This first ethnographic study of a folklife festival focuses on festival participants--the dancers, musicians, storytellers, and artisans at a public display of folk culture. These essays investigate the contention by supporters of these events that this form of folkloric representation is as intellectually legitimate as scholarly research.

Since its origins in 1967, the Smithsonian Folklife Festival has gained worldwide recognition as a model for the research and public presentation of living cultural heritage and the advocacy of cultural democracy. Festival curators play a major role in interpreting the Festival's principles and shaping its practices. Curatorial Conversations brings together for the first time in one volume the combined expertise of the Festival's curatorial staff—past and present—in examining the Center for Folklife and Cultural Heritage’s representation practices and their critical implications for issues of intangible cultural heritage policy, competing globalisms, cultural tourism, sustainable development and environment, and cultural pluralism and identity. In the volume, edited by the staff curators Olivia Cadaval, Sojin Kim, and Diana Baird N’Diaye, contributors examine how Festival principles, philosophical underpinnings, and claims have evolved, and address broader debates on cultural representation from their own experience. This book represents the first concerted project by Smithsonian staff curators to examine systematically the Festival’s institutional values as they have evolved over time and to address broader debates on cultural representation based on their own experiences at the Festival.

Drawing on his diverse experiences in producing exhibitions and public programs, the Smithsonian's Richard Kurin challenges culture brokers--museum professionals, filmmakers, journalists, festival producers, scholars, etc.--to reveal more clearly the nature of their interpretations. Kurin discusses the ethical and technical problems faced by anyone charged with representing culture in a public forum. 33 photos.

Knowledge of folk custom and folk belief can help to explain ways of thought and behavior in modern America. American Folklife, a unique collection of essays dedicated to the presentation of American tradition, broadens our understanding of the regional differences and ethnic folkways that color American life. Folklife research examines the entire context of everyday life in past and present. It includes every aspect of traditional life, from regional architecture through the full range of material culture into spiritual culture, folk religion, witchcraft, and other forms of folk belief. This collection is especially useful in its application to American society, where countless influences from European, American Indian, and African cultural backgrounds merge. American Folklife relates folklife research to history, anthropology, cultural geography, architectural history, ethnographic film, folk technology, folk belief, and ethnic tensions in American society. It documents the folk-cultural background that is the root of our society.

Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar's "Alright," J. Cole's "Be Free," D'Angelo and the Vanguard's "The Charade," The Game's "Don't Shoot," Janelle Monae's "Hell You Talmbout," Usher's "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In this collection of critical studies, contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world.

Every winter, a young girl flies to Haiti to visit her Auntie Luce, a painter. The moment she steps off the plane, she feels a wall of heat, and familiar sights soon follow — the boys selling water ice by the pink cathedral, the tap tap buses in the busy streets, the fog and steep winding road to her aunt’s home in the mountains. The girl has always loved Auntie Luce’s paintings — the houses tucked into the hillside, colorful fishing boats by the water, heroes who fought for and won the country’s independence. Through Haiti’s colors, the girl comes to understand this place her family calls home. And when the moment finally comes to have her own portrait painted for the first time, she begins to see herself in a new way, tracing her own history and identity through her aunt’s brush. Includes an author’s note and a glossary.

The Oxford Handbook of American Folklore and Folklife Studies surveys the materials, approaches, concepts, and applications of the field to provide a sweeping guide to American folklore and folklife, culture, history, and society. Forty-three comprehensive and diverse chapters delve into significant themes and methods of folklore and folklife study; established expressions and activities; spheres and locations of folkloric action; and shared cultures and common identities. Beyond the longstanding arenas of academic focus developed throughout the 350-year legacy of folklore and folklife study, contributors at the forefront of the field also explore exciting new areas of attention that have emerged in the twenty-first century such as the Internet, bodylore, folklore of organizations and networks, sexual orientation, neurodiverse identities, and disability groups. Encompassing a wide range of cultural traditions in the United States, from bits of slang in private conversations to massive public demonstrations, ancient beliefs to contemporary viral memes, and a simple handshake greeting to group festivals, these chapters consider the meanings in oral, social, and material genres of dance, ritual, drama, play, speech, song, and story while drawing attention to tradition-centered communities such as the Amish and Hasidim, occupational groups and their workaday worlds, and children and other age groups. Weaving together such varied and manifest traditions, this handbook pays significant attention to the cultural diversity and changing national boundaries that have always been distinctive in the American experience, reflecting on the relative youth of the nation; global connections of customs brought by immigrants; mobility of residents and their relation to an indigenous, urbanized, and racialized population; and a varied landscape and settlement pattern. Edited by leading folklore scholar Simon J. Bronner, this handbook celebrates the extraordinary richness of the American social and cultural fabric, offering a valuable resource not only for scholars and students of American studies, but also for the global study of tradition, folk arts, and cultural practice.

The National Mall in Washington, D.C., has held an important place in the American psyche since the early nineteenth century. Home to monuments and museums dedicated to the ideals upon which the United States rests, the Mall serves as a gathering place for public protest and celebration. But as the nation ages and the population diversifies, demands for additional structures and uses have sparked debates over the Mall's future and the necessity of preserving its legacy and the vision of its designers. The National Mall addresses these issues with a novel and compelling collection of essays, the work of leading design professionals, historians, and social scientists. Supplemented by eye-catching illustrations and photographs, this cross-disciplinary examination follows the discussion over the Mall's design and use, from its conceptual origins as part of Pierre Charles L'Enfant's vision for the capital to the 1902 McMillan Plan to the present day and beyond. It assesses how architectural, societal, and political changes have altered the park-like space between the Capitol and the Lincoln Memorial and explores the influence that disparate interest groups and creeping corporatism have already had on—and are likely to exert upon—America's public square. The National Mall presents an overarching account of how a democratic society plans, creates, and expands a national ceremonial space, opening the way for a broadly based inquiry into the Mall as it was, is, and will become. Urban planners, architectural and design historians, and engaged citizens will be challenged and well served by the thoughtful essays collected by Nathan Glazer and Cynthia R. Field.

In American music, the notion of "roots" has been a powerful refrain, but just what constitutes our true musical traditions has often been a matter of debate. As Benjamin Filene reveals, a number of competing visions of America's musical past have vied fo