Just Above the Water: Florida Folk Art. Kristin G. Congdon and Tina Bucuvalas. Jackson: University Press of Mississippi, 2006. 288pp.Reviewed by Natalie M. UnderbergIn Just Above the Water: Florida Folk Art,
Kristin G. Congdon and Tina Bucuvalas survey the rich diversity of folk
art in Florida. More than an encyclopedic compendium of fieldwork data
on folk art, the book extends the definition of what is counted as
folklore and who can be considered a folk artist. Long a debate among
the gatekeepers of academic folkloristics (one thinks of Richard
Dorson’s writing about “fakelore”), the issue of how to frame
traditional art and artists is given a fresh perspective in Congdon and
Bucuvalas’ volume.[1] The introduction locates
Florida folk arts within the geographic, demographic, and artistic
trends that characterize the state. Florida’s cultural identity as an
ethnically diverse location is clear in the brief overview of the
co-mingling of arts as distinct as the making of Jewish prayer shawls
and bonsai trees.
Having
established Florida as the meeting place (but not melting pot) for
multiple environments, occupations, and ethnic traditions and as a site
equally suited to high-tech industry as to cultural tourism, the
authors go on, in the next chapter, to grapple with the complex issues
of tradition and innovation that establish the context for appreciating
the arts and artists that follow. The authors present, and then
problematize, the various approaches that scholars have taken to
defining folk art, whether by focusing on the artwork, the community,
or the artist. They do not advance as primary (but they do acknowledge)
the definition of folk art as somehow synonymous with the naïve or
primitive, but nor do they limit their definition (and the entries in
the book) to artists who practice folk arts that strictly adhere to the
folkloristic maxim of multiple existence and variation. Some of the
artists that they discuss may not have learned the tradition through
informal means from someone else; not all of the artists adhere to a
type of art-making that every folklorist would unequivocally identify
as a genre of folklore (Cocoa painter Kurt Zimmerman, for example,
paints images of dead road kill and UFOs). Instead, Congdon and
Bucuvalas argue that: “What binds all the artists together is that they
represent both innovation and tradition. The fact they have all lived
and worked in Florida and are strongly representative of one or more of
Florida’s cultural communities also conceptually unites them” (p.
30).
Profiles
of the artists themselves form the next section of the book. Arranged
alphabetically, they demonstrate the wide variety of art forms and
relations of artists to communities characteristic of Florida. A select
list of these artists will serve to illustrate this diversity, as well
as the varied ways in which contemporary artists learn about and find
meaning in traditional arts. Miami-based Eileen Brautman makes ketubot,
Jewish wedding contracts, and the essay about her discusses not only
the tradition itself but the way in which Brautman strives to educate
herself through reading books on the subject about the history of the
tradition. The essay on Haitian painter Edouard Duvall Carrie situates
his artwork, and the artist, at the ever-shifting nexus of traditional
art rooted in a specific cultural context and the so-called “fine art”
world. Ginger LaVoie, a Hawaiian quilt artist, is largely culturally if
not biologically Polynesian, at least in terms of the way she engages
with the tradition she practices. Nicholas Toth, a Greek sponge-diving
helmet maker from the historic Greek community of Tarpon Springs, has
seen the helmets he makes for occupational-use simultaneously form part
of curated exhibitions of traditional arts in Florida museums. Ruby C.
Williams, an African-American painter and produce stand owner from
Bealsville, creates colorful paintings on found pieces of wood and
displays them to the public at her annual Walk-in Gallery opening,
itself an intriguing re-appropriation of elite, art-world
culture.
An
important contribution of the book, beyond the fine introductory survey
it provides of the breathtaking diversity of Florida folk art, is the
way the brief essays educate readers about the complex ways that
artists learn, traditions adapt, and folk artistic production actually
works. Some folklorists may consider particular artists and artistic
practices covered in the book outside the realm of “true” folklore, but
Congdon and Bucuvalas’ book makes clear that art based in a community
context always has a place in our consideration of how human expression
engages with culture and history. Note1. See Richard Dorson (1974) “Folklore vs. Fakelore – Again and Again.” Folklore Forum. 7(1):57-63.Natalie
M. Underberg is Assistant Professor of Digital Media and Folklore in
the School of Film and Digital Media at the University of Central
Florida. As Program Coordinator for the UCF Cultural Heritage Alliance,
her work centers on finding new ways to present and interpret folklore
through technology-based heritage projects. She has also contributed to
numerous journals, including Visual Anthropology Review and The Journal of American Folklore.