| 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
| Andrea and Sylvia Kolozsvary learning Hungarian embroidery | Andrea and Sylvia Kolozsvary learning Hungarian embroidery | 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
- Date
- 1985-03
- Description
- Seven color slides. Andrea and Sylvia apprenticed under Margaret Horvath in 1984-1985. 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
| 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
| Betty Mae Jumper sewing baskets at the Stephen Foster Center | Betty Mae Jumper sewing baskets at the Stephen Foster Center | Still Image | Needleworkers
Fieldwork
Demonstrations
Needlework
Sewing
Native Americans
Seminole Indians
Baskets
Basket work | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Betty Mae Jumper sewing baskets at the Stephen Foster Center
- Date
- 1985-01
- Description
- Two color slides. Images are of Jumper sewing colored thread into grass baskets. Images were 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 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
| Blues musician Buck Thompson playing on his porch | Blues musician Buck Thompson playing on his porch | Still Image | Fieldwork
Research methods
Collecting
Porches
String instruments
Blues (Music)
African Americans
Musical tradition, African diaspora
Guitarists
Guitar
Architecture
Music performance
Guitarist
Musicians
Blues singers | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Blues musician Buck Thompson playing on his porch
- Date
- 1985-02-14
- Description
- Thirty four color slides. Images of fifty-year old blues guitarist Buck Thompson playing tunes that he learned from the radio on his front porch. A lifelong migrant farmer, he played the juke circuit in the 1950s. A sound recording of the performance can be found in S 1714, box 6 reels 23 and 24. In winter 1985, the Bureau contracted with two folklorists to conduct a folk arts survey of the St. Johns River basin in northeastern Florida. The St. Johns River is the largest and most used river in Florida, supporting much river commerce as well as a modest amount of commercial fishing. Folklorists Mary Anne McDonald and Kathleen Figgen conducted the survey from January through March 1985 under the direction of Folklife Coordinator Blanton Owen and Bureau Chief Ormond Loomis. Documentation compiled in the survey was used to prepare and present the St. Johns River Basin Folklife Area at the 1985 Florida Folk Festival.
- Collection
| a_s1714_reel23 | Blues musician Buck Thompson playing on his porch | Sound | Fieldwork
Research methods
Collecting
Sound recording
String instruments
Blues (Music)
African Americans
Musical tradition, African diaspora
Guitarists
Guitar
Guitar music
Music performance
Music
Guitarist
Musicians
Blues singers | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Blues musician Buck Thompson playing on his porch
- Date
- 1985-02-14
- Description
- Two reel to reel tapes. Sound recording of fifty-year old blues guitarist Buck Thompson playing tunes that he learned from the radio on his front porch. A former railroad worker, he played the juke circuit in the 1950s. Because of the recording location, sounds of traffic and pedestrians can be heard. Images of the performance can be found in S 1577, v. 27, slides 1467-1495. In winter 1985, the Bureau contracted with two folklorists to conduct a folk arts survey of the St. Johns River basin in northeastern Florida. The St. Johns River is the largest and most used river in Florida, supporting much river commerce as well as a modest amount of commercial fishing. Folklorists Mary Anne McDonald and Kathleen Figgen conducted the survey from January through March 1985 under the direction of Folklife Coordinator Blanton Owen and Bureau Chief Ormond Loomis. Documentation compiled in the survey was used to prepare and present the St. Johns River Basin Folklife Area at the 1985 Florida Folk Festival.
- Collection
| Blues musician Buck Thompson playing on his porch/The Trivettes playing at Fred Perry's house | Blues musician Buck Thompson playing on his porch/The Trivettes playing at Fred Perry's house | Still Image | Guitarist
Musicians
Fieldwork
Research methods
Collecting
Porches
Blues (Music)
African Americans
Musical tradition, African diaspora
Guitarists
Guitar
Architecture
Music performance
String bands
String instruments
Bluegrass musicians
Blues singers | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Blues musician Buck Thompson playing on his porch/The Trivettes playing at Fred Perry's house
- Date
- 1985-02
- Description
- One proof sheet, with 32 black and whites images (plus negatives). Twenty-six images of fifty-year old blues guitarist Buck Thompson playing tunes that he learned from the radio on his front porch. A lifelong migrant farmer, he played the juke circuit in the 1950s. A sound recording of the performance can be found in S 1714, box 6 reels 23 and 24. Also includes six images of the Trivette family playing bluegrass in Fred Perry's home in St. Augustine. Players consisted of Frank Trivette Sr.(banjo, fiddle) Frank Trivette Jr. (guitar), Doug Trivette (guitar), Buddy Beck (mandolin) and Carlos Brackett (bass). In winter 1985, the Bureau contracted with two folklorists to conduct a folk arts survey of the St. Johns River basin in northeastern Florida. The St. Johns River is the largest and most used river in Florida, supporting much river commerce as well as a modest amount of commercial fishing. Folklorists Mary Anne McDonald and Kathleen Figgen conducted the survey from January through March 1985 under the direction of Folklife Coordinator Blanton Owen and Bureau Chief Ormond Loomis. Documentation compiled in the survey was used to prepare and present the St. Johns River Basin Folklife Area at the 1985 Florida Folk Festival.
- Collection
| Boatbuilder Marvin Thomas | Boatbuilder Marvin Thomas | Still Image | Fieldwork
Docks
Boats
Fishing Equipment and supplies
Fishers
Mullet fisheries
Shrimpers (persons)
Transportation
Maritime life
Occupational groups
Boatbuilders | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Boatbuilder Marvin Thomas
- Date
- 1984-12
- Description
- Twenty color slides. Thomas on a shrimp boat and mullet boat he built. Hamilton owned both boats. Images were 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 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 until 2003.
- Collection
| Boatbuilding in Chiefland | Boatbuilding in Chiefland | Still Image | Fieldwork
Boatbuilding
Boating industry
Boats
Transportation
Carpentry
Material culture
Woodwork
Boatbuilders | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Boatbuilding in Chiefland
- Date
- 1984-11
- Description
- Nineteen color slides. Images created as fieldwork fr 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 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
| Boats built by Marvin Thomas | Boats built by Marvin Thomas | Still Image | Woodworkers
Carpenters
Fieldwork
Boats
Boatbuilding
Material culture
Woodwork
Vehicles
Carpentry
Fish traps
Trawls and trawling
Boatbuilders | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Boats built by Marvin Thomas
- Date
- 1984-04
- Description
- One proof sheet with ten images, and thirteen black and white prints, plus negatives. Images, created as fieldwork for the apprenticeship program, were of Thomas' boats as well as crab traps and trawls. 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
Listen: The Folk Program