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resources : educational
materials : passing it on
Passing It On:
Traditional Artists in New Jersey Schools
In 1978 the NJSCA, in cooperation with the National Endowment for the
Arts and Rutgers University, had introduced a folk arts program as a special
component of its Artists in Education (then called Artists in the Schools)
program. Linda Constant Buki, at the time the Arts in Education coordinator
for the NJSCA, had set up the first FAIE program in Cinnaminson High School
in Burlington County. For this project, the folklorists Patricia Averill
and Angus Gillespie conducted research and brought ethnic and regional
folk artists into the school for demonstrations and performances. Buki
then hired the folklorist Mary Hufford to coordinate a project at the
Veterans Middle School in Camden County. Hufford's program, which culminated
in a festival for the community, included a wide range ofschool residencies
and performances by folk artists who represented the varied cultural groups
of the Cramer Hill section of Camden. Her landmark publication, A
Tree Smells Like Peanut Butter: Folk Artists in a City School, describes
the Cramer Hill project. Her next project involved research on the Pinelands
region in several New Jersey counties, eventually resulting in a program
in the Bayville Regional School District. Berda Rittenhouse, the Arts
in Education director, mentions three of the Bayville residencies in her
foreword; like the Camden program, the Bayville program also included
community festivals.
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Bayville Regional High School students try clamming with tongs during
a residency with bayman Joe Reid. Photo by Doug Elliott.
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As these programs developed, the concept of the folk artist's residency
grew from a single workshop or performance to an extended cooperative
endeavor among the artist, the teacher, and a core group of students,
a format that encouraged greater involvement of all parties. During
the same period, folklorists in many other states were also developing
models for FAIE programs. Regardless of the program structure, all
the folklorists had a common concern: involving teachers in the
construction and presentation of the programs, and creating an impact
on the schools that would be sustained after the program was finished
and the folklorist had left.
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