Folklore in Archives Part 1.pptx

8/14/2019 Folklore in Archives Part 1.pptx

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Folklore in Archives

A Guide to Describing

Folklore and Folk life Materials


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1. PREFACE AND INTRODUCTIONDocumentation and interpretation of traditional culture is at the heart of the field of folklore. Folklorists tend to

regard historical facts as cultural phenomena. They welcome multiple versions of events, elaborated stories andanecdotes, and personal recollections because these broaden the historical picture to include not only "what

happened" but also people's experience of what happened-their interpretations, their beliefs, their reactions.

The field of folklore takes as its principal purpose the documentation and interpretation of traditional cultural

expression, ranging from stories to music to vernacular arts to festive celebrations. They study the people who

create them and the small groups and large communities who appreciate and use them. They record and

analyze these traditions along with historical and cultural contextual information, using photography,

videography, tape recordings, drawings, and field notes. Folklorists use these materials as the bases for lectures

and classes, scholarly and popular articles and books, museum exhibitions, performance series, and other types

of public presentations. Some folklorists use folklore research as the basis of consultation in other fields such as

medicine, law, and business management. Folklore collections, then, are usually multi formatted, cover a wide

range of subject matter, and may be connected to a variety of published and unpublished secondary writing as

well as public events:

Definitions of folklore

The philosophy and approach of the field of folkloreMethodologies of folklorists

Conditions under which folk cultural materials are collected

Ways in which the materials are used and stored


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2. ARCHIVAL ISSUES RELATED TO FOLKLORE MATERIALS

2.1 The Nature of Folklore Materials

Folklore collections raise special issues relating to both format and content. Archival and

manuscript collections, particularly in the modern age, often contain mixed formats of

material, such as photographs, paper, or video- and audiotapes. This is particularly true of

folklore materials. In addition, folklore collections may include three-dimensional objects that

are illustrative of the particular folk tradition being documented. These may range fromcarved fish decoys to Iroquois baskets. Providing an integrated description of various media,

including artefacts, may require special efforts.

Folklorists often document individuals from communities where a variety of languages are

spoken, and collections may contain materials in several languages. This poses special

challenges in description for repositories that do not have staff with expertise in a wide range

of languages. Archivists may need to consider providing finding tools in languages other than

English or raising awareness of relevant holdings through methods other than traditional

English-language catalogues, websites, or published finding aids. Additionally, if members of

communities documented by a folklorist want to use the materials, they deserve a reference

staff who are sensitive to cultural and language issues.


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2.2 Maintaining the Intellectual Integrity of Folklore CollectionsEthnographic collections of even the most informal sort come into being through a different

process [than accumulations of personal papers] The fieldworker takes a photograph if a musicalinstrument, makes a sound recording of it being played and jots down notes on the recollections

of a virtuoso player because the fieldworker has determined that photographs, sound recordings,

and written text must be yoked together to folly represent the performance. Even if there is no

intent to publish the documentation, there is, in every ethnographic collection, a conscious

weaving together of different representational media to achieve a rounded statement. There is, in

short, something that looks like authorship even though there may be no publication.

Folklorists are likely to impose a carefully thought out arrangement on their collections of folk

cultural documentation. While few now use tale type and motif indexes to categorize collected

tales to a minute level, most employ art arrangement that indicates how the various component

formats fit together to make an ethnographic portrait. It is important, therefore, to maintain the

intellectual arrangement of the original collection. Folklore materials may seem more complex

because they usually include a variety of formats (photographs and slides, audiotaped interviews,

videotapes of performances or events, sometimes artefacts or other three-dimensional objects,

computer disks, and paper-field notes, ephemera connected with public programming, and

administrative files). Al- though not unique to folklore materials, this factor complicates an

already challenging set of conditions for the archivist. Yet even if the various formats must be

stored separately, the intellectual arrangement can and should be maintained.


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2.3 Description and Preservation of Electronic Media

The archives, library, and museum communities are all being confronted with special challenges posed by

new technologies, regardless of who creates the records. This is one issue for which this manual cannot

provide solid guidelines or practices based on commonly accepted practice. It is incumbent upon holders

of folklore records with special media to stay abreast of emerging practices and recommendations.

2.4 Organizing Material for Access

folklore is an inherently multidisciplinary field; its primary roots are in literary studies and anthropology,but it has important historical and intellectual connections with social history, American studies, cultural

geography, psychology, linguistics, and the arts. Because of its disciplinary diversity, the range of activities

covered by field studies, the existence of multiple local and regional terms for similar activities, and the

folklorists' common interest in the individual "item" (in the archival sense) of folklore.as well as the social

context of its creation, collections may need a relatively large number of access terms in order not to lose

important information.


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3. ARRANGINGFOLKLORE COLLECTIONSVideos

DVC Tape formats

Photos/Audio

CD or DVD Format

CD Library Drobo Box

Storage devices


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3. ARRANGINGFOLKLORE COLLECTIONS

Videos DVC Tape formats

Photos/Audio CD or DVD Format

CD Library

Drobo Box


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Logging and archiving procedure:Videos (dvc)


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Logging and archiving procedure

For DVC TAPES


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Stage 1Master Register:Details of the Tape (DVC) is recorded in a master register

MRN Ref

Tape

No. Description

648

MP/GN

649

MP/GN

650

MP/GN

6

51

MP

/GN

Master Register

number

Unique

Reference

Indexing: A unique code is assigned foreach tape (DVC) based on theproject and location


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Stage 2

MRN Ref

Tape

No. Description

648

MP/GN

002

649

MP/GN

003

650

MP/GN

004

6

51

MP/GN

0

05

Master Register

number

Unique

Reference

Tape Number

Tape Number: Tape numbers, serially assigned for each tape (DVC)

MP/GN- Madhya Pradesh General tapes


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Stage 3

MRN Ref

Tape

No. Description

648

MP/GN

002

Digital Community Archive- Gond- Madhya Pradesh -2

649

MP/GN

003

Digital Community Archive- Gond- Madhya Pradesh -3

650

MP/GN

004

Digital Community Archive- Gond -Madhya Pradesh -4

6

51

MP/GN

0

05

Digital Community Archive- Gond -Madhya Pradesh -5

Master Register

number

Unique

Reference

Tape Number

Tape

description

Tape Description:Write description for the tapes based on the project


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Logging process is done in a

dedicated archiving machine

Logging of VideosVIDEO LOG SHEET FORMAT

1. Camera Person :

2. Camera Model Used :

3. Format :

4. Length :

5. Corresponding Data Sheet No. :

6. Corresponding Still Log No :

7. Corresponding Audio Log No :

8. Settings and Circumstances :

9. Field Notes :

10. Video Tape Details

a) Name of the project :

b) Year :

c) Name of the Place :

d) Visited Date (s) :

e) Video Tape Number :

f) Time: from To

TIME CODE CLIP NAME DESCRIPTION

00:00:07

00:03:57

00:16:57

00:18:31

00:21:00


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Procedure for archiving

CD/DVD in CD Library


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CD Library


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CD Library

Website: http://www.dacal.com.tw/

Software download http://www.dacal.com.tw/help.htm

Training : http://www.dacal.com.tw/soft.html


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Stage 1DVD/CD Archiving: Details of the DVD/CD to be recorded in a Master Register

ID Slot Category Title Remarks52910 001

Audio-Lecture

Aruna Joshi -Dangi

Ramayana Dangi Ramayana By Aruna JoshiI

52910 002Photos Puppetry Puppetry Photos

52910 003 Documentary VELI Veli By Sasikanth

52910 004 Backup-NFSC NFSC Backup 5-2004 NFSC Back Up- 5 -2004

Deck NUmber

Folklore in archives

Deck no: 52910

Slot Number:

1 to 150Category:Audio

Photo

Documentary

Library

PresentationResearch Project

Performance

Publications

Painting

Software

Games

Music

Movies

Video CDInterviews

Master Register format


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ID Slot Category Title Remarks53543 001

53543 002

53543 003

53543 004

Deck NUmber

Deck no: 53543

Slot Number:

1 to 150

New Deck (53543 )is used for archiving after the previous deck

gets filled up with entire 150 slots

Stage 2


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CD Library : Support

http://www.dacal.com.tw/support.html


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Procedure for archivingin DROBO


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Drobo-S 24 TB delivers both enterprise-level data safety andunprecedented expandability, featuring single and dual disk redundancy

combined with instant capacity expansion, with traditional RAID levels.


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DROBO: Dash-board


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Drobo File Retrieval

All data have been classified year wise, date

wise.

a) Each file is given a unique label according to

the codes arrive at earlierb) All photos/videos have keywords,

descriptions and headline

c) Name of contributor or creator, their contactdetails, description writer etc are listed

d) Copyright details are also included


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Drobo File Retrieval

Files stored in Drobo in DNG (digitalNegative), in different folders are accessed

through Adobe Bridge

Meta data is entered through Adobe Bridge

interface

The idea is that, these information become

embedded in the file and will be retrievable

when accessed through other filemanagement softwares.


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We Thankfully

acknowledge that

Tata Fellowships in Folklore Program

is supported by

Sir Dorabji Tata Trust


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To be continued in

PART 2Describing and cataloguing folklore

materials

Date post:	04-Jun-2018
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Folklore in Archives Part 1.pptx

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