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Folklife Sourcebook: a Directory of Folklife Resources in the United States
DOCUMENT RESUME ED 380 257 RC 019 998 AUTHOR Bartis, Peter T.; Glatt, Hillary TITLE Folklife Sourcebook: A Directory of Folklife Resources in the United States. Second Edition. Publications of the American Folklife Center, No. 14. INSTITUTION Library of Congress, Washington, D.C. American Folklife Center. REPORT NO ISBN-0-8444-0521-3 PUB DATE 94 NOTE 172p.; For the first edition, see ED 285 813. AVAILABLE FROMSuperintendent of Documents, P.O. Box 371954, Pittsburgh, PA 15250-7954 ($11, include stock no. S/N 030-001-00152-1 or U.S. Government Printing Office, Superintendent of Documents, Mail Stop: SSOP, Washington, DC 20402-93280. PUB TYPE Reference Materials Directories/Catalogs (132) EDRS PRICE MFOI/PC07 Plus Postage. DESCRIPTORS *Archives; *College Programs; Cultural Education; Cultural Maintenance; Elementary Secondary Education; *Folk Culture; Foreign Countries; Higher Education; Library Collections; *Organizations (Groups); *Primary Sources; Private Agencies; Public Agencies; *Publications; Rural Education IDENTIFIERS Ethnomusicology; *Folklorists; Folk Music ABSTRACT This directory lists professional folklore networks and other resources involved in folklife programming in the arts and social sciences, public programs, and educational institutions. The directory covers:(1) federal agencies; (2) folklife programming in public agencies and organizations, by state; (3)a listing by state of archives and special collections of folklore, folklife, and ethnomusicology, including date of establishment, access, research facilities, services, -
Alan Lomax Collection
I. Aims and scope of the American Folklife Center at the Library of Congress a. Ongoing programs and projects b. Overview of collectors and collections in the Archive of Folk Culture 1 II. Scope of collections a. Pete and Toshi Seeger collection b. Alan Lomax collection I. Aims and scope of the American Folklife Center at the Library of Congress a. Ongoing programs and projects b. Overview of collectors and collections in the Archive of Folk Culture III. Multimedia/multiformat collections and care and management a. September 11 collection – materials and methods b. Cataloging and describing collections II. Scope of collections a. Pete Seeger collection b. Alan Lomax collection c. September 11 collection I. Aims and scope of the American Folklife Center at the Library of Congress a. Ongoing programs and projects b. Overview of collectors and collections in the Archive of Folk Culture 2 IV. Field work - Issues and Concerns “The Fieldworker Is/As the First Archivist” III. Multimedia/multiformat collections and care and management a. September 11 collection – materials and methods b. Cataloging and describing collections II. Scope of collections a. Pete Seeger collection b. Alan Lomax collection c. September 11 collection I. Aims and scope of the American Folklife Center at the Library of Congress a. Ongoing programs and projects b. Overview of collectors and collections in the Archive of Folk Culture Jefferson Building 3 4 5 Ann Hoog, Curator, September 11 project 6 An Act of Congress: “It is therefore the purpose of this act to establish The American Folklife Center…” 7 I Leadbelly, Dir: Gordon Parks, 1984 starring Roger Moseley Bound For Glory, Dir: Hal Ashby, 1976 starring David Carradine 8 9 10 11 • World Intellectual Property Organization 12 13 Blue Ridge Parkway Folklife Project 14 15 Part II Archive of Folk Song, 1928 16 John Lomax 17 Alan Lomax John Lomax in the South 18 19 20 • The Pete & Toshi Seeger Film Collection 21 22 Alan Lomax Maria Ribas w/drum Ibiza, Balearic Islands, July 1952 23 Castilla La Mancha, Dec. -
Folklife Center News, Volume 11 Number 1 (Winter 1989). American Folklife Center, Library of Congress
AMERICAN FOLKLIFE CENTER THE LIBRARY OF CONGRESS Winter 1989 Volume XI, Number 1 THE ORIGIN OF POLISH SATURDAY SCHOOLS IN CHICAGO By Margy McClain The following article is taken from " Eth nic Heritage and Language Schools in America, }} a new book from the American Folklife Center. " Information on how to order appears on pages 3 and 4. At the beginning of the twentieth century, when great waves of im migration brought thousands of Poles to the Chicago area, Poland did not exist as a nation. Poland had been par titioned in 1795, into areas controlled by Russia, Prussia, and Austria, and ethnic Poles referred to themselves as "Russian Poles" or "Austrian Poles." Language and the Roman Catholic religion, rather than nation ality, marked the Polish people. Early Polish immigrants to the United States defined themselves in much the same way, by language, eth nicity, regional origin, and religion. They were mostly peasants with little formal education. They came for eco- Continued on page 2 Jozef Zurczak, principal of the Pulaski School in Chicago, Illinois, at the time of the Folklife Center's 1982 Ethnic Heritage and Language Schools Project. Mr. Zurczak is shown here as a guest teacher for the combined first and second grade class. (ES82-AF88416-1-35A) Photo by Margy McClain POLISH SATURDAY dialects spoken by their parents and AMERICAN FOLKLIFE CENTER teachers. Immigrants arriving after THE LIBRARY OF CONGRESS SCHOOLS World War II were surprised to find Continued from page 1 Alan J abbour, Director many archaic words and grammatical Ray Dockstader, Deputy Director constructions preserved in the speech nomic reasons and worked hard so of the established Polish-American Carl Fleischhauer that their children might make it up community. -
MIKE SEEGER I ELIZABETH COTTEN M~E.Lf to Rf.5Ef Today's Schedule - ALL FREE DI61TAL W,\TCHE5
Daily Zippy on Finals, see page 10 II FAIR TODAY with chance of precipitation near zero. High, up- 'Ver reen per 50s; Low, upper 30s. Tuesday, April 14, 1981 Pullman. Washington Vol. LXXXVII No.118 Establishecl1894 Surcharge will raise 500G ~\' KRISTIN RICHARDSON of meetings discussing' 'amounts, rarnifi- ~green Staff cations and 'should we or shouldn't we " resulted in the decision. said George "Jay" Hartford, vice president of busi- ti A 2.3 percent surcharge for administra·' ness and finance. ""V?se~vices of eight university operations Hartford. then budget director Pete " I I bring the administration $500,000 this Jear. ' Wollstein and then provost John Slaughter made the decision. I I~Plemented July 1, the charge is not The exemption of athletics, ASWSU and aeVledon athletics, ASWSU or the veterin- ry Clinic. the vet clinic resulted from budget prob- lems in those departments. Hamel said. , ,~he decision was made because of the , 'All are close financially, having a hard s ttght fiscal situation" of the university, time facing their budgets and staying r:ld Joe Hamel, assistant vice president of nance, within them," he said. "Raising. fees, d The percentage comes off what the would only be negative while they are thPartments collect in gross receipts. For trying to payoff deficits." rose departments' 'performing a service In addition. Hartford said taking money from athletics increases the amount of c~r Operating areas of the university", state support necessary to help make up c arges pay part of "indirect costs and its deficit. "We would end up giving them entral service" provided by WSU. -
Legislating (For) the Folk: the American Folklife Center in the US
Legislating (for) the Folk: The American Folklife Center in the U.S. National Imaginary Guha Shankar and Margaret Kruesi, American Folklife Center Paper prepared for the conference “Culture Archives and the State: Between Nationalism, Socialism, and the Global Market,” May 3-5, 2007, Mershon Center, Ohio State University, USA. Abstract: A legislative act of the U.S. Congress established the American Folklife Center in the National Library in 1976. In addition to its extensive collections from the U.S., the Archive of the American Folklife Center holds ethnographic archival materials from cultures around the world, dating from the late nineteenth century to the present. Through discussion of case studies of Center activities, this presentation will examine some of the challenges confronting the Center in its mission to advocate for traditional cultural expressions and folklore in national and international arenas. Examples range from the Center’s ethnographic documentary surveys of cultural communities to preservation of archival materials and their dissemination to participation in policy-making fora such as the World Intellectual Property Organization. From Legislation to Ethics One of the broad aims of this joint presentation is to juxtapose national or parliamentary policies and acts, on the one hand, against the local concerns and community infra-politics that inform the conduct of daily social life in those specific places, on the other. Such interactions are fraught with tension, to state the obvious. The case studies we present with regard to the topic of managing archival collections of cultural knowledge and intangible cultural heritage highlight profound, perhaps fundamentally irreconcilable, contradictions between these two realms. -
Bob Dylan - Unreleased Performances 2
1. Friend Of The Devil (6:20) Frankenstadion, Nürnberg, Germany 5/31/98 A performance of the Hunter-Garcia classic, "Friend of the Devil." Bob Dylan - Unreleased Performances 2. Oh Babe, It Ain't No Lie (5:04) Stadtpark, Hamburg, Germany 6/12/98 Another Elizabeth Cotten song. Find out more on the Cowboy Angel Sings website. Itsuko Nishimura has created a web site called In Search of Elizabeth Cotten. 3. Shake Sugaree (5:12) The Roxy, Atlanta, Georgia 12/1/97 The Elizabeth Cotten (1895-1987) song, sometimes known as "I've Got A Secret." Find out more on the Cowboy Angel Sings website. There's also an interesting exigesis of "Shake Sugaree" in an essay by Gary Knigge. Itsuko Nishimura has created a web site called In Search of Elizabeth Cotten. Bob Dylan has also performed the Cotten composition "Oh, Babe, It Ain't No Lie." 4. I and I , Forum, Dijon, France 7/1/98 (6:22) "I and I" was officially released on Infidels and on the 1984 live album Real Live. This performance comes from Bob Dylan's recent European tour. 5. Senor, Piazza Napoleone, Lucca, Italy 7/6/98 (4:27) "Senor" was officially released on Street Legal. This performance comes from a public square in Italy on Bob Dylan's recent European tour. "Senor" was covered regularly by the Jerry Garcia Band. 6. Mama, You Been On My Mind, Brussels, Belgium 6/17/98 (4:35) "Mama, You Been On My Mind" has been part of Bob Dylan's performing repertoire for over thirty years. -
Appalachian Studies Bibliography Cumulation 2013-June 2016 ______
Appalachian Studies Bibliography Cumulation 2013-June 2016 _____________________ CONTENTS Agriculture and Land Use ................................................................................................................3 Appalachian Studies.........................................................................................................................8 Archaeology and Physical Anthropology ......................................................................................14 Architecture, Historic Buildings, Historic Sites ............................................................................18 Arts and Crafts ..............................................................................................................................21 Biography .......................................................................................................................................27 Civil War, Military.........................................................................................................................29 Coal, Industry, Labor, Railroads, Transportation ..........................................................................37 Description and Travel, Recreation and Sports .............................................................................63 Economic Conditions, Economic Development, Economic Policy, Poverty ................................71 Education .......................................................................................................................................82 -
News from the Library of Congress
NEWS FROM THE LIBRARY OF CONGRESS MOUG/MLA 2012 The News from the Library of Congress this year includes reports from the major Library units concerned with music and sound recording materials: Music Division, National Audio-Visual Conservation Center/Packard Campus, the American Folklife Center, and the Policy and Standards Division. Reports from other Library units which may contain concerns of importance to the music library community (e.g., Copyright Office, Preservation Directorate, Technology Policy Directorate) may be found in the ALA Midwinter report on the Library’s website: http://www.loc.gov/ala/mw-2012-update.html MUSIC DIVISION………………………………………P. 1 PACKARD CAMPUS FOR AUDIO-VISUAL CONSERVATION, RECORDED SOUND SECTION…………………………………….P. 11 AMERICAN FOLKLIFE CENTER………………….P. 15 POLICY AND STANDARDS DIVISION, ACQUISITIONS & BIBLIOGRAPHIC ACCESS DIRECTORATE…….P. 27 MUSIC DIVISION --Reported by Sue Vita, Joe Bartl, Dan Boomhower, Denise Gallo, Mark Horowitz, Karen Lund, Anne McLean, and Steve Yusko This fiscal year, the Music Division’s first priority was to improve access to its vast collection of more than 20 million items, including scores, libretti, manuscripts, photographs, personal papers, instruments, and memorabilia. This was accomplished on a number of fronts: by processing and creating online finding aids for special collections; by creating new and improved existing bibliographic records; by digitizing items from collections and putting them online; and by publicizing the collections through the Performing Arts Encyclopedia, public programs, orientations, professional meetings, and social media. We 1 made significant progress on the Collections Analysis Project, which will result in improved physical and intellectual control over all of Music’s holdings. -
Chorus Responding Unit, Advanced Level
Chorus Responding Unit, Advanced Level A Curriculum Project of the National Association for Music Education (NAfME) and the Library of Congress of the United States (LOC) Teaching with Primary Sources ACKNOWLEDGMENTS PERSONNEL, LIBRARY OF CONGRESS GRANT – WRITING RESPONDING UNITS 2016–2017 PROJECT DIRECTOR • Johanna J. Siebert CHORUS WRITING TEAM • Tom Dean, Team Chair • Terry Eberhardt • Joe Farrell • Briana Nannen • Kim Yannon GENERAL MUSIC WRITING TEAM • Robyn Swanson, Team Chair • Karen Benson • Ellie Jacovino • Craig Knapp • Aimee Swanson Special thanks to the Library of Congress for the generous grant on Teaching with Primary Sources (TPS), which made this resource possible. CHORUS RESPONDING UNIT | ADVANCED LEVEL | NATIONAL ASSOCIATION for MUSIC EDUCATION 2 TABLE OF CONTENTS Overview of NAfME/LOC Responding Units .............................................................4 Overview of Chorus Responding Unit, Advanced Level ......................................4 Materials Needed for this Unit .......................................................................................5 Using the Inquiry Model in the Lessons .....................................................................5 Prerequisite Skills for Students for the Unit ..............................................................5 Lesson Goals Lesson 1............................................................................................................................6 Lesson 2 ...........................................................................................................................6 -
1986 Festival of American Folklife Smithsonian Institution National Park Service Hanadaue Periotmance Ot Rice Planting in the Village Ol Mibu, Hiroshima Prefecture
1986 Festival of American Folklife Smithsonian Institution National Park Service Hanadaue periotmance ot rice planting in the village ol Mibu, Hiroshima Prefecture. PHOTO BY ISAO SUTOU Split-oak b.Lsl<ct.s b\ Maggie Mtiriihy. Cannon County Tennessee PHOTO BY ROBY COGSWELL, COURTESY TENNESSEE ARTS COMMISSION * « . <% "te^ V w l» 4. "- ^^ 1^ # /^ '^18i^ '^ 4^ € ^ m «^ ^ tk^ \ ' 4 '. \ 1 4 r ^ ^ ^* # ». 4 M^ J* * > <ih*^ r «- % ^^^ w ^'<i{> S I jR "^^ iM « 5r 1986 Festival of American Folklife Smithsonian Institution National Park Service June 25-29/July 2-6 Contents 4 The Twentieth Festival by Robert McC. Adams, Secretary, Smithsonian Institution 6 Pride in America's Cultural Diversity by William Penn Mott, Jr., Director, National Park Service 7 The Midway on the Mall Twenty Years ofthe Festival ofAmerican Folklife by Robert Cantwell 1 2 Trial Laivyers as Storytellers by Samuel Schrager 17 Japanese Village Farm Life by Kozo Yamaji 22 Rice Cultivation inJapan andTa-hayashi Festhal ofAmerican Folklilf Program B(x)k by Frank Hoff Smithsonian Institution 1986 Editor: Thomas Vennum, Jr. 26 Shigaraki Pottery by Louise Allison Co rt Designer: Daphne ShuttJewortli 32 Diverse Influences in the Development aJapanese Folk Drama Assistant Designer Joan Wolbier of Coordinator: Arlene Liebenau by Susan Asai Typesetter: Harlowe Typography 36 Traditional Folk Song in ModemJapan Printer: Ajneriprint Inc. by David Hughes Typeface: ITC Garamond Paper: 80 lb. Patina cover and text 41 Tennessee Folklife: Three Rooms Under One Roof Flysheet Kinwashi cream or Chiri new- by Robert Cogswell er Chiri Ranzan or Kaji natural Insert: 70 11). adobe tan text 46 Country Music in Tennessee: From Hollow to Honky Tonk byJoseph T. -
Celebrating African American History February 2019 – Week 2
Celebrating African American History February 2019 – Week 2 28 biographies for 28 days compiled by Reverend Carolyn Matthews Rose Marie McCoy (1922 – 2015) In the spirit of Sister Rosetta Tharpe, here is another name that is important in music history. In McCoy’s biography, in the chapter titled, “Where’s the Music From,” she says the following: “It’s a gift from God. It’s inspirational. I just write what happens. It’s like you talk and then it automatically rhymes itself.” Rose Marie McCoy was one of the most prolific and versatile songwriters in the history of American music. A true pioneer, she broke into the white male-dominated music business in the early 1950s, not only writing songs, but also producing records and forming her own publishing firm. “She knew how to hang in there with the big boys,” remembers singer Maxine Brown. “Everyone was scrapping to get there, but it was always men. Women didn’t have a place, so she made a place for herself.” Rose Marie McCoy was born April 19, 1922 in Oneida, Arkansas and lived in a tin-top shack on a 40-acre farm her parents were renting. Though she lived in the Mississippi Delta, often referred to as the birthplace of the blues, the blues was not heard in Oneida, for many there considered it “the devil’s music.” But plenty of blues was heard 18 miles away in Helena, Arkansas, and since Helena was where the closest high school for blacks was located, McCoy was sent there to live with her grandparents. -
Come Hear North Carolina Backgrounder
COME HEAR NORTH CAROLINA BACKGROUNDER Come Hear North Carolina is a promotional campaign of the North Carolina Department of Natural & Cultural Resources, and the North Carolina Arts Council designed to celebrate North Carolinians groundbreaking contributions to many of America’s most important musical genres — blues, bluegrass, jazz, gospel, funk, rock, and everything in-between. Our goal is to share and promote authentic and compelling stories about music and musicians in North Carolina — especially those that demonstrate our state’s influence on American music — with residents and visitors. why: 1. Many North Carolina musicians have made North Carolina music globally appreciated and celebrated, such as: • Jazz visionaries John Coltrane, Nina Simone, Thelonious Monk, Billy Taylor, and Max Roach; • Banjo and guitar innovators Earl Scruggs and Doc Watson; • Piedmont blues greats Elizabeth Cotten, Blind Boy Fuller, and Etta Baker; • Gospel titans Reverend Faircloth Barnes and Shirley Caesar; • Funk architects Maceo and Melvin Parker, Nat Jones and George Clinton; • Rock, pop and country artists Link Wray, Roberta Flack, James Taylor, and Don Gibson, among others; • J. Cole, 9th Wonder, and Rapsody in hip-hop; • Superchunk, the Avett Brothers, and Sylvan Esso in indie. 2. Nearly 25,000 North Carolinians work in music occupations including musicians and singers, music directors, composers and songwriters, instrument makers, producers, conductors, event and venue promoters, recording engineers and record label owners – enriching our cultural life in addition to adding significantly to North Carolina’s economic prosperity. 3. North Carolina created the first state-supported orchestra in the nation, the North Carolina Symphony, which performs 175 annual concerts and events throughout the state.