| 1990 apprenticeship program master artists | 1990 apprenticeship program master artists | Still Image | Teaching of folklore
Dancers
Banjoists
Drummers (Musicians)
Fiddlers
Musicians
Tattoo artists
Wood carvers | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
1990 apprenticeship program master artists
- Date
- 1990
- Description
- Seven color slides. The Folk Arts Apprenticeship Program began in 1983 with a NEA grant of $22,000. The program provided an opportunity for master folk artists to share technical skills and cultural knowledge with apprentices in order to keep the tradition alive. Apprentices must have had some experience in the tradition and agreed to train for at least six months. The first project director was Blanton Owen, later replaced by folklorist Peter Roller. The program was continued each year through 2003.
- Collection
| Ada Mickler and her palmetto hats | Ada Mickler and her palmetto hats | Still Image | Artisans
Fieldwork
Palm frond weaving
Palmetto weaving
Hats
Plants
Flora
Minorcans
Craft
Material culture | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Ada Mickler and her palmetto hats
- Date
- 1988-10
- Description
- Twenty color slides. Images created as fieldwork for the Folk Arts Apprenticeship Program. The Folk Arts Apprenticeship Program began in 1983 with a NEA grant of $22,000. The program provided an opportunity for master folk artists to share technical skills and cultural knowledge with apprentices in order to keep the tradition alive. Apprentices must have had some experience in the tradition and agreed to train for at least six months. The first project director was Blanton Owen, later replaced by folklorist Peter Roller. The program was continued each year through 2003.
- Collection
| Aerial views of Big Cypress Seminole Indian Reservation | Aerial views of Big Cypress Seminole Indian Reservation | Still Image | Fieldwork
Aerial photographs
Landscape
Construction + architecture
Indian reservations | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Aerial views of Big Cypress Seminole Indian Reservation
- Date
- 1985-01
- Description
- Nine color slides Images created as fieldwork for the apprenticeship program. The Folk Arts Apprenticeship Program began in 1983 with a NEA grant of $22,000. The program provided an opportunity for master folk artists to share technical skills and cultural knowledge with apprentices in order to keep the tradition alive. Apprentices must have had some experience in the tradition and had agreed to train for at least six months. The first project director was Blanton Owen,who was later replaced by folklorist Peter Roller. The program was continued each year through 2003.
- Collection
| Afro-Cuban drummer Florencia Baro and his apprentices performing | Afro-Cuban drummer Florencia Baro and his apprentices performing | Still Image | Drummers (Musicians)
Apprentices
African Americans
Cuban Americans
Arts, Cuban
Drums
Music performance
Musicians | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Afro-Cuban drummer Florencia Baro and his apprentices performing
- Date
- 1989
- Description
- Six color slides; 18 negatives. The Folk Arts Apprenticeship Program began in 1983 with a NEA grant of $22,000. The program provided an opportunity for master folk artists to share technical skills and cultural knowledge with apprentices in order to keep the tradition alive. Apprentices must have had some experience in the tradition and agreed to train for at least six months. The first project director was Blanton Owen, later replaced by folklorist Peter Roller. The program was continued each year through 2003.
- Collection
| a_s1640_24_tape28 | Alex McBride interview for the Folk Arts Apprenticeship Program | Sound | Fieldwork
Music performance
African Americans
Piano music
Performing arts
Singing
Musicians
Pianists | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Alex McBride interview for the Folk Arts Apprenticeship Program
- Date
- 1994-01-14
- Description
- Two audio cassettes. No location given. The Folk Arts Apprenticeship Program began in 1983 with a NEA grant of $22,000. The program provided an opportunity for master folk artists to share technical skills and cultural knowledge with apprentices in order to keep the tradition alive. Apprentices must have had some experience in the tradition and agreed to train for at least six months. The first project director was Blanton Owen, later replaced by folklorist Peter Roller, and then Robert Stone. The program was continued each year through 2004.
- Collection
| a_s1640_22_tape05 | Amy Cox & apprentice Bob Murphy interview for the Folk Arts Apprenticeship Program | Sound | Apprentices
Fiddle tunes
Old time music
Interviews
Field recordings | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Amy Cox & apprentice Bob Murphy interview for the Folk Arts Apprenticeship Program
- Date
- 1991-06-16
- Description
- One audio cassette (DAT tape). Amy Cox began playing with her father Gerry and mother Regina in the Homegrown String Band in 1982 at the age of eight. They played the Florida Folk Festival from 1983 through the 1990s. A copy of their album, Little Streams of Whiskey, can be found in S 1640, box 21. Murphy was her apprentice in 1990-1991.
- Collection
| Ana de Diaz and Carmen Linstrom making lace at her home | Ana de Diaz and Carmen Linstrom making lace at her home | Still Image | Needleworkers
Fieldwork
Bobbin lace
Lace bobbins
Lace and lace making
Lacemaking
Needlework
Puerto Ricans
Latinos
Decorative arts
Material culture
Tatting | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Ana de Diaz and Carmen Linstrom making lace at her home
- Date
- 1988
- Description
- Twenty-three black and white prints (plus negatives). Diaz learned lace making after moving to Florida from Puerto Rico in 1983. She learned from Eva Ponton in San Juan and Ana Blanco in Jacksonville. For more information on Diaz, see S 1640, box 8, folder 6. The Folk Arts Apprenticeship Program began in 1983 with a NEA grant of $22,000. The program provided an opportunity for master folk artists to share technical skills and cultural knowledge with apprentices in order to keep the tradition alive. Apprentices must have had some experience in the tradition and agreed to train for at least six months. The first project director was Blanton Owen, who was later replaced by folklorist Peter Roller. The program was continued each year through 2003.
- Collection
| Ana de Diaz making lace at her home | Ana de Diaz making lace at her home | Still Image | Needleworkers
Fieldwork
Bobbin lace
Lace and lace making
Lace bobbins
Lacemaking
Needlework
Puerto Ricans
Latinos
Decorative arts
Material culture
Tatting | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Ana de Diaz making lace at her home
- Date
- 1988
- Description
- Twelve color slides. Diaz learned lace making after moving to Florida from Puerto Rico in 1983. She learned from Eva Ponton in San Juan and Ana Blanco in Jacksonville. For more information on Diaz, see S 1640, box 8, folder 6. The Folk Arts Apprenticeship Program began in 1983 with a NEA grant of $22,000. The program provided an opportunity for master folk artists to share technical skills and cultural knowledge with apprentices in order to keep the traditions alive. Apprentices must have had some experience in the tradition and agreed to train for at least six months. The first project director was Blanton Owen, later replaced by folklorist Peter Roller. The program was continued each year through 2003.
- Collection
| Andrea and Sylvia Kolozsvary learning Hungarian embroidery from Margaret Horvath | Andrea and Sylvia Kolozsvary learning Hungarian embroidery from Margaret Horvath | Still Image | Needleworkers
Embroiderers
Apprentices
Hungarians Americans
Embroidery
Needlework
Textile arts
Decorative arts
Material culture | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Andrea and Sylvia Kolozsvary learning Hungarian embroidery from Margaret Horvath
- Date
- 1985-04
- Description
- Two proof sheets with twenty-three black and white images (plus negatives). Andrea and Sylvia apprenticed under Margaret Horvath in 1984-1985. The Folk Arts Apprenticeship Program began in 1983 with a NEA grant of $22,000. The program provided an opportunity for master folk artists to share technical skills and cultural knowledge with apprentices in order to keep the tradition alive. Apprentices must have had some experience in the tradition and agreed to train for at least six months. The first project director was Blanton Owen, later replaced by folklorist Peter Roller. The program was continued each year through 2003.
- Collection
| Annie Sellers learning how to make chairs from Rufus Adams | Annie Sellers learning how to make chairs from Rufus Adams | Still Image | Material culture
Chairs
Furniture
Cornhusk craft
Domestic arts
Woodwork
Apprentices
Women apprentices
Fieldwork (educational method)
Craft
African Americans
Chair caning
Furniture maker
Chair-makers | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Annie Sellers learning how to make chairs from Rufus Adams
- Date
- 1988-03
- Description
- Seven black and white negatives. Rufus Adams and apprentice(stepdaughter) Annie Sellers making corn shuck bottomed chairs. Rufus Adams was born in Georgia in 1893. In 1940, Adams and his wife moved to Mayo, Florida. There he worked as a tenant tobacco farmer. From his wife he learned make corn shuck chair bottoms. He soon became known as the 'chair man.'
- Collection
Listen: The Latin Program
