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1 FOLK 550: Intro to Material Culture, Christensen, Fall 2011; revised 11/15/2011

THINGS MATTER: INTRODUCTION TO MATERIAL CULTURE

FOLK 550 TuTh 3:30PM -‐ 4:45PM Hanes Hall 0112

University of North Carolina, Chapel Hill Fall 2011

Dr. Danille Elise Christensen OFFICE: 515 Greenlaw OFFICE HOURS: 10 am-‐12 noon Friday, and by appointment EMAIL: [email protected] (If you need to email me, please do so before 7 pm. I’ll try to respond quickly, but can’t guarantee a response in less than 24 hours.) WELCOME TO FOLK 550! This course explores the intersection of individual choices, cultural norms, and physical surroundings, focusing in particular on why (and to whom) objects matter. Combining scholarly arguments with first-‐hand field research, you’ll investigate material things as historical records, as shapers of human behavior, and as forms of expression. The keystone of the course is semester-‐long project—a hands-‐on endeavor in which you will learn to make, contextualize, and analyze the social implications of an object or process of your choice. Working with instructional guides and knowledgeable friends or community consultants, students in past classes have learned to garden, quilt, weld, tend honeybees and livestock, preserve fruit, knit, bake, throw pots, and make solar iphone chargers or metal jewelry, among other projects. To help you get started, we begin the course by surveying fieldwork methods and theories, especially as they relate to the study of objects and processes. As your projects get underway, we’ll consider a number of perspectives and examples that will help you think about the past and present meanings of the process you’re exploring. Objects have often been approached as discrete texts that can be “read” to fill gaps in written histories, offering clues that help reconstruct the rhythms of daily life in the past. But they also offer much insight on contemporary values, including aesthetic preferences, social prejudices, and political goals. We’ll see how things like houses, gravestones, paper footballs, and cootie catchers reveal and create social networks; how postcards, pottery, and food communicate ideas about region and place; and how objects are actively used in protests, festivals, rituals, and museums to shape the past, present, and future. Finally, we’ll look at the interplay of tradition and innovation in the creation and marketing of handmade objects. Spontaneous shrines, clothing, home décor, special meals, ETSY offerings—all communicate about the creator and his or her social and cultural environment, and our reactions to the things others make and use may reveal even more about our own assumptions and preferences. In addition to exploring how objects help direct the course of our habits and interactions, throughout the course we'll think carefully about a number of concepts, including "art," "history," "tradition," "commodity," "revival," authenticity," "place," and "power." GOALS. By the end of the semester you should be able to:

• explain how “art,” “craft,” “work,” “skill,” “identity,” and “power” have been conceptualized by scholars and laypeople

• reflect on the various ways people have defined, evaluated, and displayed material forms, and why • analyze how people use material forms to accomplish important social business • identify patterns in form, and observe and document processes of creation • synthesize data from different sources (field notes, observations or recorded interviews, diagrams or

photographs, and library research) to produce an analytical product • summarize accurately, apply course ideas, and present your findings using effective verbal and visual

means.


REQUIRED COURSE MATERIALS

1) John A. Burrison. 2000. Shaping Traditions: Folk Arts in a Changing South. Athens: University of Georgia Press. 2) Henry Glassie, 2000. Vernacular Architecture. Bloomington: Indiana University Press. 3) James Deetz. 1996 [1977]. (expanded and revised edition) In Small Things Forgotten: An Archaeology of Early American Life. New York: Anchor Books. 4) Emil Her Many Horses. 2007. Identity by Design: Tradition, Change, and Celebration in Native Women’s Dress. Smithsonian Institution Press, 2007. 5) Faythe Levine and Cortney Heimerl. 2008. Handmade Nation: The Rise of DIY, Art, Craft, and Design. New York: Princeton Architectural Press. 6) Henry Glassie. 1999. The Potter’s Art. Bloomington: Indiana University Press. 7) Additional Readings (online). Posted on Sakai, in Resources=>Course Readings

CLASSROOM CLIMATE: Learning to express one’s ideas is a vital part of educated citizenship. Our classroom can be a safe space characterized by an open, engaged, and supportive environment. In pursuit of this goal, I’ll treat each of you with the courtesy that I expect from you. This includes being on time for class, coming prepared to participate, speaking respectfully to others, and listening to new or different perspectives. We will not discriminate against or criticize each other based on gender, ethnic origin, sexual orientation, disability, or any other factor. Behavior that violates this classroom climate policy will not be tolerated. CELL PHONES AND OTHER PERSONAL TECHNOLOGIES: Because your full participation is required for your success in this course, the distracting conveniences of modern communication and technology are off limits during class time. Please turn off your cell phone and other electronic devices (ipods, etc.) before you enter the classroom. Never answer or place a call or send a text message in class. If you use a laptop for readings or notetaking, I’ll expect to see your eyes regularly as an indication that you’re on task. (If you have an urgent reason for needing cell phone access, please talk to me.) USING SAKAI: Discussion boards, blog sites, assignment details and rubrics, study guides, readings, and other resources are available on the UNC Sakai interface. Go to https://sakai.unc.edu/portal, login using your onyen, then click on the tab labeled FOLK550.001.FA11. For tips on how to use Sakai, click on “help” in the left-‐hand menu. See also http://blog.sakai.unc.edu/students/ and http://blog.sakai.unc.edu/2011/06/07/a-‐quick-‐sakai-‐orientation/. GRADUATE RESEARCH CONSULTANT: In this research-‐exposure course, you will be working with Marwa Koheji ([email protected]), a Graduate Research Consultant who will assist you in the research project. [The GRC Program is sponsored by the Office for Undergraduate Research (www.unc.edu/depts/our), and you may be able to use this research-‐exposure course to meet a requirement of the Carolina Research Scholars Program (http://www.unc.edu/depts/our/students/students_crsp.html).] I encourage you to visit the OUR website to learn about how you might engage in research, scholarship and creative performance while you are at Carolina.

ASSIGNMENTS (Specific guidelines and grading rubrics for the following assignments will be posted on Sakai=>Assignments;

graduate students, please see me regarding additional expectations for coursework.) ATTENDANCE & PARTICIPATION: [150 points; 15% of overall grade] This course relies heavily on in-‐class discussions and activities, so it’s critical to attend class and keep up with the readings. You may miss up to 3 classes without penalty (though, of course, you will miss out on valuable information if you’re not here); every absence after 3 class meetings will result in 20 points (2%) being deducted from your overall grade. In the event


of emergency or serious illness, please keep in touch via email. Extended serious illness usually requires taking a Medical Withdrawal from the course. A sign-‐in sheet will be distributed at the beginning of each class; it is your responsibility to make sure you’ve signed in each day, and to be present until I’ve dismissed everyone. Your participation grade will be based on how involved you are in classroom work, on how regularly you are prepared to speak, and on the quality of what you say. Excessive or consistent tardiness (or early departures) will also affect your participation grade. For those of you who like more quantitative evaluation measures, acceptable participation (an average [i.e., C] grade) means that you speak in every class, at least once, and that you are regularly on-‐task during group work. Superior participation happens when students add a great deal to the conversation and to collaborative projects. I’ll be looking for positive class participation—talk that engages in and sparks a meaningful dialogue about some aspect of the session’s reading—rather than speaking for speaking’s sake. Thus, I look forward to your coming to class prepared to ask questions, share ideas, and make connections. I’ll often use writing prompts or group work to help get your intellectual juices flowing, and we’ll regularly analyze primary documents (things, texts, audio, video) together. But you are ultimately responsible for your own participation. At the end of the term, you’ll propose your own participation grade based on the criteria outlined above. ONLINE FORUM POSTS. [10@ 20 points; 20% of overall grade] Please review the study guides (available online) before you start each reading, and take notes as you read. Be prepared to discuss what you read in class. For 10 class sessions (see syllabus) you’ll also submit a short (c. 200 word) reflection via the online forum tool in Sakai. I’ve noted 15 class sessions in which forum discussions would be useful; choose whichever 10 are most helpful for you. Before class begins, please also read at least five of the posts submitted by your peers. Your post should demonstrate that you’ve completed the readings for the day, but it should do so by making connections among articles, posing questions about concepts you disagreed with or found confusing, responding to the thoughts of your classmates, or connecting the readings to your own experience. Exceptional postings will demonstrate understanding, offer insight, and adopt a variety of approaches (i.e., connections, questions, reflections) over the course of the semester. These need not be formal essays, but neither should they be stream-‐of-‐consciousness jottings. Please review your thoughts for clarity and coherency at least once before you make them public, and choose a subject line that gives your classmates a sense of your post’s content. Forums close 1 hour before class begins. Postings cannot be made up or turned in late. Posts submitted before class sessions aim to encourage your thoughtful participation in class; they also help me adjust the day’s lecture and activities in order to address misunderstandings, avoid rehashing concepts you’ve already mastered, and incorporate your excellent ideas during discussion. A grading rubric is posted in Sakai=>Resources. MIDTERM QUIZ [50 points; 5% of overall grade] A midterm exam will evaluate your understanding of key course concepts, terms, and examples. SEMESTER PROJECT. [500 points; 50% of overall grade] Fieldwork is the best way to learn what material culture means in the lives of people. The semester project will involve a mix of participation, observation, library research, and reflection, with parts of the project due throughout the term. The point is to pick a thing or process and document how it is accomplished, used, displayed, and appreciated. Early in the semester, you’ll identify a material skill you’d like to learn: cooking, tatting, gardening, auto repair, pottery, quilting, plumbing, mushroom hunting, crochet, flower arranging, clothing manufacture, felting, cake decorating, papermaking, carving: the options are wide open. Whatever you choose, your project must: 1) result in some sort of tangible product, 2) be something you don’t already know how to do, 3) be part of a long-‐term process (i.e., something you work on throughout the semester). You may learn your craft in any way you choose: via enrollment in a formal class, from a friend or relative, from a book or other form of mediated instruction, or any mix of the above. The three main components of the project are:


• Fieldwork blog: Each student (or pair) will set up a blog within Sakai that is viewable only by other class members. We’ll learn how to do this in class. On your blog, you’ll document the “what,” the “so what?” and the “now what?” of your project; you’ll also be expected to respond to the blogs of class members. Blog entries should include visual documentation (photos, video, scanned drawings) and reflect what you learn about writing fieldnotes; I’ll also take into account creativity, thoughtfulness, and consistency when I evaluate your entries. You’ll need to complete seven (7) substantive blog entries before Dec. 2. See grading criteria and specific blog guidelines on Sakai=>Assignments=>By Hand Blog posts.

• Interview: You will record an interview either with your teacher/consultant (if you’re taught by someone face-‐to-‐face) or with another person who is invested in the process you’re learning/product you’re making. You’ll make an audio log that indexes your recording and transcribe those segments of the interview important to your analysis.

• Analysis: You will prepare and present a poster that contextualizes your project historically and ideologically. Your presentation will make a focused assertion, but you should consider the following as you do your research and craft your conclusions: How does the process you learned fit into the historical record? What are the values and politics associated with this hands-‐on practice? What can you add to discussions about expertise, aesthetics, authenticity, and cultural hierarchies? This aspect of the project will require a proposal and an annotated bibliography, and it will culminate in a scholarly poster to be shared at a public poster fair at the end of the semester.

All data generated during your research will be archived in the Southern Folklife Collection at the Wilson Library. Topic suggestions and specific descriptions about each phase of the project are available online. Be sure to get started quickly and work consistently.

FINAL EXAM (10%; 100 points). A final exam will evaluate your understanding of key course concepts, terms, and examples.

Course Schedule FOLK 550, Fall 2011

All readings preceded by a number code are available at Sakai=>Resources=>Course Readings

Date Topics Readings Due Assignments Due

UNIT I: TOOLKIT: STUDYING MATERIAL CULTURE

T 8/23 1A. Class introduction

• Course intro, themes

In class film: Bert Haanstra, Glas

Th 8/25 1B. Folklore Studies and material culture • tradition & change

· 1B.1 Bronner, “Visible Proofs” (excerpt)

· Burrison, Shaping Traditions , 29-‐51, 94-‐105

T 8/30 2A. Making sense of objects I: Form • form, context • intro semester

project

· 2A.1 Babcock, “Artifact” · Glassie, Vernacular Architecture, 1-‐90

Forum post 2A.1 (Class 2A, forum post #1); complete this and subsequent forum posts before 2:30 pm)

Th 9/1 2B. Making sense of objects 2 • function, meaning

· Glassie, Vernacular Architecture, 91-‐162

Forum post 2B.2


F 9/2 Film screening: Everything is Illuminated (2005). If you’re unable to join us, please make arrangements to watch the film on your own before Tuesday’s class (a copy is available in the Media Resources Center, call # 65-‐DVD3730).

T 9/6 3A. Why do we care?

• Everything is illuminated discussion

· 3A.1 Jones, “Why Make (Folk) Art?”

Blogging starts: complete seven posts before 12/2

Th 9/8 3B. Field techniques: Learning how to see • fieldnotes • visual

documentation

· 3B.1 “Doing Fieldwork” · 3B.2 Sunstein and Chiseri-‐Strater,

“Fieldnotes,” etc.

Due: semester project proposal /source survey (see Sakai=>Assignments)

T 9/13 4A. Field techniques: ethics

· 4A.1 Glassie, “Tips from an Old Hand”

· 4A.2 Bronner, “Folk Technics of Chain Carving”

Th 9/15 4B. Field techniques: Learning how to ask • asking good

questions • taping and

transcribing

· 4B.1 Sunstein/Chiseri-‐Strater, “Taping and Transcribing”

· 4B.2 Martin, “Food Preservation and the Folk Aesthetic”

· 4B.3 “Interview Tips” · 4B.4 “Learning How to Ask”

Forum post 4B.3

UNIT II: PERSPECTIVES ON MATERIAL CULTURE

Objects and Networks

T 9/20 5A. Object as text • “reading” objects

· Deetz I, Small Things Forgotten, chs. 1-‐4

Forum post 5A.4

Th 9/22 5B. Constructing Relationships • variation • agency

· Deetz, Small Things Forgotten, 125-‐260

T 9/27 6A. Self and Society: Texts for Children?

· 6A.1 Heath, “Child’s Play” Forum post 6A.5

Th 9/29 6B. Material Culture of Childhood

· 6B.1 Bronner, “Material Folk Culture of Children”

Forum post 6B.6

Setting and Region: Place, Context

T 10/4 7A. Cultural Landscapes

• Decoration Day · 7A.1 Tuan, “Space and Place:

Humanistic Perspective” · 7A.2 Siporin, “Tall Tales and Sales”

Forum post 7A.7

Th 10/6 7B. Regional forms · Midterm review

· Burrison, Shaping Traditions, 52-‐93 Forum post 7B.8 (forum will remain open until Sunday, 10/9)

S 10/8 Field trip: Seagrove Pottery T 10/11 8A. Midterm quiz (via Sakai) [Dr. Christensen at American Folklore Society meetings this week]


Th 10/13 8B. Regional foodways · 8B.1 Goode, “Food” · in class: It’s Grits

Event and Action: Material Displays

T 10/18 9A. Food, politics, and

agency · 9A.1 Thomas, “Passing Time”

Forum post 9A.9

10/20 Fall Recess T 10/25 10A. Curation I:

Displaying Others · 10A.1 Kaeppler, Hawaiian Art · Burrison, Shaping Traditions, 1-‐28

Due: Annotated bibliography

Th 10/27 10B. Curation II: Displaying Self

· 10B.1 Kirshenblatt-‐Gimblett, “Objects of Memory”

Forum post 10B.10

T 11/1 11A. Public Memorials · 11A.1 Pershing and Bellinger, “From

Sorrow to Activism” (focus on pp. 189-‐210)

Forum post 11A.11

Th 11/3 11B. Ritual Displays · In class: Departures, Muskrat Lovely Due: Tape log/transcription T 11/8 12A. Embodied

Performance • aesthetics and

evaluation

· Emil Her Many Horses, Identity by Design, 1-‐93

Th 11/10 12B. Festive Exhibitions • powwow

· Emil Her Many Horses, Identity by Design, 94-‐148

· 12B.1 Stoeltje, “Festival in America”

Forum post 12B.12

Tradition and Innovation: Craft Dynamics

T 11/15 13A. Revival and

Patronage • authenticity,

tradition, and the market

· 13A.1 Briggs, “Mexicano artists” · 13A.2 Lucero, “Art of the Santera”

Forum post 13A.13 Due: Photo log check

Th 11/17 13B. Valuing craft · Levine and Heimerl, Handmade Nation, 1-‐85

T 11/22 14A. Contemporary craft activism

· Levine and Heimerl, Handmade Nation,87-‐155

· 14A.1 hooks, “Talking Back”

Forum post 14A.14

Th 11/24 Thanksgiving recess T 11/29 15A. Practice poster

session Prepare a 2-‐3 minute oral

summary of your poster (talking points on a 3x5 card); bring a file/poster to class for feedback

Th 12/1 15B. Semester review

· in class: Gracious Fanatics: The Passion for Pottery in North Carolina

Forum post 15B.15: course highlights

T 12/6 Poster Session DUE: Portfolios TH 12/15 FINAL EXAM : 4 pm


THE FINE PRINT: POLICIES AND PROCEDURES

GRADING DUE DATES AND LATE WORK: All written assignments are due during class on the date specified on the syllabus. An assignment turned in any time after the end of class on the due date, or any time the next day, will be considered one day late and will be assessed a 10% penalty. The 10% penalty will continue to be applied for each additional day the assignment is late. If you must miss class and an assignment is due, make arrangements to turn it in early (contact me in advance about how to submit early work). I do not accept work submitted by email. It is your responsibility to keep a copy of each assignment in case the original is misplaced; I cannot be responsible for missing assignments, which will be subject to the late penalty. You will receive no penalty for work due on a day for which you have a legitimate and documented absence. It is your responsibility to provide documentation for a legitimate excuse within three days of the missed class period. If you do not meet this deadline, late work will not be excused. GRADE APPEALS You may appeal any grade, but must wait at least overnight after receiving the grade to schedule an appointment for a grade appeal. Please use that time to review my critique and formulate a logical argument for appeal. Your appeal must be written, with the assignment or exam and my evaluation attached to the written appeal. These materials must be provided to me at least one day before the grade appeal meeting. Grade appeals must be made within one week of receiving the grade, and they do not guarantee that your grade will be changed.

Final course grades are determined on the basis of a cumulative point system (max 1000 points).

Assignment Percent of Course Total Points Concept Mastery

Online forum posts (10@20pts) Midterm exam (October 11) Final exam (December 15)

20% 5% 10%

200 50 100

Research and Analysis

Semester Project • topic proposal/source survey (50 points) • fieldwork blog: (150 points) • annotated bibliography/precis (75 points) • audio log/transcription check (25 points) • photo log check (25 points) • poster/presentation (50 points) • final portfolio (125 points); includes

bibliography, poster, fieldwork notes and logs, as well as brief introductory materials; see project guide for details.

50% 500

Attendance and Participation

Discussion and in-‐class activities

15%

150


Total

100%

1000

GRADING DISTRIBUTION: 100% (A+), 95-‐99 (A), 90-‐94 (A-‐), 87-‐89 (B+), 83-‐86 (B), 80-‐82 (B-‐), 77-‐79 (C+), 73-‐76 (C), 70-‐72 (C-‐), 67-‐69 (D+), 63-‐66 (D), 60-‐62 (D-‐), 59 or below (F) POSTING OF GRADES UNC complies with the Family Educational Rights and Privacy Act, which provides for the protection of your personal records, including grade information. I will provide grade information in a secure format using the Blackboard gradebook, but grades will not be given out over the phone, mailed early, or distributed to your personal e-‐mail account. GRADE OF INCOMPLETE A grade of incomplete will not be given except under extraordinary circumstances. If such circumstances arise, contact me immediately to discuss the issue and to learn about procedures for requesting an incomplete. Approval of an incomplete is not automatic upon initiating a request.

WRITTEN WORK

GENERAL GUIDELINES: Writing always counts. This means your papers should be free of spelling, grammar, and punctuation errors. You should proofread carefully and not rely solely on your computer’s spell-‐check tool. Quote sparingly, since I want to see that you can explain an author’s ideas in your own words. Whenever you paraphrase or quote directly, you must cite your sources (and provide page numbers for quotations). Finally, take care to address each component of the assignment, set up the context for your argument, and provide detailed examples to illustrate your points.

FORMAT FOR WRITTEN ASSIGNMENTS: Please use the following format for all written work in this class.

• Typeface: Use Times New Roman or Calibri, 12 point font. • Margins: One inch on all sides. • Quotations: Any material that you use verbatim from other sources must be placed between quotation

marks and properly cited in Chicago B (author-‐date) style. Please also use proper documentation style when paraphrasing sources.

• Page numbering: Each page should have a page number. • Identifying information: Include your name and e-‐mail address, the title of your assignment, and the

date at the top of every paper (single-‐spaced). • Staple assignments that run to more than one page.

ACADEMIC AND PERSONAL MISCONDUCT: Every student will be treated equally according to the policies of this course and the University of North Carolina. I encourage studying and working together; however, you must complete all quizzes, exams, and other solo assignments using your individual effort (I will not tolerate copying, cheating, or plagiarism. This includes cutting and pasting information from the Internet). You MUST give credit (by using quotation marks and/or citing sources) whenever you: a. Quote another person's actual words, either oral or written; b. Paraphrase/summarize another person's words, either oral or written; c. Use another person's idea, opinion, or theory; or d. Borrow facts/statistics/other illustrative material, unless the information is common knowledge. All students should review the UNC policy on academic integrity at http://honor.unc.edu/. If necessary, please ask me for clarification about plagiarism or course policies before you hand in written work. I am obligated by


the University to report academic and/or personal actions that may be deemed misconduct under the provisions of this code. Punishments for cheating and plagiarism can include failing the class. QUESTIONS OR CONCERNS: I enjoy speaking with students during office hours, and many students find that meeting with me one-‐on-‐one helps them generate ideas and clarify requirements. Please email me at [email protected] to schedule an appointment. AMENDMENTS TO THE SYLLABUS: In order to meet the needs of class members and course objectives, this syllabus may be subject to change. I’ll make every effort to notify you in advance, both in person and in writing, but in the end you are responsible for any and all additional course information provided in class sessions throughout the semester, regardless of tardiness or absence. I encourage you to write down the name and contact information of 2 class members you can turn to if you have to be absent.

It is understood that by having received this course syllabus and attended class beyond the first two

meetings of the term, you have reviewed the requirements and policies of this class, understand them, and accept them. Additional Readings List (find these via Sakai=>Resources=>Course Readings): Babcock, Barbara. 1992. “Artifact.” In Folklore, Cultural Performance, and Popular Entertainments, ed. Richard

Bauman, 204-‐16. New York: Oxford University Press. Briggs, Charles L. 1992. “The Role of Mexicano Artists and the Anglo Elite in the Emergence of a Contemporary Folk Art.” (excerpt) In Folk Art and Art Worlds, ed. John Michael Vlach and Simon J. Bronner, 195-‐224. Logan: Utah State University Press. Bronner, Simon J. 1981. “The Folk Technics of Chain Carving.” In Studies in Traditional American Crafts 4:3-‐18. ———. 1983. “Visible Proofs": Material Culture Study in American Folkloristics. American Quarterly, 35 (3): 316-‐

38. ———. 1999. “Material Folk Culture of Children.” In Children’s Folklore: A Sourcebook, ed. Brian Sutton-‐Smith et al., 251-‐71. Logan: Utah State University Press. Glassie, Henry. 2000. “Fieldwork: Tips from an Old Hand.” Handout from F540, “The Art of Ethnography,” Spring

2000. Department of Folklore and Ethnomusicology, Indiana University. Heath, Shirley Brice. 1997. “Child’s Play or Finding the Ephemera of Home.” In Opening the Nursery Door:

Reading, Writing and Childhood 1600-‐1900, ed. Mary Hilton, Morag Styles, and Victor Watson, 17-‐30. London: Routledge.

Goode, “Food.” In Folklore, Cultural Performance, and Popular Entertainments, ed. Richard Bauman. New York: Oxford University Press.

hooks, bell. 1990. “Talking Back.” In Making Face, Making Soul/Hacienda Caras: Creative and Critical Perspectives by Feminists of Color, ed. Gloria Anzaldúa, 207-‐11. San Francisco: Aunt Lute Books.

Kirshenblatt-‐Gimblett, Barbara. 1989. “Objects of Memory: Material Culture as Life Review.” In Folk Groups and Folklore Genres: A Reader, ed. Elliott Oring, 329-‐40. Logan: Utah State University Press.

Lucero, Helen R. 2002. “Art of the Santera.” In Chicana Traditions, ed. Cantu and Najera-‐Ramirez, 35-‐55. Chicago: University of Illinois Press. Jones, Michael Owen. 1995. "Why Make (Folk) Art?" Western Folklore 54:253-‐76. Kaeppler, Adrienne L. 2002. “Hawaiian Art: From Sacred Symbol to Tourist Icon to Ethnic Identity Marker.” In

Anthropology, History, and American Indians: Essays in Honor of William Curtis Sturtevant, ed. William L. Merrill and Ives Goddard, 147-‐59. Washington, DC: Smithsonian Institution Press.

Martin, Katherine Rosser. 1979. “Food Preservation and the Folk Aesthetic.” Kentucky Folklore Record 25:1-‐5. Pershing, Linda, with Nishelle Y. Bellinger. 2010. “From Sorrow to Activism: A Father's Memorial to His Son Alexander Arredondo, Killed in the U.S. Occupation of Iraq.” Journal of American Folklore 123 (488): 179-‐217. DOI: 10.1353/jaf.0.0136


Siporin, Steve. 2000. “Tall Tales and Sales.” In Worldviews of the American West: The Life of the Place Itself, ed. Polly Stewart, Steve Siporin, C. W. Sullivan III, and Suzi Jones, 87-‐104. Logan: Utah State University Press. Stoeltje, Beverly J. 1983. “Festival in America.” In Handbook of American Folklore, ed. Richard Dorson, 239-‐46.

Bloomington: Indiana University Press. Sunstein, Bonnie Stone, and Elizabeth Chiseri-‐Strater. 2002. “Fieldnotes,” “Double-‐entry Notes,” and

“Considering Analysis.” In FieldWorking: Reading and Writing Research, 2d ed, 86-‐87, 93-‐96. Boston: Bedford/St. Martin’s.

Sunstein and Chiseri-‐Strater, “Taping and Transcribing,” from FieldWorking, 308-‐10. Tuan, Yi-‐Fu. 1974. “Space and Place: Humanistic Perspective.” In Progress in Geography, ed. C. Board, R.J.

Chorley, P. Haggett and D.R. Stoddart, 6:211-‐52.

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