Creative Industry Analysis

Total Page:16

File Type:pdf, Size:1020Kb

Creative Industry Analysis Creative Industry Analysis Traditional Music Venues in the Blue Ridge Region of North Carolina North Carolina Arts Council July 2012 North Carolina Arts Council Department of Cultural Resources Raleigh, NC 27699‐4632 www.ncarts.org [email protected] (919)807‐6500 The N.C. Arts Council is a division of the N.C. Department of Cultural Resources, the state agency with the mission to enrich lives and communities, and the vision to harness the state’s cultural resources to build North Carolina’s social, cultural and economic future. Contents Executive Summary ...................................................................................... i Overview ...................................................................................................... 1 Methodology ................................................................................................ 1 Venue Summary by County ................................................................................................. 4 by Name ................................................................................................... 5 Venue Descriptions by Type of Venue ......................................................... 6 Fiddlers’ Conventions ......................................................................... 6 Festivals ............................................................................................. 12 Concerts ............................................................................................. 19 Dance Halls ........................................................................................ 24 Music Gatherings ............................................................................... 27 Audience Profile .......................................................................................... 31 Economic Analysis ....................................................................................... 45 Executive Summary ................................................................................ 45 Introduction ......................................................................................... 46 Sampling ............................................................................................. 46 Results Visit Characteristics ............................................................................ 48 Visitor Profile ................................................................................... 52 Promotional Efficacy ........................................................................... 57 Satisfaction ...................................................................................... 58 Economic Impacts .............................................................................. 60 Economic Impact Within the Context of the Region ...................................... 71 Optional Questions ............................................................................. 71 Lists of Tables and Figures Figure 1. Event Locations within the Study Region ........................................ 46 Figure 2. Distribution of Home Zip codes of sample members ........................... 53 Table 1. Number of Surveys Collected and estimated attendance at Each Event ... 47 Table 2. Primary Reason for trip ............................................................. 48 Table 3. Primary Purpose of Trip to Specifically Attend Event by Venue ............. 49 Table 4. Visit Characteristics (travel party size and # of nights visiting) ............. 50 Table 5. Impact of Event not happening .................................................... 51 Table 6. Visitor Demographics ................................................................ 52 Table 7. Age by Venue/Event ................................................................ 54 Table 8. Participation in Arts and Music .................................................... 55 Table 9. Influence of NC on music/arts interest .......................................... 55 Table 10. Annual Music related expenditures .............................................. 56 Table 11. Sources of most influential information ......................................... 57 Table 12. Importance of information source by demographics .......................... 58 Table 13. Stated Behavior ..................................................................... 59 Table 14a. Travel Expenditures in dollars and cents ........................................ 61 Table 14b. Travel Expenditures in dollars and cents ........................................ 62 Table 14c. Total Travel Expenditures in dollars and cents ................................. 63 Table 15. Total Economic Impacts............................................................ 65 Table 16a. Relationship Between Expenditures and County Variables .................. 66 Table 16b. Relationship Between Expenditures and Other Variables .................... 67 Table 16c. Travel Expenditures by Event-Related Overnight Stay ....................... 69 Table 16d. Travel Expenditures by Primary Reason for Being in Region ................ 70 Table 17. Comparison of Economic Studies ................................................ 71 Table 18. Previous experience with mountain region .................................... 72 Table 19. Activity Participation While on Visit ............................................ 72 Summary Recommendations ....................................................................... 73 Appendix....................................................................................................... 75 Statistical References ......................................................................... 75 Economic Analysis Methodology ........................................................ 76 Survey Instrument ............................................................................... 77 Credits Advisory Team Blue Ridge National Heritage Area Angie Chandler, Executive Director Rob Bell, Director of Programs Jill Jones, Director of Marketing and Communications North Carolina Arts Council Leesa Brandon, Cultural Tourism Specialist Wayne Martin, Executive Director Rebecca Moore, Senior Program Director for Marketing Survey collection Steve Kruger, with the assistance of Ashley Melzer Venue Summaries Steve Kruger Audience Analysis Steve Kruger Economic Analysis Hans Vogelsong, East Carolina University Project Manager Rebecca Moore, North Carolina Arts Council, Senior Program Director for Marketing Editor Ardath Weaver, North Carolina Arts Council, Research Director Fiscal Agent North Carolina Folklife Institute This study was supported through funding from the Blue Ridge National Heritage Area and the North Carolina Arts Council. Executive Summary Analysis of Traditional Music Venues in Western North Carolina Western North Carolina has a national reputation as a music-rich region and its traditions of old-time string band music, ballad singing and bluegrass are internationally renowned. The artistry of musicians from this region has shaped many forms of American music. North Carolina’s distinctions in traditional music draw people to the state, not only for entertainment in the beautiful, lush settings of the mountains, but to appreciate the places that had significant influence on the development of iconic American music. Mountain music events celebrate the origins of folk festivals, fiddle and banjo ensembles, ballad singing and team square dancing. Intimate personal connections with traditions like these happen through such experiences as hearing the ballad of Tom Dooley in the very spot its lyrics describe or sharing the energy of young musicians learning from their elders. Traditional music in western North Carolina touches people, motivating them to travel great distances, and even to move to the region. The sense of place in the Blue Ridge region is an important audience draw. In order to gauge the economic impact of traditional music venues, the North Carolina Arts Council and the Blue Ridge National Heritage Area jointly sponsored this study. The study was conducted in 2011 in 18 counties that are part of the Blue Ridge National Heritage area. Data was collected from audience surveys at the 26 Blue Ridge Music Trails project events taking place during the study period. Folklorists also collected anecdotal information from interviews with participants to help contextualize the data. People told stories about prior experiences with the venues, a personal love of Appalachian music and why they made the journey to experience the music first-hand. This information led to a deeper understanding of the many different audiences present at traditional music venues, from multiple generations of local regulars, to a growing population of retirees and second homeowners, to visitors from as far away as Australia. The events that were included in this study play an important role within western North Carolina and the Blue Ridge Mountain region. A total of $20.7 million in economic impact is associated with the 26 events, documenting that traditional music is a significant sector of the Creative Industry. This research confirms that traditional music contributes to community identity and returns economic value. The Blue Ridge Traditional Music venues study shows the significance of traditional music venues and sites as valued social spaces, and music itself as a meaningful part of people’s lives and an important facet of the region’s cultural identity for both residents and visitors. Traditional music is particularly
Recommended publications
  • DOCUMENT RESUME ED 310 957 SO 020 170 TITLE Folk Recordings
    DOCUMENT RESUME ED 310 957 SO 020 170 TITLE Folk Recordings Selected from the Archive of Folk Culture. INSTITUTION Library of Congress, Washington, DC. Motion Picture, Broadcasting, and Recorded Sound Div. PUB DATE 89 NOTE 59p. PUB TYPE Reference Materials Directories/Catalogs (132) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS American Indians; Audiodisks; Audiotape Cassettes; *Folk Culture; Foreign Countries; Music; *Songs IDENTIFIERS Bahamas; Black Folk Music; Brazil; *Folk Music; *Folktales; Mexico; Morocco; Puerto Rico; Venezuela ABSTRACT This catalog of sound recordings covers the broad range of folk music and folk tales in the United States, Central and South America, the Caribbean, and Morocco. Among the recordings in the catalog are recordings of Afro-Bahain religious songs from Brazil, songs and ballads of the anthracite miners (Pennsylvania), Anglo-American ballads, songs of the Sioux, songs of labor and livelihood, and animal tales told in the Gullah dialect (Georgia). A total of 83 items are offered for sale and information on current sound formats and availability is included. (PPB) Reproductions supplied by EMS are the best that can be made from the original document. SELECTED FROM THE ARCHIVE OF FOLK CULTURE MOTION PICTURE, BROADCASTING AND RECORDED SOUND DIVISION LIBRARY OF CONGRESS WASHINGTON. D.C. 20540 U S DEPARTMENT OF EDUCATION Office of Educational Research and improvement EDUCATIONAL RESOURCES INFORMATION CENTER IERICI hisdocument has been reproduced as received from the person or organization originating it C Minor changes have been made to improve reproduction duality Pointsof view or opinions stated in thisdccu- ment do not necessarily represent officral OERI motion or policy AM.
    [Show full text]
  • Pete Seeger: a Singer of Folk Songs
    LINGUACULTURE 2, 2020 PETE SEEGER: A SINGER OF FOLK SONGS DAVID LIVINGSTONE Palacký University Abstract Pete Seeger would have turned one hundred and one on May 3 of this year. To commemorate these ten decades plus one year, I would like to look at eleven of the most remarkable aspects of Pete Seeger’s life, work and legacy. This paper will examine the cultural impact and oral tradition of the music, songs and books of Pete Seeger. This legendary folk musician's career spanned eight decades and touched on many of the key historical developments of the day. He is responsible for some of the iconic songs which have not only helped define American culture, but even beyond. Seeger was also a pioneer in a number of fields, using his music to propagate political convictions, ecological themes, civil rights, world music, education, etc. The folk singer also had his finger on the pulse of a number of developments in American history and culture. He was friends with a number of prominent musicians and artists and influenced an entire range of younger musicians and activists. Keywords: Pete Seeger; Folk music; American history; Social activism; Civil Rights movement Family Pete Seeger’ family was a powerhouse of talent, musically and beyond. Charles Seeger (1886-1979), his father, was a renowned musicologist who held a number of prominent university positions. His political convictions, obviously on the left, were also instrumental in forming his son’s ideological worldview. His mother Constance de Clyver (1886-1975) was also a musician although not as accomplished by far as his stepmother Ruth Seeger (1901-1953) (mother to Mike and Peggy).
    [Show full text]
  • Brent Mcknight Thesis
    Table of Contents ! Introduction 1 1. Growing Tourists: Agriculture, Cultural Performance, and Tourism at 14 the Cherokee Indian Fair 2. Entering the Kingdom of Rhododendron: White Culture, Escapism, 42 and Tourism in the Rhododendron Festival 3. Attracting Tourists with Kilts and Cabers: The Cultural and 71 Economic Impact of the Grandfather Mountain Highland Games Conclusion 97 Bibliography 103 ! Introduction: What do Festivals have to do with Anything? When someone mentions western North Carolina today, a host of possible travel destinations and tourist attractions come to mind. The Great Smoky Mountains National Park and the Blue Ridge Parkway attract many visitors annually to their scenic overlooks and expansive views of the Blue Ridge Mountains. Grandfather Mountain blends conservation and tourism into a single attraction where visitors can see native wildlife and walk on the mile-high swinging bridge. One might also think of Harrah’s Cherokee Hotel and Casino and the Museum of the Cherokee Indian in Cherokee, North Carolina, or the craft beer scene, Grove Park Inn, and Shindig on the Green in Asheville. More generally, one might think of folk music or handmade arts and crafts. At the beginning of the twentieth century, no one could have predicted that the tourist industry in western North Carolina, which at the time was dominated by health resorts catering to the wealthy, would transform over the course of the century into a multi-faceted $3 billion industry in 2014.1 The health resort industry began in the nineteenth century and attracted visitors who came to enjoy the hot springs and mountain water, both thought to improve health.2 Over the course of the twentieth century, the tourist industry diversified and expanded to incorporate new forms of leisure.
    [Show full text]
  • Baldwin Haney Essay For
    The Singing on the Mountain By Dave Haney and Lisa Baldwin This essay was composed for the project Worth 1,000 Words: Essays on the Photos of Hugh Morton, made possible in part by a grant from the North Carolina Humanities Council, a statewide nonprofit and affiliate of the National Endowment for the Humanities. The Hugh Morton Collection of Photographs and Films is held by the North Carolina Collection Photographic Archives, Wilson Library at the University of North Carolina at Chapel Hill. Haney is the former Vice Provost for Undergraduate Education and Professor of English and Appalachian Studies at Appalachian State University (now Provost at Black Hills State University in South Dakota), as well as a musician and author on topics of philosophy, literature, and bluegrass music. Lisa Baldwin is a recent graduate of the MA program in Appalachian Studies at Appalachian State University, has taught elementary school for 30 years, is the founder of “Learning Through Song,” a music education program, and is a musician and songwriter who performs with Dave Haney and others. Although our current understanding of traditional music festivals is shaped by the folk and bluegrass festivals that blossomed in the 1960s, both secular and religious traditional music had been performed in large outdoor settings in the Blue Ridge Mountains much earlier. Many of the largest of these events had inauspicious beginnings. On the secular side, the Annual Old Fiddler’s Convention in Galax, Virginia, according to the convention’s official web site, was started in 1935 by Moose Lodge #733 in order to raise funds and preserve regional musical traditions, and has since grown to one of the world’s largest fiddler’s conventions.
    [Show full text]
  • Download on the ACHF Website: 7
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 American Team Clogging as Pilgrimage and Heritage Ritual James Andrew Howard Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE AMERICAN TEAM CLOGGING AS PILGRIMAGE AND HERITAGE RITUAL By JAMES ANDREW HOWARD A Thesis sub itted to the Depart ent of Dance in partial fulfill ent of the require ents for the degree of Master of Arts Degree Awarded. Spring Se ester, 2001 Copyright © 2001 Ja es Andrew Howard All Rights Reser3ed The me bers of the Co ittee appro3e the Thesis of Ja es Andrew Howard defended on March 30, 2001. _________________________________ Tricia Young Professor Directing Thesis __________________________________ Jennifer At6ins Committee Member __________________________________ Sally So er Co ittee Me ber __________________________________ Patricia Phillips Co ittee Me ber Appro3ed. _____________________________________ Patricia Phillips, Co7Chair, Depart ent of Dance _____________________________________ Sally McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and appro3ed the abo3e na ed co ittee me bers. ii Dedicated, in lo3ing me ory, to Ryan Lee Marsh (118372008) Than6 you, Ryan, for your encourage ent in this and many other ad3entures. Than6 you for being part of my story. One more thing= iii ACKNOWLEDGEMENTS I would first li6e to than6 my fa ily for being tea cloggers, by association, for o3er 21 years. My grand other, Annie Ruth Howard (Granny Annie, as many clogging friends call her), has been exceptionally supporti3e and significant in my clogging ad3entures, fro the earliest lessons to fa ily su er pilgri ages to Dollywood.
    [Show full text]
  • North Carolina MILLENNIAL TRADITIONAL ARTISTS DIRECTORY
    North Carolina MILLENNIAL TRADITIONAL ARTISTS DIRECTORY A product of the Millennial Traditional Artists Project by the Folklife Program of the North Carolina Arts Council www.NCArts.org 1 About the Directory Connecting with Artists The Millennial Traditional Artists (MTA) Directory documents next-generation This directory provides biographies, work samples, and contact information which artists working within traditional genres and cultures found across the state of may have changed over time. We remind users that we cannot guarantee that all North Carolina. the information is completely up-to-date. North Carolina Arts Council staff do not act as managers or agents, so please contact artists directly to ascertain relevant This directory is the outcome of a three-year initiative by the Folklife Program experience and to negotiate bookings and contracts. of the North Carolina Arts Council to identify, serve, and promote the needs of traditional artists at the early stages of their careers. The MTA Project emerged The MTA Directory is intended to be a tool for artists, presenters, and others who from the need to forge new relationships and methods of communication and have an interest in our state’s cultural traditions. To help us understand its value, service with traditional artists in the age of digital media and self-representation. we invite you to share your experiences when you use the directory. Your feed- Although the term “Millennial” formally refers to the generation born between back will help us to improve future iterations of the directory or may spark new the years of 1981 and 1996, this directory more broadly uses the term to refer to strategies for connecting millennial traditional artists with presenters, the general artists emerging in the new millennium.
    [Show full text]
  • Bascom Lamar Lunsford's Daughters
    Bascom Lamar Lunsford’s Daughters: Jo Herron, Lynn Hadley, Nelle Greenawald, Merton Brown Side 1: Jo [5] She was there when the family moved to South Turkey Creek. Her mother was glad to be back with her father and step-mother. She heard lots of stories from her parents about their school days and meetings. Her father sang a lot. The Mountain Dance and Folk Festival started two years later and many people came to the house. Her mother sang hymns as she worked. She remembers her grandfather's barn and all the space the children had for playing. Her parents and grandparents were involved in the Methodist Church. [Nellie Triplett Lunsford, Thomas Triplett, Sophia Triplett, Bascom Lamar Lunsford] Jo [33] There was a problem in all churches regarding dancing. Some were more strict than others. When she was 15 she organized one of the first square dance teams of teenagers to perform at the Mountain Dance and Folk Festival. Richard Queen, son of Sam Queen of Soco Gap saw to it that that young teens were organized to compete. The fiddle was considered "the tool of the devil" and one time, when the dance team was practicing at home, the minister didn't want to see "the work of the devil going on." This was 1939 and square dancing was nationally recognized. There were mixed emotions about this but her father never wanted any part of alcohol. Square dancing is very physical and, while her father offered "White Lightning" on special occasions, this was never broadly done in her memories.
    [Show full text]
  • Table of Contents, Illustrations
    Contents List of Illustrations . ............................... vii Foreword: A Personal Tribute to Anne Grimes. 0ix Preface . ......................................... xi Introduction . ..................................... 1 1 Frank Allen. 18 2 Reuben Allen . ................................ 21 3 Bertha Bacon . ................................ 24 4 Sarah Basham and Bertha Basham Wright . ........ 27 5 John W. Beattie. 31 6 Henry Lawrence Beecher . ...................... 34 7 John M. Bodiker. 39 8 Paul Bogatay . 49 9 Dolleah Church . .............................. 51 10 Governor James M. Cox . ....................... 54 11 Walter W. Dixon. 56 12 Dulcerine Players of Southeastern Ohio: Bob White, . Ken Ward, Lilly McGhee Ward Swick, Charles Ralston. 58 13 Arthur Byrd Fields. 63 14 Ella Strawser Flack . ........................... 65 15 Blanche Wilson Fullen. 68 16 Bob Gibson . 72 17 A. B. Graham . ................................ 75 18 Brodie Franklin Halley . ........................ 77 19 Perry Harper . ................................ 80 20 Amanda Styers Hook. 84 21 Arthur Emerson Kieffer. 87 22 Donald Langstaff . ............................. 91 23 Fanny Hagerman Laylin . ....................... 95 24 Lottie Leas . .................................. 102 25 Bascom Lamar Lunsford . 106 26 W. E. Lunsford and the John H. Lunsford Dulcimer. 108 27 Marcus and Wade Martin and the Martin Dulcimers. 110 28 Jane Jones McNerlin and the . McNerlin Family Dulcimers . .................... 112 29 The National Folk Festival at St. Louis: . May Kennedy
    [Show full text]
  • Gullah-Geechee Collections at the American Folklife Center, Library of Congress
    Gullah-Geechee collections at the American Folklife Center, Library of Congress Draft document, Todd Harvey and Riley Calcagno, 2018 Gullah-Geechee collections at the American Folklife Center, Library of Congress Introduction .................................................................................................................................................. 3 Florida ........................................................................................................................................................... 4 Georgia .......................................................................................................................................................... 4 South Carolina ............................................................................................................................................... 7 2 Gullah-Geechee collections at the American Folklife Center, Library of Congress Introduction In 1926, Henry Wiley sang into the microphone of a wax cylinder recorder operated by folklorist Robert Winslow Gordon. At the time Gordon was documenting musical traditions in Coastal Georgia, specifically around the town of Darien. When Gordon became the first head of the Library of Congress' Archive of American Folksong a few years later he donated his collection of 900 wax cylinders as the archive's first recordings. The performance Mr. Wiley gave was of the Gullah standard "Come by Here," which in time became world-famous as "Kum Bah Yah." The placement of this recording in the Library of
    [Show full text]
  • NPS Form 10-900-B (Rev
    NPS Form 10-900-b (Rev. 01/2009) OMB No. 1024-0018 (Expires 5/31/2012) United States Department of the Interior National Park Service National Register of Historic Places Multiple Property Documentation Form This form is used for documenting property groups relating to one or several historic contexts. See instructions in National Register Bulletin How to Complete the Multiple Property Documentation Form (formerly 16B). Complete each item by entering the requested information. For additional space, use continuation sheets (Form 10-900-a). Use a typewriter, word processor, or computer to complete all items New Submission Amended Submission A. Name of Multiple Property Listing Skyline Farms Resettlement Project, Jackson County, Alabama, 1931-1960 B. Associated Historic Contexts 1. The Hoover Administration, 1931-1933 2. New Deal Years, 1933-1941 3. World War II Years, 1941-1945 4. A Controversial End, 1944-1946 5. Community in Post-Project Years, 1946-1960 6. New Deal Design at Skyline Farms C. Form Prepared by Carroll Van West, Director; Katie S. Randall, Graduate Assistant; Hallie Fieser, Graduate name/title Assistant; Elizabeth M. Humphreys, Project Coordinator and Architectural Historian organization MTSU Center for Historic Preservation date January 2012 street & number 615-898-2947 PO Box 80 MTSU telephone city or town 37132 Murfreesboro state TN zip code e-mail [email protected] D. Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this documentation form meets the National Register documentation standards and sets forth requirements for the listing of related properties consistent with the National Register criteria.
    [Show full text]
  • The Other Mountain Dance: Clogging Traditions Outside Appalachia After 1970
    THE OTHER MOUNTAIN DANCE: CLOGGING TRADITIONS OUTSIDE APPALACHIA AFTER 1970 by Amy Slade A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Master of Arts Interdisciplinary Studies C mmittee: Director Program Director Dean, College of Humanities and Social Sciences Date: Spring Semester 2014 George Mason University Fairfax, VA The Other Mountain Dance: Clogging Traditions Outside Appalachia After 1970 A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Interdisciplinary Studies at George Mason University by Amy Slade Bachelor of Arts Brigham Young University, 2011 Director: Debra Lattanzi Shutika, Professor Department of English Spring Semester 2014 George Mason University Fairfax, VA This work is licensed under a creative commons ii TABLE OF CONTENTS Page List of Figures ..................................................................................................................... v List of Tables ..................................................................................................................... vi Abstract ............................................................................................................................. vii Introduction ......................................................................................................................... 1 The Emergence of Clogging ....................................................................................... 5 Part I:
    [Show full text]
  • Melodic Clawhammer Banjo Kicking Mule Records KM 209, 1977
    Banjo Attitudes Les enregistrements G. De Smaele, 2016 Pour éviter de nous perdre dans le dédale des enregistrements, nous nous limiterons principalement aux références des disques desquels sont extraits les titres de An American Five String History (Frémeaux et Associés, 2008) et de Modern Times (non publié). Ils constituent la sélection discographique suggérée dans Banjo Attitudes. Cette ébauche d’anthologie - qui n’a pas la prétention d’être exhaustive -, pourra avantageusement être complétée. Par ailleurs, le bluegrass est un univers de prédilection pour le banjo à cinq cordes. Il mériterait d’être développé. Notre propos a un objectif didactique et s’intéresse en priorité aux sources. Nous espérons avoir orienté le lecteur vers des éléments lui permettant de satisfaire sa curiosité et de poursuivre des recherches personnelles, dont internet nous ouvre largement l’accès. De nombreux labels nous proposent des productions récentes, ainsi que des rééditions. Si les grandes firmes de disques sont présentes sur le marché – comme c’était d’ailleurs déjà le cas lors de la période d’avant-guerre avec Columbia, Paramount, Brunswick, RCA… -, on remarquera qu’à partir du folk revival, l’offre proviendra majoritairement de plus discrètes maisons spécialisées: Folkways (Smithsonian), Elektra, Yazoo, Vanguard, County, Kicking Mule, Flying Fish, Rounder, June Appal… Ces labels – diffusés dans les cercles plus restreints des amateurs -, viennent parfois compléter les éditions patrimoniales de la Library of Congress. Nous noterons aussi celles de quelques universités, ainsi que les collections remarquables publiés par June Appal… ou le Field Recorder Collective, une initiative sans but lucratif créee plus récemment par Ray Alden.
    [Show full text]