Alabama bound -- Devilish Mary -- Round the bay of Mexico -- Tom Dooley -- The Midnight Special -- Sportin' life blues -- Raise a rukus tonight -- The crawdad song.
Track Information:
101 Round the Bay of Mexico / Bob Carey, Erik Darling, Roger Sprung.
204 Raise a Ruckus Tonight / Bob Carey, Erik Darling, Roger Sprung. Guitar,Banjo.
Local Numbers:
FW-ASCH-LP-1204
Stinson.6
Publication, Distribution, Etc. (Imprint):
Granada Hills, Calif. Stinson 195x
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
General:
Program notes by Ken Goldstein and lyrics on container.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Glory -- Poor Lazarus -- It was sad when that great ship went down -- 900 miles -- Cindy -- Don't lie buddy -- Mule skinner blues -- Who's gonna shoe your pretty little feet -- Alabama bound -- Round the bay of Mexico -- Tom Dooley -- Devilish Mary -- Midnight Special -- Sportin life blues -- Crawdad song -- Raise a rukus.
208 Raise a Ruckus Tonight / Bob Carey, Erik Darling, Roger Sprung. Guitar,Banjo.
Local Numbers:
FP-RINZ-LP-0776
Stinson.5
Publication, Distribution, Etc. (Imprint):
Granada Hills. Calif. Stinson 1962
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
General:
Title from container. Program notes by Ken Goldstein and texts on container.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Hungary is a small country in Central Europe, roughly the size of Indiana. Its population is approximately 10 million, but another 2.5 million Hungarians reside within the seven countries that surround its borders (Austria, Slovakia, Ukraine, Romania, Serbia, Croatia, and Slovenia) and another 2 million Hungarians live in other parts of the world. These people speak Hungarian - known as Magyar (which is also the word that refers to a person of Hungarian ancestry). The Magyars' unique language helped them survive as a cohesive ethnic group and also to develop a distinctive identity and culture.
Throughout its thousand years of history, Hungary has been a multiethnic country, drawing and incorporating new peoples and traditions. The territory has been an area of contact in Europe's geographic center, welcoming influences from all directions. The resulting culture expresses itself in a rich and diverse heritage of music, dance, costume, arts and crafts, gastronomy, speech, and even the conventions of naming (Hungarians place the family name before the given name).
In the 1970s, popular interest in folk music and dance traditions was revived by the so-called táncház (dance house) movement. This urban grassroots movement reinvented the institution of the village dance in urban settings. Young people were searching for traditions that were "true" and "authentic," and their interest focused on learning dances that were varied, improvisational, and performed to live musical accompaniment. They strove to understand the original techniques, performing styles, and contexts of the dance and the accompanying vocal and instrumental music. Their teachers were remarkable personalities in rural areas of Hungary and neighboring countries who had been able to preserve these traditions in spite of twentieth-century modernization.
A similar motivation to preserve traditional Hungarian handicrafts has provided a boost to a flourishing crafts revival. The táncház and the crafts revival provided refreshing alternatives to the mandated, ideologically controlled Socialist youth movement and forms of entertainment of the time. Their practices became not only an act of protest, but also a new channel for the expression of collective memory and identity.
Thanks to the transmission of traditional knowledge from these "last preservers" to the succeeding generations, 2013 saw a rich repertoire and high standard of dance, musical, and crafts knowledge throughout the country. What had started as an amateur movement thus revolutionized the methods and concepts of choreographed stage performances, thereby creating new sensibilities and possibilities for both contemporary and traditional dance. Recent experiments in music, design, and fashion are reshaping the boundaries and meanings of tradition.
The Hungarian Heritage: Roots to Revival program at the Festival demonstrated not only the diversity of these contemporary traditions, but also the worldwide significance of the Hungarian folk revival movement. Featuring highly skilled masters and apprentices from rural areas, as well as musicians, dancers, and artisans from more urban settings, the program highlighted the vitality of this culture, as well as the strength it derives from the reinterpretation of traditions.
James Deutsch and Ágnes Fülemile were Program Curators and Zsuzsanna Cselényi was Program Coordinator. The Curatorial Advisory Board included: Miklós Cseri and Eszter Csonka-Takács, Hungarian Open Air Museum; László Diószegi, György Martin Folk Dance Association; Gabriella Igyártó, Festival of Folk Arts and Crafts; László Kelemen, House of Traditions; and János Tari, National Museum of Ethnography.
The program was produced by the Smithsonian Center for Folklife and Cultural Heritage in partnership with the Balassi Institute, Budapest. Major support was provided by the Hungary Initiative Foundation and National Cultural Endowment of Hungary. Additional support was provided by the Hungarian American Coalition, American Hungarian Federation, Hungarian Ministry of Foreign Affairs, Embassy of Hungary in Washington, D.C., Center for Humanities of the Hungarian Academy of Sciences, Ferenc Liszt University of Music, Hungarian National Tourist Office, William Penn Association, Hungarian American Cultural Association, City Council of Karcag, Hungarian Communion of Friends, and Tisza Ensemble Washington.
Presenters:
Ágnes Fülemile, Andrea Navratil, Bob Cohen, Boldog Anna, Csiki István, Eszter Bíró, Fruzsina Cseh, János Mihaly Tari, Judy Olson, Kálmán László, Kálmán Magyar, Kiss Réka, László Károly Diószegi, László Orbán, Laura Götzinger, Lisa Overholser, Mary Taylor, Csaba Mészáros, Pál Richter, Simon Ervin, Sivo Marta, Szilágyi Gyula, Tekla Tötszegi, Váradi Viktória, Vendégh Gábor, Veress Janka, Zoltán József Juhász, Zsuzsa Seres
Participants:
Musicians
Mátyás Bolya, zither, Solymár, Hungary
James Cockell, 1971-, violin, Edmonton, Alberta, Canada
Bob Cohen, 1956-, violin, Budapest, Hungary
Anna Csizmadia, 1992-, vocalist, Budapest, Hungary
Péter Deáky, French horn
Elisabeta Dezső, 1950-, vocalist, Suatu, Cluj, Romania
Balázs Istvánfi, 1972-, bagpipes, Zebegény, Hungary
István "Dumnezeu" Jámbor, 1951-, fiddle, Ceuaș, Mureș, Romania
Martin "Florin" Kodoba, 1977-, fiddle, Cluj-Napoca, Romania
Andrea Navratil, 1978-, vocalist, Budapest, Hungary
András Németh, 1984-, hurdy-gurdy, Pomáz, Hungary
Csilla Németh, drum
László Orbán, 1960-, fiddle, Sammamish, Washington
István "Gázsa" Papp, 1959-, fiddle, Budapest, Hungary
Bálint Schmidt, trumpet
Gábor Schmidt, trumpet
Jake Shulman-Ment, 1984-, violin, Brooklyn, New York
Áron Székely, 1984-, viola, Brooklyn, New York
Tibor Tillmann, trumpet
István "Kiscsipás" Varga, 1974-, fiddle, Huedin, Romania
ESZTER BÍRÓ AND BAND -- ESZTER BÍRÓ AND BANDEszter Bíró, 1977-, vocalist, Budapest, HungarySándor Födö, 1981-, percussion, Páty, HungaryMáté Hámori, 1986-, guitar, Budapest, HungaryPéter Papesch, 1973-, bass, Szentendre, HungaryNikola Parov, 1960-, clarinet, Nagykovácsi, Hungary
SZALONNA AND HIS BAND -- SZALONNA AND HIS BANDRóbert Doór, 1964-, bass, Gyermely, HungaryAttila Gera, 1978-, wind instruments, Nagytarcsa, HungaryTamás Gombai, 1970-, fiddle, Budapest, HungaryGyula Karacs, 1974-, viola, Veresegyház, HungaryIstván Pál, 1980-, fiddle, Budapest, HungarySándor Ürmös, 1976-, cimbalom, Budapest, Hungary
Dancers
Dalma Bangó, 1990-, dancer, Gödöllő, Hungary
Zsófia Bartha, 1989-, dancer, Győr, Hungary
István Berecz, 1987-, dancer, Budapest, Hungary
Dóra Cseke-Császár, 1990-, dancer, Lenti, Hungary
Péter Darabos, 1988-, dancer, Tordas, Hungary
Andrea Dobi, 1973-, dancer, Toronto, Ontario, Canada
Péter Ertl, 1968-, dancer, Budapest, Hungary
Tamás Farkas, 1984-, dancer, Kamut, Hungary
Annamária Fekete, 1995-, dancer, Gödöllő, Hungary
Dezső Fitos, dancer, Budapest, Hungary
Kristóf Fundák, 1985-, dancer, Budapest, Hungary
Richárd Hideg, dancer, Budapest, Hungary
Brigitta Horváth, 1990-, dancer, Lenti, Hungary
Lili Kaszai, 1988-, dancer, Budapest, Hungary
Kata Kádár, 1985-, dancer, Érd, Hungary
Kata Kovács, 1990-, dancer, Győr, Hungary
Zoltán Kovács, 1993-, dancer, Dunaföldvár, Hungary
Dániel Légár, 1991-, dancer, Zákány, Hungary
Máté Módos, 1991-, dancer, Győr, Hungary
Ahmed Moussa, 1990-, dancer, Gödöllő, Hungary
Zoárd Pálffy, 1986-, dancer, Budapest, Hungary
Gergely Papp, dancer, Gödöllő, Hungary
Máté Papp, dancer, Gödöllő, Hungary
Rita Radics, 1964-, dancer, Budapest, Hungary
Tünde Schnelczer, dancer, Budapest, Hungary
Mariann Temkó, 1984-, dancer, Szatymaz, Hungary
FASHION MODELS
Bernadett Foeldi
Luca Glavatity
Dalma Kármán
Ágnes Kerék
Lili Mosonyi
Communities of Tradition
GYIMES (TRANSYLVANIA, ROMANIA)
Csaba André, 1987-, dancer, Lunca de Jos, Romania
Irén André, 1995-, vocalist, Lunca de Jos, Romania
Lóránt Bodor, 1991-, dancer, Lunca de Jos, Romania
Henrietta Simon, 1996-, fiddler, Lunca de Jos, Romania
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2013 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The province of Alberta, which celebrated its centennial in 2005, is a land of contrasts. Its landscape is among the most diverse in North America, with badlands, prairies, boreal forests, rolling foothills, enormous freshwater lakes such as the Athabasca, and mighty rivers including the Peace and the North Saskatchewan. Its western border is defined by the spectacular ranges of the Rocky Mountains; its eastern border by the Great Plains. Alberta's true wealth, however, is not its landscape or its natural resources, but its people - a diverse, hardworking, innovative population whose "can-do spirit" has transformed a frontier territory into a prosperous province with a vibrant cultural landscape.
In its one hundred short years as a province, Alberta has grown in ways that would have astonished its earliest founders. From a frontier outpost, Alberta has transformed itself and its diverse population into a distinctive culture unlike any other. Drawing on its history, cultural strengths, and ingenuity, Alberta enters its second century poised to make increasingly significant contributions to Canadian, North American, and international culture. The many participants who joined the Festival were typical Albertans, drawing upon the best of Alberta's past and present as they laid the cultural foundations that will shape its future.
The Festival program showcased the music and dance of Alberta's folk, country, and ethnic traditions, but Alberta also supports equally vibrant jazz, blues, rock, world, and classical music scenes. The one thing shared by all the 2006 Festival performers was their focus on Alberta, in their lyrics and their styles. Cultural life in Alberta is also enriched by a vibrant theater scene. In fact, Alberta prides itself as being the birthplace of "Theatresports." Theatresports pits two teams of improvisers against one another on a given topic, with judges awarding points to the funniest team; Festival visitors had the chance to enjoy this and other entertainments.
Ranching is a major factor in Alberta's economy, and for many Albertans ranching and cowboy culture are the symbols of what it means to be an Albertan. Similarly, agriculture remains a major factor in the Alberta economy. With the arrival of European settlers, Alberta became famous for the excellent quality of its beef and its ample harvests of grain - particularly wheat, oats, and barley. Throughout the province, well-attended farmers' markets allow distinguished chefs and dedicated home cooks to buy fresh, local ingredients directly from the farmers and ranchers who produce them. Alberta's ethnic diversity is reflected in the profusion of available restaurant cuisines, a sampler of which were demonstrated for Festival audiences.
Careful workmanship is highly valued in Albertan culture, and artisans of all descriptions thrive throughout the province. The 2006 Festival highlighted several distinctive regional craft traditions - those practiced by the First Nations peoples of Alberta, those practiced by immigrants to Alberta, and the western crafts that grew out of Alberta's early ranching culture. The province is still home to thousands of working cowboys and the industries that provide them with the equipment and gear they need to follow their profession. The primary factor driving Alberta's economy today is the energy sector. Presentations at the Festival highlighted the occupational folklife of workers in three major components of Alberta's energy sector: oil and gas drilling, the oil sands, and laying and maintaining pipelines.
The responsibility of being stewards of some of North America's most pristine and extensive wilderness areas is one that Albertans take seriously. Protection, management, and sustainability of resources in wilderness areas generate considerable public debate and are the focus of extensive government policies. Recreation and sports are also important aspects of life in Alberta that were shared with Festival visitors. Several coaches traveled to the Festival to discuss the important role that amateur ice sports play in the culture of towns and villages throughout Alberta.
Nancy Groce was Program Curator; Dorey Butter was Program Coordinator; and Beverly Simons was Program Assistant. The Alberta Steering Committee included: Jeffrey Anderson, Terri-Lynn Bradford, AI Chapman, Neelam Chawla, Wayne Clifford, Drew Hutton, Bruce McGillivray, Steve Pritchard, Murray Smith, Tristan Sanregret, and Hugh Tadman. The Alberta at the Smithsonian Advisory Committee consisted of: Giuseppe Albi, Lorna Arndt, Tommy Banks, Susan Berry, Garry Berteig, Anne Brodie, Margaret Cardinal, Daniel Cournoyer, Barbara Dacks, Michael Dawe, Trevor Gladue, Jim Gurnett, Lorain Lounsberry, Allison G. MacKenzie, Tom McFall, Peter North, Andy Nueman, Michael Payne, Holger Petersen, Regula Qureshi, Anne Ramsden, Sol Rolingher, Robert Rosen, Jane Ross, John Short, Fred Stenson, Denis Tardif, Linda Tzang, and Ron Ulrich.
The program was produced in partnership with the Government of Alberta, with the collaboration of the Alberta Foundation for the Arts and the Ministries of Community Development and International and Intergovernmental Relations. Lead support was received from the Government of Alberta, the City of Calgary, and the City of Edmonton, with major support from the Athabasca Regional Issues Working Group (RIWG), ConocoPhillips, Enbridge Corporation, EnCana Corporation, and Suncor Energy Inc., and contributions from Alberta Beef Producers, Canadian Forces, The Fairmont Washington D.C., Nova Chemicals Corporation, and PetroCanada. Major in-kind assistance was provided by Caterpillar Incorporated, KitchenAid, Weatherford International Ltd., and Whole Foods Market. Collaborative support was provided by Alberta Canola Producers Commission, Australian Outback Collection (Canada) Limited, and City Lumber Corporation.
Researchers:
Susan Berry, Juliette Champagne, Brian Cherwick, James Deutsch, Maurice Doll, Linda Goyette, Gail Hall, Sylvia Larson, Terri Mason, Melissa Jo Moses, Jane Ross, Linda Tzang
Presenters:
Karen Andrews, Betty Belanus, Kevin Blackerby, Allison Grace Brock, Robert Gordon Chelmick, James Deutsch, Hal Eagletail, John Franklin, Ben Gadd, Cia Gadd, Linda Goyette, Gail Hall, Doris Daley, Allison Mackenzie, Jim McLennan, Lynda McLennan, Monica Miller, Melissa-Jo Moses, Diana N'Diaye, Holger Peterson, Lionel Rault, Darcie Roux, Amy Schriefer, Atesh Sonneborn, Luka Symons
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2006 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Collection consists of correspondence, photographs, and artifacts documenting Meyer Later, a World War I veteran who served with the United States Army in France between September, 1918 and April, 1919.
Scope and Contents:
Series 1, Personal Correspondence, 1917-1919, consists of Later's personal letters to his family, his brother Abe, and his brother-in-law Bob North dating from January, 1917 to April, 1919. Most of the letters detail his endeavors in areas of eastern France, including Dijon, Paris, and Buzancy. Also included is Later's discharge letter addressed from Commander-in-Chief John J. Pershing.
Series 2, Photographs, 1919, contains six photographs taken in various areas of France of Later and other soldiers. One photograph documents Later with other soldiers in Fromereville, France dated January 31, 1919. Another is a group photograph taken in Dijon, France dated May 8, 1919.
Series 3, United States Army Materials, 1918-1919, consists of the pay record bBook and an Army leave permit related to Later's service in the United States Army.
Series 4, Memorabilia, 1919, contains one silver dog tag with Later's first and last name and a seven digit serial number. Also included are four silk-embroidered handkerchiefs from Paris in 1919.
Arrangement:
The collection is organized into four series.
Series 1, Personal Correspondence, 1918-1919
Series 2, Photographs, 1919
Series 3, United States Army Materials, 1918
Series 4, Memorabilia, 1917-1919
Biographical / Historical:
Meyer Later was born on August 12, 1895, in Hartford, Connecticut. He grew up in a family of six brothers and three sisters and was known by family and friends as a charming and comical individual. He was educated in Hartford, Connecticut and was drafted into the United States Army in 1918 during World War I. He served between the fall of 1918 and the spring of 1919. During the war, Later was stationed in northern and eastern France including Dijon, Fromereville, and Buzancy. After the war, Later worked with his father and six brothers at the Morris Packing Company, the family's meat packing business in Hartford. Later died in New York, New York in 1984.
Provenance:
Collection donated by Stephanie Later, November, 2008.
Restrictions:
The collection is open for research use.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Archives Center cost-recovery and use fees may apply when requesting reproductions.
