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range of subject matter, and may be connected to a variety of published and unpublished secondary writing as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