
folklore
The term “folklore” has somewhat different connotations in popular and professional
usages. Most Americans generally understand folklore to refer to traditional narratives,
beliefs or practices, often transmitted orally, which have no basis in truth, and “the folk”
themselves are believed to be non- or preliterate; yet this is not the case. This notion has
its roots in the antiquarian scholarship of the eighteenth and nineteenth century
influenced by theories of Romantic or cultural nationalism, where conceptions of “the
folk” were equated with European peasant cultures, which scholars believed held the
distinctive “folk souls” of each nation. Early American folklore research concentrated on
marginalized groups within American society. Thus, “folklore” was the preserve o
African Americans,
recent immigrant groups and Southern Appalachians, who were at
that time perceived as the earliest “white indigenous” American peoples. Early American
folklorists collected tales, beliefs and songs, often looking for “survivals” from the parent
African or European culture. Later, with the rise of trade-union activism in the 1920s and
1930s, “the folk” expanded to include the working classes. “Folk music” was then not
confined to Euro-originated ballads and African American musics, but also became more
widely applicable to workers’ music and, later, other protest music.
Folk art
was
similarly a genre of preservation of memories (although it later became a hot commodity
in more sophisticated urban galleries and auctions as well).
In the 1960s, the field of folklore in the United States shifted dramatically in terms o
theory and subject matter. Richard Dorson was one of the first scholars to champion
folklore as a modern academic discipline distinct from either literary studies or
anthropology,
with comparative ethnographic and archival methodologies at its heart.
Folklorists then began to lessen the emphasis on survivals and to explore wider aspects o
ehavior, communication and the relationship of folklore and tradition to society within a
more pluralistic paradigm. The result of this was not only an expansion of the subject
matter that folklorists researched, but also a new conceptualization of that “the folk”
actually were. Rather than only representing the more marginalized groups within a
society, the folk became essentially any subgroup who demonstrated stylized, distinctive
cultural forms, ranging from the
family
to the workplace. Thus, everyone is actually a
member of a variety of folk groups. American folklorists also began researching urban
cultures and exploring the role of technology and
mass media
on traditions and tradition
formation. As a result, categories such as “Xerox lore” and “urban legend” have become
fruitful areas of study. In the twentieth century American folklorists engaged with a very
wide range of material. Although “folklore” may imply to some an emphasis on narrative
or belief, the field comprises a number of different artistic genres, including
dance, food,
speech narrative, festival, music, art, ritual, medicine and
religion
. Folklorists also
Encyclopedia of Contemporary American Culture 434