C. Kurt Dewhurst (born 1948)[ citation needed ] is an award-winning American curator and folklorist.
Dewhurst is Director for Arts and Cultural Partnerships at Michigan State University (MSU) and also a Senior Fellow in University Outreach and Engagement. At MSU, he is also Director Emeritus of the Michigan State University Museum and a Professor of English and Museum Studies. [1]
Dewhurst was born Passaic, New Jersey. [2]
Dewhurst attended Michigan State University where he graduated with a B.A. in 1970 and an M.A. in 1973. He received his doctorate from the same institution in 1983, from the Department of English and American Studies. [3] His Ph.D. thesis was titled 'The folk pottery-making tradition of Grand Ledge, Michigan : a material folk culture study'. [4]
Dewhurst has been involved with Michigan State University Museum since the 1970s: working as a curator there from 1976 before becoming Director in 1982.[ citation needed ]
Dewhurst has authored or co-authored numerous books, articles, and exhibition catalogues. He has also curated over 60 exhibitions and festival programs. His research interests include folk arts, material culture, cultural economic development, and cultural heritage policy. [5]
He has frequently collaborated on projects with his wife Marsha MacDowell, who is a Professor of Art History at MSU. [6] [7]
Dewhurst served as President of the American Folklore Society (AFS) between 2010 and 2011. [8] His 2011 Presidential Address was titled, "Folklife and Museum Practice: An Intertwined History and Emerging Convergences". [9] In 2011 he was elected a Fellow of the AFS. In 2004 he was jointly awarded the AFS's Américo Paredes Prize for "integrating scholarship and engagement with the people and communities". [10]
Dewhurst has chaired a number of cultural organisations and associations including the board of trustees for the American Folklife Center; [11] the Advisory Council of the Smithsonian Center for Folklife and Cultural Heritage [12] and the Michigan Council for the Arts and Cultural Affairs. [13]
He is an advisor to three cultural heritage projects in South Africa: the Nelson Mandela Museum in Mthatha; the Ahmed Kathrada Foundation in Johannesburg and the Desmond and Leah Tutu Legacy Foundation in Cape Town. [14]
Dewhurst received a Fulbright Grant to work in Thailand with the National Culture Commission of Thailand. He has also participated in the French-American Foundation Arts Administrators Exchange Program in France. [15]
In 2004, the Great Lakes Folk Festival - begun by Dewhurst and MacDowell in 1987 - was recognized as "one of the most outstanding projects" over the 30-year history of the Michigan Humanities Council. [16]
In 2018 Dewhurst and Marsha MacDowell were jointly awarded the MSU Charles Gliozzo Award for International Diplomacy. [17]
He is a key member of the US-Africa Cultural Heritage Strategic Partnership, which is focused on "preserving ...and making accessible the heritage of Africa's many cultures" [18] and also the US/China Folklife and Intangible Cultural Heritage Partnership project. [19] [20]
Dewhurst has curated numerous exhibitions and festival programs including:
Folklore studies, also known as folkloristics, and occasionally tradition studies or folk life studies in the United Kingdom, is the branch of anthropology devoted to the study of folklore. This term, along with its synonyms, gained currency in the 1950s to distinguish the academic study of traditional culture from the folklore artifacts themselves. It became established as a field across both Europe and North America, coordinating with Volkskunde (German), folkeminner (Norwegian), and folkminnen (Swedish), among others.
Folk art covers all forms of visual art made in the context of folk culture. Definitions vary, but generally the objects have practical utility of some kind, rather than being exclusively decorative. The makers of folk art are typically trained within a popular tradition, rather than in the fine art tradition of the culture. There is often overlap, or contested ground with 'naive art'. "Folk art" is not used in regard to traditional societies where ethnographic art continue to be made.
Folk plays such as Hoodening, Guising, Mummers Play and Soul Caking are generally verse sketches performed in countryside pubs in European countries, private houses or the open air, at set times of the year such as the Winter or Summer solstices or Christmas and New Year. Many have long traditions, although they are frequently updated to retain their relevance for contemporary audiences.
Public folklore is the term for the work done by folklorists in public settings in the United States and Canada outside of universities and colleges, such as arts councils, museums, folklife festivals, radio stations, etc., as opposed to academic folklore, which is done within universities and colleges. The term is short for "public sector folklore" and was first used by members of the American Folklore Society in the early 1970s.
Margaret Anne "Peggy" Bulger is a folklorist and served as the director of the American Folklife Center at the Library of Congress from 1999 to 2011, when she moved to Florida to continue work on personal projects.
Richard Mercer Dorson was an American folklorist, professor, and director of the Folklore Institute at Indiana University. Dorson has been called the "father of American folklore" and "the dominant force in the study of folklore".
Simon J. Bronner is an American folklorist, ethnologist, historian, sociologist, educator, college dean, and author.
Betty Jane Belanus is an American writer and folklorist. Belanus completed her graduate work in folklore at Indiana University and has been with the Smithsonian Institution since 1987, ultimately working with the Smithsonian Center for Folklife and Cultural Heritage as an education specialist. Part of her work with the Smithsonian has been the curating of programs for the Smithsonian's annual Folklife Festival, including the 2009 Wales program. She has worked on "Smithsonian Inside Out", on the occupational life of the Smithsonian.
The Center for Folklife & Cultural Heritage (CFCH) is one of three cultural centers within the Smithsonian Institution in the United States. Its motto is "culture of, by, and for the people", and it aims to encourage understanding and cultural sustainability through research, education, and community engagement. The CFCH contains (numerically) the largest collection in the Smithsonian, but is not fully open to the public. Its budget comes primarily from grants, trust monies, federal government appropriations, and gifts, with a small percentage coming from the main Smithsonian budget.
Edward Dawson (Sandy) Ives was an American folklorist. His work concentrated on the oral traditions of Maine and the Maritime Provinces of Canada, particularly, as he said, "on local songs and their makers but also on cycles of tales about local heroes." He founded the Maine Folklore Center in 1992 and was its director until his retirement in 1998.
Richard Kurin, an American cultural anthropologist, museum official and author, is the Acting Provost and Under Secretary for Museums and Research at the Smithsonian Institution. He is a key member of the senior team managing the world's largest museum and research complex with 6,500 employees and a $1.4 billion annual budget, caring for more than 139 million specimens, artifacts and artworks, working in 145 countries around the globe, hosting some 30 million visitors a year, and reaching hundreds of millions online and through the Smithsonian's educational programs and media outreach. Kurin is particularly responsible for all of the national museums, scholarly and scientific research centers, and programs spanning science, history, art and culture.
The Quilt Index is a searchable database for scholars, quilters and educators featuring over 50,000 quilts from documentation projects, museums, libraries, and private collections. It also has quilt-related ephemera and curated essays and lesson plans for teachers.
The Great Lakes Quilt Center is Michigan State University Museum’s center of quilt-related research, education, and exhibition activities. While the museum, established in 1855, has long held significant collections, its focus of activities on quilt scholarship and education began with the launch of the Michigan Quilt Project at the museum in 1984. The Michigan Quilt Project not only spearheaded the documentation of the state's quiltmaking history, but also stimulated interest in strengthening the museum's quilt collection, upgrading its care, and expanding its use. As of 2008, the Michigan Quilt Project has collected documentation on over 9000 quilts in the state and the collection of quilts numbers over 700 with significant examples from Michigan and the Great Lakes region, examples of quilts from numerous African countries, major ethnographic collections of Native American quilts and Michigan African American quilts, and special collections assembled by Kitty Clark Cole, Harriet Clarke, Merry and Albert Silber, Deborah Harding, and Betty Quarton Hoard. The MSU Museum also houses two important collections developed by pioneering American quilt historians Cuesta Benberry and Mary Schafer.
Roland L. Freeman is a photographer and award-winning documenter of Southern folk culture and African-American quilters. He is the president of The Group for Cultural Documentation based in Washington, D.C.
Museum folklore is a domain of scholarship and professional practice within the field of folklore studies (folkloristics).
Kristin G. Congdon is an American artist, writer and a Professor Emerita of Philosophy and Humanities at the University of Central Florida. In her work she focuses on folk art, art education, art history, and feminism. She is the founding director of the Cultural Heritage Alliance at the University of Central Florida (UCF), which supports research into folk arts and folk arts education. She has written or contributed to over a dozen books on folk arts and is on the Editorial Board of the journal Artizein: Arts and Teaching Journal. She has toured with her art in Florida.
Folk and traditional arts are rooted in and reflective of the cultural life of a community. They encompass the body of expressive culture associated with the fields of folklore and cultural heritage. Tangible folk art includes objects which historically are crafted and used within a traditional community. Intangible folk arts include such forms as music, dance and narrative structures. Each of these arts, both tangible and intangible, was originally developed to address a real need. Once this practical purpose has been lost or forgotten, there is no reason for further transmission unless the object or action has been imbued with meaning beyond its initial practicality. These vital and constantly reinvigorated artistic traditions are shaped by values and standards of excellence that are passed from generation to generation, most often within family and community, through demonstration, conversation, and practice.
Don Yoder was an American folklorist specializing in the study of Pennsylvania Dutch, Quaker, and Amish and other Anabaptist folklife in Pennsylvania who wrote at least 15 books on these subjects.
Michael Ann Williams is an American Folklorist, recognised for her research into vernacular architecture, particularly in Appalachia.
John W. Roberts is an academic who specialises in Folklore, African-American Studies and English Literature. His work has argued for the "integrity, authenticity, and authority" of African-American vernacular traditions.