The Louisiana Division of the Arts acknowledges a variety of traditional activities as art forms. In addition to Performing Traditions (music, dance, storytelling) and Traditional Arts and Crafts (domestic, decorative, ritual, and occupational crafts), folklife expressions may concern religious traditions (dinner on the grounds, saints' day processions, St. Joseph Day altars), festive traditions (building a Mardi Gras float), occupational traditions (boatbuilding, making hunting horns), and foodways traditions (Czech pastries, filé making).
1. Living traditions passed down over time and through space. Since most folklore is passed down through generations, it is closely connected to community history.
3. Learned informally by word of mouth, observation, and/or imitation.
4. Made up of conservative elements (motifs) that stay the same through many transmissions, but folklore also changes in transmission (variants). In other words, folk traditions have longevity, but are dynamic and adaptable.
6. Usually anonymous in origin.
Folklore/Folklife is NOT:
1. Learned through workshops, classes, books, or magazines.
2. Something that is necessarily old or an antique; in fact, it is often contemporary and dynamic.
3. Written history, nor historical re-enactment (re-creating the past with actors).
Another way to look at folklife is to place it in the context of culture. Culture may be classified into three categories, each of which is learned in a different way:
It is helpful to think of this as a continuum: Folk Popular Elite where the boundaries between these kinds of knowledge blur and overlap.
For more information on defining folklife refer to Unit I Defining Terms in Louisiana Voices: An Educator's Guide to Exploring our Communities & Traditions.
Folklore and Everyday Life:
Folklife is so pervasive in our lives that it often remains all but invisible; because it is so much a part of how we live our lives, we rarely examine it. Yet it is precisely in the mundane activities of our daily routines that we learn much of what we need to know in our lives: whether it is the "tricks of the trade" that teachers (and doctors, salespeople, clergy, gardeners, hobbyists, or good cooks) share with each other and that often distinguish the expert from the novice, or the values (of cleanliness, literacy, religious practice, affectionate play) that are embodied in the routines with which we end the day for our children. Folk traditions are an important basis upon which cultural groups establish and pass on shared values and specialized knowledge. By focusing study on such traditions, we may gain a better understanding of how members of a particular group of people communicate with each other, what they value, and how they perceive the world and their role in it. Folk groups, the groups in which humans spend most of their time, share commonalities as well as differences. By studying the folklife of folk groups, we can develop conceptual frameworks within which to examine and reflect on both differences and commonalities. (Adapted from Standards for Folklife Education. Pennsylvania Alliance for Arts Education, Diane Sidener, ed. 1997.)
The American Folklife Preservation Act, passed by the United States Congress in 1976, defines folklife as "the traditional expressive culture shared within the various groups in the United States: familial, ethnic, occupational, religious, regional; expressive culture includes a wide range of creative and symbolic forms such as custom, belief, technical skill, language, literature, art, architecture, music, play, dance, drama, ritual pageantry, handicraft; these expressions are mainly learned orally, by imitation, or in performance and are generally maintained without benefit of formal instruction or institutional direction."
Folklife research on a specific group, topic, or theme is usually done through fieldwork, which entails going into a community and using observation and interviews to obtain firsthand information through the use of tape recordings, photography, notes, and sketches. The collection of the research results in writing, tapes, photographs, etc. is termed documentation. Today folklorists usually provide such studies with the total context of the folk tradition, working toward an ethnography, a term referring to the documentation of the total culture of a community or group. Culture may be defined as a whole way of life: the patterns of behavior and expressions learned and acquired by members of a particular group that define that society and set it apart from other cultural groups.
There is a fine line between folklife research and oral history, in which the focus of research lies more in the past than the present. Oral history comprises part of folklife research and contributes to a complete community ethnography.
For more information about planning a folklife fieldwork project, refer to Unit II Fieldwork Basics in Louisiana Voices: An Educator's Guide to Exploring Our Communities and Traditions.
Also refer to the Louisiana Voices Glossary.
For information on folklife genres, refer to Suggestions for Folklife Fieldwork and Presentations.
is a Folk Artist?
Selection of individual folk artists for inclusion in the database is based on the following criteria.
According to the criteria above, the following artists are not included in the database: