Language and The Orientation of Folklorists: A Theoretical Analysis

Abstract

This piece discusses the interplay of folklore, folkloristics, and nationalism, bringing to light some of the complications arising in this conjunction. Nineteenth and Twentieth Century Europe is discussed, then focus is placed on the use of language as a primary vehicle for all folk ways, moving from a theoretical dimension, to folklore in practice. Some examples from Ghana are cited, to complete this folkloristic cycle that moves folklore from theory to a performance. The artistic function of folklore is important, not as an end in itself but as a means to achieving a higher end, which is the transmission of historical and cultural information. Content analysis was carried out on some European and Ghanaian literatures. Ghanaian indigenous music comes in the form folk music that displays the collective efforts of the ethnic group, with anonymous creativity. Not only does the music entertain its patrons but it also contains admonitions to the listener/dancer. While dancing to the rhythm provided by the drummers, the lyrics sang by the Africajn drummer continue to warn the dancer to be wary of pretentious allies. One cannot rule out the issue of subjectivity in many of the accounts, but with the right scientific tools, credible records can be found in other documented sources for serious academic work.

Keywords: Language, Orientation, Folkloristics, Theoretical, Ghana.