Fife Folklore Archives

Beginning in 2008, Randy Williams, Bradford Cole and Robert Parson (Utah State University's Special Collections and Archives), Elaine Thatcher (the Mountain West Center for Regional Studies) and Barbara Middleton (the College of Natural Resources' Department of Environment and Society) collaborated to collect the oral histories of key land use managers and users of Logan Canyon [Utah]. Randy Williams, Elaine Thatcher and Barbara Middleton trained interviewers from the Logan Canyon Land Use Management Project gathered oral histories of people who have worked in or enjoyed the Canyon during the last century. In these interviews, available in audio and transcript form, people talk about what Logan Canyon meant to them. The stories of ranchers, recreationists, scientists, activists, scholars, foresters and sheepherders adds cultural depth to the work of scientists, engineers and academics. This growing collection of oral histories and personal papers from those who have worked in Logan Canyon is fast becoming a major resource for others interested in rehabilitation, land management and policy. These oral recollections form a basis for understanding policy in one area. Principles from them can be applied to broader land areas.

Folklorist Bess Lomax Hawes (daughter of John Avery Lomax and Bess Bauman-Brown Lomax, and the sister of Alan Lomax) was instrumental in organizing the Smithsonian Institution's 1976 Bicentennial Festival of Traditional Folk Arts on the National Mall in Washinton DC. She was aided in her efforts by public and academic folklorists throughout the United States. In 1977, Hawes was named the first director of the Folk and Traditional Arts Program at the National Endowment of the Arts, where she worked to create state or territorial folk arts programs-working with some of the same folklorists she involved in the Bicentennial Festival in 1976. The goal of the state folk arts programs was to collect and present the folk culture in each U.S. State and territory. The materials housed in this collection reflect the efforts of these programs.

The Utah State University Undergraduate Student Fieldwork Collection consists of USU student folklore projects from 1979 to the present. The collection continues to grow.

Since the early 1980s, posters announcing cowboy poetry gatherings, books on cowboy poetry, and western themed activities (with cowboy poetry activities) have dotted the western landscape. This small collection includes some of these unique posters.

The Folklore in the News Collection contains ephemeral items (many newspaper articles) that deal with Utah and surrounding areas, including folk customs, beliefs, folk groups, material culture, legends, etc. The Fife Folklore Archives faculty and staff have continued the collection with folklore items from a variety of ephemeral sources, including newspapers, magazines, brochures, etc.

The Utah State University Fife Folklore Conference Student Fieldwork Collection consists of student folklore projects created by Fife Folklore Conference participants from 1977-1995. The collection does not grow.

The Utah State University Graduate Student Fieldwork Collection consists of USU graduate student fieldwork projects from 1984 to the present. The collection continues to grow.

The Fife Folklore Conference officially began the summer of 1977. As a precursor to the FFC, USU hosted a summer short course "American Folk Arts and Folk Life Conference," 26-27 July 1968, directed by Austin Fife. As well, USU also hosted the Western Writers' Conference. In 1976-77, the Western Writer's Conference, as William A. "Bert" Wilson recalls "began to falter." Glenn Wilde, Assistant to the Dean of Humanities Arts, and Social Sciences for Extension at USU and director of the Western Writers' Conference, worked with Hal Cannon (Utah Arts Council's Folk Arts Program) and Dr. Patricia Gardner (USU English Department) to reshape the WWC into a folklore program. The Conference was renamed The Fife Folklore Conference in honor of Austin and Alta Fife. At about this same time, Glenn Wilde, Max Peterson (Director of USU Library) and Dean Hoover (College of HASS) were working to create at USU a folklore program and a repository for the Fife's impressive fieldwork collection. At the first conference, Glenn Wilde spoke to BYU folklorist Bert Wilson about coming to USU to head up both the Folklore Program and the Folklore Archives. Bert Wilson did come to USU and, with Hal Cannon and Barbara Lloyd, directed the Fife Conference for many years. When Bert left USU, to return to BYU, others carried on the Fife Folklore Conference tradition. See Barbara Walker Lloyd's essay "Lessons of Summer: The Fife Folklore Conference"" from Folklore in Utah: A History and Guide to Resourves, David Stanley, ed.

Conference directors include:

1977: Patricia Gardner and Glen Wilde, with help from Hal Cannon

1978: William A. Wilson, with help from Hal Cannon, Patricia Gardner and Glenn Wilde

1979-1985: Barbara Garrett Walker [Lloyd] and William A. Wilson, with help from Hal Cannon (1979-83, 1985) and Carol Edison (1984-85)

1986: Barre Toelken and Barbara Walker [Lloyd]

1987-1988: Carol Edison and Steve Siporin

1989-1996: Barre Toelken and Barbara Walker [Lloyd], with help from Randy Williams (1994-96)

1997-2001: Barre Toelken and Randy Williams

2002: Star Coulbrooke and Barre Toelken

2003-2007: Jan Roush and Jeannie Thomas

2008: Jeannie Thomas (workhop)

2009 to present: Lynne McNeill (workshop)

The Fife Folklore Conference is a week long (Monday through Friday) workshop that brings together students and leading scholars in folklore and related fields from throughout the United States. In the early years of the conference, public folklorists Western State Folk Arts Coordinators) met concurrently at USU during the FFC and often one or more of the public folklorists would present at the conference. Through the years the conference format has evolved, but it always includes presentations, lectures and demonstrations on current trends in folklore by conference faculty and student participation through discussions and, at times, hands-on activities. In 1981, the Fife Honor Lecture was added to conference offerings, giving a leading folklorist an opportunity to present new and pivotal work in folkloristics. From the beginning until 2003, brochures to advertize and document the conference were created. At times, graduate interns and/or fieldworkers helped with conference organization and worked to identify tradition bearers to participate at the conference. As well, on occasion exhibits highlighting conference themes were part of conference activities. By year (earliest to latest), conference themes, directors, interns/fieldworkers (when used), honor lecturers (when given), faculty, exhibits (when hosted), and brochure availability, and from 2008 workshop director/instructor include:

1977: Western American Folk Culture (transitional conference between the Western Writers' Conference and the FFC)

Conference Directors: Glenn Wilde and Pat Gardner, with help from Hal Cannon; Honor Lecture: no honor lecture; Faculty: Sam Agins, Austin Fife, Patricia Gardner, Wally Goddard, Hector Lee, A.J. Simmonds, Barre Toelken, William A. Wilson, with Hal Cannon, Tom Carter, and traditional artists

1978: Western American Folk Culture

Conference Directors: William A Wilson, with help from Hal Cannon, Patricia Gardner, and Glenn Wilde; Honor Lecture: no honor lecture; Faculty: Jan Brunvand, Bruce R. Buckley, Hal Cannon, Wayland Hand, Hector Lee, Barre Toelken, Eliot Wigginton, William A. Wilson

1979: Western American Folk Culture

Conference Directors: Barbara Garrett [Walker Lloyd] and William A Wilson, with help from Hal Cannon; Honor Lecture: no honor lecture; Faculty: Jan H. Brunvand, Sylvia Ann Grider, David J. Hufford, Suzi Jones, Barre Toelken, Roger L. Welsch, and folklife presenters, Fieldworker: Carolyn Rhodes-Jones, Wes Hardin, and Lorna Hardin

1980: Western American Folk Culture

Conference Directors: Barbara Garrett [Walker Lloyd] and William A Wilson, with help from Hal Cannon; Honor Lecture: no honor lecture; Faculty: Margaret Brady, Jan Brunvand, Larry Danielson, Henry Glassie, Carol Mitchell, Richard Poulsen, Barre Toelken, Roger Welsch, and folklife presenters; Fieldworker: Polly Stewart

1981: Western American Folk Culture

Conference Directors: Barbara Garrett [Walker Lloyd] and William A Wilson, with help from Hal Cannon; Honor Lecture: Wayland Hand; Faculty: Louie Attebery, Tom Carter, Edward Ives, Richard Poulsen, Beverly Stoeltje, Barre Toelken, Roger Welsch, and Western State Folk Arts Coordinators

1982:

Conference Directors: Barbara Garrett [Walker Lloyd] and William A Wilson, with help from Hal Cannon and Elaine Thatcher; Honor Lecture: Hector Lee; Faculty: Meg Brady, James S. Griffith, David Hufford, Pat Jasper, Michael Owen Jones, Patrick Mullen, Barre Toelken, and Western State Folk Arts Coordinators

1983:

Conference Directors: Barbara Garrett [Walker Lloyd] and William A Wilson, with help from Hal Cannon; Honor Lecture: Lynwood Montell; Faculty: Barbara Allen, Jay Anderson, Jan Brunvand, Barre Toelken, Roger Welsch, and panel presentation by folklorists who conducted a study of Carbon County, Utah

1984:

Conference Directors: Barbara Garrett [Walker Lloyd] and William A. Wilson, with help from Carol Edison; Honor Lecture: Roger Welsch; Faculty: Margaret Brady, Larry Danielson, Robert McCarl, Elliott Oring, John Vlach, Steve Siporin, Barre Toelken

1985:

Conference Directors: Barbara Walker [Lloyd], with help from Hal Cannon and Carol Edison; Honor Lecture: Barre Toelken; Faculty: Simon Bronner, Tom Carter, Carol Edison, Sylvia Ann Grider, James Griffith, Suzi Jones, Elliott Oring, William A. Wilson

1986:

Conference Directors: Barbara Walker [Lloyd] and Barre Toelken; Honor Lecture: William A. Wilson; Faculty: Vanessa Brown (Native American powwow traditions and Navajo beadwork), Jan Brunvand, Hal Cannon, Larry Danielson, Carol Edison, Elaine Eff, Joseph Hickerson, David Hufford, Lynn Martin, Twilo Scofield, Vern Shaffer (whittler), Steve Siporin, David Stanley, Elaine Thatcher

1987:

Conference Directors: Steve Siporin and Carol Edison; Honor Lecture: Archie Green; Faculty: Jay Anderson, Jane Beck, Margaret K. Brady, Hal Cannon, Linda Geames (teacher workshop), Jens Lund, Robert McCarl, Elliott Oring, Twilo Scofield, Dave Sealander (performer), Barre Toelken

1988:

Conference Directors: Steve Siporin and Carol Edison; Honor Lecture: Bess Lomax Hawes; Faculty: Margaret K. Brady, Barbara Kirshenblatt-Gimblett, James S. Griffith, David Hufford, Kathryn Johnson, Blanton Owen, Sharon R. Sherman, Barre Toelken, Roger L. Welsch

1989:

Conference Directors: Barbara Walker [Lloyd] and Barre Toelken, with help from Karen Krieger; Honor Lecture: Alan Jabbour; Faculty: Barbara Allen, Jay Anderson, Margaret K. Brady, Jan Harold Brunvand, Hal Cannon, Bob Christiansen (cowboy poet), Don Kennington (cowboy poet), Tim Evans, Kathryn Johnson, Lynwood Montell, Jan Roush, Steve Siporin, Barre Toelken, William A. Wilson Roger L. Welsch, Steven J. Zeitlin, and state folk art coordinators

1990: A Gathering of Stories

Conference Directors: Barbara Walker [Lloyd] and Barre Toelken; Honor Lecture: Simon J. Ortiz (cancelled); Faculty: Jay Anderson, Margaret Brady, Carol Birch, Jan Harold Brunvand, Hal Cannon, Carol Edison, Robert S. McCarl, Jr., Joanne Mulcahy, Patrick B. Mullen, Jan Roush, Ona Siporin, Steve Siporin, Arthur Smith, Kay Stone, Barre Toelken, Cathryn Wellner, William A. Wilson, and state folk arts coordinators

1991: Folklore and the Supernatural

Conference Directors: Barbara Walker [Lloyd] and Barre Toelken; Honor Lecture: Elliott Oring; Faculty: Jay Anderson, Jan Harold Brunvand, Carol Edison, Sylvia Ann Grider, Annie Hatch, David J. Hufford, Karen Krieger, Timothy C. Lloyd, James M. McClenon, Ona Siporin, Steve Siporin, Barre Toelken, William A. Wilson, and state folk arts coordinators

1992: The Folklore of Food

Conference Directors: Barbara Walker [Lloyd] and Barre Toelken; Honor Lecture: Alan Dundes; Faculty: Jay Anderson, Jan Anderson, Charles Camp, Linda T. Humphrey, Theodore “Ted” Humphrey, Timothy C. Lloyd, Carol Loveland, Kathy Neustadt, Steve Siporin, Barre Toelken, and state folk arts coordinators

1993: Folklore and Cultural Diversity

Conference Directors: Barbara Walker [Lloyd] and Barre Toelken; Honor Lecture: Emory Sekaquaptewa, Hopi Elder and anthropologist; Faculty: Barry Jean Ancelet, Vanessa Brown (Native American traditions), Adrian H. Bustamante, Carol Edison, James Griffith, Maria Herrera-Sobek, Barre Toelken, George Wasson, and state folk arts coordinators; Exhibit: “America’s Living Folk Traditions,” an exhibit of the National Heritage Fellows developed by the Museum of International Folk Art in Santa Fe, New Mexico, displayed in USU’s Nora Eccles Harrison Museum of Art.

1994: Folklore and the Life Cycle

Conference Directors: Barbara Walker [Lloyd] and Barre Toelken; Honor Lecture: David J. Hufford; Faculty: Simon J. Bronner, Jan Brunvand, Carol Edison, Annie Hatch, Patrick B. Mullen, Beverly Robinson, Jan Roush, Shumway Family (Old-time Mormon Dance Music, evening performance), Ona Siporin, Steve Siporin, C.W. Sullivan III, Barre Toelken, William A. Wilson; Exhibit: Life cycle exhibit of photos and artifacts on display in the Merrill Library, Randy Williams, curator

1995: Folklore and Traditional Belief

Conference Directors: Barbara Walker [Lloyd] and Barre Toelken; Folk Artist Coordinator: Randy Williams; Honor Lecture: Wolfgang Mieder; Faculty: Richard Barson (water witch/dowser), Vanessa Brown (Navajo beadwork and powwow dancing), Jan Harold Brunvand, Richley Crapo, Bonnie Glass-Coffin, Indian Creek Singers (Navajo drum, evening performance with the Ketchums and V. Brown), Aldean Ketchum (Ute courting flutes), Wanda Ketchum (powwow dancing and regalia), Jan Roush, Steve Siporin, C.W. Sullivan III, Barre Toelken, Patricia A. Turner, William A. Wilson, Randy Williams

1996: Folk Medicine

Conference Directors: Barbara Walker [Lloyd] and Barre Toelken; Folk Artist Coordinator: Randy Williams; Honor Lecture: Patrick B. Mullen; Faculty: Erika Brady, Margaret K. Brady, Eva Castellanoz (curandera: Mexican American healer), Bonnie Glass-Coffin, David J. Hufford, Andrew Natonabah (Navajo singer/medicine man), Bonnie O’Connor, Ada Rigby (Western/Mormon medicinal gardener), Barre Toelken, Rosanna Walker (midwife/scholar)

1997: Folklore and the Traditional Arts

Conference Directors: Barre Toelken and Randy Williams; Honor Lecture: Henry Glassie; Faculty: Rita Bankhead and the Salt Lake Afrikan American Dancers (African American dance, Rita Bankhead, director), Mary Holiday Black (Navajo basketmaker and National Heritage Award recipient), Vanessa Brown (Native American powwow dance and regalia: canceled due to death in family), Norma E. Cantú, Genoveva (Eva) Castellanoz (Mexican American paper and wax flower artist and National Heritage Award recipient), Chianing Cha (Hmong paj ntaub artist), Carol Edison, Agnes Gray (Navajo basketmaker), Max and Tami Godfrey (rawhide braiders), Anne F. Hatch, Marjorie Hunt, Norman Kennedy (Scottish ballad singer and weaver), Marsha MacDowell, Kou T. Mou (Hmong paj ntaub artist), Steve Siporin, Barre Toelken, Randy Williams, William A. Wilson; Exhibits: “Willow Stories: Utah Navajo Baskets,” Utah Arts Council Traveling Exhibit Program, Brigham City Museum (Carol Edison, curator of exhibit); “Helping Hands: Folk Arts from the Utah Arts Council’s Apprenticeship Program,” Utah Arts Council Traveling Exhibit Program, Merrill Library foyer, USU Campus (Annie Hatch exhibit curator and docent for Tuesday, 10 June gallery talk, Rose Milovich, USU exhibit curator/liaison)

1998: Folklore and the Sense of Place

Conference Directors: Barre Toelken and Randy Williams; Graduate Interns: Steve Hatcher, Valerie Young, Nora Zambreno; Honor Lecture: Hal Cannon and Teresa Jordan; Faculty: Jan Anderson, Jay Anderson, Melanie Capener (Mormon/western quilter), Carol Edison, LaRue Hansen (Mormon/western quilter), H. Bert Jenson, Bruce King (rancher/cowboy poet), Lynwood Montell, Steve Siporin, Jeannie B. Thomas, Barre Toelken, William A Wilson, Francisco Zamora (Mexican American charro/rope artist), Steven J. Zeitlin

1999: Folksong and Folk Music

Conference Directors: Barre Toelken and Randy Williams; Graduate Interns: Steven Hatcher, Robin Parent, Patrick Vrooman; Honor Lecture: James Griffith; Faculty: The Anton Family Band (John and Helen Anton family: Lebanese American music and song), Vanessa Brown (Native American Powwow traditions), Anastacio and Elisa Castillo (Rio Bravo Duet: Mexican traditional music), Luisa Del Giudice, The KlezBros (David Asman, director: Jewish klezmer music), Craig Miller, Charlie Seemann, Joseph Wilson, Barre Toelken

2000: Folklore at the Millennium

Conference Directors: Barre Toelken and Randy Williams; Graduate Interns: Anna Maria Arnljots, Jon Lee, Lynne McNeill, Sarah Rudd; Honor Lecture: Jan Harold Brunvand; Faculty: Eva Castellanoz (Mexican American paper and wax flower artist and National Heritage Award recipient), Elisa and Anastacio Castillo (Rio Bravo Duet, Mexican traditional music, evening performance), Norine Dresser, Diane Goldstein, Jo Radner, Colen Sweeten (Cowboy Poet), Jeannie Thomas, Barre Toelken, Toelken Family Singing (family and friends of Barre Toelken, singing traditional songs at the evening performance); Exhibit: “Different Hairs on the Same Dog,” Western Folklife Traveling Exhibit, Meg Glazer, curator, Rose Milovich, USU liaison

2001: Folklore of Celebration: 25th Anniversary

Conference Directors: Barre Toelken and Randy Williams; Graduate Interns: Jon Lee and Lynne McNeill; Honor Lecture: Barbara Lloyd; Faculty: Paddy Bowman (teacher track), Vanessa Brown (Navajo kinaaldá traditions),Eva Castellanoz (Mexican American quinceañera traditions and National Heritage Award recipient) Carol Edison, Gabrielle Hamilton, Timothy Lloyd, Craig Miller, Pattie Richards and the Buckle Busters (Old-time Utah dance music, evening performance), Jack Santino, Steve Siporin, Bonnie Sunstein (teacher track), Jeannie B. Thomas, Barre Toelken, Randy Williams

2002: Folklore of Humor

Conference Directors: Barre Toelken and Star Coulbrooke; Graduate Interns: Matt Irwin and Lynne McNeill; Honor Lecture: Margaret K. Brady; Faculty: Star Coulbrooke, Jim Kimball (“An Evening with Uncle Golden,” evening performance), James P. Leary, Elliott Oring, Cathy Preston, Jan Roush, Jeannie Thomas, Barre Toelken, Michael Ward, William A. Wilson

2003: Folklore and Identity

Conference Directors: Jan Roush and Jeannie Thomas; Honor Lecture: Burt Feintuch; Faculty: Barbara Bogart, Sabine Maglioco, Jan Roush, Steve Siporin, Jeannie Thomas

2004: Folklore and Community

Conference Directors: Jan Roush and Jeannie Thomas; Honor Lecture: Carl Lindahl; Faculty: Hal Cannon, Carl Lindahl, Margaret Mills, Steve Siporin, Margaret (Peggy) Yocom

2005: Folklore and Creativity

Conference Directors: Jan Roush and Jeannie Thomas; Honor Lecture: David Stanley; Faculty: Lisa Gabbert, Nan McEntire, Mario Montano, Jan Roush, David Stavely, Jeannie Thomas, Barre Toelken

2006: Folklore

Conference Directors: Jan Roush and Jeannie Thomas; Honor Lecture: Nick Spitzer; Faculty:

2007: Folklore

Conference Directors: Jan Roush and Jeannie Thomas; Honor Lecture: Trudier Harris; Faculty:

2008: Life Stories

Workshop Director/Instructor: Jeannie Thomas; Workshop Keynote: Guha Shankar; Honor Lecture: Peggy Seeger

2009: Rites of Passage

Workshop Director/Instructor: Lynne McNeill; Honor Lecture: Polly Stewart

2010: Folklore and Animals

Workshop Director/Instructor: Lynne McNeill; Honor Lecture: Jennifer Attebery; Guest lecturer: Ian Brodie

2011: Folklore and Medicine

Workshop Director/Instructor: Lynne McNeill; 30th Annual Honor Lecture: John McDowell; Guest lecturers: Bonnie Glass-Coffin, Lisa Gabbert, Andrea Kitta

The Fife Folklore Archives Student Folklore Genre Collection consists of folklore items collected by undergraduate students in Utah State University folklore classes from the late 1960s to the present and folklore items collected by undergraduate students in Brigham Young University folklore and anthropology classes during 1960-1978. Most items include informant data, context, text (the folklore item), texture (stylistic notation), and collector data. The items of folklore are in text form on 8 ½ x 11 sheets of line-free paper. Since, 1999 genre items also include release forms. The materials do not circulate. The collection is separated into nine groups:

In the late 1960s, folklore courses were first taught at USU by Professor Austin Fife. At this time, Fife (a French professor) had his students collect items of folklore on pre-printed index cards. The information on the cards has now been transferred to 8 ½ x 11 sheets of paper and the items have been added to the genre collection. At about the same time (1967) at Brigham Young University (BYU) in Provo, Utah, Professor William A. Wilson began teaching folklore classes. Wilson had his students collect folklore using both genre collections and major project (focused) collections. The genre items were separated and filed by genre. Also included in the BYU genre collection were items from two other BYU professors who had their students collect folklore: John Sorenson and Thomas Cheney. The student collections from Sorenson and Cheney were given to Wilson and he added them to the genre collection along with his students' work. On these items, in the upper right hand corner above all other information, Wilson noted "SC" for Sorenson Collection and "CC" for Cheney Collection.

In 1978, William A. Wilson left Brigham Young University to direct the newly established Folklore Program and Folklore Archives at Utah State University. Wilson brought to USU the student genre collection that he had amassed at BYU, with a copy of the genre collection remaining at the BYU library. At the USU folklore archives (later named the Fife Folklore Archives for Austin and Alta Fife), William A. Wilson and Barbara [Garrett] [Walker] Lloyd used the already sorted BYU materials when creating the collection classification system. This classification system, with its roots in the Finnish archive tradition, is still used at the Fife Folklore Archives.

Wilson was at USU until 1985 when he returned to BYU to head the English Department. However, the BYU administration gave him a year's leave of absence to copy all the student materials in the Fife Folklore Archives at USU and bring them with him to BYU. Wilson notes: "Hannele [wife] and I practically lived in the USU archive. Max [Peterson, Director of the Merrill Library] brought a copy machine into the archive, and we copied day after day. First we copied the entire BYU genre collection. Then we copied all the items in the accumulated genre piles [of USU items]." Thus, in 1985 the BYU and USU folklore genre and focused collections were identical. During the following years, William A. Wilson and later Kristi Bell at BYU's Folklore Archives (now named the William A. Wilson Folklore Archives) and Barbara [Garrett] [Walker] Lloyd and later Randy Williams at the Fife Folklore Archives at USU worked to maintain the same classification system at both universities' folklore archives. However, the materials submitted by students from the two universities began, of course, to differ from each other, as students generally collect the kinds of materials their professors talk about in class.

In 1985 Professor Barre Toelken came to USU (from the University of Oregon) to direct the Folklore Program. He continued the folklore-collecting legacy that Austin Fife and William A. Wilson began. Over the years Professors Steve Siporin, Patricia Gardner, Jan Roush, Jeannie Thomas, Lisa Gabbert and Lynne McNeill and instructors Barbara [Garrett] [Walker] Lloyd, Randy Williams, and Michael Christensen (and others) have all had their students collect and deposit folklore items to the Fife Folklore Archives. And thus, the USU Student Genre Collection continues to grow. The format has changed somewhat over the years to reflect the trends in folkloristics. As stated above, many of the early submissions had little contextual data, and often limited, if any, informant data. William A. Wilson created a collecting format that included: informant data, contextual data, and text (item of folklore). Barre Toelken and Randy Williams added "texture" to the format of genre collections, allowing the collector to give "the feel" of the item to potential researchers. In in 1998, students were asked to include release forms with their genre items, following a trend in the folklore field that addresses not only the item (which in some cases, like a joke, may been seen as part of the public domain materials and therefore not needing a release) but also the performance of the lore (and therefore necessary for a release from the performer informant).In 2002, the collection was moved from hundreds of three-ringed binders to archival folders and boxes, making the collection more physically stable and easier to manage and use. In 2003, the collection finding aids were encoded in HTML as a means of hosting them on-line for greater research accessibility. In 2012, the finding aids were hosted in EAD.

The Austin and Alta Fife Fieldwork Collection is comprised of the original fieldwork (acetate discs, reel-to-reel field recordings and field notes) and slides gathered/taken by the Fife's between the 1940s and late 1970s. Using summer vacations and weekends, the Fifes traveled all over the west–most intensively in their native Utah–with a camping trailer, recording equipment, camera and stenographic materials to collect the folklife of the American West, including cowboy songs, Mormon folklore and slides of vernacular architecture. On their fieldtrips, typically, one of them would interview someone while the other took notes or operated a recording device. They also visited libraries throughout the west, taking notes and making copies of songs and stories housed in regional and archival collections. Austin Fife took the slide images.

The fieldwork collection includes the Fife Mormon Collection (Mormon folksongs and narratives), the Fife American Collection (a large body of cowboy and western folksongs and ballads, including collections from N. Howard Thorp, Charles A. Siringo, Laurence White (called songs in the register), extracts from The Pacific Northwest Farm Quad, extracts from The Edwin Ford Piper Collection, extracts from the Stella M. Hendren Collection, extracts from the John Lomax Papers, and extracts from the Robert W. Gordon Collection, and the Robert W. Gordon: Oregon Collection), the Fife Slide Collection of Western U.S. Vernacular Architecture (slides of western American folklife: hay derricks, gravestones, mail box supports, fences, etc.), and their original fieldwork tapes and collected commercial recordings, which are housed in their respective collections.

Alta Fife methodically organized the fieldwork collections, including creating cross referenced finding aids and metadata cards for each image. In 1966, the Fife’s deposited their extensive fieldwork collections at Utah State University Library. In 1972, the Library established the Fife Library of Western Folklore (later renamed the Fife Folklore Archives) under the administration of the Special Collections Department. A 1993 grant from the National Historical Preservation and Records Commission allowed for the transfer of the Fife Mormon and American fieldwork recordings from acetate discs and reel-to-reel tapes to archival reel-to-reel tapes for long term storage and cassette tapes for normal research use, thus assuring both the security and accessibility of the Fifes' extensive fieldwork recordings.

Copy two of the Fife's original fieldwork (FMC and FAC, series one) was transfered to Brigham Young University's William A. Wilson Folklore Archives, September 2005.

The Fife Folklore Archives Student Folklore Genre Collection consists of folklore items collected by undergraduate students in Utah State University folklore classes from the late 1960s to the present and folklore items collected by undergraduate students in Brigham Young University folklore and anthropology classes during 1960-1978. Most items include informant data, context, text (the folklore item), texture (stylistic notation), and collector data. The items of folklore are in text form on 8 ½ x 11 sheets of line-free paper. Since, 1999 genre items also include release forms. The materials do not circulate. The collection is separated into nine groups:

In the late 1960s, folklore courses were first taught at USU by Professor Austin Fife. At this time, Fife (a French professor) had his students collect items of folklore on pre-printed index cards. The information on the cards has now been transferred to 8 ½ x 11 sheets of paper and the items have been added to the genre collection. At about the same time (1967) at Brigham Young University (BYU) in Provo, Utah, Professor William A. Wilson began teaching folklore classes. Wilson had his students collect folklore using both genre collections and major project (focused) collections. The genre items were separated and filed by genre. Also included in the BYU genre collection were items from two other BYU professors who had their students collect folklore: John Sorenson and Thomas Cheney. The student collections from Sorenson and Cheney were given to Wilson and he added them to the genre collection along with his students' work. On these items, in the upper right hand corner above all other information, Wilson noted "SC" for Sorenson Collection and "CC" for Cheney Collection.

In 1978, William A. Wilson left Brigham Young University to direct the newly established Folklore Program and Folklore Archives at Utah State University. Wilson brought to USU the student genre collection that he had amassed at BYU, with a copy of the genre collection remaining at the BYU library. At the USU folklore archives (later named the Fife Folklore Archives for Austin and Alta Fife), William A. Wilson and Barbara [Garrett] [Walker] Lloyd used the already sorted BYU materials when creating the collection classification system. This classification system, with its roots in the Finnish archive tradition, is still used at the Fife Folklore Archives.

Wilson was at USU until 1985 when he returned to BYU to head the English Department. However, the BYU administration gave him a year's leave of absence to copy all the student materials in the Fife Folklore Archives at USU and bring them with him to BYU. Wilson notes: "Hannele [wife] and I practically lived in the USU archive. Max [Peterson, Director of the Merrill Library] brought a copy machine into the archive, and we copied day after day. First we copied the entire BYU genre collection. Then we copied all the items in the accumulated genre piles [of USU items]." Thus, in 1985 the BYU and USU folklore genre and focused collections were identical. During the following years, William A. Wilson and later Kristi Bell at BYU's Folklore Archives (now named the William A. Wilson Folklore Archives) and Barbara [Garrett] [Walker] Lloyd and later Randy Williams at the Fife Folklore Archives at USU worked to maintain the same classification system at both universities' folklore archives. However, the materials submitted by students from the two universities began, of course, to differ from each other, as students generally collect the kinds of materials their professors talk about in class.

In 1985 Professor Barre Toelken came to USU (from the University of Oregon) to direct the Folklore Program. He continued the folklore-collecting legacy that Austin Fife and William A. Wilson began. Over the years Professors Steve Siporin, Patricia Gardner, Jan Roush, Jeannie Thomas, Lisa Gabbert and Lynne McNeill and instructors Barbara [Garrett] [Walker] Lloyd, Randy Williams, and Michael Christensen (and others) have all had their students collect and deposit folklore items to the Fife Folklore Archives. And thus, the USU Student Genre Collection continues to grow. The format has changed somewhat over the years to reflect the trends in folkloristics. As stated above, many of the early submissions had little contextual data, and often limited, if any, informant data. William A. Wilson created a collecting format that included: informant data, contextual data, and text (item of folklore). Barre Toelken and Randy Williams added "texture" to the format of genre collections, allowing the collector to give "the feel" of the item to potential researchers. In in 1998, students were asked to include release forms with their genre items, following a trend in the folklore field that addresses not only the item (which in some cases, like a joke, may been seen as part of the public domain materials and therefore not needing a release) but also the performance of the lore (and therefore necessary for a release from the performer informant).In 2002, the collection was moved from hundreds of three-ringed binders to archival folders and boxes, making the collection more physically stable and easier to manage and use. In 2003, the collection finding aids were encoded in HTML as a means of hosting them on-line for greater research accessibility. In 2012, the finding aids were hosted in EAD.

The Fife Folklore Archives Student Folklore Genre Collection consists of folklore items collected by undergraduate students in Utah State University folklore classes from the late 1960s to the present and folklore items collected by undergraduate students in Brigham Young University folklore and anthropology classes during 1960-1978. Most items include informant data, context, text (the folklore item), texture (stylistic notation), and collector data. The items of folklore are in text form on 8 ½ x 11 sheets of line-free paper. Since, 1999 genre items also include release forms. The materials do not circulate. The collection is separated into nine groups:

In the late 1960s, folklore courses were first taught at USU by Professor Austin Fife. At this time, Fife (a French professor) had his students collect items of folklore on pre-printed index cards. The information on the cards has now been transferred to 8 ½ x 11 sheets of paper and the items have been added to the genre collection. At about the same time (1967) at Brigham Young University (BYU) in Provo, Utah, Professor William A. Wilson began teaching folklore classes. Wilson had his students collect folklore using both genre collections and major project (focused) collections. The genre items were separated and filed by genre. Also included in the BYU genre collection were items from two other BYU professors who had their students collect folklore: John Sorenson and Thomas Cheney. The student collections from Sorenson and Cheney were given to Wilson and he added them to the genre collection along with his students' work. On these items, in the upper right hand corner above all other information, Wilson noted "SC" for Sorenson Collection and "CC" for Cheney Collection.

In 1978, William A. Wilson left Brigham Young University to direct the newly established Folklore Program and Folklore Archives at Utah State University. Wilson brought to USU the student genre collection that he had amassed at BYU, with a copy of the genre collection remaining at the BYU library. At the USU folklore archives (later named the Fife Folklore Archives for Austin and Alta Fife), William A. Wilson and Barbara [Garrett] [Walker] Lloyd used the already sorted BYU materials when creating the collection classification system. This classification system, with its roots in the Finnish archive tradition, is still used at the Fife Folklore Archives.

Wilson was at USU until 1985 when he returned to BYU to head the English Department. However, the BYU administration gave him a year's leave of absence to copy all the student materials in the Fife Folklore Archives at USU and bring them with him to BYU. Wilson notes: "Hannele [wife] and I practically lived in the USU archive. Max [Peterson, Director of the Merrill Library] brought a copy machine into the archive, and we copied day after day. First we copied the entire BYU genre collection. Then we copied all the items in the accumulated genre piles [of USU items]." Thus, in 1985 the BYU and USU folklore genre and focused collections were identical. During the following years, William A. Wilson and later Kristi Bell at BYU's Folklore Archives (now named the William A. Wilson Folklore Archives) and Barbara [Garrett] [Walker] Lloyd and later Randy Williams at the Fife Folklore Archives at USU worked to maintain the same classification system at both universities' folklore archives. However, the materials submitted by students from the two universities began, of course, to differ from each other, as students generally collect the kinds of materials their professors talk about in class.

In 1985 Professor Barre Toelken came to USU (from the University of Oregon) to direct the Folklore Program. He continued the folklore-collecting legacy that Austin Fife and William A. Wilson began. Over the years Professors Steve Siporin, Patricia Gardner, Jan Roush, Jeannie Thomas, Lisa Gabbert and Lynne McNeill and instructors Barbara [Garrett] [Walker] Lloyd, Randy Williams, and Michael Christensen (and others) have all had their students collect and deposit folklore items to the Fife Folklore Archives. And thus, the USU Student Genre Collection continues to grow. The format has changed somewhat over the years to reflect the trends in folkloristics. As stated above, many of the early submissions had little contextual data, and often limited, if any, informant data. William A. Wilson created a collecting format that included: informant data, contextual data, and text (item of folklore). Barre Toelken and Randy Williams added "texture" to the format of genre collections, allowing the collector to give "the feel" of the item to potential researchers. In in 1998, students were asked to include release forms with their genre items, following a trend in the folklore field that addresses not only the item (which in some cases, like a joke, may been seen as part of the public domain materials and therefore not needing a release) but also the performance of the lore (and therefore necessary for a release from the performer informant).In 2002, the collection was moved from hundreds of three-ringed binders to archival folders and boxes, making the collection more physically stable and easier to manage and use. In 2003, the collection finding aids were encoded in HTML as a means of hosting them on-line for greater research accessibility. In 2012, the finding aids were hosted in EAD.

The Fife Folklore Archives Student Folklore Genre Collection consists of folklore items collected by undergraduate students in Utah State University folklore classes from the late 1960s to the present and folklore items collected by undergraduate students in Brigham Young University folklore and anthropology classes during 1960-1978. Most items include informant data, context, text (the folklore item), texture (stylistic notation), and collector data. The items of folklore are in text form on 8 ½ x 11 sheets of line-free paper. Since, 1999 genre items also include release forms. The materials do not circulate. The collection is separated into nine groups:

In the late 1960s, folklore courses were first taught at USU by Professor Austin Fife. At this time, Fife (a French professor) had his students collect items of folklore on pre-printed index cards. The information on the cards has now been transferred to 8 ½ x 11 sheets of paper and the items have been added to the genre collection. At about the same time (1967) at Brigham Young University (BYU) in Provo, Utah, Professor William A. Wilson began teaching folklore classes. Wilson had his students collect folklore using both genre collections and major project (focused) collections. The genre items were separated and filed by genre. Also included in the BYU genre collection were items from two other BYU professors who had their students collect folklore: John Sorenson and Thomas Cheney. The student collections from Sorenson and Cheney were given to Wilson and he added them to the genre collection along with his students' work. On these items, in the upper right hand corner above all other information, Wilson noted "SC" for Sorenson Collection and "CC" for Cheney Collection.

In 1978, William A. Wilson left Brigham Young University to direct the newly established Folklore Program and Folklore Archives at Utah State University. Wilson brought to USU the student genre collection that he had amassed at BYU, with a copy of the genre collection remaining at the BYU library. At the USU folklore archives (later named the Fife Folklore Archives for Austin and Alta Fife), William A. Wilson and Barbara [Garrett] [Walker] Lloyd used the already sorted BYU materials when creating the collection classification system. This classification system, with its roots in the Finnish archive tradition, is still used at the Fife Folklore Archives.

Wilson was at USU until 1985 when he returned to BYU to head the English Department. However, the BYU administration gave him a year's leave of absence to copy all the student materials in the Fife Folklore Archives at USU and bring them with him to BYU. Wilson notes: "Hannele [wife] and I practically lived in the USU archive. Max [Peterson, Director of the Merrill Library] brought a copy machine into the archive, and we copied day after day. First we copied the entire BYU genre collection. Then we copied all the items in the accumulated genre piles [of USU items]." Thus, in 1985 the BYU and USU folklore genre and focused collections were identical. During the following years, William A. Wilson and later Kristi Bell at BYU's Folklore Archives (now named the William A. Wilson Folklore Archives) and Barbara [Garrett] [Walker] Lloyd and later Randy Williams at the Fife Folklore Archives at USU worked to maintain the same classification system at both universities' folklore archives. However, the materials submitted by students from the two universities began, of course, to differ from each other, as students generally collect the kinds of materials their professors talk about in class.

In 1985 Professor Barre Toelken came to USU (from the University of Oregon) to direct the Folklore Program. He continued the folklore-collecting legacy that Austin Fife and William A. Wilson began. Over the years Professors Steve Siporin, Patricia Gardner, Jan Roush, Jeannie Thomas, Lisa Gabbert and Lynne McNeill and instructors Barbara [Garrett] [Walker] Lloyd, Randy Williams, and Michael Christensen (and others) have all had their students collect and deposit folklore items to the Fife Folklore Archives. And thus, the USU Student Genre Collection continues to grow. The format has changed somewhat over the years to reflect the trends in folkloristics. As stated above, many of the early submissions had little contextual data, and often limited, if any, informant data. William A. Wilson created a collecting format that included: informant data, contextual data, and text (item of folklore). Barre Toelken and Randy Williams added "texture" to the format of genre collections, allowing the collector to give "the feel" of the item to potential researchers. In in 1998, students were asked to include release forms with their genre items, following a trend in the folklore field that addresses not only the item (which in some cases, like a joke, may been seen as part of the public domain materials and therefore not needing a release) but also the performance of the lore (and therefore necessary for a release from the performer informant).In 2002, the collection was moved from hundreds of three-ringed binders to archival folders and boxes, making the collection more physically stable and easier to manage and use. In 2003, the collection finding aids were encoded in HTML as a means of hosting them on-line for greater research accessibility. In 2012, the finding aids were hosted in EAD.

The Fife Folklore Archives Student Folklore Genre Collection consists of folklore items collected by undergraduate students in Utah State University folklore classes from the late 1960s to the present and folklore items collected by undergraduate students in Brigham Young University folklore and anthropology classes during 1960-1978. Most items include informant data, context, text (the folklore item), texture (stylistic notation), and collector data. The items of folklore are in text form on 8 ½ x 11 sheets of line-free paper. Since, 1999 genre items also include release forms. The materials do not circulate. The collection is separated into nine groups:

In the late 1960s, folklore courses were first taught at USU by Professor Austin Fife. At this time, Fife (a French professor) had his students collect items of folklore on pre-printed index cards. The information on the cards has now been transferred to 8 ½ x 11 sheets of paper and the items have been added to the genre collection. At about the same time (1967) at Brigham Young University (BYU) in Provo, Utah, Professor William A. Wilson began teaching folklore classes. Wilson had his students collect folklore using both genre collections and major project (focused) collections. The genre items were separated and filed by genre. Also included in the BYU genre collection were items from two other BYU professors who had their students collect folklore: John Sorenson and Thomas Cheney. The student collections from Sorenson and Cheney were given to Wilson and he added them to the genre collection along with his students' work. On these items, in the upper right hand corner above all other information, Wilson noted "SC" for Sorenson Collection and "CC" for Cheney Collection.

In 1978, William A. Wilson left Brigham Young University to direct the newly established Folklore Program and Folklore Archives at Utah State University. Wilson brought to USU the student genre collection that he had amassed at BYU, with a copy of the genre collection remaining at the BYU library. At the USU folklore archives (later named the Fife Folklore Archives for Austin and Alta Fife), William A. Wilson and Barbara [Garrett] [Walker] Lloyd used the already sorted BYU materials when creating the collection classification system. This classification system, with its roots in the Finnish archive tradition, is still used at the Fife Folklore Archives.

Wilson was at USU until 1985 when he returned to BYU to head the English Department. However, the BYU administration gave him a year's leave of absence to copy all the student materials in the Fife Folklore Archives at USU and bring them with him to BYU. Wilson notes: "Hannele [wife] and I practically lived in the USU archive. Max [Peterson, Director of the Merrill Library] brought a copy machine into the archive, and we copied day after day. First we copied the entire BYU genre collection. Then we copied all the items in the accumulated genre piles [of USU items]." Thus, in 1985 the BYU and USU folklore genre and focused collections were identical. During the following years, William A. Wilson and later Kristi Bell at BYU's Folklore Archives (now named the William A. Wilson Folklore Archives) and Barbara [Garrett] [Walker] Lloyd and later Randy Williams at the Fife Folklore Archives at USU worked to maintain the same classification system at both universities' folklore archives. However, the materials submitted by students from the two universities began, of course, to differ from each other, as students generally collect the kinds of materials their professors talk about in class.

In 1985 Professor Barre Toelken came to USU (from the University of Oregon) to direct the Folklore Program. He continued the folklore-collecting legacy that Austin Fife and William A. Wilson began. Over the years Professors Steve Siporin, Patricia Gardner, Jan Roush, Jeannie Thomas, Lisa Gabbert and Lynne McNeill and instructors Barbara [Garrett] [Walker] Lloyd, Randy Williams, and Michael Christensen (and others) have all had their students collect and deposit folklore items to the Fife Folklore Archives. And thus, the USU Student Genre Collection continues to grow. The format has changed somewhat over the years to reflect the trends in folkloristics. As stated above, many of the early submissions had little contextual data, and often limited, if any, informant data. William A. Wilson created a collecting format that included: informant data, contextual data, and text (item of folklore). Barre Toelken and Randy Williams added "texture" to the format of genre collections, allowing the collector to give "the feel" of the item to potential researchers. In in 1998, students were asked to include release forms with their genre items, following a trend in the folklore field that addresses not only the item (which in some cases, like a joke, may been seen as part of the public domain materials and therefore not needing a release) but also the performance of the lore (and therefore necessary for a release from the performer informant).In 2002, the collection was moved from hundreds of three-ringed binders to archival folders and boxes, making the collection more physically stable and easier to manage and use. In 2003, the collection finding aids were encoded in HTML as a means of hosting them on-line for greater research accessibility. In 2012, the finding aids were hosted in EAD.

The Fife Folklore Archives Student Folklore Genre Collection consists of folklore items collected by undergraduate students in Utah State University folklore classes from the late 1960s to the present and folklore items collected by undergraduate students in Brigham Young University folklore and anthropology classes during 1960-1978. Most items include informant data, context, text (the folklore item), texture (stylistic notation), and collector data. The items of folklore are in text form on 8 ½ x 11 sheets of line-free paper. Since, 1999 genre items also include release forms. The materials do not circulate. The collection is separated into nine groups:

In the late 1960s, folklore courses were first taught at USU by Professor Austin Fife. At this time, Fife (a French professor) had his students collect items of folklore on pre-printed index cards. The information on the cards has now been transferred to 8 ½ x 11 sheets of paper and the items have been added to the genre collection. At about the same time (1967) at Brigham Young University (BYU) in Provo, Utah, Professor William A. Wilson began teaching folklore classes. Wilson had his students collect folklore using both genre collections and major project (focused) collections. The genre items were separated and filed by genre. Also included in the BYU genre collection were items from two other BYU professors who had their students collect folklore: John Sorenson and Thomas Cheney. The student collections from Sorenson and Cheney were given to Wilson and he added them to the genre collection along with his students' work. On these items, in the upper right hand corner above all other information, Wilson noted "SC" for Sorenson Collection and "CC" for Cheney Collection.

In 1978, William A. Wilson left Brigham Young University to direct the newly established Folklore Program and Folklore Archives at Utah State University. Wilson brought to USU the student genre collection that he had amassed at BYU, with a copy of the genre collection remaining at the BYU library. At the USU folklore archives (later named the Fife Folklore Archives for Austin and Alta Fife), William A. Wilson and Barbara [Garrett] [Walker] Lloyd used the already sorted BYU materials when creating the collection classification system. This classification system, with its roots in the Finnish archive tradition, is still used at the Fife Folklore Archives.

Wilson was at USU until 1985 when he returned to BYU to head the English Department. However, the BYU administration gave him a year's leave of absence to copy all the student materials in the Fife Folklore Archives at USU and bring them with him to BYU. Wilson notes: "Hannele [wife] and I practically lived in the USU archive. Max [Peterson, Director of the Merrill Library] brought a copy machine into the archive, and we copied day after day. First we copied the entire BYU genre collection. Then we copied all the items in the accumulated genre piles [of USU items]." Thus, in 1985 the BYU and USU folklore genre and focused collections were identical. During the following years, William A. Wilson and later Kristi Bell at BYU's Folklore Archives (now named the William A. Wilson Folklore Archives) and Barbara [Garrett] [Walker] Lloyd and later Randy Williams at the Fife Folklore Archives at USU worked to maintain the same classification system at both universities' folklore archives. However, the materials submitted by students from the two universities began, of course, to differ from each other, as students generally collect the kinds of materials their professors talk about in class.

In 1985 Professor Barre Toelken came to USU (from the University of Oregon) to direct the Folklore Program. He continued the folklore-collecting legacy that Austin Fife and William A. Wilson began. Over the years Professors Steve Siporin, Patricia Gardner, Jan Roush, Jeannie Thomas, Lisa Gabbert and Lynne McNeill and instructors Barbara [Garrett] [Walker] Lloyd, Randy Williams, and Michael Christensen (and others) have all had their students collect and deposit folklore items to the Fife Folklore Archives. And thus, the USU Student Genre Collection continues to grow. The format has changed somewhat over the years to reflect the trends in folkloristics. As stated above, many of the early submissions had little contextual data, and often limited, if any, informant data. William A. Wilson created a collecting format that included: informant data, contextual data, and text (item of folklore). Barre Toelken and Randy Williams added "texture" to the format of genre collections, allowing the collector to give "the feel" of the item to potential researchers. In in 1998, students were asked to include release forms with their genre items, following a trend in the folklore field that addresses not only the item (which in some cases, like a joke, may been seen as part of the public domain materials and therefore not needing a release) but also the performance of the lore (and therefore necessary for a release from the performer informant).In 2002, the collection was moved from hundreds of three-ringed binders to archival folders and boxes, making the collection more physically stable and easier to manage and use. In 2003, the collection finding aids were encoded in HTML as a means of hosting them on-line for greater research accessibility. In 2012, the finding aids were hosted in EAD.

The Fife Folklore Archives Student Folklore Genre Collection consists of folklore items collected by undergraduate students in Utah State University folklore classes from the late 1960s to the present and folklore items collected by undergraduate students in Brigham Young University folklore and anthropology classes during 1960-1978. Most items include informant data, context, text (the folklore item), texture (stylistic notation), and collector data. The items of folklore are in text form on 8 ½ x 11 sheets of line-free paper. Since, 1999 genre items also include release forms. The materials do not circulate. The collection is separated into nine groups:

In the late 1960s, folklore courses were first taught at USU by Professor Austin Fife. At this time, Fife (a French professor) had his students collect items of folklore on pre-printed index cards. The information on the cards has now been transferred to 8 ½ x 11 sheets of paper and the items have been added to the genre collection. At about the same time (1967) at Brigham Young University (BYU) in Provo, Utah, Professor William A. Wilson began teaching folklore classes. Wilson had his students collect folklore using both genre collections and major project (focused) collections. The genre items were separated and filed by genre. Also included in the BYU genre collection were items from two other BYU professors who had their students collect folklore: John Sorenson and Thomas Cheney. The student collections from Sorenson and Cheney were given to Wilson and he added them to the genre collection along with his students' work. On these items, in the upper right hand corner above all other information, Wilson noted "SC" for Sorenson Collection and "CC" for Cheney Collection.

In 1978, William A. Wilson left Brigham Young University to direct the newly established Folklore Program and Folklore Archives at Utah State University. Wilson brought to USU the student genre collection that he had amassed at BYU, with a copy of the genre collection remaining at the BYU library. At the USU folklore archives (later named the Fife Folklore Archives for Austin and Alta Fife), William A. Wilson and Barbara [Garrett] [Walker] Lloyd used the already sorted BYU materials when creating the collection classification system. This classification system, with its roots in the Finnish archive tradition, is still used at the Fife Folklore Archives.

Wilson was at USU until 1985 when he returned to BYU to head the English Department. However, the BYU administration gave him a year's leave of absence to copy all the student materials in the Fife Folklore Archives at USU and bring them with him to BYU. Wilson notes: "Hannele [wife] and I practically lived in the USU archive. Max [Peterson, Director of the Merrill Library] brought a copy machine into the archive, and we copied day after day. First we copied the entire BYU genre collection. Then we copied all the items in the accumulated genre piles [of USU items]." Thus, in 1985 the BYU and USU folklore genre and focused collections were identical. During the following years, William A. Wilson and later Kristi Bell at BYU's Folklore Archives (now named the William A. Wilson Folklore Archives) and Barbara [Garrett] [Walker] Lloyd and later Randy Williams at the Fife Folklore Archives at USU worked to maintain the same classification system at both universities' folklore archives. However, the materials submitted by students from the two universities began, of course, to differ from each other, as students generally collect the kinds of materials their professors talk about in class.

In 1985 Professor Barre Toelken came to USU (from the University of Oregon) to direct the Folklore Program. He continued the folklore-collecting legacy that Austin Fife and William A. Wilson began. Over the years Professors Steve Siporin, Patricia Gardner, Jan Roush, Jeannie Thomas, Lisa Gabbert and Lynne McNeill and instructors Barbara [Garrett] [Walker] Lloyd, Randy Williams, and Michael Christensen (and others) have all had their students collect and deposit folklore items to the Fife Folklore Archives. And thus, the USU Student Genre Collection continues to grow. The format has changed somewhat over the years to reflect the trends in folkloristics. As stated above, many of the early submissions had little contextual data, and often limited, if any, informant data. William A. Wilson created a collecting format that included: informant data, contextual data, and text (item of folklore). Barre Toelken and Randy Williams added "texture" to the format of genre collections, allowing the collector to give "the feel" of the item to potential researchers. In in 1998, students were asked to include release forms with their genre items, following a trend in the folklore field that addresses not only the item (which in some cases, like a joke, may been seen as part of the public domain materials and therefore not needing a release) but also the performance of the lore (and therefore necessary for a release from the performer informant).In 2002, the collection was moved from hundreds of three-ringed binders to archival folders and boxes, making the collection more physically stable and easier to manage and use. In 2003, the collection finding aids were encoded in HTML as a means of hosting them on-line for greater research accessibility. In 2012, the finding aids were hosted in EAD.

The Austin and Alta Fife Fieldwork Collection is comprised of the original fieldwork (acetate discs, reel-to-reel field recordings and field notes) and slides gathered/taken by the Fife's between the 1940s and late 1970s. Using summer vacations and weekends, the Fifes traveled all over the west–most intensively in their native Utah–with a camping trailer, recording equipment, camera and stenographic materials to collect the folklife of the American West, including cowboy songs, Mormon folklore and slides of vernacular architecture. On their fieldtrips, typically, one of them would interview someone while the other took notes or operated a recording device. They also visited libraries throughout the west, taking notes and making copies of songs and stories housed in regional and archival collections. Austin Fife took the slide images.

The fieldwork collection includes the Fife Mormon Collection (Mormon folksongs and narratives), the Fife American Collection (a large body of cowboy and western folksongs and ballads, including collections from N. Howard Thorp, Charles A. Siringo, Laurence White (called songs in the register), extracts from The Pacific Northwest Farm Quad, extracts from The Edwin Ford Piper Collection, extracts from the Stella M. Hendren Collection, extracts from the John Lomax Papers, and extracts from the Robert W. Gordon Collection, and the Robert W. Gordon: Oregon Collection), the Fife Slide Collection of Western U.S. Vernacular Architecture (slides of western American folklife: hay derricks, gravestones, mail box supports, fences, etc.), and their original fieldwork tapes and collected commercial recordings, which are housed in their respective collections.

Alta Fife methodically organized the fieldwork collections, including creating cross referenced finding aids and metadata cards for each image. In 1966, the Fife’s deposited their extensive fieldwork collections at Utah State University Library. In 1972, the Library established the Fife Library of Western Folklore (later renamed the Fife Folklore Archives) under the administration of the Special Collections Department. A 1993 grant from the National Historical Preservation and Records Commission allowed for the transfer of the Fife Mormon and American fieldwork recordings from acetate discs and reel-to-reel tapes to archival reel-to-reel tapes for long term storage and cassette tapes for normal research use, thus assuring both the security and accessibility of the Fifes' extensive fieldwork recordings.

Copy two of the Fife's original fieldwork (FMC and FAC, series one) was transfered to Brigham Young University's William A. Wilson Folklore Archives, September 2005.

The Fife Folklore Archives Student Folklore Genre Collection consists of folklore items collected by undergraduate students in Utah State University folklore classes from the late 1960s to the present and folklore items collected by undergraduate students in Brigham Young University folklore and anthropology classes during 1960-1978. Most items include informant data, context, text (the folklore item), texture (stylistic notation), and collector data. The items of folklore are in text form on 8 ½ x 11 sheets of line-free paper. Since, 1999 genre items also include release forms. The materials do not circulate. The collection is separated into nine groups:

In the late 1960s, folklore courses were first taught at USU by Professor Austin Fife. At this time, Fife (a French professor) had his students collect items of folklore on pre-printed index cards. The information on the cards has now been transferred to 8 ½ x 11 sheets of paper and the items have been added to the genre collection. At about the same time (1967) at Brigham Young University (BYU) in Provo, Utah, Professor William A. Wilson began teaching folklore classes. Wilson had his students collect folklore using both genre collections and major project (focused) collections. The genre items were separated and filed by genre. Also included in the BYU genre collection were items from two other BYU professors who had their students collect folklore: John Sorenson and Thomas Cheney. The student collections from Sorenson and Cheney were given to Wilson and he added them to the genre collection along with his students' work. On these items, in the upper right hand corner above all other information, Wilson noted "SC" for Sorenson Collection and "CC" for Cheney Collection.

In 1978, William A. Wilson left Brigham Young University to direct the newly established Folklore Program and Folklore Archives at Utah State University. Wilson brought to USU the student genre collection that he had amassed at BYU, with a copy of the genre collection remaining at the BYU library. At the USU folklore archives (later named the Fife Folklore Archives for Austin and Alta Fife), William A. Wilson and Barbara [Garrett] [Walker] Lloyd used the already sorted BYU materials when creating the collection classification system. This classification system, with its roots in the Finnish archive tradition, is still used at the Fife Folklore Archives.

Wilson was at USU until 1985 when he returned to BYU to head the English Department. However, the BYU administration gave him a year's leave of absence to copy all the student materials in the Fife Folklore Archives at USU and bring them with him to BYU. Wilson notes: "Hannele [wife] and I practically lived in the USU archive. Max [Peterson, Director of the Merrill Library] brought a copy machine into the archive, and we copied day after day. First we copied the entire BYU genre collection. Then we copied all the items in the accumulated genre piles [of USU items]." Thus, in 1985 the BYU and USU folklore genre and focused collections were identical. During the following years, William A. Wilson and later Kristi Bell at BYU's Folklore Archives (now named the William A. Wilson Folklore Archives) and Barbara [Garrett] [Walker] Lloyd and later Randy Williams at the Fife Folklore Archives at USU worked to maintain the same classification system at both universities' folklore archives. However, the materials submitted by students from the two universities began, of course, to differ from each other, as students generally collect the kinds of materials their professors talk about in class.

In 1985 Professor Barre Toelken came to USU (from the University of Oregon) to direct the Folklore Program. He continued the folklore-collecting legacy that Austin Fife and William A. Wilson began. Over the years Professors Steve Siporin, Patricia Gardner, Jan Roush, Jeannie Thomas, Lisa Gabbert and Lynne McNeill and instructors Barbara [Garrett] [Walker] Lloyd, Randy Williams, and Michael Christensen (and others) have all had their students collect and deposit folklore items to the Fife Folklore Archives. And thus, the USU Student Genre Collection continues to grow. The format has changed somewhat over the years to reflect the trends in folkloristics. As stated above, many of the early submissions had little contextual data, and often limited, if any, informant data. William A. Wilson created a collecting format that included: informant data, contextual data, and text (item of folklore). Barre Toelken and Randy Williams added "texture" to the format of genre collections, allowing the collector to give "the feel" of the item to potential researchers. In in 1998, students were asked to include release forms with their genre items, following a trend in the folklore field that addresses not only the item (which in some cases, like a joke, may been seen as part of the public domain materials and therefore not needing a release) but also the performance of the lore (and therefore necessary for a release from the performer informant).In 2002, the collection was moved from hundreds of three-ringed binders to archival folders and boxes, making the collection more physically stable and easier to manage and use. In 2003, the collection finding aids were encoded in HTML as a means of hosting them on-line for greater research accessibility. In 2012, the finding aids were hosted in EAD.

The Fife Folklore Archives Student Folklore Genre Collection consists of folklore items collected by undergraduate students in Utah State University folklore classes from the late 1960s to the present and folklore items collected by undergraduate students in Brigham Young University folklore and anthropology classes during 1960-1978. Most items include informant data, context, text (the folklore item), texture (stylistic notation), and collector data. The items of folklore are in text form on 8 ½ x 11 sheets of line-free paper. Since, 1999 genre items also include release forms. The materials do not circulate. The collection is separated into nine groups:

In the late 1960s, folklore courses were first taught at USU by Professor Austin Fife. At this time, Fife (a French professor) had his students collect items of folklore on pre-printed index cards. The information on the cards has now been transferred to 8 ½ x 11 sheets of paper and the items have been added to the genre collection. At about the same time (1967) at Brigham Young University (BYU) in Provo, Utah, Professor William A. Wilson began teaching folklore classes. Wilson had his students collect folklore using both genre collections and major project (focused) collections. The genre items were separated and filed by genre. Also included in the BYU genre collection were items from two other BYU professors who had their students collect folklore: John Sorenson and Thomas Cheney. The student collections from Sorenson and Cheney were given to Wilson and he added them to the genre collection along with his students' work. On these items, in the upper right hand corner above all other information, Wilson noted "SC" for Sorenson Collection and "CC" for Cheney Collection.

In 1978, William A. Wilson left Brigham Young University to direct the newly established Folklore Program and Folklore Archives at Utah State University. Wilson brought to USU the student genre collection that he had amassed at BYU, with a copy of the genre collection remaining at the BYU library. At the USU folklore archives (later named the Fife Folklore Archives for Austin and Alta Fife), William A. Wilson and Barbara [Garrett] [Walker] Lloyd used the already sorted BYU materials when creating the collection classification system. This classification system, with its roots in the Finnish archive tradition, is still used at the Fife Folklore Archives.

Wilson was at USU until 1985 when he returned to BYU to head the English Department. However, the BYU administration gave him a year's leave of absence to copy all the student materials in the Fife Folklore Archives at USU and bring them with him to BYU. Wilson notes: "Hannele [wife] and I practically lived in the USU archive. Max [Peterson, Director of the Merrill Library] brought a copy machine into the archive, and we copied day after day. First we copied the entire BYU genre collection. Then we copied all the items in the accumulated genre piles [of USU items]." Thus, in 1985 the BYU and USU folklore genre and focused collections were identical. During the following years, William A. Wilson and later Kristi Bell at BYU's Folklore Archives (now named the William A. Wilson Folklore Archives) and Barbara [Garrett] [Walker] Lloyd and later Randy Williams at the Fife Folklore Archives at USU worked to maintain the same classification system at both universities' folklore archives. However, the materials submitted by students from the two universities began, of course, to differ from each other, as students generally collect the kinds of materials their professors talk about in class.

In 1985 Professor Barre Toelken came to USU (from the University of Oregon) to direct the Folklore Program. He continued the folklore-collecting legacy that Austin Fife and William A. Wilson began. Over the years Professors Steve Siporin, Patricia Gardner, Jan Roush, Jeannie Thomas, Lisa Gabbert and Lynne McNeill and instructors Barbara [Garrett] [Walker] Lloyd, Randy Williams, and Michael Christensen (and others) have all had their students collect and deposit folklore items to the Fife Folklore Archives. And thus, the USU Student Genre Collection continues to grow. The format has changed somewhat over the years to reflect the trends in folkloristics. As stated above, many of the early submissions had little contextual data, and often limited, if any, informant data. William A. Wilson created a collecting format that included: informant data, contextual data, and text (item of folklore). Barre Toelken and Randy Williams added "texture" to the format of genre collections, allowing the collector to give "the feel" of the item to potential researchers. In in 1998, students were asked to include release forms with their genre items, following a trend in the folklore field that addresses not only the item (which in some cases, like a joke, may been seen as part of the public domain materials and therefore not needing a release) but also the performance of the lore (and therefore necessary for a release from the performer informant).In 2002, the collection was moved from hundreds of three-ringed binders to archival folders and boxes, making the collection more physically stable and easier to manage and use. In 2003, the collection finding aids were encoded in HTML as a means of hosting them on-line for greater research accessibility. In 2012, the finding aids were hosted in EAD.

The Fife Folklore Archives Student Folklore Genre Collection consists of folklore items collected by undergraduate students in Utah State University folklore classes from the late 1960s to the present and folklore items collected by undergraduate students in Brigham Young University folklore and anthropology classes during 1960-1978. Most items include informant data, context, text (the folklore item), texture (stylistic notation), and collector data. The items of folklore are in text form on 8 ½ x 11 sheets of line-free paper. Since, 1999 genre items also include release forms. The materials do not circulate. The collection is separated into nine groups:

In the late 1960s, folklore courses were first taught at USU by Professor Austin Fife. At this time, Fife (a French professor) had his students collect items of folklore on pre-printed index cards. The information on the cards has now been transferred to 8 ½ x 11 sheets of paper and the items have been added to the genre collection. At about the same time (1967) at Brigham Young University (BYU) in Provo, Utah, Professor William A. Wilson began teaching folklore classes. Wilson had his students collect folklore using both genre collections and major project (focused) collections. The genre items were separated and filed by genre. Also included in the BYU genre collection were items from two other BYU professors who had their students collect folklore: John Sorenson and Thomas Cheney. The student collections from Sorenson and Cheney were given to Wilson and he added them to the genre collection along with his students' work. On these items, in the upper right hand corner above all other information, Wilson noted "SC" for Sorenson Collection and "CC" for Cheney Collection.

In 1978, William A. Wilson left Brigham Young University to direct the newly established Folklore Program and Folklore Archives at Utah State University. Wilson brought to USU the student genre collection that he had amassed at BYU, with a copy of the genre collection remaining at the BYU library. At the USU folklore archives (later named the Fife Folklore Archives for Austin and Alta Fife), William A. Wilson and Barbara [Garrett] [Walker] Lloyd used the already sorted BYU materials when creating the collection classification system. This classification system, with its roots in the Finnish archive tradition, is still used at the Fife Folklore Archives.

Wilson was at USU until 1985 when he returned to BYU to head the English Department. However, the BYU administration gave him a year's leave of absence to copy all the student materials in the Fife Folklore Archives at USU and bring them with him to BYU. Wilson notes: "Hannele [wife] and I practically lived in the USU archive. Max [Peterson, Director of the Merrill Library] brought a copy machine into the archive, and we copied day after day. First we copied the entire BYU genre collection. Then we copied all the items in the accumulated genre piles [of USU items]." Thus, in 1985 the BYU and USU folklore genre and focused collections were identical. During the following years, William A. Wilson and later Kristi Bell at BYU's Folklore Archives (now named the William A. Wilson Folklore Archives) and Barbara [Garrett] [Walker] Lloyd and later Randy Williams at the Fife Folklore Archives at USU worked to maintain the same classification system at both universities' folklore archives. However, the materials submitted by students from the two universities began, of course, to differ from each other, as students generally collect the kinds of materials their professors talk about in class.

In 1985 Professor Barre Toelken came to USU (from the University of Oregon) to direct the Folklore Program. He continued the folklore-collecting legacy that Austin Fife and William A. Wilson began. Over the years Professors Steve Siporin, Patricia Gardner, Jan Roush, Jeannie Thomas, Lisa Gabbert and Lynne McNeill and instructors Barbara [Garrett] [Walker] Lloyd, Randy Williams, and Michael Christensen (and others) have all had their students collect and deposit folklore items to the Fife Folklore Archives. And thus, the USU Student Genre Collection continues to grow. The format has changed somewhat over the years to reflect the trends in folkloristics. As stated above, many of the early submissions had little contextual data, and often limited, if any, informant data. William A. Wilson created a collecting format that included: informant data, contextual data, and text (item of folklore). Barre Toelken and Randy Williams added "texture" to the format of genre collections, allowing the collector to give "the feel" of the item to potential researchers. In in 1998, students were asked to include release forms with their genre items, following a trend in the folklore field that addresses not only the item (which in some cases, like a joke, may been seen as part of the public domain materials and therefore not needing a release) but also the performance of the lore (and therefore necessary for a release from the performer informant).In 2002, the collection was moved from hundreds of three-ringed binders to archival folders and boxes, making the collection more physically stable and easier to manage and use. In 2003, the collection finding aids were encoded in HTML as a means of hosting them on-line for greater research accessibility. In 2012, the finding aids were hosted in EAD.

The Fife Folklore Archives Student Folklore Genre Collection consists of folklore items collected by undergraduate students in Utah State University folklore classes from the late 1960s to the present and folklore items collected by undergraduate students in Brigham Young University folklore and anthropology classes during 1960-1978. Most items include informant data, context, text (the folklore item), texture (stylistic notation), and collector data. The items of folklore are in text form on 8 ½ x 11 sheets of line-free paper. Since, 1999 genre items also include release forms. The materials do not circulate. The collection is separated into nine groups:

In the late 1960s, folklore courses were first taught at USU by Professor Austin Fife. At this time, Fife (a French professor) had his students collect items of folklore on pre-printed index cards. The information on the cards has now been transferred to 8 ½ x 11 sheets of paper and the items have been added to the genre collection. At about the same time (1967) at Brigham Young University (BYU) in Provo, Utah, Professor William A. Wilson began teaching folklore classes. Wilson had his students collect folklore using both genre collections and major project (focused) collections. The genre items were separated and filed by genre. Also included in the BYU genre collection were items from two other BYU professors who had their students collect folklore: John Sorenson and Thomas Cheney. The student collections from Sorenson and Cheney were given to Wilson and he added them to the genre collection along with his students' work. On these items, in the upper right hand corner above all other information, Wilson noted "SC" for Sorenson Collection and "CC" for Cheney Collection.

In 1978, William A. Wilson left Brigham Young University to direct the newly established Folklore Program and Folklore Archives at Utah State University. Wilson brought to USU the student genre collection that he had amassed at BYU, with a copy of the genre collection remaining at the BYU library. At the USU folklore archives (later named the Fife Folklore Archives for Austin and Alta Fife), William A. Wilson and Barbara [Garrett] [Walker] Lloyd used the already sorted BYU materials when creating the collection classification system. This classification system, with its roots in the Finnish archive tradition, is still used at the Fife Folklore Archives.

Wilson was at USU until 1985 when he returned to BYU to head the English Department. However, the BYU administration gave him a year's leave of absence to copy all the student materials in the Fife Folklore Archives at USU and bring them with him to BYU. Wilson notes: "Hannele [wife] and I practically lived in the USU archive. Max [Peterson, Director of the Merrill Library] brought a copy machine into the archive, and we copied day after day. First we copied the entire BYU genre collection. Then we copied all the items in the accumulated genre piles [of USU items]." Thus, in 1985 the BYU and USU folklore genre and focused collections were identical. During the following years, William A. Wilson and later Kristi Bell at BYU's Folklore Archives (now named the William A. Wilson Folklore Archives) and Barbara [Garrett] [Walker] Lloyd and later Randy Williams at the Fife Folklore Archives at USU worked to maintain the same classification system at both universities' folklore archives. However, the materials submitted by students from the two universities began, of course, to differ from each other, as students generally collect the kinds of materials their professors talk about in class.

In 1985 Professor Barre Toelken came to USU (from the University of Oregon) to direct the Folklore Program. He continued the folklore-collecting legacy that Austin Fife and William A. Wilson began. Over the years Professors Steve Siporin, Patricia Gardner, Jan Roush, Jeannie Thomas, Lisa Gabbert and Lynne McNeill and instructors Barbara [Garrett] [Walker] Lloyd, Randy Williams, and Michael Christensen (and others) have all had their students collect and deposit folklore items to the Fife Folklore Archives. And thus, the USU Student Genre Collection continues to grow. The format has changed somewhat over the years to reflect the trends in folkloristics. As stated above, many of the early submissions had little contextual data, and often limited, if any, informant data. William A. Wilson created a collecting format that included: informant data, contextual data, and text (item of folklore). Barre Toelken and Randy Williams added "texture" to the format of genre collections, allowing the collector to give "the feel" of the item to potential researchers. In in 1998, students were asked to include release forms with their genre items, following a trend in the folklore field that addresses not only the item (which in some cases, like a joke, may been seen as part of the public domain materials and therefore not needing a release) but also the performance of the lore (and therefore necessary for a release from the performer informant).In 2002, the collection was moved from hundreds of three-ringed binders to archival folders and boxes, making the collection more physically stable and easier to manage and use. In 2003, the collection finding aids were encoded in HTML as a means of hosting them on-line for greater research accessibility. In 2012, the finding aids were hosted in EAD.

The Fife Folklore Archives Student Folklore Genre Collection consists of folklore items collected by undergraduate students in Utah State University folklore classes from the late 1960s to the present and folklore items collected by undergraduate students in Brigham Young University folklore and anthropology classes during 1960-1978. Most items include informant data, context, text (the folklore item), texture (stylistic notation), and collector data. The items of folklore are in text form on 8 ½ x 11 sheets of line-free paper. Since, 1999 genre items also include release forms. The materials do not circulate. The collection is separated into nine groups:

In the late 1960s, folklore courses were first taught at USU by Professor Austin Fife. At this time, Fife (a French professor) had his students collect items of folklore on pre-printed index cards. The information on the cards has now been transferred to 8 ½ x 11 sheets of paper and the items have been added to the genre collection. At about the same time (1967) at Brigham Young University (BYU) in Provo, Utah, Professor William A. Wilson began teaching folklore classes. Wilson had his students collect folklore using both genre collections and major project (focused) collections. The genre items were separated and filed by genre. Also included in the BYU genre collection were items from two other BYU professors who had their students collect folklore: John Sorenson and Thomas Cheney. The student collections from Sorenson and Cheney were given to Wilson and he added them to the genre collection along with his students' work. On these items, in the upper right hand corner above all other information, Wilson noted "SC" for Sorenson Collection and "CC" for Cheney Collection.

In 1978, William A. Wilson left Brigham Young University to direct the newly established Folklore Program and Folklore Archives at Utah State University. Wilson brought to USU the student genre collection that he had amassed at BYU, with a copy of the genre collection remaining at the BYU library. At the USU folklore archives (later named the Fife Folklore Archives for Austin and Alta Fife), William A. Wilson and Barbara [Garrett] [Walker] Lloyd used the already sorted BYU materials when creating the collection classification system. This classification system, with its roots in the Finnish archive tradition, is still used at the Fife Folklore Archives.

Wilson was at USU until 1985 when he returned to BYU to head the English Department. However, the BYU administration gave him a year's leave of absence to copy all the student materials in the Fife Folklore Archives at USU and bring them with him to BYU. Wilson notes: "Hannele [wife] and I practically lived in the USU archive. Max [Peterson, Director of the Merrill Library] brought a copy machine into the archive, and we copied day after day. First we copied the entire BYU genre collection. Then we copied all the items in the accumulated genre piles [of USU items]." Thus, in 1985 the BYU and USU folklore genre and focused collections were identical. During the following years, William A. Wilson and later Kristi Bell at BYU's Folklore Archives (now named the William A. Wilson Folklore Archives) and Barbara [Garrett] [Walker] Lloyd and later Randy Williams at the Fife Folklore Archives at USU worked to maintain the same classification system at both universities' folklore archives. However, the materials submitted by students from the two universities began, of course, to differ from each other, as students generally collect the kinds of materials their professors talk about in class.

In 1985 Professor Barre Toelken came to USU (from the University of Oregon) to direct the Folklore Program. He continued the folklore-collecting legacy that Austin Fife and William A. Wilson began. Over the years Professors Steve Siporin, Patricia Gardner, Jan Roush, Jeannie Thomas, Lisa Gabbert and Lynne McNeill and instructors Barbara [Garrett] [Walker] Lloyd, Randy Williams, and Michael Christensen (and others) have all had their students collect and deposit folklore items to the Fife Folklore Archives. And thus, the USU Student Genre Collection continues to grow. The format has changed somewhat over the years to reflect the trends in folkloristics. As stated above, many of the early submissions had little contextual data, and often limited, if any, informant data. William A. Wilson created a collecting format that included: informant data, contextual data, and text (item of folklore). Barre Toelken and Randy Williams added "texture" to the format of genre collections, allowing the collector to give "the feel" of the item to potential researchers. In in 1998, students were asked to include release forms with their genre items, following a trend in the folklore field that addresses not only the item (which in some cases, like a joke, may been seen as part of the public domain materials and therefore not needing a release) but also the performance of the lore (and therefore necessary for a release from the performer informant).In 2002, the collection was moved from hundreds of three-ringed binders to archival folders and boxes, making the collection more physically stable and easier to manage and use. In 2003, the collection finding aids were encoded in HTML as a means of hosting them on-line for greater research accessibility. In 2012, the finding aids were hosted in EAD.

The Fife Folklore Archives Student Folklore Genre Collection consists of folklore items collected by undergraduate students in Utah State University folklore classes from the late 1960s to the present and folklore items collected by undergraduate students in Brigham Young University folklore and anthropology classes during 1960-1978. Most items include informant data, context, text (the folklore item), texture (stylistic notation), and collector data. The items of folklore are in text form on 8 ½ x 11 sheets of line-free paper. Since, 1999 genre items also include release forms. The materials do not circulate. The collection is separated into nine groups:

In the late 1960s, folklore courses were first taught at USU by Professor Austin Fife. At this time, Fife (a French professor) had his students collect items of folklore on pre-printed index cards. The information on the cards has now been transferred to 8 ½ x 11 sheets of paper and the items have been added to the genre collection. At about the same time (1967) at Brigham Young University (BYU) in Provo, Utah, Professor William A. Wilson began teaching folklore classes. Wilson had his students collect folklore using both genre collections and major project (focused) collections. The genre items were separated and filed by genre. Also included in the BYU genre collection were items from two other BYU professors who had their students collect folklore: John Sorenson and Thomas Cheney. The student collections from Sorenson and Cheney were given to Wilson and he added them to the genre collection along with his students' work. On these items, in the upper right hand corner above all other information, Wilson noted "SC" for Sorenson Collection and "CC" for Cheney Collection.

In 1978, William A. Wilson left Brigham Young University to direct the newly established Folklore Program and Folklore Archives at Utah State University. Wilson brought to USU the student genre collection that he had amassed at BYU, with a copy of the genre collection remaining at the BYU library. At the USU folklore archives (later named the Fife Folklore Archives for Austin and Alta Fife), William A. Wilson and Barbara [Garrett] [Walker] Lloyd used the already sorted BYU materials when creating the collection classification system. This classification system, with its roots in the Finnish archive tradition, is still used at the Fife Folklore Archives.

Wilson was at USU until 1985 when he returned to BYU to head the English Department. However, the BYU administration gave him a year's leave of absence to copy all the student materials in the Fife Folklore Archives at USU and bring them with him to BYU. Wilson notes: "Hannele [wife] and I practically lived in the USU archive. Max [Peterson, Director of the Merrill Library] brought a copy machine into the archive, and we copied day after day. First we copied the entire BYU genre collection. Then we copied all the items in the accumulated genre piles [of USU items]." Thus, in 1985 the BYU and USU folklore genre and focused collections were identical. During the following years, William A. Wilson and later Kristi Bell at BYU's Folklore Archives (now named the William A. Wilson Folklore Archives) and Barbara [Garrett] [Walker] Lloyd and later Randy Williams at the Fife Folklore Archives at USU worked to maintain the same classification system at both universities' folklore archives. However, the materials submitted by students from the two universities began, of course, to differ from each other, as students generally collect the kinds of materials their professors talk about in class.

In 1985 Professor Barre Toelken came to USU (from the University of Oregon) to direct the Folklore Program. He continued the folklore-collecting legacy that Austin Fife and William A. Wilson began. Over the years Professors Steve Siporin, Patricia Gardner, Jan Roush, Jeannie Thomas, Lisa Gabbert and Lynne McNeill and instructors Barbara [Garrett] [Walker] Lloyd, Randy Williams, and Michael Christensen (and others) have all had their students collect and deposit folklore items to the Fife Folklore Archives. And thus, the USU Student Genre Collection continues to grow. The format has changed somewhat over the years to reflect the trends in folkloristics. As stated above, many of the early submissions had little contextual data, and often limited, if any, informant data. William A. Wilson created a collecting format that included: informant data, contextual data, and text (item of folklore). Barre Toelken and Randy Williams added "texture" to the format of genre collections, allowing the collector to give "the feel" of the item to potential researchers. In in 1998, students were asked to include release forms with their genre items, following a trend in the folklore field that addresses not only the item (which in some cases, like a joke, may been seen as part of the public domain materials and therefore not needing a release) but also the performance of the lore (and therefore necessary for a release from the performer informant).In 2002, the collection was moved from hundreds of three-ringed binders to archival folders and boxes, making the collection more physically stable and easier to manage and use. In 2003, the collection finding aids were encoded in HTML as a means of hosting them on-line for greater research accessibility. In 2012, the finding aids were hosted in EAD.

The Fife Folklore Archives Student Folklore Genre Collection consists of folklore items collected by undergraduate students in Utah State University folklore classes from the late 1960s to the present and folklore items collected by undergraduate students in Brigham Young University folklore and anthropology classes during 1960-1978. Most items include informant data, context, text (the folklore item), texture (stylistic notation), and collector data. The items of folklore are in text form on 8 ½ x 11 sheets of line-free paper. Since, 1999 genre items also include release forms. The materials do not circulate. The collection is separated into nine groups:

In the late 1960s, folklore courses were first taught at USU by Professor Austin Fife. At this time, Fife (a French professor) had his students collect items of folklore on pre-printed index cards. The information on the cards has now been transferred to 8 ½ x 11 sheets of paper and the items have been added to the genre collection. At about the same time (1967) at Brigham Young University (BYU) in Provo, Utah, Professor William A. Wilson began teaching folklore classes. Wilson had his students collect folklore using both genre collections and major project (focused) collections. The genre items were seperated and filed by genre. Also included in the BYU genre collection were items from two other BYU professors who had their students collect folklore: John Sorenson and Thomas Cheney. The student collections from Sorenson and Cheney were given to Wilson and he added them to the genre collection along with his students' work. On these items, in the upper right hand corner above all other information, Wilson noted "SC" for Sorenson Collection and "CC" for Cheney Collection.

In 1978, William A. Wilson left Brigham Young University to direct the newly established Folklore Program and Folklore Archives at Utah State University. Wilson brought to USU the student genre collection that he had amassed at BYU, with a copy of the genre collection remaining at the BYU library. At the USU folklore archives (later named the Fife Folklore Archives for Austin and Alta Fife), William A. Wilson and Barbara [Garrett] [Walker] Lloyd used the already sorted BYU materials when creating the collection classification system. This classification system, with its roots in the Finnish archive tradition, is still used at the Fife Folklore Archives.

Wilson was at USU until 1985 when he returned to BYU to head the English Department. However, the BYU administration gave him a year's leave of absence to copy all the student materials in the Fife Folklore Archives at USU and bring them with him to BYU. Wilson notes: "Hannele [wife] and I practically lived in the USU archive. Max [Peterson, Director of the Merrill Library] brought a copy machine into the archive, and we copied day after day. First we copied the entire BYU genre collection. Then we copied all the items in the accumulated genre piles [of USU items]." Thus, in 1985 the BYU and USU folklore genre and focused collections were identical. During the following years, William A. Wilson and later Kristi Bell at BYU's Folklore Archives (now named the William A. Wilson Folklore Archives) and Barbara [Garrett] [Walker] Lloyd and later Randy Williams at the Fife Folklore Archives at USU worked to maintain the same classification system at both universities' folklore archives. However, the materials submitted by students from the two universities began, of course, to differ from each other, as students generally collect the kinds of materials their professors talk about in class.

In 1985 Professor Barre Toelken came to USU (from the University of Oregon) to direct the Folklore Program. He continued the folklore-collecting legacy that Austin Fife and William A. Wilson began. Over the years Professors Steve Siporin, Patricia Gardner, Jan Roush, Jeannie Thomas, Lisa Gabbert and Lynne McNeill and instructors Barbara [Garrett] [Walker] Lloyd, Randy Williams, and Michael Christensen (and others) have all had their students collect and deposit folklore items to the Fife Folklore Archives. And thus, the USU Student Genre Collection continues to grow. The format has changed somewhat over the years to reflect the trends in folkloristics. As stated above, many of the early submissions had little contextual data, and often limited, if any, informant data. William A. Wilson created a collecting format that included: informant data, contextual data, and text (item of folklore). Barre Toelken and Randy Williams added "texture" to the format of genre collections, allowing the collector to give "the feel" of the item to potential researchers. In in 1998, students were asked to include release forms with their genre items, following a trend in the folklore field that addresses not only the item (which in some cases, like a joke, may been seen as part of the public domain materials and therefore not needing a release) but also the performance of the lore (and therefore necessary for a release from the performer informant).In 2002, the collection was moved from hundreds of three-ringed binders to archival folders and boxes, making the collection more physically stable and easier to manage and use. In 2003, the collection finding aids were encoded in HTML as a means of hosting them on-line for greater research accessibility. In 2012, the finding aids were hosted in EAD.