Encyclopedia of American Folklore (Facts on File Library of American Literature)

481 Pages·2007·1.74 MB·English

by  Linda S. Watts

encyclopedia of
AM E RICAN
F OLKLORE
linda s. watts
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Encyclopedia of American Folklore
Copyright © 2007 by Linda S. Watts
All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic
or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without
permission in writing from the publisher. For information contact:
Facts On File, Inc.
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New York NY 10001
Library of Congress Cataloging-in-Publication Data
Watts, Linda S., 1960–
Encyclopedia of American folklore / by Linda S. Watts.
p. cm.
Includes bibliographical references and index.
ISBN 0-8160-5699-4 (hc : alk. paper)
1. Folklore—United States—Encyclopedias. 2. United States—Social life and customs—Encyclopedias.
I. Title.
GR105.W38 2006
398.0973’03—dc22 2006000315
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Text design by Erika K. Arroyo
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Printed in the United States of America
VB Hermitage 10 9 8 7 6 5 4 3 2 1
This book is printed on acid-free paper.
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CONTENTS
6
ACKNOWLEDGMENTS
v
PREFACE
vii
INTRODUCTION: WHY STUDY FOLKLORE?
IX
A TO Z ENTRIES
1
STARTING POINTS FOR RESEARCHING AMERICAN FOLKLORE
428
SELECTED BIBLIOGRAPHY ON AMERICAN FOLKLORE
431
ENTRIES BY CATEGORY
442
INDEX
449
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ACKNOWLEDGMENTS
6
While I have contributed entries to many ency- its academic leaders, for approving the sabbatical
clopedias and works of subject bibliography, I leave during which much of the work was com-
had never before undertaken a single-author ref- pleted; the UW’s professional librarians, espe-
erence work. I hope that in some sense this book cially those at the UWB/Cascadia Community
serves as a tribute to, and expression of thanks College (CCC) Library, for their tireless efforts
for, all the help and encouragement I received on my behalf; undergraduate bibliographers from
during its production. Clearly, there are many the Seattle and Bothell campuses of the Univer-
individuals and organizations to thank for real- sity of Washington, including Sammie Bossert,
ization of this project: Henry Rasof, for advising Sam Hannum, Jamie Jones, Jennifer Mau, Erik
on the volume proposal; Jeff Soloway and Facts Shephard, and Kelly Wahlstrom; all my teachers,
On File, for their stewardship of the product and students, and colleagues over the years (and with
patience in the process; my program and aca- especially tender gratitude to those individuals
demic home, Interdisciplinary Arts and Sciences, who have proved themselves to be all three), for
for supporting my participation in the venture; their willingness to listen to stories about the
the University of Washington (UW) Office of research and for shaping its process; and, finally,
Undergraduate Research, for connecting me the members of my family, to whom I dedicate
with student bibliographers; my institution, the this book, for making education and research
University of Washington, Bothell (UWB) and activities possible in the first place.
v
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PREFACE
6
While there are numerous dictionaries and In keeping with the term folklore, with its
encyclopedias of American folklore available for dual denotation, this volume addresses folklore
scholars in the discipline, the goal of this work as both a body of information (data) and set
is to provide information in a highly approach- of methods for its study (inquiry). The work
able manner for readers who are newcomers, combines attention to U.S. folk forms with
novices, and nonspecialists in folklore. This vol- consideration of their cultural origin, historical
ume addresses the needs of multiple audiences, context, and social function. Curricular links for
including high school, college, and public librar- the book’s contents include the disciplines of
ies; archive and museum collections; and inde- folklore and folklife, history, literature, cultural
pendent researchers. Furthermore, the entries anthropology, sociology, art history, and mate-
here address a wide range of subjects, rather rial culture.
than focusing on a single population, region, As a one-volume encyclopedia, this work
genre, or topic within folklore studies. aids readers exploring topics, terms, themes,
In preparing the book, I sought to create figures, and issues within the study of American
a reference work that simultaneously takes folklore. Folklore has sometimes been described
seriously and speaks clearly to the needs of a as the unwritten literature of a culture: its songs,
general audience of readers. The volume’s con- stories, sayings, games, rituals, beliefs, and ways
figuration recognizes the needs of collectors/ of life. For the purposes of this work, the term
collections requiring an accurate and accessible, American folklore refers to transmitted traditional
compact, and economical source of frequently beliefs, myths, tales, language practices, and cus-
sought information about American folklore. toms of the people of the United States, whether
Especially where a large collection of special- that transmission takes place orally, observation-
ized volumes would prove prohibitive, this ally, or through writing about such lore. That
work consolidates user needs within one refer- being said, the emphasis here remains on verbal
ence volume. Its categories reflect the kinds of (narrative) genres of folklore. It deals chiefly in
material students require for K–12 and college expressive domains where language acts play a
assignments featuring American folklore. It major part. What this means is that while forms
also considers the kinds of clarifying questions such as legends and tales figure prominently,
readers might pose when consulting the ency- other folk forms (visual art, dance, music, cos-
clopedia for other inquiries and purposes. That tume, and the like) are less the focus here.
is, the encyclopedia anticipates needs of sec- Because many courses, especially within
ondary-school and college students, teachers, K–12 education, tend to fold folklore into a
and librarians, as well as folklorists and other language-arts curriculum, this volume’s con-
researchers, storytellers, and general readers tent and organization correspond to the ways
interested in American folklore. educators integrate folklore within literacy and
vii
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vIII Preface
wider learning objectives for language arts at Entry-level students of folklore, whether at the
the secondary level. In support of such research high school or college level, typically consult
at all levels, the volume offers such entry cat- reference volumes in the context of assigned
egories as folk heroes/legendary figures, coursework. The volume’s design reflects this
fables/fairy tales/myths, and folklore in fact. After surveying introductory-level texts
American literature. on folklore and course assignments currently
Many courses, particularly high-school in use within secondary-school and college
lower-division college folklore courses, tend to courses featuring American folklore, I framed
ask students to identify and analyze patterns the encyclopedia accordingly—around the spe-
across texts, explore links between folk forms cific folklore reference needs that emerge from
and the surrounding sociohistorical context, that investigation.
situate themselves in terms of cultural popula- While there are many ways of defining folk-
tions, and practice gathering data in the ways lore and characterizing its meanings, sometimes
folklorists do. For that reason, entry categories the most plainspoken descriptions prove the
such as folklore in everyday life appear. most vivid. In prefacing her anthology of folk-
By the time students reach upper-division- tales and folk songs for young readers, From Sea
university-level or graduate-level study, their to Shining Sea: A Treasury of American Folklore and
instructors require more varied and sophis- Folk Songs (1993), Amy Cohn evoked the nature
ticated forms of folklore study. Entries here of folklore study in this way:
speak to such needs. For readers wishing to
research their own or another’s folk heritage, Simply, folklore is a story, a rhyme, a song,
entries on cultural groups, historical events, a saying passed down orally through the
terms, and organizations/agencies (under other generations. In some ways folklore is a lot
entries) are included. like the popular party game, telephone.
Finally, because those engaged in lifelong Each time someone hears a story or song
learning, whether curricular or self-initiated, and repeats it, he or she changes it slightly.
long to understand the relevance of folklore … Each teller infuses in the tale a part of
study to their own lives, categories of entries himself or herself, filling it with his or her
such as holidays and observances assist readers ideas about the world, its people, and its
of any age in discovering how much folklore sur- creatures. (xiii)
rounds common customs and behavior, as well
as how folklorists understand these elements of In this familiar image of a children’s game,
received culture and practice. with its embedded reminder of the ways human
I have informed the encyclopedia’s con- transmission shapes the content of a message
tents with the most current and sound folklore with each retelling, Cohn captures both the
research available. Headword selection aligns experience and the lasting value of folklore study.
with prevailing practice within folklore peda- She also evokes the importance of active listen-
gogy and research. References and bibliographic ing, thoughtful speech, and keen observation for
material provided highlight primarily recently the aspiring folklorist. Finally, she reminds us
published and commonly available materials for that the process under investigation in the study
further study. of American folklore is never complete, and so
The book’s working definition of folklore, its unfolding proves a story of generations. In
the content choices, and the categories of their sharing this encyclopedia, I invite you to join
arrangement reflect the reading situation of in—enrich and be enriched by—the game’s end-
the prospective user of this encyclopedia. Most lessly fascinating play. If folklore study, as is folk-
desire quick and clear guidance on the mean- lore itself, is analogous to a game of telephone,
ing and implications of American folklore. then, this call is for you.
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INTRODUCTION: WHY
STUDY FOLKLORE?
6
The real power of folklore becomes clearest (cid:129) makeshift tributes to those who died in the
when happenings in a culture demand deep attacks, memorials that surfaced almost imme-
contemplation and considered response. My diately at Ground Zero and throughout the
case in point is the historic events of Septem- streets of New York City;
ber 11, 2001. (cid:129) artworks that people of all ages used to express
The events of 9/11 represent the kind of and come to terms with the attacks on the
shared experience that requires not only an indi- World Trade Center and Pentagon;
vidual response but one that reckons all the wis- (cid:129) collections of first-person narratives that have
dom of the collective, including the forms most found publication in the years since 9/11;
closely associated with folklore: oral history, (cid:129) songs, sermons, and speeches delivered in
memoir, children’s drawings, tales, songs, trib- commemoration of the attacks and in raising
utes, and, yes, even the disaster jokes that help of funds to give some measure of financial
some of us go on with our lives—all the while relief to survivors and family members of
remembering those who are not lucky enough to those who perished; and
survive and face the predicament of determining (cid:129) oral histories that have since been collected by
a fitting response to the events. the American Folklife Center.
As I took in the real-time accounts of 9/11
and monitored subsequent reactions to the Of course, I am not the only, or even the first,
events, I was reminded anew—perhaps sur- person to notice. As early as the fall–winter 2001
prisingly so—of how important folklore really issue of Voices, the online Journal of New York
can be within our lives together. In other Folklore, Steven Zeitlin and Ilana Harlow wrote
words, if conflict is the natural consequence about the connection between folk culture and
of lives conducted in the company of others, 9/11. Referencing their book, Giving a Voice to
and if folk culture functions as one of the ways Sorrow: Personal Response to Death and Mourning,
people process conflict and act to meet that published on November 11, 2001, these folklor-
conflict constructively (through understand- ists described how poignantly people had already
ing, reconciliation, consequence, or change), begun to use folk forms, such as storytelling,
then cultural traumas playing out on the world personal ritual, and commemorative art, as a
stage may offer the clearest picture of the part means to analyze and react to the 9/11 tragedy.
folklore plays in contending with conflict on a While we might hope to be spared the point’s
more global scale. demonstration through such traumatic means,
Better, perhaps, than any other example I can 9/11 underscores the relevance of folklore research.
summon, 9/11 dramatizes how every aspect of Although folklore is not the only source of healing,
folklore forms a part of the public response to understanding, and renewal, its study has proved a
adversity. Witness such examples as: crucial component of the 9/11 aftermath. Folklore
ix
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