Beyond Crowdsourcing: Working With Donors, Student Fieldworkers, and Community Scholars to Improve Cultural Heritage Collection Metadata

Utah State University Libraries (USU) employs community-based crowdsourcing metadata practices that provide in-depth, collaborative strategies that go beyond more commonly used collecting methods. Improved metadata quality is a result of working closely with donors, community scholars, students, and the public to describe cultural heritage collections fairly and thoroughly. This article provides an overview of successful ways to collaborate with those outside of traditional library units to create more diverse, equitable and inclusive descriptions of archival resources

Ya\u27ll Come Back Continuing Arts and Crafts in Gatlinburg.

Gatlinburg, Tennessee is a tourist town. I was born and raised in this area, and am currently employed at a ceramics shop in the historic Arts and Crafts Community. Due to this job, I have decided to research the importance of the town and crafts area. In this paper, I will present an overview of the history of the town and its art community, and also present an inside look at life and business in a tourist town. Although the Arts and Crafts Community has grown to be a tourist attraction, its roots still lie in the traditional handmade trades, and its artisans attempt to balance the integrity of their crafts with modern demand and economic realities

The Anguish of Snails: Native American Folklore in the West

After a career of working and living with Native Americans and studying their traditions, Barre Toelken has written this sweeping study of Native American folklore in the West. Within a framework of performance theory, cultural worldview, and collaborative research, he examines Native American visual arts, dance, oral tradition (story and song), humor, and patterns of thinking and discovery to demonstrate what can be gleaned from Indian traditions by Natives and non-Natives alike. In the process he considers popular distortions of Indian beliefs, demystifies many traditions by showing how they can be comprehended within their cultural contexts, considers why some aspects of Native American life are not meant to be understood by or shared with outsiders, and emphasizes how much can be learned through sensitivity to and awareness of cultural values

The Anguish of Snails: Native American Folklore in the West

After a career of working and living with Native Americans and studying their traditions, Barre Toelken has written this sweeping study of Native American folklore in the West. Within a framework of performance theory, cultural worldview, and collaborative research, he examines Native American visual arts, dance, oral tradition (story and song), humor, and patterns of thinking and discovery to demonstrate what can be gleaned from Indian traditions by Natives and non-Natives alike. In the process he considers popular distortions of Indian beliefs, demystifies many traditions by showing how they can be comprehended within their cultural contexts, considers why some aspects of Native American life are not meant to be understood by or shared with outsiders, and emphasizes how much can be learned through sensitivity to and awareness of cultural values.https://digitalcommons.usu.edu/usupress_pubs/1013/thumbnail.jp

Recasting Commodity and Spectacle in the Indigenous Americas

Indigenous artists frequently voice concerns over the commodification of their cultures, a process acutely felt by those living with the consequences of colonialism. This timely book, which features color illustrations throughout, examines the ways in which contemporary indigenous peoples in different parts of the Americas have harnessed performance practices to resist imposed stereotypes and shape their own complex identities. Essays by leading academics and practitioners show the vibrancy of a wide array of indigenous arts and cultural events in the United States, Mexico, Peru, Bolivia, Canada, Nicaragua, Ecuador, and Belize. As well as analyzing performance idioms, the authors trace the circulation of creative products and practices as commodities, as cultural capital, and/or as heritage. Making reference to aesthetic forms, intellectual property, and political empowerment, these essays weigh the impact of music, festivities, film, photography, theater, and museum installations among diverse audiences and discuss ways in which spectacles of cultural difference are remodeled in the hands of indigenous practitioners

Recasting Commodity and Spectacle in the Indigenous Americas

Indigenous artists frequently voice concerns over the commodification of their cultures, a process acutely felt by those living with the consequences of colonialism. This timely book, which features color illustrations throughout, examines the ways in which contemporary indigenous peoples in different parts of the Americas have harnessed performance practices to resist imposed stereotypes and shape their own complex identities. Essays by leading academics and practitioners show the vibrancy of a wide array of indigenous arts and cultural events in the United States, Mexico, Peru, Bolivia, Canada, Nicaragua, Ecuador, and Belize. As well as analyzing performance idioms, the authors trace the circulation of creative products and practices as commodities, as cultural capital, and/or as heritage. Making reference to aesthetic forms, intellectual property, and political empowerment, these essays weigh the impact of music, festivities, film, photography, theater, and museum installations among diverse audiences and discuss ways in which spectacles of cultural difference are remodeled in the hands of indigenous practitioners

Recasting commodity and spectacle in the indigenous Americas

Indigenous artists frequently voice concerns over the commodification of their cultures, a process acutely felt by those living with the consequences of colonialism. This timely book, which features colour illustrations throughout, examines the ways in which contemporary indigenous peoples in different parts of the Americas have harnessed performance practices to resist imposed stereotypes and shape their own complex identities. Essays by leading academics and practitioners show the vibrancy of a wide array of indigenous arts and cultural events in the USA, Mexico, Peru, Bolivia, Canada, Nicaragua, Ecuador and Belize. As well as analysing performance idioms, the authors trace the circulation of creative products and practices as commodities, as cultural capital and/or as heritage. Making reference to aesthetic forms, intellectual property and political empowerment, these essays weigh the impact of music, festivities, film, photography, theatre and museum installations among diverse audiences and discuss ways in which spectacles of cultural difference are remodelled in the hands of indigenous practitioners

Ο λόγος των πραγμάτων. Οι λειτουργίες και οι σημασίες των σκηνικών αντικειμένων στη νεοελληνική δραματουργία της δεκαετίας του 1990.

Η παρούσα διδακτορική διατριβή μελετά τις λειτουργίες και τις σημασίες των σκηνικών αντικειμένων όπως αυτές αποτυπώνονται στη νεοελληνική δραματουργία της δεκαετίας του 1990. Η έρευνα εστιάζει αποκλειστικά στο δραματικό κείμενο και τις φανερώσεις των σκηνικών αντικειμένων που εγγράφονται στις κειμενικές δομές. Τα σκηνικά αντικείμενα που εντοπίζονται στα έργα της περιόδου αναφοράς εντάσσονται καταρχάς σε τέσσερις ευρείες ενότητες, που αφορούν τη συσχέτισή τους με τα τέσσερα κυρίαρχα κειμενικά επίπεδα: δραματικός χώρος, δραματικός χρόνος, δραματικά πρόσωπα, δραματικός λόγος. Εντός των τεσσάρων αυτών ενοτήτων συγκροτούνται επιμέρους εννοιολογικοί άξονες ανάλογα με την προεξάρχουσα λειτουργία των σκηνικών αντικειμένων στα υπό εξέταση έργα. Η μεθοδολογία που υιοθετήθηκε για την παρούσα ερμηνευτική προσέγγιση συνιστά έναν συνδυασμό δύο διαφορετικών θεωριών: της σημειολογίας και της φαινομενολογίας. Η σημειολογία, από τη μια πλευρά, με τη συστηματική μελέτη των επιμέρους δομών του δραματικού κειμένου παρέχει ένα στέρεο έδαφος για την εξέταση της αναφορικής λειτουργίας των σκηνικών αντικειμένων. Η φαινομενολογία, από την άλλη, εισάγοντας έννοιες όπως αυτές της σωματικότητας και της πολυαισθητηριακής αντίληψης του κόσμου των πραγμάτων, εδραιώνει μια ματιά επί της υλικότητας των αντικειμένων, ενεργοποιώντας με τον τρόπο αυτό εναλλακτικές ερμηνευτικές προσεγγίσεις, που φωτίζουν όψεις της επιτελεστικής δυναμικής των αντικειμένων. Στην πρώτη ενότητα εξετάζονται οι σχέσεις των αντικειμένων με τον δραματικό χώρο. Μελετώνται περιπτώσεις προβληματικοποίησης του χώρου μέσω των αντικειμένων, επαναπροσδιορισμού της σχέσης των προσώπων με τον χώρο και συμβολής των αντικειμένων στην αντίληψη του εαυτού εντός και διά του χώρου. Στη δεύτερη ενότητα εξετάζεται η σχέση των αντικειμένων με τον δραματικό χρόνο μέσα από αντικείμενα σύστοιχα του χρόνου, μεταβατικά αντικείμενα, αντικείμενα που ενεργοποιούν μνημονικές διεργασίες και αντικείμενα που επιτελούν έναν σχολιασμό γύρω από τον χρόνο του θεάτρου. Στην τρίτη ενότητα διερευνώνται αντικείμενα που λειτουργούν ως η ατομική σκευή των προσώπων, αντικείμενα στα οποία τα πρόσωπα προσφεύγουν προκειμένου να καλύψουν εσώτερες ανάγκες τους και αντικείμενα που ενεργοποιούν έναν στοχασμό περί ταυτότητας ή ακόμα έναν ευρύτερο οντολογικό στοχασμό. Στην τέταρτη ενότητα διερευνάται η σχέση των αντικειμένων με τον δραματικό λόγο τόσο στο επίπεδο της προώθησης του λόγου αυτού, άρα και της συμβολής των αντικειμένων στην εξέλιξη της δράσης, όσο και στο επίπεδο της υπονόμευσης του δραματικού λόγου. Η μελέτη στοχεύει στην ανάδειξη του «λόγου» των σκηνικών αντικειμένων στη δραματουργία της περιόδου αναφοράς, δηλαδή του τρόπου με τον οποίο το νόημα των δραματικών κειμένων διέρχεται και συναρθρώνεται μέσα από τα σκηνικά αντικείμενα.The aim of this doctoral thesis is to examine the way stage objects function and contribute to the emergence of meaning in the Greek drama plays of the 1990s. The study focuses exclusively on the dramatic text. The methodology adopted for the study constitutes a combination of two different theories: semiotics and phenomenology. On the one hand, semiotics provides analysis with a systematic view over the structures of the dramatic text, offering a solid ground for the examination of the referential aspect of stage objects. Phenomenology, on the other hand, placing emphasis on the concepts of corporeality and multi-sensory perception of the world of things, establishes a certain view on the materiality of objects. Thus it activates alternative interpretive approaches which illuminate aspects of the performative power of objects. Stage objects detected in the plays of the reference period are being classified in four major categories which illustrate their relation to the capital textual structures: dramatic space, dramatic time, dramatic character, dramatic discourse. Within these four major categories minor conceptual axes are being formed according to the dominant functions of the stage objects in the plays. The first section deals with the ways stage objects interact with dramatic space, discussing cases of problematisation of space, cases of redefining relation to space and cases of contribution of space to self perception. The second section examines the relation with the dramatic time through objects related to time, objects linked to mnemonic processes, transitional objects, as well as objects which highlight the time of theatre. The third section explores objects which function as personal belongings, objects which serve to the persons as inner shelters or temporary resorts and objects which prompt identity questions or even broader ontological issues. The fourth section provides an outline of the relation of stage objects to the dramatic discourse in terms of either promoting action or undermining dramatic discourse. The research aims to highlight the “discourse” of stage objects in the Greek dramaturgy of the 1990s, i.e. the way in which the meaning of dramatic texts is articulated through stage objects