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decor, illustrations, hardback, and bindings. Earlier the
Norwegian Folklore Society was most focused on making available the already collected material at NFS. This was done to refute allegations that the reconstruction of such a central archive would only cause the material exclusively reserved for a small circle of scholars. It was an explicit national program to make sure the oral sources in published form should be returned to the areas where they were originally collected. At the same time, the releases were meant to be a tribute to the collectors, and a way to encourage them to continue their efforts to save important oral culture that surrounded them in everyday life.
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guidance of those who are willing to collect folk traditions, and also consultation authors with scripts. NFL has on several occasions been involved in exhibitions and cultural arrangements, and cooperates extensively with other cultural organizations, and does lectures, seminars on their own. NFL is also a member of the
Norwegian Cultural Heritage Association.
19:(NFL) founded in 1920, is a voluntary, non-profit cultural organization communicating and disseminating traditional folk poetry and customs. Society protects collected materials through book releases, guides collectors, and own research in the field of folklore. From 1922 to 2012, the company has published 166 book titles, as well as a reprint of
78:, etc.), led to the creation of Norsk Folkeminnesamling (NFS). By 1914, these materials had become entered the public domain. Nevertheless, archives were essentially inaccessible to ordinary people. The same applied to other collections (i.e. Johan Theodor Storaker etc.), which were taken care of at the Manuscript Collection in the
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different traditions. Furthermore, in some cases, tapes and CD releases are attached to books with musical content. Through releases, the
Folklore Society conducts an active cultural policy by making the readers aware of aspects of the intangible material culture that most people might not otherwise
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However, the NFL highlights not only what stands in danger of being buried and forgotten but is also involved in the ongoing collection and mapping of contemporary folk culture. Through folkloristic releases from virtually every corner of Norway, the
Folklore Society has succeeded in preserving and
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NFL in particular emphasized folklore genres, beliefs, and customs that were linearly passed on from one generation to the next. While the early editions were systematically parent material collections the books in recent years have been more focused on historical context and commentary, with book
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NFL volatile workspaces - the intangible immaterial culture - have put their main focus on book publications. This has been and is still the backbone of the activities, but the NFL also operates other types of cultural dissemination. The
Society is actively participating in projects through the
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have gained awareness of. There are also many examples of local communities, professional musicians, and storytellers that have been able to acquire and revitalize parts of their historical local culture after the documented sources from the
Folklore Society.
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visualizing a great part of the country's intangible cultural heritage, which could otherwise be lost to time. Perspectives have also shifted towards identifying new cultural elements, cultural encounters (acculturation), and different forms of expression.
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As the oral tales are being transferred to other media, some may argue that the material is not being done justice until the material once again comes to be used in its traditional environment. However, the releases are not primarily intended to
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From the beginning, the
Folklore Society has committed itself to publishing to a wide audience. Since the 1830s oral stories have been collected among Norwegian peasants, sailors, and students. The most important of these sources (collected by
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s presentation of the newly established Folk
Society in, 1920, with a drawing of its founder, professor
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26:(= Norwegian Folk Songs) from 1852, besides cassettes and CDs with original recorded Folk Songs.
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The main activities are the publication of the book series
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As famous members of the board one can also mention,
234:: Etter 50 år: Norsk folkeminnelag og tradisjon i
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94:The purpose of the Folklore Society's business
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236:Tradisjon, Tidsskrift for Folkeminnevitskap
259:Publishing companies established in 1920
166:Trude Luice Nedregård Isaksen, 2005-2009
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274:Arts organizations established in 1920
243:Norsk folkeminnelag 90 år 1920-2010--,
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169:Liv Bjørnhaug Johansen, 2009-2010
160:Synnøve Riise Bøgeberg, 1999-2003
154:Erik Henning Edvardsen, 1988-1994
57:Decentralization of oral sources
245:Norsk folkeminnelag. Oslo 2010.
157:Finn Christen Hansen, 1994-1999
269:Publishing companies of Norway
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264:1920 establishments in Norway
238:Nr. 1, 1971, p. 83 – 84.
31:Norsk Folkeminnelags skrifter
191:, Reidar Th. Christiansen,
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172:Ida Tolgensbakk, 2010-2011
163:Sidsel Kvarteig, 2003-2005
84:National Library of Norway
80:University Library of Oslo
148:Velle Espeland, 1876-1982
145:Brynjulf Alver, 1972-1976
64:Peter Christen Asbjørnsen
21:Magnus Brostrup Landstads
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241:Jorun Hermansen (red):
195:and Reimund Kvideland.
151:Anne Moestue, 1982-1988
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175:Tove Solbakken, 2011-
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35:FOLKEMINNER. NFL-Nytt
17:Norsk folkeminnelag
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210:Multiple Memories
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189:Knut Liestøl
185:Halvdan Koht
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131:Magnus Olsen
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72:Sophus Bugge
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50:Knut Liestøl
46:Tidens Tegn'
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142:, 1968-1972
253:Categories
105:revitalize
76:Moltke Moe
68:Jørgen Moe
205:Home Site
86:, Oslo).
82:(now the
215:Facebook
133:, 1920-?
109:document
220:Twitter
193:Olav Bø
66:and
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