45Th Annual FSGW Getaway
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The Place of Music, Race and Gender in Producing Appalachian Space
University of Kentucky UKnowledge Theses and Dissertations--Geography Geography 2012 PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE Deborah J. Thompson University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Thompson, Deborah J., "PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE" (2012). Theses and Dissertations--Geography. 1. https://uknowledge.uky.edu/geography_etds/1 This Doctoral Dissertation is brought to you for free and open access by the Geography at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Geography by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. -
Missouri Folklore Society Journal
Missouri Folklore Society Journal Special Issue: Songs and Ballads Volumes 27 - 28 2005 - 2006 Cover illustration: Anonymous 19th-century woodcut used by designer Mia Tea for the cover of a CD titled Folk Songs & Ballads by Mark T. Permission for MFS to use a modified version of the image for the cover of this journal was granted by Circle of Sound Folk and Community Music Projects. The Mia Tea version of the woodcut is available at http://www.circleofsound.co.uk; acc. 6/6/15. Missouri Folklore Society Journal Volumes 27 - 28 2005 - 2006 Special Issue Editor Lyn Wolz University of Kansas Assistant Editor Elizabeth Freise University of Kansas General Editors Dr. Jim Vandergriff (Ret.) Dr. Donna Jurich University of Arizona Review Editor Dr. Jim Vandergriff Missouri Folklore Society P. O. Box 1757 Columbia, MO 65205 This issue of the Missouri Folklore Society Journal was published by Naciketas Press, 715 E. McPherson, Kirksville, Missouri, 63501 ISSN: 0731-2946; ISBN: 978-1-936135-17-2 (1-936135-17-5) The Missouri Folklore Society Journal is indexed in: The Hathi Trust Digital Library Vols. 4-24, 26; 1982-2002, 2004 Essentially acts as an online keyword indexing tool; only allows users to search by keyword and only within one year of the journal at a time. The result is a list of page numbers where the search words appear. No abstracts or full-text incl. (Available free at http://catalog.hathitrust.org/Search/Advanced). The MLA International Bibliography Vols. 1-26, 1979-2004 Searchable by keyword, author, and journal title. The result is a list of article citations; it does not include abstracts or full-text. -
Top 10 Ne Artists to See Live in 2019! We’Re Gateshead Silent Film Festival! Listening! We Review Twisterella Festival in Middlesbrough!
Jason Hayles Jason WWW.NEVOLUME.CO.UK TOP 10 NE ARTISTS TO SEE LIVE IN 2019! WE’RE GATESHEAD SILENT FILM FESTIVAL! LISTENING! WE REVIEW TWISTERELLA FESTIVAL IN MIDDLESBROUGH! ISSUE #40 DEC 18 / JAN 19 LITTLE BUILDINGS FACES CLOSURE! ARTIST SPOTLIGHT: THE PALE WHITE! FOLLOW NE VOLUME CUBAN CHRISTMAS AT GOSFORTH CIVIC THEATRE! WE REVIEW AQUA VELVAS’ NEW ALBUM! ON SOCIAL MEDIA WE SPEAK TO RAZORLIGHT’S JOHNNY BORRELL! HOOTFEST AT THE STAND, NEWCASTLE! PICK UP OUR FREE NORTH EAST MUSIC/CULTURE MAGAZINE! TO NE VOLUME MAGAZINE WELCOME ISSUE #40! Thank you so much for picking up NE Volume magazine - the magazine produced by local music and CONTENTS culture fans, for local music and culture fans. It’s that time of year again! The Christmas NEWS markets are in full swing, the mulled wine is going down PG.7 Lost In The Woods #10! rather nicely, and we’re in the festive spirit. December PG.11 The IndieGo Sessions! is also a time where we’re spoilt for choice when it comes to cultural and musical events, CULTURE but we’ve ram-packed this bumper edition so you won’t miss out. Anyhow, so here’s what to look out for this month. In this PG.14 Hootfest at The Stand! edition, I pick the top 10 bands/artists that I truly believe you should see live in 2019; we provide you with our honest opinion PG.16 Gateshead Silent Film Festival! of Twisterella Festival in Middlesbrough; we keep you up-to- date with what’s happening in the region in December and SPOTLIGHTS January including The Courtroom Sessions at Middlesbrough Town Hall, Indiego Sessions at The Halt in Redcar and Avalanche PG.22 Artist Spotlight – The Pale White! Party at The Cluny in Newcastle; in our culture section we preview Hootfest at The Stand, and so much more. -
2015 Conference
37th annual September 10–13, 2015 Thursday, September 10 Saturday, September 12 The Lyric Theatre, 300 East 3rd Street, downtown Lexington All daytime sessions are held a The Carnegie Center for Literacy and Learning, 251 West 2nd Street. 6:00–8:00 p.m. BadddDDD Sonia Sanchez: a new documentary film and conversation with Sonia Sanchez and Patrice Muhammad 8:00–9:00 a.m. Small Group Workshops, 2:00–4:15 p.m. Free and open to the public registration and complimentary continental breakfast by reservation only Writing Lives: Loud and Quiet 9:00–10:00 a.m., plenary session biography/nonfiction workshop with Emily Bingham, part 2 What I Think I’m Doing by reservation only, lower level, Sexton Room fiction craft talk by Ann Beattie Friday, September 11 open to all registrants, first floor, Stuart Room Self-Exposure vs. Self-Examination All daytime sessions are held a The Carnegie Center for Literacy and Learning, 251 West 2nd Street. workshop in memoir and personal essay 10:15 a.m.–12:30 p.m., small group workshops with Meghan Daum, part 2 by reservation only by reservation only, second floor, Allen Room The Obstructions 8:00–9:00 a.m. by reservation only workshop in poetry with Angela Ball, part 2 Road Trip: Finding Inspiration in Place registration and complimentary continental breakfast Writing Lives: Loud and Quiet by reservation only, lower level, Caudill Room workshop in playwriting with Carson Kreitzer, part 2 biography/nonfiction workshop with Emily Bingham, part 1 by reservation only, lower level, Brown Room 9:00–10:00 a.m., plenary session by reservation only, lower level, Sexton Room One Poem, Two Attitudes reading by Sonia Sanchez, with introduction and Q &A by workshop in poetry with Kathleen Driskell, part 2 From “What If?” to “What Now?” to “What Just Happened?” DaMaris Hill Self-Exposure vs. -
The Real Y'alternative
v i b e s THE REAL Y’ALTERNATIVE NYC string band navigates the ebony and irony of Americana BY KANDIA CRAZY HORSE version of “Dueling Banjos (Black to the Future mix)” anytime soon. owboy Troy, the long, tall Texas country- The Ebony Hillbillies’ own extant CDs will rapper, is the nation’s leading proponent of have to tide y’all over until the eventual sepia hick-hopC — or rather the most prominent one. His twang revolution (don’t tell Diddy!). Sabrina’s heavily rotated CMT clip for the infectious, fiddle- Holiday and I Thought You Knew (forthcoming and-banjo-fueled single “I Play Chicken with the on Lincolnton-based Gaff Records) provide a Train” features a curiously integrated audience great introduction to a largely forgotten African “raising the roof” to lyrics like “I’m big and black, American cultural legacy. The trio’s take on classic clickety-clack/And I made the train jump the track black string-band repertoire includes “Cotton- like that.” A tepid rap boast, indeed. Eyed Joe,” “Sugar in the Gourd,” “Hell Among How much cooler would Cowboy Troy’s the Yearlings” and “Yellow Rose of Texas,” a tune challenge to Music Row be if he had enlisted New originating from a black minstrel show which is York’s Ebony Hillbillies, three urban hipsters who actually an ode to the singer’s “sweetest girl of play the subway stations and city streets as the self- color a fella ever knew.” proclaimed “last black string band in America”? Head Hillbilly Enrique Prince certainly has the chops to back anyone. -
Ethnic and Racial Formation on the Concert Stage: a Comparative Analysis of Tap Dance and Appalachian Step Dance
Ethnic and Racial Formation on the Concert Stage: A Comparative Analysis of Tap Dance and Appalachian Step Dance Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Janet Kathleen Schroeder, MFA Graduate Program in Dance Studies The Ohio State University 2018 Dissertation Committee: Harmony Bench, Advisor Melanye White Dixon Kwaku Larbi Korang Hannah Kosstrin Copyright by Janet Kathleen Schroeder 2018 Abstract “Ethnic and Racial Formation on the Concert Stage: A Comparative Analysis of Tap Dance and Appalachian Step Dance” is a revisionist project that explores the shared aesthetics and historical trajectories of these two percussive dance practices, which have ultimately developed into two distinct forms of dance. This dissertation investigates the choreographic and representational strategies choreographers use to transfer the histories and legacies of tap dance and Appalachian step dance to the stage, namely through a process I call concertization. In each analysis, I pay particular attention to representations of the complex ethnic and racial identities affiliated with each form and ways concertization highlights or obscures such affiliations. Additionally, I aim to understand the relationship between the practices of tap dance and Appalachian step dance and what I see as a contested idea of “America” as it is represented through choreography. My analyses suggest the migration of rhythm tap dance and Appalachian step dance from vernacular and social contexts to the concert stage is in tension with the ways these dance forms, as vernacular practices, also engage in the consolidation of ethnic and racial identities. -
Ebony Hillbillies Series Concert; Community Church, 7:30Pm ☺ 10 Sat Chantey Sing at Seamen’S Church Institute, 8Pm 12 Mon NYPFMC Exec
Folk Music Society of New York, Inc. March 2007 vol 42, No.3 March 4 Sun Sea Music: NY Packet+ Johnson Girls; 3pm, South Street Seaport 7WedFolk Open Sing; Ethical Culture Soc., Brooklyn, 6:30pm 9 Fri Ebony Hillbillies series concert; Community Church, 7:30pm ☺ 10 Sat Chantey Sing at Seamen’s Church Institute, 8pm 12 Mon NYPFMC Exec. Board Meeting; 7:15pm location tba 18 Sun Sacred Harp Sing at St. Barts: 2:30pm 29 Thur Newsletter Mailing, 7pm; in Jackson Heights ( Queens) 31 Sat Arthur Sherry house concert, upper West Side, Manhattan. April 1 Sun Sea Music: Heather Wood & David Jones +NY Packet; 3pm, South Street Seaport. 4WedFolk Open Sing; Ethical Culture Soc., Brooklyn, 6:30pm. 9 Mon NYPFMC Exec. Board Meeting 7:15pm location tba. 13 Fri Series concert; Community Church, 7:30pm ☺ 14 Sat Chantey Sing at Seamen’s Church Institute, 8pm. 15 Sun Sacred Harp Sing at St. Barts: 2:30pm. 29 Sun Takako Nagumo: Japanese Folk & Children's Songs. Details next pages; ☺= free to members Table of Contents Society Events details ...........2-3 Calendar Listings..................10 From The editor .................... 3 Repeating Events ..................12 Folk Music Society Info .......... 4 Calendar Location Info ...........19 Topical Listing of Events ......... 5 CDSS Folk Music Week Info ...21 Grammies Review ................. 6 30 Years Ago & ads ..............22 Ebony Hillbillies flyer ............. 7 Pinewoods Hot Line ..............23 Weekend Registration form ...... 8 Membership Form ................24 Weekend Help Wanted ............ 9 Ebony Hillbillies Friday, March 9 7:30pm at the Community Church reserve on-line: www.folkconcert2.eventbrite.com - 1 - SEA MUSIC CONCERTS; Sundays, Mar. -
Another Country.Pages
Another Country On the relationship between country music and white supremacy —and what we can do about it Karen Pittelman December 17, 2018 From Reba McEntire's 1991 video "Is There Life Out There?" with script written by Alice Randall I started writing this piece last summer, when the majority of country music stars remained silent about Charlottesville.1 As a musician and as a fan, I wanted to be part of a more organized anti-racist response, and I wished there were a group called Country Music Against White Supremacy so I could join it.2 Then I started wondering about what I could do to help make that a reality. A group like this wouldn’t be anything out of the ordinary. There’s a long tradition of both liberal and conservative musicians and their fans organizing to speak out on critical issues, raise money and awareness, and support political candidates in almost every genre of American popular music. And conservative country musicians often do have an organized, political platform, brought together by groups like the NRA.3 When it comes to progressive politics in country music, though, we’re usually on our own.4 Ever since 2003, when Natalie Maines said, “We do not want this war, this violence, and we’re ashamed that the President of the United States is from Texas” and the Dixie Another Country, Pittelman, Dec 17, 2018 Chicks were subsequently blacklisted from country radio, people have cited the “Dixie Chick effect” as the reason that more country musicians don’t publicly claim progressive values. -
Spoleto Festival Usa Program History 2012–1977
SPOLETO FESTIVAL USA PROGRAM HISTORY 2012–1977 Spoleto Festival USA Program History Page 2 2012 Opera Kepler, opera by Philip Glass; libretto by Martina Winkel; conductor, John Kennedy; director, Sam Helfrich; set designer, Andrew Lieberman; costume designer, Kay Voyce; lighting designer, Aaron Black Feng Yi Ting, composed by Guo Wenjing; conductor, Ken Lam; director, Atom Egoyan; scenic designer, Derek McLane; costume designer, Han Feng; lighting designer, Matt Frey; video designer, Tsang Kin-Wah; projection designer, Cameron Davis Dance Alvin Ailey American Dance Theater, artistic director, Robert Battle; associate artistic director, Masazumi Chaya; (Arden Court), choreographed by Paul Taylor, music by William Boyce, restaged by Cathy McCann Buck, set and costumes by Gene Moore, lighting by Jennifer Tiption; (Home), choreographed by Rennie Harris; music by Dennis Ferrer and Raphael Xavier, costumes by Jon Taylor, lighting by Stephen Arnold; (In/Side), choreography by Robert Battle, music performed by Nina Simone, lighting by Burke Wilmore; (Revelations), choreography by Alvin Ailey, décor and costumes by Ves Harper, lighting by Nicola Cernovitch; (Minus 16), chorepgraphy by Ohan Naharin, restaged by Danielle Agami, costumes by Ohad Naharin, lighting by Avi Yona Bueno; (Takademe), choreography by Robert Battle, music by Sheila Chandra, costume by Missoni, costume recreated by Jon Taylor, lighting by Burke Wilmore; (The Hunt), choreography by Robert Battle, music by Les Tambours du Bronx, costumes by Mia McSwain, lighting by Burke Wilmore -
Whitby@Home 2020
Whitby folk week whitby@Home 2020 Souvenir programme Welcome to your home! Lovely Merch! Our Whitby@home shop Hello, and welcome to Whitby@Home! As you know, due to COVID-19, there will be no official Folk Week events If you missed our pre-Whitby@Home order, then you’ve got another happening in Whitby itself during what would have been Folk Week. Instead, chance during the Whitby@Home week to purchase again as we’re we have a programme of virtual events, including dances, concerts, sessions, doing a special second order… workshops, children’s activities and Yoof Club, featuring some of the artists that would have been Joining us this year. There won’t be as many events as usual, but we hope you’ll find something to either Join in with or sit back and listen to over the week. Also, don’t forget to visit our 24/7 virtual Music & Craft Fair to stock up on lockdown treats and Christmas presents! For Zoom events there are online registration forms, which will need to be completed and submitted at least a day before the event. Please note, some workshops have limited numbers – as you know, some of our Whitby venues are small! So please register for these events and we’ll email you the Joining instructions. If you have any queries during the week, then please email us at T-shirts and badge packs [email protected] We are not charging for any events, but are available to order there will be links to donate to artists, Whitby RNLI, NHS Charities Together, and via our website at: of course Whitby Folk Week itself – please donate if you can, but if you can’t we hope whitbyfolk.co.uk/shop you’ll still enJoy Whitby@Home! Take care and stay safe, and we hope to T-Shirts £10.00 see you in Whitby next year. -
Fall Folk Music Weekend
Folk Music Society of New York, Inc. October 2008 vol 43, No.9 October 1 Wed Folk Open Sing 7 pm in Brooklyn 5 Sun Sea Music: NY Packet; 3pm,South St 10 Fri Bob Malenky house concert, 8pm upper west side 11 Sat Chantey Sing at Seamen’s Church Institute, 8pm. 13 Mon FMSNY Exec. Board Meeting; 7:15pm location tba 17-19 Fall Folk Music Weekend in Ellenville, NY-- see centerfold 19 Sun Sacred Harp Singing at St.Bartholomew’s in Manhattan 24 Fri Svitanya, vocal workshop 6:30pm; concert 8pm at OSA J; A Daniel Pearl World Music Days Concert 29 Wed Newsletter Mailing, 7pm in Jackson Heights (Queens). November 1 Sat Singing Party in Manhattan; 3:30 pm 2 Sun Gospel and Sacred harp Sing; 3pm in Queens 2 Sun Sea Music: Donal Maguire + NY Packet; 3pm,South St 5 Wed Folk Open Sing, 7pm in Brooklyn 10 Mon FMSNY Exec. Board Meeting; 7:15pm location tba 14-16: Festival of Traditional Music: Eisteddfod-NY, Queens. 15 Sat Chantey Sing at Seamen’s Church Institute, 8pm. 16 Sun Sacred Harp Singing at St.Bartholomew’s in Manhattan 22-23: Traditional Singing Workshop; details on page 6 Fall Folk Music Weekend October 17-19 -- see flyer in Centerfold Table of Contents Society Events details ............2-3 30 Years Ago ......................21 Folk Music Society Info ........... 4 Peoples’ Voice Cafe Ad ..........22 Topical Listing of Events ......... 5 Bob Malenky ad ...................22 Svitayna Concert Ad ............... 7 Yiddish Song Workshop Ad ....22 Eisteddfod-NY help wanted ...... 6 Pinewoods Hot Line ..............23 Fall Weekend Schedule ........... -
Black Musicians in String-Bands in the American South, 1920 – 1950
Strings Attached: Black Musicians in String-bands in the American South, 1920 – 1950 By Kathleen A. Danser A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music University of Alberta © Kathleen A. Danser, 2018 ii ABSTRACT Black musicians in string-bands in the American South during the period 1920–1950 were remarkably resilient to social, political, and cultural forces while also actively creating cultural products. The breadth of their musical activities and networks of interconnectivity expands our knowledge and indicates significant contributions to black cultural productions during this period of time. Their imprint on the fabric of American popular music is indelible, characterized by adaptive, innovative, and creative practices. Centering this discussion on black musicians and their activities in string-bands highlights their diversity as it relates to genre, musicianship, and the navigation of varied performance spaces. Black musicians who performed in string-bands had highly developed skills on their instruments and were recognized as experts on their instru- ments and as professionals in the music industry. Those with long music careers had deep networks of connections to and mentorship from other professional musicians, along with a flexible repertoire that would allow them to adapt to any audience in any context, a performative stratagem, an understanding of how to prolong their lives as independent musicians, and the freedom to travel. The early musical career of Gus “Banjo Joe” Cannon from Clarksdale, Mississippi and, later, nearby Memphis, Tennessee is one example iii of many who demonstrate the aforementioned qualities and focus this dissertation.