| Moses Williams playing his diddly bow for students | Moses Williams playing his diddly bow for students | Still Image | African Americans
Musical instruments
String instruments
Diddly bow
Demonstrations
Blues (Music)
Students
Classrooms
Schools
Education
Pedagogy
Teaching of folklore
Children
Musicians | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Moses Williams playing his diddly bow for students
- Date
- 1982-10
- Description
- One proof sheet with thirty-seven black and white images. Images of Moses Williams playing his diddly bow -- a one-string guitar-like instrument used for blues music -- for students in Hillsborough County for the Florida Folk Arts in the Schools program. Biographical information on Moses Williams can be found in S 1613.
- Collection
| Thomas Rains demonstrating blacksmithing to students | Thomas Rains demonstrating blacksmithing to students | Still Image | African Americans
Blacksmithing
Metal craft
Demonstrations
Workshops
Workplace
Students
Teaching of folklore
Fieldwork (educational method)
Education
Blacksmiths | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
| Antonio Lerios and apprentice Nick Toth making dive helmets | Antonio Lerios and apprentice Nick Toth making dive helmets | Still Image | Apprentices
Diving Equipment and supplies
Greek Americans
Helmets
Metal craft
Sponge fisheries
Workplace
Workshops
Teaching of folklore
Copper
Metal products
Artisans | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Antonio Lerios and apprentice Nick Toth making dive helmets
- Date
- 1986-02-24
- Description
- Thirty-four color slides. Lerios began making diving helmets for sponge divers in 1913 in Tarpon Springs. When he was in his 80s, he decided to retire. In the meantime, Toth, fresh with a degree from University of Florida, decided to learn the trade, and he worked as an apprentice for Lerios. By 1992 when Lerios died, Toth had assumed control of the business. Diving helmets date back to the early 1900s. Once Greek divers began diving for sponges in Tarpon Springs in 1905, the diving helmet industry in Florida began. The helmets allow divers to walk into deep water to gather sponges. For more history of Lerios and Toth diving helmets, see: http://www.divinghelmets.com/pages/history.html 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
| Apprentices learning gospel music | Apprentices learning gospel music | Still Image | Apprentices
African Americans
Gospel (Black)
A capella singing
A capella singers
Teaching of folklore
Singers | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Apprentices learning gospel music
- Date
- 1990
- Description
- Two color slides; 30 negatives. 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
| Apprenticeship exhibit at the Stephen Foster Center | Apprenticeship exhibit at the Stephen Foster Center | Still Image | Apprentices
Furniture
Furniture makers
Exhibits
Education
Woodwork
Teaching of folklore
Chair-makers
Wood craft
Photography
Baskets
Basket work
Oyster tongs | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Apprenticeship exhibit at the Stephen Foster Center
- Date
- 1987-11
- Description
- Eight 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
| Banjoist Dale Webber and apprentices | Banjoist Dale Webber and apprentices | Still Image | Apprentices
Banjoes
String instruments
Teaching of folklore
Musical instruments
Music performance
Music
Banjoists
Musicians | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
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
| Carvers Bobby Johns and Randy Stewart | Carvers Bobby Johns and Randy Stewart | Still Image | Apprentices
Creek art
Wood carving
Wood craft
Decorative arts
Woodwork
Woodworking tools
Workshops
Native Americans
Creek Indians
Teaching of folklore
Carvers (Decorative artists)
Wood carvers | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Carvers Bobby Johns and Randy Stewart
- Date
- 1990
- Description
- Four color slides; 6 negatives. 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
| East Indian dancer Jaya Radhakrishnan and apprentices | East Indian dancer Jaya Radhakrishnan and apprentices | Still Image | Apprentices
Dance
Indian dance
Children
Body movement
Teaching of folklore
Dancers | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
East Indian dancer Jaya Radhakrishnan and apprentices
- Date
- 1990
- Description
- Three color slides; 24 negatives. 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
| Fiddler George Custer with apprentice Andrew Cook | Fiddler George Custer with apprentice Andrew Cook | Still Image | Apprentices
Fiddling
String instruments
Teaching of folklore
Musical instruments
Fiddles
Music
Children
Fiddlers
Musicians | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Fiddler George Custer with apprentice Andrew Cook
- Date
- 1990
- Description
- Four black and white prints. Cook was Custer's grandson. 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
| Fiddlers Andrew Cook and George Custer | Fiddlers Andrew Cook and George Custer | Still Image | Apprentices
Fiddles
Fiddling
Violin
Children
Teaching of folklore
Music performance
String instruments
Musical instruments
Musicians
Fiddlers | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Fiddlers Andrew Cook and George Custer
- Date
- 1990
- Description
- Two color slides; 12 negatives. Cook served as an apprentice to Custer. He was also his grandson. 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
Listen: The Folk Program