Professional Documents
Culture Documents
4i/ ng/if?
reared
INTRODUCTION
This IS primanly a cntical review of a particular trajector\' in the contemporar>^ anthropological study of folklore with an additional consideration of
others Space considerations and intellectual saliency limit the total number ot
works we consider representative of these trajectones Our title and pnmar>^
focus come from our examination of the scholarly shape ol the field as it has
developed smce the marked intervention in the early and mid 1970s of a new
conceptual approach in the study of folklore We refer to the clear emergence
of performance and contextually centered understandings of folklore as social
behavioral process and as situated communicative interaction (23. 122) Our
essay pnmanly focuses on the achievements and limitations of this central
trajector)^ in folklore studies since 1972
In his most recent tormulauon ot the concept of performance, Bauman (15)
usefully identifies three related definitions and uses of 'performance'" in
contempordrj' sociocukural analysis performance as situated, ordinary cultural practice, an approach indebted to the Marxian concept of praxis, performance as cultural displays or, to use Abrahams' term, 'enactments" (3), an
approach closely identified with a particular wmg of symbolic anthropology
(Singer, Geertz. V Tumer. and Peacock among others) which while closely
allied to folklore we nonetheless exclude from this space-limited review,
finally, performance as the situated interactional practice of verbal artoral
poetics It IS this third sense of performance thdt Bauman identifies as his
own, and it is also the central concem of anthropological performance437
438
centered folklorists ' It is our chief concem as well, although we agree with
Bauman that an ideal review would argue that the three approaches are
'convergent in many ways" (15) Again we plead space considerations and
the availahility of related reviews (143a.b)
Departing cntically from older, text-centered and macrofunctionalist
approaches, these new perspectives" propose, m Bauman's representative
words, to analyze folklore by emphasizing "
performance as an organizing
pnnciple that comprehends within a single conceptual framework artistic act,
expressive form, and esthetic response, and that does so m terms of locally
defined, culture-specific categones and contexts" (122. p xi)
Another important aspect of the new perspectives is a redefinition of
folklore m terms of its social basethe "folk"toward a more flexible sense
of size and social composition We find also in the new perspectives a
reonentation of the concept of genre away from genres as fixed normative,
mutually exclusive categones to a consideration of genres as malleable social
phenomena open to emergence, transformation, communicative use. and
lnterrelatedness (20) Not ali of the theoretical and ethnographic contnbutions
to these landmark collections respond to this charter, but most clearly do
Also, as with most seeming novelties in scholarship, these new perspectives
are not entirely new In his more elaborated and seminal statement of performance. Bauman (10) clearly and correctly acknowledges the long-term
precedence of Malinowski in matters of contextual analysis And in 1964,
Paredes had clearly called attention to and explicitly used the categoncal
language of performance and context (118) Nonetheless, as a marked tendency in anthropological folklore, there is a sharp distinctiveness in these wntlngs of the seventies, and it owes much to conceptually and temporally closely
related developments m the ethnography of speaking (16, 17. 74a)
439
work, a histor\' which was about to give way to his younger co-participants in
the symposium, the new frontiersmen of folklore Dundes reiterates his ideas
conceming the nature of "the folk" they do not have to be illiterate peasants
nor do they have to be large collectivities" i58) Drawing on his work in
Benin, Ben-Amos re-stresses the small group communicative concept of
folklore (21). while Abrahams proposes the broader notion of enactments to
capture those processual expressive events which in his estimation are not
captured by performance" i3) But it remained for Bauman to have the last
word, and here he proposes that the new perspectives have moved beyond
trontiers" and the task now is to establish settlements" implying detailed
ethnographic work and theoretical elaboration (U) Bauman. like Ben-Amos,
IS able to cite a ver\^ limited range of ethnographic work in his essay, Bauman.
as noted earlier, also points the way toward conceptual and theoretical
elaboration by asking folklonsts to take account of the close affinities between
performance folkloristics and developments m processual symbolic analysis
in anthropology Bauman then i 13i and later dlso reminds folklonsts of the
need for performance-centered analyses to take an integrated account of social
^tructure and a wider sense ot cultural context even as they center their
attention on artful communication
In the remainder of this essay, we take cntical measure of the scholarly
response to Bauman's program for the settlement ot the frontiers of folklore
How w-ell have these frontiers been settled' We are also concemed wMth
noting some at least imphcit limitations in that initial program Were enough
theoretical and ethnographic frontier*-'" defined and therefore enough areas in
need of settlement'"' To take only two initial examples what about
frontierswomen'" and the area ot women's tolklore studies, and what about
Paredes"s wise observation in the forew-ord to the 1972 .Veiv Perspectives
volume that 'several ot the essays that lollow consider folklore exclusively in
terms of verbal behavior ignonng toi their purposes such nonlinguistic
manifestations as dance, gesture, and arts and crafts" (120. p \) Because
these tw^o major areaswomen and mateual culturehave been neglected in
the development of contemporar\ folklonstics. we shall lend them special
emphasis in these pages
440
perspectives and frontiers Foremost among these is Wilgus. who insists that
"the text IS the thing'' (151), a cntical line taken up later by S Jones (90), who
objects to the redefinition of the folklore "text'' in terms of process and event
Both Wilgus and S Jones seem to have the rather quaint notion that there is
such a thing as a "text" which does not change in each performance, a point
made by Ben-Amos among others in his reply to S Jones (22) Georges (69)
attempts to arbitrate the dispute, although clearly his own sentiments and
practice hnng him closer to the performance theonsts Of far greater importance to anthropological folklonsts is the cntical assessment made by
Joyner. who, while highly sympathetic to the new perspectives, correctly
notes Its synchronic bias and calls for the integration of the historical background of performer, performance, and context toward a full understanding of
the folklore event (92) From a more synchronic perspective, Honko has
suggested that performance-centered approaches as a "'new folklonstics'"
remain ' a promise to be fulfilled " While this new^ folklonstics 'helps to set
our thoughts moving again."
the basic rules of different research procedures still have to be exemplified, preferably
with matenal laden analyses of correlations between social lnteracuon matnx, genenc
expression of values, distnbution of traditional elements, attitudes toward life and world,
rapid changes of culture and society (T'. p 20)
We are certam that Bauman does not disagree with Honko or Joyner, given
Bauman"s own fine histoncal scholarship (14. 15) and his own synchronic
model for the study of folklore in multiple levels of context (13) The full
charter of performance theory calls for a total integration of history, society,
and culture in the close analysis of the performance event In these terms we
substantially agree with Honko and with Ben-Amos (22) as well. that, in its
theoretical elaboration and ethnographic yield, performance folklonstics remain still a promise to be fulfilled, although what we have is not entirely
disappointing
441
whtch the speakers of the^e texts use them for specific comtnunicative
purposes, these two scholars are already practictng at least some of the tiew
folklonstics
However we note a limited number of studies m the 1970s which attempt
to respond exphcttly to the performatice charter but do so more successfully at
the microsociological level It would be reasonable to expect the foremosi
rheoretician of perfoimance to also offer the first consciously explicit
ethnographtc rendenng of folklore as performance and this is what Bauman
does in his brief study ot verbal art tn a Nova Scotian commumty (9)
Focusmg on the small group, face-to-tace context of a general store in the La
Have Islands. Bauman elegantly dehneates the expressive speech economy ot
male performers, an economy tentenng on the native genre.' yams '" In terms
that Abrahams (2i also uses elsewhere Bauman demonstrates the personal
power and s,ocial restraint articulated m the interactional emergence and use ol
these yams The data are nchly textured and the analysis fmely honed and a>.
such IS a vast tmprovement over "pure" textual analysis or a folklore-inculture'" approach which would grossly relate cuttural values" and texts to
discover the former ' expressed" m the latter On the other hand, we ftnd
mmimal or no commentary that takes substantial analytical account of the
historv' and larger sociocultural context of thts speech setting
Another already menttoned major exponent ol the new folklonstics offers
an ethnographic appitcation ot this perspective to stor\telling in Benin.
Nigena (19) In a sense the ver\^ slimnes^ of Ben-Amos's volume betrays the
problem an almost singular emphasis on dehneattng the speaking context and
the expressive speech economy ot this society but a minimal concem wath
broader sociocullural considerations We leam a great deal about Bim
stor\'telling as verbal art but we are lett largely waiting for the fulfillment of
Ben-Amos's implied promise in his introduction to use the performance
approach to demonstrate in detail the historical, sot-iaJ, and political awareness wath which the tales are imbued' (19 p 15)
This microfocus also iimits the work of another folklonst. but he more than
compensates by the nchness of his local analysis and his innovative apphcanon of a performance approach lo material culture M Jones applies certain
aspects of both the perfomiance and behavioral approaches to his study of a
traditional Kentucky chairmake"" (85) Central to his work is a focus on
process rather tban product of most significance to Jones is the interaction of
the chairmaker with the objects he creates and w^ith members of tbe surrounding community who evaluate his chairs from the perspective of a traditional
canon ot what constitutes a 'good chair ' Because he pays close attention to
situations of the production and use ol chairs within the total tramework of
daily community interaction. Jones may be said to analyze folk chairmakmg
as the Situated artful use of folklore" w ithm (he total communicative context.
442
443
community in the United States is not far behind Bnggs has focused on the
performance of proverbs and treasure tales in New Mexico (29b, 30) with the
largely successful analytical outcome ot demonstrating the w^ays in which 'the
torm and content of performances are simultaneously shaped by structural and
contextual factors'" (30. p 288) While offenng finely honed interactional
analyses, Bnggs's conceptions ot structure and context are not as ambitious as
those of Limdn, who analyzes Texas-Mexican folklore performances and
performers j ^ artful products and producers of histoncal and contemporary^
resistance to structural and cultural domination (100, 101) Further. Bnggs
does not acknowledge the highly relevant precedent of Amenco Paredes in fhe
performance analysis of legend (l20ai proverb 1121a), and fieidwork interaction (121)
Finally. McCarl makes a substantial contribution demonstrating that fhe
performance of a fire fighter*-' ceremonial retirement dinner serves to announce the fire fighters* deepest cultural preoccupations ds they ambivalently
separate the retiree from this culture (109)
However, if a rich delineation ot hi^tor\' and sociocultural context and a
thick descnption of the speech event constitute the optimum model of performance analysis, then perhaps we are being inherently unfair in expecting
article length or early book length works tully to live up to this model Such
an expectation should be better addressed by more recent book length studies,
and w-e tum now to an estimation ot tho^e few recent works explicitly
generated b\ this theoretical perspective Given even the most minimal time
frame for the germination of new idea*- fieidwork. manuscript development
and publication it is nol surprising that such studies explicitly indebted fo
performance perspectives, did not begin lo jppear until the 1980s, nor that
there should be so few
In our critical terms, the least ^ativfattorv^ of these is Seifel's study of
traditional tales from Tanzania 1129) Largely a textual collection of such
tales, this book devotes onl> one chapter fo performance analysis and only
one to the hisfoncal and ethnographic context ot the tales This study falls
short of a full response to Bauman s agenda not only in its relative paucity of
tthnogrdphic data but in its limited integration of this data in a tme and
extended performance-centered analysis
If Seitel'^i book falls somewhat shon ot doing justice to this A.frican
expressive culture, the Afncan extension and adaptation into the Amencas
does receive more than adequate attention in two recent publications devoted
to two different geographical and class sectors of this extension Bell (18)
continues a hne of scholarly inquiry begun bv Dollard (55) but most effectively and expansively carried forth by Abrahams (1), also one of the aforemennoned earlv theorists ol performance folkioristics While maintaining this
tradition s interest in A.fro-American male speech play Bell introduces three
444
44?
'then weave contexts around them to make them meaningful, to make life
more comprehensible" (72. p xvi) It is. however, in Glassie's weaving of
these contexts, that one feels the too decisive presence of his personality and
prose in tbe ethnographic creation ot a too precious folk cultural world, a
'ceremony of mnoLence.'' from wbich Glassie largely excludes the blooddimmed tide" that is Ulster today Yet as scholarship and as ethnographic art.
the book moves us to agree with one of its folklonst admirers that it synthesizes the advances of a generation of work m folklonstics" and is a
'masterpiece, a watershed m the histor\^ of our disciphne" (93. p 71)
In the preceding we have been concemed with taking cntical account of
exemplarv' studies explicitly indebted to a performance-centered approach to
folklore analysis as developed by Bauman and others We agree with McCarl
that this approach has been one of the most powerful forces m recent
historv'". yet we also agree that this powerful theorv^ "has not pioduced a large
body of field-based studies" (109 p 394) Those that have appeared do not
always fulfill the total charter ot this approach as enunciated by Bauman We
close this section with a consideration of two possible reasons why this
'powerful' theoretical innovation in folklonstics has not wholly fulfilled its
promise and ma> not in the near future The second of tbese two reasons also
leads us mto a bnef evaluation ol Bauman *- own forthcoming field-based
study of folklore in performance
A pnmary problem lies in d methodological paradox imbedded in the
approach itself Honko (781 pomts to an obvious and therefore often missed
methodological-interpretive requirement brought about by the analysis ot
iolklore as emergent, situated artful communication Analysis in tbis mode,
says Honko. presupposes a close contact witb the act of folklore communication " For Honko, close contact" means face-to-tace knowledge of the
speaker or vivid perception of the scene and participants of communication'"
whereas such information may be obtained by other means (one-on-one
mterviewmg. detailed reports from someone else who was present), ''the
weight of documentation lies, however, on obser\-ation'' ("^8. p 43) W^e
wholly agree, but Honko seems to assume a ver>^ problematic point the
obser\'er"s sufficient fluency in the varieties and registers ot the linguistic and
melahnguistic codes in which emergent folkioric acts are performed How
often do such observers develop tht deep fluency in language and social
interaction that tbe close contact ol pertormdnce analysis would seem to
require and which is not (as in most of fieldwork-based anthropology)
solved" by moderate fluency, translators, or key informants'' We realize that
tbese are also traditional and general methodological problems in any kind of
anthropological fieldwork, but the pertormance approach, by its ver\^ intensive emphasis on situated speech in small group contexts, considerably
enhances these issuc:^ In cnticallv reviewing the ethnography of speaking,"
446
447
448
449
Women's Studies
Tbe purpose of the volume Women and Folklore was to bnng foreward data
concerning a subject area tbat had been virtually ignored by folklonsts since
the establishment ofthe discipline (64) Farrer. the volume s editor, claimed
that altbough lip service" bad been paid to tbe importance ot women's
expressive bebavior, usually that bebavior was recognized and accorded
legitimacy only when it occurred in predetermmed genres that fit tbe prevail
mg image of women" (64, p vi Challenging ngid dichotomies such as tbose
suggesting the oppositions of male female public/private, and powerfulpow^erless. ihe vanous authors in this volume examined the prevalent images
of women and the subsequent genres through which women s creativity had
been viewed, suggestmg that new images, genres, and approaches needed to
be developed in the study of women and folklore Admittedly, this collection
of explorator>- essays fell short of providing a theoretical basis for the study of
women's expressive behavior, but it did serve to focus attention on an
emergent area of folklore research Nevertheless, tbe publication of this book
was not followed by the spate ot scholarly articles on women's expressive
bebavior that Farrer and the otber essayists had hoped to spark, few articles or
450
451
pointed out in her review, the vanous authors never address themselves to the
issue that 'studying women makes a difference" (99i Levin adds that
although the book claims to focus on women's genres, there are some notable
omissions such as cooking, decoration and household aesthetics, and housework
Although none of these pubhcaiions has provided the new perspective."
the theoretical underpinnings that would give the folklore of and about women
Its proper place in tolklore scholarship we predict and hope that the study of
women's artisttc communication will soon come into its own
452
folk matenal culture scholarship since the mid-1970s tbis shift is charactenzed by a focus on the individual rather than a concem with broad generalizations, classifications of types, delineation of groups, and regional trends
Descnbed as the behavioral mode of analysis, this new onentation, also
prevalent in studies of verbal art. implies a change in the definition of
folklore instead of refemng to a certain tj'pe of group, 'folk" as understood
by the behavioraiists refers to a particular process of creation and transmission ^ The following cntena distinguish the behavioral approach from
earlier folklore scholarship ' rather than conformity, vanation is emphasized,
instead of tradition, motivationis stressed" (31. p 158) Of course, this raises
the question, 'if we do away with tradition, what is folklonc' about tbe
behavionst onentation "*" One often-voiced cnticism of structuralists is that
they frequently overlook the mdividual in search of underlying pattem. m
contrast, behaviorahsts tend to overlook cultural pattem in their emphasis on
the personality of the individual Furthermore, one potential problem with tbe
latter approach is that it encourages tbe folklorist to adopt the stance of a
psychoanalyst while lacking proper training in that particular profession
Nevertheless, the influence of the behavionst approach adopted by Jones is
evident in a range of more recent publications whose authors have begun to
question overarching assumptions about tradition and culture Vlacb. for
instance, acknowledges Jones's intellectual contnbution to his own research
In his most recent book (146). Vlach examines the perpetuation of tradition in
tbe urban environment, emphasizing the w^ays in which this environment
actually encourages the retention of folk aesthetics and creative processes
Other recent folklore publications situate studies of individual craftspersons
withm the community, economic, and environmental contexts (29, 34, 35,
39, 83. 106. 143)
The new perspective of tbe early 1970s that led to the characterization of
folklore as "perfomiance" and '"communicative act" (23, 68, 81) has influenced matenal culture studies as well as researcb in oral tradition
Although folklonsts who study verbal art as performance have focused predominantly on syncbronic events, a number of matenal culture scbolars bave
adapted the performance model to their studies of diachronic events For
example, m a recent study several essayists analyze meals and other foodcentered events as performances within which fhe relationship between food
and identity is enacted (89) Sherzer and Sherzer have also employed this
model in their research on Cuna molas. pointing out that one can use
^Anticipating this new onentation, lti 196"^ Bauman detailed the assumptions and objecti
that were necessarj to establish a behavioral science of folklore (8) A number of these objecti
453
454
and the informal transmission of techniques and ideas in the lives of workers
(47. 103)
This bnef review of the histor>' of folk matenal culture studies in Amenca
points to certain biases in contemporar>' Amencan folklonstics, biases due in
part to a tendency to accord precedence and prestige to the study of verbal art
while overlooking the equally important contnbution made by the study of
visual art forms A commonly made distinction in hoth contemporary and past
folklore scholarship is one between research that focuses on oral tradition and
research that has as its central goal the study of traditional matenal culture It
almost seems that folklore scholars had tacitly agreed to pursue the study of
either physical objects or spoken texts, but not both This ngid division has.
however, begun to disappear in the w ake of recent theoretical developments
in the discipline of folklore which stress a dynamic reconceptualization of
folklorea reconceptualization that not only renders the genre-onented
approach obsolete, but dissolves as well the frequently artificial hamers
separating the study of oral literature from matenal culture These theoretical
developments are exemplified by the growing number of folklonstic/
anthropological studies that treat verbal and visual arts as intertwining modes
of communication (6. 65, 72. 80. 94. 135, 155)
As with women and folklore, matenal culture is addressed separately and at
length in this review^ as a way of pointing to a lacuna m past scholarship both
areas have been severely neglected by those who claimed that they were
guiding the discipline toward new frontiers Paredes's suggestion in 1972 that
performance scholars should look to nonlinguistic manifestations as well as
linguistic materials has not necessanly led to the recognition on the part of the
more verhally oriented folklore scholars that the interaction of people with
objects IS also a viable avenue for a performance-centered approach to
folklonstics
455
CONCLUSION
The performance-centered approach to folklore has been recognized as the
leading theoretical force in contemporary^ folklonstics It has led to the
welcome reconceptualization of the traditional concepts of tolk." 'folklore,"
and 'tradition " At the heart ot this reconceptualization is an imbedded
rethinking of culture, society, and the individual No longer a superorganic
torce that compels the individual, culture is now seen as a framework within
which individuals strategically select and express their identities as social
beings The performance of folklore is vital to this dynamic mteraction.
therefore, the ethnographic analysis ot this total interrelationship should be
the goal ot a fully adequate perfonnance folklonstics While noting some
exemplar\ work, we have pointed to the general quantitative and qualitative
uneveness of the scholarship resulting from this new folklonstics It remains a
frontier and settlement in need of future development Further, we have also
noted other frontier areas thai require significant, sustained attention and
scholarly development
ACKNOVIXEDGMENTS
We would like to thank Laura Marcus and Suzanne Senff tor their help with
research and commentar\' on content We are also grateful to Richard Bauman
for making bib latest manuscnpts available to us
456
Literature Cited
1 Abrahams. R D 1966 Deep Down in
the Jungle ^egro Narrative Folklore
from the Streets of Phdadelphia Chicago Aldine 1st rev ed
2 Abrahams, R D 1972 Personal power
and social restraint m the definition of
folklore See Ref 122, pp 16-30
3 Abrahams, R D 1977 Toward an
enactment-centered theorj' of folklore
See Ref 1, pp 79-120
4 Abrahams, R D 1978 Toward a
sociological theon^ of folklore Performing services See Ref 40, pp 161-84
5 Abrahams, R D 1983 The Man-ofwords in the West Indies Performance
and the Emergence of Creole Culture
Baltimore'London Johns Hopkins Univ
Press
6 Babcock, B 1982 Clay voices Invoking, mocking, celebrating In Celebration Studies in Festivity and Ritual ed
V Turner, pp 58-76 Washington, DC
Smithsonian Inst Press
7 Bascom. W R . ed 1977 Frontiers of
Folklore Boulder Westview
8 Bauman, R 1969 Towards \ Behavioral Theorv- of Folklore J Am
Folklore 82 167-70
9 Bauman, R 19^2 The La Have Island
general store Sociability and verbal art
in a Nova Scotia communitv / 4m
Folklore 85 330-43
10 Bauman, R , 1975 Verbal art as performance Am Anthropol 77 290-312
Repnnted in book form. 1984 Prospect
Heights, IL Waveland
11 Bauman. R 1977 Settlement pattems
on the frontier*; of folklore See Ref 7.
pp 121-31
12 Bauman, R 1982 Conceptions of folklore in the development of hterar\^ semiotics Semiotica 39 1-20
13 Bauman, R 1983 The field study of
folklore in context In Handbook of
American Folklore, ed R Dorson, pp
362-68 Bloommgton Indiana Univ
Press
14 Bauman, R 1983 Let Your Words be
Few Symbolism of Speaking and Silence
Among Seventeenth Centurr Quakers
New S'ork Cambndge Unjv Press
15 Bauman, R 1986 Performance and
honor in 13th century^ Iceland J Am
Folklore 99 131-50
15a Bauman, R 1986 Story. Performance and Event Contextual Studies of
Oral \arrative New York Cambndge
L'niv Press In press
16 Bauman. R , Sherzer. J . eds 1974 Explorations in the Ethnography of Speak-
^I
52
"^^
"^4
5=i
56
56d
57
5S
5U
60
6t
62
(^3
(-,4
65
66
67
68
69
"^O
457
458
71
72
73
74
74a
75
76
7?
78
79
80
81
81a
8Ib
81c
82
83
84
85
86
8^
88
89
90
38 4247
91 Jordan. R , KaltJik. S . eds 1985
Women s Folklore, Women s Culture
Philadelphia Univ Penn Press
92 Joyner. C W 1975 A model for the
analysis of folklore performance m histoncai context J Am Folklore 88 25'!65
93 Joyner. C W 1984 The narrowing
eyre \ review essav West Folklore
43 145-51
93a Keil. C 1979 Tiv Song Chicago
Univ Chicago Press
94 Kirshenblatt-Gimblett. B 1982 Thecui
that binds The Westem Ashkenazic
Torah binder as nexus between
circumcision and Torah In Celebration
Studies in Festivity and Ritual, ed V
Tumer. pp 136-46 Washington. DC
Smithsonian Inst Press
95 Kirshenbiatt-Gimblett, B 1983 The future of folklore studies in Amenca The
urban frontier Folklore Forum I6 175234
96 Kligman. G 1984 The ntes of women
Oral poetr\'. ideology, and the socialization of peasant women in comemporarj^
Romania J Am Folklore 97 16788
9"^ Kodish, D 1983 Fair voung ladies and
bonny Irish bovs Pattem in vemacular
poetics J Am Folklore 96 131-50
98 Lawless. E 1983 Shouting for the
Lord The power of women s speech in
the Pentecostal religious service J Am
Folklore 96 434-59
99 Levin. J 1985 Review of women's
folklore, women's cuhure Folklore
Women s Commun 3506 16-18
100 Limdn. J E 1982 Histor>. Chicano
joking- and the vaneties of higher education Tradition and perfonnance as critical symbolic action J Folklore Inst
9 141-66
101 Limon, J E 1983 Legendr\', metafolklore. and performance \ Mexican-
102
U)2d
103
1'>1
Structural
Anat\sis
of Oral Tradittor,
folklore lOn"-3&
106
459
K-^-feO
\-tlan 4 1-30
12I
460
131 Sherzer, J 1983 Kuna Ways of Speaking An Ethnographic Perspective Austin Univ Texas Press
132 Sherzer, D , Sheraer, J 1976 Mormaknamaloe The Cuna Mola In Ritual and
Svmbol in Native Central America ed
P Young, J Howe, pp 23-42 Univ
Ore Anthropol Pap No 9
133 Skramstad, H 1972 Amencan things
A neglected matenal culture Am Stud
Int 10 11-22
134 Smith, L 1973 The kitchen garden A
case study of urban folk culture Pioneer
Am Soc Proc 2 83-92
135 Smith, R 1975 The Art of the h estival
Lawrence L'niv Kansas Libr
136 Stem, S 1977 Ethnic folklore and the
folklore of ethnicity See Ref 50. pp
7-32
137 Sutton-Smith, B 1972 The Fotkgames
of Children Austin Univ Texas Press
138 Sutton-Smith. B et ai 1981 The
Folkstories of Children Philadelphia
Univ Penn Press
139 Teske,R 1977 On the making of Soi>(imeres and Marturia in Greek Philadelphia Commercialism in folk religion J Folklore Inst 14 151-58
140 Teske, R 1982-83 WTiat is folk an'* A/
Palaiio 88 34^38
141 Toelken. B 1979 The Dvnamics of
Folklore New York Houghton-Mifflin
142 Tumer, K 1982 Mexican Amencan
home altars Towards their interpretation Aztlan 13 309-26
143 Tumer. K , ed 1986 Something Passed
Between Us Texas Folk Artisn and
Their Art Fonhcoming
143a Tumer, V 1975 Symbolic studies
Ann Rev Anthropo! 4 145-61
143b Umiker-Seboek, D J 1977 Semiotics
of culture Great Bntain and Nonh
America Ann Rev Anthropol 6 12135
144 Upton. D 1979 Toward a performance
theory of vemacular architecture Earlv
145
146
147
148
149
150
151
152
153
154
155
156
15''