On April 12th, the American Folklife Center posted another Occupational Folklife Project (OFP) collection to the Library’s website. The collection features 15 in-depth interviews documenting the careers and work culture of African American nurses who are members of the Chi Eta Phi Sorority, Incorporated, a renowned historically Black national professional nursing organization founded in 1932. (We are excited to note this was the 50th OFP to be processed and made available to the public – but more on that in an upcoming blog.) To mark the occasion, AFC staff folklorist Nancy Groce interviewed the collection’s creator, Carmen Vaughn-Hewitt, a nurse, oral historian, and Chi Eta Phi member who was awarded a 2021 Archie Green Fellowship from AFC for this research project. Find the interview over at Folklife Today!
We're continuing the Homegrown Plus series with Northern Resonance, a Scandinavian string trio rooted in traditional folk music. As usual for this series, you’ll find a concert video, an interview video, and a set of links to explore. Northern Resonance perform traditional and newly composed roots music on a previously untested combination of instruments: Swedish viola d’amore, hardanger fiddle and nyckelharpa. They combine Scandinavian music with explosive rhythms and grand chamber-like arrangements, taking folk music in a new direction. The members of Northern Resonance are highly skilled and accomplished musicians. The three instruments they play are all bowed stringed instruments, and they all make use of sympathetic strings. The sympathetic strings are not played by the musicians, but vibrate due to their proximity to the bowed strings, providing the "resonance" of the group's name. With these unusual instruments and their lively tunes, Northern Resonance delighted our audience in the Whittall Pavilion on March 7, 2024.
In February 2024, the American Folklife Center and the Health Services Division organized a panel discussion on longevity with experts in public health and the traditional arts. This post provides a webcast of the event and provides responses to audience questions that were unanswered, due to time constraints, during the event.
This post looks at photos and recordings of some important calypso stars of the 1940s New York music scene, Macbeth the Great (Patrick MacDonald), Duke of Iron (Cecil Anderson) and Lord Invader (Rupert Grant). The 1947 photos are part of the William P. Gottlieb collection at the Library of Congress Music Division, while the recording of a full-length 1946 concert by the three performers is part of the American Folklife Center’s Alan Lomax Collection. These collections shed light on an interesting time in American music, before the emergence of rock and roll, when calypso and related Caribbean styles were vying for popularity with other folk music genres. In 1944, the Andrews Sisters had a major hit with Lord Invader's "Rum and Coca-Cola." In 1956, Harry Belafonte's "Calypso" became the first million-selling LP record. During the period between those milestones, it looked possible that calypso could emerge to be one of the leading styles of American pop music. Performers like Duke of Iron, Macbeth, and Lord Invader engaged in friendly competitions like the ones documented by Gottlieb and Lomax, using witty lyrics, catchy music, and personal charisma to fascinate audiences on stage and on record. Find the photos and a link to the concert audio in this blog post.
In this post, we discuss the frequently repeated claim that William Shakespeare originated the knock knock joke. The claim is an example of metafolklore, in that it’s a traditional story, or creation myth, told about a kind of joke. The story is based on a passage from “Macbeth” in which a porter declaims a monologue which includes the phrase “knock knock. Who’s there?” After we look at this fun passage from the perspective of the knock knock joke, we present new evidence: an earlier (and funnier) joking use of “knock knock. Who’s there?” in a play by Shakespeare’s friend Ben Jonson. While it’s possible to conclude that Jonson originated the knock knock joke, we also point out that both Jonson and Shakespeare were drawing on a deep well of folk culture, which included all kinds of jokes, including set dialogue routines. It's eminently plausible that among those routines was the "knock knock, who's there" opening that eventually evolved into modern knock knock jokes.
Enjoy two video interviews with the ethnographer, photographer, and filmmaker Michael Ford. Michael first visited the American Folklife Center in 2014, soon after we were able to acquire his significant collection of materials documenting traditional life and culture in the hill country of northern Mississippi. Michael first moved to Mississippi in the 1970s after receiving his BFA in photography and film from Rochester Institute of Technology and an MS in broadcasting and film from Boston University. Michael became captivated with his new home, and soon became a part of community life. He completed an apprenticeship in a local blacksmith's shop and began to realize that local life and culture was rapidly changing. He spent several years documenting music, local farming practices, and other aspects of community life, primarily in Lafayette, Marshall, Tate, and Panola Counties in Mississippi. He shot over 16,000 feet of 16 mm film, recorded many hours of interviews and music, and took over 1000 still photographs. These have formed the basis of films, books, and more. As a special treat, we include links to streaming video of several of his films, exploring traditions of blues music, blacksmithing, quilting, and more! As usual for posts in this series, you'll find two embedded videos and a set of links to explore.
The American Folklife Center announces its new Story Map, California Gold: Sidney Robertson Cowell, 1930s California Folk Music, and the American Folklife Center, which follows the folk music collector, Sidney Robertson on her late 1930s trip to document musicians, singers, and their families and communities in California.
We're continuing the Homegrown Plus series with an entertaining and educational concert and interview by Reverend Robert B. Jones, Sr., an inspirational musician and storyteller celebrating the history, humor, and power of American roots music. His deep love for traditional African American and American music is shared in live performances that interweave timeless stories with original and traditional songs. For more than thirty years Robert has entertained and educated audiences of all ages in schools, colleges, libraries, union halls, prisons, churches and civil rights organizations. He brought that inspiration here to the Library of Congress on February 15, 2024, as part of the Homegrown series as well as the series "Live! At the Library," and as part of our celebrations of Black History Month. As an ordained minister and a Baptist pastor, Rev. Jones has an unwavering faith the cultural importance of sacred and traditional American roots music. At the heart of his message is the belief that our cultural diversity is a story that we should celebrate, not just tolerate. This concert included blues, spirituals, gospel, rock, and even a touch of hip hop, delivered with voice, acoustic guitar and harmonica. Watch for the special sequence in which Rev. Jones is joined by his wife Sister Bernice Jones, his daughter Arnecia Jones, his son Robert Jones II (aka R.J.), and his daughter-in-law, R.J.'s wife, Sister Rosa Warner Jones. As usual for this series, you’ll find a concert video, an interview video, and a set of links to explore.
In this post, Nancy Groce (Senior Folklife Specialist at the American Folklife Center) highlights "Custodians and Janitors in Colorado" -- a new collection available from the American Folklife Center's Occupational Folklife Project. The collection, documented by Cynthia Torres, features interviews about the occupational culture and experiences of custodians and janitorial workers in the state of Colorado. The post gives an overview of the collection and features an interview with Torres about her field research. Torres was awarded an Archie Green Fellowship by the American Folklife Center in 2021 to undertake research for this collection.
