Urban Appalachian Professional Storytellers' Narratives
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Voices of Feminism Oral History Project: Roma, Catherine
Voices of Feminism Oral History Project Sophia Smith Collection, Smith College Northampton, MA CATHERINE ROMA Interviewed by JOYCE FOLLET June 19 and 20, 2005 Northampton, Massachusetts This interview was made possible with generous support from the Ford Foundation. © Sophia Smith Collection 2006 Sophia Smith Collection Voices of Feminism Oral History Project Narrator Catherine Roma was born in Philadelphia January 29, 1948, the youngest of three children of Italian-born parents. Her mother completed high school and, once married, was a community volunteer. Her father graduated from Princeton University and Temple Law School, but when his own father died young, he left legal practice to run the family’s barbershops in Philadelphia and other East Coast railroad terminals. Practicing Catholics, Catherine’s parents sent her to Germantown Friends School K-12; she remains a Convinced Friend. In the late 1960s and early 1970s, Roma earned a BA in music and an MM in Choral Conducting at the University of Wisconsin-Madison, where she became involved in socialist-feminist politics and began organizing a feminist choral group in 1974. Returning to Philadelphia the following year to teach music at Abington Friends School, she organized and conducted Anna Crusis, the first feminist women’s choir in the US. In 1983 she undertook the doctorate in musical arts at the University of Cincinnati, where she founded MUSE, the community chorus she continues to lead. Under Roma’s leadership, MUSE is a vital group in what has become a national and international grassroots movement of women’s choruses. MUSE is recognized as a model anti-racist community organization and a progressive force in Cincinnati politics. -
Compton Music Stage
COMPTON STAGE-Saturday, Sept. 18, FSU Upper Quad 10:20 AM Bear Hill Bluegrass Bear Hill Bluegrass takes pride in performing traditional bluegrass and gospel, while adding just the right mix of classic country and comedy to please the audience and have fun. They play the familiar bluegrass, gospel and a few country songs that everyone will recognize, done in a friendly down-home manner on stage. The audience is involved with the band and the songs throughout the show. 11:00 AM The Jesse Milnes, Emily Miller, and Becky Hill Show This Old-Time Music Trio re-envisions percussive dance as another instrument and arrange traditional old-time tunes using foot percussion as if it was a drum set. All three musicians have spent significant time in West Virginia learning from master elder musicians and dancers and their goal with this project is to respect the tradition the have steeped themselves in while pushing the boundaries of what old-time music is. 11:45 AM Ken & Brad Kolodner Quartet Regarded as one of the most influential hammered dulcimer players, Baltimore’s Ken Kolodner has performed and toured for the last ten years with his son Brad Kolodner, one of the finest practitioners of the clawhammer banjo, to perform tight and musical arrangements of original and traditional old-time music with a “creative curiosity that lets all listeners know that a passion for traditional music yet thrives in every generation (DPN).” The dynamic father-son duo pushes the boundaries of the Appalachian tradition by infusing their own brand of driving, innovative, tasteful and unique interpretations of traditional and original fiddle tunes and songs. -
Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections. -
Download Teacher's Guide
A Celebration of America’s Music From Plymouth Rock to Rock & Roll Teacher’s Guide About the Show Take a journey through time and celebrate the multicultural nature of the music of the United States. Matthew Sabatella and the Rambling String Band perform the songs and tell the story that connects traditional folk music, spirituals, fiddle tunes, Appalachian music, ragtime, blues, rhythm and blues, jazz, country, bluegrass, and rock & roll. Beautiful projected images enhance this fun and unique experience for all ages. You'll sing and clap along as the story unfolds of how songs and musical styles emerged from encounters among diverse people and the American experience itself. Please note: This show addresses sensitive historical realities, including slavery, racism, and segregation. In doing so, it emphasizes the ways in which people, through music, have expressed themselves, survived hardships, and overcome challenges. The show demonstrates how unique forms of American music resulted from the interaction of diverse peoples, despite often unfavorable circumstances. America’s Music The music in America today is part of a continuum that reaches back to Colonial America and stretches across the Atlantic Ocean to the Old World. Music, instruments, and songs tell the story of the ordinary and extraordinary people who have populated the United States and propelled it into the 21st century. Not only do the lyrics directly reflect the hopes, fears, struggles, sorrows, triumphs, and humanity of the real people who lived history, but to follow the path taken by the music itself is to understand the great cultural stew that is the United States of America. -
Pervasive Dialectal Perceptions in Education Contributing to Language Dedialectalization: Appalachian, a Case Study a Dissertati
Pervasive Dialectal Perceptions in Education Contributing to Language Dedialectalization: Appalachian, a Case Study A Dissertation Presented to The Faculty of the Education Department Carson-Newman University in Partial Fulfillment of the Requirements of the Degree Doctorate of Education By Nola Carrie Queen Isobe May 2016 Committee: Dr. Deborah Hayes, Dr. Mark Brock, and Dr. Patrick M. Taylor (Advisor) i ii Copyrighted by Nola Carrie Queen Isobe 2016 iii iv Abstract Pervasive Dialectal Perceptions in Education Contributing to Language Dedialectalization: Appalachian a Case Study Nola Carrie Queen Isobe School of Education, Carson Newman College May 2016 Appalachian English is a dialect of American Standard English. It is spoken in much of North Carolina, Kentucky, Tennessee, Virginia, West Virginia, and Pennsylvania. There is concern that this dialect could follow the path of dedialectalization through cultural unacceptance, generational changes, and saturation of newcomers to the area. Society views speaking proper English, the standard dialect, the route for much of the rural areas inhabitants to take to achieve better jobs and find social acceptance and a successful life. Society’s social view of an uneducated people speaking the Appalachian dialect prompts teachers to change students’ dialect to help them ensure success in school and society at large. Could teachers in fact hold perceptions of students that are accelerating the dedialectalization of the Appalachian dialect? This study will shed some light on the perceptions that educators have in regards to dialects, specifically the Appalachian dialect. v List of Figures and Tables FIGURE 1: Appalachian Regional Commission Map of Appalachia……………………….. 1 FIGURE 2: Robert Delany Map of American English……………………………………… 140 FIGURE 3: Summary of Dialect Samples Graph………………………………..………….. -
Scottish and Irish Elements of Appalachian Fiddle Music
Butler University Digital Commons @ Butler University Undergraduate Honors Thesis Collection Undergraduate Scholarship 3-1995 Scottish and Irish Elements of Appalachian Fiddle Music Matthew S. Emmick Butler University Follow this and additional works at: https://digitalcommons.butler.edu/ugtheses Part of the Ethnomusicology Commons, and the Musicology Commons Recommended Citation Emmick, Matthew S., "Scottish and Irish Elements of Appalachian Fiddle Music" (1995). Undergraduate Honors Thesis Collection. 21. https://digitalcommons.butler.edu/ugtheses/21 This Thesis is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Undergraduate Honors Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. BUTLER UNIVERSITY HONORS PROGRAM Honors Thesis Certification Matthew S. Emmick Applicant (Name as It Is to appear on dtplomo) Scottish and Irish Elements of Appalachian Fiddle M'-Isic Thesis title _ May, 1995 lnter'lded date of commencemenf _ Read and approved by: ' -4~, <~ /~.~~ Thesis adviser(s)/ /,J _ 3-,;13- [.> Date / / - ( /'--/----- --",,-..- Commltte~ ;'h~"'h=j.R C~.16b Honors t-,\- t'- ~/ Flrst~ ~ Date Second Reader Date Accepied and certified: JU).adr/tJ, _ 2111c<vt) Director DiJe For Honors Program use: Level of Honors conferred: University Magna Cum Laude Departmental Honors in Music and High Honors in Spanish Scottish and Irish Elements of Appalachian Fiddle Music A Thesis Presented to the Departmt!nt of Music Jordan College of Fine Arts and The Committee on Honors Butler University In Partial Fulfillment of the Requirements for Graduation Honors Matthew S. Emmick March, 24, 1995 -l _ -- -"-".,---. -
The History and Evolution of Clogging
The History and Evolution of Clogging An Honors Thesis (HONRS 499) by Lindsay Schultz Thesis Advisor Ball State University Muncie, Indiana Presented: December 2009 Graduation: May 2010 · .::: 'I Abstract Dancing is a wonderful way for people to express themselves. There are so many styles of dance in our world today, and each ofthese dance styles had to evolve from something before it. That is how a new dance is born. Old styles of dance are changed or combined to form something new and different. In order for everyone to appreciate dance, it is important for them to be exposed to many styles of dance and learn how it evolved. This helps people understand why each dance style is special and unique. Clogging is one style of dance that is not as well known in the United States by most people in the general public. This thesis project is made to showcase this wonderful style of dance as well as educate the public about what clogging is and where it came from. I will present the findings from my research about the evolution of clogging, show a video of traditional Irish dancing (which greatly influenced clogging), as well as perform a modem clogging routine I choreographed myself. I want everyone to hear about the history as well as see what clogging looks like today in order to gain a greater appreciation for this special dance style. 2 Acknowledgments -I would like to thank Mr. Greg Lund for working with me as my advisor on this project. He was helpful in providing ideas, research materials, and a place for me to showcase my thesis project. -
June 28, 29 & 30, 2013
33rd annual music with roots 2013 June 28, 29 & 30, 2013 Welcome to the 33rd annual music with roots THE MISSION OF OLD SONGS, INC. FUNDING PROVIDED BY Old Songs, Inc. is a not-for-profit organization dedicated to keeping traditional This event is made possible with public funds from the New music and dance alive through the presentation of festivals, concerts, dances and York State Council on the Arts, with the support of Governor educational programs. Andrew Cuomo and the New York State Legislature. THANK YOU FOR YOUR SUPPORT SOUND SUPPORT Meadowlark Farms (flowers) • REM Printing • Michael Jarus • Andy’s Front Hall Specialized Audio/John Geritz, Ian Hamelin and crew, Altamont Fairgrounds • Terry & Donna Mutchler • Voorheesville Carpet Co. Euterpe Sound/Clyde Tyndale, Tim Parker, Kate Korolenko, Scott Petersen, Dave and Cyndi Reichard OUR ENVIRONMENT We are grateful to have such a lovely shaded place to have a festival. Please DOCUMENTATION use the RECYCLE barrels for all plastic, aluminum, and glass containers. Flatten Don Person, Bill Houston, Bill Spence, Hannah Spence cardboard and place it next to a barrel. Use TRASH BARRELS for refuse. PICK UP and Neil Parsons after the concerts. Ride your BICYCLES in the designated areas. Wear shoes, use sunscreen and drink lots of water. Smoke away from the seated audience. Thanks SPONSORS from all who share this place. Old Songs would like to thank the following businesses and individuals for SEATING/CHAIR POLICY their sponsorship of the 2013 Old Songs Festival: Seating at the Main Stage and in Areas 2, 3, 6, 7 and 8 is divided into low and high The Global Child - Chet & Karen Opalka Price Chopper sections. -
“Rising Appalachia” and Traditional Folk/Pop As Social Protest
3.6. Underground music in America’s heartland: “Rising Appalachia” and traditional folk/pop as social protest Michael Saffle1 Jordan Laney 1 Abstract Rising Appalachia, a quasi-folk, quasi-pop activist group fronted by sisters Leah and Chloe Smith of Atlanta, Georgia, strives to stimulate awareness of regional economic and political problems, and to enact changes involving the clear-cutting of forests, mountain top removal, and other ecologically and socially destructive activities. The Smiths and their collaborators stand apart from the increasingly globalized and commodified cultural spaces that surround them. Their do-it- yourself performative roots and style, together with the local musical practices and convictions they embrace, contribute to what might be considered avant-garde and underground character closely associated with one of America’s least prosperous and most neglected cultural heartlands. Several audiovisual recordings, all of them available on YouTube, exemplify the ensemble’s commitment both to traditional and local musical styles as well as to opposition in the face of political and social repression and exploitation. Keywords: Appalachia, traditional music, avant-garde, activism, underground music Rising Appalachia is a quasi-folk, quasi-pop activist group fronted by sisters Leah and Chloe Smith of Atlanta, Georgia. Since their first public performances in 2008 the group, built by the Smiths, has grown rapidly in popularity through social media and an extensive touring schedule; already they have performed in Costa Rica, the Czech Republic, Italy, and several other nations. Unlike most of the performers pro/claiming Appalachia as an identity or allied space, however, Rising Appalachia must be considered radical. -
Public Taste: a Comparison of Movie Popularity and Critical Opinion
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1982 Public taste: A comparison of movie popularity and critical opinion R. Claiborne Riley College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the Film and Media Studies Commons Recommended Citation Riley, R. Claiborne, "Public taste: A comparison of movie popularity and critical opinion" (1982). Dissertations, Theses, and Masters Projects. Paper 1539625207. https://dx.doi.org/doi:10.21220/s2-hqz7-rj05 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. PUBLIC TASTE: A COMPARISON OF MOVIE u POPULARITY AND CRITICAL OPINION A Thesis Presented to The Faculty of the Department of Sociology The College of William, and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by R. Claiborne Riley 1982 APPROVAL SHEET This thesis is submitted in partial fulfillment the requirements for the degree of Master of Arts R. Claiborne Riley Approved, September 1982 r**1. r i m f Satoshi Ito JL R. Wayne Kernodle Marion G. Vanfossen TABLE OF CONTENTS Page ACKNOWLEDGMENTS .......... iv LIST OF TABLES . ..... .... ..................... v ABSTRACT .......... '......... vi INTRODUCTION .......... ...... 2 Chapter I. THE MOVIES: AN HISTORICAL PERSPECTIVE .............. 6 Chapter II. THE AUDIENCE ........................................ 51 Chapter III. THE C R I T I C ............ 61 Chapter IV. THE WANDERER STUDY AND DUMAZEDIER ON MOVIES AND LEISURE ....... -
Illustrated Flora of East Texas Illustrated Flora of East Texas
ILLUSTRATED FLORA OF EAST TEXAS ILLUSTRATED FLORA OF EAST TEXAS IS PUBLISHED WITH THE SUPPORT OF: MAJOR BENEFACTORS: DAVID GIBSON AND WILL CRENSHAW DISCOVERY FUND U.S. FISH AND WILDLIFE FOUNDATION (NATIONAL PARK SERVICE, USDA FOREST SERVICE) TEXAS PARKS AND WILDLIFE DEPARTMENT SCOTT AND STUART GENTLING BENEFACTORS: NEW DOROTHEA L. LEONHARDT FOUNDATION (ANDREA C. HARKINS) TEMPLE-INLAND FOUNDATION SUMMERLEE FOUNDATION AMON G. CARTER FOUNDATION ROBERT J. O’KENNON PEG & BEN KEITH DORA & GORDON SYLVESTER DAVID & SUE NIVENS NATIVE PLANT SOCIETY OF TEXAS DAVID & MARGARET BAMBERGER GORDON MAY & KAREN WILLIAMSON JACOB & TERESE HERSHEY FOUNDATION INSTITUTIONAL SUPPORT: AUSTIN COLLEGE BOTANICAL RESEARCH INSTITUTE OF TEXAS SID RICHARDSON CAREER DEVELOPMENT FUND OF AUSTIN COLLEGE II OTHER CONTRIBUTORS: ALLDREDGE, LINDA & JACK HOLLEMAN, W.B. PETRUS, ELAINE J. BATTERBAE, SUSAN ROBERTS HOLT, JEAN & DUNCAN PRITCHETT, MARY H. BECK, NELL HUBER, MARY MAUD PRICE, DIANE BECKELMAN, SARA HUDSON, JIM & YONIE PRUESS, WARREN W. BENDER, LYNNE HULTMARK, GORDON & SARAH ROACH, ELIZABETH M. & ALLEN BIBB, NATHAN & BETTIE HUSTON, MELIA ROEBUCK, RICK & VICKI BOSWORTH, TONY JACOBS, BONNIE & LOUIS ROGNLIE, GLORIA & ERIC BOTTONE, LAURA BURKS JAMES, ROI & DEANNA ROUSH, LUCY BROWN, LARRY E. JEFFORDS, RUSSELL M. ROWE, BRIAN BRUSER, III, MR. & MRS. HENRY JOHN, SUE & PHIL ROZELL, JIMMY BURT, HELEN W. JONES, MARY LOU SANDLIN, MIKE CAMPBELL, KATHERINE & CHARLES KAHLE, GAIL SANDLIN, MR. & MRS. WILLIAM CARR, WILLIAM R. KARGES, JOANN SATTERWHITE, BEN CLARY, KAREN KEITH, ELIZABETH & ERIC SCHOENFELD, CARL COCHRAN, JOYCE LANEY, ELEANOR W. SCHULTZE, BETTY DAHLBERG, WALTER G. LAUGHLIN, DR. JAMES E. SCHULZE, PETER & HELEN DALLAS CHAPTER-NPSOT LECHE, BEVERLY SENNHAUSER, KELLY S. DAMEWOOD, LOGAN & ELEANOR LEWIS, PATRICIA SERLING, STEVEN DAMUTH, STEVEN LIGGIO, JOE SHANNON, LEILA HOUSEMAN DAVIS, ELLEN D. -
Beginning Clogging Level 1
BEGINNING CLOGGING: LEVEL I Welcome to the Beginning Clogging: Level I Class. Thank you for coming. Our class will be held one hour per week for six weeks. There are eight basic steps in clogging; in this session you will learn four of those eight steps, as well as other pertinent information about clogging. The following pages of this booklet describe clogging "on paper", and will be useful in remembering the steps I teach. Also, you may want to make notes that could be helpful later on. I hope you enjoy the class and thank you again for coming. Kelli McChesney, National Instructor Gainesville, Florida [email protected] http://www.kellimcchesney.com/ A BRIEF HISTORY OF CLOGGING Written and researched by Kelli McChesney Clogging is a folk dance similar to tap and Irish step dancing. It is making rhythmic tapping sounds with the feet. Clogging is said to have originated in the Lancashire regions of England during the Industrial Revolution. Mill workers during this time wore wooden shoes, called "clogs," to protect their feet from the harsh environment. After getting off work, the workers danced on the stone streets in small contests to see who could make the most intricate sounds. Often they tried to imitate the sounds the mill machines made. As the speed of the steps increased, the clogs proved to be dangerous and were replaced with soft leather shoes with hard soles. English copper pennies were then screwed on the heels and toes of the shoes to emphasize the sounds. Eventually, the pennies were replaced with metal "taps." With influences of many European folk dances, clogging has evolved through the years into different styles.