| 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
| a_s1640_23_tape02 | 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
- 1993-01-04
- Description
- One DAT tape. Recording of a practice between Arabie and his apprentice Stapleton. 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_s1576_01_c77-020 | Interview with Lee Whyms and Ken Rahming of the Key West Junkanoo Band | Sound | African Americans
Calypso music
Interviews
Musical instruments
Life histories
Oral histories
Music performance
Bands (Music)
Musical groups
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Interview with Lee Whyms and Ken Rahming of the Key West Junkanoo Band
- Date
- 1977-01-28
- Description
- One audio cassette. Whyms played the saw with a butter knife, and Rahming was a conga drum player. Interviews on side 1, recorded music on side 2. Whyms describes how he learned how to play the saw from Blackshirt, an old man from Key West; when the band was formed; how Marion Stevens discovered the band in an alley in Key West; how he plays the fine tooth crosscut saw. Rahming describes how he played the "coon-hide" drum (which was heated by fire to tune) when he first learned to play the drums at age sixteen; how his father came to Key West for the sponging industry; when he came home at night; how the Nassau-like parades began in Key West; how he visited Nassau and bought Calypso records, influencing his style of Calypso music to reflect Cuban and Bahamian characteristics; how he learned the limbo from Bill Butler; how Calypso is usually only played by men. On side 2 they play examples of Calypso recordings, not included here due to copyright restrictions.
- Collection
| a_s1576_12_c84-008 | Silver Springs boat drivers Willie Marsh and William Crowell | Sound | African Americans
Life histories
Interviews
Oral histories
Occupational groups
Occupational folklore
Glass bottom boats
Boat drivers
Boat driving
Libraries
Springs
Tourists
Tourism
Boat driver
Tour guides (Persons) | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Silver Springs boat drivers Willie Marsh and William Crowell
- Date
- 1984-03-09
- Description
- Two audio cassettes. C84-8: Side A Interview/talk with Willie Marsh and William Crowell as part of the Library Folklife Program; they discuss their childhood at Silver Springs as well as their work as guides at Silver Springs; driving boats at Silver Springs; tipping problems; stories told on boat tours (Bridal Chamber, Mammoth Rock Ledge, Main Spring, Catfish Reception Hall, Ladies' Parlor; Devil's Kitchen, Geysers; Florida Snowstorm, Blue Grotto, Backbone of Prehistoric Remains, Christmas Tree Grove, Boat used by Ponce De Leon, Catfish Hotel); commercialization damaging vegetation at Springs; visitor damage to the ecosystem of Springs. Side B They discuss glass-bottom boats; visitors who rode the glass-bottom boats; stories told; tipping gimmicks; experiences with snakes, boat breakdown, alligators. C84-9: Continuation of interview -- they discuss a row boat in the river; drowning of visitors on an excursion; traveling to New York to be on "What's My Line?"; seniority on the job; Tarzan; family members that worked at Silver Springs; music they learned from their parents; age and retirement; big boats on the river; drinking story and hunting story; different owners of Silver Springs; trip to Daytona Beach by horse and wagon.
- Collection
| a_s1640_20_tape16 | Interview with bouzouki player Spiros Skordilis | Sound | Apprentices
Greek Americans
Arts, Greek
Interviews
Bouzouki
String instruments
Sound recordings
Life histories
Music
Musicians | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
Interview with bouzouki player Spiros Skordilis
- Date
- 1987-04-07
- Description
- One audio casette. 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_63_c96-054 | Friday program at the 1996 Florida Folk Festival (Folklife Area Narrative Stage) (Tape 7) | Sound | Archaeologists
Storytellers
Folk festivals
Folklore revival festivals
Festivals
Special events
Performing arts
Oral performance
Oral narratives
Personal experience narratives
Life histories
Storytelling
Seminole Indians
Native Americans
Archaeology
Florida history
Occupational groups
Animal tales
Tales
Occupational folklore
Anthropologists | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
| a_s1576_63_c96-055 | Friday program at the 1996 Florida Folk Festival (Folklife Area Narrative Stage) (Tape 8) | Sound | Archaeologists
Dancers
Folk festivals
Folklore revival festivals
Festivals
Special events
Performing arts
Oral performance
Oral narratives
Personal experience narratives
Life histories
Nicaraguan Americans
Latinos
Music Latin America
Archaeology
Florida history
Occupational groups
Dance
Beliefs and cultures
Occupational folklore
Arts, Nicaraguan
Anthropologists | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
| a_s1576_63_c96-056 | Friday program at the 1996 Florida Folk Festival (Folklife Area Narrative Stage) (Tape 9) | Sound | Archaeologists
Dancers
Folk festivals
Folklore revival festivals
Festivals
Special events
Performing arts
Oral performance
Oral narratives
Personal experience narratives
Life histories
Nicaraguan Americans
Latinos
Music Latin America
Archaeology
Florida history
Occupational groups
Dance
Beliefs and cultures
Occupational folklore
Arts, Nicaraguan
Anthropologists | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
| a_s1576_67_c97-070 | Friday program at the 1997 Florida Folk Festival (Folklife Narrative Stage) (Tape 10) | Sound | Artisans
Artists
Musicians
Guitarist
Folk festivals
Folklore revival festivals
Festivals
Special events
Oral performance
Life histories
Interviewing
Arts, Jewish
Jewish Americans
Jewish art and symbolism
Ketubah
Calligraphy
Marriage contracts
Decorative arts
Arts, Mexican
Mexican Americans
Paper art
African Americans
Steel guitars
Musical tradition, sacred
Gospel (Black)
Gospel musicians
Gospel music | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
Friday program at the 1997 Florida Folk Festival (Folklife Narrative Stage) (Tape 10)
- Date
- 1997-05-23
- Description
- One audio cassette recordings. Side A: Catalina Delgado, a trunk and Mexican paper artist and Eileen Brautman, a Jewish paper artist are interviewed by Laurie Sommers. Delgado discusses paper-cutting techniques and how designs are made. Brautman explains traditional and contemporary calligraphy and paper cutting according to the European tradition. She tells of making stories from the Bible, use of animals and other designs and the making of a Ketubah (Jewish marriage contract). Side B: Sonny Treadway (Deerfield Beach, FL), sacred steel guitarist is interviewed by Laurie Sommers. He discusses sacred steel guitar and gospel music as well as his musical influences such as his father, other family members and church musicians. He plays by ear and has written several original songs.
- Collection
| a_s1576_67_c97-064 | Friday program at the 1997 Florida Folk Festival (Folklife Narrative Stage) (Tape 4) | Sound | Artisans
Folk festivals
Folklore revival festivals
Festivals
Special events
Oral performance
Life histories
Interviewing
Calligraphy
Writing
Paper art
Paper work
Arts, Jewish
Jewish Americans
Decorative arts
Jewish art and symbolism | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
Listen: The Bluegrass & Old-Time Program