266 items found
Collection ID is exactly "1" AND Subject is exactly "Apprentices"
Apprenticeship for 1992 Florida Folk Festival

Apprenticeship for 1992 Florida Folk Festival

Date
1992-05
Description
One proof sheet with thirty-four black and white images. Fieldwork for the 1992 Florida Folk Festival. 4-13: Charles Haldeman, railroader with union Pacific RailRoad; 14-17: Shoeshiner Ed Gooden St. Michael Hospital; 18-20: Sound engineer recording at Florida Folk Festival; 21: Folk festival audio log; 22: Masryktown Beseda dancers; 23-26: Festival visitors; 27-28: Apprentice Mike Stapleton of Miami and master Jospeh Arbie of Live Oak, playing accordions; 29-31: Master wheelwright Lester Hollenback of Deltona with apprentice Tico Rubio of Barberville; 32-35, 38: Accordionist Tomas Grenado; 37: Accordion apprentice Abe Avazola.
Collection
Apprenticeships at the 1991 Florida Folk Festival

Apprenticeships at the 1991 Florida Folk Festival

Date
1991-05
Description
One proof sheet with thirty-six black and white images. 1-5: Jamican tales: Lucille Fuller, Veta Plummer, Sophia Campbell; 6: Blues guitar: Tampa Blue, Joe Reiva, Michael Dodge; 7: Venezuelan harp: Jesus Rodriguez; 8-16: East Indian dance: Perema and Prya Menon; 17-18: Fiddling: Gerry Cox, Amy Cox, Bob Murphy; 19-36: Cuban dancing: Cayo Hueso Comparsa.
Collection
Atsuko Lefcounte teaching her apprentices about ikebana

Atsuko Lefcounte teaching her apprentices about ikebana

Date
1988-03-14
Description
One audio cassette. Master folk artist Lefcourte took on two apprentices in 1988, Levanthal and McGlamory. Ikebana (Way of the Flower) is the Japanese tradition of flower arranging. It originated in China in the 6th century. Lefcourte was born in Osaka, Japan, where she learned the art of the tea ceremony and flower arranging. She moved to Florida in 1975. For more info on Lefcourte, see S 1644, box 3, folder 11. 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
Atsuko Lefcourte and her apprentices demonstrating ikebana

Atsuko Lefcourte and her apprentices demonstrating ikebana

Date
1988-03
Description
Forty-six color slides. Master folk artist Lefcourte took on two apprentices in 1988: Levanthal and McGlamory. Ikebana (Way of the Flower) is the Japanese tradition of flower arranging. It originated in China in the 6th century. Lefcourte was born in Osaka, Japan, where she learned the art of the tea ceremony and flower arranging. She moved to Florida in 1975. For more info on Lefcourte, see S 1644, box 3, folder 11. 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
Atsuko Lefcourte and her apprentices demonstrating ikebana

Atsuko Lefcourte and her apprentices demonstrating ikebana

Date
1988-03
Description
Four proof sheets with 98 black and white images (plus negatives). Master folk artist Lefcourte took on two apprentices in 1988: Levanthal and McGlamory. Ikebana (Way of the Flower) is the Japanese tradition of flower arranging. It originated in China in the 6th century. Lefcourte was born in Osaka, Japan, where she learned the art of the tea ceremony and flower arranging. She moved to Florida in 1975. For more info on Lefcourte, see S 1644, box 3, folder 11. 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
Autoharp player Charley Groth and his apprentice Cheryl Belanger

Autoharp player Charley Groth and his apprentice Cheryl Belanger

Date
1991-05
Description
105 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
Autoharp player Charley Groth and his apprentice Cheryl Belanger

Autoharp player Charley Groth and his apprentice Cheryl Belanger

Date
1991-06-21
Description
Two DAT tapes. This was the third visit by folklorist Stone; recorded at Groth's residence. Consists of a rehearsal (tape 14) and an interview with Groth (tape 14 and 15). 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 2004.
Collection
Banjoist Dale Webber and apprentices

Banjoist Dale Webber and apprentices

Date
1989
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
Basketmaker Pauline Hodges with her apprenctices

Basketmaker Pauline Hodges with her apprenctices

Date
1987-03
Description
Six color slides. For the 1987 program, Hodges served as a master artist to two apprectices: Reba Harrison and Dorothea Kent. Both learned to make pine needle baskets. 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
Boat builder Glen Simmons with his apprentice Donald Edward

Boat builder Glen Simmons with his apprentice Donald Edward

Date
1992
Description
Seven proof sheets with 226 black and white images (plus negatives). Images of Simmons and Ogden building an Everglades skiff. Also of Simmons boating in the Everglades. For more information see S 1644, box 10, folder 11. 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
Identifier Title Type Subject Thumbnail
Apprenticeship for 1992 Florida Folk FestivalApprenticeship for 1992 Florida Folk FestivalStill ImageMaterial culture
Accordions
Demonstrations
Beseda (Dance)
Folk dance
Folk festivals
Folklore revival festivals
Audiotape recordings
Wheelwrights
Apprentices
Dancers
Musicians
/fpc/memory/omeka_images/thumbnails/catalog_photo.jpg
Apprenticeships at the 1991 Florida Folk FestivalApprenticeships at the 1991 Florida Folk FestivalStill ImageApprentices
Performers
Guitarists
Guitar
String instruments
Folk dance
Fiddlers
Fiddles
Comparsa tradition
Folklore revival festivals
Arts, Cuban
Folk festivals
Storytellers
Guitarist
Harpists
Dancers
Musicians
/fpc/memory/omeka_images/thumbnails/catalog_photo.jpg
a_s1640_20_tape20Atsuko Lefcounte teaching her apprentices about ikebanaSoundArtisans
Flower arrangers
Apprentices
Arts, Japanese
Flower arrangement, Japanese
Flowers
Japanese Americans
Asian American arts
Asians
Oral communication
Oral performance
Lecturers
Sound recordings
/fpc/memory/omeka_images/thumbnails/catalog_audio.jpg
Atsuko Lefcourte and her apprentices demonstrating ikebanaAtsuko Lefcourte and her apprentices demonstrating ikebanaStill ImageArtisans
Flower arrangers
Apprentices
Flowers
Arts, Asian
Asian American arts
Asian Americans
Arts, Japanese
Japanese Americans
Material culture
Plants
Decorative arts
Decoration and ornament
Teaching of folklore
Flower arrangement, Japanese
/fpc/memory/omeka_images/thumbnails/catalog_photo.jpg
Atsuko Lefcourte and her apprentices demonstrating ikebanaAtsuko Lefcourte and her apprentices demonstrating ikebanaStill ImageArtisans
Flower arrangers
Apprentices
Flowers
Arts, Asian
Asian American arts
Asian Americans
Arts, Japanese
Japanese Americans
Material culture
Plants
Decorative arts
Decoration and ornament
Teaching of folklore
Flower arrangement, Japanese
/fpc/memory/omeka_images/thumbnails/catalog_photo.jpg
Autoharp player Charley Groth and his apprentice Cheryl BelangerAutoharp player Charley Groth and his apprentice Cheryl BelangerStill ImageFieldwork
Apprentices
Zither
Autoharp
String instruments
Musical instruments
German Americans
Teaching of folklore
Harpists
Musicians
/fpc/memory/omeka_images/thumbnails/catalog_photo.jpg
a_s1640_22_tape14Autoharp player Charley Groth and his apprentice Cheryl BelangerSoundFieldwork
Apprentices
Zither
Autoharp
String instruments
Musical instruments
German Americans
Women apprentices
Music rehearsals
Old time music
Country music
Interviews
Life histories
Personal experience narratives
Harpists
Musicians
/fpc/memory/omeka_images/thumbnails/audio.jpg
Banjoist Dale Webber and apprenticesBanjoist Dale Webber and apprenticesStill ImageApprentices
Banjoes
String instruments
Teaching of folklore
Musical instruments
Music performance
Music
Banjoists
Musicians
/fpc/memory/omeka_images/thumbnails/catalog_photo.jpg
Basketmaker Pauline Hodges with her apprencticesBasketmaker Pauline Hodges with her apprencticesStill ImageFieldwork
Baskets
Basket making
Pine needle crafts
Material culture
Containers
Teaching of folklore
Basket maker
Apprentices
/fpc/memory/omeka_images/thumbnails/catalog_photo.jpg
Boat builder Glen Simmons with his apprentice Donald EdwardBoat builder Glen Simmons with his apprentice Donald EdwardStill ImageFieldwork
Boatbuilding
Skiffs
Transportation
Waterways
Boats and boating
Material culture
Woodwork
Woodworking tools
Workshops
Wood craft
Wetlands
Apprentices
Boatbuilders
/fpc/memory/omeka_images/thumbnails/catalog_photo.jpg
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