posted in: Hidden Folklorists, Radio
Posted by: Stephen Winick
The Homegrown 2019 Concert Series is underway! All the concerts are free, noontime concerts in the Library of Congress's Jefferson Building. Tickets are not required. This year's series features Tuvan, Irish, Gospel, Blues, Balkan, and lots of African music! As always, you can find the series listed in several places on the Library's website, including the daily event listings. One handy spot listing the whole series is the Folklife Concerts page at http://www.loc.gov/concerts/folklife/?loclr=blogflt
Posted in: Homegrown Concert Series
Posted by: Stephanie Hall
For some time I have been intrigued by the beautiful voices of four young men, singers in the Holloway High School Quartet, recorded by John W. Work III in Murfreesboro, Tennessee, in 1941. To mark African American Heritage Month this year, I thought I would try to find out a little more about them. I have …
Posted in: African American History, African Americans
Posted by: Stephen Winick
In the Homegrown Plus series, we present Homegrown concerts that also had accompanying oral history interviews, placing both together in an easy-to-find blog post. (Find the whole series here!) We’re continuing the series with the The Fairfield Four, an African-American gospel quartet that has existed for more than 95 years. Best known for its performance in the …
Posted in: African American History, Homegrown Plus
Posted by: Stephen Winick
Langston Hughes is mostly remembered selectively as a “folk” and jazz poet, or author of black vernacular blues and jazz poetry. While Hughes did dedicate himself to creating and reinterpreting these genres throughout his life and career, the core of his work is actually in collecting and experimenting with folklore across spaces and media. In Harlem and abroad, Hughes operated as what scholar Daphne Lamothe calls a “native ethnographer,” adapting his work during and beyond the Harlem Renaissance across genres to the discourses of anthropology, folklore, and sociology in a mode reminiscent of that of sociologist W.E.B. Du Bois, anthropologist Zora Neale Hurston, civil rights activist, songwriter, and author of the local history book Black Manhattan James Weldon Johnson, choreographer Katharine Dunham, and many others. Specifically, Hughes was an ethnographer of black vernacular culture, transcribing different kinds of linguistic and musical performance and reinterpreting those transcriptions in and as his own texts.
Posted in: African American History, Hidden Folklorists