Covello, L. (1958). The heart is the teacher
Download 94.32 Kb. Pdf ko'rish
|
Folklore and Education
- Bu sahifa navigatsiya:
- Folklore
- Useful Elements of Folkloristic Theory
Folklore in Education
The work of folklorists in education can be grouped into five approaches, four of which focus on how indi- viduals communicate within, around, and despite dominating cultural institutions, with the fifth focus- ing on helping students identify the use of folk belief by officials in the dominant culture in order to garner public approval. One approach has been to study folklore in schools, that is, how students and teachers form folk groups and create culture independent of or despite official culture. A second approach, developed initially as part of a broader response to the misrepresentations of cultural Folklore ——— 347 deprivation theory, has been to use folklore of students and their communities as texts within the curriculum. A third approach has been exemplified by the Folk Arts in Education (FAIE) and Folk Arts in Schools (FAIS) programs, which involve both bringing tradi- tional artists into schools as authoritative teachers and training students as competent fieldworkers and researchers. A fourth approach has been analyzing folk genres as critiques of, or alternative models to, institu- tionalized elite and popular genres. Finally, the fifth approach involves students in ana- lyzing politicians’ and other leaders’ rhetoric to identify legends and other expressions of belief presented as truth. This approach problematizes the idea of “folk” as being marginal and highlights the fact that all groups, including those with institutional power, rely on shared beliefs and communicative resources in order to create a sense of shared identity among their members. Useful Elements of Folkloristic Theory Folklore’s original author is “anonymous,” and even if thought to be known, the identity of an individual sup- posed to have originated a particular form is inconse- quential, as folkloristic knowledge is powerful because it is both collectively known and dynamically transformed. Folklore is often performed by special- ists within the group: The key is that it always changes and exists in variations, and people learn to use it in variable and changeable ways, in daily interaction as well as in specialized settings. Tradition—usually defined as continuous existence through time or across space—has been important in describing folk- lore, although in the last fifty years theorists have also emphasized the creativity exercised by individuals in using traditional forms for new purposes as well as the dubious project of “inventing traditions” to justify social entitlements and political projects. Essential to its nature, folklore has no prototypical, authoritative, or “right” version and cannot be codified. Furthermore, true folklore cannot be reproduced exactly; rather, each reiteration involves re-creation and therefore creative change on the part of the indi- vidual producing it. U.S. folklorist Barre Toelken coined the “twin laws” of folklore as tradition and dynamic innovation, with tradition being preexisting, culture-specific, but not static materials, and dynamic innovation being the inevitable and energizing changes resulting in each performance of the tradition by each individual. As a result, all folklore exists in “multiple nonstandard variations.” Consider the game hide-and-seek. The traditional aspect of this piece of folklore is that people hide and are found. The dynamic, nonstandard variation, how- ever, includes much more: Who is “it,” or are there multiple “its”? Is the goal to race to a “home” to be “home free,” or is the goal to be the last one found? How high does “it” count to allow the others to hide, and what does “it” say when “it” is about to begin searching? Are there boundaries within which hiders must stay? While the game is traditional around the world, the essence of the game resides in the varia- tions, which arise from individual creativity, collective compromise, and adaptation of the basic form to be appropriate for the setting and participants involved. “Folk culture” stands in contrast to “elite culture” (those behaviors and forms having capital in dominant culture institutions) and to “popular culture” (behav- iors learned and forms promulgated through corpora- tions and mass marketing), though culture is fluid and moves between these categories as folk culture is co-opted and commoditized (e.g., graffiti becomes fine art and ingredients in willow bark become aspirin), or popular or elite culture is used in traditional, creative ways (e.g., soft drink cans are recycled into toy air- planes, or high art is spoofed in burlesques). Emerging in the 1970s, “performance theory” centers attention on how individuals draw on com- municative resources (i.e., traditional texts of the community) to perform them in particular social set- tings for particular purposes. Important analytic questions include which members of the community are recognized as having the authority to “take” texts from their traditional, authoritative settings and to re-create them in different social settings in order to meet their own particular social goals. Key questions relevant to folklore in schools are: Who has the authority, in a given social setting, to decontextualize and recontextualize (i.e., to perform) a given text? Who decides if the performance is legitimate, authoritative, or “good”? 348 ——— Download 94.32 Kb. Do'stlaringiz bilan baham: |
Ma'lumotlar bazasi mualliflik huquqi bilan himoyalangan ©fayllar.org 2024
ma'muriyatiga murojaat qiling
ma'muriyatiga murojaat qiling