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Texas Rituals, Superstitions, and Legends of the Hereafter
Death provides us with some of our very best folklore. Some fear it, some embrace it, and most have pretty firm ideas about what happens when we die. Although some people may not want to talk about dying, it’s the only thing that happens to all of us–and there’s no way to get around it. This Publication of the Texas Folklore Society examines the lore of death and whatever happens afterward. The first chapter examines places where people are buried, either permanently or temporarily. Chapter Two features articles about how people die and the rituals associated with funerals and burials. The third chapter explores some of the stranger stories about what happens after we’re gone, and the last chapter offers some philosophical musings about death in general, as well as our connection to those who have gone before.
Political Activism in South Asian American Cultural Performances
Desi Divas: Activism in South Asian American Cultural Performances is the product of five years of field research with progressive activists associated with the School for Indian Languages and Cultures (SILC), South Asian Americans Leading Together (SAALT), the feminist dance collective Post Natyam, and the grassroots feminist political organization South Asian Sisters. Christine L. Garlough explores how traditional cultural forms may be critically appropriated by marginalized groups and used as rhetorical tools to promote deliberation and debate, spur understanding and connection, broaden political engagement, and advance particular social identities. Within this framework she examines how these performance activists advocate a political commitment to both justice and care, to both deliberative discussion and deeper understanding. To consider how this might happen in diasporic performance contexts, Garlough weaves together two lines of thinking. One grows from feminist theory and draws upon a core literature concerning the ethics of care. The other comes from rhetoric, philosophy, and political science literature on recognition and acknowledgment. This dual approach is used to reflect upon South Asian American women's performances that address pressing social problems related to gender inequality, immigration rights, ethnic stereotyping, hate crimes, and religious violence.Case study chapters address the relatively unknown history of South Asian American rhetorical performances from the early 1800s to the present. Avant-garde feminist performances by the Post Natyam dance collective appropriate women's folk practices and Hindu goddess figures make rhetorical claims about hate crimes against South Asian Americans after 9/11. In Yoni ki Bat (a South Asian American version of The Vagina Monologues) a progressive performer transforms aspects of the Mahabharata narrative to address issues of sexual violence, such as incest and rape. Throughout the volume, Garlough argues that these performers rely on calls for acknowledgment that intertwine calls for justice and care. That is, they embed their testimony in traditional cultural forms to invite interest, reflection, and connection.
Contemporary Legends, Folklore, and Human Sexuality
Ever hear the one about the man who wakes up after a chance sexual encounter to discover he's been involuntarily relieved of one of his kidneys? Or the tiny gift-wrapped box from a recently departed lover that reveals a horrible secret? Everyone knows contemporary legends, those barely believable, often lurid, cautionary tales, always told as though they happened to the friend of a friend. Sometimes we pass them on to others unsure of their truthfulness, usually we dismiss them as mere myth. But these far-fetched legends tell us quite a bit about our deepest fears and fantasies.
In fact, a large part of what we know about our bodies we have learned informally, from kids on the playground or colleagues at work, from piecing together the information contained in folk beliefs, jokes and legends. Sexual folklore goes beyond classroom lessons of mechanics to answer many questions about what people actually do and how they do it.
Mariamne H. Whatley and Elissa R. Henken have collected hundreds of sexually-themed stories and jokes from college students in order to tell us what they reveal about our sexual attitudes and show us how they have changed over time. They confront myths and stereotypes about sexual behavior and use folklore as a tool to educate students about sexual health and gender relations. Whether analyzing popular rumors about celebrity emergency room visits or the latest schoolyard jokes, Did You Hear About The Girl Who . . . ? presents these tales in a way that is intriguing and educational.
Rhythm and Race in the Americas
Long a taboo subject among critics, rhythm finally takes center stage in this book's dazzling, wide-ranging examination of diverse black cultures across the New World. Martin Munro’s groundbreaking work traces the central—and contested—role of music in shaping identities, politics, social history, and artistic expression. Starting with enslaved African musicians, Munro takes us to Haiti, Trinidad, the French Caribbean, and to the civil rights era in the United States. Along the way, he highlights such figures as Toussaint Louverture, Jacques Roumain, Jean Price-Mars, The Mighty Sparrow, Aimé Césaire, Edouard Glissant, Joseph Zobel, Daniel Maximin, James Brown, and Amiri Baraka. Bringing to light new connections among black cultures, Munro shows how rhythm has been both a persistent marker of race as well as a dynamic force for change at virtually every major turning point in black New World history.
Popular Music Audiences in Freetown, Sierra Leone
This book offers an intriguing account of the complex and often contradictory relations between music and society in Freetown’s past and present. Blending anthropological thought with ethnographic and historical research, it explores the conjunctures of music practices and social affiliations and the diverse patterns of social dis/connections that music helps to shape, to (re)create, and to defy in Sierra Leone’s capital Freetown. The first half of the book traces back the changing social relationships and the concurrent changes in the city’s music life from the first days of the colony in the late 18th century up to the turbulent and thriving music scenes in the first decade of the 21st century. Grounded in this comprehensive historiography of Freetown’s socio-musical palimpsest, the second half of the book puts forth a detailed ethnography of social dynamics in the realms of music, calibrating contemporary Freetown’s social polyphony with its musical counterpart.
One of the most comprehensive and widely praised introductions to folklore ever written. Toelken's discussion of the history and meaning of folklore is delivered in straightforward language, easily understood definitions, and a wealth of insightful and entertaining examples.
Toelken emphasizes dynamism and variety in the vast array of folk expressions he examines, from "the biology of folklore," to occupational and ethnic lore, food ways, holidays, personal experience narratives, ballads, myths, proverbs, jokes, crafts, and others. Chapters are followed by bibliographical essays, and over 100 photographs illustrate the text. This new edition is accessible to all levels of folklore study and an essential text for classroom instruction.
A Food Studies Reader
Music in the Life of a Tibetan Refugee Community
In Echoes from Dharamsala, Keila Diehl uses music to understand the experiences of Tibetans living in Dharamsala, a town in the Indian Himalayas that for more than forty years has been home to Tibet's government-in-exile. The Dalai Lama's presence lends Dharamsala's Tibetans a feeling of being "in place," but at the same time they have physically and psychologically constructed Dharamsala as "not Tibet," as a temporary resting place to which many are unable or unwilling to become attached. Not surprisingly, this community struggles with notions of home, displacement, ethnic identity, and assimilation. Diehl's ethnography explores the contradictory realities of cultural homogenization, hybridity, and concern about ethnic purity as they are negotiated in the everyday lives of individuals. In this way, she complicates explanations of culture change provided by the popular idea of "global flow."
Diehl's accessible, absorbing narrative argues that the exiles' focus on cultural preservation, while crucial, has contributed to the development of essentialist ideas of what is truly "Tibetan." As a result, "foreign" or "modern" practices that have gained deep relevance for Tibetan refugees have been devalued. Diehl scrutinizes this tension in her discussion of the refugees' enthusiasm for songs from blockbuster Hindi films, the popularity of Western rock and roll among Tibetan youth, and the emergence of a new genre of modern Tibetan music. Diehl's insight into the soundscape of Dharamsala is enriched by her own experiences as the keyboard player for a Tibetan refugee rock group called the Yak Band. Her groundbreaking study reveals the importance of music as a site where official and personal, old and new representations of Tibetan culture meet and where different notions of "Tibetan-ness" are being imagined, performed, and debated.
This collection represents, in substance and style, folk tradition in the North-West Region of Cameroon. Contained herein is a sampling of various human emotions, parental concerns, and societal conflicts: emotional insecurity, deceit, obstinacy, power and control, trickery, malevolence, greed, jealousy, and more. The stylistic representation is reflected in the double writing, as shown by the dialogues, the songs, and the use of choruses. These tales are ageless, placeless, and, therefore, anonymous; yet they are also the collective wisdom of a people who are supposed once to have walked the planet and communed with other animals and non-animals on the same terms. That is how humans, animals, vegetation, water, and hills/mountains are equally animate and have linguistic expression for their thoughts and sentiments. Folktales served primarily as entertainment, and also as a convenient way of teaching history and culture, and they invariably promoted good listening and speaking skills in the vernacular language as children learned to model the rhetorical patterns of their adult folkloristsówith children taking turns night after night till they had gone full circle and then started recounting the same tales over. While the morale of some of the tales is obvious, that of other tales is not; and that, again, is typical both of the traditional mind set and of the educational backdrop of storytelling.