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Art and Heritage of the Missouri Bootheel: a Resource Guide

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Art and Heritage of the Missouri Bootheel: a Resource Guide of the Missouri Bootheel: AResource Guide Compiled and edited by C. Ray Brassieur and Deborah Bailey ~- ----------- .- of the Missouri Bootheel: AResource Guide Compiled and edited by C. Ray Brassieur and Deborah Bailey :".,1:":• • :~: •• : .: ..... : .. :••• :?: ... :" ~ .. .. .... .. .. ~ ...,; .......... " .. .. .. ~; ~ L.-- -.::w,~~.•'.::.• r-:-:-.....:......:..~--_-----J••.• : •• •••. :" •• :•• ...;, ~ ...... ........ .. :........: '... ::.. :.. I.: '.' I,'.. ... This design element is based on a variety of fish trap found in the Missouri Bootheel. Coverplwto by David Whitman. Abandoned sharecropper161uJ~1ZCQt" Wardell on New Madrid COUJ'lty Rd. 296on Marr:h 19, 1994. Copyright © 1995 The Curators of the University of Missouri Museum ofArt and Archaeology, Columbia, Missouri 65201 Printed and bound in the United States ofAmerica All rights reserved This publication, Art and Heritage ofthe Missouri Bootheel: A Resource Guide, and the coordinated exhibition, Art and Heritage ofthe Missouri Bootheel, have been organized by the Bootheel Underserved Arts Communities Project, which is cosponsored by the Museum ofArt and Archaeology and the State Historical Society of Missouri. The exhibition and its accompanying publication are made possible by generous grants from the Missouri Arts Council and the National Endowment of the Arts. The project is administered by the Missouri Folk Arts ProgramlMuseum ofArt and Archaeology in cooperation with the State Historical SocietylWestern Historical Manuscript Collection at the University of Missouri­ Columbia. Library of Congress Cataloging-in-Publication Data Art and heritage: a resource guide; edited by c. ray brassieur and deborah bailey includes bibliographic references ISBN 0-910501-30-0 -- 2-- Art and Heritage of the Missouri Bootheel: A Resource Guide Table of Contents Foreword Morteza Sajadian 4 How to Use This Guide 5 AIMS AND IDEAS: ENCOURAGING CREATIVITY IN THE BOOTHEEL The Bootheel Project: An Introduction C. Ray Brassieur 6 Creativity on the Margins Erika Brady 9 Heritage and Art: Folk Tradition in the Bootheel Sw. Anand Prahlad 10 Promoting Bootheel Arts and Artists Sylvester W Oliver, Jr. 13 Traditional Arts and Community in the Bootheel Thomas A. Rankin 14 WEALTH IN DIVERSITY: CREATIVE EXPRESSION IN THE BOOTHEEL Art and Region 16 Bootheel Music 20 Creating by Hand 28 Verbal Art and Oral Tradition 32 APPENDICES Key Support Programs 35 Resources List for Artists and Arts Programmers 36 Catalogue of Bootheel Project Audio Cassette Recordings 42 Bibliography 53 -- 3-- Foreword t a time when Congress is moving closer to this publication suggest, folk arts in the Bootheel have enact cuts in fiscal years 1995 and 1996 byno means remained static, unaffected byinternaland funding for the National Endowment for external influences. In fact, their existence is dynamic A the Arts (NEA) and possible elimination of and changingas a result ofthe creativity ofartists work­ a number of federally funded cultural agencies, ing within the different traditions and the natural evo­ Missouri's Bootheel Underserved Arts Communities lutionof their community'saesthetic. AsThomasRankin Project serves as testimony for the important role the notes in his report, the results of this survey will not NEA and its state-affiliated agency, the Missouri Arts only raise the visibility of the folk arts inMissouri, butit Council (MAC), play in the conservationand documen­ willhopefully encourage othercommunities to develop tation of our cultural traditions. We are most grateful and design similar locally focused projects. for the generous financial assistance of NEA and MAC, The undertaking of such a project requires the gen­ whichprovided funding for the Bootheel surveyproject, erous support and participation of many people. I join its accompanying travelingexhibition, and this resource Ray Brasssieur, the survey'sproject coordinator, in thank­ publication. This project would simply not have been ing our colleagues and friends acknowledged in the in­ possible without their support. troduction for their outstanding contributions to this Missouri folk artistic heritage is as complex, excit­ project. Ray Brassieur deserves my mostprofound grati­ ing and vital as its people are culturally diverse. The tude for his hard work, contributions to this booklet, strength and stability of Missouri's many communities and, mostsignificantly, guidance of the survey to its con­ have provided the fertile ground necessary for the full clusion. DeborahBailey mustbe also acknowledged for flowering of artistic traditions which originated in the her invaluable contribution to all facets of this project, state or took root here after transplantation. As long as from the arduousfieldwork to the publication and exhi­ these communities persistandas long as cultural aware­ bition. A special thanks must also go to Dana Everts­ ness and appreciation are promoted among the greater Boehm who, since my departure from the Museum of population of the state through special projects like the Art and Archaeology and the Folk Arts Program, has Bootheel survey, the folk arts will continue to flourish in overseen the various details of this project. Missouri, delighting the eye and refreshing the spirit of We extend our sincere thanks to the Missouri Arts all who understand their specialnature and significance. Council and its executive director, Anthony Radich, for As discussed in the following pages by the team of continued support of and assistance with this project. expert scholars and dedicated, hard-working project Finally, I am expecially indebted to Jeanne Fiquet, staff, the range offolk artforms whichhave contributed (former assistant director) and Michael Huntof the Mis­ and continue to add to the diversity and complexity of souri Arts Council, who first approached me in 1992 Missouri's Bootheel region is broad, based firmly in the about the possibility of my undertaking of this survey multiplicity ofcultural groups which havebeenpartof the as its project director, and with whom I collaborated on region's history. Also, as a number of the illustrations in the grant application submitted to NEA. Morteza Sajadian Project Director A NOTE ABOUT TIllS PUBLICATION The text of this publication represents the thoughts and focusing upon the symbolic use of cotton and the foodway writings of many individuals whose efforts deserve recogni­ traditions of the Bootheel. She also wrote portions of "Anglo­ tion. Ray Brassieur organized and helped compile and edit American Music: Sacred and Secular Tones," and much of the this publication, and, inaddition to his introductory essay, con­ section titled, "Verbal Art and Oral Tradition." The graduate tributed at least some text to all of the sections in Part II. In student interns also contributed writings to this project: some addition to the fine essay that appears under his name, of Jean Crandall's commentary appears in "African-Ameri­ Sylvester Oliverprovided Significant contributions to the com­ canMusic: TheSpiritRules; Jim Nelson's summarizations were mentary presented under the subheading, "African-American put to good use in the"Anglo-American Music" section; Erica Music: TheSpiritRules." Deborah Bailey, inaddition to her work Mair's writings about Bootheel quilting appears in "Creating in compiling and editing, contributed writings which appear by Hand"; and Robin Fanslow provided written information in the section titled"Art and Region," especially those parts about Billy Joe Ford and his tamales. 4 -- How to Use This Guide e hope this guide will be interesting Appendix Bprovides a list ofnational, regional, state and useful to many: artists and arts and local organizations and institutions. Some provide ~programmers, scholars of local history grant support, others furnish information related to art­ and heritage, educators and tourism spe­ ists, art gemes, artifacts, exhibitions, events production, cialists, communityleaders andanyone interested inthe etc. Local historical societies, museums and libraries are quality of life in the Bootheel. Part I consists of a series listed because they provide important information related of short essays which summarize the philosophy, goals to the understanding of local heritage and art, and they and activities of the Bootheel Underserved Arts Com­ often have excellent locations for the presentation of munities Project (hereafter referred to as the Bootheel events. University Extensionoffices servingthe Bootheel Project). The authors of these essays feel that art and are also noted because of their potential to offer valu­ heritage are linked in very special ways, that creativity able facilities, expertise and importanthumannetworks. is part of everyday life, and that all community members Appendix C, the Catalogue of Bootheel Project Au­ contribute - whether as performers or audience mem­ dio Cassette Recordings, provides a list of individuals, bers, creators or consumers - to the development and groups and events recorded during the Bootheel Project, maintenance of local artistic standards and tastes. Read alongwitha subject descriptionofthese recordings. This these essays for ideas youcanputto workin yourdailylife. audiomaterial, whichrepresents a considerable research Part IT of this guide offers some observations regard­ collection pertaining to the art and heritage of the ing specific art forms we encountered in the Bootheel. Bootheel, is housed We do not attempt to represent a comprehensive cata­ and made available logue of regional artists or gemes.
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