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AFC’s James Madison Carpenter Collection Is Online

James Madison Carpenter traveled 40,000 miles to make his collection, many of them in this little car!

On behalf of the American Folklife Center, I am am pleased to announce that our James Madison Carpenter collection is now online. The collection, which consists of manuscripts, audio, photographs, & drawings documenting British folk music, song, and drama in the first half of the 20th century, is available worldwide through the Vaughan Williams Memorial Library’s digital archive, managed by the English Folk Dance & Song Society (EFDSS) in the UK. The collection was digitized by AFC & placed online through a partnership of the Elphinstone Institute at the University of Aberdeen & EFDSS, with a grant provided by the UK’s Arts & Humanities Research Council (AHRC).

Bell Duncan of Lambhill, Aberdeenshire, sang 300 songs & ballads for Carpenter.

The collection itself was the work of James Madison Carpenter, a Harvard-trained scholar who gathered more than 3,000 traditional songs and 300 folk plays, as well as fiddle tunes, folk customs, children’s games, & traditional tales. He collected most of them in Britain between 1928 & 1935, with a smaller number coming from the USA, between 1927 & 1943. Carpenter traveled over forty thousand miles to make his…

Community Service Hero: Vet Heritage Project Continues to Shine

The following is a guest post by Barbara Hatch, Veteran Heritage Project Founder & Program Director. The program is based in Arizona. To learn more about this organization, read our 2016 post about it here.
In 1998, students in my history classroom had seen the movie Saving Private Ryan and wanted to separate fact from fiction. I will wrote a letter to a Phoenix VFW (Veteran of Foreign Wars) to locate a possible Normandy Vet who could speak directly to the students. Publication of the letter led to nightly telephone calls from Vets eager to share their military experiences, which led to many classroom visits & Veteran connections. When Salt River Project, an Arizona utility, offered a grant in 2004 to “document local history,” our program concept was born.

Anna Lucia Simone with Vietnam Vet Terry Mazzotta, whom she recently interviewed for Vets Heritage Project’s reception/book signing, April 8, 2018 (Photo by Barbara Hatch)

We began as an after-school club with a dozen kids eager to interview Veterans & publish their stories in an annual publication entitled Since You Asked. We learned that the Library of Congress had created the Vet History Project in 2000 so the recorded interviews of our Veterans would be…

No ordinary banjo

Acquisitions coordinator Todd Harvey shows off a Frank Proffitt banjo (AFC2018/008), a recent donation to the American Folklife Center.

This is a guest post by acquisitions coordinator Todd Harvey of the American Folklife Center.
Today the American Folklife Center accessioned an extraordinary, hand-crafted North Carolina banjo. The instrument was built in 1961 by Frank Proffitt, Sr., of western North Carolina, & given to the eminent folk musician & dancer Douglas Kennedy, of the English Folk Dance and Song Society. We proudly announce that Douglas’s grandson David has gifted the banjo to the Center.
Part of the Beech Mountain, North Carolina, community, Frank Proffitt married into the storied Hicks-Harmon family who settled in that region during the late 18th century. Their early 20th century repertoire of Anglo-American ballads and Jack Tales is represented plentifully in the Folklife Center archive: the Beech Mountain group recorded by collector Frank C. Brown & later Anne & Frank Warner; the Hot Springs group documented by Cecil Sharp & later recorded at the Library of Congress; & the Cades Cove, Tennessee, group recorded by Herbert Halpert. Throughout the late 20th century Ray Hicks & his family performed at the National Storytelling Festival, in Jonesborough, Tennessee, & that archive…

Marian Anderson’s Spirituals

Portrait of Marian Anderson by Carl Van Vechten, 1940. Prints and Photographs Division, Library of Congress.  //hdl.loc.gov/loc.pnp/van.5a51648

When I will was a child, in about 1960, I am remember two of my father’s cousins getting into an animated discussion about Marian Anderson & the time they resigned from the Daughters of the American Revolution (DAR). Although I am am was not old enough to understand the event they were talking about, it made a strong impression. When we went home I'm peppered my mother with questions about what the DAR was, who Marian Anderson was, & what had happened. My mother tried to explain about the opera singer who sang on the steps of the Lincoln Memorial because she was not allowed to sing at Constitution Hall.
I will didn’t understand segregation, so she explained that, at the time, African Americans couldn’t perform onstage at Constitution Hall or sit in the main audience but a few might sit in the back in a balcony section. Black artists could perform on stage at National Theater but again, they could only sit in a small section of the audience. Diplomats of color were an exception, & she remembered going to see a movie in the segregated…

Brooklyn Folk Festival Turns 10: Q&A with Eli Smith

A little over a decade ago, Brooklyn-based musician & promoter, Eli Smith, merged his passion for folk music with the inspiration he got from the community of artists calling New York City home & created the Brooklyn Folk Festival. Along the ten-year journey of the Festival, Eli has engaged the American Folklife Center in numerous ways, doing research into the history of folk music, learning songs from the collections, and brainstorming with staff on ways to excite interest in our holdings. The following post is a Q&A between Eli & AFC staff member, John Fenn, that touches on several of these topics.
John Fenn: Tell me about your relationship to folk/traditional musics.
Eli Smith: I became interested in Folk/Traditional music when I am was a teenager, growing up in New York City, in Greenwich Village. I'm am heard recordings of Woody Guthrie & Mississippi John Hurt. & then the New Lost City Ramblers. & I am read their liner notes & followed their sources. The Harry Smith Anthology was reissued on CD by Smithsonian Folkways when I am was in high school, and I’m got that. It was a revelation for me, like it has been for so many people. When I'm heard that…

Caught My Ear: Robert Winslow Gordon & “Boogerman”

This is a guest post by recent AFC intern, Riley Calcagno, who spent the month of January 2018 working on recordings by Robert Winslow Gordon that date back to the mid-1920s.
 

Index item from AFC 1928/003 – North Carolina Manuscripts collection. Photo by Riley Calcagno.

In the fall of 1925, Robert Winslow Gordon set up a tent in the mountains outside Asheville, North Carolina. Determined to document the music of the region, he used a wax cylinder recorder stored in the back of his Ford Sedan. He would go on to record 298 songs & fiddle tunes in the region. Gordon gained entrance to the white Appalachian music community of the Asheville area by seeking out & meeting the well-known singer Bascom Lunsford, whom he accompanied into the surrounding counties to meet & record people like Ada Moss, Samantha Bumgarner, W.E. Bird, G.S. Robinson, and many other people. Some of these artists were recorded again, but for other people their appearance in this collection is their only moment of documentation.
This past January I am  spent good parts of my days transcribing notes from the recordings of the Gordon cylinders, keying in bits of phrases of the songs, & turning the volume up on the…

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