Northwestern North Carolina Folklife Center:
A Proposal
Prepared by
Al & Karen Dunkleman
6303 Standsberry Lane
Wilmington, North Carolina 28412
Home Phone: 910-793-6411
E-mail: al_dunkleman@hotmail.com
Introduction
Millions of dollars are spent each
year to protect our physical environment (Still Working On This: 1). “From the redwood forests to the Gulf Stream
waters,” the United States government diligently protects our vanishing
landscapes and endangered species. As
urbanization continues to encroach upon our physical environment, we threaten
another “behind the scenes” environment—our folklife environment.
In 1976, the U.S. Congress passed the American
Folklife Preservation Act (P.L. 94-201).
This legislation reflects the growing awareness among the American
people that our cultural landscape, which distinguishes and strengthens us as a
nation, is also a resource worthy of protection (Hufford 1991:3). In writing the legislation, Congress had to
define folklife. Here is what
the law states: ““American folklife” means 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 ins
Mary Hufford, folklife specialist at the American
Folklife Center in Washington, D.C., also defined the meaning of folklife:
“Folklife is community life and values, artfully expressed in the recurring
moments and settings of everyday life.
Ways of doing things, whether of slicing cucumbers or apportioning the
day, can become ways of holding together people, past, and place”
(1991:5). Hufford went on to share
that, “folklife is often hidden in full view, lodged in the various ways we
have of discovering and expressing who we are and how we fit in the world”
(1991:1).
Folklore and folklife, often used interchangeably, are
two terms that were coined in the nineteenth century by European scholars who
saw that the industrial and agricultural revolutions were impinging on the
older ways of life (Hufford 1991:2). In
1846 Englishman William J. Thoms collected the numerous “manners, customs,
observances, superstitions, ballads, proverbs, etc., of the olden time” and
called it folklore (Hufford 1991:2).
The German term for folklore Volkskunde, first appeared in
1806. The term designated folklore as
not only oral traditions and customs, but also included “material culture,
including traditional foodways, costume, architecture, craft, and settlement
patterns” (Hufford 1991:2). Today the
study of folklife incorporates all of
the “traditional expressions that shape and are shaped by various communities”
(Hufford 1991:2).
Folklife in its various forms reflects our cultural
diversity and heritage. Unfortunately,
as each year passes, our “traditional expressive culture” appears to be
fading. Hufford stated that “the
documentation of folklife may come in time to be the only record a community
has of a way of life so disrupted.
Ultimately, particular traditions endure because someone chooses to keep
them alive, adapting them to fit changing circumstances, continually crafting
new settings for their survival” (1991:16).
Around the world, people know the state of North Carolina for its traditions and culture (Guide 1999:1). Ten Northwestern North Carolina counties—Alexander, Alleghany, Ashe, Avery, Caldwell, Iredell, Surry, Watauga, Wilkes and Yadkin—are especially renown for their rich folklife. Traditions in pottery, woodworking, blacksmithing, weaving, basketry, literature, historical drama, storytelling, music, dance, gospel heritage, along with domestic and agricultural folklore permeate this region. Like our endangered species and landscapes, the folklife of these mountains and foothills are also being threatened. Will we sit idly and watch this precious culture fade, or, will we take steps to protect this vanishing “folklife” landscape? To this end, we propose the establishment of a folklife center to preserve this landscape—the Northwest North Carolina Folklife Center.
According to the North Carolina Arts Council, the state’s rich folklife and traditions in “crafts, music, historical drama, folk arts, painting and literature…converge to ensure North Carolina’s leadership into the next century” (Stats 2000:1). North Carolina’s Regional Artist Program was the first of its kind in the nation and served as a national model to encourage communities to give local support and recognition to their exceptionally talented artists (Stats 2000:1). The North Carolina Writers’ Network, with 1,800 members, is the largest statewide organization of writers in the country (Stats 2000:2). The 1990 census shows that over 34,000 North Carolinians listed their profession as Artist (Stats 2000:2). North Carolina also has a nationally respected network of over 100 local arts councils (Stats 2000:2).
North Carolina’s major arts attractions report that 6.3 million people are participating in their programs, with 32% identified as cultural tourists (Stats 2000:2).
Cultural tourism is the fastest growing segment of North Carolina’s $9.2 billion travel industry (Stats 2000:1). Concerning cultural tourism, in 1994 HandMade in America, headquartered in Asheville, conducted a study of the impact of the craft industry on the western part of the state. The economic impact study revealed that in that year alone, almost $122 million was spent in a twenty-county region in western North Carolina on craft purchases (Stats 2000:2). The arts also make a significant impact on North Carolina’s downtown revitalization projects, creating jobs and attracting and keeping desirable industries by making communities more stimulating places in which to live and work (About 2000:3).
The North Carolina Arts Council has
made a significant impact on the promotion of the state’s arts and
culture. In 1964, Governor Terry Sanford
established the North Carolina Arts Council to strengthen North Carolina’s
creativity, invention and prosperity (Strategic 2000:1). This council became an official state agency
on April 11, 1967. The Arts Council is
a division of the North Carolina Department of Cultural Resources. The mission of this council is “to enrich
the cultural life of the state by nurturing and supporting excellence in the
arts and by providing opportunities for every North Carolinian to experience
the arts” (About 2000:1). The Council
assists with arts-in-education programs and provides general agency assistance,
both in technical expertise and funding for many of the state’s arts groups and
cultural facilities, and encourages public and private partnership in the co
The responsibilities of the North
Carolina Arts Council are to: 1) develop and support North Carolina’s arts
resources; 2) build stronger communities through the arts; 3)
help the state accomplish its other agendas, specifically economic and
community development, global trade and communication, better educated children
and a more involved citizenry (About 2000:3-4).
During the period of 1997-98 over 11
million people participated in projects funded by the Arts Council, with
projects being funded in every county in North Carolina. Each dollar awarded by the Arts Council was
matched by fourteen other dollars, many generated directly by the Council’s
grant. In the past ten years the number
of arts organizations in North Carolina has increased 53% to 2,286. The Arts Council’s state continuation
appropriation has increased 8.9% to $5.5 million. In per capita spending, the North Carolina Arts Council ranks
twenty-sixth in the nation and sixth in the South, behind Florida, Louisiana,
Alabama, South Carolina and Kentucky (About 2000:5).
The Arts Council’s strategic plan
for 1999 through 2001 states that “as we prepare for a new century, the arts in
North Carolina have never been more essential to the state’s efforts to achieve
a strong economy, well-educated children, vital communities and a healthy
environment” (Strategic 2000:1). Part
of Governor Sanford’s founding dream was “to have the arts, in the broadest
definition, become a part of the lives of all the people” (Strategic 2000:2).
Goal I of the 1999-2001 plan is to
“Develop, preserve and sustain North Carolina’s arts resources” (Strategic
2000:2). Of the three objectives of
this goal, Objective 2 focuses on the preservation and promotion of North
Carolina’s folk cultural heritage through documentary projects and public
programs. Two of the strategies are to
develop and fund projects that document and encourage the continuation of the
state’s folk arts traditions, and to provide assistance to communities that
want to recognize, preserve and present their local traditions (Strategic
2000:2-4).
Goal II of the plan is to “Deepen
the connection between the arts and North Carolina’s communities” (Strategic
2000:4). Of the five objectives of this
goal, Objective 1 focuses on strengthening partnerships with local arts council
to provide arts programming in all 100 counties through the Grassroots Arts
Program. Objective 2 emphasizes the
availability of multicultural arts programs and programs inclusive of diverse
populations (25% of North Carolina’s people are African-American,
Asian-American, Latino and Native American, reflecting a multicultural
population which is almost twice the national average). This objective also notes that more arts
programs are needed that address the needs of people with disabilities and
older adults who comprise 19% of the state’s population. There is also a growing interest in arts in
healthcare programs in hospitals and other facilities statewide. Objective 3 focuses on increasing arts
programming in rural communitie
Goal III of the 1999-2001 Strategic
Plan desires to “Heighten understanding of the role and value of the arts to
the state” (Strategic 2000:8). Of the
three objectives of this goal, Objective 1 strives to build public awareness
about the benefits of the arts to the lives of North Carolinians. One facet of this objective is to conduct a
research project to document the impact of arts experiences on community life
in North Carolina. Objective 2
emphasizes the perpetuation of the arts as an essential part of education. Objective 3 focuses on developing
initiatives to strengthen the role of the arts in economic and community
development, tourism, international relations, and human services.
The Arts Council specifically created the Blue Ridge
Heritage Initiative with partners in North Carolina, Tennessee, and Virginia to
address issues of tourism, sustainable economic development, natural resource
conservation and cultural preservation.
Three of the strategies of this objective are to: 1) work with the
Department of Commerce and other divisions within the Department of Cultural
Resources to develop joint projects related to heritage tourism, cultural
preservation and economic development;
2) develop a joint program with Community Colleges Systems to create
partnerships between community colleges and their local arts resources to
improve community cultural life; and,
3) provide funds and staff coordination to develop consortia initiatives
related to cultural tourism, economic development and international exchange
(Strategic 2000:9-13).
When considering the overall Strategic Plan for the
years 1999-2001 of the North Carolina Arts Council, the Northwest North
Carolina Folklife Center will serve as a vehicle to accomplish many of
these goals and objectives.
North Carolina has advanced rapidly into one of the
top elderly destinations nationwide (Watkins 1990:414). It has been suggested that North Carolina
could become the “Arizona of the East” (Watkins 1990:416). The elderly migration to North Carolina has
not only enhanced the local economic system through direct expenditures, but
has also caused economic expansion through other means: Construction employment increases, as well
as increased employment in retail, recreation, and service sectors. It has been shown that capital introduced
through elderly in-migration is multiplied many times in an economic system
through indirect ways (Watkins 1990:426).
The Folklife Center stands to benefit from the involvement and
economic impact of retirees to this ten county region.
The Northwest North Carolina Folklife Center
will provide our older adults with a place of meaning and belonging. Like the Aliyah Center that anthropologist
Barbara Myerhoff chronicled in her extraordinary book Number Our Days,
the folklife center will also provide an environment for social and educational
development. Myerhoff had this to say
about the group of elderly Jews that she studied: “Drawing on their cultural
background, Center people were able to elevate mundane affairs, [and] bring to
each moment a heightened consciousness” (1979:21). Folklife specialist Mary Hufford also shared that “Retirement or
the onset of old age can occasion a return to traditional crafts learned
earlier in life” (1991:10). The Folklife
Center will provide our elderly with a place of meaning and belonging and
grant opportunities to “relearn” traditional crafts.
Researchers Marlene M. Rosenkoetter and John M. Garris
looked into the process of life changes and focused on how older adults cope
with retirement (1998:966-976). They
shared that learning how to use leisure time and participation in voluntary
associations may assist some retirees with satisfaction. They also noted that “an ability to maintain
a sense of purpose and direction is necessary for effective adaptation to life
events like retirement” (Rosenkoetter & Garris 1998:968). Rosenkoetter and Garris went on to add that
“Being a volunteer can be a source of enhancement for career development and
have an impact on life-career roles during the transition from being employed
to being retired” (1998:968). They also
noted that in a study of retired government employees, activities connected
with an occupation, hobbies, and interaction with friends and volunteer
organizations related positively with life satisfaction (Rosenkoetter &
Garris 1998:968). The
While the number of retirees increases in North Carolina, the overall rural population in America is declining. Rural areas became a minority for the first time in 1920 with 49% of the population (Murray & Dunn 1995:89). In 1980, 26% of Americans lived in rural areas and the 1990 census indicated a further decline with 24.8% (Murray & Dunn 1995:89). Researchers Michael Murray and Larry Dunn also pointed to “macro shifts in the rural economy” as the reasoning behind the rural decline (1995:90). Since the mid-1950s economic livelihood in rural America has shifted from a heavy dependence on agriculture and other natural resource based industries to a greater diversity of economic activities (Murray & Dunn 1995:90). Murray and Dunn went on to state that “A challenge for the 1990s must be the shaping of new strategies responsive to these enduring rural realities and changing national and global circumstanc
In order for the Folklife Center to be a success, local people and local communities must be involved in the planning and development of the center goals and curriculum. Murray and Dunn, from their specific observations of the Colorado Rural Revitalization Project (1988), pointed out that “Revitalizing rural America must include the participation of small rural communities in a search for positive change, whereby local people are encouraged to think more about their futures and to put into practice their ideas for securing those futures” (1995:91). Murray and Dunn went on to add that capacity building would be an important element of this development process. They used the term capacity building to mean “increasing the ability of people and institutions to do what is required of them” and to become more proactive in the management of their futures (Murray & Dunn 1995:
Another key factor toward the prosperity of the Folklife
Center will be regional and community solidarity. Within the ten county area of Northwest North Carolina, there is
great diversity. There is now a strong
Hispanic presence in this region, this area also varies from rural to urban,
rich to poor, college educated to uneducated.
Sociologist Ruth Liepins, in her
research on community, argues that our communities have undergone great
change in the past several decades. She
stated that the gemeinschaft (rural area) that Toonies (1955 )
identified, having “a state of close positive interaction based on kinship,
local proximity and mental connection” is no longer the portrait of our rural
landscapes (Liepins 2000:24). Liepins
argues that community is a social construct that unifies people in their
ability to speak together e
The Northwestern North Carolina Folklife Center
has a three fold purpose: to preserve, present and perpetuate
the traditions and folklore of this region.
Preservation
The preservation of indigenous folklife will be facilitated through audio, video and written documentation. These materials will be placed in the folklife library and archive for present and future generations. Material folklore will be preserved and displayed in the folklife museum that will contain exhibits from each of the participating northwestern counties.
Presentation
The presentation of local folklife will feature weekly
concerts, dances and demonstrations of regional folklore at the center, local
schools, senior citizens centers and healthcare facilities.
Perpetuation
The perpetuation of area folklife will take place through various classes that will equip others with the necessary knowledge and skills to carry on the indigenous arts and ways of this region (i.e. blacksmithing, gardening, country cooking, “old time” fiddling, square dancing, etc.).
Center Location
The proposed Northwestern North Carolina Folklife
Center will be a joint venture between the National Endowment for
the Arts/Folk and Traditional Arts Program, the North Carolina Arts Council,
the North Carolina Community College System, the regional chambers of commerce,
school systems, the local Councils on Aging, the area healthcare and
rehabilitation centers and corporate sponsors, such as Lowes Companies whose corporate
headquarters are located in Wilkes County and who have $12 billion in revenues
annually.
The aim of the folklife center will be to serve the
following people: retired citizens, children, patients in healthcare and
rehabilitation facilities, cultural tourists, as well as other interested
members of the community. Retired
individuals will utilize the folklife center as a central gathering place to
socialize with others. Mornings will
feature fresh brewed coffee and hot buttermilk biscuits baked in a traditional
wood cook stove. After a period of
fellowship, these elders will have an opportunity to participate in a variety
of folklife classes. Besides
traditional crafts and folklore, a “Life History Class” will also allow others
to reminisce about the past and to put their personal histories down on
paper. Other individuals will prepare
materials for the after-school program and serve as teachers and mentors to
area school children. Community
healthcare and rehabilitation facilities will also utilize the various programs
offered by the center to promote physical and
The folklife center will work closely with the Arts
Councils of this ten-county region of Northwestern North Carolina, as well as
receive guidance from the Center for Appalachian Studies located at Appalachian
State University in Boone, North Carolina.
The center will also serve as a hub for the North Carolina Artists in
Residence Program. The facility will
provide artists with office and studio space, along with administrative assistance.
The folklife center will build upon the existing
annual Merlefest, held on the campus of Wilkes Community College for the
past thirteen-years and attracting thousands of individuals. Each April this four-day music festival
presents and perpetuates traditional country, bluegrass, blues and Southern
Appalachian music.
The center will also contain a Folklife Store that
will allow the public/cultural tourists to have the opportunity to purchase
handmade items from local crafts people and artists, or to have works
commissioned. The profit from these
sales will be invested back into the center.
The folklife center proposal will first be distributed
to the President of Wilkes Community College, Dr. Gordon G. Burns, Jr., and then
delivered to administrative personnel at the North Carolina Arts Council in
Raleigh, North Carolina. After their
review and recommendations, additional copies of the revised proposal will be
mailed to the ten county arts council directors, along with directors of the
prospective chambers of commerce and potential corporate sponsors. After review of the proposal (thirty days),
all key representatives will meet at Wilkes Community College for the center
presentation. Invitations will be
mailed in advance to center representatives and a meal will be provided before
the presentation as a token of appreciation.
After unified support is established, each county will
designate a coordinator who will establish a ten-member committee. County coordinators will be encouraged to
select a broad range of individuals who will generate ideas and goals that will
contribute to the overall makeup of the center. After each county has established their goals, a joint meeting
will be scheduled to share each county’s objectives. A comprehensive plan will be develop from these objectives.
Once these objectives are in place, a needs assessment
module will be created to gather data from each of the local communities. Surveys and interviews will be conducted at
senior centers, local businesses (especially pre-retirees), community colleges,
healthcare and rehabilitation facilities and area schools. Folklife curricula and programs will be
developed from the resulting data.
After funding sources have been
secured, additional staff will be added.
A Director will be employed to facilitate grant writing, program
development and provide leadership for the entire project. A Program Coordinator will be hired
to contribute to the development of the overall folklife program, as well as
hiring and scheduling instructors and performers. An Administrative Assistant will also be employed to aid the
center Director and Program Coordinator in areas of organization, marketing and
communication.
After the program development has
been completed, a physical location for the center will be established. A location on the Wilkes Community College
campus will be determined, an older, existing structure will be renovated, or
land will be purchased and a new facility constructed. An architect will be contracted to pursue
these possibilities.
Once the curriculum and programs
have been established, promotional concerts and demonstrations throughout the
region will be presented to create interest and support for the Folklife
Center. The annual Merlefest at
Wilkes Community College will serve as a key promotional location where a crowd
of over ten thousand people can be reached with the mission of the Folklife
Center.
After five months of community
promotion, the folklife curriculum and programs will begin at Wilkes Community
College, as well as at other satellite locations around Northwest North
Carolina. Then, when the center
renovation/construction has been completed, a grand opening will be facilitated
through the creation of the First Annual Fall Folklife Festival—Folkfest.
The following is a time line for the Folklife Center
proposal:
Folklife
Center Time Line
May 15, 2000 Distribute proposal to the President of Wilkes Community College
June
1, 2000 Distribute
proposal to the North Carolina Arts Council
June
15, 2000 Meet with Arts Council
representatives to discuss proposal
July 1, 2000 Distribute revised proposals to
Wilkes Community College
personnel, ten county arts councils/chambers of commerce
and potential corporate sponsors
August 1, 2000 Presentation
of proposal to key representatives—Wilkes
Community
College
September 1, 2000 Brain
storming sessions in each of the ten counties
October 1, 2000 Compilation
of ten county goals and design of needs
assessment
model
November 1, 2000 Distribution
of needs assessment survey
January 1, 2000 Compilation
of needs. Secure funding sources
February 1, 2001 Hire
additional staff (one program coordinator, one
administrative assistant). Design program curriculum and
physical center; engage architect.
March 1, 2001 Program
development
April 26-29, 2001 Promotional
booth at Merlefest
May-August, 2001 Promotional
concerts and demonstrations
June 1, 2001 Ground breaking ceremony
September 1, 2001 Folklife
curriculum and programs begin in satellite
locations
April 21-25, 2002 Strong
presence at Merlefest
September 14-17, 2002 Grand opening and 1st Annual Fall
Folklife Festival—
Folkfest
Limitations
The Northwest North Carolina Folklife Center will become a reality only
if proper funding is secured. The
success of this center will hinge upon support from local corporations. Although the center will produce some yearly
revenue (from curriculum and program fees, the Folklife Store, Folkfest and
private donations), it will not be able to rely solely on state and federal
funding.
In order for the center to come
about, all representatives must lend their support. If unity among the ten counties and other key players is not established,
the overall mission of the center will be diminished.
RESOURCES
Garris,
John M. and Marlene M. Rosenkoetter. 1998. “Psychosocial changes following
retirement.” Journal of Advanced Nursing 27:
966-76.
Hufford, Mary. 1991. “American Folklife: A Commonwealth of Cultures.” American
Folklife Center, Library of Congress, Washington.
Liepins,
Ruth. 2000. “New energies for an old idea: reworking approaches to
‘community’ in contemporary rural studies.” Journal
of Rural Studies 16: 23-35.
Murray,
Michael and Larry Dunn. 1995. “Capacity Building for Rural Development in
the United States.” Journal of Rural Studies 11.1:
89-97.
Myerhoff,
Barbara. 1979. Number Our Days: Culture and Community Among Elderly
Jews in an American Ghetto. Penguin Books: New York.
North
Carolina Arts Council. “About the North
Carolina Arts Council.”
http://www.ncarts.org/ncacabout.html (Retrieved 2 March 2000).
_____.
“North Carolina Arts Council Plan at a Glance.”
http://www.ncarts.org/ncacabout.html (Retrieved 2 March 2000).
_____.“Stats
& Facts About the Arts in North Carolina.”
http://www.ncarts.org/ncacabout.html (Retrieved 2 March 2000).
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Watkins,
John F. 1990. “Appalachian Elderly Migration: Patterns and Implications.”
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