{"id":4619,"date":"2021-06-21T22:21:58","date_gmt":"2021-06-22T03:21:58","guid":{"rendered":"https:\/\/locallearningnetwork.org\/?page_id=4619"},"modified":"2024-06-12T07:59:52","modified_gmt":"2024-06-12T12:59:52","slug":"resources","status":"publish","type":"page","link":"https:\/\/locallearningnetwork.org\/resources\/","title":{"rendered":"Resources"},"content":{"rendered":"

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Folk arts contribute not only to students\u2019 understanding of cultural traditions but also to their ability to think critically, gather and analyze evidence, and express their ideas and interpretations through personal creativity. Folklife and the tools of the folklorist can support learning in all subjects, including the arts. Folk arts are uniquely suited to explore the ways in which traditional art forms reflect the history, culture, geography, and values of different cultures and communities.<\/p>\n

Everyone has folk traditions \u2014 expressive customs practiced within a group and passed along by word of mouth, imitation, and observation. Calling on the work of folklorists and the field of folklore in the classroom educates, motivates, engages, and fosters the creative expression of students and powerfully links them to their communities. Integrating the study of folk arts into existing curricula awakens self-awareness in students of their own roles as tradition bearers, their families as repositories of traditional culture and history, and their communities as unique resources.<\/p>\n

(Text above adapted from:\u00a0Local Learning: A Folk Arts Integration Handbook)<\/a><\/p>\n

Local Learning is committed to fair use and open access of educational materials. We, as Publisher, also look to protect the work that we publish from unauthorized, commercial use. Our Local Learning resources housed on the Local Learning website and at\u00a0 www.JFEpublications.org <\/a>are freely available to individuals and institutions. We license all work with the exception of only alternatively copyrighted photos or media that are expressly labeled under the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License, CC-BY-NC-SA<\/strong>. To view a copy of this license, visit http:\/\/creativecommons.org\/licenses\/by-nc-sa\/4.0. This license lets others remix, tweak, and build upon your work non-commercially, as long as they credit you the Author and us the Publisher, and license their new creations under the identical terms.<\/p>\n

Note: These resources are shared as a service and include historic texts that don\u2019t always reflect the current views of Local Learning. Please\u00a0contact us<\/a> if you have any questions or concerns about the readings or activities in our library.<\/em><\/p>\n

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Learning Activity and Lesson Plans<\/h3>

Documentation as Remembrance<\/a><\/h4>Paddy Bowman | Originally published in 2022<\/span>
This activity uses a primary set source from the Library of Congress to model how documentation of the Covid-19 pandemic can amplify students\u2019 voices. (A Journal of Folklore and Education resource.)<\/div><\/div><\/div>

Questing with Alan Lomax<\/a><\/h4>Laurie Kay Sommers and Samuel Seth Bernard | Originally published in 2015<\/span>
An historic folksong collection with local relevance to students gives them creative voice and connects them to place through an immersive, cooperative project. (A Journal of Folklore and Education resource.)<\/div><\/div><\/div>

Expressing and Reading Identity through Photographs<\/a><\/h4>Lisa Falk | Originally published in 2014<\/span>
Photographs, like identity, hold multiple truths and illusions. Teaching visual literacy creates nuanced readings of meaning for, and about, the photographer, the subject, and the consumer. (A Journal of Folklore and Education resource.)<\/div><\/div><\/div>

Learning with Cemetery Secrets<\/a><\/h4>by Paddy Bowman | Originally published in 2004<\/span>
Cemeteries may seem unlikely fieldtrip destinations, yet they offer intriguing clues about history and local culture and opportunities to conduct primary research and practice documentation skills such as note taking, sketching, and photography.<\/div><\/div><\/div>

Foodways Icebreaker<\/a><\/h4>
Use this activity to introduce a group of people to each other and to foodways as a form of folklore.<\/div><\/div><\/div>

Postcard Museum<\/a><\/h4>
This technique helps students understand that there are many ways to represent themselves\r\nvisually and to categorize and organize information.<\/div><\/div><\/div>

Two-Minute Interviews<\/a><\/h4>
A key skill in interviewing, one of the most challenging for inexperienced interviewers, is\r\nlearning to listen carefully and make the interview feel like a conversation, even though the\r\nnarrator is doing most of the talking. The activity below\u2014the first one to use with students\u2014\r\nhelps develop those skills.<\/div><\/div><\/div>

Civil Rights History Project Guide<\/a><\/h4>
This guide to the Civil Rights History Project of the Library of Congress is written for teachers to introduce the collection and to offer a few points of entry for educators and their students.<\/div><\/div><\/div>

Seneca Social Dances and Songs Lessons (Y\u00f6\u00ebdza\u2019ge:kha\u2019 Ha\u2019dega\u00ebnogeh)<\/a><\/h4>
Gain a deeper understanding of how Seneca social dances and songs reflect the values, beliefs, and traditions of the Seneca community with these lessons written by Rachael Wolfe, Salamanca City Central School District.<\/div><\/div><\/div>

Artifact Inquiry<\/a><\/h4>
What is the difference between seeing and thinking? Use this worksheet to go beyond assumptions and look further into the significance of an artifact.<\/div><\/div><\/div>

Insider and Outsider Reflection<\/a><\/h4>
What lenses are you bringing to encounters with new cultural experiences? <\/div><\/div><\/div>

Mexican Puppetry<\/a><\/h4>
A Cross-Curricular Folk Arts Integrated Unit for Middle School English Language Learners With Veronica Ponce de Leon, Mexican Folk Artist.<\/div><\/div><\/div>

Liberian Storytelling<\/a><\/h4>
A Sixth Grade Folk Arts Integrated Unit with Gbahtuo Comgbaye, Liberian Storyteller.<\/div><\/div><\/div>

Museum Activities and Resource Guide<\/a><\/h4>
Museums offer multiple paths for learning. From decoding the museum itself to the artifacts in the exhibitions, this Local Learning Resource Guide provides educators practical tools and useful frameworks for engaging learning in museum spaces.<\/div><\/div><\/div>

Yoga Curriculum<\/a><\/h4>
The second grade Yoga and Folk Tales Unit helps students experience the yoga movement tradition to learn the ways it emphasizes health. The 12-week unit instructs students in how to perform animal yoga poses while they hear, read, and discuss Panchatantra tales (fables from India) that go along with these poses. Students build strength, flexibility, and balance as they work individually and in pairs to master different poses. Students strive to execute a variety of poses by name without having the poses visually modeled and to hold each pose for at least 30 seconds. To demonstrate their understanding of this movement tradition, students create their own yoga pose and accompanying story. In a final synthesizing activity, students compare and contrast yoga with their choice of another movement tradition they previously studied: Tibetan Meditation, Qigong or West African Dance.<\/div><\/div><\/div>

FACTS School-Wide Folk Arts Residency Spiral Curriculum<\/a><\/h4>
This folk arts residency curriculum has several unique features. First, it is a residency that occurs with the same visual artist every year. Second, the residency is structured to involve the whole school (more than 500 students) in interactions with the artist within classroom-sized groups of students. Third, the curriculum is designed as a nine-week unit of study, but it is delivered for only one week each year over a nine year period.<\/div><\/div><\/div>

Culture, Community, and the Classroom: A Beekeeper's Journey<\/a><\/h4>
By bringing in a guest with an exciting tradition\u2013beekeeping\u2013and allowing students to use English to engage fully with him, this foreign language teacher provided a rich tapestry of experiences and new knowledge that gave students details they would be interested in translating as they wrote a story in Chinese. The teacher prepared students well to listen carefully and to interview the guest. Combining an agricultural tradition, interviewing, and collaboratively writing a story in Chinese offers an ingenious model. <\/div><\/div><\/div>

Culture, Community, and the Classroom: Songwriting about Place with Elementary School Students<\/a><\/h4>
"Every story can become a song!" - Sara Milonovich, songwriter, fiddler, and singer<\/div><\/div><\/div>

Vermont Folklife in the Seasonal Round<\/a><\/h4>
This unit asks: What can students learn about themselves, their families, their region, and the world by examining the seasonal round in their own lives and through primary sources?<\/div><\/div><\/div>

Folk Sources and New Narratives in Oklahoma<\/a><\/h4>
This Curriculum Guide represents one part of a three-year study engaging the 1921 Tulsa Race Massacre through primary sources. Included in these lesson plans and units of study are discoveries, tools for teaching, activity prompts, and deep pedagogical engagement from oral historians, cultural geographers, artists, historians, veteran teachers, and folklorists. <\/div><\/div><\/div>

Art and Narrative<\/a><\/h4>
This curriculum guide explores the relationship arts education and teaching with primary sources that come out of ethnographic documentation and often feature folk and traditional arts. <\/div><\/div><\/div>

Oral History in Interpretation and Museum Education<\/a><\/h4>
This curriculum packet was designed for a Teaching with Primary Sources workshop titled \u201cOral History and Interpretation\u201d offered by Local Learning in partnership with Vermont Folklife and Washington State Parks.<\/div><\/div><\/div>

Foodways Traditions of Northwest Ohio<\/a><\/h4>
These lesson plans include timelines, local information, activities, and even recipes.<\/div><\/div><\/div>

Collecting Local Stories<\/a><\/h4>
This learning guide was developed for the Festival of Iowa Folklife at the Smithsonian, but is full of learning activities that can be adapted for a variety of places. One lesson plan is available as a download, or you may find the full guide online. <\/div><\/div><\/div>

Culture, Community, and the Classroom: Beekeeping<\/a><\/h4>
Some of the most creative artist residencies come out of unexpected classroom collaborations. Not only does this set of lesson plans create connections between beekeeping and the art room, it also demonstrates how art can be a pathway to social emotional learning. Art teacher Sarah Edwards and guidance counselor Nina Muto worked with the Southern Tier Beekeepers Association to help students discover how they can work towards unity and community while still embodying their individuality.<\/div><\/div><\/div>

Culture, Community, and the Classroom: Unlocking Inquiry through Mexican Traditions<\/a><\/h4>
Folk and traditional arts are a natural fit for the social studies classroom. They easily facilitate learning and conversations about diverse communities, both local and global. This residency demonstrates how music and social studies can dovetail. It also models how multiple subject areas\u2013music, English Language Arts, and social studies\u2013 came together in a single artist residency. The tools of folklore\u2013close listening, observation, interviewing\u2013deepened student preparation for the residency and their engagement with the artists.<\/div><\/div><\/div>

Culture, Community, and the Classroom: Learning from a Luthier<\/a><\/h4>
We love that this lesson builds on students\u2019 interviewing skills over the course of two artist conversations. Students have a chance to think about follow-up questions based on what they retained from the first visit allowing their initial curiosity to deepen into inquiry. <\/div><\/div><\/div>

Culture, Community, and the Classroom: Iconography<\/a><\/h4>
What happens when you bring students out of the classroom and into a working artists\u2019 studio? This residency began in the classroom with a painting workshop led by a professional icon painter. Then, students had the opportunity to see the impact of the artist\u2019s work when they visited the local church where his icons cover the walls and ceilings. Seeing his work in-person inspired students to ask questions about the intention of the icons and their role in communicating narratives to parishioners, leading to deeper inquiry and insights. <\/div><\/div><\/div>

Culture, Community, and the Classroom: Afghan Kites<\/a><\/h4>
\u201cHave you ever flown a kite?\u201d Sometimes, a simple question can be an entry into profound learning. In this residency, students not only learned about the craftsmanship required to create a kite that is visually pleasing and capable of flying, but they also learned about the kite\u2019s cultural significance in Afghanistan. By inviting artist Ahmad Shah Wali into the classroom, students learned firsthand how art and design contribute to quality of life within a culture, including their own.<\/div><\/div><\/div>

Culture, Community, and the Classroom: Analyzing Identity and Culture in Lullabies<\/a><\/h4>
\u201cMy students had been under the impression that culture was something that other people had but was not applicable to them. I was excited to see students analyze their own lives and consider (some of them for the first time) how their culture shapes their beliefs and values.\u201d - Cathryn Lally, 9th grade English Language Arts teacher, New York<\/div><\/div><\/div>

Culture, Community, and the Classroom: Cultural Inquiry Through Interviewing<\/a><\/h4>
Folk artists are often invited into a classroom to demonstrate their art form and sometimes have the opportunity to teach students artistic skills. Less often they are given an opportunity to speak with students about the value of the art form in their personal life and community context. This lesson plan, created for three short artist residencies over the course of a semester, provided the space for student inquiry that allowed them to connect with the artist on a personal level and learn more about their cultural traditions.<\/div><\/div><\/div>

Culture, Community, and the Classroom: Hand Mudra Ceramic Sculpture Interpreting Classical Indian Dance<\/a><\/h4>
An art teacher pondered how a classical Indian dancer would fit into her high school sculpture curriculum. As she and the artist talked, the idea of gestures, mudras, as sculptural expressions took hold. Folk arts are inherently interdisciplinary, making traditional art forms, ways of teaching and learning, and artists\u2019 passions easy to integrate into most content areas and engaging for all ages. No matter the genre, learners can answer, Where is something like this in my life?<\/div><\/div><\/div>

Teaching with Folk Sources<\/a><\/h4>
Local Learning Teaching with Primary Sources project team offers teaching tools and materials that engage the digitally available archival holdings of the American Folklife Center of the Library of Congress alongside local and regional collections, bringing them into conversation with each other to create a fuller, more complex narrative of American communities, history, and people.<\/div><\/div><\/div>

Cultural Stewardship Conversation Guide<\/a><\/h4>
When we identify and protect our important ways of life and cherished places that make up our cultural ecosystem, we strengthen vital relationships to each other and the wider world.<\/div><\/div><\/div>

Culture, Community, and the Classroom: Introduction to Mosaic<\/a><\/h4>
By studying mosaics across time, students could put a local artist into the context of art history. The lesson also heightened awareness of mosaic art in their community. After a two-part residency (demonstration, interview), the artist and teacher devised an extension to create a large class mosaic. Students made individual leaves for The Collaboration Tree to reflect their own sense of cultural identity. They focused intently and worked hard together and with the artist. Creating a beautiful work as a team allowed them to realize that each of their contributions is important artistically and created a beautiful, meaningful outcome in the mosaic Collaboration Tree. <\/div><\/div><\/div>

Culture, Community, and the Classroom: Step Dance<\/a><\/h4>
Stepping is a dynamic, vital dance tradition that is widespread among African American fraternities and sororities. Many high schools have step teams. Other students may be unfamiliar with step dance, so learning about it\u2014how to do basic steps\u2014enriches all students.<\/div><\/div><\/div>

Culture, Community, and the Classroom: Ritual, Dance, Theatre - An Introduction to Sattriya<\/a><\/h4>
By asking students to dig deeper than they usually might to consider their personal traditions and identities and sharing their responses with the artist, this teacher created a pathway to a deep connection between students and the artist. During their planning conversations, the teacher and the artist found similarities in their passions, drama and dance, and developed a close rapport. The teacher introduced the artist by asking students to read her Artist Statement and closely observe her Artist Portrait, which the artist developed during the summer workshop. This allowed them to inventory their assumptions and prepare questions.<\/div><\/div><\/div>

Thanksgiving Foodways<\/a><\/h4>
Many people in the United States celebrate the national Thanksgiving holiday by sharing a special meal. Although there is a stereotype about turkey and dressing as the iconic meal, we all have different ideas about what foods we want on Thanksgiving Day. Turkey or tamales? Mashed potatoes or sweet potato casserole? Collard greens or green bean casserole? Pecan pie or apple pie? What would your favorite Thanksgiving meal include? Who would share the meal?<\/div><\/div><\/div>

Museum Observation Field Journal<\/a><\/h4>
Consider a museum an important text that deserves careful reading. Before visiting a museum, inventory your assumptions about what you expect, even if you are familiar with the institution. Think about where it is, how it sits on the landscape, its relationship to the natural and built environments.<\/div><\/div><\/div>

Dress to Express: National Heritage Fellows' Portraits Unit<\/a><\/h4>
Access portraits portraying artists who have mastered their art forms through years of study with elders and family members and have received the NEA National Heritage Fellows award to learn more about the relationship between dress and culture. This unit includes classroom-ready exercises, worksheets for students to study their own fashion choices, and ideas for local research that connect learners with their community.<\/div><\/div><\/div>

Heritage Fellow Michael Doucet Virtual Residency<\/a><\/h4>
Local Learning\u2019s virtual residencies with National Endowment for the Arts National Heritage Fellows take us into the communities and lives of master folk artists.<\/div><\/div><\/div>

Heritage Fellow Rosa Elena Egipciaco Virtual Residency<\/a><\/h4>
Local Learning\u2019s virtual residencies with National Endowment for the Arts National Heritage Fellows take us into the communities and lives of master folk artists.<\/div><\/div><\/div>

Heritage Fellow Mary Louise Defender Wilson Virtual Residency<\/a><\/h4>
Local Learning\u2019s virtual residencies with National Endowment for the Arts National Heritage Fellows take us into the communities and lives of master folk artists.<\/div><\/div><\/div>

Heritage Fellow Eva Castellanoz Virtual Residency<\/a><\/h4>
Local Learning\u2019s virtual residencies with National Endowment for the Arts National Heritage Fellows take us into the communities and lives of master folk artists.<\/div><\/div><\/div>

Heritage Fellow John Cephas Virtual Residency<\/a><\/h4>
Local Learning\u2019s virtual residencies with National Endowment for the Arts National Heritage Fellows take us into the communities and lives of master folk artists.<\/div><\/div><\/div>

Then and Now<\/a><\/h4>
This activity invites you to think about how objects in your life have new uses and meanings.<\/div><\/div><\/div>

Music Around the Year<\/a><\/h4>
So much music surrounds us, we may not always be aware of it. This activity invites you to find and celebrate the music that you hear all around you\u2014all around the year.<\/div><\/div><\/div>

Zoom! Representing Ourselves Online<\/a><\/h4>
This activity will help you identify some of your important folk groups and traditional knowledge. You will then create a virtual background that may be used on Zoom or other meeting platforms as a way to share something about ourselves in these online spaces.<\/div><\/div><\/div>

Come Rain or Come Shine<\/a><\/h4>
From song lyrics to predictions, we use weather lore every day. Have you ever worn your pajamas inside out in hope of a snow day? What sayings do you use to predict the weather? Do you have stories about storms or rainbows or really hot days? This activity looks at a variety of ways we are all folk meteorologists.<\/div><\/div><\/div>

How We Celebrate<\/a><\/h4>
Face to face or distant, celebrations feature cultural elements that we find very meaningful, such as special foods, music, gifts, jokes, clothes. This activity invites you to relish the fun of celebrations by analyzing them and consider how celebrations during the pandemic are the same and different from how they usually occur.<\/div><\/div><\/div>

On the Job<\/a><\/h4>
There is mystery in every job, even those of students, whose jobs are to study and contribute to school, family, and community life. How do we learn the secrets of doing a good job at our work? Folklife! Occupational culture is one of the dynamic areas of Folklore Studies. By closely observing work spaces and interviewing people about their work culture, we make fascinating discoveries.<\/div><\/div><\/div>

Folk Song Remix<\/a><\/h4>
This activity offers a creative way to interact with favorite folk songs. Follow these directions to tap into familiar folk songs and give them your own, unique spin by remixing them!<\/div><\/div><\/div>

Exploring Portraits, Dress, and Identity in Asian Art<\/a><\/h4>
What can art objects from distant times and places express about the identity of the people and the cultures depicted in them?<\/div><\/div><\/div>

Exploring Dress, Culture, and Identity in American Indian Objects and Dress<\/a><\/h4>
How would you feel if someone (outside your identity group) used your identity design references in a clothing line? What might change how you feel about this use?<\/div><\/div><\/div>

Tradition, Innovation, and Hawai'ian Cultural Identity in Lau Hala Papale<\/a><\/h4>
How is the weaving and wearing of lau hala papale (hats) connected to Hawai\u2019ian history, identity, natural resources, and culture?<\/div><\/div><\/div>

Seasonal Round Lesson Plan<\/a><\/h4>
Use the Seasonal Round lesson plan to introduce students to your classroom or school culture, as well as their own. Students can learn about themselves, their families, their region, and the world by examining the seasonal round.<\/div><\/div><\/div>

Collecting!<\/a><\/h4>
Kids are natural collectors, piling up treasures like seashells and Pok\u00e9mon cards. Likewise, museum curators deal with many types of collections, from paintings to train engines. Curators organize collections for public exhibits, showcasing what they have learned about objects. By thinking like a curator, how would you organize one of your collections for a home museum?<\/div><\/div><\/div>

Interviewing Virtual Unit<\/a><\/h4>
By interviewing family and community members to document their stories, songs, crafts, and skills, we encounter deep local learning, which we can record and share in many ways. Visit our Inquiry Resources to go more in-depth!<\/div><\/div><\/div>

Family Mapmaking<\/a><\/h4>
Mapmaking is a wonderful way to engage family members in looking closely at how each experiences where they live. Family members may discover that each sees their neighborhood differently, that one includes a place that the others never noticed, or that certain neighborhood spaces, such as a vacant lot, are valued by one and considered an eyesore by others.<\/div><\/div><\/div>

Bread Journal<\/a><\/h4>
Paying attention to a cultural element like bread tells us about ourselves as well as others. Think about bread broadly\u2014from matzo to pancakes, tortillas to crackers! Here are some activities to do on your own or with others to find art in your daily life.<\/div><\/div><\/div>

Games and Play<\/a><\/h4>
Games are fun to play at any age and tell us a lot about our families, friends, and communities. There are many cool ways to think about and study games.<\/div><\/div><\/div>

Song Circle<\/a><\/h4>
Everyone sings. This means everyone knows some songs. Singing alone or with others can make us feel playful, help us through tough times, and bring us together.<\/div><\/div><\/div>

Good for What Ails You<\/a><\/h4>
Our beliefs about health and wellness are part of our personal and family folklore. Collecting cures, home remedies, and health sayings reveals how much a part of daily life our folklore about health is.<\/div><\/div><\/div>

Dress to Express<\/a><\/h4>
Our clothes are important cultural elements. We use them for many reasons. They are practical, fun symbols of our identity. Let\u2019s find some surprises while exploring how we Dress to Express.<\/div><\/div><\/div><\/div>

Research and Readings<\/h3>

End-of-Life Tool Kit<\/a><\/h4>Developed by City Lore and the Nurse Practitioner Healthcare Foundation | Originally published in 2023<\/span>
The Toolkit for the public provides resources on death and dying, geared to both health professionals and the public. <\/div><\/div><\/div>

Local Learning: A Folk Arts Integration Handbook<\/a><\/h4>
This 24-page handbook outlines how to incorporate folk arts and folk artists into arts integration programs.<\/div><\/div><\/div>

Artists as Educators<\/a><\/h4>CARTS, a publication of City Lore and Local Learning | Originally published in 2012<\/span>
Our featured artists consider educating young people essential to their lives as artists. Their stories of sharing a specialized skill or passing on knowledge of a culture or tradition offer insights into effective practices and ways of teaching and learning that are underutilized. They collective make the case for preserving pedagogical diversity in education. Read […]<\/div><\/div><\/div>

Teaching with Foodways<\/a><\/h4>CARTS, a publication of City Lore and Local Learning | Originally published in 2010<\/span>
The study of foodways offers compelling ways to explore local and world customs and cultures through an accessible, universal, everyday practice. The foods we eat provide a firsthand, sensory experience that can build an appetite for learning in any subject and offer opportunities for active, experiential education. Read the 28-page issue of the popular 2010 […]<\/div><\/div><\/div>

Interviews: The Heartbeat of Our Inquiry<\/a><\/h4>by Paula Rogovin | Originally published in 2009<\/span>
A 1st-grade teacher demonstrates how much even young children can learn from interviewing. \u201cBooks and the Internet are useful, but perhaps the most child-friendly and exciting way for young people to find answers is by interviewing people in their community. Information and concepts children can discover at an interview often go well beyond what they […]<\/div><\/div><\/div>

Listening Is an Act of Love: The Power of Storytelling in Education<\/a><\/h4>by Barbara Becker | Originally published in 2009<\/span>
StoryCorps has inspired thousands of Americans to share their stories. Here a StoryCorps advisor shares tips for bringing personal storytelling into the classroom.<\/div><\/div><\/div>

The Art of Work\/The Work of Art: Interview with Brad Bonaparte by 4th Grade Students at PS 78, Long Island City, New York<\/a><\/h4>by 4th Grade Students at PS 78, Long Island City, New York | Originally published in 2009<\/span>
Occupations are a perfect topic for student interviews. People like to talk about their jobs and how they learned them, what their skills are, what they contribute.<\/div><\/div><\/div>

Discovering Community<\/a><\/h4>by Paddy Bowman | Originally published in 2009<\/span>
A 4th-grade teacher in Vermont introduced her students to the concept of community teachers, people who the children learn from in everyday life. Their resulting interviews and art projects helped students see how they are part of history and a community.<\/div><\/div><\/div>

Kentucky Remembers<\/a><\/h4>by Meredith Martin and Caitlin Swain | Originally published in 2009<\/span>
The Kentucky Commission on Human Rights and a consortium of organizations developed Kentucky Remembers to train students to collect stories of human rights movement activists. The project demonstrated that through the folklore of our daily lives we can articulate what is strong and beautiful in our cultures and also what we hope to change.<\/div><\/div><\/div>

The Artful Interview in Documentary Production<\/a><\/h4>by Carol Spellman | Originally published in 2009<\/span>
An Oregon folklorist who has guided many young people to document community culture through video shares her framework for producing successful video projects. See the reprint of this article in the 2019 Journal of Folklore and Education.<\/div><\/div><\/div>

Clara\u2019s Song: Writing Songs from Interviews<\/a><\/h4>by Leo Schaff | Originally published in 2009<\/span>
In City Lore\u2019s Songwriting Artist Residency, students write songs inspired by their interviews with family, school, or community members. This article focuses on one interview with an immigrant teacher and the students\u2019 songwriting process.<\/div><\/div><\/div>

Carriers of Culture: Teaching and Learning Native Basketry<\/a><\/h4>by Marsha MacDowell and C. Kurt Dewhurst | Originally published in 2007<\/span>
This extensive project examines the contemporary state of Native American weaving in the U.S. and the ways Native baskets\u2014and their makers\u2014are carriers of culture.<\/div><\/div><\/div>

Diversifying Arts Education: A Conversation with Sarah Bainter Cunningham<\/a><\/h4>
NEA\u2019s Arts Education Director describes her interest in traditional pedagogy as well as ethnography. She says, \u201cThe folk arts remind us, teach us, and train us in context. This is vital to our aesthetic lives, to the living heartbeat of our local communities, and to the success of our citizenship within a democracy.\u201d<\/div><\/div><\/div>

The Power of Informal Learning<\/a><\/h4>by Paddy Bowman | Originally published in 2007<\/span>
The NEA Heritage Fellows can inspire young people to investigate the masters of tradition in their own families and communities.<\/div><\/div><\/div>

Norma Miller: Stompin\u2019 at the Savoy<\/a><\/h4>by Alan Govenar | Originally published in 2007<\/span>
This Heritage Fellow grew up in Harlem during the 1920s and as a young child loved to dance. She was among the original performers of the Lindy Hop and is renowned among swinger dancers worldwide today. Alan Govenar compiled text from his interviews with Norma to create a picture book of her life. Here we […]<\/div><\/div><\/div>

Teachers' Guide to Local Culture<\/a><\/h4>Produced by Madison Children's Museum; Written by Mark Wagler, Ruth Olson & Anne Pryor | Originally published in 2004<\/span>
This guide was written to help educators prepare their students to attend the \u201cHmong at Heart\u201d exhibit at the Madison children\u2019s museum, but is relevant to those wanting to learn more about Hmong communities or visiting museum exhibits featuring cultural traditions. If your students, even briefly, explore their own family or community culture, they will […]<\/div><\/div><\/div>

Kids' Guide to Local Culture<\/a><\/h4>Produced by Madison Children's Museum; Written by Mark Wagler, Ruth Olson & Anne Pryor | Originally published in 2004<\/span>
This Kids\u2019 Field Guide to Local Culture will help you observe, interview, and understand people. It includes tools and skills for people watching and ways of presenting your research.<\/div><\/div><\/div>

Cemetery Secrets<\/a><\/h4>by Paddy Bowman | Originally published in 2004<\/span>
Cemeteries may seem unlikely fieldtrip destinations, yet they offer rich possibilities for engaging students in primary research.<\/div><\/div><\/div>

Cajun Weddings<\/a><\/h4>by Jane Vidrine | Originally published in 2004<\/span>
Weddings are very familiar rites of passage, yet each differs. Cajun wedding traditions provide a window for researching this life passage.<\/div><\/div><\/div>

Rangoli: Traditions of the Threshold<\/a><\/h4>by Amanda Dargan | Originally published in 2004<\/span>
Threshold traditions offer a concrete form for exploring how rites of passage help practitioners make a transition between two states, such as secular to sacred, outside to inside, child to adult, and so on.<\/div><\/div><\/div>

The Life Cycle: Folk Customs of Passage<\/a><\/h4>by Steve Zeitlin | Originally published in 2004<\/span>
\u201cIn an age when it is easy to live vicariously through t.v. shows and other popular media, attention to the life cycle returns the focus to ourselves and our families, the arenas in which the real work of life takes place,\u201d writes the Director of City Lore.<\/div><\/div><\/div>

Welcoming a New Life: Yoruba Naming Traditions<\/a><\/h4>by Lisa Falk | Originally published in 2004<\/span>
By exploring what names mean and how different cultural groups have special naming traditions, students have a lot to learn about themselves, their families, their community, and the world.<\/div><\/div><\/div>

A teen and his mother consider the milestone of a first motorbike.<\/a><\/h4>by Lisa Falk | Originally published in 2004<\/span>
A teen and his mother consider the milestone of a first motorbike.<\/div><\/div><\/div>

At Home In the World<\/a><\/h4>by Jim Carnes | Originally published in 2003<\/span>
If membership and identity remain such vexing issues in our country, what can educators do to help students not only cope with the problem but also take action to resolve it? Written by Jim Carnes, editor of Teaching Tolerance, a national education project of the Southern Poverty Law Center in Montgomery, Alabama.<\/div><\/div><\/div>

May I Borrow?<\/a><\/h4>by Elizabeth Johnson | Originally published in 2003<\/span>
30 teens from across the country gathered at the University of Maryland for an intensive two weeks of dance and composition classes, rehearsal, and creation. They were African American, Hispanic, Asian, and Caucasian. They studied diverse dance techniques, from jazz and modern to salsa and traditional Hmong. Some were dramatic, some were shy. Some skateboarded, […]<\/div><\/div><\/div>

More Than Feathers and Casinos: Rethinking Native American Education<\/a><\/h4>by Rick Hill | Originally published in 2003<\/span>
\u201c\u2026.The most difficult thing to impress upon your students is that there is not one standard of Native American culture, dress, art, language, or experience. Over 400 native groups in the U.S. have very different realities. Our cultures are as different from one another as Japanese culture is from Polish culture\u2026\u201d<\/div><\/div><\/div>

Walk in Another\u2019s Shoes<\/a><\/h4>by Judy Thibault Klevins | Originally published in 2003<\/span>
\u201cThe trim, silver-haired man sits ramrod straight, a legacy of his former military training. Sitting close by, not quite as still or straight, his eight-year-old Swapping Stories partner\u2019s smile reflects his own. After the storytelling session, the former Mr. America finalist states, \u2018Even though there\u2019s a 75-year difference in our ages, we\u2019ve had very similar […]<\/div><\/div><\/div>

Words Are Serious, Words Are Divine<\/a><\/h4>by Kewulay Kamara | Originally published in 2003<\/span>
Taking students to visit community sites can provide rich, authentic experiences that inspire powerful personal responses. Often young rappers are\u2014as freestyler Toni Blackman put it\u2014\u201dstuck in style\u201d so writing about dramatic new experiences forces them to experiment. African-American high school students who participated in City Lore\u2019s Poetry Dialogues project worked with poets Toni Blackman and […]<\/div><\/div><\/div>

Poetry Dialogues<\/a><\/h4>by Tahani Salah | Originally published in 2003<\/span>
\u201cI was in the sixth grade when I started writing poetry. I had never realized how special poetry was to me. I started writing not just as an assignment, but almost as a way to let myself be free from everything around me. As I grow older, my poetry seems to evolved from blue hummingbirds […]<\/div><\/div><\/div>

From Imagine! Introducing Your Child to the Arts<\/a><\/h4>A publication of the National Endowment for the Arts | Originally published in 2003<\/span>
Find a chapter dedicated to folk arts education in this publication, including tips for parents on the best ways to interest children in art–helping them explore connections between their own life experiences and the artistic processes of others.<\/div><\/div><\/div>

A Celebration of Latino Music Culture in Toledo Ohio<\/a><\/h4>by David Harnish, Lucy Long, Barbara O'Hagin | Originally published in 2002<\/span>
This Educational Reference Guide involved research the role the musical arts play in celebrating heritage, preserving oral and musical traditions, constructing identity, and affecting personal life cycles.<\/div><\/div><\/div>

Sense of Place<\/a><\/h4>by Michael Umphrey | Originally published in 2002<\/span>
\u201cWhat is a \u2018place?\u2019 Is that strip of grass between the lanes on the Interstate highway a place? Is a Web site a place?\u201d Michael Umphrey, a poet and former principal, who currently directs the Montana Heritage Project explores the many notions of place. Umphrey also provides examples for how students can learn the skills […]<\/div><\/div><\/div>

Fieldwork Builds Learning and Community<\/a><\/h4>by Mark Wagler | Originally published in 2002<\/span>
Elementary school teacher and folklorist Mark Wagler shares fieldwork methods he uses with his classes. The article includes exercises and inspiration for teaching folklore in the K-12 curriculum. \u201cI am convinced\u201d, he says, \u201cthat the single most important factor for teaching folklore in the K-12 curriculum is for teachers to think of themselves, and act, […]<\/div><\/div><\/div>

La Trace du Boudin<\/a><\/h4>by Paddy Bowman | Originally published in 2002<\/span>
An engaging profile of Acadiana and Lafayette High School students who prepared the \u201cGuide to Acadian Stores and Meat Markets That Sell Boudin.\u201d The guide, a French and English tourism brochure, explores the boudin, a Cajun sausage made and sold in small family-owned markets all over South Louisiana.\u201d<\/div><\/div><\/div>

How Deer Came to the Kodiak Archipelago<\/a><\/h4>by Josh Wood | Originally published in 2002<\/span>
Josh Wood, a student from rural Alaska, writes about an unusual relationship between people, animals, and place.<\/div><\/div><\/div>

Family Maps<\/a><\/h4>by Luanne McLaughlin | Originally published in 2002<\/span>
Luanne McLaughlin, a parent at PS 29 in Cobble Hill, Brooklyn, shares a family mapping activity that works in any locale.<\/div><\/div><\/div>

Writing Exercises<\/a><\/h4>by Dave Johnson | Originally published in 2001<\/span>
\u201cOne of the toughest tasks for educators teaching young writers is to get them to see that poetry is everywhere in our lives\u2026.The \u201csite\u201d of the Work Poem is a good place to engage young writers to focus on a specific subject matter and to encourage them to explore the language that surrounds the jobs […]<\/div><\/div><\/div>

Poetry Contests and Improvisations<\/a><\/h4>by Amanda Dargan and Steve Zeitlin | Originally published in 2001<\/span>
An international and historical overview of poetry contests and improvisation.<\/div><\/div><\/div>

Poetry Slam in the Classroom<\/a><\/h4>by Bob Holman | Originally published in 2001<\/span>
A detailed description of poetry slams and the pros and cons of hosting them with young people in a classroom.<\/div><\/div><\/div>

The Blues<\/a><\/h4>by Amanda Dargan and Steve Zeitlin | Originally published in 2001<\/span>
\u201c\u2018What are the blues?\u2019 Well, as Louis Armstrong said about jazz, cousin to the blues, \u2018Man, if you gotta ask, you\u2019ll never know.’\u201d That said, folklorists, Amanda Dargan and Steve Zeitin provide a brief history of blues poetry\u2014with examples.<\/div><\/div><\/div>

Fieldtrips to Find Poetry<\/a><\/h4>by Steve Zeitlin | Originally published in 2001<\/span>
The Handbook of Poetic Forms published by Teachers & Writers Collaborative regards a \u2018found poem\u2019 as a piece of writing that was not intended as a poem, but is desclared to be by its \u2018finder.\u2019 Poetry can be \u2018found\u2019 in everything from newspaper articles, store signs, lists, scraps of conversation, and other everytday uses of […]<\/div><\/div><\/div>

Cowboy Poetry Adventures<\/a><\/h4>by Paddy Bowman | Originally published in 2001<\/span>
\u201cImagine herding 21 high school students from the coast of Oregon to the National Cowboy Poetry Gathering in Elko, Nevada over nine days in the middle of the school year\u2026.\u201d Join Paddy Bowman as she chronicles the literary adventures of two teachers and 21 students (cowboy poetry resources provided).<\/div><\/div><\/div>

Teacher's Self-Discovery<\/a><\/h4>by Susan Eleuterio | Originally published in 2000<\/span>
Teaching teachers acceptance and respect through training that begins with the teacher examining their own culture and then expanding to the cultures of other people. For a similar approach with students, see “Engaging Diversity: A Teacher Talks about Folk Arts-Driven Educational Reform” by Susanne Nixdorf<\/div><\/div><\/div>

A Child's Salute: Iowa's Project Honors Newcomers<\/a><\/h4>by Gail Matthews-DeNatale and Rachelle Saltzman | Originally published in 2000<\/span>
Information on how teachers can identify folk groups and then incorporate the exploration of these groups into the classroom learning experience.<\/div><\/div><\/div>

Capitalizing On Diversity And Immigration<\/a><\/h4>by Carol Franz | Originally published in 2000<\/span>
How a Virginia elementary school uses the diversity of their students to enrich their learning experience and multicultural understanding.<\/div><\/div><\/div>

The Florida Music Train: Moving to the Sunshine State<\/a><\/h4>by Laurie Kay Sommers | Originally published in 2000<\/span>
Using traditional music as a window into the increasingly diverse migrant population in the United States.<\/div><\/div><\/div>

Sculpting the Face of Immigration<\/a><\/h4>by George Zavala | Originally published in 2000<\/span>
Using art to tell a story of immigration, George Zavala creates works of art with several different 4th grade classes in Woodside, Queens.<\/div><\/div><\/div>

Digest-Eating Across the Curriculum<\/a><\/h4>Lucy Long, Editor | Originally published in 1999<\/span>
A special volume of “Digest” that grew out of a project funded by the National Endowment for the Humanities addressing food and pedagogy.<\/div><\/div><\/div>

To Dance Irish<\/a><\/h4>Edited by Lucy Long | Originally published in 1999<\/span>
This resource was published to 1) Provide more information about Irish Dance, 2) Place this art form within the context of ethnicity, 3) Discover the complexity and cultural meaning behind this art form, and 4) Suggest ways of incorporating Irish dance into social studies curricula for elementary through college students.<\/div><\/div><\/div>

A Community Celebration Of Place<\/a><\/h4>by Laura Caldwell Anderson | Originally published in 1999<\/span>
A program brings rural Alabama communities together when students interview community elders and get the stories to music.<\/div><\/div><\/div>

A Patchwork of Our Lives: Oral History Quilts in Intercultural Education<\/a><\/h4>by Cynthia Cohen | Originally published in 1999<\/span>
How oral history can help young people develop intercultural and intergenerational competencies.<\/div><\/div><\/div>

Among Folk: Using Folklife To Build Partnerships With Students And Their Families<\/a><\/h4>by Sarah Jordahl Reeve | Originally published in 1999<\/span>
A folklife curriculum bridges the generational gap between students, parents, and grandparents and aids in student’s quest for their own identity.<\/div><\/div><\/div>

Finding Folk Arts in Teachers' and Students' Lives<\/a><\/h4>by Diane E. Sidener | Originally published in 1997<\/span>
How teachers can identify folk groups and incorporate cultural explorations into the classroom learning experienceHow teachers can identify folk groups and incorporate cultural explorations into the classroom learning experience. .<\/div><\/div><\/div>

Holidays and Schools: Folklore Theory and Educational Practice, or, Where Do We Put the Christmas Tree?<\/a><\/h4>by Lucy Long | Originally published in 1997<\/span>
How an Ohio parent and folklorist successfully engaged the issue of holiday celebrations in schools by integrating community study, family folklore and social studies curricula.<\/div><\/div><\/div>

Mining Values in the Montana Heritage Project<\/a><\/h4>by Renee Rasmussen | Originally published in 1997<\/span>
Through asking her junior English class to investigate an old building that was once a gym, Rasmussen “discovered the joy of using cultural heritage in the classroom.”<\/div><\/div><\/div>

That Zora Sure Could Write<\/a><\/h4>by Akua Duku Anoyke | Originally published in 1997<\/span>
Looking at the work of Zora Neal Hurston, Anokye examines how oral discourse can be transferred into writing. He argues that Hurston’s work provides a model teaching tool for preserving oral traditions through writing. Also includes a short biography of Hurston.<\/div><\/div><\/div>

Folk Culture Inspires Writing Across The Curriculum<\/a><\/h4>by Susan Eleuterio | Originally published in 1997<\/span>
Two folklife activities that encourage writing across the curriculum: reading cultural objects and fieldwork about Halloween and Day of the Dead.<\/div><\/div><\/div>

Writing the Range<\/a><\/h4>by Trish O'Malley | Originally published in 1997<\/span>
Reflections on the Cowboy Poetry Gathering in Elko, Nevada by student participants.<\/div><\/div><\/div>

A Teacher Talks About Folk Arts-Driven Educational Reform<\/a><\/h4>by Susanne Nixsdorf | Originally published in 1997<\/span>
How a rural Pennsylvanian school district taught about diversity and respect for other cultures through a folklife\/folk arts program.<\/div><\/div><\/div>

Storytelling at the Crossroads<\/a><\/h4>by Nina Jaffe | Originally published in 1996<\/span>
Teaching storytelling: the power, importance and influence of the storyteller<\/div><\/div><\/div>

American Folklife: A Commonwealth of Cultures<\/a><\/h4>by Mary Hufford | Originally published in 1996<\/span>
Folklife is community life and values, artfully expressed in myriad interactions. It is universal, diverse, and enduring. It enriches the nation and makes us a commonwealth of cultures. The traditional knowledge and skills required to make a pie crust, plant a garden, arrange a birthday party, or turn a lathe are exchanged in the course […]<\/div><\/div><\/div>

How to Teach Folk Arts to Young People: The Need for Context<\/a><\/h4>by Graeme Chalmers | Originally published in 1996<\/span>
In a a speech at New York University, Chalmers challenges the practice of “aesthetic scanning” by providing art teachers with ways to teach students the social context in which art is created.<\/div><\/div><\/div>

Negotiating Pitfalls and Possibilities<\/a><\/h4>by Debora Kodish and William Westerman | Originally published in 1996<\/span>
Kodish and Westerman outline the steps taken toward understanding folk art and locating it within communities. They also explore how students come to understand the history, economics, style, culture and traditions of people through folk arts.<\/div><\/div><\/div>

Passing it On<\/a><\/h4>by Rita Zorn Moonsammy | Originally published in 1992<\/span>
Excerpts from the now classic folk arts-in-education book, Passing It On which explores collaborative programs between classroom teachers and folk artists\/community educators. We have excerpted four sections that map the New Jersey Main Road School’s sixth grade residency with auctioneer Andrea Licciardello. Licciardello worked with classroom teacher Glenn Christmann to present a study of auctions […]<\/div><\/div><\/div>

An Accessible Aesthetic<\/a><\/h4>by Barbara Kirshenblatt-Gimblett | Originally published in 1983<\/span>
The folk artist is very much like a curator and the community is a living museum. In unpacking this metaphor, Kirshenblatt-Gimblett explores how the folk artist learns various traditions and then teaches adults and children to develop strong ties to their communities and cultural history.<\/div><\/div><\/div>

Teaching Artist Resources in the Journal of Folklore and Education<\/a><\/h4>
Over the years, the Journal of Folklore and Education has published resources useful for Teaching Artists, from case studies to pedagogical tools.<\/div><\/div><\/div>

Museum Resources in the Journal of Folklore and Education<\/a><\/h4>
Over the years, the Journal of Folklore and Education has published resources useful for museum educators, from our special issue dedicated to museum education in 2016 to ongoing articles ranging from teaching with primary sources to community-based museum outreach.<\/div><\/div><\/div>

Folk Arts in the Classroom: Changing the Relationship Between Schools and Communities<\/a><\/h4>
The publication of this article launched Local Learning in 1993.<\/div><\/div><\/div><\/div><\/div>[\/et_pb_code][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

Folk arts contribute not only to students\u2019 understanding of cultural traditions but also to their ability to think critically, gather and analyze evidence, and express their ideas and interpretations through personal creativity. Folklife and the tools of the folklorist can support learning in all subjects, including the arts. Folk arts are uniquely suited to explore […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-4619","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nFolk Arts, Folklife, and Folklore Resources<\/title>\n<meta name=\"description\" content=\"Folklore resources for teachers, folklorists, academics, and more. 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