| Fly fishers Carl Hanson and apprentice Jason Keil | Fly fishers Carl Hanson and apprentice Jason Keil | Still Image | Apprentices
Teaching of folklore
Fly fishing
Saltwater fly fishing
Craft
Fishing tackle
Fishing Equipment and supplies
Artisans
Fishers | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Fly fishers Carl Hanson and apprentice Jason Keil
- Date
- 1989-07
- Description
- Nineteen color slides. Born in Saginaw, Michigan, Hanson grew up in Rockport, Massachusetts, where he learned to tie fly fish lines from his grandfather. Saltwater fly fishing became popular in Florida in the 1960s. For more information on Keil and Hanson, see S 1640, box 8, folder 8. 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_s1640_20_tape21 | Interview with Venezuelan harpist Jesus Rodriguez and apprentice Ana Marie de Armas | Sound | Apprentices
Venezuelan Americans
Harps
Interviews
Oral communication
Latinos
Children
String instruments
Teaching of folklore
Sound recordings
Harpists
Musicians | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
Interview with Venezuelan harpist Jesus Rodriguez and apprentice Ana Marie de Armas
- Date
- 1987-03-04
- Description
- One audio cassette. (A copy can be found in S 1640, box 22, tape 27.) A second interview can be found on tape 24. For more information on Rodrigues and Armas, see S 1644, box 3, folder 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 2003.
- Collection
| a_s1640_20_tape26 | Interview with Venezuelan harpist Jesus Rodriguez and apprentice Ana Marie de Armas | Sound | Apprentices
Venezuelan Americans
Latinos
Interviews
Sound recordings
Teaching of folklore
Musical instruments
Harpists
Musicians | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
Interview with Venezuelan harpist Jesus Rodriguez and apprentice Ana Marie de Armas
- Date
- 1988-03-19
- Description
- Three audio cassettes. A second interview can be found on tape 24. For more information on Rodriguez and Armas, see S 1644, box 3, folder 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 2003.
- Collection
| Irish James Kelly with apprentices Linda Gesele and Pam Carsey | Irish James Kelly with apprentices Linda Gesele and Pam Carsey | Still Image | Apprentices
Fiddles
Fiddling
String instruments
Music performance
Arts, Irish
Irish Americans
Musical instruments
Teaching of folklore
Fiddlers
Musicians | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Irish James Kelly with apprentices Linda Gesele and Pam Carsey
- Date
- 1989-08
- Description
- Twenty color slides. For more information on Kelly and the apprentices, see S 1640, box 8, folder 9. 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
| Street vendor Tommy Walton with apprentice James Watson | Street vendor Tommy Walton with apprentice James Watson | Still Image | Apprentices
African Americans
Teaching of folklore
Selling
Oral communication
Oral performance
Street vendors | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Street vendor Tommy Walton with apprentice James Watson
- Date
- 1989-08
- Description
- Twenty-one color slides. Tommy Walton sold hot dogs at the local baseball stadium. He would sing, dance, and tell stories while he sold the food. He often played at the Florida Folk Festival. For more information on Watson, see S 1640, box 9, folder 4. 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
| Wood carvers Bill and Dale Cooey | Wood carvers Bill and Dale Cooey | Still Image | Apprentices
Wood carving
Teaching of folklore
Decorative arts
Craft
Woodwork
Woodworking tools
Figurines
Workshops
Carpentry tools
Pocketknives
Carvers (Decorative artists)
Wood carvers | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Wood carvers Bill and Dale Cooey
- Date
- 1988-04
- Description
- One proof sheet with 24 black and white prints (plus negatives). Bill Cooey, a mix of Scottish and Yuchi Indian ancestry, grew up in the panhandle where he learned pocketknife carving from his mother, a descendant of the Yuchi Indians. His nephew Dale Cooey began to learn the craft with the Apprenticeship program in 1988. For more on Bill Cooey, see S 1644, box 3, folder 1. 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
| Wood carvers Bill and Dale Cooey | Wood carvers Bill and Dale Cooey | Still Image | Apprentices
Wood carving
Teaching of folklore
Decorative arts
Craft
Woodwork
Woodworking tools
Figurines
Workshops
Carpentry tools
Carvers (Decorative artists)
Wood carvers | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Wood carvers Bill and Dale Cooey
- Date
- 1988
- Description
- Thirty-nine color slides. Bill Cooey, who has a mix of Scottish and Yuchi Indian ancestry, grew up in the panhandle. There, he learned pocketknife carving from his mother, a descendant of the Yuchi Indians. His nephew Dale Cooey began to learn the craft with the Apprenticeship program in 1988. For more on Bill Cooey, see S 1644, box 3, folder 1. 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 | Still Image | Artisans
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 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 | Still Image | Artisans
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 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
| Bob Dellis teaching apprentice Kitt Maynard about carving designs in leather boots | Bob Dellis teaching apprentice Kitt Maynard about carving designs in leather boots | Still Image | Artisans
Leather workers
Apprentices
Leather craft
Leather goods
Teaching of folklore
Workshops
Boots
Cowboy boots
Shoes
Clothing
Design
Decorative arts
Carvers (Decorative artists) | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Bob Dellis teaching apprentice Kitt Maynard about carving designs in leather boots
- Date
- 1992-01
- Description
- 79 color slides. Images of Dellis with apprentice Maynard in his workshop. Dellis was a long-time leather worker originally born and trained in leather carver in Texas. He made belts, boots, saddles, and other leather carvings. Maynard was funded to learn to carve leather including design, layout, cutting, beveling, dying, painting, lacing and preserving. To complete her training, she had to complete three pieces. More images of the two can be found in S1577, volume 68. For more information on Dellis and Maynard, see S 1644, box 11, folder 6. 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, and then Robert Stone. The program was continued each year through 2004.
- Collection
Listen: The Latin Program