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TASP NEWSLETTERTHE ASSOCIATION FOR THE STUDY OF PLAY

VOLUME 14, NUMBER3 FALL 1988

Annual Meeting inPhiladelphia

TASP will hold its annual conferencein Philadelphia, February 22-25,1989 in conjunction with theEthnography in Education Forum.Sessions will be held at theSheraton UniversityCity Hotel and atthe College of Education at theUniversity of Pennsylvania (abouttwo blocks from the hotel). Theconsiderable overlap of interestsamong TASP and Ethnography inEducation Forum members shouldproduce a number of rich sessions.

TASP local arrangementschairperson Linda Hughes has puttogether a number of specialactivities. On the evening ofWednesday, February 22, TASP willsponsor an open housereception in the presidential suiteat the Sheraton. On Thursday,February 23, from approximately11-2, there will be an arranged visitto the Mummer's Museum, whichfeatures exhibits on the history ofthe Philadelphia Mummer's Parade,

IN THIS ISSUE:

Phillie Meeting 1PlayfullyYours 3Jacob on 42nd Street 5Playprin1 10Playthings 11

with costumes and videotapes ofthe parades. The trip costs $20 andis limited to 45 participantson afirst-come, first-served basis -- somake reservations early. The priceof the trip includes transportation,admission, guided tour, buffetlunch, and a concert by the HardlyAble String Band (a group of retiredstring band musicians). Thursdayevening will feature the keynoteaddress by Max Kaplan, notedsociologist of leisure and presentlyProfessor Emeritus at the Universityof South Florida.

On Friday, February 24, from 5-7 pmthere will be a wine and cheesereception and "behind the scenes"tour of the Please TouchMuseum.This fascinatinghands-on children's museumincludes an on-going contemporarytoy collection project, a Child LifeCenter involved in historical andcontemporary documentation ofplay in the DelawareValley area,apermanent play exhibit, and anupcoming exhibit on children'sfolklore. TASP members Portia

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Sperr (executive director) andDonna Horowitz (curator) haveorganized this event. BernieMergen serves on the acquisitionscommittee for the toy collection, andBrian Sutton-Smith has served asconsultant for the folklore exhibit.There is no cost for the program, butparticipants should register inadvance.

Program ParticipationGuidelines

Program chair Andy Miracle solicitsproposals for volunteered papers orfor complete sessions; he asks thatprospective program participantsfollow the following guidelines insubmitting proposals.

The annual business meetingwill be held at 3:30 pm on Saturday,February 25, to be followedimmediately by the presidentialaddress by Ann Marie Guilmette.(Considering the kind ofintroduction Ann Marie gave JayMechling last year, one would hopethat Andy Miracle will "give her thebusiness," for she will certainly giveit to all of us.) As if this is notenough, a bus trip to AtlanticCitywill be available for Saturdayevening. The cost of the trip is $18,and you can expect to receive about$12 back in chips and other perksfrom one of the casinos. Moredetails on this trip will appear in theJanuary newsletter.

Registration for the meeting isrequired for participation on theprogram. To register, complete theAdvance Registration Form whichaccompanies the newsletter,enclose a check for the appropriateregistration rate, and send with yourproposal.

The Sheraton University City Hotelwill serve as the conference center.Room rates are listed on thereservation form enclosed in thenewsletter. Those seeking lessexpensive accomodations shouldconsider the Divine-Tracy Hotel, 20South 36th Street, Philadelphia, PA19104, (215) 382-4310. Locatedvery near the Sheraton, its ratesrange from $15-22 per nightdepending upon single/double

. room with private/shared bath. A$10 deposit is required withreservations. Payment by cash ortraveler's check is preferred; VISA,MasterCard, and American Expressaccepted, but no personal checks.This hotel is operated by the PeaceMission Movement (Father Divine)and imposes the followingrestrictions based upon its religiouscode: no smoking, drinking, orcursing; separate floors for men andwomen; no visiting in rooms; womenmust wear dresses (i.e., no slacks orshorts) and stockings or socks.

To propose a paper or a session,complete the Abstract Formwhichaccompanies the newsletter. Anabstract form should be completedfor each proposed session or paper.Session organizers are responsiblefor ensuring that every participant inthe session is registered and forassembling and submitting anabstract describing the session andan abstractfor each paper in thatsession.

Abstracts and proposals forsessions will beevaluatedandauthors and session organizers wiltbe contacted by the programcommittee after the dealine forsubmissions. The ProgramCommittee reserves the right toinsert volunteered papers intoorganized sessions whereappropriate.

The ability of TASP to provideaudiovisual equipment is limited;please do not request equipmentthat is not essential. There will be a$50 fee charged for videoequipment rental. Pleasenoteaudiovisual equipment needs onthe Abstract Form and appropriatearrangementswill be made for yoursession.

The deadline for receipt of abstractsand advanceregistrationfees isDecember 15, 1988. Submit to:Andrew W. Miracle, 1989 TASPProgram Chair, DepartmentofSociology, Texas Christian

University, Fort Worth, TX 76129,U.S.A.

Andy also reminds us of the studentpaper competition. Undergraduateand graduate students areencouraged to submit entries for thebest student paper on play. Thewinnerwill receivea cash award toenable her or him to attend thePhiladelphia meeting and deliver theprize-winning paper. The TASPjournal Play & Culture reserves theright of first refusal for publishing thewinning essay. Papers should besubmitted in triplicate to Ann MarieGuilmette, TASP President,Recreation and Leisure Studies,Brock University, St. Catharines,Ontario, CANADA L2S 3A1 byDecember 15, 1988.

Playfully YoursBy BrianSutton-Smith

Prior reports have been focused onStockholm, Sweden; Suhl, EastGermany and Loudon County,Virginia. None of the prior content,about the IPA, the ICCP, and aboutplaygrounds, toys and recess, hasbeen very playful and nor has mymanner, unless we count irony asplay which possiblywe can, sincethey both involve the paradox thatwhat you see is not what it seems, atleast to the non afficionado.Unfortunately,I am not certain thatwhat.I communicated in thosecolumnsdid not have also ameasure of the sardonic, thesarcastic,the cynical and thebemused. Nor do I know whethersuch a play of tropes could be calledplayfulplay. Perhaps theheedlessnesswith which Iengagedin that tripe might be a playfulenough measurefor me. Let me getout of this with another trope bysaying that what I am engaged uponhere is not bright and colorful play,not red, nor green, just a mild form ofgray play.

'. ..In the same vein let me now reportmy latest conference at WheelockCollege in Boston in July of 1988.The major purpose of theConference was quite portentous,to "analyse from both an historicaland a present day perspective thereasonswhy dramatic andsociodramatic play have not beenincluded in the curricula as arequirement for all children in earlychildhood programs in the USA andIsraeL" (sic) The conference wasfunded by the Binational ScienceFoundation of these two countriesand the outstanding event was thereappearanceof Sara Smilanskywho virtually invented this notionwith her much publicized book TheEffects of Sociodramatic Play onDisadvantaged Preschool Childrenof 1968, and by her appearance atan NAEVC, University of PittsburghConference in 1971. She repeatedher contention of that time that thereare disadvantaged children who donot know how to play imaginativelyand that this is a serious handicaptotheir acquisition of literacy. Furthershe contended that herinterventional research in shiftingchildren from solitary motor play tosocial pretence playas well as that ofMarshall, Freyberg, Feitelson,Rosen, Saltz, Johnson, Smith,Golomb, Brainerd, Dansky, Udwinand associates has established thatit is possible to intervene withpositive results on such variables as:language use, concentration,curiosity, perspective taking,empathy, skills, conservation andcreativity. Unfortunately, from herpoint of view, no one out thereappears to be listening. Aquestionnaire to kindergartenteachers in the USA and Israel onwhich she reported established thatalthough most schools have housekeeping play centres and childrenare permitted to play in them whenthey wish to (according to 60% ofthe teachers), no teachers saw anyrelationship between this play andschool success (100%); no teachershad ever had a teacher trainingcourse in play (100%); and they allsaw playas having to do withpersonality, fun, joy and happinessand were reluctant to intrude.

With some sorrowfor Sara, Iwasnevertheless pleasured by theseteacher attitudes. Our major motivein this century has surely been toreverse the negative view ofchildren's play emerging from thereformation and the work ethic ofprior centuries. It seemsthat wehave won at least a truce, though anendangered one, as my priorcolumn on the fate of recess inVirginia and other states makesclear. Darewe let loose on childrena new generation of teachers whoreally think they know whatchildren's play is all about and how itcan be used? In another priorcolumn also I have shuddered atthose well meaning advocates whowish to interferewith boys' playfighting by guiding and directing it.Although I am much moresympathetic to Sara Smilansky'sintentions, is the principle anydifferent? Either children's play istheir area of freedom as adultrecreation is our area of freedom, orwe are treating the children as alower caste, idealizing play while wemanipulate it to fit our preconceivedpurposes. Paradoxical1ythe verysame people who would find theintrusions of organizing adults intochildren's sports as obnoxious mightwell be the ones ready to foster theirown intrusions at the preschoollevel. In that then they would be nodifferent from and no better thananyone else in our civilization fromLocke onwards who has sought toinfluence children's play throughtoys, games, sports, or sociodramaor whatever.

In general the conferencecontinued badly for the Smilanskyproposal. The rather desperateshape of preschool education orpreschool daycare throughoutAmerica certainly seemed to mitigateagainst sophisticated proposals ofthis kind. Addresses by SharonKagan(Yale),BarbaraBowman(Chicago)and Betty Caldwell(Arkansas) plunged a listener intodepression about such matterseven if they made clearer the currentpolitical slogans of both parties.

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Nearer at hand, a Conference reviewof the role of play in cognitivedevelopment by James Johnson(Penn State) , though cast in apositive tone and covering animmensity of research, remindedone of Brainerd'searly strictures onthis body of post Smilansky researchas inconsistent in methodology,unreliable in measurement andminimal in achievedvariance. Andindeed Johnson, whose recentlongitudinal finding seems tosuggest that cognition anticipatesplay more than play anticipatescognition, completed his paper bystating rather helplessly that in oursearch for connections betweenplay and cognition we should notgive up the traditional rationales andvalues of play. "These longstanding convictions and theirrationales must not get lost in theshuffle as we attempt to ground ourviews on an empirical researchbase," he said.

In a sense then one might read thiswhole Smilansky effort as impressivemore as Enlightenment Ideologythan as seriousscience, and as afurther attempt to rationalize andcontrol children's play, than as aneffort to fully comprehend it. Forsome of us, on the other hand,Bakhtin and Freud are still the moreuseful interpreters and we would notwant to take from children such smallsocialcamival as still exists. Even ifour own play be on the gray side wewould like to continue to allow themto colortheirsred.

The 42nd Street Riverto River Festival:Creatinga PerformanceEnvironmentin NewYorkCityBy Kay Wylie Jacob

Avenues was closed to traffic with

the exception of the trolleys.

The second annual 42nd StreetRiver to River Festivalwas held onSeptember 28, 1986. The themewas the "Dancing Feet of 42ndStreet," although tours of historicallandmarks, art galleries and exhibitswere also available. The publicity forthe Festival stated that there wouldbe performances by a variety ofdance companies. As a dancer, Iwas particularly interested in how42nd Street would be transformedinto performance spaces for variouskinds of dance.

My approach to examining the useof this space was twofold. First, howwas the entire length of 42nd Streetorganized for the festival? Bannerswith large "42's" had appeared onalternate street lights severalweekbefore. This was the initial phase ofwhat Brooks McNamara refersto as"a festival overlay on the ordinaryfunctional architecture of thetown." (1) In this case 'he town"was 42nd Street. Second, howwere specific performance spacesused in each block of thecelebration? Of particular interestare the events which occurred at thehub, Bryant Park, just behind theNew York Public Library at 42ndStreet and Fifth Avenue. Althoughit was relativelyeasy to fit theperformance spaces into categories,it was clear that the totalenvironment created theperformance. As in traditional folkand popular performances: "It is theenvironment itself which is the placeof performance, not any of itscomponents." (2)

Editor's Note: The study of festivaland related activities has long beenintegral to the study of play;recently, such activities havefrequently been studied as publicperformances. In this paper, Jacobconsiders how public spaces aretemporarily transformed intoperformance spaces. Address allcorrespondence to Kay WylieJacob, #21M, 484W.43rdStreet,New York, NY 10036.

But my dance background accountsfor only part of my interest in thisfestival. As a residentof ManhattanPlaza, I havea view which includes42nd Street between SeventhAvenue and the Hudson River. Ienjoy watching the traffic andpedestrian patterns which areconstantly changing along thestreet. It was strange to look out mywindow on September 28 and seevery little activity. At 9:00 a.m. thepolice began partitioning the streetto accomodate traffic, pedestrians,and the special trolleys used forcarrying people from river to river.The outer lanes - sometimes two,sometimes four --were closed totraffic, to be used by pedestriansand trolleys. But the trolleystraveled with the traffic rather thanpedestrians and chose to stay onthe inside lanes. In addition, theblock between Ninth and Tenth

The following questions aroseduring the early phase of myresearch. What drew the crowds to aparticulararea? What caused themto stay in one area or move toanother one? What elements couldbe controlled by the organizers?What events were controlled by thecrowds? What elements were totallyuncontrollable? What effect wouldthe weather have on the festival?(Therewas no rain date listed in thepublicity.) Why were certain eventsheld in particular blocks? How wouldthese temporary transformationsaffect each block? How would theblock used as a support space affectthe temporary transformations?Would the festival represent all of42nd Street with its pockets ofintense individuality? Would I beable to fairly represent such a largefestival with so many events? WouldI be able to paint an accurate portraitof such a large festival?

My initial stroll, traveling east along42nd Street, revealed that a number

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of restaurants had moved out ontothe sidewalks for the day. Vendorsset up shop, approximately ten perblock, but seemed more prevalent inthe blocks between Fifth andLexingtonAvenues. (3) The blockbetween Seventh and EighthAvenues remained virtuallyunchanged this year. Last year theBrandt Theatre Organization put outred carpets and ran the movie "42ndStreet" all day long. (4)(Forty-second Street's reputation ismarred by this block in particular.Forty-second Street ET.C.[Education, Theatre, Cultural], whichsponsors the Festival, was formed in1981. Their objective is to focuspositive attention on 42nd Street,placing emphasis on thearchitectural landmarks, educationalinstitutions, museums, theatres,parks and corporations.) (5)

trestle stage. (A trestle stage is aplatform which allows the performersto be placed higher than the level ofthe audience.)

In examining how specificperformance spaces were used forthis festival, it became clear that theycould be divided into three maincategories. The first is thosepreviously existing areas whichnaturally lend themselves toperformance sites with only slightalterations. At the east end ofBryant Park, behind the MainLibrary, for example, "the steps" (asthe area is called) was the site forthe opening ceremonies. The 42ndStreet entrance to the Library wasthe site of Storybook Theatre,including their own version of theNew York Public Library Lions which,as advertised, came alive for the day.The Fifth Avenue entrance to theLibrary was the site of TAP JAM, asthe brochure states, the "World'sLargest and Best Tap DancingExtravaganza."(6)

In the block closed to traffic,between Ninth and Tenth Avenues,was an example of a truck-bedstage. The side doors of a truckwere pulled open, creating anenclosed stage for a Salsa Band. Areligious "revival to save TimesSquare" was held on 42nd Streetbetween Broadway and SeventhAvenue.(7) The gospel groups(including Sister Sadie and theFamous Biblettes, The WearylandSingers, the Skywaves and NoName Singers)were on a simpletrestle stage, with the newlyreopened Times Square Zipper as abackdrop. Other facades nearbycreated an interesting architecturalenvironment, including theKnickerbocker Hotel and a partiallycompleted ad for Jeff Hamilton.

Other examples of buildingscreating backdrops for trestle stagesinclude the Pfizer Building, the130-foot high "greenhouse" of theFord Foundation Building, and TheGodfather Pizza Restaurant. This isdefinitely not an architecturallandmark, but the ownerscontributed $10,000.00 to thefestival so the stage was placedwhere they wanted it. The Bell Plazawest of the New York TelephoneCompanyBuilding was a naturalenclave for another portable stage.The small park is a concession to thezoning laws that require a specificamount of open space in proportionto a structure's height.(8)

In the second category includesperformance areas which consistedof temporary stages brought in andconstructed for the day. Eventhough these stages were portableand thus could have been placedanywhere, interesting backdropswere created by the architecture andenvironment of 42nd Street. Thenortheast corner of The PortAuthority, for instance, provided abackdrop and a ceiling for a simple

The examples from the previous twocategories listed above fit into aformal theatre structure in which "theactor is removed, architecturally andscenically, from his audience."(9)The third category of performancespaces is quite different. It includesthose spaces which weretemporarily carved out of theexisting environment by theperformers and the audience. Thisthird category is a clear example ofthe "environmental" tradition, inwhich: "The boundaries between

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actor and spectator areinformalorindefinitely drawn, and there is notonly close contact but often anintermingling of the twogroups."(10) Performingexperience outside traditional dancetheatres and loft spaces has mademe very aware of how easilyaudiences can be distracted bymovements which are not part of thechoreography. As a choreographer,my objective is for the audience tofocus on what I have placed beforethem. However, in street festivalperformances, there are manyuncontrollable variables which canaffect the performance and what theaudience will actually see. "Sparks,"a slow motion robotic dancer, founda~placeon the south side of 42ndStreet, between Fifth and SixthAvenues. Some of his audiencewere on the balcony above him.This can be somehwatdisadvantageous to the performerbecause he is not necessarily thesingle focal point. But the balconyaudience can see othersimultaneous events and activities.

A troubadour found a somewhatunfocussed area for hisperformance. The audience couldpass by on either side of him. Heestablished his frontal (ordownstage) focus in the same wayas the vendors surrounding him, butthe vendors had part of their stalls inthe blocked-off street behindthemor had created stalls in the round.The troubadour had not allowed anarea for his audience to gather.

The African dancers used theentrance to the Xerox Building as aperformance area. Their positioningof the drummers and dancers, aswell as their costumes, helpeddefine their performance area.Several younger drummers from thegroup did not wear the traditionalcostumes and an audience memberstanding in the back remarked, "Arethey part of the show?"(11) Acomedian used the closed block tohis advantage. The audienceformed a large circle around him.

The Angels used "unrestrictedwandering" from river to river as their

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method of traversing theperformance space. Their costumesdrew attention to them and theystopped only long enough to handout religious literature. (In"unrestricted wanderings",performers can travel anywhere theylike within the environment. Theirperformance space is where theyhappen to stop at any given time.) Aband used a "procession andstation" approach as they marchedfrom Bryant Park to the Fifth Avenueentrance of the Library. As theyreach the front steps, BrendaBuffalino's American Tap Orchestrahad already begun to perform. Theband drowned out the tapping feetandMs. Buffalino graciouslystopped her performance andfocussed the audience's attentionon the band, which played onenumber, bowed and marched on.(In "procession and station", anorganized performance group, suchas a band,will travel and stop, information, at certain intervals. Theymayor may not play during thetraveling and stopping.)

Of special interest was theperformance area used for theopening ceremonies in Bryant Park.The mainperformancearea wassimilar to a fairground booth orcarnival "bally" platform. Woodenplankswere put down on a flat areaat the top of ten broad steps tocreate a stage. The backdropwasmultifarious, consisting of the rear ofthe Library, banners held byperformers, and the William CullenBryant statue. The wings were alsodesignated by banners, plus largespeakers. The balloons created akind of proscenium arch. Theperformers traveled onto the stagefrom stage left in parade fashion.For the most part they performed onthe stage area, then exited stageleft. One group traveled out into theaudience. Another used the stepsas part of their performance area. Athird group used the orchestra area.

Audience members who arrivedearly stationed themselves at theend of the grass, being careful toleave the orchestra area open. Butas soon as the ceremonies

commenced, crowds beganpushing in from the sides to get acloser look at Ginger Rogersreceiving the first annual George M.Cohan Award presented by MayorKoch. Even the crowd control teamin the candy-striped jackets couldnot hold them back, much to thechagrin of those who had waitedpatiently back on the grass.

After the successive performancesof each group, from the Boom BoxParade to the Ziegfeld Girls, thecrowd was sent on its way by JoePapp, the master of ceremonies.Bryant Park, once filled to the brimwith audience and performers, wassoon almost empty. This typifies theuse of space by the audience:periods of intensity. where largenumbers of people were activelyinvolved with the performers, andtimes when only a smallgroupwasgathered around a performer whileothers meandered by. There weremany reasons for the ebb and flowof the crowds. The 42nd StreetE.T.C. sponsors and the paidproducers differed greatly as to howto approach the organization of thespace. One of the sponsors statedquite frankly, "It's a mother tocontrol."(12)

Both parties agreed on twopoints.(13) The first is that thereshould have been more trolleystransporting people from one end ofthe festival to the other. But thecompany went bankrupt the daybefore the festival and could onlysend two trolleys. The second pointof agreement is the fact that theThird Avenue Festival used its raindate, which coincided with the onlydate of the 42nd Street Festival,causing competition for the crowds.The Third Avenue Festival focusseson food and vendors, withentertainment thrown in along theway. 42nd emphasizes education,theatre and culture and involves allblocks along 42nd street.

One producer suggested thatE.T.C. had a waspish attitudetowards the space. To back up hisstatement he said that E.T.C. didn'twant any sausage sold on the street.

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He claimed that many people cometo street festivals for the food andthat lots of food keeps the crowdsmovingalong, munchingcontently.(14} This producer alsofelt that a special event is needed tofillup the space withan audience.That is why he invented the GeorgeM.Cohan award. Itwas originallyoffered to five big names. FrankSinatra said, "No." Ginger Rogerssaid "Yes,"on the conditionthat shewould be the only celebrity onstage.(15) Evidently,Ginger didn'twant to share the space withanyone. And in fact thepresentation of the award did draw alarge crowd. Policeestimates were90,000 to 100,000. This estimate isbased upon an average of threesquare feet per person.(16)

The problem was reallyone ofmaintainingthe intensityof thecrowds. Afterreceivingher award,the plan, from E.T.C.'spointofview,was to take Ginger down to 42ndStreet to start liningup for theWorld's Longest Chorus Line.However, one of the producersgrabbed Ginger and took her over tothe frontof the Libraryfor the TapJam. The crowdfollowedGinger,leavingthe chorus line flat.(17}

In several instances the producerswere blamed for not followingthrough on an event and thusleavingan area of the blockempty.No matterwho was responsible, theempty spaces did not encouragethe crowds to move along 42ndStreet. Several festival goersremarked, "There's nobody here,let's go over to ThirdAvenue. I hearit's reallycrowded over there. "(18)

Butfillingthe space for the entire sixhours was not the primaryobjectiveof E.T.C. Their approach to thespace was best exemplifiedbyBrendan Gill:

"...thisshort, broad, vehementcross-street is surely the mostintense of the innumerableurban experiences thatconfrontand seduce us dailyinthe greatest of cities......

upon itstand inthe unself-consciousdisarrayofthe many

differenteras and styles inwhichthey were built,structures that would sufficeto serve as the beginning andending of any ordinarycity: apubliclibray,a railroadstation,theatres, hotels, restaurants,newspaper offices, honky-tonkcurio shops a galleriaroofedonly by the sky, pale over theicyarchitectural decorum oftheUnitedNations, rainbow-colored over the neon paradiseof Time Square. Pulsingwithenergy by day and by night,outwittingtime and fatique, thestreet hugs us to it and seemsto promise us, whoever we are,that itwillnever let us go."(19)

Notes

(1) Brooks McNamara. "TheEnvironmental Tradition," inMcNamara, Brooks; Rojo, Jerry; andSchechner, Richard, Theatres,Spaces and Environments:Eighteen Projects. New York: DramaBook Specialists, 1975, p. 3.

(2) McNamara, p. 3.

(3) Mort Berkowitz. Mort and RayProductions. Taped interview,October 13, 1986.

(4) Ma~orieW. Longley. Chairman42nd Street ET.C. Tapedinterview,November 26,1986.

(5) Gerard R. Wolfe. 42nd StreetRiver to River. NewYork:42ndStreet E.T.C., 1984, p. 3.

(6)42nd Street River to RiverFestival Guide. Sunday, September28, 1986.

(7}lbid.

(8}Wolfe,p. 15.

(9}McNamara, p. 3.

(10)lbid.

(11}Tape of festival crowd,September 28, 1986.

(12)Longley.

(13)lbid.; also, Berkowitz.

(14)Berkowitz.

(17)Longley

(18)Tape of festival crowd.

(15)lbid.

(16)lbid.

(19)Wolfe, p. 1.

PLAY PRINT: Books and Materials for Play Scholars

New Books

Another new book by Judith LynneHanna of the Universityof Marylandis DisruptiveSchool Behavior:Class, Race and Culture,published by Holmes & Meier. Thebook deals with play andplay-aggression inside and outsidethe classroom, approaching thetopic from historical, sociological,and ethnographic perspectives.(The editor apologizes to Judith andreaders for not completing thereview of Judith's earlier book ondance and gender for this issue ofthe newsletter. I hope to have thatbook reviewed for the next issue.)

New Journals

HUMOR:InternationalJournalof Humor Research, publishedquarterly by Mouton de Gruyter, 200Saw MillRiver Road, Hawthome, NY10532 USA, Victor Raskin ofPurdue University, Editor-in-Chief.

Jay Mandie (Temple U.) and JoanMandie (Penn State) have produceda small book based on their

ethnographic studies of basketballin the Carribean, Grass RootsCommitment:Basketball InTrinidadand Tobago; the bookis availablefrom Carribean Books,P.O. Box H, Parkersburg, IA 50665USA.

Frank Manning serves on theeditorial board of the Annals ofTourism Research, published bypermagon Press. He encouragesTASP members whose research isrelated to tourism to submit theirwork. Articles and inquiries shouldbe sent to the editor-in-chief: JafarJafari, Dept.of HabitationalResources, University ofWisconsin-Stout, Menomonie,Wisconsin 54751 USA. Frank addsthat a forthcoming special issue"Sex and Tourism" "promises tohold particular interest for ourcurrentpresident."

PLAY THINGS:Professional Activities in Play Study

Meetings Calendar Australian FolkloreDiploma

North American Society forthe Sociology of Sport,November 9-12, 1988, Cincinnati,Ohio.

The graduate diploma in Australianchildren's folklore offered at theMelbourne College of AdvancedEducationwill enroll its secondcohort of students in 1989. Thecourse is run over a two year period,with lectures offered two eveningsper week. The course has beenapproved by the Victorian Ministry ofEducation for study and upgradingpurposes for primary andpost-primary teachers; however,non-teachers may also find thecourse worthwhile.

Society for AppliedAnthropology (meeting jointlywith the American EthnologicalSociety), AprilS-9, 1989, SantaFe, New Mexico.

World Humor and IronyMovement, April 18-22, 1989 onthe campus of BYU-Hawaii,Laie,Hawaii.

Enquiries should be directed toMelbourne CAE Information Office,Tel. (03) 341 8624, or write JuneFactor, Institute of Early ChildhoodDevelopment, 4 Madden Grove,Kew, Victoria 3101 Australia.