| Vince Modie playing the Hungarian zither | Vince Modie playing the Hungarian zither | Moving Image | Video recording
Music performance
Arts, Hungarian
Hungarians Americans
String instruments
Cetera
Musical instruments
Musicians | /fpc/memory/omeka_images/thumbnails/catalog_video.jpg |
Vince Modie playing the Hungarian zither
- Date
- Description
- One video recording (VHS) Modi played the cetera, an instrument similar to the dulcimer. Creator Horvath was the curator for the Hungarian Folk Art Museum.
- Collection
| 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
| a_s1576_21_c86-141 | Captain Jake Stone interview for Fishing All My Days | Sound | Net maker
Field recordings
Interviews
Life histories
Personal experience narratives
Interviewing
Fishing nets
Netmaking
Seafood gathering
Seafood industry
Selling seafood
Oral history
Fishing Equipment and supplies
Fishing
Fishers
Shrimpers (persons) | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Captain Jake Stone interview for Fishing All My Days
- Date
- 1984-08-10
- Description
- Two audio cassettes. Audio does not start immediately. C86-143: Capt. Jake Stone discusses his early years in shrimping, 1947-1948; his first shrimp boat was the "Jim Dozier"; tells fishing story; discusses shrimping in the present day - differences; family background; shrimp boats he's run; New Smyrna, Florida as "shrimping Mecca"; modern shrimping ports; communication; "heading" shrimp stories; shrimping as a family business; superstitions among fishermen; "oil drip" story; shrimp captain, "Gator Pierce"; fisherman, Ralph Weatherly; fishing territories; electric reels; net-making; old-time net-maker, Anchor Damgard; fisherman, Johnny McDonald; tells fishing and shrimping stories throughout tape. C86-141: Captain Stone discusses various aspects of shrimping and netmaking such as the types of nets he made ("Jubilee" nets, "Joe Lucas" nets, and "Brownie" nets); innovations in his net-making; intricacies of net-making and how they work; seasonal runs of shrimp; decreasing catches of shrimp and rising prices; legends of shark feeding; younger generation's lack of interest in net making; modern shrimping vs. shrimping when Capt. Stone was younger. Interview conducted during fieldwork for video documentary on Florida shrimping called Fishing All My Days, and was made by the Florida Folklife Program, and the University of Florida (WUFT-TV). A transcript of the interview can be found in S 1579, box 1, folder: "C86-99 through C86-149."
- Collection
| 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
| a_s2029_01_tape11 | Iglesia Santa Pentecostes El Shaddai church service for the Mexican American Music Survey | Sound | Singers
Preachers
Field recordings
Mexican Americans
Church services
Protestants
Religious music
Religious songs
Musical tradition, sacred
Arts, Mexican
Sermons
Christianity
Religious rites | /fpc/memory/omeka_images/thumbnails/audio.jpg |
| a_s1576_t83-088 | Interview with and music performance by Ike Ward | Sound | Fieldwork
African Americans
Blues (Music)
Performing arts
Music performance
Singing
Guitar music
Guitarists
String instruments
Interviews
Oral histories
Life histories
Singers
Guitarist
Blues singers | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Interview with and music performance by Ike Ward
- Date
- 1980
- Description
- One reel to reel recording. Over one hundred years old at the time of the recording, Ward talks about blues music, visiting Africa after the war, and his life. In 1980, he still performed at local social functions. These are field recordings from the Florida Record Project. That project, along with work for the North Florida Project, resulted in the two-album recording, Drop On Down in Florida.
- Collection
| a_s1714_03_tape14 | Interview with fern farm worker Marie Castillo | Sound | Farm workers
Fieldwork
Interviewing
Interviews
Oral narratives
Oral histories
Life histories
Farming
Ferns
Crops
Cookery, Mexican
Occupational groups
Occupational folklore
Mexican American cookery
Mexican Americans
Community culture
Community rites
Pinatas
Cooking and dining | /fpc/memory/omeka_images/thumbnails/audio.jpg |
Interview with fern farm worker Marie Castillo
- Date
- 1985-01-20
- Description
- One audio cassette. Interview with fernery worker Marie Castillo, a Mexican migrant. Recorded in her kitchen, Castillo discussed Mexican migration patterns; fern farming; pinata making; religion; adjusting to Florida; family history; music; and community rites. 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
| a_s1640_20_tape10 | Interview with Hungarian embroiderers Margaret Horvath and Elizabeth Spreckelsen | Sound | Needleworkers
Embroiderers
Apprentices
Interviews
Sound recordings
Emigration and immigration
Family history
Embroidery
Needlework
German Americans
Hungarians Americans
Teaching of folklore
Textile arts
Decorative arts
Design
Life histories
Oral histories
Occupational groups | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
Interview with Hungarian embroiderers Margaret Horvath and Elizabeth Spreckelsen
- Date
- 1985-03-06
- Description
- One audio cassette. Spreckelsen apprenticed under Margaret Horvath in 1984-1985. Horvath was a Hungarian and moved to the U.S. in 1970. Spreckelsen was from a German American family in New York City. They discuss immigration; family history; learning embroidery; types of Hungarian embroidery; designs; and teaching embroidery. For a transcript, see S 1640, box 2, folder 9. 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_tape13 | Interview with pinata maker Viki Grimm | Sound | Artisans
Apprentices
Pinatas
Oral histories
Oral narratives
Interviews
Decorative arts
Craft
Life histories
Arts, Mexican
Ethnicity, Mexico
Mexican Americans | /fpc/memory/omeka_images/thumbnails/catalog_audio.jpg |
Interview with pinata maker Viki Grimm
- Date
- 1986-04-22
- 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
Listen: The Bluegrass & Old-Time Program
