#NEW YORK FOLKLORE QUARTERLY

[painthropologist]

Recommended readings on pain

The following is a comprehensive reference list of readings on pain, embodiment, and ritual, to name a few of the topics that I will be discussing. This list will be updated as and when I find new sources, and covers various subjects from anthropology to sociology, philosophy, and beyond.

Adler, M. (2006). Drawing Down the Moon: Witches, Druids, Goddess-Worshippers and Other Pagans in America. 4th ed. USA: Penguin Books. 

Åsatrufellesskapet Bifrost (2024). Om Bifrost. Available at: https://bifrost.no/om-bifrost (Accessed 13 June 2024).

Asprem, E. (2008). Heathens Up North: Politics, Polemics, and Contemporary Norse Paganism in Norway. The Pomegranate, 10(1): 41-69. 

Aðalsteinsson, J.H. (1998). A Piece of Horse Liver: Myth, Ritual and Folklore in Old Icelandic Sources. Reykjavík: Háskólaútgáfan Félagsvísindastofnun.

Belardinelli, A.L. and Bonsaksen, J.A. (2020). An Ancient Perspective.  Available at: https://www.churchofpain.org/about (Accessed: 5 March 2024).

Bell, C. (2009). Ritual Theory, Ritual practice. New York: Oxford University Press. 

Eliade, M. (1969). The Quest: History and Meaning in Religion. Chicago: University of Chicago Press.

Calico, J.F. (2018). Being Viking: Heathenism in Contemporary America. Sheffield: Equinox.

Durkheim, E. (2012). The Elementary Forms of Religious Life. New York: Dover Publications.

Fibiger, M.Q. (2018). Thaipusam Kavadī – A Festival Helping Hindus in Mauritius Cope with Fear. International Quarterly for Asian Studies, 49(3-4): 123-140.

Fonneland, T. (2015). The Rise of Neoshamanism in Norway: Local Structures-Global Currents. In: Kraft, S.E., Fonneland, T., and Lewis, J.R. Nordic Neoshamanisms. New York: Palgrave Macmillan. 33-54.

Geertz, C. (1973). Religion as a Cultural System. In: The Interpretation of Cultures: Selected Essays. New York: Basic Books Inc, pp. 87-125. 

Glucklich, A. (2001). Sacred Pain: Hurting the Body for the Sake of the Soul. Oxford: Oxford University Press.

Gunnell, T. (2015). The Background and Nature of the Annual and Occasional Rituals of the Ásatrúarfélag in Iceland. In: Minniyakhmetova, T., and Velkoborská, K., (eds.) The Ritual Year 10: Magic and Rituals and Rituals in Magic. ELM Scholarly Press. 28-40.

Harvey, G. (2013). The Handbook of Contemporary Animism. New York: Routledge.

Hobsbawm, E. (2012). Introduction: Inventing Traditions. In: Hobsbawm E., Ranger T., (eds.) The Invention of Tradition. Canto Classics. Cambridge: Cambridge University Press. 1-14.

Hobsbawm, E., and Ranger, T. (2014). The Invention of Tradition. Cambridge: Cambridge University Press.

Jackson, J.E. (2011). Pain and Bodies. In: Mascia-Lees, F.E. (ed.) A Companion to the Anthropology of the Body and Embodiment. UK: Wiley-Blackwell.

Kleinman, A., Das, V., Lock, M. (1997). Social Suffering. Berkeley: University of California Press.

Lee, N. (2022). On a Wind-Rocked Tree: Pain as Transformation in Contemporary Heathenry. In: Strickland, S., Hunter, L., and Mullin Berube, S. Riding the Bones. USA: The Three Little Sisters. Appendix D.

Luhrmann, T.M. (2012). Touching the Divine: Recent Research on Neo-Paganism and Neo Shamanism. Reviews in Anthropology, 41(1), pp. 136–150. 

Manfredi, F. (2024). Beyond Pain: The Anthropology of Body Suspensions. New York: Berghan.

Mauss, M. (1973). Techniques of the Body. Economy and Society, 2(1): pp. 70-88.

McLane, J. (1996). The Voice on the Skin: Self-Mutilation and Merleau-Ponty's Theory of Language. Hypatia, 11(4): 107-118.

Mitchell, J. (2009). Ritual Transformation and the Existential Grounds of Selfhood. Journal of Ritual Studies, 23(2): 53-66.

Obeyesekere, G. (1981). Medusa’s Hair: An Essay on Personal Symbols and Religious Experience. Chicago: University of Chicago Press.

Pagliarini, M.A. (2015). Spiritual Tattooing: Pain, Materialization, and Transformation. Journal of Religion and Violence, 3(2): 189-212.

Polhemus, T. (1998). The Performance of Pain. Performance Research, 3(3): 97-102.

Rappaport, R.A. (1999). Ritual and Religion in the Making of Humanity. UK: Cambridge University Press.

Rasmussen, R.H. (2020). The Nordic Animist Year. Estonia: Ecoprint.

(2023). Aun 2031. Available at: https://nordicanimism.com/aun-2023 (Accessed: 19 March 2024).

(2024). Aun: Cannibal Kings, Cosmic Healing and the Recovery of a Nordic Tradition. Estonia: Ecoprint.

Reynolds, C. and Erikson, E. (2017). Agency, Identity, and the Emergence of Ritual Experience. Socius: Sociological Research for a Dynamic World, 3(1): 1 –14.

Scarry, E. (1985). The Body in Pain: The Making and Unmaking of the World. New York: Oxford University Press.

Shilling, C. & Mellor, P. (2010). Saved from pain or saved through pain? Modernity, instrumentalization and the religious use of pain as a body technique. European Journal of Social Theory, 13(4): 521-537. DOI: 10.1177/1368431010382763.

Snook, J. (2013). Reconsidering Heathenry: The Construction of an Ethnic Folkway as Religio ethnic Identity. Nova Religio: The Journal of Alternative and Emergent Religions, 16(3): 52-76. 

von Schnurbein, S. (2016). Norse Revival: Transformations of Germanic Neopaganism. Boston: Brill.

Viljoen, M. (2010). Embodiment and the experience of built space: The contributions of Merleau-Ponty and Don Ihde. South African Journal of Philosophy, 29(3). DOI: 10.4314/sajpem.v29i3.59153.

[ashleysingermfablog]

Wk 16, 25th of May, 2024 Research

Matrilineage (folklores, intergenerational knowledge, inherited learning)

Being a women, what did I learn from my mother, that she learnt from her mother, that she learnt from her mother. Inter-generational knowledge systems:

Matrilineage in my genealogy is very important to my family. Every first born girl is given the middle name May, after my great great grandmother's nickname. I lived with both my mum, my nana and her nana on the holidays as child in Riverhead, Auckland. This side of my family has the Welsh heritage and my great nana immigrated to Adelaide by boat when my nana was 13 years old before they moved again to Parnell, Auckland.

There have always been a level of European superstition in my family. Here are some examples of superstitions the are common and used day to day.

'Touchwood'- to avoid bad luck or a negative event

'Wishing bones'- pulling the wish bone after cooking a roast chicken

'Don't stand in fairy rings or mushroom circles'- we were told as kids that this was bad luck

'Looking for faeries on hikes and building fairy houses'- this was seen as bringing good wishes

'Astrology'- my mum introduced me to star signs and my nana is a firm believer that she is a classic taurus

'Gathering four leaf clovers'- my mum would help us find four leaf clovers

'Making daisy chains'- we did this often as kids, although I wasn't very good at it

'Don't step on cracks in pavement'- thought to be bad luck to your mother

'Don't let a black cat cross your path'- thought to bring bad luck

"Buttercup flowers under the chin'- this was thought to mean that you liked butter

Most of these were very light hearted and not ritually enforced, but they play a big role in my world building as a child. These are also very common ones too.

Here are a list of common and historical Welsh superstitions,

From the text: In the Welsh Tradition- Welsh Folk Beliefs and Superstitions by Tredyffrin Easttown Historical Society History Quarterly Digital Archives...

Tredyffrin and Easttown were both originally a part of the "Welsh Tract". It was a tract of 40,000 acres, purchased by a group of seventeen Welsh gentlemen from William Penn in the summer of 1681, Their plan was to form a "barony" in which Welsh settlers would make their own laws and hold their own courts and conduct their affairs in their own language, "the ancient language of the Britons", in accordance with their own customs and traditions.

For a number of reasons, it didn't happen. But if it had, a whole body of Welsh beliefs and superstitions, might well have become folk knowledge in this area, handed down to us today and a part of our tradition.

In 1949 The Philosophical Library in New York published an Encyclopedia of Superstitions, no longer in print. It was the culmination of more than four years of research by Edwin and Mona A, Radford, columnists of the London Daily Mirror, and is a compilation of "more than two thousand superstitions of Britain, ranging over the past six hundred years". Many of these superstitions were found generally throughout Britain (and also throughout the world, for that matter), but a number of them, according to the Radfords, are associated solely with Wales and the Welsh,

Here are their 143 Welsh superstitions that might well still be commonplace among us today and a part of our heritage had the plans for a "Welsh Barony", preserving Welsh traditions, in fact materialized.

None of them comes with a guarantee, however!

Good Luck:

The appearance of a load of hay in front of you means that good luck will attend you. 

If you draw water from springs on Easter morning in jugs, and then throw it on the surrounding plants and shrubs, you will have good luck during the year. 

To see several foxes together is unlucky, but to see a lone one means that good luck will attend you. 

A greyhound with a white spot on it s forehead will bring luck to the people of Gower. 

If you make a cup of hazel leaves and twigs, and wear it , it is possible to obtain any wish. 

Heave a penny over the ship's bow when going out of the dock if you would have a successful voyage. 

If anything from one ship is lent to another, luck goes with it, unless some portion of the article is first deliberately though slightly damaged.

Wealth and Treasure:

If you find the first daffodil, you will have more gold than silver that year. 

If mistletoe is found growing on an ash tree or hazel, treasure will be found growing underneath the tree's roots. 

Black goats on a lonely bridle path mean that treasure is hidden. 

If a christening follows a wedding, the child will become rich and happy. 

A roof covered with house leeks insures prosperity and protects the household from disease. 

If you change from one home to another at the time of the new moon, you will have plenty of bread to spare. 

If, without neglect on your part, articles made of iron and steel, such as keys, knives, etc., continually become rusty, somebody is laying up money for you. 

Money washed in clear rain water cannot be stolen. 

Protection Against Witches:

Water that takes a long time to boil is bewitched; to make it boil, use three different kinds of wood on the fire underneath it. 

Water drawn from downstream before sunrise, and in silence, on any Sunday morning, in one jug from three separate flowing springs, is magical in its use and influence. 

If a woman pulls a garment out of the dolly-tub upside down after washing it, the wearer can never be bewitched. (It must be done accidentally, however!) 

A cross of whitethorn on a broach, placed above the house-door, will keep off witches and their spells. 

May-tree or twigs in each seed bed will make null and void the witches' spells on crops. 

A bunch of seaweed hanging in the back kitchen will keep away evil spirits. 

A garter made from the green bark of the mountain ash is a charm against witches and the devil. 

Gift of Prophecy:

A sprig of ash (with the triple leaves;, worn on the breast, will give you prophetic dreams.

A sprig of mistletoe gathered ou Midsummer Eve and placed under the pillow will give prophetic dreams.

If a man wraps himself in the skin of an. animal just killed and lies close beside a waterfall, the future will be revealed to him by the sound of the waters.

If a girl, walking backwards, places a knife among the leeks on Hallowe'en, she will see her future husband come pick up the knife and throw it into the middle of the garden. 

If you go to a crossroads at Hallowe'en and listen to the wind, you will leam all the most important things that will befall you during the next twelve months. 

Cures:

To cure warts, impale a frog on a stick and rub the warts on the on the frog; they will disappear as the frog dies. 

To cure warts, gather a snail (a black one for preference) and rub it on each of the warts with the accompanying words:  "Wart, wart, on the snail's shell black,  Go away soon, and never come back."

Then place the snail on a branch or bramble, secured with as many thorns as there are warts, and as the snail rots the warts will vanish. 

Adder stones, carried in the pocket, will cure all maladies of the eyes.

If blind people are kind to ravens, they will learn how to regain their sight.

Rub a piece of oak on the left hand in silence on Midsummer's Day, and the oak will afterwards heal all your sores.

If a person suffering from rheumatism creeps on hands and knees under, or through, a bramble bush three times with the sun (i.e. east to west), he will be cured.

To cure jaundice, put a gold coin in a pewter mug, fill the mug with mead, and then have the sufferer look into it without drinking any, as you repeat the Lord's Prayer over him three times.

Sparks struck from stone and steel against the face will cure erysipelas.

Place a sharpened hatchet on the thresh-hold of the house of a sufferer from apoplexy, and he will be cured.

Running water drawn at midnight from any important spring on St. John's Eve will remain fresh and pure for a year, and has healing properties.

If you clothe your right leg first (i.e. put your right stocking on first, and your right leg in your trousers first), you will never have a toothache.

To cure a person of rheumatism, bury him in a standing position up to his neck in a churchyard for two hours; if the cure is not immediate, repeat the procedure at the same time and place for nine days, rest three, and then start all over again.

A portion of a human skull, grated as one grates ginger, and then mixed with a liquid is a remedy against fits.

One can be cured of the falling sickness (epilepsy) by going to the church of St. Tecla in Wales and washing his limbs in the sacred well close to the church, dropping fourpence into the well as an offering and repeating the Lord's Prayer three times; after which a fowl - a hen or cock, depending on the sex of the patient - is placed in a basket and carried around the well and then around the church, with the patient then entering the church and lying full length under the Communion table until the break of day and affering a sixpence as he leaves. Since the disease has now been transferred to the fowl, which is left in the church, the patient is cured.

To prevent drunkeness, take the lungs of a hog and roast them. If a man eats them after fasting all day, he will not get drunk the next day no matter how much he drinks.

Good Health:

If a leaf of the sow-thistle is carried by anyone, he will be able to run and never grow tired.

A man with leek or garlic on him will be victorious in any fight and will suffer no wound, (The leek is the national emblem of Wales.)

If a frying pan is left on the fire with nothing in it, the wife of the house will have puckers in her face. May flowers (a shrub), gathered before sunrise, keep freckles away.

If you endure thirst on Good Friday, whatever you drink during the rest of the year will not hurt you.

If you begin in childhood by taking a dose of sea water immediately on getting out of bed in the morning, you will live to a ripe old age

Weather:

If the leaves of an oak curl, heat will follow.

Church bells, if rung, will keep thunder and lightning away.

Good Crops:

If you tie wet straw or hogbark 'round your fruit trees on Christmas Eve, they will yield plentifully during the next year.

To get a good crop of cereals, fetch some mould from three adjoining fields inherited by one person and mix it with the seed at sowing.

Milk poured on the ground and porridge thrown into the sea on St. Bride's Day will ensure produce of fish and fertilization of seaweed.

If grass is sown at the full of the moon, the hay crop will dry quickly.

A fine crop of mistletoe at Christmas means a fine crop of corn.Top

Animal Husbandry:

If you want your dairy cattle to thrive, you must give your Christmas bunch of mistletoe to the first cow that calves after New Year's Day.

Wash a dish towel on New Year's Day and put it to dry on a hedge. If you then rub your horses with it, they will grow fat and well.

Calves weaned with the waning moon will never grow fat, but always remain lean.

Pigs bathed in water in which killed swine have been bathed will thrive better and grow well.

Burn a calf to stop the murnin (hoof and mouth disease).

Dogs will go mad if given a bone of lamb at Eastertide.Top

Friendship, Love and Marriage

If you part from a friend beside a bridge, you part forever.

If lovers cross the moon line together they will never marry.

If a maiden wears valerian in her girdle or her corsets, she will attract the opposite sex.

When an owl hoots among houses, a maiden will lose her chastity.

A silver sixpence in the bride's shoe will ensure a happy and prosperous life.

If the bride eats a small piece of bread and butter, cut by the best man, before the wedding cake is cut, her children will have pretty and small mouths.

If a bridegroom rides to the church on a mare, he will have daughters, but no sons.

To avoid an unlucky marriage, the bride should take a pin from her wedding dress and throw it over her left shoulder or into a fire.

If a bride loses her wedding ring, or breaks it, or has it fall from her finger, she will be unlucky in her married life.

People born at sunrise will be clever, those born in the afternoon or at sunset will be lazy.

A child weaned at the time that birds migrate to or from the country will be restless and changeable in after life.

If a babe, after being weaned, is suckled again, it will become a profane swearer when it grows up.

Babies washed in rain water talk earlier than they would otherwise,

If the water in which a babe is washed for the first three months is not thrown under a green tree, the babe will not thrive.

If you wave a sprig of golden broom over a sleeping person, he will at once sleep peacefully.

A woman who wets her apron overmuch in washing will be cursed with a drunken husband.

To take holly into a house before Christmas Eve will lead to family discord.

Household, Child Care:

Stonecrop placed on the roof of a cottage will protect it from lightning and witches.

Food picked up in spoons made of rosemary will be especially nutritious.

Spring water drawn between eleven o'clock and midnight on Christmas and Easter nights turns into wine.

For a comfortable feather bed, fill the bed sack with the feathers after the moon has passed the full; otherwise the bed will be lumpy.

Wood cut at the new moon is hard to split; at the full moon it is easily cut.

If a new garment is washed for the first time while the moon is new, it will not wear well.

To ride a house of rats, write on a piece of paper  "r a t s  a r s t  t s r a  s t a r"  and put it in the mouth of the king rat.

If ivy which has grown on an old house falls away, the owner of the house will have personal misfortune and the house will pass into other hands

Bad Luck:

No mistletoe, no luck.

It will bring bad luck to hang up mistletoe in the house before Christmas Eve.

If you wear a fern, you will lose your way and adders will follow you.

If flowers that bloom in the summer flower in the house in winter, the house will be unlucky.

If you uproot a plant of periwinkle from a grave, the dead person will appear to you, and you will have terrible dreams for twelve months,

A worm in an oak apple means poverty for the finder; a spider in the oak apple means illness.

It is unlucky to hear the cuckoos before the 6th of April, but you will have prosperity for the whole year if you hear them after April 28th,

To kill a raven is to bring bad luck.

If a goose lays two eggs in one day, misfortune will overtake the farm.

A robin singing, close to a window means sorrow.

If you rob an eagle's nest of its eggs, repose will never again come to you.

To spill water while carrying it from the spring or brook is an omen of sorrow.

It will bring bad luck to stitch or mend sails on the quarterdeck.

If work is continued on Ascension Day, an accident will happen. You must express a wish when a star shoots over you, or you will be unlucky all the year.

To talk when passing under a railway bridge brings bad luck. If you spurt or scatter water from your hands first thing in the morning, you scatter good luck for the day.

Disaster:

The sun hides his face (an eclipse) before any great sorrow or national disaster,

The mewing of a cat on board ship foretokens a serious voyage.

If geese wander away from their home, it is an omen of fire at the farm.

If the town clock strikes while the church bells are ringing, there will soon be a fire in the parish.

A robin flying over a mine pit is an omen of disaster.

If a dove enters a pithead of a colliery, there will be disaster in the mine.

Death:

When plum trees blossom in December, it is a sure sign of death in the house of the owner of the trees.-

If you cut down a juniper tree, you will die within a year.

To pluck a sprig of holly in flower will cause a death in the family of the picker.

To take holly into a friend's house will lead to a death.

If a geranium comes into flower in November, death will visit the family.

If a member of the family dies at the time of the new moon, three more deaths are likely to follow.

A christening following a funeral is an omen of death.

If the wind blows out a candle on the altar of a church, the minister will die soon.

If any corpse-candle (marsh gas or "will-of-the-wisp") be seen to turn aside, through some bypath leading to the church, the following corpse will be found to follow exactly the same way.

If a pall is placed on a coffin wrong side out, there will be another death in the family.

Two blackbirds sitting together on a window sill or doorstep are an omen of death to someone in the house.

The notes of the night jay are a sure indication of death in a household where they are heard.

If thunder is heard and lightning seen between November and the end of January, the most important person in the village will die.

Should a woman spin at the spinning wheel during pregnancy, her child will be hanged with a hempen rope.

On Halloween, the wind blowing over the feet of corpses bears sighs to the houses of those about to die within the year.

When the Christmas log is burning, you should notice the shadows of people on the wall, for those shadows which appear without heads belong to persons who are to die within the coming year.

When there is a hollow in the fire, a grave soon will be dug for a member of the family.

Should the wearer of a sow-thistle give a leaf to his wife, one of them will waste away and die.

If a mole is found to have burrowed under the wash house, the death of the mistress can be looked for in the coming year.

If a white weasel crosses your path, it presages misfortune or death, but if one runs in front of you, you will be able to beat your enemies.

If the eagles of Snowden hover over the plains, their visit will be followed by disease and death.

Put a small heap of salt on the table on Christmas Eve; if it melts during the night, you will die within a year, but if it remains dry and undiminished, you will live to a ripe old age.Top

Miscellaneous:

If a dead person's linen is not washed immediately after death, the dead will not rest in the grave.

At Christinas and Easter and on All Hallows' Eve, all those who have have drowned at sea come up to ride over the waves on "white horses" (white waves), and hold their revels.

[vampireadamooc]

NEW YORK FOLKLORE QUARTERLY Vol. XXIX, No. 4, December 1973

WASHINGTON IRVING AND NEW ENGLAND WITCHLORE James W. Clark, Jr.

Preview Listed on the site:

NOTE: full article is a very reasonable 3 bucks, so get it.

ASSISTED by Diedrich Knickerbocker, Washington Irving consciously uses the witchlore of colonial New England in three works. The most elaborate appropriation may be found throughout “The Legend of Sleepy Hollow” (1820), in the character as well as in the frequently alluded to story matter of Ichabod Crane. But there are debts also in Knickerbocker’s History of New York (1809) and “The Devil and Tom Walker” (1824). Since one of the customary narrative strategies of Knickerbocker is to ridicule the New England region and its stock characters, it is interesting to see how he employs the seventeenth century witchcraft cases as a Puritan regionalism. More significant, though, is Irving’s introduction of New England witchcraft into the subject matter of imaginative American literature through his old Dutchman and Ichabod Crane.

Whatever the design of oblivion into which Ichabod passed from Sleepy Hollow, his disappearance has generally been seen as the end of his brief courtship of Katrina Van Tassel and the cause of the exceedingly knowing looks and bursts of hearty laughter from Brom Bones, who courted Katrina successfully. But with the removal of Crane, his ability as a storyteller was also silenced along the Hudson. Never a lover, at least not suitable to a woman whom Brom also desired, Ichabod was hardly more suited to being a teacher, singing master, or dancer. In the oral tradition, however, he was successful, with the men as well as with the women — excluding, perhaps, Brom and Katrina....

[blackkudos]

John Wesley Work III

John Wesley Work III (July 15, 1901 – May 17, 1967) was a composer, educator, choral director, musicologist and scholar of African-American folklore and music.

Biography

He was born on July 15, 1901, in Tullahoma, Tennessee, to a family of professional musicians. His grandfather, John Wesley Work, was a church choir director in Nashville, where he wrote and arranged music for his choirs. Some of his choristers were members of the original Fisk Jubilee Singers. His father, John Wesley Work, Jr., was a singer, folksong collector and professor of music, Latin, and history at Fisk, and his mother, Agnes Haynes Work, was a singer who helped train the Fisk group. His uncle, Frederick Jerome Work, also collected and arranged folksongs, and his brother, Julian, became a professional musician and composer.

Work began his musical training at the Fisk University Laboratory School, moving on to the Fisk High School and then the university, where he received a B.A. degree in 1923. After graduation, he attended the Institute of Musical Art in New York City (now the Juilliard School of Music), where he studied with Gardner Lamson. He returned to Fisk and began teaching in 1927, spending summers in New York studying with Howard Talley and Samuel Gardner. In 1930 he received an M.A. degree from Columbia University with his thesis American Negro Songs and Spirituals. He was awarded two Julius Rosenwald Foundation Fellowships for the years 1931 to 1933 and, using these to take two years leave from Fisk, he obtained a B.Mus. degree from Yale University in 1933.

Work spent the remainder of his career at Fisk, until his retirement in 1966. He served in a variety of positions, notably as a teacher, chairman of the Fisk University Department of Music, and director of the Fisk Jubilee Singers from 1947 until 1956. He published articles in professional journals and dictionaries over a span of more than thirty years. His best known articles were "Plantation Meistersingers" in The Musical Quarterly (Jan. 1940), and "Changing Patterns in Negro Folksongs" in the Journal of American Folklore (Oct. 1940). In 1953, he was a member of the charter class of the Zeta Rho chapter of Phi Mu Alpha Sinfonia fraternity, the national fraternity for men in music. The Fisk chapter was the third chapter of the Fraternity chartered at a historically black college or university, the first being chartered at Howard University in 1952.

Work began composing while still in high school and continued throughout his career, completing over one hundred compositions in a variety of musical forms—for full orchestra, piano, chamber ensemble, violin and organ—but his largest output was in choral and solo-voice music. He was awarded first prize in the 1946 competition of the Federation of American Composers for his cantata The Singers, and in 1947 he received an award from the National Association of Negro Musicians. In 1963 he was awarded an honorary doctorate from Fisk University.

Following Work's collection Negro Folk Songs, the bulk of which was recorded at Fort Valley, he and two colleagues from Fisk University, Charles S. Johnson, head of the department of sociology (later, in October 1946, chosen as the university's first black president), and Lewis Jones, professor of sociology, collaborated with the Archive of American Folk Song on the Library of Congress/Fisk University Mississippi Delta Collection (AFC 1941/002). This project was a two-year joint field study conducted by the Library of Congress and Fisk University during the summers of 1941 and 1942. The goal of the partnership was to carry out an intensive field study documenting the folk culture of a specific community of African Americans in the Mississippi Delta region. The rapidly urbanizing commercial area of Coahoma County, Mississippi, with its county seat in Clarksdale, became the geographical focus of the study. Some of the correspondence included in this collection between Work and Alan Lomax, then head of the Archive of American Folk Song, touches on both the Fort Valley and the emerging Fisk University recording projects.

John Wesley Work died on May 17, 1967.

Musical works

Yenvalou for orchestra (1946)

Sassafras, pieces for piano (1946)

Scuppernong (1951)

Appalachia (1954)

From the Deep South (1936)

The Singers, cantatas (1941)

Isaac Watts Contemplates the Cross (1962)

Other works

Arrangements for S. A. T. B. of several collected Christian folk songs of the 1860s, first appearing in print in the early 1900s, and published in 1948 by Work through 'Galaxy Music Corp', NY.

This Little Light O' Mine with solo unaccompanied

Jesus, Lay Your Head in the Window for high voice with piano accompaniment

Done Made My Vow to the Lord for chorus of mixed voices, with tenor

Go Tell It on the Mountain (Christmas) for mixed voices or junior choir, also versions for treble and male voices

Little Black Train for chorus of mixed voices, with mezzo-soprano and tenor

Lord, I'm Out Here on Your Word with tenor voice solo

[darkshrimpemotions]

Hi there! I’m in an intro Women, Gender, and Sexualities Studies class. We need to choose a top to research for the semester and give a five minute ted talk on as our final project. After seeing your commentary on women doing violence go men and specifically in horror I’m interested in further exploring the topic. Would you mind sharing any sources you looked into for your honors thesis?

Here you go! I put this under a read-more because it’s long.

Just a note that these sources are for a paper I wrote nearly a decade ago, so they may not be the most current writing on the topic of women in horror. Many of them also take a very binary approach to gender politics and representation.

Harris,Richard Jackson et al. “Young Men’s and Women’s Different AutobiographicalMemories of the Experience of Seeing Frightening Movies on a Date.” Media Psychology 2 (2000) 245-268.

Magoulick, Mary. “Women in Popular Culture.” Folklore Connections. 2003. GeorgiaCollege and State University. 4 Feb. 2010 .

Pinedo, Isabel Cristina. RecreationalTerror: Women and the Pleasures of Horror Film Viewing. Albany: State Universityof New York Press (1999) 69-95.

Smith, GregM. “It’s Just a Movie”: A Teaching Essay for Introductory Media Classes. Cinema Journal 41.1 (2001) 127-133.

Spines, Christine. “Horror Films…and the Women Who LoveThem!” Entertainment Weekly (31 July2009) 30-33.

Maddrey, Joseph. Nightmaresin Red, White and Blue: the Evolution of the American Horror Film.McFarland and Company, 2004.

Sevastakis, Michael. Songsof Love and Death: The Classical American Horror Film of the 1930s.Greenwood Press, 1993.

Helford, Elyce Rae. “Postfeminism and the FemaleAction-Adventure Hero: Positioning TankGirl.” Future Females, the Next Generation. Ed. Barr, Marleen S. Oxford:Rowman & Littlefield Publishers, Inc. (2000) 291-308.

Inness, Sherrie A. ToughGirls: Women Warriors and Wonder Women in Popular Culture. University ofPennsylvania Press: Philadelphia, 1999.

Kristeva, Julia. Powers of Horror: An Essay on Abjection. Columbia University Press: New York, 1982.

Meyer, Doug. “‘She Acts Out in Inappropriate Ways’:students’ evaluation of violent women in film.” Journal of Gender Studies 18.1 (2009) 63-73.

Tasker,Yvonne. Spectacular Bodies: Gender, genreand the action cinema. New York: Routledge, 1993.

Badley,Linda. Film,Horror, and the Body Fantastic. Westport: Greenwood Press, (1995) 5-38.

Berenstein, Rhona J. Attack of the Leading Ladies: Gender, Sexuality,and Spectatorship in Classic Horror Cinema. New York: Columbia UniversityPress, 1996.

Briefel,Aviva. “Monster Pains: Masochism, Menstruation, and Identification in theHorror Film.” Film Quarterly 58.3(2005) 16-28.

Clover, Carol J. Men, Women, and Chainsaws: Gender in the Modern Horror Film. Princeton:Princeton University Press, (1992) 21-64.

Connelly, Kelly. “From Final Girl to Final Woman: Defeatingthe Male Monster in Halloween and Halloween H20.” Journal of Popular Film and Television (2007) 12-20.

Creed, Barbara. TheMonstrous Feminine: Film, Feminism, Psychoanalysis. New York: Routledge,1993.

England,Marcia. “Breached Bodies and Home Invasions: Horrific representations of thefeminized body and home.” Gender, Placeand Culture 13.4 (2006) 353-363.

Karras, Irene. “The Third Wave’s Final Girl: Buffy the Vampire Slayer.” Thirdspace: A journal of feminist theoryand culture March 2002: Thirdspace Editorial Group. 4 Feb. 2010 .

Kilker,Robert. “All Roads Lead to the Abject: The Monstrous Feminine and GenderBoundaries in Stanley Kubrick’s TheShining.” Literature Film Quarterly(2006) 54-63.

Kuersten, Erich. “An Unsawed Woman: Re-exhuming the Texas Chainsaw Massacre Remake on DVD,How Jessica Biel’s Moral Hotness Tamed the West.” Bright Lights Film Journal 50 (2005).

Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Screen 16.3 (Autumn 1975) 6-18.

Rieser, Klaus. “Masculinity and Monstrosity: Characterization and Identification in the Slasher Film.” Men and Masculinities 3.4 (April 2001) 370-392.

Trencansky, Sarah. “Final Girls and Terrible Youth:Transgression in 1980s Slasher Horror.” Journalof Popular Film and Television (2001) 63-73.

Wee, Valerie. “Resurrecting and Updating the Teen Slasher:The Case of Scream.” Journal of Popular Film and Television(2006) 50-61.

Wee, Valerie. “The Scream Trilogy, “Hyperpostmodernism,” andthe Late Nineties Teen Slasher Film.” Journalof Film and Video 57.3 (2005) 44-61.

Young, Elizabeth. “Here comes the bride: Wedding gender andrace in Bride of Frankenstein.” FeministStudies 17.3 (1991) 403-438.

[ongshat]

  For a comprehensive list of most of my print work (not including magazine articles) see this list on Goodreads.

All my works dedicated to the memory of my dearly departed friends: The members of The Formless Ocean Group – Nina Graboi, Elizabeth Gips, Paddy Long, Betsy Herbert, and Robert Anton Wilson. Also to my departed friends: Dave, DW Cooper, Dr. Hyatt (Alan) and humdog.

PAST WORK

Beats In Time: A Literary Generation’s Legacy (Chapter 12 is my interview with Diane DiPrima) also to be included in Conversations with Diane di Prima to be published by the University Press of Mississippi, in 2021/22.

Transmedia: Who Invited the Lobsters Anyway?

Legend-Tripping Online: Supernatural Folklore and the Search for Ong’s Hat by Michael Kinsell – While clearly this is a book about my transmedia project it also includes a lot of things that I wrote as examples, so I include it here. Metamodernism, anyone?

Rebels and Devils: The Psychology of Liberation edited by Christopher S. Hyatt, Ph.D. introduced by S. Jason Black foreword by Nicholas Tharcher contributions by William S. Burroughs Joseph C. Lisiewski, Ph.D. Timothy Leary Ph.D., Robert Anton Wilson, Austin Osman Spare, Genesis P-Orridge, Aleister Crowley, Joseph Matheny, Peter J. Carroll, Israel Regardie, Jack Parsons, Phil Hine, Osho, and many others

Black Book Omega: CIRQUE APOKLYPSIS by Christopher S. Hyatt, Ph.D. Joseph Matheny, Nick Pell, Calvin Iwema, Wes Unruh, Antero Alli (more info here)

Contributor YouTube: An Insider’s Guide to Climbing the Charts (more info here)

Introduction to The Art of Memetics Aside: When I posted about this book on Greylodge, Seth Godin references the post as a good example of “How to write like a blogger“ This made me happy. 😉

Contributor/Editor:This is Not a Game: A Guide to Alternate Reality Gaming with Dave Szulborski (Excerpt here )I edited and contributed to : “This Is Not a Game” which was included in the annual Tween market report that went to marketing executives worldwide in the toy, gaming and youth market industries. Also, I appeared as myself/in character, in person,  in the “Catching the Wish” ARG by Dave.

Third Realm (The Yellow King) Written and executed by me, produced in conjunction with Foolish People http://www.argn.com/2009/10/puzzles_for_the_apocalyps

4P2 My first foray into the True Crime arena. Formula:  Just put up a single, spooky web page, that purports to be a recruitment drive for an organization whose actual existence is speculative at best and at worst is fiction presented as fact or paranoid, hysterical hand-waving in the interest of selling books and you will get all kinds of reactions. In all fairness, I think the theories mentioned read as good fantasy crime fiction and this was a conceptual attempt at that very thing. Apparently, it succeeded. The unnerving side of this was the equal amount of applications I received asking to join (Really? Join a group of underground serial killers? Really?) or outright death threats by people who really believe in such things.   (Someone summed it up pretty well in this article from The Fenris Wolf)

  the-fenriswolf-iss-no-4-pp-87-116 PDF Excerpt

El Centro & OMEGA This was a ARG/Transmedia style story with occult/horror/conspiracy elements, started in 2004 and ended in 2006. It utilized Web, print (booklet), radio, phone trees, theater and news wire services. [A version of the doughnut shop scene from this story was used in Amsterdam production of Terra: Extremitas by Foolish People.] This project was done in collaboration my late friend Dave Szulborski. There’s a LOOOOOONG story about this project. So long in fact that it will take up at least three chapters in an future book.

Contributor: What Would Bill Hicks Say with Ben Mack, Amelia the Great and Soft Skull Press (along with Jeff Danziger and Martyn Turner; writers Neal Pollack, Robert Newman, and A.L. Kennedy; and Thom Yorke of Radiohead and others…)

Contributor: 2004-2005 Exquisite Language project for the 2004 ELfest and collected in the Spring 2005 issue of of 2 Gyrlz Quarterly. NOW AVAILABLE AT POWELLS.COM

Introduction, afterward and editing for Poker Without Cards– First Edition. I orchestrated the first release campaign for this book, with the main character becoming “real”on the Internet for a while. After the first few months I turned it over to the author. (statement regarding this work here)

GALT’S ARK: The Black Symphony, First and Second Movements Produced by Cthulhu The Players: Joseph Matheny, Christopher S. Hyatt, Ph.D., Father Daniel Suders & Nicholas Tharcher Illustrated by S. Jason Black, Jonathan Sellers, Weirdpixie & MobiusFrame

  THE BLACK BOOK Volume III, Part I

THE BLACK BOOK Volume III, Part II

(The Black Books are considered the workbooks for The Psychopath’s Bible, which I wrote an infamous jacket blurb for.)

The Incunabula: Ong’s Hat Project [ Reviews | Interviews, etc. | Wikipedia | History] This was a ARG/Transmedia style story started in 1988 and ended in 2001. It utilized zines, BBS, early Internet, Web, CD ROM, CD Audio, DVD, print (book, graphic novel and magazine), radio, phone trees, fax, and news wire services. I gained and leveraged exposure in both the mainstream and alternative media to distribute over 2 million copies of CD ROM, ebook and print versions of the story combined. Story elements from Ong’s Hat were also included in the EA Game, Majestic which unfortunately ended prematurely due to 9/11. It was the subject of a full 4 hour show on Coast to Coast AM, been the subject of an article on the Weekly World News and been covered on many radio shows world wide, books, newspapers, magazines, etc. Links to media here.

Description: “…a bizarre Internet phenomenon: an “immersive” online experience—part mystery, part game, part who knows what—known as both the Incunabula Papers and Ong’s Hat. The Incunabula Papers/Ong’s Hat was, or is, a “many-threaded, open-ended interactive narrative” that ”weds an alternate history of chaos science and consciousness studies to conspiracy theories, parallel dimensions, and claims that computer-mediated environments can serve as magical tools…. the documents provoked a widespread “immersive legend-trip” in the late 1990s. Via Web forums, participants investigated the documents—manifestos—which spun up descriptions of brilliant but suppressed discoveries relating to paths that certain scientists had forged into alternate realities. Soon, those haunted dimensions existed in the minds and fantasies of Ong’s Hat’s many participants. That was evident as they responded to the original postings by uploading their own—all manner of reflections and artifacts: personal anecdotes, audio recordings, and videos—to augment what became “a really immersive world, and it was vast”. – The Chronicle of Higher Education—-

“Ong’s Hat was more of an experiment in transmedia storytelling than what we would now consider to be an ARG but its DNA – the concept of telling a story across various platforms and new media- is evident in every alternate reality game that came after.” – Games Magazine 2013

Though Ong’s Hat may not have set out to be an ARG, the methods by which the author interacted with participants and used different platforms to build and spread its legend has been reflected in later games. –Know Your Meme

The Incunabula Papers are arguably the first immersive online legend complex that introduced readers to a host of content, including what religious historian Robert Ellwood has called the “alternative reality tradition. – Legend-Tripping Online: Supernatural Folklore and the Search for Ong’s Hat

As a companion piece to understanding some of the history of the transmedia work that centered around Ong”s Hat you may also want to read Legend-Tripping Online: Supernatural Folklore and the Search for Ong’s Hat,  reviewed here.

The Incunabula Papers CDROM was recently included in the BNF (Bibliothèque nationale de France) digital art collection.

Game Over? (currently re-vamping this for re-release)…but if you just HAVE to have it now, someone is selling one for $900 over here. 😛

What Really Happened at Ong’s Hat?

The Incunabula Papers (CD ROM) Free ebook versions here

Incunabula: The Graphic Novel Free ebook version here

Why DVD? (B and N Digital Bestseller)

A booklet published in April-99

Over 100,000 in circulation to date

Available from booksellers nationwide in October reprinted by:

DVD Creation Magazine

Videography Magazine

(printed copy sent out with each issue – July,1999)

Video Systems magazine

and many others

Convergence 2000 (B and N Digital Bestseller) Free ebook version here

Covert Culture Sourcebook

Earth Dance 2000 (Video and DVD)

The Millennium Whole Earth Catalog 

Transmedia Litany (with Genesis P’Orridge)

Thee psychick bible

esoterrorist (publisher)

My idea for an Exquisite Corpse jacket blurb using faxes. (WSB missed inclusion by a day). Used on Esoterrist

Banishing Ritual (cover) with Illusion of Safety (audio here)

The Last Book

Also contributed a few articles to Bob and Arlen Wilson’s Trajectories.

A write up I did about my old friend Rob Brezsny for disinfo.com

Interview that I did with with Beat poet and author Diane DiPrima

Nina Graboi Interview, bOING bOING, Number 8 (written under my nom de plume: Michael Kelly)

I’ve contributed articles to AlwaysOn and Adotas. I’ve contributed book, music, and movie reviews to Gnosis and Magical Blend in the past as well as the old Boing-Boing print magazine and Fringeware Review. Note, in the interest of full disclosure, I’d sometimes contribute more than one article or review to a single publication and to avoid the appearance of saturation, I’d use the pen name: Michael Kelly for some of the articles.

Writing For a comprehensive list of most of my print work (not including magazine articles) see this list on Goodreads…

[rocklandhistoryblog]

#TBT Bishop-Mausell-Meredith-Lerner House, Pomona, c. 1970

Photo from the John McCabe collection of the HSRC

This house’s most famous owner was Burgess Meredith, who lived in Ramapo for about 30 years. It was largely because of New City playwright Maxwell Anderson that Meredith and his then-wife Margaret Perry moved to Rockland and bought this house in the early 1940s. Anderson won New York Critics Circle Awards for two of his plays in which Meredith starred "Winter-set" in 1935 and "High Tor" in 1937, the latter of which also earned Meredith a Drama Critics Award. Meredith also starred in Anderson's 1938 play "The Star Wagon," with Lillian Gish.

Meredith's film credits include "Of Mice and Men" in 1939 and "Advise and Consent" in 1962. He was nominated for an Academy Award for his portrayal of a boxing manager in the 1976 film "Rocky." He’s also well known for his campy portrayal of the Penguin in the Batman TV series.

When Meredith was married to actress Paulette Goddard, he sold this house to Broadway lyricist Alan Jay Lerner and built a new home close by on the property. Bud Widney of Wesley Hills, production manager for Lerner in the 1950s, recalled the parties Meredith gave at both houses and the horse farm he established at Camp Hill.

During the years Lerner lived in Ramapo, he wrote "My Fair Lady" with composer-collaborator Fritz Loewe, who rented another house nearby.

Historian Craig Long said, in 2000, that there is enough historical evidence to demonstrate the house's importance as a Ramapo landmark.

“Even if the stories about Generals George Washington and Anthony Wayne having stayed there are tradition and folklore," Long said, "there's no denying the fact that Revolutionary soldiers camped at Camp Hill."

According to the Rev. David Cole's history of Rockland, Meredith's house was "the old home of the Bishop family," likely built by Ebenezer Bishop, who lived from 1749 to 1829. Bishop and his family are buried in a small plot nearby.

“The house looks out over a spacious lawn and once was part of a large farm," said historian Marianne Leese of Suffern. "The area has historical significance for the encampment of Lafayette and his troops during the Revolution."

In the 19th century, Leese said, the house was owned by Capt. J. Mausell, an early steamboat captain on the Hudson River. Mausell was the second captain of the Rockland, the second steamboat to be built in the county, she said. In 1845, Leese said, Mausell became captain of a steamboat named the Warren, which sailed out of Haverstraw.

The house and grounds are owned by The Town of Ramapo.

——-

This image, like many of the historic images posted here, comes from the HSRC archives. If you like them, please consider becoming a member of the HSRC. Your member dollars help us preserve and share the rich history of Rockland County and you get tangible benefits - like receiving our award winning history quarterly “South of the Mountains,” the only journal of Rockland County history published continuously since 1957!

Learn more about membership here: http://www.rocklandhistory.org/product.cfm?category=17

[magica-pseudoacademica]

Christianity - Articles

Last edited 2020-05-14

Anton, A. E. “’Handfasting’ in Scotland.”The Scottish Historical Review 37, no. 124 (October 1958): 89-102.

Bailey, Michael D. “From Sorcery to Witchcraft: Clerical Conceptions of Magic in the Middle Ages.” Speculum 76, no. 4 (2001): 960-990.

* Beichtman, Philip. “Miltonic Evil as Gnostic Cabala.” Esoterica 1 (1999): 61-78.

* Blécourt, Willem de. “Witch doctors, soothsayers and priests: On cunning folk in European historiography and tradition.” Social History 19, no. 3 (1994): 285-303.

Boer, Roland. “Religion and Socialism: A. V. Lunacharsky and the God-Builders.” Political Theology 15, no. 2 (March 2014): 188-209.

Boyd, Lydia. “The gospel of self-help: Born-again musicians and the moral problem of dependency in Uganda.” American Ethnologist 45, no. 2 (May 2018): 241-252.

* Bylina, Stanisław. “The Church and Folk Culture in Late Medieval Poland.” Acta Poloniae HIstorica 68 (1993): 27-42.

* Campagne, Fabián Alejandro. “Witches, Idolaters, and Franciscans: An American Translation of European Radical Demonology (Logroño, 1529 - Hueytlalpan, 1553).” History of Religions 44, no. 1 (August 2004): 1-35.

* Chakraborty, Suman. “Women, Serpent and Devil: Female Devilry in Hindu and Biblical Myth and its Cultural Representation: A Comparative Study.” Journal of International Women’s Studies 18, no. 2 (January 2017): 156-165.

Chatman, Michele Coghill. “Talking About Tally’s Corner: Church Elders Reflect on Race, Place, and Removal in Washington, DC.” Transforming Anthropology 25, no. 1 (April 2017): 35-49.

* Cianci, Eleonora. “Maria lactans and the Three Good Brothers: The German Tradition of the Charm and Its Cultural Context.” Incantatio 2 (2012): 55-70.

Collins, David J. “Albertus, Magnus or Magus? Magic, Natural Philosophy, and Religious Reform in the Late Middle Ages.” Renaissance Quarterly 63, no. 1 (2010): 1-44.

* Daǧ‎taş, Seçil. “The Civilizations Choir of Antakya: The Politics of Religious Tolerance and Minority Representation at the National Margins of Turkey.” Cultural Anthropology 35, no. 1 (2020): 167-195.

* Díaz, Mónica. “Native American Women and Religion in the American Colonies: Textual and Visual Traces of an Imagined Community.” Legacy: A Journal of American Women Writers 28, no. 2 (2011): 205-231.

* Draper, Scott and Joseph O. Baker. “Angelic Belief as American Folk Religion.” Sociological Forum 26, no. 3 (September 2011): 624-643.

* Elder, D. R. “’Es Sind Zween Weg’: Singing Amish Children into the Faith Community.” Cultural Analysis 2 (2001).

Elisha, Omri. “Dancing the Word: Techniques of embodied authority among Christian praise dancers in New York City.” American Ethnologist 45, no.3 (August 2018): 380-391.

* Fanger, Claire. “Things Done Wisely by a Wise Enchanter: Negotiating the Power of Words in the Thirteenth Century.” Esoterica 1 (1999): 97-132.

Friedner, Michele Ilana. “Vessel of God/Access to God: American Sign Language Interpreting in American Evangelical Churches.” American Anthropologist 120, no. 4 (December 2018): 659-670.

* Galman, Sally Campbell. “Un/Covering: Female Religious Converts Learning the Problems and Pragmatics of Physical Observance in the Secular World.” Anthropology & Education Quarterly 44, no. 4 (December 2013): 423-441.

* Henderson, Frances B. and Bertin M. Louis, Jr. “Black Rural Lives Matters: Ethnographic Research about an Anti-Racist Interfaith Organization in the United States.” Transforming Anthropology 25, no. 1 (April 2017): 50-67.

* Herzig, Tamar. “The Demons and the Friars: Illicit Magic and Mendicant Rivalry in Renaissance Bologna.” Renaissance Quarterly 64, no. 4 (2011): 1026-1058.

* –. “Witches, Saints, and Heretics: Heinrich Kramer’s Ties with Italian Women Mystics.” Magic, Ritual, and Witchcraft 1, no. 1 (2006): 24-55.

* Hobgood-Oster, Laura. “Another Eve: A Case Study in the Earliest Manifestations of Christian Esotericism.” Esoterica 1 (1999): 48-60.

* Jakobsson, Sverrir. “Mission Miscarried: The Narrators of the Ninth Century Missions to Scandinavia and Central Europe.” Bulgaria Medievalis 2 (2011): 49-69.

* Johanson, Kristiina. “The Changing Meaning of “Thunderbolts.” Folklore 42 (2009): 129-174.

* Kulik, Alexander. “How the Devil Got His Hooves and Horns: The Origin of the Motif and the Implied Demonology of 3 Baruch.” Numen 60 (2013): 195-229.

* Láng, Benedek. “Characters and Magic Signs in the Picatrix and Other Medieval Magic Texts.” Acta Classica Universitatis Scientiarum Debreceniensis 47 (2011): 69-77.

* Nelide, Romeo, Olivier Gallo, and Giuseppe Tagarelli. “From Disease to Holiness: Religious-based health remedies of Italian folk medicine (XIX-XX century).” Journal of Ethnobiology and Ethnomedicine 11, no. 50 (June 2015).

* Oak, Sung-Deuk. “Competing Chinese Names for God: The Chinese Term Question and Its Influence upon Korea.” Journal of Korean Religions 3, no. 2 (October 2012): 89-115.

* Ostling, Michael. “The Wide Woman: A Neglected Epithet in the Malleus Maleficarum.” Magic, Ritual, and Witchcraft 8, no. 2 (Winter 2013): 162-170.

Perlmutter, Jennifer R. “Knowledge, Authority, and the Bewitching Jew in Early Modern France.” Jewish Social Studies 19, no. 1 (Fall 2012): 34-52.

Ramirez, Michelle and Margaret Everett. “Imagining Christian Sex: Reproductive Governance and Modern Marriage in Oaxaca, Mexico.” American Anthropologist 120, no. 4 (December 2018): 684-696.

Robbins, Joel. “Keeping God’s distance: Sacrifice, possession, and the problem of religious mediation.” American Ethnologist 44, no. 3 (August 2017): 464-475.

* Russell, Caskey. “Cultures in Collision: Cosmology, Jurisprudence, and Religion in Tlingit Territory.” The American Indian Quarterly 33, no. 2 (Spring 2009): 230-252.

* Stryz, Jan. “The Alchemy of the Voice at Ephrata Cloister.” Esoterica 1 (1999): 133-159.

* Vaz da Silva, Francisco. “Cosmos in a Painting - Reflections on Judeo-Christian Creation Symbolism.” Cosmos: The Journal of the Traditional Cosmology Society 26 (2010): 53-78.

* –. “The Madonna and the Cuckoo: An Exploration in European Symbolic Conceptions.” Comparative Studies in Society and History 46, no. 2 (2004): 273-299.

* Versluis, Arthur. “Western Esotericism and The Harmony Society.” Esoterica 1 (1999): 20-47.

* Yamauchi, Edwin M. “Magic in the Biblical World.” Tyndale Bulletin (1983): 169-200.

[1monicaowens]

April 4th #blackhistorycontinues Ralph Ellison, in full Ralph Waldo Ellison, (born March 1, 1914, Oklahoma City, Oklahoma, U.S.—died April 16, 1994, New York, New York), American writer who won eminence with his first novel (and the only one published during his lifetime), Invisible Man (1952). NOTABLE WORKS “Invisible Man” “Shadow and Act” ”Juneteenth” “Going to the Territory” “The Selected Letters of Ralph Ellison” “Flying Home and Other Stories” In 1937 Ellison began contributing short stories, reviews, and essays to various periodicals. He worked on the Federal Writers’ Project from 1938 to 1942, which he followed with a stint as the managing editor of The Negro Quarterly for just under a year. He lectured widely on Black culture, folklore, and creative writing and taught at various American colleges and universities. Flying Home, and Other Stories was published posthumously in 1996. He left a second novel unfinished at his death; it was published, in a much-shortened form, as Juneteenth in 1999. The Selected Letters of Ralph Ellison was released in 2019. #novelist #author #writer #🖤 #blackhistory #juneteenth #goingtotheterritory #invisibleman #shadowandact #theselectedlettersofralphellison #flyinghome (at Gainesville, Florida) https://www.instagram.com/p/CNPk__ShhcXOMp1TZJdfWDvwqhOYObdAxDaI580/?igshid=mwjtwjjxq1ee

[finishinglinepress]

FINISHING LINE PRESS BOOK OF THE DAY:

Hail, Radiant Star!: Seven Medievalist Poets

$19.99, Full-length, paper

https://www.finishinglinepress.com/product/hail-radiant-star-seven-medievalist-poets-by-jane-beal-and-others/

ADVANCE PRAISE FOR Hail, Radiant Star!: Seven Medievalist Poets

There are seven poets who have written poems to light up the little universe of the book: Jane Beal, Gail Berlin, Albrecht Classen, Thom Foy, Katharine Jager, A.J. Odasso, and Katherine Durham Oldmixon (Garza). Each poet has contributed a group of nine poems, and in reading and re-reading these verses, readers may be able to discern themes that unify each group like constellations are connected by stars in the night sky … There are eighty-eight constellations in the night sky. In the microcosmos of Hail, Radiant Star!, there are just seven: the Crown, the Lyre, the Pegasus, the Lion, the Ship’s Keel, the Twins, and the Virgin. Yet hopefully there is enough light from them to brighten a reader’s heart.

–Jane Beal, editor of Hail, Radiant Star!: Seven Medievalist Poets

About the Authors:

Jane Beal, PhD is a poet. She has published many collections of poetry, including _Sanctuary_ (Finishing Line Press, 2008), _Rising_ (Wipf and Stock, 2015) and _Journey_ (Origami Poems, 2019) as well as three audio recording projects combining music and poetry: “Songs from the Secret Life,” “Love-Song,” and “The Jazz Bird.” She also writes fiction, creative non-fiction, literary criticism, and music. She teaches at the University of La Verne in southern California. See http://janebeal.wordpress.com.

Gail Ivy Berlin has poems published in Lilliput Review, Poetry Depth Quarterly, and the New Growth Arts Review. She attended Bread Loaf as a tuition scholar in poetry in the summer of 2016. Her poetry explores the mysterious interconnections between identity and transformation, past and present, the living and the dead, silence and the edges of language. She aims for a sense of expansion. Recently retired from Indiana University of Pennsylvania after a thirty-two year career, Gail has worked as a medievalist specializing in Old and Middle English language and literature and medieval women. Her publications include work on the Aesop’s Fables in the margin of the Bayeux Tapestry, Moses in Middle English biblical literature, and Tonwenne’s breast baring gesture in Laȝamon’s Brut. Much of her current research deals with the Brut, and she enjoys placing particular episodes from this text within a cultural context. For this purpose, she has dealt with such topics as magic and gadgets, uroscopy, early attempts at flight, bridge sacrifice legends, and medieval ditches, all with equal joy.

Albrecht Classen is University Distinguished Professor of German Studies at the University of Arizona where he teaches and researches the European Middle Ages and early modern time. In his by now 96 scholarly books and ca. 640 articles, he has investigated a wide range of topics, including women in the pre-modern world, medieval ecocriticism, magic and science, friendship, urban and rural space, multilingualism, mental health and hygiene, crime and punishment, war and peace, and communication. He is the editor of the journals Mediaevistik and Humanities Open Access. He has received numerous awards for his teaching, research and academic service. Most recently, he received the rank of Grand Knight Commander of the Most Noble Order of the Three Lions (GCTL). He is also an accomplished poet, having published nine volumes of his own, and close to individual 150 poems in various journals and magazines.

Thom Foy’s poetical interests are far reaching, always striving for the infinite within human thought, mediated by language. He teaches writing and rhetoric at the University of Michigan-Dearborn. His research interests include medieval romance and metaphysics as well as adaptation. Since 2014, he has adapted and performed several of Tolkien’s works for reader’s theater at the International Congress on Medieval Studies in Kalamazoo, Michigan, and at the 2017 Congress, he staged his adaptation of Tolkien’s “Leaf by Niggle.” He enjoys his family and his students, and he also finds joy in the solitude of running and the fellowship of travel.

Katharine Jager is a poet and a medieval scholar. She is associate professor of English at the University of Houston-Downtown, and has published poetry in Before the Door of God: An Anthology of Lyric Devotional Verse (Yale); The Gettysburg Review; Found; Canteen; Friends Journal; The Great River Review; and GoodFoot among other journals. She has an MFA from New York University.

A.J. Odasso‘s poetry has appeared in a variety of publications, including Sybil’s Garage, Mythic Delirium, Midnight Echo, Not One of Us, Dreams & Nightmares, Goblin Fruit, Strange Horizons, Stone Telling, Farrago’s Wainscot, Liminality, Battersea Review, Barking Sycamores, and New England Review of Books. A.J.’s début collection, Lost Books (Flipped Eye Publishing), was nominated for the 2010 London New Poetry Award and was also a finalist for the 2010/2011 People’s Book Prize. A second collection with Flipped Eye, The Dishonesty of Dreams, was released in 2014; a third-collection manuscript, Things Being What They Are, was shortlisted for the 2017 Sexton Prize. A.J. holds an M.F.A. in Creative Writing from Boston University, where A.J. was a 2015-16 Teaching Fellow, and A.J. has worked at the University of New Mexico. A.J. has served in the Poetry Department at Strange Horizons magazine (www.strangehorizons.com) since July 2012.

Katherine Durham Oldmixon (Garza) is the author of Water Signs, finalist for the New Women’s Voices Award (Finishing Line Press, 2009). Her poems and photographs appear in many print and online journals, such as Borderlands: Texas Poetry Review, Solstice Literary Magazine, The Bellevue Review, The Normal School, Sequestrum, Minerva Rising, the Cider Press Review, Mom Egg Review, and the anthologies Improbable Worlds: An Anthology of Texas and Louisiana, Lifting the Sky: Southwestern Haiku and Haiga, Bearing the Mask: Persona Poems of the Southwest, and Red Sky: Poetry on the Global Epidemic of Violence Against Women. Katherine holds a Ph.D. in English from UT-Austin, where she wrote her dissertation on the Middle English Breton Lays. She earned her MFA in creative writing from University of New Orleans, and an M.A., with a concentration in medieval folklore, from University of Houston. Co-director of the Poetry at Round Top festival and a senior poetry editor for Tupelo Quarterly, Katherine is professor and chair of English at historic Huston-Tillotson University in Austin, TX.

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[nyfacurrent]

Conversations | Meet ABI Business Caribbean Film Academy

Part of NYFA Arts Business Incubator’s first cohort, CaFA is increasing the visibility of Caribbean films and filmmakers in NYC and beyond.

Established in 2012, Caribbean Film Academy (CaFA) is a non-profit organization dedicated to the promotion and support of Caribbean filmmaking and filmmakers in the region and the Diaspora. CaFA’s work is focused on promoting and sharing the art of storytelling through film from the perspective of the Caribbean. The organization is part of NYFA’s Arts Business Incubator (ABI) program’s inaugural cohort, where they receive custom-tailored, formalized support from NYFA’s staff and network of experts to help them fully realize their mission. CaFA is also part of NYFA’s Fiscal Sponsorship program, which helps individual artists and emerging arts organizations optimize fundraising efforts.

We spoke with CaFA Co-Founders Romola Lucas and Justen Blaize at the close of National Caribbean-American Heritage Month to see what they’ve been up to, and what’s next for their growing business.

NYFA: What's the Caribbean film industry like in both the Caribbean and in New York? How'd you become interested in helping to support it?

Caribbean Film Academy: Overall, the Caribbean film industry can best be described as emerging, but depending on where you are, the “industry” is in different stages of development. The Spanish and French Caribbean are producing more films for the regional as well as global markets, than the English and Dutch Caribbean. The largest film festival dedicated specifically to Caribbean films is the Trinidad & Tobago Film Festival, and through the Festival and other local initiatives, Trinidad & Tobago has emerged as a leader in film in the English Caribbean.

With respect to New York, the picture is not as clear. The Caribbean arts and culture scene generally is becoming more and more vibrant through the activities of the dance, literary, cultural, and film organizations. With respect to film, it is difficult in many instances to identify the Caribbean filmmakers and actors in New York and the remainder of the Diaspora unless they themselves identify as Caribbean, since their work tends to be more reflective of the country they’re currently living in and not the Caribbean.

Having said that, through the work of our organization, we have created a year-round platform for anyone interested in the Caribbean film, by programming screening series and hosting filmmaker Q+As that raise the level of awareness of the existence of these films and filmmakers, growing an audience for them, and providing opportunities for filmmakers and viewers to interact and be of more support to each other.

We became interested in wanting to support the filmmakers, because we ourselves wanted to see Caribbean films. We were tired with the lack of diversity in cinemas in New York, showing mostly Hollywood films, and with the smaller, artsy venues, showing mostly foreign, as in European, films. We wanted to see films about our lives and cultures, see our stories, and hear our accents on the big screen. The Caribbean as whole is very diverse, but there are many similarities in the ways in which we live which can be shared through film, allowing people from different countries to learn about life in other countries they’ve never actually visited. We started off small, watching films with a few other people sharing this same interest at Nicholas Variety on Fulton Street in Brooklyn, and we have grown from there.  

NYFA: Tell us more about the ways in which CaFA is increasing the visibility of Caribbean films and filmmakers. What're your key vehicles for promotion?

CaFA: We are doing this work in several different ways:

The Caribbean Film Series. Our signature program and an almost quarterly series where we bring 4/5 of the best in Caribbean films to screen per year at Brooklyn Academy of Music.

CaFA Cinema Nights. Where we started: our monthly screening series. It’s being held this year at the IFP Media Center in Brooklyn, where we present regularly-scheduled screenings of Caribbean films.

Third Horizon Caribbean Film Festival. A festival based in Miami that was started with a grant from the Knight Foundation in 2016 in partnership with Third Horizon Media to showcase the best in Caribbean cinema.

Timehri Film Festival. A Guyanese and Caribbean film festival we started in Guyana to provide a platform for Guyanese filmmakers, as well as to share films from other countries in the Caribbean, with Guyanese audiences.

Studio Anansi Tv. An online platform similar to Netflix that we created specifically for Caribbean films, to make them available to audiences worldwide.

Caribbean Film Project. A production program, through which we co-produce short films by emerging Caribbean writer/directors.

NYFA: What are some of the projects you're working on now? Did you do anything special to celebrate Caribbean-American Heritage Month?

CaFA: With our programming pretty much established, our projects are mostly internal and geared at growing the organization as a whole, as well as presenting individual programming.

We are currently rebuilding two of our websites, and will be working with a distributor to develop Studio Anansi into the go-to distribution company for Caribbean films, as well as working on partnerships in other countries to host film screenings and festivals in order to share Caribbean films more widely in the Caribbean, and in the United States, Canada, and England.

For Caribbean-American Heritage Month (CAHM) this year, we are hosting a special outdoor screening in Brooklyn’s Brower Park of a film adaptation of a short story by one of the Caribbean’s favorite authors, Earl Lovelace. The film, Joebell and America, by Asha Lovelace, is based on the short story by the same name, written by her father, Earl Lovelace. It is an immigrant story, speaking to the experiences of many Caribbean people living here in New York. We are partnering with Union Docs and the Luminal Theater to present this screening, which will be held tonight, June 28, at 7:00 PM.

NYFA: We don't want to put you on the spot...but do you have any favorite Caribbean films or filmmakers to recommend to our readers? Is there a film that would make a good introduction to the Caribbean film industry for the unfamiliar? 

Ha. Now this is a tough one.

Some good contemporary films from the English Caribbean (not one, but a few 😊 ) are Children of God by Kareem Mortimer (the Bahamas), God Loves the Fighter by Damian Marcano (Trinidad & Tobago), Better Mus’ Come by Storm Saulter (Jamaica), Play the Devil by Maria Govan (the Bahamas), Ring di Alarm by the New Caribbean Cinema (Jamaica), Captureland by Nabil Elderkin (shot in Jamaica), The Sweetest Mango by HaMA Films (Antigua & Barbuda), Art Connect by Miquel Galofré (shot in Trinidad & Tobago), and Doubles with Slight Pepper by Ian Harnarine (Trinidad & Tobago).

These films cover a variety of stories, from LGBT to love, art, folklore, and music, and are generally stories of everyday life in the Caribbean, giving those unfamiliar with the “real” Caribbean, with life beyond the parties, white sand beaches, and blue waters, a good understanding of what it actually means to live in “paradise.”

Some good emerging filmmakers are Shaun Escayg from Trinidad & Tobago (Fish, Noka): Keeper of World’s), Chris Guinness from Trinidad & Tobago (Pothound, Capt T+T), Gabrielle Blackwood from Jamaica (Denis), Lisa Harewood from Barbados (Auntie), Mariel Brown from Trinidad & Tobago (Smallman: The World My Father Made), Jason Fitzroy Jeffers from Barbados (Papa Machete), and Vashti Anderson from Trinidad & Tobago (Moko Jumbie and Jeffrey’s Calypso).

These are some of the filmmakers are at the forefront of defining what it means to be a filmmaker in the Caribbean. They are using technology like VFX and animation and are not afraid to extend the bounds of their creativity in the context of the Caribbean in terms of style and the types of stories they are telling.

NYFA: What drew you to ABI? What's your experience been in the first year (now in the second year) of the program?

We were drawn to ABI by the opportunity to work behind the scenes, to make our organization sustainable. We started the organization and ran it all these years on our own, coming up with program ideas to fill the needs we found along the way, and figuring out which ideas would work best over the long term. With the resources NYFA has to offer, we hoped to be able to better organize and fund CaFA and put it on a path to sustainability.

We have had a fantastic experience in the program. The program’s coordinator, Peter Cobb, is an amazing resource and an avid supporter of the work we do. With the financial resources made available to us through the program, we were able to work with a consultant who helped us to organize our programming, develop our branding, and build our board, as well as develop a budget and fundraising plan for our activities. We were also able to work with a web developer to rebuild and customize our websites, bring on a person specifically dedicated to promoting our programs through social media, and begin development of an app to improve the online viewing experience for our subscribers. With NYFA’s organizational resources which were made available to us, we were able to network with other similarly situated organizations, get a mentor who is now actively supporting our efforts by becoming a member of our board, and gain further insight into successfully running an organization by participating in the workshops offered through the program.

NYFA: What's next for CaFA?

CaFA: On an organizational level, we will be getting our board up and running, and executing our fundraising plans to begin putting the organization on the sustainability track. On a programming level, we are working to grow our audience base to see greater attendance at screenings and festivals, as well as viewership online.  

Our more long-term plans include creating a Caribbean film festival in New York, as well as building a facility to function as a co-working, event, performance, and exhibition space for Caribbean organizations working in dance, film, culture, literature, in the New York area.

Please visit our website to learn more about NYFA’s Arts Business Incubator program. Stay tuned for future posts featuring the members of the ABI cohort.

NYFA Fiscal Sponsorship’s next quarterly no-fee application deadlines are June 30 and September 30, and you can learn more about NYFA’s Fiscal Sponsorship program here. Read about other exciting projects utilizing sponsorship in our NYFA Fiscal Sponsorship Directory.

- Interview conducted by Amy Aronoff, Communications Officer

Images from top: Romola Lucas, Photo Credit: Justen Blaize; Justen Blaize, Photo Credit: Davone Alexis; audience cross section at the Caribbean Film Series, Brooklyn Academy of Music, Photo Credit: Justen Blaize; Filmmaker Q&A at the Caribbean Film Series, Brooklyn Academy of Music, Photo Credit: Justen Blaize

[kuronekocon]

Guest Announcement! Zack Davisson is an award-winning translator, writer, and folklorist. He is the author of YUREI: THE JAPANESE GHOST, YOKAI STORIES, and THE SUPERNATURAL CATS OF JAPAN from Chin Music Press, and an essayist for WAYWARD from Image comics. He lectured on translation, manga, and folklore at Duke University, UCLA, University of Washington, Denison University, as well as contributed to exhibitions at the Wereldmuseum Rotterdam and Henry Art Museum. He has been featured on NPR, BBC, and The New York Times, and has written articles for Metropolis, The Comics Journal, and Weird Tales Magazine. As a manga translator, Davisson was nominated for the 2014 Japanese-US Friendship Commission Translation Prize for his translation of the multiple Eisner Award winning SHOWA: A HISTORY OF JAPAN. For Drawn & Quarterly, Davisson translates and curates the famous folklore comic KITARO. Other acclaimed translations include Satoshi Kon’s OPUS and THE ART OF SATOSHI KON, Mamoru Oshii’s SERAPHIM: 266613336 WINGS, Kazuhiro Fujita’s THE GHOST AND THE LADY, Leiji Matsumoto’s QUEEN EMERALDAS and CAPTAIN HARLOCK DIMENSIONAL VOYAGE, Go Nagai’s CUTIE HONEY A GO GO! and DEVILMAN: GRIMOIRE, and Gainax’s PANTY AND STOCKING + GARTERBELT.

[richardfrisbie]

Alf’s benchmark regional history and a collection of essays

Last Saturday evening I spoke at an event – 100 Years of Art in Woodstock – about the life of Alf Evers. This is a transcript of my speech:

Good evening. My name is Richard Frisbie. Thank you for coming to what I’m calling a Catskills Cantico – Cantico is an Algonquin word meaning a ceremonial dance. And – No – I’m not going to dance. I’m here to tell you about my friend, noted historian and author, Alf Evers, and I’ve been given 5 minutes to cover nearly a century of his accomplishments.

My presence here is not without precedent. I spoke at Alf’s 90th birthday party, and again in 2001 for what was called a “Celebration in Recognition of Alf Evers’ Contributions to the Furthering of New York History”. That’s the rather grand title for what was actually a very impressive ceremony on the grounds of the Senate House in Kingston. Alf was surrounded by County, State and Federal dignitaries – everyone from a Pulitzer Prize winner to a Congressman. After 14 people spoke, and Jay Unger and Molly Mason performed, Alf spoke for an hour! His speech was engaging and captivating and covered the important influences in his writing carrier. It was great! I’m sorry if you missed it.

I can’t match the speech he gave, but I can promise to be brief.

For those of you who don’t know – Alf Evers was the preeminent historian of the Catskills. He is renowned for his definitive 800-page histories, “The Catskills: From Wilderness to   Woodstock”, “Woodstock: History of an American Town” and his final book, “Kingston, City on the Hudson”. His other books include “In Catskill Country: Collected Essays on Mountain History, Life and Lore”, as well as more than 50 children’s titles written in collaboration with his wife, Helen. In total, he wrote almost 10,000 pages of Catskill Mountain history!

Alf was born in the Bronx, and came upstate with his family when he was nine. They moved to a farm in Tillson where he first became aware of the Catskill Mountains and where his love of the Catskills began. As an adult, he moved into the Catskills, settling finally in Shady, where he raised a family of his own. His strong bond with the region remained his passion until his death in 2004 when he was 99 years old.

In his lifetime, besides the aforementioned books, he was the associate editor of the New York Folklore Quarterly. He wrote articles for the New York Conservationist. He also wrote many newspaper articles on regional history. In addition, he served as Vice-President of the New York State Folklore Society, President of both the Woodstock Historical Society and the Woodstock Library, and he was the town historian of Woodstock for many years. Through all this, he actively encouraged the preservation of the landscape and character of Woodstock and its environs.

My signed, numbered commemorative copy “In Catskill Country”

Personally, I always knew Alf to be generous with his  vast knowledge. One day while I was President of the Board of Management of the Woodstock Tree Trust, (and yes, there was such a title) Alf asked me: “Did you ever see a chestnut tree? You know we have one growing here in Town.” Since the American Chestnut had been virtually extinct since the beginning of the 1900s, he had my attention. He said come on – I’ll show it to you. We jumped into my car and he said turn onto Plockmann Lane. I immediately thought – all right, we’ll go through and on up Lewis Hollow Road to find an isolated stand of trees up near the State Land. That made sense.

Nope.

Just a little way in he pointed to a short skinny tree and said there it is. Right there on the side of Plochmann Lane – the rarest of rare trees – an American Chestnut. He explained that every few years the highway department cuts back the roadside so cars can pass – Plochmann Lane is narrow. Since the virus attacks mature trees, and a cut chestnut grows from sprouts on the stump, this one was cut and it grew, and cut and grew, and cut and grew for nearly a century, but it was never old enough to get the virus. It survived.

Who knew? Alf Evers Knew!

In 1995, Overlook Press had a book signing / birthday party on the occasion of Alf Evers’ 90th birthday and the publication of his book “In Catskill Country“. It was a benefit for the Catskill Center for Conservation and Development. The event was called A Catskills Cantico, meaning a dancing, singing, fiddle-playing party, like the old-timers used to have in the Catskills – and much like what we’re having here. It was called that as a concession to Alf, who actually wanted that to be the title of his book.

And that is how I knew Alf to be, a person with the depth of knowledge so great about the Catskill Mountains that he knew the answer to every question. He knew where the last American Chestnut was in the Town and what a cantico was –and why it would be an appropriate title for his collection of essays. And still, as a respected historian and bestselling author who was revered in his community, he was modest and unassuming enough to bow to the wishes of his publisher. So, to honor him tonight, I referred to this event as he would have: A Catskills Cantico – A Song of the Catskills. I hope you’re enjoying it.

Thank you

Speech – A Catskills Cantico Alf's benchmark regional history and a collection of essays Last Saturday evening I spoke at an event - 100 Years of Art in Woodstock - about the life of Alf Evers.

[vampireadamooc]

NEW YORK FOLKLORE QUARTERLY Vol. XXIX, No. 3, September, 1973

A REAPPRAISAL OF THE VAMPIRE Louis Winkler and Carol Winkler

BACKGROUND

BY FAR, the most extensive twentieth century work on the history and accounts of vampires is due to Montague Summers. Vampirism at its pinnacle emerged in the latter part of the seventeenth and early part of the eighteenth centuries. The vampire was principally found in his most highly developed form in Greece, Hungary and the Slavonic countries. This is the era and locales with which we will principally concern ourselves.

An exceptionally popular fictional vampire, Dracula, was created by Bram Stoker in 1897. A literary analysis of the historical basis for the character of Dracula, which extends back to the fifteenth century, is given by Grigore Nandris.

The etymology of the word vampire is not certain. It is probably derived from the Magyor word for vampire, which is vampir. Many Slavonic words, however, are also similar.

Characteristics of vampires vary considerably so as to suit the people in their time and place. Numerous primary sources of descriptions of vampires are found in Summer, Nandris, and Lewis Spence. The characteristics submitted here, as being representative, are influenced mostly by Summers....

Preview from the site. Full article is only 3 dollars.

[blackkudos]

John Wesley Work

John Wesley Work III (July 15, 1901 - May 17, 1967) was a composer, educator, choral director, musicologist and scholar of African-American folklore and music. Biography

He was born on July 15, 1901, in Tullahoma, Tennessee, to a family of professional musicians. His grandfather, John Wesley Work, was a church choir director in Nashville, where he wrote and arranged music for his choirs. Some of his choristers were members of the original Fisk Jubilee Singers. His father, John Wesley Work, Jr., was a singer, folksong collector and professor of music, Latin, and history at Fisk, and his mother, Agnes Haynes Work, was a singer who helped train the Fisk group. His uncle, Frederick Jerome Work, also collected and arranged folksongs, and his brother, Julian, became a professional musician and composer.

Work began his musical training at the Fisk University Laboratory School, moving on to the Fisk High School and then the university, where he received a B.A. degree in 1923. After graduation, he attended the Institute of Musical Art in New York City (now the Juilliard School of Music), where he studied with Gardner Lamson. He returned to Fisk and began teaching in 1927, spending summers in New York studying with Howard Talley and Samuel Gardner. In 1930 he received an M.A. degree from Columbia University with his thesis American Negro Songs and Spirituals. He was awarded two Julius Rosenwald Foundation Fellowships for the years 1931 to 1933 and, using these to take two years leave from Fisk, he obtained a B.Mus. degree from Yale University in 1933.

Work spent the remainder of his career at Fisk, until his retirement in 1966. He served in a variety of positions, notably as a teacher, chairman of the Fisk University Department of Music, and director of the Fisk Jubilee Singers from 1947 until 1956. He published articles in professional journals and dictionaries over a span of more than thirty years. His best known articles were "Plantation Meistersingers" in The Musical Quarterly (Jan. 1940), and "Changing Patterns in Negro Folksongs" in the Journal of American Folklore (Oct. 1940). In 1953, he was a member of the charter class of the Zeta Rho Chapter of Phi Mu Alpha Sinfonia Fraternity, the national fraternity for men in music. The Fisk chapter was the third chapter of the Fraternity chartered at a historically black college or university, the first being chartered at Howard University in 1952.

Work began composing while still in high school and continued throughout his career, completing over one hundred compositions in a variety of musical forms—for full orchestra, piano, chamber ensemble, violin and organ—but his largest output was in choral and solo-voice music. He was awarded first prize in the 1946 competition of the Federation of American Composers for his cantata The Singers, and in 1947 he received an award from the National Association of Negro Musicians. In 1963 he was awarded an honorary doctorate from Fisk University.

Following Work's collection Negro Folk Songs, the bulk of which was recorded at Fort Valley, he and two colleagues from Fisk University, Charles S. Johnson, head of the department of sociology (later, in October 1946, chosen as the university's first black president), and Lewis Jones, professor of sociology, collaborated with the Archive of American Folk Song on the Library of Congress/Fisk University Mississippi Delta Collection (AFC 1941/002). This project was a two-year joint field study conducted by the Library of Congress and Fisk University during the summers of 1941 and 1942. The goal of the partnership was to carry out an intensive field study documenting the folk culture of a specific community of African Americans in the Mississippi Delta region. The rapidly urbanizing commercial area of Coahoma County, Mississippi, with its county seat in Clarksdale, became the geographical focus of the study. Some of the correspondence included in this collection between Work and Alan Lomax, then head of the Archive of American Folk Song, touches on both the Fort Valley and the emerging Fisk University recording projects.

John Wesley Work died on May 17, 1967.

Musical works - Yenvalou for orchestra (1946) - Sassafras, pieces for piano (1946) - Scuppernong (1951) - Appalachia (1954) - From the Deep South (1936) - The Singers, cantatas (1941) - Isaac Watts Contemplates the Cross (1962)

Other works

Arrangements for S. A. T. B. of several collected Christian folk songs of the 1860s, first appearing in print in the early 1900s, and published in 1948 by Work through 'Galaxy Music Corp', NY.

- This Little Light O' Mine with solo unaccompanied - Jesus, Lay Your Head in the Window for high voice with piano accompaniment - Done Made My Vow to the Lord for chorus of mixed voices, with tenor - Go Tell It on the Mountain (Christmas) for mixed voices or junior choir, also versions for treble and male voices - Little Black Train for chorus of mixed voices, with mezzo-soprano and tenor - Lord, I'm Out Here on Your Word with tenor voice solo

Wikipedia

[florencefeagin-blog]

2015 Lexus RC Preview.

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