| Images from the North Florida Folklife Project | Images from the North Florida Folklife Project | Still Image | Architecture
Colonial architecture
Cigar making
Cigars
Work
Stores, retail
African Americans
Banjoes
Artisans
Diddly bow
Labor
Occupational groups
Whips
Whipcracking
Basket making
Baskets
Domestic arts
Guitarists
Fiddlers
Folklorists
Latinos
Cuban Americans
Cigar makers
Basket maker
Painters
Artists
Whip maker
Musicians | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Images from the North Florida Folklife Project
- Date
- 1978-05
- Description
- Ten proof sheets with 322 black and white images. P78-357, 358 Ella Mae Huffman making baskets. Includes images of Peggy Bulger (70 images) P78-359 Images of cigar roller Domingo Rojas, as well as of St Augustine (33 images) P78-360, 361 Painter Pharoah Baker (37 images) P78-362 Three musicians: Horace Fletcher, Robert Blackwelder, Dwight Devane P78-363 Whip cracker Claude Sheppard (35 images) P78-364,365 Shoeshiner Frank Mitchell (70 images) P78-366 Moses Williams playing the diddly bow (35 images) P78-367 Basket maker Mebelan Halloway (35 images)
- Collection
| Images of pysanky artist Ola Kryway and her apprentice Mary Martin | Images of pysanky artist Ola Kryway and her apprentice Mary Martin | Still Image | Fieldwork
Pysanky
Egg decoration
Eggs
Design
Painting
Interviews
Decorative arts
Arts, Ukrainian
Artists
Apprentices | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Images of pysanky artist Ola Kryway and her apprentice Mary Martin
- Date
- 1994-08-01
- Description
- 18 color slides. Apprentice Martin was funded to learn from pysanky artist Kryway Ukrainian egg decorating, including preparing/selecting eggs, drawing design, dyeing, and the meaning of designs. For more information of Kryway and Martin, see S 1644, box 11, folder 28. 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
| Images of the 1983 Florida Folk Festival | Images of the 1983 Florida Folk Festival | Still Image | Bands (Music)
Musicians
Festivals
Folk festivals
Folklore revival festivals
Special events
Performing arts
Music performance
String bands
String instruments
Art
Basket making
African Americans
Artists
Painters
Storytellers | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
| Images of the 1983 Florida Folklife Festival | Images of the 1983 Florida Folklife Festival | Still Image | Singers
Musicians
Street vendors
Artists
Painters
Weavers
Net maker
Toymakers
Festivals
Folk festivals
Folklore revival festivals
Special events
Performing arts
Music performance
Clog dancing
Clogging
Net makers
Netmaking
Minorcan Americans
Signs and signboards
Public speaking
Dinners and dining
Puppets
Toys
Dancers | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Images of the 1983 Florida Folklife Festival
- Date
- 1983-05
- Description
- One proof sheet with 36 black and white images (plus negatives). Includes images of the Minorcan Folklife Area, the Food Pavilion, various festival signs, and puppets of the Shoestring Puppeteers; as well as Boltin with Beers-Burstine, the Suwannee River Cloggers, the Back Porch Cloggers, Tom Walton, and Lamey with his wooden toys.
- Collection
| a_s1576_22_c86-167 | Interview with (Toothpick King) Henry Wesley Stewart | Sound | Fieldwork
Art
Woodwork
Selling
Wood craft
Toothpicks
Toothpick models
Decorative arts
Material culture
Sculpture
Artists | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Interview with (Toothpick King) Henry Wesley Stewart
- Date
- 1984-09-09
- Description
- One audio cassette. Stewart was well-known for his toothpick art work. Born in South Carolina, he was a former messenger for WMVR Radio. He discusses origins of his toothpick artwork; various sculptures he has made; the process of making the sculptures; inspiration sources; selling objects to people such as Minnie Pearl, publisher Katherine Graham, and Liberace; tools used; and the importance of traditions. Stewart did not allow any photographs to be taken of his artwork. The Folk Arts in Education Project in Duval County was a joint venture between the Duval County School System and the Florida Folklife Program. It was started in 1984 by folklorist David Taylor with funding from the National Endowment for the Arts to add to existing social studies curriculum. The project consisted of field research to identify local traditions and folk artists, a series of five two-day seminars to acquaint teachers with the use of folklore and folk arts,and in-school programs conducted by a folklorist and traditionalist which included visits by local folk artists. Taylor ran it until 1986. In 1988, Gregory Hansen re-initiated it with minor changes.
- Collection
| a_s1680_02_tape06 | Interview with ketubah maker Uriel Goldsmith | Sound | Fieldwork
Interviews
Judaism
Religious rites
Religious art
Marriage contracts
Arts, Jewish
Jewish Americans
Jewish art and symbolism
Decorative arts
Ketubah
Life histories
Oral histories
Oral communication
Sound recordings
Artists | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
Interview with ketubah maker Uriel Goldsmith
- Date
- 1989-03-24
- Description
- Two audio cassettes. Interview with Goldsmith speaking about Ketubah making in his studio. He also talks about growing up in New York, Jewish caligraphy, history Jewish marriage contracts, Jewish art and symbolism, meaning of colors, and materials used in his art. Jewish marriage contract art is known as Ketubah (Katubut/Katabbah/Katubah). Jewish law requires men to give women a marriage contract on their wedding day. A katubah, usually written in Yiddish, guarantees her financial rights upon his death. The contracts are designed with art and motifs of the local Jewish community. For images of Goldsmith and his ketubah, see S 1680, box 1, folder 2.
- Collection
| a_s1576_02_c78-050 | Interview with painter Pharaoh Baker | Sound | Interviews
Occupational groups
Occupational training
Painting
Art
Art and religion
Life histories
Fieldwork
African Americans
Christianity
African Americans Segregation
Racism
Racial discrimination
Cotton
Sculptors
Artists
Painters | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Interview with painter Pharaoh Baker
- Date
- 1978-05-03
- Description
- One audio cassette. Side 1, C78-50: Baker, born in Sneeds, Florida, discusses how he started painting seriously in his early twenties and used the GI Bill to study art at Florida A & M University from 1947 to 1949. He also describes the cotton picking trading system in which the laborers would trade coupons for finished cotton goods for payment. Baker also discusses his paintings: "The Sharecropper," "A Hero's Welcome," "Lord, Make My Burden Lighter," "The Dead Christ," "The Soul Searchers." He also talks about what has influenced his art; his school days; the murder of Emmett Till; and growing up as an African American in Jim Crow Florida. Side 2: Baker talks about his religious background and its influence in his art; how long it takes him to paint a picture; how he sculpts; the materials he uses to paint; and house and sign painting.
- Collection
| a_s1576_11_c84-002 | Interview with painters Pharaoh Baker and his apprentice Ellis Wright | Sound | Painters
Sculptors
Fieldwork
African Americans
Apprentices
Interviews
Life histories
Oral histories
Teaching of folklore
Painting
Art
Sculpture
Artists studios
Artists | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Interview with painters Pharaoh Baker and his apprentice Ellis Wright
- Date
- 1984-01-12
- Description
- One audio cassette. Baker served as a master artist to apprentice Wright in the 1984-1985 apprenticeship program. In the interview, they discuss learning painting; where they paint; subjects and inspirations; influences (Picasso, Van Gogh, El Greco); sculpture; African American culture; the goals of an artist; various mediums; and art perspectives. 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_s1576_t81-100 | Interview with Stetson Kennedy | Sound | Fieldwork
Interviews
Folklore
New Deal, 1933-1939
United States. Work Projects Administration
Painters
Artists
Publishers and publishing
Oral histories
Life histories
Personal experience narratives
Collecting
Labor unions
Ku Klux Klan (1915- )
Authors
Folklorists | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Interview with Stetson Kennedy
- Date
- 1981-09-22
- Description
- Three reel to reel recordings. In the interview, Kennedy discusses Stanley Papio; the WPA and the Federal Writers Project; working with anthropologist/writer Zora Neale Hurston; Carita Doggett Corse; collecting folklife during the 1930s; painter Mario Sanchez; his many books; infiltrating the KKK; work with labor unions; and the reprinting of the Folk Songs of Florida by Alton Morris, and Kennedy's Palmetto Country. Stetson Kennedy was one of the earliest folklorists working in Florida. Born in 1916, the Jacksonville native began collecting Northeast Florida folk sayings as a teenager. After a stint at the University of Florida, Kennedy joined the Florida WPA Writers Project in 1937 to administer the folklore, oral history, and ethnic studies section. Among the workers he supervised was novelist and anthropologist Zora Neale Hurston. Soon thereafter he published Palmetto Country, an exploration of Florida folklife edited by Erskine Caldwell. His papers from the WPA are housed within the Florida Folklife Collection. Although he remained a lifelong folklife supporter, in the 1940s and 1950s, Kennedy also worked to end Jim Crow laws and helped exposed the Ku Klux Klan with several publications. The recipient of many awards, including the Florida Folk Heritage Award and the NAACP Freedom Award, he was also the subject of Library of Congress' folklorist Peggy Bulger's dissertation. Among his books are Southern Exposure, The Klan Unmasked, and South Florida Folklife, co-authored with Bulger and Tina Bucuvalas. Bulger wrote her dissertation on Kennedy. Copied onto C81-71, C81-72 & C81-73.
- Collection
| a_s1576_t85-144 | Interview with wood carver Jose Orta | Sound | Wood carvers
Carvers (Decorative artists)
Fieldwork
Sound recordings
Interviewing
Interviews
Oral narratives
Wood carving
Puerto Ricans
Latinos
Artists
Woodwork
Art | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
Interview with wood carver Jose Orta
- Date
- 1985-07-28
- Description
- One reel to reel. In Spanish with Orta's mother- in-law Reynardo Fernandez translating. The field notes indicate her translations were not always accurate. Orta discusses his carvings; wood used; techniques; making musical instruments; how he learned carving; and his family's involvement. The Dade Folk Arts Survey was conducted in 1986 by folklorists Tina Bucuvalas, Nancy Nusz and Laurie Sommers in order to identify folk arts and folk artists for the special folklife area at the 34th Annual Florida Folk Festival. The traditions are mainly Haitian, Jamaican, Mexican, Bahamian, Cuban and Jewish and cover a wide range of skills and art forms.
- Collection
Listen: The Blues Program
