butter pt 5, conclusion

This is the final installment of my blogs on Buttercows (yes, now back to Bolivia...). For previous posts, click here: Part 1, Part 2, Part 3, Part 4.

The iconicity of the buttercow is even more apparent as it remains in the context of the state fair. As agriculture shifts in the United States, from a family-based mode of production to a more and more mechanized and large-scale industrial complex, the meanings associated with “authentic” representations of agricultural livelihoods change. The icon of the buttercow has shifted from an emblem of pride in the dairy industry’s success to a nostalgic symbol of the disappearing culture of family agriculture. Singer writes that such cultural displays “[cast] much light on the way in which cultural themes and values are communicated as well as on processes of social and cultural change." The context in which butter sculpture now exists gives immediacy to the art form as the social dramatic action of transformed farmland takes shape in and legitimizes butter sculpture as culturally and artistically important. 

The buttercow, as an icon, also forms the locus for the construction of cultural identity. Identity is, at its foundation, the ways that people index or perform sameness and difference from one another. Scholars such as Clifford have written on the ways that “international” or “non-western” art marks difference by emphasizing the “primitive,” “exotic,” or “tribal” nature of the art. The buttercow works in the converse, illustrating a sense of commonality for its enthusiasts. Bucholtz and Hall suggest that the dichotomy between genuineness and artiface is a key site for the instantiation of identity. The authenticity of the buttercow as confirmed by the context of the state fair, then, is central to the successful performance or indexing of a rural Iowan or Illinoisan identity. To know the buttercow is to say something about your own history, experiences, and values. Not every state has a buttercow. And not everyone in the state even knows what the buttercow is. Like playing euchre in La Paz, it is not just a pastime, but a performance of real Midwestern identity. 

And so I will end with one of my favorite quotes from Renato Rosaldo:
Culture lends significance to human experience by selecting from and organizing it.  It refers broadly to the forms through which people make sense of their lives, rather than more narrowly to the opera or art museums.  It does not inhabit a set-aside domain as does, for example, that of politics or economics. From the pirouettes of classical ballet to the most brute of brute facts, all human conduct is culturally mediated. Culture encompasses the everyday and the esoteric, the mundane and the elevated, the ridiculous and the sublime. Neither high nor low, culture is all-pervasive. (1989: p. 26)  

The 2011 Iowa State Fair Buttercow

Clifford, James
1991  Four Northwest Coast Museums: Travel Reflections. In Exhibiting Cultures, I. Karp & S. D. Lavine, eds. pp. 212-254. Washington, DC: Smithsonian Institution Press.

Rosaldo, Renato
1993  Culture and Truth: The Remaking of Social Analysis. Boston: Beacon Press.

Singer, Milton
1972  When a Great Tradition Modernizes: An Anthropological Approach to Modern Civilization. New York, Washington, London: Praeger Publishers.