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Theorizing Folklore from the Margins


Theorizing Folklore from the Margins

Critical and Ethical Approaches
Activist Encounters in Folklore and Ethnomusicology

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<p><b>The study of folklore has historically focused on the daily life and culture of regular people, such as artisans, storytellers, and craftspeople. But what can folklore reveal about strategies of belonging, survival, and reinvention in moments of crisis? </b></p>
<p>The experience of living in hostile conditions for cultural, social, political, or economic reasons has redefined communities in crisis. The curated works in <i>Theorizing Folklore from the Margins</i> offer clear and feasible suggestions for how to ethically engage in the study of folklore with marginalized populations. By focusing on issues of critical race and ethnic studies, decolonial and antioppressive methodologies, and gender and sexuality studies, contributors employ a wide variety of disciplines and theoretical approaches. In doing so, they reflect the transdisciplinary possibilities of Folklore studies. </p>
<p>By bridging the gap between theory and practice, <i>Theorizing Folklore from the Margins</i> confirms that engaging with oppressed communities is not only relevant, but necessary.</p>
<p><b>Part I: Critical Paths<br></b>Introduction: How does Folklore find its voice in the 21st century? An offering/invitation from the margins<br>1. White Traditioning and Bruja Epistemologies: Rebuilding the House of USAmerican Folklore Studies<br>2. Un Tumbe Ch'ixi: Incorporating Afro-descendant Ideas into an Andean Anti-Colonial Methodology<br>3. Disrupting the Archive<br><b>Part II: Framing the Narrative<br></b>4. Afrolatinx Folklore and Visual Representation: Interstices and Anti-Authenticity<br>5. Behaving Like Relatives: Or we don't sit around and talk about politics with strangers<br>6. Political Protest, Ideology, and Social Criticism in Wolof Folk Poetry<br>7. Sugar Cane Alley: Teaching the Concept of "Group" from a Critical Folkloristics Perspective<br>8. movimiento armado/armed movement<br><b>Part III: Visualizing the Present<br></b>9. Ni lacras, ni lesbianas normalizadas: Trauma, matrimonio, conectividad y representación audiovisual para la comunidad lesbiana en Cuba<br>10. "¿Batata? ¡Batata!": Examining Puerto Rican Visual Folk Expression in Times of Adversities<br>11. Forming Strands and Ties in the Knotted Atlantic: Methodologies of Color and Practice of Beadwork in Lukumí Religion<br>12. Of Blithe Spirits: Narratives of Rebellion, Violence, and Cosmic Memory in Haitian Vodou<br><b>Part IV: Placing Community<br></b>13. "No one would believe us": An Auto-Ethnography of Conducting Fieldwork in a Conflict<br>14. "<i>La Sierra Juárez en Riverside</i>": <i>The Inaugural Oaxacan Philharmonic Bands Audition</i> on a university campus<br>15. Hidden thoughts and exposed bodies: art, everyday life, and queering Cuban masculinities<br>16. Complexifying Identity through Disability: Critical Folkloristic Perspectives on Being a Parent and Experiencing Illness &amp; Disability through My Child<br>Index</p>
<p>Solimar Otero is Professor of Folklore in the Department of Folklore and Ethnomusicology at Indiana University. She is author of&#xa0;<i>Archives of Conjure: Stories of the&#xa0;Dead in Afrolatinx Cultures</i> and of&#xa0;<i>Afro-Cuban Diasporas in the Atlantic World</i>. She is editor (with Toyin Falola) of<i>&#xa0;Yemoja: Gender, Sexuality, and Creativity in the Latina/o and Afro-Atlantic Diasporas</i>. Mintzi Auanda Martínez-Rivera is Assistant Professor of Anthropology in the Department of Sociology and Anthropology at Providence College. She has published articles on the indigenous rock movement in Mexico, indigenous popular culture, and the use of food as decorations.</p>
<p><i>Theorizing Folklore from the Margins</i>&#xa0;actively resists monolithic notions attached to cultures and groups through a collection of powerful, multi-authored chapters and "proposes, invites, and offers alternative paths" in folklore studies. This stellar, thought-provoking volume reminds us authority rests with the voices of the people positioned at the margins and that the margins are alive&#xa0;<i>con poder y cultura</i>&#xa0;(with power and culture) and thriving because of it.</p>

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