a_s2029_01_tape08 | Los Fronterizos de Matamoros and Grupo Sensacion recording session. | Sound | Singers Musicians Accordionists Fieldwork Music performance Latinos Music Latin America Arts, Mexican Ethnicity, Mexico Mexican Americans Concerts Conjunto music Accordion music Polka music Bands (Music) | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Los Fronterizos de Matamoros and Grupo Sensacion recording session.
- Date
- 1995-04-09
- Description
- One DAT tape. The recording session took place at the home of Emilo Hernandez (a Chicano band leader), and was set up by Tomas Granado. The first band, Los Fronterizos (The Bordermen), played conjunto music and were comprised of Felix Cortez (bajo sexto), Felix Cortez, Jr. (accordion), Eduardo Cortinas (drums), Eleazar Cortez (drums), and Jesus Cortez Jr. (bass). They were a popular local band. Jesus, Sr., the band leader and accoridonist, worked as a bartender. The other band was Grupo Sensacion, a five-member Tejano/pop band led by Jose Luis Velasquez (singer/keyboard player). His daughter, Julissa Lissette also sang for the band. The Mexican American Music Survey was created to document the musical traditions of Florida's various Mexican-American communities: Apopka, South Dade County, Immokalee, the St. Johns River Basin, and Central Florida. Funded by a grant from the Lila Wallace-Reader's Digest Community Folklife Program, the survey was conducted between 1994 and 1996 by folklorist Robert Stone. Among the musical traditions were serenatas, conjunto, quinceanara ritual music, ranchera Michoacana, mariachi, norteno, Tejano, and pop music. At the end of the project, a sampler music tape was created by the Florida Folklife Program for distribution to various libraries.
- Collection
Norteno accordion player Tomas Granado with apprentice Abraham Arrazola | Norteno accordion player Tomas Granado with apprentice Abraham Arrazola | Still Image | Fieldwork Arts, Mexican Mexican Americans Performing arts Music performance Accordions Latinos Music Latin America Norteño music Musicians Accordionists Apprentices | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Norteno accordion player Tomas Granado with apprentice Abraham Arrazola
- Date
- Description
- 58 color slides. Taken in Granado's music store, T.G. Music. Also includes four prints taken from the proof sheets. Granado played Norteno music, named for its North Mexico origins. The genre can include corridos and rancheras. Both musicians played the button accordion. For more information on both musicians, see S 1644, box 10, folder 3. 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
Norteno accordion player Tomas Granado with apprentice Abraham Arrazola | Norteno accordion player Tomas Granado with apprentice Abraham Arrazola | Still Image | Musicians Fieldwork Arts, Mexican Mexican Americans Performing arts Music performance Accordions Latinos Music Latin America Norteño music Accordionists Apprentices | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Norteno accordion player Tomas Granado with apprentice Abraham Arrazola
- Date
- 1992-06
- Description
- Four proof sheets with 116 black and white images (plus negatives). Taken in Granado's music store, T.G. Music. Also includes four prints taken from the proof sheets. Granado played Norteno music, named for its North Mexico origins. The genre can include corridos and rancheras. Both musicians played the button accordion. For more information on both musicians, see S 1644, box 10, folder 3. 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_24_tape11 | Recording of a Tex-Mex Cajun Frolic | Sound | Fieldwork Cajun music Music performance Accordions Latinos Mexican Americans Accordion music Accordionists Norteño music Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
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_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_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
a_s1640_22_tape36 | Recording of Cajun accordion player Papa Joe Arbie with his apprentice Michael Stapleton | Sound | Accordion music Cajun music Accordion Performing arts Music performance Musical instruments Fieldwork Family history Life histories Teaching Music rehearsals Accordionists Apprentices Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Recording of Cajun accordion player Papa Joe Arbie with his apprentice Michael Stapleton
- Date
- 1992-01-25
- Description
- Two DAT tapes. Recording of a practice between Arabie and his apprentice Stapleton. They both also talk about their family and personal histories, how they learned the accordion, and musical influences. 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