ALABAMAARTS In this Issue Art Trails in Alabama Folklife Volume XX Number 1 Folklife Trails: Reflecting the State’s Population 3 and Rich Culture Al Head, Executive Director, ASCA

Alabama 4 A Landscape of Traditions Joey Brackner

A Musical Tour of Alabama 11 Steve Grauberger

Rosin Up the Bow: Alabama’s Fiddling 21 Conventions Joyce Cauthen

Nature and Culture 27 A Documentation of Alabamians in Their Natural Environment Anne Kimzey

The Black Belt Folk Roots Festival 32 A Whole Celebration Carol Prejean Zippert

A Sampling of Traditional Cultural 35 Events in Alabama

On the Cover: Digital montage using two quilts by Flavin Glover, “Canterbury” and “Inside Passage.” Used with permission of the artist.

Flavin Glover, a quilt designer and teacher, lives in Auburn, Alabama. She holds a degree in Clothing, Textiles and Related Arts from Auburn University, but her first introduction to quilt making came in the mid-1950’s playing under a quilt frame while her mother, Nonnie Hudson Williams, and neighbors were quilting to raise funds for the local school’s PTA. As her experience grew, Flavin realized Log Cabin patchwork could become a design foundation that offered versatile pattern options. Today, her trademark, innovative Log Cabin and geometric patchwork quilts, inspired from landscapes and architecture, are composed of many fabrics in vibrant colors.

Flavin’s patchwork quilts and original wearable fashions have been exhibited and published extensively since 1979. Her quilt “Row Houses” was selected one of the 100 Best American Quilts of the 20th Century. Her 2003 book “A New Look at Log Cabin Quilts” (C&T Publishing) is only one of the many publications featuring her works. She gives lec- tures and workshops throughout the United States.

Library of Congress Card No. 74628447 ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 1 Alabama’s Fiddling Conventions A Musical Tour of Alabama Alabama: A Landscape of Traditions Festivals and other Cultural Events

2 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 FOLKLIFE TRAILS: Reflecting the State’s Population and Rich Culture

by Al Head

he Spring/Summer edition of Alabama Arts is The Council believes strongly in nurturing folklife as a devoted to a journey down a few of the many matter of state policy and as a means of preserving and T folklife trails in a state known internationally for enhancing the quality of the entire state’s population. the richness of its folk traditions, communities and artists. Through the text and images of this “folklife trails” In a time of technological advances, rapidly changing edition of Alabama Arts, we want to introduce readers to landscapes, demographic shifts and an ever pervasive the state’s unique folk environment. You will read about “popular culture”, Alabama is a state reflective of a merg- artists, artistic expressions, communities and regions as ing of folkways from old and new populations. But, as is well as current programs. Some of the references will the case with a number of the state’s more unique cultural address the past and expressions from a colorful history. resources, the “real thing” can sometimes be hard to find. Most of the narrative, however, talks about people and We hope this publication, devoted to Alabama’s folklife, places of the present – things that can be seen or heard will pave the way to some expanded awareness and excit- and places that can be visited now. Alabamians are gener- ing adventures found on the state’s highways and by-ways. ally proud of their heritage and tend to have their own The State Council on the Arts identified the impor- family stories to tell and traditions to share. Many have tance of Alabama’s folklife back in the early days of the grown up with folk traditions all around them. While this agency’s formation. Supporting folk artists and folklife exposure may be prevalent, we too often take the signifi- projects has long been a high priority of the Council. cance of folk culture for granted and feel this “old stuff” is After the Council was established in 1966, one of the first something to be left behind as we become more educated “program coordinator” positions added to the staff was in and progressive-minded. We strongly urge Alabamians the area of folk art. There was much work to be done and not to go down that road of thinking. A deepening of great progress was made with initiating support for pro- appreciation for one’s own culture as well as that of others grams ranging from Sacred Harp singers to traditional is not only mind-broadening but an enjoyable journey potters. In 1990 the Council, with assistance from the involving both people and places. We hope this issue will National Endowment for the Arts, created a programming help in that endeavor for the home-folks wanting to arm, or division of the agency known as the Alabama rediscover Alabama’s cultural treasures and those curious Center for Traditional Culture. The Center has been “outsiders” wanting to experience the “real thing” for the spotlighted as a national model with respect to state arts first time. agencies support for folklife programming. In the Council’s current long-range plan special emphasis is given to preserving and presenting folk traditions. The plan document states, “The unique folk expressions of Al Head is the Alabama, a product both of isolation and a mixture of Executive Director influences, reflect the state’s diverse population and sym- bolize its rich culture. Tradition-based songs, stories, of the Alabama State dances, and crafts truly represent the art of the people.” Council on the Arts.

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 3 ALABAMA

labama is one of the most or work together, the folk diverse environments in the process of learning is in opera- AUnited States composed of tion, even in this age of televi- mountains, prairie, delta wetlands, sion and the Internet. All and beaches. Along with a treasure people have folk culture trove of plant varieties and animal whether they farm, cut pulp species is also a rich and complex wood or are CEOs. cultural landscape. The cultural The defining characteris- practices, including art, that are tics of folk art are the process of rooted in community are folk tradi- learning it and how it reflects a tions and are an important part of community’s aesthetics. Within this landscape of human activity. these boundaries, the skill and The connection between culture idiosyncrasies of folk practi- (learned behavior), art, and place tioners can vary. “Folk art” as it can be seen along the roads of is used here is not synonymous Alabama if you just know how to with the art style also known as Photo by Joey Brackner look. In this article, we will discuss “self-taught,” “outsider,” or Some early folk traditions such as the Indian’s use of gourd the nature of folk traditions, where “primitive.” Instead, this defini- martin houses are tied to the environment. they are found, and how one can tion of “folk” is based on process run across cow pastures, log dogtrot experience them. and not a subjective formal analysis. houses that have been clap-boarded Folk artists are highly trained in a over, these are the fabric of our past manner that earns them the designa- as it exists in the present. Such arti- FOLK ART TRADITIONS tion “folk.” At some point in their facts are ideas shaped from wood, Folk traditions are, by defini- lives, folk artists learned at the side metal, clay or stone and can be tion, a product of community. The of more accomplished practitioners studied to understand how the folk process of acquiring knowledge who taught “correct” technique and culture of a region developed. This is direct, informal exposure to a way a community aesthetic. Their work material culture is a text with vocab- of doing things outside of an acad- or performance ranges from ulary and syntax that with a little emic setting. This can occur on the outstanding to ungainly but these effort one can interpret. The state’s job, in the family or in a congrega- physical characteristics do not deter- steel mills, farmsteads, WPA bridges tion. This method of learning “the mine their inclusion or exclusion as and Indian mound sites tell part of way things should be done” reflects a a representative of a folk tradition. community consensus of opinion and the story of Alabama. This landscape shared aesthetic that differs between is not static but dynamic, being communities, ethnicities, occupa- DECODING THE continually reworked, reflecting the tions, religious groups, and regions. CULTURAL LANDSCAPE cultural practices of its inhabitants. This timeless educational process Throughout Alabama, the Like the natural environment, was in place long before writing and landscape is covered with rich layers some of these resources are endan- was the first mechanism for perpetu- of cultural information. Old ceme- gered including a rich variety of ating culture. Wherever people live teries, stage coach roads that now vernacular architecture. Vernacular

4 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 A Landscape of Traditions

by Joey Brackner

or folk architecture, a symbol of local a frontier innovation with European Alabama during the early nineteenth utility and aesthetic, tells us much origins with a garden growing okra century determined regional differ- about our heritage as Southerners or sweet potatoes imported from ences within the state. Topography and the formation and diversity of Africa; along a rail fence grows a and the disposition of the state’s Alabama folk culture. In the story of Lady Banks rose, brought to America mountains and rivers dictated that the dogtrot house, we glimpse the from China via England, and over- the northwestern one third of the folk process at work. According to head an American Indian style state of Alabama was settled folklorist Henry Glassie, this archi- gourd tree full of purple martins primarily by people from Virginia and tectural form was developed in the eating pest insects and keeping Tennessee. To the south and south- late eighteenth century in the crows and hawks away from the east of Alabama’s mountains were southern Tennessee Valley with a farmstead. To view our folk cultural the routes that brought families from technology (log construction) from heritage as simple is erroneous and Georgia and the Carolinas. People Scandinavia and Germany, tradi- denies an opportunity to understand from all regions of the South and tional English design and the how we came to be the way we are. North, as well as Europe came into demands of a warmer southern fron- The settlement pattern of the port of Mobile. Africans and tier. The dogtrot is an English “hall African Americans were and parlor” house made, in frontier in this mix of early times, from logs with the central Alabamians. All of these hallway left open as a breezeway or cultural groups brought “dogtrot.” Because the effective in their own traditions length of a useable log is from 24-30 and borrowed some from feet, joining two one-room log cabins the indigenous popula- under one roof with a wide, central, tion of Indians. Many open breezeway was an ingenious early practices estab- solution for expanding a dwelling. lished during this period The marriage of different are those that modern ethnic traditions tempered by prac- Americans most easily tical concerns determined how our identify as Southern folk Southern culture developed. As traditions. Sacred Harp Southerners, we often think of our singing, Mardi Gras, region as more homogenous and less family-run pottery shops, diverse than other parts of the fiddle music, spirituals, country. We forget that during the and white oak basket first three centuries after Columbus’ making all date from the voyages, the American South was time of early statehood the most multi-cultural society in and are still practiced what is now the United States. This today. early diversity set a blueprint for cultural development. Picture an A jester rides atop a Knights of 1850’s farm in Alabama: the dogtrot, Revelry float at Mobile’s Madi Gras. Photo by Joey Brackner

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 5 But because folk art is a part of a community and not designed as a tourist attraction, it is not always accessible to the casual visitor.

During the industrialization and mingled with earlier Alabama it is not always accessible to the period of Alabama history, after the folk traditions. Most recently, casual visitor. Civil War, populations of eastern and cultural groups such as Asians, southern Europeans came to the Latinos, and Mennonites have SACRED HARP SINGING state, bringing with them many continued to add customs to Many consider Sacred Harp ethnic groups and new religious Alabama’s landscape. singing (also called shape note denominations. Orthodox Christians If one travels through singing) as the flagship of Alabama and a new population of Catholics Alabama’s different communities, folk art traditions. It displays the and Jews came into the state. There one might encounter art traditions dynamics of many folk traditions. It is even a small Rom (Gypsy) popula- in social context. But because folk was born within a folk community, in tion in Alabama. The traditions of art is a part of a community and this case a religious group; developed these people were layered on top of not designed as a tourist attraction, ethnic and regional styles or varia- tions; and changed over time. Sacred Harp singing entered the state during the 1830s during a period of mass migration known as “Alabama Fever.” Available land wrested from American Indians along with a gold rush persuaded great numbers of settlers to move into Alabama. The majority of these émigrés were Baptists and Methodists whose forefathers were dissenters from the Anglican Church. At this time, these denominations were developing a method of hymn singing derived from the New England tradition of singing masters and singing schools. They sung the hymns of late 18th Century writers such as Isaac Watts and Charles Wesley to a wide variety of tunes. The 1844 publication of William Walker’s The Sacred Harp docu- mented the repertory of that period and also gave this singing tradition its name. Alabamians have clung to Sacred Harp singing with a tenacity

Photo by Joey Brackner unseen in other parts of the South. After the segregation of worship The Russian Orthodox Church of Brookside was established by eastern Europeans who came to work in local coal mines in the late 19th Century. Brookside is located near Hwy 78, just NW of Birmingham. following the Civil War and emanci-

6 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 Photo by Joey Brackner The annual Rotunda Singing at the Alabama State Capitol is held the Saturday before the first Sunday in February. pation, African American singers musical and organizational abilities music. It is not uncommon to find formed their own singing conven- and determination to keep this music visitors from Minnesota or California tions. In Ozark, Alabama they alive. In 1941, a memorable group of at a small-town Sacred Harp singing published their own hymnbook, The recordings, organized by Paine in Alabama. The community of Colored Sacred Harp (1934). Denson, were made for the Library of Sacred Harp singers is now Throughout the state, regional styles Congress by John and Alan Lomax. expanding beyond the local to the and differing preferences in hymn- The Densons were instrumental in national. Alabama Sacred Harp books evolved. teaching hundreds of singing schools singers such as David Ivey and Jeff The Denson family moved into throughout the South. A monument Sheppard have devised modern tech- Alabama in 1839 and eventually erected at the Winston County cour- niques for teaching the next genera- settled in Winston County in 1896. thouse at Double Springs, Alabama tion of singers. Instead of old fash- One hymn authored by Seaborn commemorates their contribution to ioned summer singing schools, they Denson, named after the gold rush Sacred Harp and Alabama culture. produce Camp Fasola, held each community of “Arbacoochee” in Today, the Sacred Harp tradi- June at Camp Lee near Anniston. Cleburne County, recalls his family’s tion is accessible to the public Camp Fasola uses the format of a entry into the state. The Denson though well-publicized singings, CDs summer camp retreat where young Revision of The Sacred Harp was and films. The National Sacred Harp students and their parents can spend published in Haleyville in 1936. It Singing Convention is held annually a week of Sacred Harp instruction. was begun by patriarchs Seaborn M. in Birmingham during the week The state of Alabama sponsors two and Thomas J. Denson and before Father’s Day. This major singings commemorating the four completed after their deaths by singing attracts singers from all over shape note hymnals published in the Thomas J.’s son Paine Denson. The the United States indicative of the state. The annual Capitol Rotunda hymnbook is an example of their nationwide revival of Sacred Harp Singing is held on the Saturday

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 7 before the first Sunday in February in I took Travis under my wings he was the State Capitol. Montgomery’s St. a fast learner he was determined he John’s Episcopal Church is the loca- would play the blues someday.” tion of a summer singing held on the Travis is now playing the blues with third Thursday of July. Willie King. King says the blues will For more information about always be a part of his life. “Through Sacred Harp singing and associated my struggle of ups and downs, I will events, go to www.fasola.org. never depart from the blues for all Documentary recordings of Sacred the silver and gold in the world. The blues have healed me spiritually and Harp can be found at www.alaba- Zippert Photo by Carol P. mafolklife.org and the documentary Willie King at Eutaw’s Black Belt Folk Roots Festival, mentally when I am feeling down film “Sweet is the Day” can be seen held annually in August. the blues gives me hope.” at www.folkstreams.net. taking the blues on. Travis has Willie King and other blues trained two young men to play artists from the Black Belt area of instruments and sing the blues. Alabama can be seen performing in THE BLUES Travis is in process of starting his on festivals throughout the state. The In 1912, Florence native W. C. band putting his best foot forward Black Belt Folk Roots Festival in Handy published the “Memphis ready for the future generation. I Eutaw presents Willie each year on Blues.” This along with his later recall the first time Travis saw me the weekend before Labor Day works such as the “St. Louis Blues” perform four years ago. Travis walked weekend. Every June, Willie produces and “Beale St. Blues” helped estab- up to me introduced himself and his own festival called the Freedom lish a vernacular music genre within told me he wanted to play the blues. Creek Blues Festival in his home- popular American culture. For this, he is known as the “Father of the Blues”. The Blues are alive and well in Alabama especially in the rural areas of west Alabama. Pickens County bluesman Willie King was born in 1943 and learned to play the blues when he was eight years old. “I would get old bailing wire and wrap around old broomstick. That was my guitar,” he said. “The blues was sent down for oppressed people to ease their mind, not just for music, the love that goes along with it. The blues have worked miracles for me and many people.” “I am thankful for what impact the blues have on the younger generations. A gentleman named Photo by Steve Grauberger Travis Hodges, sixteen years old, is Vera Davis of Edwin (Henry County) keeps her traditional dirt yard swept clean of all debris and vegitation.

8 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 Blues and other African American music styles have greatly influenced the music of white Americans.

town of Old Memphis, Alabama near Aliceville. For the festival’s exact date and directions to Old Memphis, go to: www.alabamablues.org. Blues and other African American music styles have greatly influenced the music of white Americans. In 1938, Hank Williams made his public debut singing “WPA Blues” at the Empire Theatre in Montgomery. In 1949, Hank Williams’ “Lovesick Blues” smashed the charts giving national attention to this young South Alabama musician. Williams, whose musical style was greatly influenced by African- American musicians such as Rufus

Payne, would eventually be known as Photo by Joey Brackner the father of modern country music Ave Maria Grotto is located on Highway 278, just east of Cullman. but his influence would reach far beyond that genre. The grave of Hank Williams at Oakwood Cemetery is Before the advent of grass seeding area of miniature concrete sculptures one of the most visited spots in and the proliferation of air-condi- is adjacent to St. Bernard’s Alabama. Oakwood Cemetery Annex tioning units, people spent a lot of Benedictine College. In 1918, is located off East Jefferson near time outside of the house and yards Brother Joseph Zoetl, a Benedictine downtown Montgomery. were a functioning part of the house- monk from Bavaria constructed a hold. People sometimes prepared and miniature church of concrete at St. More recently, this blend of cooked food outside and they also Bernard’s Abbey in Cullman. For the musical styles has been championed swept the yards which they decorated next 40 years, this partially disabled by the world famous recording with plants and painted trees. Many clergyman would build Ave Maria community of Muscle Shoals. Here a lined their yards and pathways with Grotto an impressive example of the sound developed when local white colorful bottles or put them on bottle Benedictine grotto tradition. studio bands played backup to R&B trees. Sometimes people would build Catholic clergy and others have built artists. The Muscle Shoals sound, a whirligigs and other decorative struc- decorative grottos as environments toe tapping rhythm and blues tures. A hint of these traditions for religious contemplation variant, was sought after by many remains today. People who carry this throughout the world. international music figures who came practice to an extreme degree are and recorded there. often described as building yard CRAFT TRADITIONS shows or folk art environments. Craft traditions, such as tatting, FOLK ENVIRONMENTS On first glance, Cullman’s Ave basketry, and quilting, were once Highly decorated yards and Maria Grotto would seem to be the practiced by a large portion of the gardens are a Southern tradition. mother of all yard shows. This vast population and were primarily for

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 9 family consumption. Today, Spanish-speaking immigrants there are still many practi- from Mexico and Central tioners of these traditions, but America and the Caribbean their art is not always have settled throughout apparent to those traveling Alabama in more recent years. the back roads of the state. They have become involved in Some local community several industries, especially in centers like the RSVP center north Alabama. Well-liveried in Safford on Hwy. 5 in soccer teams hold tournaments western Dallas County sell the in communities once dominated work of local artists. But one by the gridiron. Some commu- is more likely to encounter nities celebrate Christmas Alabama traditional craft Posadas, Cinco de Mayo, and artists at one of the many have produced bands of local festivals. The most Mariachi musicians. widely known of these festi- The language barrier of these vals is the Kentuck Festival, groups has inhibited the quick Photo by Anne Kimzey first held in 1971. Since then, An Asian garden in Mobile County: Hun Hem grows pumpkins used in integration of their traditions the popular outdoor crafts traditional Cambodian cuisine. into the local culture. festival quickly became an Nevertheless, the folk process important regional venue for visual NEW IMMIGRANTS AND continues balancing the retention of artists including traditional folk cultural practice within groups with artists. The Kentuck Festival is THEIR TRADITIONS acculturation in a new land. And produced each September in The most recent layers in presence of these new Alabamians Northport, just west of Tuscaloosa off Alabama’s cultural stratigraphy have can be seen in the numerous Asian Highway 82. For more information, been added during the last thirty and Hispanic restaurants and stores. go to www.kentuck.org. years as new immigrants have Throughout Alabama, Asian markets Another good presentation of brought their traditions to Alabama. and restaurants, tiendas, and taquerias traditional crafts can be seen at the Recently, Latinos mostly from are a reflection of new tastes and Black Belt Folk Roots Festival. This Mexico and Central America have customs. Through the years these event began in 1976 and is still come to Alabama. populations and their traditions will produced annually in Eutaw which is An Asian population of make a mark on the ever changing located just off Interstate 56 between Cambodians, Vietnamese and cultural landscape of Alabama. Tuscaloosa and Meridian, Mississippi. Laotians came to southern Mobile The festival presents traditional craft County and settled in the communi- and music artists from a multi-county ties of Bayou La Batre, Irvington and area of west Alabama and east Coden. This migration occured in Mississippi. The Black Belt Folk the 1970s and 1980s as refugees were Joey Brackner is the Folklife Program Roots Festival is one of the longest resettled after the end of the Manager for the Alabama State running community-based folk festi- Vietnam War. This population has Council on the Arts. vals in the South and is held the become involved in the fishing weekend before Labor Day. industry in this area.

10 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 A Musical Tour of Alabama

by Steve Grauberger

journey on The primary music recording project for the Center Alabama’s for Traditional Culture is an ongoing CD series called Arolling coun- Traditional Musics of Alabama produced in a sequence of try roads unveils lush volumes. So far three volumes of the series are published. landscapes, dotted Volume 1: Traditional Musics of Alabama: A with fish ponds and CD Recording: Traditional Music of Alabama, Compilation has 30 featured tracks that present and wide Volume 1. rivers, hills and flats, overview of various types of music performances of people pine and hardwood forests. During a springtime journey, living throughout Alabama. sweet smelling, purple-blossomed wisteria and flowering Volume 2: Traditional Musics of Alabama: African kudzu climbs over time-weathered obstructions near freshly American Seven Shapenote Singing is a genre specific pro- plowed fields. For many Alabamians, aesthetic aspects of duction covering populations throughout Alabama that Alabama scenery can convey fond remembrances of past still keep seven shapenote convention style experiences. Similar memories can trigger a song or melody singing alive. in one’s mind, unforgettable songs like “The Old Ship of Volume 3: Traditional Musics of Alabama: 2002 Zion” out of the Sacred Harp songbook, the old fiddle tune National Sacred Harp Singing Convention presents 32 selec- “Soldier’s Joy,” a blues melody or a beloved gospel tune such tions taken from a day’s recording at the National Saced as “What a Friend We Have in Jesus.” Harp Singing Convention in Birmingham. This article takes a winding journey on the road into Volume 4: Traditional Musics of Alabama: Wiregrass Alabama’s musical heritage, which has passed from gener- Notes Revisited planned but not yet released, will be a ation to generation, and includes the musical traditions of reissue of the 1980 LP recording with additional new immigrant cultures in the state. The Alabama Center recorded material digitally mastered from the original mas- for Traditional Culture maintains an ongoing project of ter tapes. collecting and presenting traditional music through a vari- ety of CD productions and associated publications. The From one corner of the state to the other the Center Alabama Center for Traditional Culture (ACTC), a divi- is making a concerted effort to find and record people who sion of the Alabama State Council on the Arts (ASCA) keep traditional musical heritage alive in Alabama. In works cooperatively with the Alabama Folklife this article the Vol. 1, Traditional Musics of Alabama: A Association (AFA) to produce educational folklife prod- Compilation, is used as a musical travel guide to the state. ucts to educate as well as entertain the public. Traditional music of Alabama means different things NORTHEAST ALABAMA to different people. To many, the diversity of traditional This journey starts in the northeastern corner of music in Alabama is essentially black and white, dividing Alabama. Driving from Chattanooga south on I-59, musical culture simply along ethnic lines. But there are Lookout Mountain is on the left and Sand Mountain is on many cultural crosscurrents and subtle variations within the right. Together these geological features make up a varied genres and sub-genres of heritage music, especially large portion of northeastern Alabama running from the as populations expand and inspire interaction and imita- northern Alabama border toward Birmingham, taking up tion as well as new ethnic groups moving into the state most of DeKalb, and Jackson counties and smaller parts of creating new traditions. Marshall, Blount, and Etowah counties.

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 11 It is said on Sand Mountain that if you shake any tree a gospel quartet will fall out.

Taking DeKalb County Road 140 off I-59 go to AL Hwy 75 heading southeast until Beaty Crossroads, head north on AL Hwy 117 two miles to Ider, near the DeKalb/Jackson County border, the first stop on this trip. Many good musicians have come from the Sand Mountain area including country music stars the Louvin Brothers and the Maddox Brothers and Rose (Maddox). Noah Lacy (1908 - 1993) originally from Jackson County was well known in and around Ider. Lacy exemplified the musical heritage of his native Sand Mountain as both an old-time fiddler and a Sacred Harp singer. Born in Jackson County to a family of musicians, Mr. Lacy took up the fid- dle at age 15, learning to play by watching and listening to his father, uncle and older brother. On the Volume 1 CD he plays the fiddle tune “Hen Cackle.” Lacy grew up in the 1920s and ‘30s in the era of string bands. Originally he patterned his musical style after Clayton McMichen and Lowe Stokes of the Skillet Lickers, a band popular at the time of early county music recordings. Lacy and his band played for dances in the homes of friends and neighbors. He also won many fiddle contests in the region. In 1991, he received the State Arts Council’s highest honor for the traditional arts, the Alabama Folk Heritage Award. Getting back on AL Hwy 75 heading south, the next stop is Fyffe, just south of Rainsville. It is said on Sand Mountain that if you shake any tree a gospel quartet will fall out. Included on the Volume 1 CD is a southern gospel quartet the Melody Men, head- ed up by Al Malone, a resident of Lebanon, Alabama. The

group, however, was known on Garrison Keillor’s radio Photo by Kim Appel program, A Prairie Home Companion, as originating in the The late Noah Lacy was a fiddler and Sacred Harp singer from Ider. town of Fyffe when they won the annual contest of musi- cians from towns under populations of 100. The group and became nationally known in the 1940s and 50s. began singing together in 1994, performing small concerts Heading southwest again on AL Hwy 75 take a left and making appearances in area churches and schools, but, turn on AL Hwy 68 to the intersection of Hwy 168, this is have since disbanded. the town of Kilpatrick near Boaz. On the recording they perform a seven-shapenote con- This is the home of Gary Waldrep who was raised on vention song “My Heavy Burdens Have Rolled away” pub- the musical traditions of Sand Mountain, including banjo lished by Stamps-Baxter. The group sings in a fashion of an playing, fiddling and close harmony singing. Gary grew up old-style Southern Gospel quartet reminiscent of the John on an eighty-acre family farm at the edge of DeKalb Daniel Quartet, which also originated in Sand Mountain County. On the CD he plays his arrangement of “Goin’ on

12 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 the Mountain” using an old-style banjo a prize-winning group known for good picking technique called claw-hammer fiddling and smooth harmony singing. or “rapping” in an Alabama context. Among its repertoire are bluegrass From Kilpatrick, drive southwest favorites, gospel, folk ballads, old-time on Hwy 168 to US Hwy 431 (Boaz, fiddle and banjo tunes and buckdanc- AL) then south down the mountain ing. On Volume 1 they play a beautiful into the city of Gadsden home of leg- instrumental rendition of “What a endary gospel singers Vestal and Friend We Have in Jesus.” The group is Happy Goodman and blues harmoni- made up of Betty Ray and husband, ca master Jerry McCain. Dwight, from Holly Pond and David Black, Junior Saint, and Wayne From Gadsden heading north- Burgette from Arab. Betty is the daugh- west on US Hwy 278 one travels ter of fiddler/instrument-maker Arlin through Etowah, Blount and into Moon of Holly Pond. Tina Ray Miller, Cullman County and into the small Betty and Dwight’s daughter played fid- town of Holly Pond, probably known Photo by Steve Grauberger dle with them for this performance. best as the home town of Governor Gary Waldrep at Kiwanis Park in Montgomery. Tina, a champion fiddler, who has been Guy Hunt. The Dixie Bluegrass Band is playing since she was 6 years old, learned from her grandfather, Arlin Moon. Each year at the end of August Betty and Dwight and the town of Holly Pond sponsor the Dixie Bluegrass Festival. In nearby Arab, the Long Branch Opry is a regular venue for bluegrass and bluegrass gospel performances. Photo by Barbara Lau Photo by Steve Grauberger Betty Moon Ray, Tina Ray Miller and Dwight Ray of the Dixie The house band performs at the Long Branch Opry in Arab. Bluegrass Band.

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 13 “gandy dancers,” John Mealing and Cornelius Wright, Jr. of Birmingham became recipients of the National Endowment for the Arts’ National Heritage Fellowship award, the govern- ment’s highest honor in folk and tradition- al arts. On Volume 1,

Photo by Melissa Springer John Mealing per- The Birmingham Sunlights perform in the a cappella gospel singing tradition. forms “I Got a Girl in the White Folks’ Yard” recorded in BIRMINGHAM 1988. It took a skilled, sensitive caller to raise the right From Holly Pond one might drive south on AL Hwy chant to fit the task at hand and the mood of the men. 91 to Hanceville and then on to Birmingham by taking Using a melodic style typical of the blues, each caller had US Hwy 31. Birmingham is represented on Volume 1 with his own signature. The effectiveness of a caller has been two unique recordings, performed by The Birmingham compared to how a preacher can move a congregation. Sunlights and railroad work song caller From Birmingham the next leg of John Mealing. this trip is south on I-65 to Calera and The Birmingham Sunlights devel- then southwest on AL Hwy 25 to oped their four-part a cappella style with- Centreville. Just north of Centreville on in the Church of Christ, where no US Hwy 82 and a few miles northeast of musical instruments are permitted dur- the highway in the Eoline community is ing services. Three brothers, James, the location of Little Hope Primitive Barry and Steve Taylor founded the Baptist Church, the spiritual center of group and are joined by Reginald Christian Harmony seven shapenote Speights, Wayne Williams, and Bill singing in Alabama and homeplace of Graves. Upon becoming aware of the the Deason Family. On the CD is a rich Jefferson County gospel quartet tra- recording by the late Don Smith, dition they sought training from senior Primitive Baptist elder, titled “Grace ‘Tis quartets, such as the Sterling Jubilees. a Charming Sound.” He lined out the On the CD they sing “Angels Watching hymn in a manner similar to that of his Over Me,” a traditional song and origi- grandfather. Singing after each lined nal arrangement by the Birmingham phrase are members of the Deason fami- Sunlights. ly present in 1994 during the annual Photo by Joey Brackner Deason family reunion and Christian In 1996 African-American rail- Arthur James and other gandy dancers perform rail- road worksong singers, also known as road workcalls in Calera (1988). Harmony singing convention.

14 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 WEST ALABAMA Getting back on US 82 west one passes through Tuscaloosa on to AL Hwy 171 north going through Fayette and once there on to AL Hwy 18 east to the town of Vernon in Lamar County. The Lamar County

area is represented in four examples found on Vol 1. Photo courtesy of Robert Stripling The Stripling Brothers performing “Wolves a Howling”, Charlie Stripling is flanked on the left by the Freeman brothers of Pickens County and on Russell Johnson singing “Johnson’s Old Grey Mule” the right by his brother Ira. (photo circa 1927) accompanied by Floyd Bryant on guitar, and southern Vernon is the home of the Back Porch Opry where gospel group Notes and Strings performing “Getting one can hear local country, gospel and bluegrass artists Ready to Leave This World” and Corly Pennington every Saturday night. These free performances are held in singing “Ra Ta Tum De Dum.” the Lamar Theater on the courthouse square. Charlie Stripling was born in 1896 near Kennedy, Going south on AL Hwy 17 out of Vernon one pass- just south of Vernon, Alabama. A fine fiddler, he with his es by the Millport/Kennedy area and continues south to brother Ira were early commercial recording artists. the town of Aliceville, county seat of Pickens County. Charlie won many local fiddling contests during his career From Aliceville the next turn is on to AL Hwy 14 towards and continued to play regularly with his family and others Eutaw Alabama. at various community functions until the 1950s. While not featured on the CD, ASCA music fellow- Russell Johnson the singer of the CD musical example ship recipient Willie King from Aliceville and Alabama “Johnson’s Old Grey Mule” had known this song since early Folk Heritage Award recipient the late Bo McGee from 1900s. He believes he learned it from a recording of Gid Eutaw give testament to the strong African-American Tanner’s Skillet Lickers Band. Fiddler J.C. Brock, born in 1918 blues tradition of the Black Belt region. Each year Willie in the Mt. Vernon Community in Lamar County, Alabama King presents the Freedom Creek Blues Festival at his plays accompaniment with Maurice Langley on guitar. He family land in Old Memphis, outside of Aliceville near the learned to play from renowned fiddler Charlie Stripling. Mississippi border. The Notes and Strings gospel group includes lead singer, Jack Rushing with other singers, Russell Johnson, Floyd and Patschal Bryant, J.C. Brock (Fiddle), Maurice Langley (Guitar), Lily Johnson Ashcraft (Electric Keyboard). Their musical example is “Getting Ready to Leave This World,” originally a seven- shapenote convention song written by Luther Presley in 1937 and published by Stamps- Baxter. The performance was recorded by Joyce Cauthen in Vernon in 1987. Corly Pennington, from Fernbank sang a variant of an old ballad “Gypsy Davey” record- ed by Ray Browne in 1952. She was about forty years old at the time of the recording and had Photo by Steve Grauberger Taylor Moe plays guitar while children dance at the annual Freedom Creek Festival, Old Memphis. learned all of her songs from her father. Alabama.

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 15 In Eutaw, the county seat of Greene east to Selma then get on AL Hwy 22 in a County and the home of the annual Black Belt northeasterly direction to Alexander City, Folk Roots Festival, there are two representa- going through Maplesville, and Clanton on the tives found on Volume 1, Elder James Cockrell way. and Luella Hatcher. Elder Fred Cockrell, the Alexander City is where the Thomas song leader on the old spiritual “Sure Been Sisters live. They are represented on the Good to Me,” is the pastor of Bethlehem recording with another seven shapenote con- Primitive Baptist Church in Eutaw and the vention song “What a Day of Victory” sung in moderator of the Sispey River Primitive quartet style. Once made up of five sisters, the Baptist Association. group now has three members, Margie and Luella Hatcher, originally from the Bernice Thomas, and Margie’s daughter Eutaw area leads a “Dr. Watts” style song on Phyllis. The Thomas Sisters are always in the recorded example “A Charge to Keep I demand at choir anniversaries, and local Have,” a hymn she learned in childhood. events where gospel music is involved. The sis-

She was born in 1930 in West Greene, Photo by Anne Kimzey ters grew up in a family where music was very Alabama, 20 miles from Eutaw, and as a young Luella Hatcher performs at the important. Their father was an avid shape-note girl she joined the Salem Primitive Baptist In the Spirit Concert, Gadsden, singer, both four-shape Sacred Harp and seven- Church near Aliceville. There she learned to 1995. shape convention styles. It is from their father sing hymns in the “Dr. Watts” style by listen- they learned to sing many of the numerous ing to her father, a deacon, and other men in songs they now perform. Most of the Thomas the church. Sisters repertory comes originally from convention singing Leaving Eutaw on either I-20 or US Hwy 11 in a books published by Ben Speer, James Vaughn, and southerly direction the next stop is Livingston, the county Stamps-Baxter. seat of Sumter County. This was the home of Ruby Pickens Tartt who located singers in the Sumter County MONTGOMERY area for John Lomax during his important documentary Out of Alexander City there is a nice drive on AL recordings in the 1930s and 1940s for the Library of Hwy 259 south that eventually intersects with AL Hwy Congress. Examples of these recordings on the compila- 9. Go south on Hwy 9 until US Hwy 231. Go south on tion are: Hwy 231 to Montgomery. There are two examples rep- Track 5) “Children’s Play Song” led by Maddie Mae Cole resenting Montgomery on Volume 1. The song “Sweet of Mt. Pile School, 10 miles south of Livingston River” was recorded at the annual Rotunda Singing, near York in 1940. held in the beautiful rotunda of the historic Alabama Track 6) “Come, Butter, Come” sung by Harriet State Capitol building downtown, the other from McClintock was recorded by Lomax near Mariachi Garibaldi. Sumterville, 12 miles north of Livingston, on New groups of Latin American immigrants to November 3, 1940. Alabama have recently appeared to fill various labor mar- Track 7) “Cross-E Shimmy Dance Tune” performed by kets, construction, landscaping and, most notably, poultry Tom Bell for Lomax in Livingston on production work. They bring their own cultural traditions November 3, 1940. and musical entertainment to dances, festivals and other Now for a long drive east across the state, from cultural events. The Mariachi Garibaldi, based in Livingston going southeast on AL Hwy 28 to US 80 go Montgomery, travels all over Alabama as well as

16 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 They bring their own cultural traditions and musical entertainment to dances, festivals and other cultural events.

Leaving Notasulga, take AL Hwy 81 south to US Hwy 80 going east until you reach Society Hill on the Macon County border with Lee and very near Russell County as well. The late Albert Macon, born in 1920 in Society Hill, played a type of music he called “boogie and blues,” which he learned from his father, Buster Macon, at house parties and frolics in the rural Macon County community. They played old-

Photo by Steve Grauberger time, country blues tunes, Mariachi Garibaldi during the Our Lady of Guadaslupe Celebration in Tuscaloosa. such as “John Henry,” and “Staggerlee,” in a rousing style intended for dancing. Mississippi, Georgia, and Florida performing its music. Albert Macon began teaching Robert Thomas to play Everesto Hernandez, the group’s leader, is a recent recipi- blues guitar when Thomas, who was nine years younger ent of a Folk Art Apprenticeship grant from the Alabama than Macon, was about 15 years old. For over 40 years the State Council on the Arts. On the CD compilation the two men played music together at fish fries, parties and band performs the song “Guadalajara.” festivals in the greater Auburn, Tuskegee, and Columbus, Georgia area. On the CD, Macon and Thomas perform an EAST ALABAMA old Lightning Hopkins song “Gotta Move.” Leaving Montgomery go northeast on I-85 north until you get to AL Hwy 81, just north of Tuskegee. Keep SOUTHEAST ALABAMA on AL Hwy 81 north a few miles to Notasulga. From Society Hill get on AL Hwy 51 and drive Representing this area is the Mount Hebrew through Clayton, Clio and into Ariton. Clio is the birth- Primitive Baptist Church that belongs to the Spring Hill place of George Wallace and home of the annual Chittlin Union Association founded in 1892. Its five churches are Festival. Ariton has the annual Catfish Festival and was in the broad vicinity of Titus, Tuskegee, Notasulga, and home of blues musician, the late J.W. Warren who was doc- Camp Hill, Alabama. The hymn “We Shall Sleep But umented on Traditional Music of Alabama’s Wiregrass CD. Not Forever” Hymn #688 from Benjamin Lloyd’s The This is an earlier compilation made of a 10 county area in Primitive Hymns, Spiritual Songs, and Sacred Poems, sung by southeast Alabama. Warren’s cousin, Big Mama Thornton the congregation was recorded in 1997. The style in was also from this region of Dale County. Elvis Presley’s which the hymns are sung by this association is unique “Hound Dog” was a cover of a Big Mama Thornton song. and beautiful. Many of their songs are first lined out by From Ariton take AL Hwy 123 going south to the whole congregation and sung after each spoken line. Ozark, in Dale County.

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 17 Most singers in conventions are excellent sight readers of music and overall represent the much larger Alabama State Gospel Singing Convention that meets each year with nearly every county in Alabama represented.

Representing Ozark on the CD are two groups. The Dale County seven shapenote singing convention sings “Look Up.” The song is an example of a newly composed song sung from annual convention books, sometimes called “little books” or “new books.” Most singers in con- ventions are excellent sight readers of music and overall represent the much larger Alabama State Gospel Singing Convention that meets each year with nearly every coun- ty in Alabama represented. This recording comes from a convention held at Pleasant Hill Methodist Church in Ozark in 1998. The other Ozark recording on the CD is the tune “Pisgah”, sung by an African-American Sacred Harp group known as the Wiregrass Singers. Southeast Alabama is known as the Wiregrass region, named for a plant once abundant in the area. One of the earliest recorded produc- tions of the Alabama State Council on the Arts (with the University of Alabama) was a vinyl LP called Wiregrass Notes, produced in 1981. Now, continue the journey west across the state by getting on AL Hwy 27 to Enterprise. While no tracks from the CD represent Enterprise, there is a local blues musician, Little Jimmy Reed (a.k.a. Leon Atkins), who lives there. Also, one may want to see the world famous boll weevil monument in down- Photo by Steve Grauberger town Enterprise. Margie and Enoch Sullivan at their home in St. Stephens.

SOUTHWEST ALABAMA playing gospel music during services. The Rev. Sullivan While not the straightest route, to go to the next with the help of his brother Jerry and with his sons Enoch location on this musical journey, take US Hwy 84 into the and Emmet, formed the family band. Jerry and his daugh- Piney Woods region to Grove Hill in Clarke County. ter Tammy now live in Nashville and perform in their From Grove Hill go south on AL Hwy 43 until you reach own gospel group. Washington County Rd 34 and then go west toward St. On the CD, the song “Old Brush Arbor” by George Stephens, the first territorial capitol of Alabama. Jones is sung by Enoch’s wife Margie and depicts a once St. Stephens and the Washington County area have common practice of holding revival services in the rural an interesting history of gospel music and especially that countryside under structures made out of tree branches to of bluegrass gospel. The Sullivan Family bluegrass band shade the worshipers. Each May the Sullivans present began indirectly when Enoch Sullivan’s father, the Dixie Bluegrass Gospel Fest, a bluegrass gospel event near Reverend Arthur Sullivan, converted after recovering their home on the Friday and Saturday of Mother’s Day from a life threatening illness. As a promise to God he weekend. began a Pentecostal ministry that included singing and From St. Stephens get back on AL Hwy 43 into Mobile.

18 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 MOBILE the causeway between Mobile and Baldwin counties. Get Mobile dates back to 1702 as the earliest successful on the national scenic Hwy 98 once you cross the bay and French settlement on the upper Gulf Coast. During its follow it to Foley AL. history, Mobile has been part of many nations, including Foley is represented here by The Baldwin County France, Britain, and Spain. One annual event much loved Polka Band, established in 1977. They formerly performed by Alabamians is Mardi Gras in Mobile. Mardi Gras, or at weddings, Mayfests, Octoberfests, senior citizens centers “Fat Tuesday,” refers to the Tuesday preceding Ash and other Baldwin County gatherings, such as the Elberta Wednesday, the start of the penitential season of Lent in Sausage Festival. Immigrants from Czechoslovakia came to the Catholic Church calendar. Mardi Gras in Mobile Baldwin County in the early part of the 20th century. developed from an Old World celebration. In Mobile, the They brought their own cultural practices including a pen- weeks preceding Lent are marked with festivities such as chant for the European polka. Clara Prochazka, was born private balls and public parades put on by the many Mardi to Czech parents in Silverhill in 1922. After marrying the Gras societies. late Frank Prochazka, she began teaching their two chil- The Excelsior Band is considered Mobile’s official dren and others of Czech descent to perform the folk Mardi Gras band. The group performs in more than a dances she had learned as a child and started a family dozen parades during Mardi Gras season. According to the polka band to entertain local residents. On the compila- late James Seals, whose grandfather was a former Excelsior tion CD The Baldwin County Polka Band performs a Band member, the group continues in its more than 110- medley of “Red Rose Polka” and “Baby Doll Polka.” year-old, brass band tradition by playing “Dixieland oldies In nearby Elberta is the Baldwin County Heritage and goodies” for parades, dances, funerals, building dedica- Museum at 25521 US Highway 98, which celebrates the tions, and other special occasions. John A. Pope founded ethnic diversity of Baldwin County. the Excelsior Band in 1883 with a group of musician Driving from Foley on AL Hwy 180 to Ft. Morgan is friends who had gathered to celebrate the birth of his son. a wonderful scenic drive. Fort Morgan, a brick fort con- Several original members worked for the Creole Fire structed between 1819 and 1834, was active during four Company, so they often practiced their music in a room wars; the Civil War, the Spanish-American War and above the fire station. On the CD they play a medley of World Wars I and II. contemporary jazz favorites. The museum offers Another track on the exhibits that detail the CD representing Mobile is history of the fort. the worksong chant “Carry After visiting the his- Carry” a traditional tune toric fort take the recorded by John A. Lomax Mobile Bay Ferry to Fort 1937 sung by Thomas Gaines on Dauphin Langston, Judge Broadus, Island. Take AL Hwy Albert Nicholson and 193 to AL Hwy 188 to Joe Milhouse at the the Irvington-Bayou la State docks, Mobile, AL Batre highway to US From Mobile get Hwy 90 then a couple on US Hwy 90 and turn miles west to St. Elmo, off on US AL 31 to Photo by Ken Reynolds the final stop. enjoy a leisurely drive along The Baldwin County Polka Band performs at the Alabama Folklife Festival in Montgomery.

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 19 Reagan Ngamvilay lives in St. Elmo in Mobile County where various groups of Southeast Asian immigrants have come to live, mainly Laotians, Cambodians and Vietnamese. The new populations initially found employ- ment in the coastal seafood industry. Reagan plays the khene The Alabama Folklife Association is a (or kaen), the primary instrument used in the folk music of statewide non-profit organization whose purpose Laos. It is a wind instrument made from bamboo canes that is to promote knowledge and appreciation of produce an accordion-like tone. Music performed on the Alabama folklife through activities such as festi- khene accompanies singing and dancing during many Lao vals, conferences, fieldwork, videos, recordings celebrations and ceremonies. Mr. Ngamvilay received his and publications. The Association was founded in musical training from his uncle with whom he apprenticed 1980 by a group of Alabamians interested in our for three years. On Volume 1, Ngamvilay and singer state’s folk culture. The AFA was established “to Khamsing Darapheth perform “Salawan” a traditional song discover, collect, publish, and thus preserve, the recorded in 1991. folklife of Alabama, and to further the understand- ing, appreciation, and performance of the tradi- tional arts and crafts of the state.” Since its found- ing, the AFA has been an active presenter of Alabama folk arts, producing documentary recordings, a scholarly journal, conferences, semi- nars, and creating the Alabama Folklife Festival (1989 – 1994). To further its mission, the AFA has established working relationships with the Alabama Folklife Program of the Alabama State Council on the Arts, the Alabama Humanities Foundation, the Alabama Center for Traditional Culture, the National Endowment for the Arts and independent folklore scholars and researchers in the state. Most importantly, the AFA has estab- lished good working relationships with individual Photo by Anne Kimzey folk practitioners. Laotian khene player Reagan Ngamvilay with students. The logo of the Alabama Folklife Association This ends our journey back and forth across is the gourd martin house, an American Indian Alabama, from Sand Mountain in the northeastern corner tradition adopted by all communities within the to St. Elmo in the southwest corner of the state. One can state. This symbol, chosen for the first Alabama see that Alabama traditional music is an important ele- Folklife Festival in 1989 represents harmony with ment of people’s lives and culture. Of course, this is only a the natural environment and cultural exchange portion of what Alabama has to offer both in scenery and between different peoples. traditional music. For more information about the AFA and its products, Steve Grauberger is a Folklife Specialist for the Center for Traditional Culture, a division of the Alabama State Council go to www.alabamafolklife.org. on the Arts.

20 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 Rosin Up the Bow: ALABAMA’S FIDDLING CONVENTIONS

by Joyce Cauthen

iddlers’ conventions brightened during pioneer days but few were the Depression when they could go the lives of folks in rural com- documented until the early 1920s, to a convention at a different Fmunities and small towns when a nationwide longing for the schoolhouse in the area nearly once across Alabama during the Great good old days renewed interest in a week. For instance, the late Bill Depression. The tradition of bring- fiddlers’ conventions, spelling bees Harrison, a fan of old-time music, ing together all the fiddlers in an and other old-fashioned entertain- remembered conventions being held area for a merry competition is an ments and brought them to the front in the Limestone County school- old and honored one across the pages of local newspapers. Fiddlers’ houses of Elkmont, Cairo, Athens, South, one of the earliest being held conventions exploded in popularity Rockaway, Goodsprings, Cartwright, in Virginia in 1736. Alabama surely in the 1930s and older fiddlers across Cross Key, West Limestone and East witnessed its share of conventions the state have recalled times during Limestone. Buckdancer Charlie The Anniston Star Photo courtesy of Contestants at an early fiddlers’ convention in Anniston.

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 21 Baxter of Washington County replace broken windows. But they Athens. A number of other conven- recalled going to fiddlers’ conven- also provided an excuse for the com- tions have been created or revived tions in Fruitdale, McIntosh, munity to gather, a reason for fid- across the state—all different, all Chatom, Mildred, and Leroy. dlers to hone their skills and an reflecting the tastes and traditions of Clarence Carpenter who fiddled at opportunity to swap tunes and tech- their own communities, and all with these Washington County conven- niques. Some additionally provided their own ideas about the placement tions as a child regarded them as audiences for candidates seeking of an apostrophe in “fiddlers.” very big events since they were public office. The Frankville Fiddler’s about the only kind of musical enter- After World War II, vast Convention takes place each year on tainment available in an area where changes in where and how the third Saturday in April in a even radios were rare. Alabamians live and entertain wooden schoolhouse built in 1926. Across the state, reports in the themselves almost caused the The first convention was held that newspapers of the day show that extinction of fiddling and the fid- year to raise money to support the these Saturday night events were dlers’ convention. However one new school building. Sponsored by well attended by enthusiastic audi- convention in Frankville has kept the W.N. Reynolds Masonic Lodge, ences. Meant to be highly entertain- ing programs rather than serious musical competitions, they usually featured a popular citizen as Master of Ceremonies and a program of competitions involving various instruments, bands, singers, and buck dancers. Some offered contests that determined the ugliest man, the biggest liar, the best hog caller or husband-caller. Prizes were usually a small amount of cash for the first place fiddler and donated items, such as cakes, watermelons, neckties, and handkerchiefs for the rest. Judges Photo by Joyce Cauthen were selected from the audience and some were known to award first The Old Frankville School (1926) is the site of the longest-running fiddelers’ convention in Alabama. place to a small child or a fiddler known to be in financial difficulty instead of to a virtuoso fiddler. on keeping on and is still an impor- the proceeds of the event still go The primary goal of most con- tant cultural event in Washington toward maintaining what is now a ventions was to raise money for the County. In Limestone County a historic building and the contest is local school. With a small admission revival in 1966 of the area’s contest still run much like it was in 1926. fee of ten to twenty-five cents, orga- tradition has grown into the state’s The competition begins at nizers could raise fifty or more dollars largest fiddlers’ convention, the 7:30 p.m. but the crowds pour in in a night to help pay teachers’ highly successful Tennessee Valley around 5:30, mainly from salaries, buy books for the library or Old-Time Fiddlers Convention in Washington County and surround-

22 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 ing Clarke, Choctaw, Baldwin, and Mobile Counties and from eastern Mississippi. A gentleman who drove there for the first time from Dothan, Alabama, was surprised at the size of the crowd, having seen so few people or houses on his drive through sparsely-populated Southwest Alabama. Anyone who attended school in Frankville tries to come back on the third weekend in April, giving the event the feel of a school reunion. They buy plates of pit- Photo by Joyce Cauthen cooked barbecue from the Masons Audience fills the auditorium for the Frankville Fiddlers’ Convention. and eat as they swap stories about the old days in Frankville. Then recent years the top prize has been boring Choctaw and Clarke they hurry to the auditorium to grab $150. Most of the other entrants are Counties. Fiddler Aaron Bozeman a good seat, knowing there will be also well-known to the audience as says that it is not surprising that so standing room only when the music they grew up in Washington and sur- many play instruments in begins. The organizers select the rounding counties and have played at Washington County. “We grew up judges from the audience of approxi- the convention many times, as have hard. There wasn’t any jobs except mately 500. The only criterion for their fathers, aunts and uncles before paper wood, saw mills and pea patch- judges is that they know something them. Most also play at the regular ing. As young kids we had to find about music—either they are musi- musical gatherings held at volunteer ways to entertain ourselves. All we cians or music teachers or they have fire departments in the area. had was dirt roads—no electric lights, grown up in families that play music. Competitions involving blue- no radio, until after World War II. The contest begins promptly grass bands, vocalists, buck dancers, With no jobs, nowhere to go and no at 7:30. Fiddlers are always first on guitarists, banjoists and mandolin way to go, you just had to find some the program. The audience claps players are interspersed with cake way to entertain yourself. So you hear along with the fiddlers on the fast auctions and a few command perfor- your daddy play and you want to play. numbers and cheer encouragingly as mances by musicians known for their You just listen and learn from others each fiddler completes his pieces. A renditions of entertaining songs. who are playing.” The area has favorite entrant is Clarence None of the winners are announced spawned three professional bluegrass Carpenter. Born in 1927, he learned until the last competitor has played, gospel groups—The Sullivan Family, to play from his father and first usually around midnight. The Maharreys, and Jerry and Tammy entered the Frankville fiddlers’ con- Sullivan, all from interconnected For a county with a population vention when he was nine years old. roots, plus country singers Shelby of 18,097 (2000)—16.7 persons per He recalls that the prize for first Lynn, Allison Moorer, and Ty square mile—Washington County place was $5 and second place was Herndon. There is also any number has a large number of bluegrass, coun- $2.50, but he got a box of curly bub- of talented instrumentalists, frequent- try and gospel musicians, as do neigh- ble gum as his prize that night. In ly described as “good enough to be in

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 23 Photo by Joyce Cauthen

Historic Founder’s Hall makes an impressive backdrop for contestants at the Tennessee Valley Old time Fiddlers’ Convention.

Nashville” who choose to stay at Brothers, who became Grand Ole’ category called “Classic Old-Time home and play at local venues. The Opry performers and recording artists Fiddler” for those with a more Frankville Fiddler’s Convention helps in the 1930s. archaic style of playing. During the keep them in shape. When Bill Harrison and others course of the convention a steady At the other end of the state is restarted the convention in the stream of harmonica players, man- a very different sort of fiddlers’ con- mid-1960s, they were greeted by dolinists, bluegrass and old-time vention, the Tennessee Valley Old- large and enthusiastic crowds and banjo players, dulcimer players, Time Fiddlers Convention (TVOT- decided to move it to the campus of singers, guitarists, old-time and FC), which takes place on the first Athens State University where it bluegrass bands and buckdancers Friday and Saturday in October. It is has grown into an event of major take the stage one after the other a revival of the Limestone County proportions and raises significant with few breaks. contests, particularly the popular amounts of scholarship money for TVOTFC draws 15,000 to convention held at the Athens the university. A cadre of well-qual- 20,000 visitors to the campus each Agricultural High School begun in ified judges and sizeable prize year. Some intently watch the com- 1924 and lasting through 1936. money draws contestants from petitions; some never get near the Newspaper accounts of those events across the country. Starting at 7:00 stage as they choose to listen to attest to eight hundred people on Friday night and going all day informal jam sessions found in every crowded into the auditorium with Saturday until close to midnight, nook and cranny of the campus. hundreds being turned away for lack the convention features competi- They partake of grilled hamburgers, of room. One group that got its start tions for beginning, junior and camp stew and other foods cooked at this convention was the Delmore senior fiddlers as well as a special on-site by school booster organiza-

24 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 tions and may peruse more than a hundred arts and crafts booths. THERE MAY BE A FIDDLERS’ CONVENTION Crowds especially gather around the booths selling used string instru- NEAR YOU ments. Folks from out of town fill the city’s motels or stay in RVs McFarland Mall Fiddlin’ and Bluegrass Contest parked on an open field on campus. Tuscaloosa Athenians turn out in large numbers, Third Saturday in February 205-759-4796 too; the convention plays a part in the family traditions of many Athens Old-Time Fiddlers’ Convention in Dothan residents. Like the Frankville con- Third Saturday in March vention, TVOTFC has the feel of a Landmark Park: 334-794-3452 reunion, though it is a reunion of www.landmarkpark.com musicians and music lovers from geo- graphically widespread locations who Frankville Old Time Fiddler’s Convention make an annual pilgrimage to the Third Saturday in April revered convention. Ernest Goldman: 251-754-9270 The Frankville Fiddler’s Convention and the Tennessee Fyffe Masonic Lodge Fiddlers Convention Valley Old-Time Fiddlers Saturday before the 4th Sunday in June Convention are at different ends of Dennis George: 256-996-6916 Kenneth Boggs: 256-638-2242 (w) or 638-3010 (h) the spectrum. Between them lies a wonderful assortment of events. Atmore Old-Time Fiddlers Convention There’s the Fiddle Fest held on the Third Saturday in July third Friday and Saturday in August Atmore Chamber of Commerce: 251-368-3305 in Moulton. More than a contest; it also celebrates the induction each Moulton Fiddle Fest year of a well-known fiddler into its Third Friday and Saturday in August Hall of Fame. In Tuscaloosa, Carl Terry: 256-974-1689 McFarland Mall hosts a fiddlers’ con- www.bffp.net/moultonfiddlers vention on the third Saturday in February. This convention is one of Tennessee Valley Old-Time Fiddlers Convention several established by retired journal- First Friday and Saturday in October ist John Callahan in the early 1970s Athens State University when shopping malls were the new Rick Mould at 256-233-8215 community gathering places. In www.athens.edu/fiddlers/ Dothan Landmark Park, a living his- The Alabama Folklife Association is compiling a list of Alabama tory farm, hosts the local fiddlers’ fiddlers’ conventions to post at www.alabamafolklife.org. convention as part of Spring Farm Organizers are invited to provide information about conventions Days on the third Saturday in not listed here. Please call 334-242-3601 or e-mail March. In Atmore on the third [email protected] to do so. Saturday in July, fiddlers gather at

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 25 Escambia County High School for a convention sponsored by the Rotary Club which supports its Academic All-Star Scholarship program. On Sand Mountain the Fyffe Masonic Lodge has established a fiddlers’ con- vention in a music-rich area that once abounded in them. Now in its third year, the event takes place on the Saturday before the fourth Sunday in June. We can no longer find fid- dlers’ conventions in every little community in Alabama, but there are a good number of them across the state. Those wanting to hear good fiddle music, to join a jam ses- sion or to have an opportunity to get up on stage and receive

applause for their skill and hard Photo by Joyce Cauthen work can find a convention within A contestant in the Beginning Fiddler category at TVOTFC and his easy traveling distance. Fiddlers’ accompanist. conventions bring musicians together to learn from each other and connect them with audiences whose encouragement keeps them going. They introduce young peo- ple to music they might not hear at Joyce Cauthen is the author of With home and give them opportunities Fiddle and Well-Rosined Bow: Old to perform. In short, they are vital Time Fiddling in Alabama. She has in keeping Alabama’s fiddling and served as director of the Alabama string band traditions strong. Folklife Festival and produced a num- ber of recordings of traditional music, including Possum Up a Gum Stump: Home, Commercial and Field record- ings of Alabama Fiddlers; Jesus Hits Like the Atom Bomb; John Alexander’s Sterling Jubilee Singers of Bessemer; and In the Spirit: Alabama’s Sacred Music Traditions. She is also the executive director of the Alabama Folklife Association.

26 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 NATURE and CULTURE Documenting Alabamians in Their Natural Environment

by Anne Kimzey

The following photos are from two exhibits State Council on the Arts and the Folk and produced by Anne Kimzey of the Alabama Traditional Art Program of the National Center for Traditional Culture. The first, Water Endowment for the Arts. Both exhibits are now Ways: The Traditional Culture of Alabama’s River online and can be accesseat www.traditionalcul- Systems, began touring to schools and museums ture.org. The exhibits are available for booking in March of 1998. The second, In the Garden: through the AlabamaHumanities Foundation Traditional Culture and Horticulture in Alabama, Resource Center at (205) 558-3980 (contact: began touring in January 2002. Both exhibits Cheryl Temple) or the Alabama Center For resulted from statewide documentation projects, Traditional Culture at (334) 242-3601 (contact: involving research, interviews and photography. Anne Kimzey). The two projects were funded by the Alabama Photo by Anne Kimzey Photo by Anne Kimzey A rope swing is often an indication of a good swimming hole. This spot can be Louise Daniels of Demopolis created this scarecrow to frighten hungry birds away found at Limestone Park on the Little Cahaba River. from crops. ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 27 Photo by Anne Kimzey A third generation waterman, Captain Pat Meyers of Satsuma (Mobile County) works as a river- boat pilot for the Kimberly-Clark Corporation and builds replicas of historic riverboats. Photo by Anne Kimzey Shannon (left) and Wayne Haggard of Waterloo (Lauderdale County) run trotlines from jump boxes to catch fish in the waters along the Tennessee River. Photo by Anne Kimzey

A former commercial fisherman who built his own boats, Mike McCarty switched from plywood to aluminum and began building work boats. His business, Silver Ships, is located in Theodore (Mobile County). Photo by Anne Kimzey Photo by Anne Kimzey Commercial fisherman Wayne Moore hauls in a slat-box fish trap from Flint Creek, a tributary of The weigh-in is the highlight of this bass fishing tournament at Lake the Tennessee River. Eufaula.

28 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 At the annual Blessing of the Fleet in Bayou la Batre (Mobile County), shrimp boats gath- er for an invocation from the Archbishop for a safe and productive season. Photo by Anne Kimzey

Water Ways: THE Photo by Anne Kimzey TRADITIONAL Mussels, once harvested from the rivers to make mother-of- pearl buttons, are now sold for use in Japan’s cultured pearl CULTURE OF Photo by Anne Kimzey industry. Philip Meadows uses a four-inch ring to make sure ALABAMA’S The Davis Ferry near Franklin in Monroe County transports this mussel is of legal size. travelers to and from Packer’s Bend. RIVER SYSTEMS

Alabama’s rivers have long been recognized as among the state’s most important natural resources. The rivers are also significant for their impact on the state’s culture. Long before statehood, Indians used the rivers for trade routes and as sources of food and water. The state’s two major river systems, the Tennessee and the Mobile, have determined patterns of settle- ment and commerce throughout the state’s history. With small dams and waterwheels, the people of this region harnessed the power of streams and rivers to grind corn, saw lumber, and spin cotton. And since 1884, major projects damming rivers to improve navigation and flood control, to produce hydroelectric power and to create reservoirs have had far-reaching effects on the lives of Alabamians. Today many people still make their living from the water. Many other Alabamians use the state’s rivers and lakes for recreation and for com- munity rituals. These ways of life associated with Alabama’s waterways contribute an important sense of heritage and regional identity for the people of Photo by Anne Kimzey this state. The Reverend Leo King (left) baptizes Akeyla Holifield in a Perry County creek.

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 29 In the Garden: TRADITIONAL CULTURE AND HORTICULTURE IN ALABAMA

People have cultivated the environ- ment in Alabama since prehistoric times. Many Indian land use practices were adopted by early settlers and later immi- grants, who also brought their own plants and gardening traditions with them. Whether the purpose of a garden is to put food on the table or to simply look beautiful, a gardener works in partnership with nature to achieve the desired result.

Photo by Anne Kimzey A garden may be the creation of an indi- The late Isabel Hill was an avid gardener who spent a lifetime tending 15 acres of Lanark Plantation, her vidual, but often represents a community home near Millbrook. aesthetic as well. Many of the prefer- ences, beliefs, and practices associated with gardening, and even the plants themselves, are handed down through generations or passed on to those who share an interest. This exhibit provides a sample of gardening and yard decorating traditions in the state.

Anne Kimzey is a Folklife Specialist for the

Photo by Anne Kimzey Alabama Center for Traditional Culture, a The technique of pruning plants flat against a division of the Alabama State wall is known as espalier. A barber by trade, Nelson Malden and his wife Willodean shaped Council on the Arts. these pyracantha to show their street address. Photo by Anne Kimzey

Alma Bodiford shells peas amidst one morning’s harvest of Photo by Anne Kimzey corn, squash, purple hull peas and zucchini. Cambodian gardener, Kong Phong, grows Southeast Asian plants in his Mobile County garden. 30 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 Photo by Anne Kimzey Theories abound on the origins of whitewashing tree trunks: to deter insects, to make trees more visible in the dark, to prevent the sun scalding young fruit trees, or to make the landscape look neat and orderly. Photo by Anne Kimzey This rabbit is one of several hay bale sculptures on James Byrd’s ranch near Forkland. Photo by Anne Kimzey Photo by Anne Kimzey Georgiana Jenkins’ lushly planted garden incorporates manufactured objects such as Louise Boswell displays two of the more than 700 varieties of daylilies she grows in painted bricks and tires, iron bed frames, wooden shutters and aluminum strips. her garden.

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 31 THE BLACK BELT FOLK ROOTS FESTIVAL A WHOLE CELEBRATION

by Carol Prejean Zippert

The festival offers activities for the entire family.

Roots Festival in Eutaw is definitely for everyone. I often view it in the image of a pie. There is a slice for the folk artists, those bear- ers of the culture who are more than gifted musi- cians, dancers, storytellers, Photo by Carol P. Zippert Photo by Carol P. craftspersons and cooks. In t’s that time again; We gonna their arts they carry histo- be back on the square this ry - experiences that bear “Iyear?; It’s coming up to the pain and scars of August, are we ready?; I’m looking for oppression, loss, depriva- those old timey blues, some fried skins tion and struggle as well as and homemade ice cream.” Each year the courage and strength as summer approaches, comments of perseverance, faith, such as these greet me as I encounter hopefulness and celebra- local residents down the street, in the tion. In their arts they post office, grocery stores, churches carry the stories of what and various community meetings, sig- was important in a peo- Photo by Carol P. Zippert Photo by Carol P. naling that the festival spirit is in the ple’s lives, formations that Betty Rogers quilts at the Black Belt Folk Roots Festival in Eutaw. air full force. can never be forgotten. As The annual Black Belt Folk one person remarked to Photo by Carol P. Zippert Photo by Carol P. The Mississippi The Echo Gospel Singers of Demopolis. Traveling Stars. Photo by Carol P. Zippert Photo by Carol P.

32 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 me: “ I don’t want my children to have tice of blues and gospel in the the blues, but I want them to under- lives of downhome folk. As I stand where the blues come from. I have heard it expressed,” We want them to know what happens in moan the drudgery of our lives our lives that give us the blues.” through the blues on Saturday Embedded in my mind is the and we moan our own repentance remarkable story told by a white oak through ole timey gospel on basketweaver who related to a group of Sunday.” The festival’s program children an experience from his own patterns this sequence. living: “ We had to cut the tree, strip Another slice of the festival the bark, wet and dry the strips then pie goes to the people of the West make the baskets to pick cotton on Alabama region. Calendars are land that wasn’t ours.” The silent and marked well in advance for family wide-eyed children focused on Mr. reunions, class reunions, church Bailey’s hand movements as he crafted homecoming, and vacation time, a basket from the white oak strips and all to coincide with the weekend from the jewels of oral history. of the annual festival. The work- Mr. Lemon Harper, from Sumter ers arrive early on Saturday to lay County, is a senior citizen “buck out tables and chairs for artists dancer.” Lemon Harper explains why and vendors. And the local folk are right there, milling on the he dances: “When I hear that moan Photo by John Zippert from the harmonica, my feet will start grounds and fueling the already Mariah Wilson makes a basket. to tapping and that strain will ignite warm embers of festivity. The my whole body. I feel that story blow- ing from the mouth harp and I just Each year a piece of the pie is got to dance it.” To watch Mr. Harper reserved for those faithful who travel dance is to witness each movable to Greene County on predictably the body part seemingly responding to dif- hottest week end of the summer just ferent rhythms simultaneously. for the festival. They were hooked Barbecue at the festival brings after their first experience. Early in together the closeness and familiarity the year before the festival, they write; and carefree-for-the-moment gaiety of they call, assuring that nothing is any backyard family cookout. At the changed, the festival will be here. festival cook-out one finds the greens, They come, bringing family and peas, cornbread, pies and cakes, all friends. They acknowledge their own delights folk routinely prepare at arrivals pointing out to the festival home but become special treats in the coordinators that they were here last flavor of the festival. “I come back year and the year before and the year every year for the homemade ice before that. cream,” one pleased festival goer Zippert Photo by Carol P. Perhaps there would be no pie to speaks for thousands. From the Larry Fulgham cooks barbecue. carve without the commitment of moment she sets down her churners, musical program never starts before 11 those who plan and produce the festi- Mrs. Sarah Duncan’s ice cream booth am, but the chairs under the tent fill val each year. This slice of pie draws is never without a line of folk waiting by 9 am. Even the rare rainstorm has from the ingredients of the other to treat their palates. Each reach for a not deterred the gathering. Folk sim- slices. The festival planning group is cup inevitably brings a sigh of, “Oh I ply squeeze together toward the center principally composed of folk artists, remember when...” of the tent, until the summer storm local community and a brand new The homeyness of the Black has passed. It’s the people’s festival slice of young people. They meet and Belt Folk Roots Festival lifts the lat- and they don’t give it up. sketch; they gather and create; they

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 33 lay out and produce. And from all this come a schedule of activities, brochures, souvenir program books, advertisements, tents and banners, stages and sound systems, tables, chairs, barbecue grills, deep fryers and snow cone machines. And there you have it, a downhome celebration. A still brand new slice of the festival pie is the involvement of the young people in designing the Children’s Stage -all the activities are for the interest of youth. They no longer have their activities relegated to a little space on the blues stage or the gospel stage, they have their own stage to create and celebrate their way. They merge the old with the new with African dancing and drum- ming, storytelling, face painting and

rap poetry and break dancing. Zippert Photo by Carol P. Whether they name it as such, they (left to right) Viola McGee, Sarah Duncan and Sarah Brewer make ice cream. are making culture. Another slice of the pie is by Jane and Hubert Sapp, folklorist Sunday features old timey gospel. The reserved for the supporters of the festi- and director, respectively, of the annual festival is held the fourth val. Alabama State Council on the Eutaw Branch. When the Branch Saturday and following Sunday in Arts, the National Endowment for was closed in 1982, a local group of August on the old courthouse square, the Arts, private foundations, corpo- supporters formed the Society of Folk center of town in Eutaw, AL. rate sponsors, local businesses, county Arts & Culture, a non-profit organi- It is a community celebration government and individual contribu- zation which continues to sponsor and an enjoyable serving of pie. tors have at one time of another given the festival. financial or comparable support to the The festival is designed to pay production of the annual Black Belt tribute to the folk artists recognized as Folk Roots Festival. the bearers of the culture who possess Carol Prejean Zippert and The whole pie of the festival the skills, talents and resources that her husband John, are co-publishers of was first produced in 1975 in Eutaw, are reflective of the culture and tradi- the Greene County Democrat newspa- Greene County. It was conceived on tions of the region. per. Carol holds a BA degree in English- the Eutaw Campus of Miles College Saturday brings the blues musi- Journalism from the University of cians, dancers, jug blow- Southwestern Louisiana, Lafayette, a ers, hambone slappers, MA degree in Rural Sociology from crafts and traditional Louisiana State University, Baton Rouge and a PhD in Educational Leadership foodways. The Supervision and Curriculum Children’s Stage is cele- Development from the University of brated on Saturday. Alabama, Tuscaloosa. Carol serves on the board of the Alabama State Council on the Arts. She is also a published poet who often conducts poetry and Martha James and Robert Hines other creative writing workshops for display okra at the Greene-Sumter Agricultural Co-op table. youth and adults. Photo by John Zippert

34 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 A SAMPLING OF TRADITIONAL CULTURAL EVENTS IN ALABAMA The following calendar lists events that are either community traditions themselves, or feature examples of folk art and culture in Alabama.

First Monday Mardi Gras MARCH First Monday of each month and pre- Tuesday before Ash Wednesday Rattlesnake Rodeo ceding Saturday and Sunday Mobile First weekend in March Courthouse Square, Scottsboro www.mobile.org/mardigras.html Kiwanis Building and Covington (Jackson County), Dawn to dusk County Arena, Andalusia Contact: (256) 574-3100, ext. 237 Saturday 8 a.m. – 9 p.m. A long-running tradition in Sunday 9 a.m. – 5 p.m. Scottsboro, these trade days offer Admission Charged antiques, crafts, new and second Contact: Tammy Weeks hand items for sale. (334) 493-9559 Collinsville Trade Day The annual Opp Jaycees Rattlesnake Every Saturday Rodeo has been a crowd-pleasing 1016 Hwy 11 S., Collinsville event for more than 40 years. Snake (Dekalb County) shows, arts and crafts, food and music 4:30 a.m. – 2:30 p.m. provide entertainment for all ages.

(256) 524-2536 or (256) 524-2127 photo by Anne Kimzey www.collinsvilletradeday.com Mardi Gras, Mobile Spring Farm Day At this 160-acre flea market, one can Third Saturday in March find art, collectibles, plants, produce, Landmark Park, Dothan According to legend, Mardi Gras in Admission Charged traditional foods, house wares, cloth- Mobile dates back to 1830 when a ing and more. Contact: (334) 794-3452 group of revelers paraded through www.landmarkpark.com Santuck Flea Market the streets with cowbells and rakes. The centerpiece of this event is the First Saturday of each month The Cowbellion de Rakin Society Old Time Fiddlers’ Convention, in (March through December) became the first of many mystic which musicians compete for prizes. 7300 Central Plank Road, Hwy. 9, societies, who now hold masked There are also demonstrations of tra- Santuck (Elmore County) balls and more than 25 parades dur- ditional springtime farming practices, (334) 567-7400 ing Carnival season. At this pre- such as sheep shearing and plowing Vendors and customers gather to Lenten celebration, parade goers are and planting activities. trade on first Saturdays. An ever- showered with candy, beads, Moon changing variety of new and used Pies and doubloons thrown from merchandise is available. passing floats. APRIL

McFarland Mall Fiddlin’ and Baldwin County Strawberry FEBRUARY Bluegrass Contest Festival Second weekend in April Capitol Rotunda Singing Third Saturday in February Municipal Park, Loxley Saturday before the first Tuscaloosa (Baldwin County) Sunday in February Contact: (205) 759-4796 Saturday 9 a.m.-5 p.m. Rotunda of the State Capitol Sunday 10 a.m.-5 p.m. Building, Montgomery Heritage Arts Festival No Admission Charged Contact: (334) 242-3601 Last Saturday in February Contact: Carolyn McDaniel An all-day singing that uses four of Old Courthouse, Downtown Square, (251) 964-5091ss or (251) 550-2003 the shaped-note books published in Monroeville Annual event includes food vendors, Alabama. These are: Sacred Harp Contact: (251) 743-3359 arts and crafts, strawberry shortcake, (1991 Denson revision), Christian Cultural celebration of crafts, quilts, Battle of the Bands competition and Harmony (1994 revision), Sacred Harp woodworking, soul food, dance per- other entertainment. (1992 Cooper revision), and the formances, and gospel music. Colored Sacred Harp.

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 35 Crawfish Festival Huntsville Sacred Harp Singing (Pickens County) Third weekend in April Saturday before the First Sunday in Admission Charged, Free Parking and Intersection of U.S. Hwy. 80 and Ala. May Camping 25, Faunsdale (Marengo County) Burritt on the Mountain, Monte Sano Contact: The Alabama Blues Project Admission Charged Mountain, Huntsville (205) 554-1795 Contact: John or Barbara Broussard Contact: David Ivey, (256) 881-5291 www.willie-king.com (334) 628-3240 All-day Sacred Harp (Denson book) This Blues festival is organized by Annual festival features crawfish singing is held in the Madison blues musician and community foods, arts and crafts. Live music pre- Church building. Visitors are wel- activist Willie King and held on his sented until midnight (Cajun, coun- come to share in this shape-note Pickens County farm. Visitors come to try, and rock bands). singing tradition. hear favorite regional blues perform- ers and to eat local barbecue. Frankville Old Time Fiddler’s Blessing of the Fleet Convention First Sunday in May National Sacred Harp Convention Third Saturday in April Bayou La Batre (Mobile County) Thursday, Friday and Saturday before Frankville St. Margaret Catholic Church, the third Sunday in June Contact: Ernest Goldman 13790 S. Wintzell Avenue Trinity United Methodist Church, (251) 754-9270 11 a.m. – 5 p.m. 1400 Oxmoor Rd., Birmingham. Contact: (251) 824-2415 Call to confirm location. Festivities center on the annual cus- Contact: Buell Cobb (205) 901-1715 tom of blessing the shrimp fleet for a Sacred Harp singers from across the season of safe fishing and a produc- nation gather annually for three days tive harvest. Visitors and locals alike of singing and fellowship. enjoy the decorated boats as they parade up the bayou. On the church City Stages grounds are contests, food and activi- Father’s Day weekend ties that celebrate the local seafood Linn Park, Birmingham industry. Admission Charged Contact: (205) 251-1272 Dixie Bluegrass Gospel Fest This three-day, large scale festival

photo by Stephen Grauberger Mother’s Day weekend offers a variety of music, dance, food, Sculling Race, Festival on the Rivers, Geneva Sullivan Family Homeplace, St. and crafts. The Alabama Sampler Stephens (Washington County) Stage features traditional music of Geneva Festival on the Rivers Admission Charged Alabama. Fourth weekend in April Contact: Margie Sullivan, Geneva (Geneva County) (251) 246-4553 Alabama Blueberry Festival Robert Fowler Memorial Park The Sullivan Family band sponsors Third Saturday in June Admission Charged this annual bluegrass gospel event. Jefferson Davis Community College, Contact: Alice Faye Smith Camper hook-ups and catfish suppers Brewton, 9 a.m. – 5 p.m. (334) 684-6582 are available. Contact: Judy Crane or Brande Located on the Pea and Conecuh Agerton, (251) 867-3224 Rivers, Geneva celebrates its river her- JUNE Annual outdoor festival features blue- itage with contests such as sculling, berries, blueberry foods and cookbooks, worm fiddling and canoe races. A Hank Williams Festival arts and crafts and entertainment. greasy pole climb, road race, arts and First weekend in June crafts vendors, food, music, and a 127 Rose Street, Georgiana Peach Festival gospel sing fill the weekend. (Butler County) Fourth week of June Friday 9 a.m. – 11 p.m. Clanton (Chilton County) MAY Saturday 9 a.m. – 11 p.m. Contact: Richard Davis Contact: (334) 376-2396 (205) 755-6740 Poke Salat Festival A tribute to famous country singer Annual celebration of local peach First weekend in May and Butler County native Hank growing industry includes beauty Downtown Arab (Marshall County) Williams, this festival features country pageants, parade and peach auction. Free Admission music, crafts and food. Contact: (256) 586-3138 Masonic Celebration Activities include poke salat cook-off, Freedom Creek Blues Festival Fourth week of June womanless beauty pageant, crafts, First Saturday in June, noon until sundown Florala food and entertainment. Old Memphis, near Aliceville Contact: Betty Hargrove

36 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 (334) 858-6430. 1215 S. Presley St., Atmore King performs. Gospel and freedom Promoted as the oldest Masonic Contact: (251) 368-3305 songs are also presented. Local ven- Celebration in the U.S. Old-time, string band music competi- dors and artists. Week of events includes a horseshoe tions and barbeque cookoff. tournament, fishing tournament, 5K SEPTEMBER run, antique car show, parade, street W.C. Handy Music Festival dance, arts and crafts and fire depart- Last week of July Festival on the Farm ment water battle. Florence weekend after Labor Day Contact: (256) 766-7642 or Friday 5 p.m. and Saturday 1 p.m. Fyffe Masonic Lodge Fiddlers 1-800-472-5897 Home of Gary Waldrep, Convention Weeklong celebration of the musical Kilpatrick (Dekalb County) Saturday before the fourth heritage of Northwest Alabama hon- Admission Charged Sunday in June oring Florence native W.C. Handy, Contact: Gary Waldrep (256) 561-3908 Fyffe (DeKalb County) known as “Father of the Blues.” Free Award-winning banjo player and Contact: Dennis George events are scheduled throughout the Grammy nominee Gary Waldrep (256) 996-6916 Shoals area. hosts his annual bluegrass festival in Kenneth Boggs early September on his 80-acre farm. (256) 638-2242 (w) or 638-3010 (h) AUGUST A native of Sand Mountain, Waldrep hopes to preserve and promote the JULY musical heritage of his region. Fiddle Fest Waldrep turns his front porch into a Third Friday and Saturday in August stage where a number of bluegrass World Championship Domino Moulton Mini Park next to Lawrence and gospel bands perform at this Tournament County High School, Moulton two-day event. Second weekend in July Friday 6 -10 p.m. Andalusia, Kiwanis Community Saturday 10 a.m. - 6 p.m. Ider Mule Days Center, So. Bypass Admission Charged Labor Day Monday 8 a.m. until completion Contact: Carl Terry, (256) 974-1689 Ider Town Park (Dekalb County) Contact: David Darby, (334) 222-8825 www.bffp.net/moultonfiddlers Free Admission Bluegrass music, buck dance and Contact: (256) 657-4184 Capital City Shape Note Singing music competitions, arts and crafts. Ider’s rural heritage is on display at Third Thursday of July this community festival. Visitors can St. John’s Episcopal Church, Black Belt Folk Roots Festival enjoy livestock shows, a mule pull, 113 Madison Avenue, Montgomery Fourth weekend in August horse pull, antique tractors and farm 10 a.m. – 3 p.m. Courthouse Square, equipment, entertainment and food. Contact: (334) 242-3601 Eutaw (Greene County) This event bring singers together Saturday 11 a.m. – 6 p.m. Silverhill Heritage Festival from four of the hymn book tradi- Sunday 2 – 7 p.m. Third Saturday in September, tions in Alabama: Christian Harmony, No Admission Charged 9 a.m. – 4 p.m. The Colored Sacred Harp, and the Contact: Carol Zippert (205) 372-0525 Silverhill (Baldwin County) Denson and Cooper Revisions of The Annual community festival highlights Intersection of State Hwy.104 and Sacred Harp. traditional crafts, foods, and music Baldwin Co. Hwy. 55 from west Alabama. Fine examples of No Admission Charged Alabama Deep Sea Fishing Rodeo African-American quilting, pine nee- Contact: (251) 945-5198 Third weekend in July dle basketry, and more, are for sale. This celebration of the community’s Dauphin Island Music stage presents blues on Czech and Swedish heritage features 5 a.m. Friday – 5 p.m. Sunday Saturday and gospel on Sunday. ethnic foods, arts and crafts, pony and Admission Charged (participants only) train rides, and other entertainment. Contact: Mobile Jaycees Okra Festival (251) 471-0025 Last Saturday in August Trail of Tears Commemoration The Mobile Jaycees sponsor this Burkeville (Lowndes County) Festival, Motorcycle Ride and annual event, reported as the nation’s Annie Mae’s Art Place, Pow Wow largest saltwater fishing tournament. 278 Harriet Tubman Road Third weekend in September No Admission Charged Waterloo (Lauderdale County) Atmore Rotary Club Old Time Contact: (334) 324-7222 Free Admission Fiddlers Contest Annual Community Festival features Contact: 1-888-FLO-TOUR or (256) Third Saturday in July, 5 – 10 p.m. gumbo, okra and other regional 764-3237 Escambia County High School, foods. Local blues musician Sonny www.al-tn-trailoftears.org

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 37 Billed as the “Largest Motorcycle Ride Collinsville Annual Quilt Walk George Washington Carver of the South” an estimated 100,000 Fourth weekend in September Sweet Potato Growers or more bikers gather to remember U.S. Hwy 11, Collinsville Association Arts and Crafts the removal of southeastern tribes to Admission Charged Festival the West. The ride, which starts in Contact: Vanessa Chambers (256) Third Saturday in October Chattanooga, stops in the Northwest 524-2788 or (256) 524-3296 Town Square, Tuskegee Alabama town of Waterloo for a www.collinsvillequiltwalk.com Contact: V.A. Kahn (334) 727-8320 Native American Pow Wow. Vintage and contemporary quilts are or (334)727-4551 Call to confirm on display during this annual tour of Event features a sweet potato compe- Foggy Hollow Bluegrass historic homes and churches. tition (all sweet potatoes entered must Gathering be grown, not purchased), arts and Fourth weekend in September Old Alabama Town Storytelling crafts competition, music, sweet pota- Webster’s Chapel Festival to pies and sweet potato ice cream. Friday 6 p.m. until, Fourth Saturday in September Saturday noon until. Old Alabama Town, Kiwanis Park, Kentuck Festival Admission Charged Montgomery Third weekend in October Contact: David Boley (256) 492-9080 10 a.m. – 3 p.m. Saturday and Sunday Semi annual event. Both national and Contact: (334) 240-4617 Kentuck Park, Northport local bluegrass bands perform on Hear noted storytellers from around 9 a.m. to 5 p.m. stage at this farm halfway between the state. Festival also features arts and Admission Charged Gadsden and Anniston off Highway crafts, children’s activities and food. Contact: Kentuck Museum 431. Camping and RV hookups are Association, (205) 758-1257 available. OCTOBER www.kentuck.org. Annual festival features 300 artists Maharrey Homecoming Tennessee Valley Old Time and craftspeople, including tradition- Fourth weekend in September Fiddlers Convention al, self-taught, and contemporary. St. Stephens Historical Park, First Friday and Saturday in October Two music stages. St. Stephens Athens State University, Athens 4 – 10 p.m. Admission Charged Alabama Gourd Festival Admission Charged Contact: Rick Mould (256) 233-8215 Third weekend in October Contact: Jean Parnell (251) 247-2622 www.athens.edu/fiddlers/ Civic Center, Cullman An annual bluegrass gospel singing Billed as the oldest and largest fid- Saturday 9 a.m. – 5 p.m. featuring the hometown Maharrey dlers convention in the U.S., this fes- Sunday 10 a.m. – 4 p.m. Family bluegrass band and other tival draws musicians and old-time Admission Charged musical guests. music lovers from across the country. Contact: Shirley McEwen (256)737-5006 Call to confirm Tale Tellin’ Festival [email protected] Second weekend in October Annual festival features gourd arts Pickard Auditorium, Selma and crafts, such as birdhouses, musi- Admission Charged cal instruments and decorated (334) 875-7241 or 1-800-45-SELMA gourds. Dulcimer band performs. Selma, home of Alabama storyteller Kathryn Tucker Windham, is the loca- German Sausage Festival tion for this event, which presents Fourth Saturday in October, photo by Aimee Schmidt ghost stories and other tales by Elberta (Baldwin County) Mule Day, Winfield nationally-known story tellers. Town Park 8 a.m. – 6 p.m. Mule Day Sullivan Family Homecoming No Admission Charged Last Saturday in September Third weekend in October Contact: David McWatters Winfield Sullivan Family homeplace, or Charlie Haupt (251) 986-5805 Downtown St. Stephens (Washington County) www.elbertafiredepartment.com 8 a.m. – 4 p.m. Admission Charged This semi-annual event celebrates the Contact: (205) 487-4281 Contact: Margie Sullivan town’s German heritage, especially its Annual event includes mule and (251) 246-4553 German sausage and sauerkraut. horse judging, a parade, a reenact- The Sullivan Family hosts this annual Other offerings include entertain- ment of the battle at Mule Crossing, gathering of bluegrass gospel per- ment, arts and crafts booths, petting arts and crafts, music, flea market formers, food and fun. Camper zoo and carnival rides. and food. hook-ups are available.

38 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004 Oneonta Covered Bridge Festival Admission Charged decorated with lights and a fireworks Fourth weekend in October Contact: (334) 793-4323 display. Palisades Park and downtown Annual fair presenting agriculture of Oneonta (Blount County) the region, which includes livestock Christmas on the Coosa Contact: (205) 274-2153 and horticultural exhibits and compe- Second Saturday in December This festival, which celebrates an titions, recipe contests, crafts, carnival Gold Star Park, Downtown architectural landmark in the county, rides, pageants and peanut-themed Wetumpka features a golf tournament, quilt parade. Contact: (334) 567-1313 show, art and crafts, music and food. Christmas-themed celebration of arts Thanksgiving Pow Wow and crafts, food, quilt show, street Wiregrass Heritage Festival Thanksgiving Thursday and Friday parade (day), lighted boat parade on Fourth weekend in October Poarch Creek Indian Reservation the Coosa (evening) followed by a Landmark Park, Dothan (Escambia County) fireworks display. Admission Charged opens 9 a.m Contact: (334) 794-3452 Contact: (251) 368-9136, ext. 2216, Guntersville Boat Parade of Demonstrations of traditional farm- community relations Lights ing practices, such as cane syrup First Saturday in December making, wood carving, split-oak bas- Lurleen Wallace Drive, Guntersville ket making, broom making, quilting, 6 p.m. herbal lore, working with oxen and Contact: (256) 582-3625 mules, peanut stacking and picking. At this annual event, spectators A music stage features a variety of watch from shore as boats decorated local and regional talent including with Christmas lights parade by on bluegrass, country and gospel music. the lake. Also featured are an antique engine show and visits to the two-acre Las Posada Festival pumpkin patch. Internacional Second Saturday in December Williams Station Day Alabama Museum of Natural History, Fourth weekend in October Tuscaloosa Atmore (Escambia County) Free Admission Atmore Community Center Contact: (205) 348-7550 No Admission Charged A Latin American festival dramatizing Contact: Emilie Mims (251) 368-3305 Mary and Joseph’s arrival in Visitors to this annual heritage festival Bethlehem. The celebration includes can take in logging and mule pulling Latin foods, music and dance. demonstrations, folk arts demonstra- tions, a juried art show and non-juried photo by Aimee Schmidt craft show, entertainment and food. Thanksgiving Pow Wow, Poarch Creek Indian Reservation. Syrup Soppin’ Days Last Saturday in October, Annual event, sponsored by the Loachapoka Park, Loachapoka Poarch Band of Creek Indians (Lee County) includes dance competitions, inter- 7 a.m. – 4 p.m. tribal dancing, the crowning of the No Admission Charged princess, traditional foods and crafts. Contact: Larry Justice (334) 887-7683 The trademark of this community fes- DECEMBER tival is its cane syrup made the old- fashioned way, by mule-powered Christmas on the River For more information on these and cane mill. In addition, live music, arts First weekend of December other cultural events, contact the and crafts, and plenty of biscuits Public Square and City Landing, Alabama Bureau of Tourism and round out the event. Demopolis No Admission Charged Travel at 1-800-ALA-BAMA or NOVEMBER Contact: Chamber of Commerce www.800alabama.com. (334) 289-0270 National Peanut Festival A week-long celebration that culmi- Late October through mid November nates in a nautical, parade of boats U.S. Hwy 231 S., Dothan

ART TRAILS IN ALABAMA FOLKLIFE 2004 • ALABAMAARTS • 39 Alabama’s Council on the Arts

Mission Statement The mission of the Alabama State Council on the Arts is to promote Alabama’s diverse and rich artistic resources while highlighting excellence and educational experiences.

The Agency The Alabama State Council on the Arts is the official state agency for the support and development of the arts in Alabama. It was established in 1966 by an act of the Alabama Legislature. The agency supports not-for-profit arts organizations, programming in the arts for the general public, and individual artists. The State Arts Council works to expand the state’s cultural resources and preserve its unique cultural heritage and places a high priority on arts programming by and for schools. The Council’s primary means of supporting the arts and making the arts more accessible to varied audiences is through a multi-faceted grants program which covers all disciplines and fields of creative expression. The Council The fifteen members of the Council are drawn from communities throughout the state. They are appointed by the Governor for six-year terms, and selection is based on expertise in the arts, business, or community affairs. The officers of the Council are elected by its members. The Council meets four times each year, at various locations throughout the state. It approves agency programs and policies, develops long range plans, and makes final decisions on state and federal grant dollars under its jurisdiction.

40 • ALABAMAARTS • ART TRAILS IN ALABAMA FOLKLIFE 2004