In 2011, following several years of in-country research, I published a book on Lithuanian folk pottery. I enrolled in the Folk Studies master’s program at Western Kentucky University (WKU) in 2014, well after my research and book had been completed. In the present study, I use my newly acquired knowledge of folklore In my previous work to revisit Lithuanian folk pottery. In my previous work, I had sought to create a picture of “authentic” Lithuanian folk pottery that was confined to the narrow temporal borders of 1861-1918. Here I deconstruct conventional ideas about authenticity, as well as culture and heritage, in order to expand my study to three additional periods: the interwar period of independence (1918-1940), the Soviet period (1940-1990), and the post-Soviet period (1990-present). Examining additional epochs of folk pottery production, I search for the commonalities and continuities binding together both objects and makers through seemingly disparate eras marked by dramatic political, social, and economic ruptures. To do this I examine the interconnected roles of political ideology, revised historical narratives, cultural policy, socio-economics, and concepts of cultural identity. Sifting through these various facets of national identity, I ultimately find that it is in the consistent nature of the adaptations that folk potters and artists make to the dramatically changing circumstances where consistent patterns are found. It is in these circumstances that people must survive, as individuals, a culture, and a nation. This study relies upon three central components: My previous research, texts related to folklore and cultural theory, and a wealth of new interviews conducted in Lithuania between September and November of 2015. Utilizing these tools, I move beyond my previous aim of reconstructing a period of history to engaging with art and culture as living, dynamic phenomena that are ever-changing and present but which possess roots in history and tradition.

According to popular and academic sources, home cooking is in decline. Nutrition and public health scholars concern that a loss of cooking abilities may diminish individuals' control over their food choices, thus contributing to poor health outcomes. Yet, there are still many unanswered questions. What skills, strategies, and knowledge sets are required to cook a meal on any given occasion? What capacity separates those who cook with ease from those who struggle to incorporate cooking into their daily routines? I propose that this difference is determined by an individual's capacity to employ a range of cognitive and technical skills related to meal preparation. I call this capacity 'food agency'. Drawing upon discourses of human agency developed in the social sciences, this food-specific theory considers how a home cook employs cognitive skills and sensory perceptions, while navigating'and shaping'various societal structures (e.g., schedule, budget, transportation, etc.) in the course of preparing a meal. Thus, to have food agency is to be empowered to act throughout the course of planning and preparing meals. To better understand the form and function of food agency in everyday contexts, this thesis has pursued two ethnographic explorations. The first study explored food agency from the vantage of routine performance by looking at the everyday practices of twenty-seven home cooks in the Northeastern United States. Data was collected through videotaping and observing the home cooks as they prepared typical dinnertime meals, followed-up with semi-structured interviews. The data has revealed a working model of the interrelated components seen as essential to consistent cooking practice, and thus to food agency'a conglomeration of skills, techniques, and strategies; structural and sensory guidelines; confidence and self-efficacy. All the home cooks were found to possess a basic scaffolding for food agency, yet the degree to which each had developed fluency in any given area was contingent upon personal experience. This supports the view that food agency is an actively acquired and dynamic capacity best understood as fluid rather than dichotomous. The second study explored food agency through guided progression, by following a cohort of eight college students at the University of Vermont as they learned how to cook during a semester-long food and culture course. Data was collected through videotaping the students as they cooked, and by interviewing them about their food behaviors and experiences at the beginning and end of the semester. The findings outlined the students' various trajectories as they progressed in many of the component areas involved in food agency'for example, skills, techniques, organizational strategies, sensory engagement, and a sense of individual and collective efficacy around meal preparation. While the longitudinal scope of this study was limited, these results suggest a need to develop similar curricula for hands-on cooking interventions that can be offered in a more diverse range of settings and contexts.

Vermont is widely-regarded as a hub for artisan cheese production, with more cheesemakers per capita than any other US state. Despite significant local and statewide support, out-of-state markets are essential to the long-term success of these small-scale producers. In spatially extended supply chains, retailers occupy a pivotal position. This thesis aims to examine the intermediary role of retailers in building social networks between producers and consumers. Consumers appreciate Vermont artisan cheese, in part, because it is embedded in a complex network of social values and relations related to where and how it is produced. Guided by social theories of consumption, sensory experience, and exchange, a transdisciplinary, mixed-methods study was conducted in order to better understand cheese retailers' role in this network. First, participant observation and ethnographic interviews at a specialty cheese shop demonstrated how highly specialized cheese retail professionals (known as a cheesemongers) communicate social information about Vermont artisan cheese to consumers in practice. Specialized narratives are transmitted to consumers through in-store signage and social interactions. These stories also involve the cheesemonger as traveler, developing specialized knowledge of Vermont artisan cheese by traveling to the place of production. A second site of participant observation at a national conference for artisan cheese professionals added breadth to the study. While cheesemongers appear to agree that a certain level of intrinsic quality is necessary for consumer acceptance and preference, many also see the importance of, and derive pleasure from, knowing and conveying the social story, and perceive this to be an important part of their professional role and identity. Second, social network analysis provided a broader examination of relationships between Vermont artisan cheesemakers and retailers in the region. In order to collect data on these relationships, an online survey was distributed to Vermont artisan cheesemakers and follow-up phone calls were conducted. A combination of statistical and network analyses was used to visualize the social structure of the network, identify key actors, and examine qualities of the relationships. The findings suggest that the social network for Vermont artisan cheese is a multiplex system, in which a cheesemaker's relative position in the network is the result of a complex balance--and sometimes compromise--between a cheesemaker's needs, goals, and desires and their various retailers' needs, goals, and desires. Moreover, geographic proximity, time, experience, convenience, cost, history, loyalty, and regard all appear to be important factors in the type of relationship cheesemakers have with retailers, and whether a relationship is established at all.

ABSTRACT Casa Samba is a cultural organization and samba school that has been operating in New Orleans’ performance scene since 1986. The group has been run by an American couple, Curtis and Carol Pierre, since its inception. Their son, Bomani Pierre, has been raised in the Afro-Brazilian drumming and dance practices that Casa Samba teaches and performs. Life histories of the group’s founding family are the basis of this qualitative case study. Using the details of individual lives and the context that these details provide, this dissertation seeks answers to two key questions: How and why does an American couple run a samba school? How does Casa Samba’s presence in New Orleans shape its practices? As Carol and Curtis described their early lives and young adulthoods, it became apparent that each of them was seeking a way to remake their identities. The terrain for analyzing this search became personal authenticity, and I examine how each of the adult Pierres is on a quest for personal authenticity that begins early in their lives and continues through their creation and maintenance of Casa Samba. But the sense of personal authenticity that underwrites the Pierres’ construction of Casa Samba comes into contact with another form of authenticity, one that is external, evaluative, and also the root of New Orleans’ tourism economy. Thus, further questions arose regarding Casa Samba’s location in New Orleans and its cultural landscape. How does the tourist industry shape what is “authentic”? How is Casa Samba an “authentic” New Orleans cultural organization? In what ways is it an “authentic” representative of Brazilian carnival? In the end, authenticity may be too narrow a concept from which to understand the totality of who the Pierre family is and what Casa Samba is. For this reason, this research examines Casa Samba as a utopian project, a site of cultural belonging, and an Afrocentric venture. I propose that Curtis and Carol Pierre have drawn on their knowledge of what is valuable, meaningful, and important—that is, authentic—to produce a cultural organization that reflects their sensibilities to the fullest extent possible.

In this research I examine the complexity of male sexuality and masculinity among male sex workers in New Orleans. Despite danger to their health and social standing, men engage in risky sexual behavior with other men for both business and pleasure. These behaviors may stem from the thrill of risk itself, or from other causes such as unexplored sexual inhibitions on the part of the male sex workers or their clients. Focusing on male sex workers, this ethnographic study explores why male sex workers engage in work that is high risk and potentially very dangerous. It examines the world of male sex work as one of the few places where men who adopt homosexual identity and those who refuse it are in intimate contact with one another. It offers us the opportunity to address questions about male sexual identity and homosexual desire, while attempting to understand the commodified spatial practices of a sexual culture in New Orleans.

This thesis discusses the recent construction and anthropological collaboration of the Paris museum: Musée du quai Branly (MQB), an art museum dedicated to showcasing art collections specific to aboriginal and indigenous cultures in the Americas, Africa, Asia and Oceania. The opening of MQB in June 2006 raised a plethora of controversial questions concerning the museum’s methods of curatorial display of the art it has made its primary focus. One of the major issues discussed examines the Quai Branly’s authentic, or inauthentic, representation of certain artworks displayed throughout the museum. Thus, the essay raises the questions: does a non-Western object remain authentic once it is exhibited in a Western society’s art museum? To answer this question, the essay explores the various explanations of art and authenticity in order to reach an understandable conclusion of what constitutes an authentic display of non-Western objects in a Western art museum.

This research addresses a significant gap in previous work on the formation of urban and suburban black skateboarding subcultures. By using data generated through oral histories, photographs, mapping, and literature review, this study explores why black youth initially began skateboarding in New Orleans in the mid-2000s. In contrast to the scholarly literature and local popular perception, this visual anthropological study aims to provide an alternative origin story of black skateboarding in Post-Katrina New Orleans, and to examine the continuing popularity of the sport within the young black community.

In the context of rapid urbanization, globalization, market liberalization, and growing flexibility of labor in the post-Fordist era, urban environments have seen economic opportunities and employment in the formal sector become increasingly less available to the vast majority of urban dwellers in both high-income and low-income countries. The intersectional forces of globalization, and neoliberalization have contributed to the ever-growing role of informal economic opportunities in providing the necessary income to fulfill household needs for individuals throughout the world and have also influenced social, cultural, and spatial organization of informal sector workers. Using a case study and ethnographic information from several regions of southern Ghana, this research examines the way in which informal sector food vendors in Ghana are imbedded in larger global food networks as well as how globalization is experienced by vendors at the ground level.

The purpose of this investigation is to further improve and re-test the validity of the conceptual model, constructed by Gipson Wells (to be explained in Chapter III) and to increase understanding and knowledge in respect to premarital sexual norms. Stated in another way, verification of the model will more accurately reflect the manner in which young people perceive, and apply these norms.

No description available.