| a_s2044_02_tape03 | Aubrey Ghent and his father Henry Nelson performing sacred steel music at various events | Sound | Guitarist
Singers
Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Festivals
Folk festivals
Special events
Church attendance
Church services
Protestants
Christianity
Churches
Religion
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Aubrey Ghent and his father Henry Nelson performing sacred steel music at various events
- Date
- 1993-11-26
- Description
- One audio cassette recording. (Duplicate can be found on tape 5.) The first half of the tape was recorded at a House of God "Family and Friends Day Celebration" in Daytona Beach on 5 September 1993. The second half was recorded at the Ocala House of God Church #2 on 26 November 1993, and the then at the 1994 Florida Folk Festival on May 24 1994 (for entire festival performance, see D94-20 in S 1576.) On the second half, the vocals are weak. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
- Collection
| a_s2044_02_tape09 | Aubrey Ghent performing Father in Jesus Name | Sound | Fieldwork
Steel guitars
Guitar music
Performing arts
Guitarists
Music performance
African Americans
Religious songs
Religious music
Gospel songs
Gospel musicians
Gospel (Black)
Bands (Music)
Musical groups
Churches
Religion
Christianity
Protestants
Guitarist
Singers
Musicians | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Aubrey Ghent performing Father in Jesus Name
- Date
- 1993-09-05
- Description
- One audio cassette recording. For more of these two, see tape 3. The Sacred Steel Guitar Recording Project originated in 1992 when Florida Folklife Program folklorist Robert Stone discovered that several predominantly African American House of God churches (a sub-sect of the Pentecostal church) in the St. Petersburg area were using steel guitars in their religious services. The practice began by Willie and Troman Eason in the 1930s, and expanded upon by players such as Henry Nelson and Lorenzo Harrison. Realizing that this was a unique musical tradition, labeled Sacred Steel, the Florida Folklife Program to applied for a grant from the National Endowment for the Arts to conduct fieldwork and create a music album for public dispersal. The aim of the project was to increase public awareness of the gospel steel guitar tradition, as well as document it for future generations. Matched with state funds, the grant period originally ran from October 1993 through October 1994, but was extended for another year. In that time Stone, along with sound engineers William Dudley and Mike Stapleton, interviewed and recorded several steel guitarists in the St. Petersburg area. An album entitled Sacred Steel was released in 1995. It was then re-released through an agreement with Arhoolie Records in 1997.
- Collection
| Capirotada (Mexican bread pudding) | Capirotada (Mexican bread pudding) | Still Image | Fieldwork
Food
Food habits
Mexican American cookery
Pots
Cookware
Bread
Bread puddings
Desserts
Puddings
Cooks | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Capirotada (Mexican bread pudding)
- Date
- 1985-03-07
- Description
- Two color slides. Images of Mexican bread pudding cooked by Marie Castillo. In winter 1985, the Bureau joined with two folklorists to conduct a folk arts survey of the St. Johns River basin in northeastern Florida. The St. Johns River is the largest and most used river in Florida, supporting much river commerce as well as a modest amount of commercial fishing. Folklorists Mary Anne McDonald and Kathleen Figgen conducted the survey from January through March 1985 under the direction of Folklife Coordinator Blanton Owen and Bureau Chief Ormond Loomis. Documentation compiled in the survey was used to prepare and present the "St. Johns River Basin Folklife Area" at the 1985 Florida Folk Festival.
- Collection
| Catholic mass held in a Methodist Church in Seville | Catholic mass held in a Methodist Church in Seville | Still Image | Fieldwork
Christianity
Structures
Buildings
Church services
Community culture
Religion
Church architecture
Ethnicity, Mexico
Latinos
Churches
Church buildings
Catholics
Musical instruments
Religious rites
Baptism
Baptismal sermons
Priests
Church attendance
Infant baptism | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Catholic mass held in a Methodist Church in Seville
- Date
- 1985-03-10
- Description
- Twenty-seven color slides. Images of a Catholic mass and baptismal service in Seville, Florida. The mass was held in a Methodist Church that the Mexican American fern farmer used for Catholic services. For a recording of the service, see S 1714, box 4, tapes 68-69. 1742-1743: The Methodist Church exterior; 1444-1748: Chuck Bard and Francisco Espino playing music; 1749-1751: Bard leading singing; 1752-1753: Blessing child; 1754, 1756: Narvaez giving communion; 1755: baptising child; 1756-1757: Mother and child; 1806-1813: church parishioners; 1814-1815: Father Narvaez. In winter 1985, the Bureau contracted with two folklorists to conduct a folk arts survey of the St. Johns River basin in northeastern Florida. The St. Johns River is the largest and most used river in Florida, supporting much river commerce as well as a modest amount of commercial fishing. Folklorists Mary Anne McDonald and Kathleen Figgen conducted the survey from January through March 1985 under the direction of Folklife Coordinator Blanton Owen and Bureau Chief Ormond Loomis. Documentation compiled in the survey was used to prepare and present the "St. Johns River Basin Folklife Area" at the 1985 Florida Folk Festival.
- Collection
| Centenarian Ike Ward discussing his life | Centenarian Ike Ward discussing his life | Still Image | Old age
Elderly, the
African Americans
Oral narratives
Oral communication
Personal experience narratives
Life histories
Porches | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
| Centenarian Ike Ward with Florida folklorists | Centenarian Ike Ward with Florida folklorists | Still Image | Elderly, the
Life histories
Oral communication
Oral narratives
Porches
African Americans
Old age
Folklorists | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Centenarian Ike Ward with Florida folklorists
- Date
- Description
- One black and white print. Ike Ward was 108 years old at the time -- 2 June 1980. In the photograph, he is sitting on his front porch with folklorists Doug Leatherbury and Dwight Devane.
- Collection
| Church service at the St. John's Missionary Baptist Church | Church service at the St. John's Missionary Baptist Church | Still Image | Fieldwork
African Americans
Church attendance
Church membership
Church services
Religion
Children
Prayer
Prayers
Preachers
Baptists
Protestants
Baptist church buildings
Protestant church buildings
Religious rites
Community culture | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
| a_s1714_reel20 | Conjunto Azteca Tropical | Sound | Fieldwork
Sound recording
Arts, Mexican
Mexican Americans
Latinos
Cumbia
Musicians
Bands (Music)
Musical groups | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Conjunto Azteca Tropical
- Date
- 1985-02-08
- Description
- Three audio reels. Recording of Conjunto Azteca Tropical performing. In winter 1985, the Bureau contracted with two folklorists to conduct a folk arts survey of the St. Johns River basin in northeastern Florida. The St. Johns River is the largest and most used river in Florida, supporting much river commerce as well as a modest amount of commercial fishing. Folklorists Mary Anne McDonald and Kathleen Figgen conducted the survey from January through March 1985 under the direction of Folklife Coordinator Blanton Owen and Bureau Chief Ormond Loomis. Documentation compiled in the survey was used to prepare and present the 'St. Johns River Basin Folklife Area' at the 1985 Florida Folk Festival.
- Collection
| Elizabeth Spreckelsen learning Hungarian embroidery from Margaret Horvath | Elizabeth Spreckelsen learning Hungarian embroidery from Margaret Horvath | Still Image | Needleworkers
Embroiderers
Apprentices
Hungarians Americans
Embroidery
Needlework
Textile arts
Decorative arts
Material culture | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Elizabeth Spreckelsen learning Hungarian embroidery from Margaret Horvath
- Date
- 1985-03-06
- Description
- One proof sheet with thirty-four black and white images (plus negatives). Spreckelsen apprenticed under Margaret Horvath in 1984-1985. For an interview with Spreckelsen and Horvath, see S 1640, Box 20, tape 10. 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
| Examples of Margaret Horvath's Hungarian embroidery | Examples of Margaret Horvath's Hungarian embroidery | Still Image | Needleworkers
Embroiderers
Fieldwork
Hungarians Americans
Needlework
Textile arts
Embroidery
Decorative arts
Design
Material culture | /fpc/memory/omeka_images/thumbnails/catalog_photo.jpg |
Examples of Margaret Horvath's Hungarian embroidery
- Date
- 1984-11
- Description
- Twenty-four 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
Listen: The Assorted Selections Program