Anointed Voices gospel program | Anointed Voices gospel program | Still Image | A capella singers A capella singing Gospel music Religious rites Religious music African Americans Church services Protestants Christianity Church membership Protestant church buildings Special events Performing arts Performers Singers | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Anointed Voices gospel program
- Date
- 1991-04
- Description
- Two contact sheets with 53 black and white images, plus negatives. Images of a gospel music program at the Free Will Church of God called Anointed Voices. 1-8, 41-44: The Versiteers; 9-40, 45-53: Gospel Knights, Edith Mae Ryan.
- Collection
a_s1576_t85-150 | Golden Gospel: Afro-American Roots | Sound | A capella singers A capella singing Concerts Special events Music performance Singing African Americans Gospel (Black) Gospel songs Gospel music Musical groups Religious music Religious songs Guitarist Musicians Singers | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Golden Gospel: Afro-American Roots
- Date
- 1985-09-14
- Description
- Nine reel to reel recordings. Reel T86-215 has very poor sound quality -- nearly inaudible. Recordings of two concerts (9/14/1985 in Leesburg on T86-214 through T86-216; and 9/15/1985 in Orlando -- at the Frontline Outreach Building -- on T85-150 through T85 -154) featuring several gospel music groups from Florida and elsewhere: Ponder Singers (Jax.); Cisrow Gospel Allstars (Millville, NJ); Washington Singers (Cocoa); Goldenaires and the Spiritualettes (Orlando); Master Keys and the Dixie Hummingbirds (Philadelphia, PA); and the Dixie Jubilees (Jax). For images of the performance, see S 1577, volume 30. For videos of both performances, see FV-115 and FV-119 (Orlando), and FV-114, FV-116 through FV-118 in S 1615.
- Collection
Images of the Minorcan Cultural Exchange Tour | Images of the Minorcan Cultural Exchange Tour | Still Image | A capella singers Singing Minorcans Guitarists Fortifications Choruses Singers | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Images of the Minorcan Cultural Exchange Tour
- Date
- 1983-10
- Description
- Four images. Duplicates of fieldwork images of the Minorcan Cultural Exchange Tour. The Minorcan Cultural Exchange Tour, which ran from 10/6-13/1983, was created through an agreement between the Florida Dept. of State and the Mediterranean island of Minorca to celebrate Florida's two hundred year Minorcan heritage. First brought over as workers for a British plantation in the 1770s, most soon escaped the harsh working conditions and settled in St. Augustine. The tour was organized by Secretary of State George Firestone, the Bureau of Florida Folklife (Bulger, Belland, Loomis), Division of Historical Resources (Jean Lee and Paul Weaver) and the Florida Museum of History (Pat Wickman). The tour, with 140 performers and delegates from Minorca, consisted of a series of public performances and emerged out of the smaller program, the Minorcan Heritage Week held in May 1983. The tour traveled from St. Augustine, to the University of Florida, to EPCOT, to Cypress Gardens, then finally to Miami for departure back to Spain. Some records for the tour can be found in S 1578, Box 3, folder 81.
- Collection
a_s1576_84_d00-035b | David Lee singing school at the 2000 Florida Folk Festival Folklife Performance and Dance Stage | sound | A capella singing Florida Folk Festival Folk festivals Music -- Performance Religious songs Shape note singing Sacred Harp, Cooper Revision | /fpc/memory/omeka_images/thumbnails/audio.jpg |
David Lee singing school at the 2000 Florida Folk Festival Folklife Performance and Dance Stage
- Date
- 2000-05-28
- Description
Lee, from Hoboken, Ga., conducts a singing school, teaching participants shape note singing and songs from The Sacred Harp. He explains the history of shape note singing and The Sacred Harp in the Okefenokee region, indicating that singers learned to sing through aural transmission, passed down from generation to generation. Lee describes the four shapes (fa, sol, la, mi) and how they correspond to the major scale, followed by a demonstration. After clarifying how singers keep time and stay on beat, he explains how beats can be grouped together in common, compound, or triple time. As a synthesis of the lesson, Lee leads the class in tunes from The Sacred Harp, Revised Cooper Edition. There is digital distortion due to tape corruption on "Florida."
- Collection
Zora Neale Hurston Festival in 1991 | Zora Neale Hurston Festival in 1991 | Still Image | A capella singing Churches Church services Protestants Hats Special events Music Folk festivals Folklore revival festivals African Americans Haircutting Barbering | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Zora Neale Hurston Festival in 1991
- Date
- 1991-01
- Description
- One proof sheet with thirty-six black and white images. Zora Neale Hurston was a major literary figure, known as one of the nation's preeminent African American writers. She was from Eatonville. Now, each January, the town holds a festival in her honor. 1-2: Jamie Lee Harell; 3-4: Orlando School of Culture and Dance performing; 5-11: Vaughan McCall demonstrating hair styling; 12-14: Washington Sisters singing a capella; 15-18: Gloria's Hats 19-21: Elden Earl Madison 22-36: St. James Church worshiping (33-36: Rev. Nolan Pitts preaching).
- Collection
a_s1644_13_tape01 | Recording of Cajun accordion player Papa Joe Arabie | Sound | Accordion music Cajun music Accordion Performing arts Music performance Musical instruments Accordionists Musicians | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
Recording of Cajun accordion player Papa Joe Arabie
- Date
- 1991-06-12
- Description
- One audio cassette. 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 first folklorist Peter Roller, then folklorist Robert Stone. The program was continued each year through 2004.
- Collection
a_s1640_22_tape34 | Recording of Cajun accordion player Papa Joe Arabie | Sound | Accordion music Cajun music Accordion Performing arts Music performance Musical instruments Fieldwork Accordionists Musicians | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
Recording of Cajun accordion player Papa Joe Arabie
- Date
- 1991-06-12
- Description
- One audio cassette. In between songs, Arabie discussed his family's history. 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 first folklorist Peter Roller, then folklorist Robert Stone. The program was continued each year through 2004.
- Collection
a_s1640_23_tape07 | Recording of Cajun accordion player Papa Joe Arbie | Sound | Accordion music Cajun music Accordion Performing arts Music performance Musical instruments Fieldwork Accordionists Musicians | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
Recording of Cajun accordion player Papa Joe Arbie
- Date
- 1991-06-12
- Description
- One audio cassette. 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 first folklorist Peter Roller, then folklorist Robert Stone. The program was continued each year through 2004.
- Collection
a_s1640_23_tape03 | Recording of Cajun accordion player Papa Joe Arbie | Sound | Accordion music Cajun music Accordion Performing arts Music performance Musical instruments Fieldwork Accordionists Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Recording of Cajun accordion player Papa Joe Arbie
- Date
- 1991-06-12
- Description
- One DAT tape. 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 first folklorist Peter Roller, then folklorist Robert Stone. The program was continued each year through 2004.
- Collection
a_s1640_22_tape35 | Recording of Cajun accordion player Papa Joe Arbie with Andrew Arbie | Sound | Accordion music Cajun music Accordion Performing arts Music performance Musical instruments Fieldwork Accordionists Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Recording of Cajun accordion player Papa Joe Arbie with Andrew Arbie
- Date
- 1992-04-22
- Description
- Two DAT tapes. 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 first folklorist Peter Roller, then folklorist Robert Stone. The program was continued each year through 2004.
- Collection