AMERICAN FOLKLIFE CENTER THE LIBRARY OF CONGRESS

Fa1l 1988

Volume X, Number 4

In the summer of 1940, Will Neal, the sixty-three-year-old champion fiddler of the Arvin Farm Security Administration resettlement camp in Visalia, California, played for collectors Robert Sonkin (center) and Charles Todd (right). The Presto Model K recording machine was supplied by the Archive of American Folk Song. The photograph is part of the Charles Todd-California Migrant Labor Collection, a recent acquisition of the Folk Archive, which celebrates its sixtieth anniversary this year. Other significant acquisitions are reported on page 12. Photo by Robert Hemmig DIRECTOR'S COLUMN recordings to document and preserve AMERICAN FOLKLIFE CENTER aspects of culture for future study. THE LIBRARY OF CONGRESS A portion oj this column appeared under the And before the century had turned , at title "Folklorists) Credo)) in WETA least one pioneering American had Alan Jabbour, Director Magazine, vol. 2, no. 1 (October 1988), used the phonograph to document not Ray Dockstader, Deputy Director p. 12; © 1988 by Greater Washington only the culture of others but his own. Carl Fleischhauer Educational Telecommunications Asso­In 1895 Francis La Flesche, an Mary Hufford ciation. Reprinted with permission. ' Omaha Indian trained in ethnology David A. Taylor and teamed with another ethnological Folklife Speciallsts Nearly a century ago-in 1890, to pioneer, Alice Cunningham Fletcher, Peter T. Bartis, Folklife Researcher be exact-Thomas Edison's marvel­ began exhaustive phonographic docu­ ous invention, the phonograph, was mentation of the music and ritual of Gerald E. Parsons, Reference Libranan first used as a scientific instrument to his own tribe. J ames Hardin, Editor document culture in the field. Jesse Each new medium for recordings in

Magdalena Gilinsky, Walter Fewkes, a Harvard ethnolo­ the twentieth century-disc, wire , Public Events Coordinator gist, took Edison's invention on an reel-to-reel tape, and cassette-has Lisa Oshins, Program Specialist experimental trip to record the lore been adopted to document folk music. Jennifer A. Cutting, Program Assistant and music of the Passamaquoddy Disc recording machines existed since Indians in Calais, Maine. Two men before the turn of the century, but for Doris Craig, Administrative Secretary sang and recited lustily enough to decades disc-cutters (as opposed to Tel: 202 707-6590 leave an acoustic impression on the simple disc players) were manufac­ wax cylinders that can be heard to this tured only in laboratory models. Thus day. The Fewkes cylinders are the scholars and self-documenters con­ Archive of Folk Culture earliest of a collection of thousands of tinucd to usc thc handily portable Joseph C. H ickerson , Head wax cylinders now found in the cylinder machines. But discs became Archive of Folk Culture at the Library a documentary channel for folk music Marsha Maguire, Archivist of Congress. in another way. Beginning in the early Fewkes's intended audience were 1920s commercial record companies Sebastian LoCurto, Program Specialist Aldana Kamantauskas Joseph, students of culture in the late began recording a dazzling variety of Staff Assistant nineteenth century (who read with American folk music-" hillbilly" enthusiasm his published accounts of music, country blues, and virtually Tel: 202 707-5510 the experiment) and scholars of the every ethnic tradition resident in the future (who would have access to a United States. The treasure trove of Federal Cylinder Project more accurate transcription of the tradition they created in the 1920s and songs and recitations). His actual 1930s had its cultural impact at the Judith A. Gray audience, a century later, are both the time , but in the past three decades Ethnomusicologist scholars he envisioned and the con­ these commercial recordings of our folk music traditions have been redis­ Tel: 202 707-9022 temporary members of the tribe , who now possess a tape copy of the voices covered, dusted off, and recirculated of their ancestors. Therein lies a story into America's cultural repertory. BOARD OF TRUSTEES to ponder: how the phonograph, Thus, for example, the eerily power­ ful recordings of legendary Mississip­ Bruce Jackson, Chairman, New York feared as the technological enemy of Barre Toelken, Vice Chairman, Utah traditional culture, became an impor­ pi bluesman Robert Johnson in the J ohnnetta Cole, Georgia tant twentieth-century medium of cul­ 1930s had an immediate impact on the Russell W. Fridley, Minnesota tural conservation. developing Delta blues tradition of the William L. Kinney, Jr., South Carolina Fewkes's early experiment came era; then they exerted a fresh and Judith McCulloh , Illinois direct influence, after their rediscov­ Marta Weigle, New Mexico within a couple of years of the first commercial availability of Edison's ery in the 1960s, on the leading popu­ recording machines, almost as if the lar musicians of the rock era. Ex Officio Members need for an instrument documenting The availability of portable disc­ cutting machines coincided with a James H . Billington, sound had built up in advance of the Librarian of Congress invention. Wax cylinders became major institutional development for Robert McCormick Adams, almost instantly an important tool of American folk music . In 1928 the Secretary of the Smithsonian Institution students of culture in the last decade Library of Congress established the Francis S. M. Hodsoll , J r. , Chairman, Archive of American Folk-Song (now National Endowment for the Arts of the nineteenth century. For most of Lynne V. Cheney, Chairman, them it served as an aide memoire) like the Archive of Folk Culture), and National Endowment for the Humanities the Dictaphones of recent memory. its first head, Robert W. Gordon, Alan Jabbour, Director, Accuracy of transcription was a chief switched from cylinders to an experi­ American Folklife Center goal of its early users, but some also mental disc recorder. His successors in sensed the wondrous capacity of sound the 1930s, John and Alan Lomax,

2 FOLKLIFE CENTER NEWS used the higher-quality disc recorder the Library of Congress, the questions to launch a major program for docu­ demand a more serious answer than FOLKLIFE CENTER NEWS menting American folk music. From I was able to muster then. them we learned about Leadbelly, Why do we do it? The usual answer James Hardin , Editor Donald Shomette, Des ign Consultant Woody Guthrie, Aunt Molly Jackson, is, "for history." Recording a perfor­ and Jelly Roll Morton, who willingly mance makes that performance avail­ Folklife Center News is a quarterly report contributed not only their songs but able, substantially as it actually on the programs and activities of the their conversations telling us what it happened, for future study and con­ American Folklife Center, available free all meant. The Lomaxes and their templation. Fixing it secures its niche of charge from the Library of Congress, American Folklife Center, Washington, folklorist colleagues around the coun­ in the historical record, whereas the D.C. 20540. try likewise recorded thousands of older historical methods of describing, Folklife Center News was temporarily otherwise anonymous singers, musi­ or even transcribing, lose the efficacy suspended in 1986 with volume IX, cians, and talkers who contributed to and immediacy of the art. The numbers 2 and 3 (there was no volume IX, number 4). Publication resumed a still growing portrait of the cultural twentieth -century technologies for with volume X, number 1. sinews of grassroots America. Their sound recording have for the first time Special thanks are due to Joseph C. work gave national focus for the first given folk music an institutional niche Hickerson for his help in editing this time to the ideal of documenting in American memory, enabling us to issue's commemoration of the sixtieth American folk music and folklife for share folk music with our descendants annIversary of the Archive of Folk Culture. history and for posterity. the way books and manuscripts, The emergence of tape recorders in libraries and archives, have tradition­ the 1950s made recording machines ally preserved the written word. again available to anyone who wanted But we also do it for posterity. "For a means of documenting Omaha cul­ one, and the medium of tape also per­ posterity" is not quite the same as "for ture but have become an agent in the mitted continuous recording instead of history"; the phrase carries the sense contemporary process of cultural shorter takes of performances. Tech­ of intimate connection with and transmission within the tribe. The nology often makes new ideas viable, responsibility to the future. Our legacy same might be said of most Ameri­ and the longer duration of tapes to posterity is their inheritance from cans, who have so taken these almost certainly provided an impetus us; through it we enrich them as our machines to their bosoms that record­ to the spread of "oral history," both spiritual heirs. Throughout the twen­ ing music or speech on a cassette has among academics and with the citi­ tieth century the impulse to document become a warrant of one's serious ze nry in general. A new generation of folk music has aroused a passion and regard for it. young people in the 1960s was using dedication that goes beyond the mere Thus the Archive of Folk Culture, tape recorders to document older folk desire to record history. When Fran­ with recordings that span a century, musicians, not only to preserve and cis La Flesche, son of an Omaha chief, serves not only as a tool for scholarly study their art but to learn it. The tape set out to document the music and research. At some deeper symbolic recorder was part and parcel of a bur­ ritual of his tribe, he was obeying an level it is also an institutional grand­ geoning movement to recover and urge that far outstrips the scholar's parent, to whom the nation can celebrate the varieties of American impulse to study. He was perhaps the turn to recollect the music and lore heritage, and its technological off­ first in a long line of visionaries who it always meant (but somehow ne­ spring, the cassette, became in the sensed in this new toy, the phono­ glected) to pay sufficient attention to. 1970s the coin of a cultural realm graph, the capacity to become a direct And those recording machines, which where "Roots" and "Foxfire" were player in the cultural process itself. when they first appeared seemed a for­ national bywords. Now his immediate descendants-the midable foe of cultural tradition, have I myself was bit by the documentary members of the Omaha tribe-have become the latest technological tool to bug during the 1960s. Challenged by both tape copies and an LP record be inducted into the service of Ameri­ the books and records published by (published by the Library of Congress) can memory. D folksong collectors, and stirred by a of the recordings he made. And the vague desire to understand my own American people-his legatees in a cultural roots, I dedicated myself, as more general sense-can also hear and a violin player, to documenting tradi­ be inspired by the recordings. tional fiddling in the Upper South. The Omaha people of today sing Like others of my generation, I was some of the songs preserved on La driven by a dual impulse: to docu­ Flesche's cylinder recordings at their ment, for the sake of study and preser­ powwows. Whether they actually vation, and to apprentice myself to my learned the songs from the old record­ newfound masters, for the sake of art. ings or were simply inspired by the I was often asked: Why do you do it? return of the recordings to revive cer­ Why is documenting folk music so tain songs that were never quite for­ important? Now that I am associated gotten, the point remains the same. with the American Folklife Center at Sound recordings are now not simply

FALL 1988 THE ARCHIVE OF FOLK CULTURE: SIXTY YEARS

by Peter T. Bartis

This year marks the sixtieth anniversary of the Archive of Folk Culture, a great reposi­ tory of the national experience begun to preserve American folksong but now includ­ ing a whole range ofAmerican and interna­ tional ethnographic collections. The chronology that follows presents highlights and leading characters from those very active sixty years, indicating the invaluable work done by our predecessors and the important work still under way.

1928: Using funds donated by "public-spirited citizens," Librarian of Congress Herbert Putnam estab­ lishes the Archive of American Folk­ Song project in the Library 's Music Division. Robert Winslow Gordon is appointed " Specialist and Consultant in the Field of Folk Song and Litera­ ture" to launch "the formation of a great centralized collections of Ameri­ can folk-songs." From 1928 to 1932 Gordon travels the South on several recording ex pedition s, collect ing, Choco Indians from the upper part of the Sambu River on the Panama-Colombia indexing, writing, and experimenting border, recorded for the Archive of Folk Song in October 1949 by Per Host. Informa ­ with new recording technologies . tion Office, Library oj Congress

1933: Carl Engel, chief of the Music able repository for all the recordings, six LPs or cassettes in this series of Division, agrees to purchase the words, and music of American fo lk recordings, which features selections "newest portable electronic recording songs, real or borrowed (partiall y or from the Archive's coll ections.) machine" for use by J ohn A. Lomax. totall y) from other countries." John R adio Research Proj ect and John and Alan Lomax begin collection Lomax presses the Library of Con­ R ecording Laboratory begin. New efforts sponsored by the Library of gress for a fis cal commitment to the recording technologies are available Congress with funding assistance Archive. and the R ecording Laboratory and the provided by the R ockefeller Founda­ Archive begin joint ventures in experi­ tion and the Carnegie Corporation. 1936: Archive of American Folk Song mental radio "spots" ranging from receives its first congressional appro­ fi ve-minute sketches to half-hour pre­ 1934: J ohn A . Lomax accepts the priation for operations. Alan Lomax sentations covering a broad range of position of honorary curator of the hired for the first fu ll-time salaried topics. Writing in 1942 of his " Hid­ Archive of American Folk Song for a position. By June, recorded item s in den History Program" for the R ad io dollar a month. Lomax says he seeks the Archive's collection number 2,789. Research Project, Alan Lomax theo­ " to put on permanent records the rizes that history is found not only in music of American fo lk- so ngs as sung 1941: First recording published by the books and manuscripts in public in their native environment by Library of Congress, with the support libraries but in the minds of people. untrained singers; and to make these of the Friends of Music, a patron musical records available to students group of the Music Division. The two­ 1942- 45: Benjamin A. Botkin, head , of music and folklore." record set includes four songs: " Pretty Archive of American Folk Song. Dur­ Polly," "The Lady of Carlisle," "0 in g a time of wartime shortages, Bot­ 1935: Modern Language Association Lord Don' t 'Low M e to Beat 'em ," kin writes that "it is impossible to formally recognizes the Library of and " It Makes a Long-Time Man arrange for recording expeditions Congress and its Archive as a "suit- Feel Bad." (Today there are eighty- without an unlimited supply of gaso-

4 FOLKLIFE CENTER NEWS line and tires. " International collec­ acquisitions of early field recordings, tions are obtained through cooperative including cylinders, discs, wire, and exchange programs. early tape.

1945-56: Duncan Emrich, head , 1974-present: Joseph C. Hickerson, Archive of American Folk Song. head , Archive of Folk Culture. Hick­ Emrich proposes the establishment of erson writes in the Library's 1974 regional folklore collections at key Annual R eport: Over the past twenty institutions and exchange programs years folkloristics (the study of folk­ with universities in each state. lore) has gradually turned towards anthropological, sociolinguistic and 1946: Library of Congress authorizes behavioristic approaches and the the establishment of the Folklore Sec­ nature of folklore collecting has altered tion within the Music Division to accordingly. The older practice of "perform acquisitions, reference, and recording isolated items of folklore has bibliographical functions , and serve as developed first to include interviews custodian of recordings in its field of about the lore and then actual situa­ specialization, including the Archive tions where the lore is performed and of American Folk Song." utilized. Now a new generation of stu­ dents are broadening folklore to " folk­ 1949, 1955, and 1962: The Library life" by documenting with recorder of Congress hosts the winter meeting and camera all the heritages of indi­ Sam Waterston and Mary Tyler Moore of the American Folklore Society. viduals and communities whose lore as President and Mrs. Abraham Lincoln and life are hallmarked by traditional in the March 27 and 28, 1988, NBC 1956-69: Rae Korson, head, Archive practices. mini-series " Gore Vidal's Lincoln." of Folk Song. Emphasis on academic Waterston' s desire for authenticity in ties, ethnomusicology, and interna­ 1976: The American Folklife Preser­ recreating Lincoln's speech brought him tional collections mark her tenure. vation Act, P.L. 94-201, signed by to the Archive of Folk Culture, where he President Gerald Ford, establishes the listened to recordings made in the 1966: "Archive of Folk Song Automa­ American Folklife Center at the Li­ Smokey Mountains in the 1940s by tion Project" developed as a pilot to brary of Congress. Archive begins Joseph Hall and Frank Warner for hints plan future applications of new tech­ issue of fifte en LP Bicentennial set as to the way the president might have nologies to the Archive. entitled " Folk Music in America." sounded. Photo ©1987 National Broad­ casting Co. , Inc. 1969-74: Alan J abbour, head , 1978: Archive of Folk Song placed Archive of Folk Song. Jabbour devel­ under the authority of the American ops new LP publications, renews Folklife Center after fifty years in the bered series. (Over two hundred have emphasis on fieldwork, and accelerates Music Division. been published as of 1988.)

1979: Federal Cylinder Project 1984: Archive develops and hosts the launched as a major preservation and Washington Conference on Folklife dissemination of precious American and Automated Archives, a national Indian and other documentary record­ symposium exploring standardization ing on wax cylinders from as early as and automation issues. 1890. 1986: Archive launches a paid fellow­ 1981: Name of the Archive changed ship program for advanced students in to the Archive of Folk Culture to bet­ folklife studies and related disciplines. ter refl ect its content and purpose. 1987-88: Archive develops auto­ 1971: Intern program for volunteers mated databases for its book and serial established at the Archive . reference collections and purchases a computer for public use with money 1978: Friends of the Folk Archive fr om the Friends of the Folk Archive Fund established. Archive celebrates Fund. D its fiftieth anniversary with a sympo­ sium, concert, and exhibit. Joseph C. H ickerson contributed to this Burl Ives recording for the Archive of chronology. Folk Song in 1951. Information Office, 1983: Archive formalizes its published Library of Congress finding and reference aids as two num-

FALL 1988 5 "INDIANS FOR INDIANS HOUR" ADDED TO ARCHIVE COLLECTIONS

The first "Indians for Indians Hour" program aired from one until one-thirty in the afternoon, on the first Tuesday in April 1941. Although the show was popularly known as the "Indians for Indians Hour," the regu­ lar weekly broadcast was limited to thirty minutes until about 1951. Each half-hour program presented Okla­ homa Indian music, the latest Indian news, and a current powwow calen­ dar. It was estimated in 1946 that about seventy-five thousand Indians listened to the program each week throughout the state of Oklahoma. The program was conceived by Don Whistler, the first chief of the Sac and Fox elected under the reorganized Oklahoma Indian Welfare Act of 1936. Whistler served as master of ceremonies from 1941 until his death in 1951. He was instantly recognized by his audience each week as he opened his program with the greeting, "Aho nikan, Keshkekosh anena" (" Hello friends, this is Keshkekosh speaking"). Details of the arrange­ ment between Whistler and the Uni­ versity of Oklahoma that facilitated broadcast of the " Indians for Indians" program are unavailable, but Whist­ ler's niece, Mrs. Jerri Whistler Snow, suggests that the program may have been inspired to a certain extent by Whistler's relationship with a non­ Indian aunt who promoted herself as a Chippewa maiden and performed Sac and Fox mythology and folklore on the Chautauqua circuit in Don Whistler Kesh-Ke-Kosh, Sac and Fox Indian. Photo courtesy of the Western His­ Oklahoma. tory Collections, University of Oklahoma Library The "Indians for Indians" collec­ by Orin T. Hatton tion reflects Don Whistler's commit­ ment to preserve Oklahoma Indian In February the Archive oj Folk Culture De Witt, the present curator oj the Western music, both for its intrinsic aesthetic received the "Indians jor Indians Hour" History collections at the University oj Okla­ value and for the enjoyment of future Collection oj 121 disc recordings containing homa, and Edwin Schupman, former staff generations. Whistler found beauty in Oklahoma Indian music and commentary. ethnomusicologist with the Federal Cylinder the diversity of Indian songs and was The recordings preserve radio broadcasts Project. The University oj Oklahoma convinced that, although young made between 1943 and 1950 on station donated junds enabling the Archive to pre­ Indians perhaps were not singing the WNAD at the University oj Oklahoma in pare the discs for duplication onto preserva­ old songs, they enjoyed listening to Norman. Through a preservation exchange tion tapes and to provide documentation of them. He insisted that only real Indian agreement initiated in 1983 by Jack Haley, the recordings. An exchange copy ojthe tapes music be permitted on the program Boyce Timmons, and AlanJabbour, the col­ will be sent to the Western History Collec­ and turned down requests for violin lection was moved to the Archive by Don tions early in 1989. solos and other non-Indian music. His

6 FOLKLIFE CENTER NEWS respect for Indian ways went further: commenting in 1947 that it was "strictly against the rules for this Indians for Indians Hour to ever let a white person talk on it unless they belong to the Indian Service," he pointed out that there had been no more than two exceptions to the rule in six-and-a-half years . Whistler's extensive contacts in cen­ tral and western Oklahoma enabled him to present live programs regu­ larly. More than sixteen hundred Indians appeared on the show during its first five-and-a-half years, and the collection preserves the performances of at least five hundred people from eighteen tribes: Apache, Arapaho, Caddo, Cheyenne, Choctaw, Coman­ che, Creek, Iowa, Kaw, Kiowa, Osage, Oto, Pawnee, Ponca, Sac and Fox, Seminole, Shawnee, and Wichita. Whistler's concern for preserving traditional music dictated the format for the " Indians for Indians" pro­ grams. Announcements were placed primarily at the beginning and end of fifteen-minute segments so that as much music as possible could be recorded on either side of sixteen-inch acetate discs. While on the air Whist­ le r encou raged performers to announce their songs, and he made lit­ tle effort to interpret or explain the music for the sake of uninformed listeners. The variety of songs represented in the collection reflects Whistler's respect for diversity in Indian music. There are, for example, forty-three genres from Kiowa singers and At-tock-wie, Comanche Indian. Photo courtesy ofthe Western History Collections, Univer­ twenty-seven by Cheyenne per­ sity of Oklahoma Library formers. Whistler often prompted singers to vary their program, and he Whistler's commitment to tradi­ folklorists, ethnomusicologists, lin­ regarded the offers of Frank Bushy­ tional music may not have been popu­ guists, and other researchers. The par­ head and Lucien Rice to present pro­ lar with the entire radio audience, ticular context in which the program grams featuring songs of a single genre however. While Whistler vacationed began encompasses World War II and as an unwelcome innovation. The col­ in Colorado in 1946, a woman sent a the post-war period, coinciding with lection features the music of such reli­ letter congratulating Scott Tonemah the recently established American gious ceremonies as the Sun Dance, on the fine program he emceed-the Indian Exposition at Anadarko and Ghost Dance, and Native American best she had ever heard. Some the formation of the National Con­ Church, as well as Christian testimony listeners at least may have wanted gress of American Indians. and hymns. Whistler had a particular more commentary and announce­ David Apekaum emphasized during reverence for church songs that con­ ments, and less music. a 1947 broadcast that Indians honor tained both' 'Indian words and Indian The content of the "Indians for their war heroes in song more than music." The collection includes sev­ Indians Hour" Collection and the cul­ any other people. This respect for mili­ eral programs by the congregation at tural milieu in which the programs tary service is evident in the dedica­ Rainy Mountain Baptist Church and were recorded makes the collection of tion of both individual songs and the Post Oak Mission at Lawton. special interest to tribal historians, entire "Indians for Indians" programs

FALL 1988 7 to the success and safe return of Indian long time has been realized as the col­ servicemen. A church program pre­ lection joins the wealth of American sented by Robert Goombi in 1945 Indian materials in the Archive of Folk mentions that the Rainy Mountain Culture at the Library of Congress. Baptist Church had more than sixty boys in active service around the Acknowledgments. I would like to thank the world, dramatically illustrating the following persons for their assistance in extent of Indian commitment to the documenting the ((Indians for Indians)) Armed Forces. The repertories of the project: Don De Witt, Jerri Whistler Snow, vanous service organizations are and Boyce Timmons, Norman, Oklahoma,' preserved in the collection by such Rev. Reuben Ahhaitty, Adam Kaulity, and singers as Sam Osborne and Philip Rev. George Saumpty, Carnegie, Oklahoma,' Jim performing Pawnee Victory Club Frank McClellan, Shawnee, Oklahoma; Ida songs; Louis Toyebo and James Williams, Canton, Oklahoma; and Marsha Anquoe singing Kiowa War Mothers' Maguire, Edwin Schupman, and Dr. songs; and John Heap Of Birds per­ Everett R. Rhoades, Washington, D. C. forming songs from Mary Curtis's Special thanks to Cliff Reeder and the Okla­ Marine Club. homa City Pow-wow Club for their hospi­ The use of traditional song genres tality during a visit to the 38th Annual that celebrate the historic warrior tra­ Indian Hills Pow-wow. dition within the context of World War II military service provides a Orin T. Hatton, an ethnomusicologist uniquely community-oriented per­ specializing in Plains Indian music, is On the cover of this year's Folklife An­ spective for appreciating Oklahoma project archivist of the' 'Indians for Indians nual: Dancer at the Crow Fair in Mon­ Indian music. Cultural interaction Hour)) Collection. 0 tana, August 1979. (MT9-MC27-1) during this period centered to a large Photo by Michael S. Crummett extent around the activities of kin groups and service clubs such as those Folklife Annual was begun in 1985 by mentioned above, and the "Indians the American Folklife Center to for Indians" powwow calendar often present a yearly collection of illustrated refers to victory celebrations held on articles on American traditional life private farms, allotments, and in city parks. and culture. Edited by Alan Jabbour and James Hardin, the collection The legacy of the historic warrior reflects current work and thinking in tradition and the context of the World folklore and folklife studies. The arti­ War II period converged in Don cles are written by specialists but the Whistler's special relationship with the annual is intended for a wide audi­ Albert Attocknie family. Whistler ence. Individual volumes do not interviewed Attocknie's father-in-law, present a single subject-the series is eighty-two-year-old Chief Yellow Fish intended to demonstrate a diverse on the initial " Indians for Indians" range of cultural expression- but in broadcast in 1941. Yellow Fish gave each there are related groups of arti­ a first-hand Indian account of the 1874 cles and themes. Battle of the Adobe Walls, and the "Strategies for survival in a hostile Attocknie family provided a program world," a phrase from Roger Abra­ of Comanche songs. Although that hams article on Afro-American folk­ inaugural program is no longer avail­ FOLKLINE tales, provides the unifying theme for a ble, the Attocknies are well­ For timely information cn the field of the 1987 Folklife Annual, which includes represented in the collection through discussions of the American Indian their return each April to celebrate the folklore and fo lkli fe, including training and professional opportunities and news powwow, private rituals, black ser­ anniversary of the show. The Attock­ items of national interest, a taped mons and folktales, and ethnic schools. nie family typically appeared on the announcement is available around the The 162-page clothbound volume clock, except during the hours of9 A.M. next program following New Year's contains 108 illustrations in all- 36 in Day and generally served as cultural until noon (eastern time) each Monday, when it is updated . Folkline is a joint full color-drawn from the collections benefactors to the show. project of the American Folklife Center of the Library of Congress and many The "Indians for Indians Hour" and the American Folklore Society. Dial: other sources. Collection provides a penetrating look 202 707-2000 Please order your copy of Folklife at an important period in Oklahoma Annual 1987 from the SUPERINTEN- cultural history. Don Whistler's hope that the music would last for a long,

FOLKLlFE CENTER NEWS 8 Contents

NEW FOLKLIFE ANNUAL PUBLISHED Eating in the Belly of the Elephant, by Roger D. Abrahams Afro-American folktales portray actions and impulses that are often dis­ turbingly different from those in Euro­ pean fairy tales.

The Beau Geste: Shaping Private Rituals of Grief, by Erika Brady Private acts sometimes provide more satisfying ways to overcome grief than communal rituals.

George Catlin and Karl Bodmer: Artists among the American Indians, by James Gilreath Two nineteenth-century artists made vivid portraits of Indian life in the American West.

American Indian Powwow, by Vanessa Brown and Barre Toelken The American Indian powwow today strengthens Native-American traditions and passes them on to younger generations.

Celebration: Native Events in Eastern Canada, by Sam Cronk, Beverley Cavanagh, and Franziska von Rosen Summer celebrations of Native peo­ ples in eastern Canada express cultural identity, continuity, renewal, and innovation.

Reverend C.L. Franklin: Black American Poet-Preacher, by Jeff Todd Titan Franklin was the great poet­ preacher of the chanted sermon.

Sister Mary Abdi talking over homework assignments with Rohymah Toulas and John Henry Faulk: An Interview, by Lamya Abduljabbar at the Islamic School of Seattle, June 1982. (ES82-197518­ James McNutt 1-34A-35) Photo by Susan Dwyer-Shick Early collectors of folklore and song worked against cultural prejudice and a climate of political suspicion. DENT OF DOCUMENTS, U .S. Superintendent of Documents must Government Printing Office, Wash­ accompany order. Ethnic Heritage and Language ington, D.C. 20402. Mention title and The 1985 and 1986 volumes are still Schools stock number when ordering (SIN available. The price includes postage Private language schools support a 030-000-00202-4). The price is $23 and handling: (1985: SIN 030-000­ sense ofcultural tradition and personal including postage and handling. 00169-9, $16); (1986: SIN 030-000­ identity for many religious and ethnic Check or money order payable to the 00179-6, $19). communities in the United States.

FALL 1988 9 FOLKLIFE CENTER PUBLISHES GROUSE CREEK SURVEY

by Carl Fleischhauer DuringJuly 1985 a team of folklorists and architectural and other historians conducted field research in the com­ munity of Grouse Creek, Utah, where the Mormon religion and cattle ranch­ ing in combination have determined the built environment and the cultural life of the region. Grouse Creek lies in a valley at the boundary of Mormon Utah and the Great Basin's buckaroo country; its ranching traditions and architecture resemble those of Nevada to the west, while its home and com­ munity life resemble that of Utah to the east. The Grouse Creek Cultural Survey was a joint project of the American Folklife Center, the Utah State His­ toric Preservation Office, the Folk Arts Program of the Utah Arts Council, the Western Folklife Center, the National Park Service, and Utah State Univer­ sity. The project reflects a movement Three generations from Grouse Creek, Utah: Max Tanner, his grandson, Tom, and among folklorists, historic preserva­ his son-in-law, Doug. (GCCS TCB-25584-J5) Photo by Tom Carter tionists, anthropologists, and others to find a comprehensive approach to and a homemade chili sauce and a highway mean to Grouse Creek's America's cultural heritage. The sur­ intangibles like poetry recitation and saddles, chili sauce, poetry, and reli­ vey recorded a range of expressions of Mormon beliefs. The report even asks gious beliefs? Could anyone predict its culture, from buildings and cowboy whether the underlying culture impact on the way of life of the Mor­ skills to poetry and religious belief, as itself-the intangible that we some­ mon cowboy? The Grouse Creek sur­ they took place in the past and as they times call"a way oflife"-is not also vey did not answer these questions. exist today. A report on the project, a cultural resource. But the report has helped to articulate The Grouse Creek Cultural Survey, by The term cultural resource has great them and thereby set the stage for the Thomas Carter of the Utah State significance for planning activities car­ our continued deliberation of the rela­ Historic Preservation Office and Carl ried out by the federal government. tions between culture, heritage, and Fleischhauer of the American Folklife Managers of national parks, for exam­ government planning and projects. Center, discusses how such ethno­ ple, must develop programs that The Grouse Creek Cultural Survey is a graphic information can guide govern­ preserve and interpret cultural as well seventy-four page paperback that con­ ment planning. The ultimate goal of as natural resources. Environmental tains sixty illustrations, including his­ the movement is cultural conservation, impact statements often predict the toric pictures, maps, drawings, and the maintenance of community tradi­ effects of a government project on cul­ contemporary photographs of both tions for future generations. tural as well as natural resources. The buildings and folklife activities. It is The Grouse Creek report asks the impact of a federal project like a high­ available from the SUPERINTEN­ nation to consider broadening its defi­ wayan cultural resources must be con­ DENT OF DOCUMENTS, U .S. nition of cultural resources. At sidered under Section 106 of the Government Printing Office, present, the definition tends to be National Historic Preservation Act of Washington, D.C. 20402. The cost is limited to properties, typically historic 1966; if the impact is adverse, ways five dollars, including postage and buildings or sites ranging from pre­ may be found to mitigate it. handling. When ordering cite the title historic Indian monuments to Civil If the concept of cultural resources and stock number (SIN 030-000­ War battlefields. In Grouse Creek the is broadened, what does this mean for 00203-2). Check or money order pay­ survey identified other forms of planning, impact studies, and mitiga­ able to the Superintendent of Docu­ expression: tangible items like saddles tion? What would the construction of ments must accompany order.

10 FOLKLIFE CENTER NEWS The following selection is taken from The Grouse Creek Cultural Survey:

The Great Basin's buckaroo culture has permeated Grouse Creek's occu­ pational sphere, but it is not nearly so influential in the spheres of com­ munity and home; these have been profoundly shaped by Mormon in­ fluences.... Grouse Creek is a "ward" within a larger Latter-day Saint "stake," a regional unit composed of several wards. The ward is presided over by a bishop chosen from the community; in a town the size of Grouse Creek the Mormon bishop often plays the role of mayor as well. Virtually all the peo­ ple in Grouse Creek are Mormons, and church membership provides them with a fundamental and endur­ ing bond.... Both official and unofficial expres­ sions of Mormon ideals and values emphasize faith, community, and family. Weekly Sunday School lessons from Latter-day Saint leaders in Salt Lake City discuss the importance of avoiding the temptations of the secu­ lar world, of obeying divinely inspired authority, and of preserving the family. Traditional stories, customs, and activities in informal circulation reinforce the same basic themes. The important role folk culture plays in cultivating and codifying Mormon values in Grouse Creek is evident from the survey's interviews, and is partic­ ularly visible in faith-promoting lore, music, poetry, and community Doug Tanner, a rancher and the bishop of Grouse Creek's Latter-day Saint congre­ celebrations .... gation, being interviewed at home by Hal Cannon, a fieldworker for the Grouse Creek In Grouse Creek, the architectural Cultural Survey. (GCCS CFB-231196-11-30) Photo by Carl Fleischhauer features helped the field team develop a sense of the three important periods this first period. The appearance of ranches and a large amount of home in the community's history: a settle­ larger and more substantial brick and remodeling. ment era from 1875 to about 1900, a stone houses as well as numerous The survey's folklife data reinforces period during which the community frame buildings after 1900 indicate the lesson of the architectural record. was well established and stable from increased growth and prosperity and Interviews with men who learned the 1900 to 1940, and the wartime and mark the establishment of a fully real­ cowboy trade during the first decades postwar era from 1940 to the present. ized community and its institutions. of this century, for example, suggest The log and dirt-roofed structures The most important symbol of this that cowboy and ranching traditions built between 1875 and the turn of the second period was the completion of reached their apex during the era of century showed how the first settlers an imposing stone meetinghouse in establishment and stability. The folk­ relied upon local building materials 1912. The stability of community life life research, however, accomplished and experienced frontier living condi­ during this period is suggested by the far more than simply corroborating tions. Many of the corral and out­ absence of new construction until after the story told by the community's building complexes on the ranches World War II. After the war Grouse buildings. It highlighted the role two were constructed before 1900, suggest­ Creek's population declined and its major Western culture regions played ing that ranching was already a fun­ economy was reduced. This third in shaping Grouse Creek's identity. 0 damental part of Grouse Creek life in period saw the mechanization of the

FALL 1988 11 SIGNIFICANT ACQUISITIONS OF THE ARCHIVE OF FOLK CULTURE FALL 1986-FALL 1988

by Marsha Maguire Vaughn and Kay Brewer Ozark to American Folk Music," Master's This is the second time we have Mountain Collection (AFS thesis, George Washington Univer­ reported on significant Archive of Folk 25,768-25,807). Music, tales, beliefs, sity, 1980. Culture acquisitions in the pages of and oral histories of Stone County, Folklife Center News; the first report Arkansas, are documented in record­ Bob Carlin/"Our Musical appeared in the April-September 1986 ings, photographs, and typescripts Heritage" Collection (AFS 24,278­ issue. In the future, acquisitions prepared by local historians/musicians 24,284). Thirteen thirty-minute radio reports will appear in the fall issue. At Vaughn and Kay Brewer for the programs comprising the series "Our the same time, we will continue our Rackensack Folklore Society, Moun­ Musical Heritage," produced and practice of preparing special articles on tain View, Arkansas. The project was hosted by Bob Carlin at station collections of particular importance, funded by the National Endowment WHYY-FM in Philadelphia, funded such as the ' 'Indians for Indians for the Arts and includes recordings of in part by a grant from the National Hour" Collection, discussed by Orin folklore classes taught by the society's Endowment for the Arts, and broad­ Hatton in this issue. founder, Jimmy Driftwood. cast by National Public Radio mem­ As the title "Significant Acquisi­ ber stations in 1985 and 1986. Based tions" implies, we do not mention Brierfield Ironworks/Alabama on field recordings from the Archive every collection received in the Fiddlers Collection (AFS 26, 177­ of Folk Culture, each program Archive from the fall of 1986 until the 26,200). Field recordings of old-style explores a separate instrument (such fall of 1988. The collections we do Alabama fiddlers recorded by Joyce as the fiddle, banjo, and harmonica) describe represent approximately 40 and Jim Cauthen and Doug Cross­ or type of music (such as children 's percent of the various recorded perfor­ white in 1986-87 at various locations music, work songs, and the music of mances, festival and concert record­ in Alabama. Selections from the field vanous immigrant and regional ings, ephemera and manuscript recordings were included in the LP groups). collections, radio programs, video released in 1988 by the Brierfield Iron­ productions, theses and dissertations, works Park Foundation entitled Possum Center for Applied Linguistics/ family band recordings and scrap­ Up a Gum Stump (Alabama Traditions American English Dialect Record­ books, and life history interviews 103). Additional funding was provided ings (AFS 24,299- 24,357). A 118­ acquired over the past two years. by the Alabama State Council for the hour sampler of American English Researchers can obtain information on Arts and the National Endowment for dialect recordings compil ed by the all of our collections through the the Arts, and field recording equip­ Center for Applied Linquistics from Archive's card catalogs and published ment was provided by the American tapes submitted by participants in the finding aids. Folklife Center. center's 1983-86 "Survey and Collec­ The Archive builds its collections in tion of American English Dialect several ways. Many persons and insti­ Karen Cardullo/Seeger Inter­ Recordings" in private holdings. The tutions donate materials. Others lend views Collection (AFS 26,201­ collection includes oral histories, items to be copied and returned, or 26,212). Transcripts, notes, and reminiscences, informal conversa­ arrange for exchanges through the recordings of Karen Cardullo's tions, speeches, monologues, and Library's Exchange and Gift Division. 1978- 79 M.A. thesis research inter­ group discussions. Speakers (U.S. , The Archive also receives all docu­ views with Archie Green, Bess Lomax Canadian, and Puerto Rican) repre­ mentary projects produced by the Hawes, Charles Seeger, Mike Seeger, sent a broad spectrum of age, sex, eth­ American Folklife Center and the and Pete Seeger about the life and nic, occupational, and social groups. Archive of Folk Culture both in the work of Ruth Crawford Seeger, par­ A few are celebrities and political field and at the Library of Congress. ticularl y her work with folk music. figures , but most are ordinary Collections offered to the Archive Also included are recordings of Ruth speakers of American English : should be organized, labeled, and Crawford Seeger, including her 1953 southern sharecroppers, Minnesota accompanied by inventories, logs, and interview with Elizabeth Cotten, and ironworkers, South Dakota Mandan other descriptive information. We can readings from her diaries and letters Indians, and New York adolescents. offer suggestions to potential donors duplicated for Cardullo by Mike The survey was directed by Donna on how to organize their materials and Seeger. See Karen Cardullo, " Ruth Christian and funded by the Cen­ prepare these collection descriptions. Crawford Seeger: Her Contributions ter for Applied Linguistics and the

12 FOLKLIFE CENTER NEWS National Endowment for the Hu­ by Larry Roberson. a team of nine fieldworkers and sup­ manities. port staff in a year-long effort aune 1, "Indians for Indians Hour" Col­ 1987 -May 31, 1988) to document the Linda Danielson/Oregon Old­ lection (AFS 26,049-26,170). Series life and traditions of the people of Time Fiddling Collection (AFS of radio programs highlighting the Lowell, Massachusetts, particularly 21,857-21,865 and 26,017-26,042). music and culture of various Okla­ the ethnic and neighborhood cultures Reminiscences and performances of homa Indian (especially Plains Indian) within the city. The project was con­ nearly forty old-time fiddlers from tribes. The series was hosted by Don ducted in cooperation with the Lowell Lane, Douglas, and Jackson Counties Whistler, Sac and Fox, and broadcast Historic Preservation Commission, in Western Oregon, recorded by folk­ from the University of Oklahoma at with additional support from the Mas­ lorist and fiddler Linda Danielson in Norman, 1943-51. An article on the sachusetts Council on the Arts and 1976 with grants from the National collection appears elsewhere in this Humanities. Peter Bartis and Doug Endowment for the Arts and the Issue. DeNatale coordinated the project at American Revolutionary Bicentennial the American Folklife Center and in Commission. Fiddlers discuss their Knoxville International Energy Lowell, respectively. For further infor­ lives and music, and some of the dis­ Exposition/1982 World's Fair Folk­ mation, see Folklife Center News, vol. X, cussions delve into such topics as life Program Collection (AFS no. 1 (winter 1988); vol. X, no . 2 regional settlement in relation to style, 24,261-24,277). Fieldwork and (spring 1988); and vol. X, no. 3 (sum­ traditional musical knowledge among administrative materials related to the mer 1988). fiddlers, and the social and functional proposed folklife program at the 1982 contexts of fiddling. The collector has World's Fair in Knoxville, Tennessee. Rio Grande Arts Center/ mounted a number of programs and The project was coordinated by folk­ "Tradiciones del Valle" Collection exhibits in connection with the project, lorist Mick Moloney, who in the fall (AFS 26 ,270- 26,387). Field record­ and she will soon complete the full set of 1980 conducted a twelve-week study ings made in 1985 by Dana Everts and of recording transcripts. of the region around Knoxville, docu­ David A. Brose in the San Luis Val­ menting the area's traditional culture. ley of Southern Colorado and North­ Fahnestock South Sea Collection See also Folklife Center News, vol. IV, ern New Mexico documenting local (AFS 25,808-25,953). A collection of no. 1 Oanuary 1981) and vol. IV, musical and spoken traditions, cus­ audio recordings, films, and manu­ no. 4 (October 1981). toms, and beliefs. Everts recorded a scripts documenting the music of the broad spectrum of traditional and South Pacific Islands and insular Victoria Larimore and Michael popular Hispanic (Mexican, Mexican­ Southeast Asia, including the tradi­ Taylor Amish Collection (AFS 24, American, and Spanish-Colonial) and tional music of Bali, Fiji, Java, Kan­ 370- 24,458). Interviews with mem­ some Anglo-American music and gean Islands, Madura, Marquesas, bers of Old and New Order Amish song, including such genres as corridos, New Caledonia, Samoa, and the communities in Ohio, plus hymns, canciones, alabados, huapangos, rancheras, Society Islands. The collection songs, and environmental sounds of frontier ballads, popular hymns, and represents the first electronic record­ Amish life recorded in 1983- 84 for a cowboy songs, and instrumental forms ings made in Oceania and the last documentary film released in 1985 such as Spanish Colonial dance tunes, documentary efforts before the large­ entitled The Amish: Not to be Modern mariachi music, and square dance scale disruptions of traditional cultures (16mm ref. copy of film available in tunes. Interviews concern musicians' caused by World War II. It is also the Motion Picture, Broadcasting, and lives and music, herbal remedies, among the earliest field recordings Recorded Sound Division: FBC 2048­ beliefs and customs, the place of made on 16-inch acetate discs. The 2049). Former and current commu­ Penitentes in community religious life , recordings were made by Bruce and nity members discuss family life, farm ­ and craft traditions such as weaving Sheridan Fahnestock in 1940 and 1941 ing techniques, Amish history, and woodcarving. Everts also inter­ on two expeditions sponsored by the religious issues, adolescence, shun­ viewed local figures who related American Museum of Natural His­ ning, and differences between Old and legends, memorats, proverbs, riddles, tory. An article on the collection New Order Amish. The music docu­ dichos, oraciones, and local history. appeared in Folklife Center News, vol. mented in the collection includes Old Interviews were conducted in English X, no. 2 (spring 1988). Order and modern hymns and chil­ and Spanish. dren's songs recorded at such events The recordings formed the basis of Lydia Fish & Larry Rober­ as evening sings. The collectors also a twenty-six-part radio series, " Tradi­ son/Michael Martin Collection (AFS recorded everyday events such as a ciones del Valle," which was produced 24,115- 24,116). Twenty-six songs horse auction, work in the field and in by Everts through the Rio Grande concerning the Vietnamese War com­ a cheese factory , a family corn husk­ Arts Center at public radio station posed and performed in concert by ing, and children at play and work. KCFR-FM, Denver, with the assis­ veteran Michael Martin on April 18 , tance of the staff at KRZA, a bilingual 1984, at State University College, Lowell Folklife Project (AFS public radio station in Alamosa, Buffalo, New York; recorded by Lydia 26,388- 26 ,738). Fieldwork and Colorado, which serves as the distri­ Fish and Larry Roberson with notes administrative materials generated by butor of the series. Additional copies

FALL 1988 13 of the radio programs are housed at music, and stories of the Okie camps the "Dark Corner." Fieldwork was the Rio Grande Arts Center in for the Archive of American Folk Song conducted in 1983 by Bernard Zaid­ Alamosa and the Folk Arts Program in 1940-41 (the Todd-Sonkin collec­ man and photographer David Green, of the National Endowment for the tions are available in the Archive: AFS and the resulting documentary materi­ Arts, which, along with the Colorado 4088-4158, AFS 5028-5034, AFS als were used in a lecture series and Council on the Arts and Humanities, 5099- 5146) . photo exhibit that traveled throughout funded the project. Recording equip­ South Carolina and in 1984 to ment was provided by the American Traditional Pork Processing Col­ Washington, D.C. The project was Folklife Center. lection (AFS 26,226-26,230). Research sponsored by Limestone College, notes, correspondence, printed Gaffney, South Carolina, and the Nicolas Schidlovsky/Old Be­ materials, photographs, and record­ South Carolina Committee for the lievers Collection (AFS 25,956­ ings on traditional methods of pork Humanities. 25,981). Field recordings, experimen­ processing. The project was under­ Recordings contain oral history tal and concert performances, and taken by folklorist Barbara Fertig, who interviews and discussions of work, some commercial recordings of Rus­ investigated such activities as hog crafts, food, and social and religious sian Old Believer chant, Russian bell­ butchering and sausage making in events with longtime residents of the ringing, and modern church music Arkansas, Minnesota, Ohio, Dela­ Dark Corner, as well as some perfor­ recorded by Nicolas Schidlovsky in the ware, Virginia, Louisiana, and New mances of old-time music and song. USSR and the United States, 1979­ York in 1985-86. See also Fertig, Bar­ o 86; also lectures and discussion con­ bara C ., "Hog Killing in Virginia: cerning Russian liturgical music. Work as Celebration," in (( We Gather The collection focuses on the Old Together " : Food and Festival in American FEDERAL CYLINDER Believers, Russian Christians who Life, ed. Theodore C. Humphrey and rejected the reforms introduced in the Lin T. Humphrey (Ann Arbor, PROJECT CATALOGS Russian Orthodox Church in the Mich.: UMI Press, 1988). seventeenth century. Congregations, Four catalogs in the series The Federal choirs, and soloists from Moscow, Washington Meeting on Folk Art Cylinder Project: A Guide to Field Cylinder Romania, and the Baltic regions, and (AFS 26,739-26,749). Recordings, Collections in Federal Agencies are now from New York, Pennsylvania, and essays, photographs, and administra­ available from the SUPERINTEN­ Oregon, perform ancient religious tive files related to the December 5-6, DENT OF DOCUMENTS, U.S. chant, in some cases accompanied by 1983, meeting of scholars, collectors, Government Printing Office, Wash­ analysis and solmization by the per­ and curators organized by the Ameri­ ington, D.C. 20402. Cite title and formers. The collection includes notes can Folklife Center and the Museum stock number when ordering. Check explaining the modes and melodies, as of American Folk Art, and held at the or money order payable to the Super­ well as lecture-demonstration record­ Library of Congress. See also Folk Art intendent of Documents must accom­ ings that compare religious and folk and Art Worlds: Essays Drawn from the pany order. music, early and later forms of poly­ Washington Meeting on Folk Art, ed. John phony, and Russian Orthodox and Michael Vlach and Simon J. Bronner Volume 1: Introduction and Inventory, Old Believer liturgical chant and lec­ (Ann Arbor, Mich.: UMI Research Erika Brady, Maria La Vigna, tion. In the 1960s, Old Believers Press, 1986). Dorothy Sara Lee, and Thomas Ven­ began to settle in and around Wood­ num , with the assistance of Gregory burn, Oregon . Their performances Wrolstad Family Collection (AFS Ponte corvo (1984). $8 .50 (SIN 030­ and discussion comprise the second 24,120). An example of the several 000-00153-2) half of the collection. recently acquired family band collec­ tions in the Archive's holdings is this Volume 2: Northeastern and South­ Charles ToddlCalifornia Migrant recording ofold-time and Norwegian­ eastern Indian Catalogs, Judith A. Gray Labor Collection (AFS 26,213­ American music performed at a family and Dorothy Sara Lee, with the assis­ 26,214). Photographs, articles and gathering in Wisconsin in 1958. tance of Gregory Pontecorvo (1985). clippings, typescripts, scrapbooks, Jeffrey C. Wrolstad, the donor, in­ $14 (SIN 030-000-00167-2) camp newsletters , and other printed cluded biographical information on material relating to the collecting the band members, as well as photo­ Vol ume 3: Great Basin/ Plateau and experiences of Charles Todd and graphs and a playlist. Northwest Coast/Arctic Indian Catalogs, Robert Sonkin in the California Farm Judith A. Gray, with the assistance of Security Administration migrant Bernard Zaidman/"Tales from Karen R. Moses (1988). $17 (SIN camps of the late 1930s and early the Dark Corner" Collection (AFS 030-000-00189-3) 1940s. The collection also includes a 26,231 - 26,269). Recordings, tran­ two-reel taped interview with Todd scripts, slides, and photographs Volume 8: Early Anthologies, conducted by Gerald and Margaret documenting the history and culture Dorothy Sara Lee, with the assistance Parsons in 1985, in which Todd dis­ of northeastern Greenville County , of Gregory Pontecorvo (1984). $8 cusses his efforts to record songs, South Carolina, an area referred to as (SIN 030-000-00154-1)

14 FOLKLIFE CENTER NEWS POSTER COMMEMORATES FOUNDING FOR SALE BY THE OF FOLKLORE SOCIETY LIBRARY OF CONGRESS

The following publications may be ordered from the LIBRARY OF CONGRESS, Sales Shop, Washing­ ton, D.C. 20540. Checks payable to the American Folklife Center must accompany order. Add $2 for orders to $20; $3 for orders to $35; $4 for orders to $50; and $6 for orders over $50.

Folklife Sourcebook: A Directory ofFolk­ life Resources in the United States and Canada, by Peter T. Bartis and Bar­ bara C. Fertig. The first comprehen­ sive guide to folklife resources in North America contained in a 152-page, soft­ cover directory. $8.

One Space, Many Places: Folklife and Land Use in New Jersey's Pinelands Na­ tional Reserve, by Mary Hufford. A poster to commemorate the one American life , historical and contem­ Report and recommendations to the hundredth anniversary of the found­ porary. The 24- by 36-inch poster may New J ersey Pinelands Commission for ing of the American Folklore Society be ordered from the AMERICAN cultural conservation in the Pinelands is available from the American Folk­ FOLKLIFE CENTER, Library of National Reserve in a 144-page, soft­ life Center at the Library of Congress. Congress, Washington, D.C. 20540. cover format. $8. The striking design of gold, red, and The price is $15 plus $2 for postage blue on a black background features and handling. Check or money order Quilt Collections: A Directory for the forty-seven black-and-white photo­ made payable to the American Folk­ United States and Canada, by Lisa graphs that depict many aspects of life Center must accompany order. Turner Oshins. A directory of quilt collections and resources based on a questionnaire survey conducted by the FREE PUBLICATIONS FROM THE CENTER Center. Organized by country, state, and alphabetically by institution, the entries provide detailed information The following publications are avail­ with specific regions of the country. on 747 collections, as well as visiting able free of charge from the AMERI­ hours. $18.95 in soft-cover; $24.95 in CAN FOLKLIFE CENTER, Library Traditional Crafts and Craftsmanship in hardcover. of Congress, Washington, D.C. America: A Selected Bibliography, by 20540: Susan Sink, in cooperation with the National Council for the Traditional American Folk Music and Folklore Arts (1983). An indexed bibliography, NEW PHONE NUMBERS Recordings: A Selected List. 1984, 1985, citing Library of Congress call 1986 lists available; 1987 list forth­ numbers. The prefix for all Library ofCongress commg. phone numbers has been changed from Ethnic Folklife Dissertations from the 287 to 707. The four-digit numbers remain the same. Thus phone numbers American Folk Architecture: A Selected United States and Canada, 1960-1980: A for the Center and the Archive are as Bibliography, by Howard Wright Selected, Annotated Bibliography, by follows: Marshall, with the assistance ofCheryl Catherine Kerst (1986). Lists disser­ Gorn and Marsha Maguire (1981). tations that give primary attention to Folklife Center 202 707-6590 Articles and books on theory and other indigenous and immigrant ethnic folk­ Folk Archive 202 707-5510 topics, antecedent references from the life as it operates within the context of British Isles, and resources dealing a pluralistic society.

FALL 1988 15 Rev. C. L. Franklin listening to the playback on one of his sermons at a Detroit recording company in the early 1950s. An article on Reverend Franklin appears in Folklife Annual 1987, which is advertised on pages 8-9. Photo by Edward McLaughlin, courtesy oj Erma Franklin

THE LIBRARY OF CONGRESS BULK RATE AMER ICAN fOLKLIfE CENTER POSTAGE & FEES PAID WASHINGTON, D.C. 20540 LIBRARY OF CONGRESS WASHINGTON, D.C. Offi C I AL BUSINESS PERMIT No. G-103 PE NALTY fOR PRIVATE US!' , $:lOO

ISSN 0149-6840 Catalog Card No. 77-649628