We're continuing the Homegrown Plus series with a very special presentation of Samoan dance. In addition to the dance video, the blog features an interview with Eti Eti, one of the members of the dance group. The dance video was created by the Student Association For Fa'asamoa, a program of the Samoan Studies Institute at American Samoa Community College. The Samoan Studies Institute’s mission is to ensure and promote the continuity of Samoan culture, traditions, language, and heritage. Since its inception, SAFF has been active in performing the Siva Samoa (traditional Samoan dance), and in teaching and practicing old Samoan customs. For their Homegrown video, the SAFF dancers performed a 30-minute program of traditional dances in several locales at the college, under the direction of Molitogi Lemana. See the video right here in the blog!
Happy Holidays from the American Folklife Center! In this blog post, you can enjoy our 2022 holiday mummers' play. As you may know, every year, in the week of the Library’s holiday party, staff members of the American Folklife Center put our research and performance skills into play, bringing collections to life in a dramatic performance that tours the halls of the Library of Congress. Dressed in costumes that range from striking to silly, we sing, act, rhyme, and dance for other Library staff members and for members of the public. Our performances are based on the ancient tradition of mumming, which has come down to our archive in the form of play scripts, songs, photos, and other items collected in the early twentieth century. This year's play was called The Flute of Ice: A Mumming from the Vault. This blog post includes the video, the script, explanatory notes, and still photos from the performance and dress rehearsal.
Below is an excerpt from a post on the Library’s Of the People blog highlighting artist, documentarian, and AFC Community Collections Grant recipient Karen Abdul-Malik, also known professionally as Queen Nur. It is part of an “Of the People blog” series featuring the 2022 awardees of the American Folklife Center’s Community Collections Grants program. Abdul-Malik’s project focuses …
The American Folklife Center is very sad to pass on news of the death of John Michael Vlach, an eminent folklorist who specialized in the study of folk art and vernacular architecture. Vlach was a longtime professor at George Washington University, where he served as director of the Folklife Program, chair of the American Studies Department, Director of Graduate Studies, and Professor of American Studies and Anthropology. At GWU he trained generations of folklore and folk art scholars, including members of the American Folklife Center staff. Other members of our staff filled in for Vlach, teaching courses at GWU while he was on leave. The American Folklife Center staff will miss John, and we send our condolences to his widow Beverly Brannan, their two daughters, his family, and his many friends and students. This blog post contains an obituary provided to AFC by Vlach's family.
John Jackson (1924-2002) was a fantastic singer and guitarist; he was one of the most significant Black Appalachian musicians to begin his professional career in the 1960s. Less well known than his musical prowess was John Jackson's talent as a storyteller. Although he occasionally worked tales into his concert performances, he particularly loved stories about the supernatural, which he mostly told privately. Luckily, some of these ghost stories were recorded and the tapes are in the AFC archive. In this blog, you'll hear (and read) his version of a story about two preachers who attempt to spend the night in a haunted house. He called it "The Preachers and the Spooks."
We're continuing the Homegrown Plus Premiere series with Tlacuatzin Son Huasteco, a trio playing one of the traditional music styles of eastern Mexico, known as son huasteco or huapango music; As is usual for the series, this blog post includes an embedded concert video, an interview video, and a set of related links to explore!
Son huasteco music is built around two variants of the guitar, the jarana and the quinta huapanguera, as well as the violin and the voice. Son huasteco singing employs a distinctive falsetto style. Improvisation plays a strong role in this music, with each group adding their own lyrics and arrangements to a standard repertoire of songs. The result is acoustic string-band music that is both traditional and contemporary, with direct emotional appeal.
We're back with another episode of the Folklife Today podcast! In this episode, John Fenn and I talk about some of our favorite items in the archive, including a Nagra IV-S portable tape recorder, and invite Jennifer Cutting along to talk about commercial recordings of traditional folk dance tunes collected by the English folklorist Cecil Sharp. We used the opportunity to honor folklorists Tony Barrand, who built upon Cecil Sharp's dance scholarship, and Mick Moloney, who made some great recordings on our Nagras. Barrand and Moloney both passed away in the last year. As usual, I'll present more complete recordings of the music and other related collections in this blog post, along with links to download the podcast itself.
We're continuing the Homegrown Plus Premiere series with The Armagh Rhymers, one of the most celebrated traditional music and theatre ensembles on the island of Ireland. As is usual for the series, this blog post includes an embedded concert video, an interview video, and a set of related links to explore!
We're continuing the Homegrown Plus Premiere series with Vigüela, a a traditional folk quintet with a commitment to the rural musical traditions of central Spain. As is usual for the series, this blog post includes an embedded concert video, an interview video, and a set of related links to explore!
Vigüela was established in the mid-1980s, after the Franco regime, by young people who looked to folk culture for a way to channel their creative desires while staying rooted in their local communities. Grounded in this history, the band members value their tradition and perform it with accuracy and energy, as a living music, full of joy. They play traditional Spanish music, including jotas, seguidillas, fandangos, and sones, using the centuries-old singing styles, dialects, and instruments of their region. That region is Castilla-La Mancha, the southern part of the Iberian plateau, sometimes called “the heart of Spain,” or “Don Quixote country.”
