July 1984 - New York Folklore Society

NEW YORI<
FOLI<LORE
newsletter
WHAT'S COOKING?
NEW YORK ARTISTS AWARDED
HERITAGE FELLOWSillPS BY NEA
Four New Yorkers are among 17 traditional artists to receive National Heritage
Fellowships from the National Endowment
for the Arts. The awards are made to musicians, dancers, storytellers, and craftspersons. Each artist receives $5,000 from the
federal agency. Presentations will be made at
a special ceremony this falt..in Washington,
D. C.
The New York Fellowship recipients are:
J
Cook m Cibao. a reswumm 0 11 Climo/1 Sm•e1. NI!H'
>f,rk Ci~1: IP/ww: Ani 5(uu[()ml)
Ethnic foodways and restaurants are to be
explored at a conference sponsored jointly
by the Community Documentation Workshop and the New York City Chapter of the
New York Folklore Society. It is scheduled
for September 28-30, 1984 at St. Mark's
Church-in-the-Bowery in New York City.
Whar:S Cooking? features films and multimedia slide programs about ethnic restaurants and storytelling by local restaurant workers. Scholarly research about food ways will
also be reported.
The multimedia exhibit. ''Restaurant Culture of the Lower Eastside.'' will be displayed. The exhibit results from a year-long
study by the Community Documentation
Workshop of ethnic restaurants in New York
City.
A $10 fee covers Saturday's lunch and
conference materials. To register, write the
Community Documentation Workshop. St.
Marks Church-in-the-Bowery, 2nd Avenue
and lOth Street, New York, NY 10003. For
further information, call Lyn Tiefenbacher.
(212) 673-1666.
Vol. 5, No.2
.July, 1984
• Elizabeth Cotten. Syracuse, NY, Black
singer and song writer
• Martin Mulvihill, Bronx, NY. Irish
fiddler
• Howard (Sandman) Sims, New York,
NY, Black tap dancer
• Dave Tarras. Brooklyn. NY, KJezmer
clarinetist
According to Bess Lomax Hawes, NEA
Folk Arts Program Director, the Heritage
Fellowships are made "to draw attention to
the remarkable range of traditional arts that
thrive inside the United States. By celebrating these master artists and their work, we
keep alive the American spirit."
NEA Chairman Frank Hodsoll says,
''These Fellowships honor the great American artists who are our country's living national treasures, artists who were born to
their craft. By carrying on the folk culture
embodied in their work, they preserve and
enhance the mosaic that forms this country's
cultural heritage. It is with special pride that
we herald the achievements of these artists
who contribute so much to making this
country an exciting and stimulating place to
bve."
CONGRESS SQUARES OFF
Congress is considering a bill to adopt the
square dance as our national folk dance. The
bill would add the dance to a list of national
symbols, such as the American flag, national
anthem, and Great Seal of the United States.
The square dance bill has already passed
the Senate. H.R. 1706 was introduced in the
House of Representatives by Norn1an Y.
Mineta (D.-CA) and Leon E. Panetta (D.CA). The bill has garnered 270 co-sponsors.
Laurin Post, aide to Congressman Mineta,
said in a telephone interview that H.R. 1706
"demonstrates the importance of dance in
general and of dance as a part of our folk culture. It emphasizes the importance of dance
in the history of our country:·
Testimony on Bill
The Subcommittee on Population and the
Census held a hearing on the bill on June 28.
TestifYing in fuvor of the bill were Congressmen Mineta, Panetta and Earl Hutto (D.FL). a delegation from the National Folk
Dance Committee (about two dozen people
from various square dance organizations
around the country) and publishers of national square dance magazines. The Dance
Committee has been working to pass a
square dance bill for 16 years.
Opposition to the bill came from many
folk dancers, ethnic groups. folklore
specialists and representatives of folklore
!ConTinued 0 11 Page 4)
r
JOE HEANEY: CULTURAL AMBASSADOR
By
Michael Moloney
Joe Heaney. the great sean n6s singer of
his era, died in Seattle. Washington on Tues-
day, May I. 1984. He was 64. He suffered
much during the last few months from
respiratory problems and was in and out of
hospitaL Yet the end when it came was swift.
and to his small band of devoted followers in
Seattle. totally unexpected.
Joe's passing leaves a huge void. not just in
the hearts of his friends and admirers. but in
the whole world of traditional Irish culture.
He was a gifted singer and storyteller and a
consummate performer-the only solo unaccompanied singer I have ever come across
who could hold riveted for hours on end any
audience of any size, no matter what its age.
class or ethnic composition. I was privileged
to perform with him on several occasions in
recent years and as I watched him I couldn't
help feeling that even his physical appearance. panicularly his gaunt. craggy fi:tcial
feantres. symbolized the rugged. dignified
grandeur of the Connemara landscape
whence he came. He was Ireland's supreme
cultural ambassador abroad. That he could
never make a living in Ireland. doing what he
loved so much. is. to say the least of it. ironic.
He \Vas born in Carna. Co. Galway in
1920. at a time when the last remnanLc; of the
ancient Gaelic order were fi:tst disappearing.
He inherited a great store of songs and ancient lore from his fi:tthcr who. according to
Joe. \vould always counsel him never to sing
a song in public until he~ totally fu.miliar
with its essence-not just 1hc surfuce realities of the \VOrds and music.
His an was forged in an area long renowned for its wonderfully talented singers.
and his own style was redolent \vith the subtle complex nuances of the Connemara sean
nos style. Joe was blessed '"'ith a deep. resonant voice and an uncanny sense of pitch .
Each and every performance of all the !lOng!>
in his vast repenoire of songs in Irish and
English was a tour de force with embellishments. ornamentation. and variation . combining with undersuued expression, to create
on~ unique performance after another.
He won first prize at the Feis Cheoil in
1940. which established him as a national
figure in traditional music circles. Yet his
major anistic triumphs were stiU to come.
After spending some time in Scotland. and
later in London. interspersed with an occasional trip back home. he emigrated to
America in 1962. For years. he worked as an
elevator operator in Manhattan. He sang
rarely during this time. On the odd occasion
he performed . it was never under the
auspices oflrish or Irish-American people or
organizations. Mostly it was cultural activists in the American folk music revival
who booked Joe for festivals and concerts.
This pattern v.'as to continue for the rest of
Joe's life in America.
In 1980 he was appointed as a pan-time
teacher in irish folklore at Wesleyan University in Middletown, Connecticut. This position. in addition to his public performances.
enabled Joe finally to give up his ManhatlaJl
job and teach and pertom1 full-time. Just
when his Wesleyan contract terminated. he
was appointed to a similar position in the
Ethnomusicology Depanment at the
University of Washington. in fur off Seattle.
where. coincidentally. it rains as much and
as often as in the West of Ireland. Just before
he left for the Northwest in the beginning of
January in 1982. I talked to Joe in the modest
basement apanment in Brooklyn that he had
lived in for so many years. He was happy
about the move. ''J'm doing what I like." he
said . ··and no man can ask .tor more than
that."
Joe continued to captivate audiences at
festivals and conccru. It's sad that most people in Ireland never had a chance to see him
in action. Two hours listening to Joe seemed
to pass by in a matter of minutes as with
v..urds and song he wove a spell. compelling
and at times mesmerizing.
His finest hour of all came in July 1982
when he was aw.1rded by The National Endowment for the Arts the National Heritage
Award for Excellence in Folk Ans. the
highest award that the United States can cooter on a traditional anist. On that unforgettable occasion in the nation's capital. surrounded by some of the finest artists and
craftspersons in the land, Joe was at his
greatest. He paid eloquent tribute to the old
men of Connemara who had taught him so
much about art and Lite. He sang his all time
favorites. the stirring tale of "Morrissey and
the Russian Sailor,'' "Casadh an tSugain"
and his fa\uritc of all. "The Rocks of Bawn":
My shoes they are 1rellll'om nou•
My stockings they are rhin
My hearr is a/1-a-TremblinR
Forfear /mighT gh·e in
My hean is all-a-trembling
From dear daylighT till dau?l
And lin afraid l'llne.-er be able
To plough tlte Rocks of Baun
It WdS far from the Rocks or Bawn that Joe
ended his mortal days. Since the beginning of
spring thi~ year Joe seemed to sense that his
time \\'aS shon. He talked many times about
returning to Ireland to spend his final days. It
was not to be. Yet it wasn't altogether inappropriate that Joe should have passed away in
a country that had rewarded him so much
more in his lifetime than his own native land
that he loved so much. even in exile. He does
not have an heir apparent. nor will he have.
He was truly one of a kind.
Tl1is anicle \\'liS reprimed from Dublin:~ The
Sunday Tribune. May 13. 1984 by permis_sion ofThe author.
N('\1' York Folklore Newsleuer
Nonh Country Community College
20 Winona Avenue
Saranac lake. NY 12983
EDITOR
Paula Tadlock Jennings
I 16 Pinehurst Avenue
New York, NY 10033
Publication of the Newsleuer is supponed in
pan by funds from the New York State
Council on the Arts.
Deadline for fall issue: September 15. 1984
THREADED MEMORIES: A FAMILY QUILT COLLECfiON
Tuesday.
May 16. 1910.
Pleasam da.\: Hitshed and H'entto the 11·oods
forfems. l11e woods are gmnd at this time of
Picked Leone up ar her gmndma s.
Mercy came to l'isit. Ubrked on quilt.
- Diary of Benlw l#ly 77wmpson
yem:
Benha Way Thompson was born and
raised in the small farming community of
Colesville. New York. She helped to work in
the tields. chop wood and build fences. She
grew vegetable gardens. made soap. cooked
and cared for livestock. Quilting was also a
pan of her daily work.
Mrs. Thompson's quilt<;. as well as quilts
made by other women in her family, form the
exhibit 77weaded Memories: A Family Quilr
Collection. They will be on view in the
Ahearn Gallery at the Roberson Center ft1r
the Ans and Sciences. Binghamton . New
York . from September 8 through December
31. 1984.
The quilts represent the work of eight
women spanning five generations. The
women are from three related familiesWay. Thompson and StO\vell. Except for the
earliest quilter. Sally Tuttle Way. all of the
women were born and raised within ten
miles of one another. near the villages of
Harpursville. Nineveh. Belden. and Tunnel
in northeastern Broome County.
According to Catherine Schwoeftermann .
project dircc10r for the exhibit and Folklife
Coordinator at the Roberson Center. the exhibit affords a unique opponunity to explore
continuity and change in the quilts of several
generations of women.
"Inforn1ation about the quitters is sparse,"
she explains. "so. we used scraps of oral history. old photographs, diaries, and notes
written on slips of paper pinned to the backs
of the quilts to piece together their history."
Thrift and Economy
Attitudes about thrift. utility and econom}
influenced the making of quilts. Farm life required their constant daily attention. None of
the women tniVeled far from home. ''Each
3 Ne11· tln'k f lllklorl! NeH'.I'/1!1/('r 7/84
Star Burst quiltmadl! bv Libby flft.l: (Pitmo: Bruce Wdglttoll)
woman's quilts reflected her everyday lite."
explains Ms. Schv.'Ocfferman. "What she
and her family wore. fc1sh ions of her time.
her attitudes about life- all influenced these
strongly-designed quilts...
The quilters visited with each other regularly. Diaries and photographs afford many
glimpses of afternoon visits. weekly chicken
plucking. and Thanksgiving dinners. Church
services. Grange dinners and daily exchanges between tenant and landlord
farmers were social occasions for the
women.
Sally Tunle Way. the earliest quitter
represented in the exhibit. was born in Connecticut. In 1808 she married Billie Way.
Soon the couple traveled to New York by oxcan to settle in nonheastern Broome County.
Billie was a circuit preacher. traveling to Oswego and back. Sally remained on the farm.
baking bread to sell to pioneers and harvesting tlower seeds for Billie to sell in his
travels.
There is scant information about these ordinary women leading ordinary live\. Sail)
Turtle Way. the earliest qui Iter represented in
the exhibit. was born 111 Connecticut. In
1808 she married Billie Way. Soon the couple traveled to New York by oxcart to settle in
northeastern Broome County. Billie was a
circuit preacher. traveling to Oswego and
back. Sally remained on the farm. baking
bread to sell to pioneers and harvesting
flower seeds for Billie to sell in his travels.
Algie rose Miller Thompson raised berries
for sale. She was an excellent seamstress and
dressmaker. who stayed several days with
her clients while sewing clothes and linens.
Leone Tee! Thompson was a violinist and
chiropractor. Bertha Way Thompson was the
famjly chronicler. documenting daily events
in her diaries and identifying photographs.
In her old age she recorded the quilts'
histories.
Ordinary Lives And Creati\'ity
The women's ordinary lives belie their
creativity. It is the stunning designs of the
quilts that make us rememberthem. Designs
arc built from geometric forms of squares,
triangles. rectangles and arcs. Light and dark
fabrics are arranged to create illusions of
emerging and receding forms. Corners and
points are aligned perfectly. Stitches are tiny
and even.
"All of the quilts are pieced together from
fabric scraps. and most are quilted rather
than tied," says Ms. Schwoefferman. "Most
of the scrap materials came from worn-out
THREADED MEMORIES: SCHEDULE OF EVENTS
The Roberson Center will hold a series of even~ highlighting the quilt exhibit.
A schedule follows:
clothing. Some were remnants of fabrics
from new garmen~ or household furnishings."
The quilts mainly were made to be used.
not for decoration. she continued. "These
quilts speak of a world view that valued simplicity and familiarity and the women carried this sense of order into their quilts. They
modeled their vlork on patterns such as Rolling Stone, Lemon Star. and Double Irish
Chain, patrerns favored by women in their
conununity and by women in other areas and
times."
Images common to daily life are found in
the quilts-basket~. stars and birds. "These
women were skilled needleworkers and sensitive artists." concludes Ms. Schwoefferman. "who combined tradition and personal
vision to transfom1 the most ordinary. useful
household item into a work of beauty...
1J1e Roberson Cemer for the A11s and
Sciences is locmed at 30 From Street. Binghamton, NY 13905. Fvrfunher infomuaion
about the exhibit and related el'ents. call
September 8 - November 17
Saturdays. 2:()()-4:00 p.m.
Quilt Demonstrations
Old-fashioned "quilting bees" are scheduled.
September 22
10:00 a.m.
Quilt Sharing
Textile specialists will examine your pre-1940 quilts.
September 25- November 13
Tuesdays, 7:00-9:00 p.m.
Quilted Holiday Vest Class
Participams will complete a festive qui/red vest.
October 6
10:00 a.m.-4:00p.m.
Quitters' Exchange
Demonstrations. sales. readings and fJJms about quilts
are planned.
October 17
8:00p.m.
·'Nor-So-Cra:_y Cra::.y Quilt" Lecrure
Quilt specialist Beth Mulholland will discuss "crazy
quilts."
October20
10:00 a.m.-2:30p.m.
Applique I#Jrkshop
Techniques of applique will be taught.
October 27
10:00 a.m.-2:30p.m.
Re1·erse Applique Workshop
Techniques of reverse applique will be taught.
November 10
"Quilts Inspired by Nantre"
Quilter Victoria Faoro will discuss color. form and interpretation of nature in quilts.
((;(}7) 772-06(;().
(Cof/lilluedfnmt Page I)
"The square dance is not the national
dance of blacks. Hispanics. Native Americans. Asian Americans. European Americans. or other inm1igrant groups." says Marrin Koenig. Director of the Ethnic Folk Arts
Center in New York City. "We think to
declare the square dance a the national
dance is a total distonion of the representation of American cultural life and sets a dangerous precedent:·
Ms. Post. who characterized the hearing
as "emotional:· explained that those supporting the measure feel that square dancing
is an amalgam of many ethnic and folk
dances of many cultures.
agencies. They feel that the bill honors one
folk tradition at the expense of others.
"It doesn't mean that other dances are
unimportant." she stated. "Or that if other
4 N£'11' !f1rk Folklore NeH:fleuer 71/N
dances become more prominem the national
dance coutdn't be changed. It merely means
that we show to other countries that this
represents our nation as a whole."
Others disagree. Those testifying against
the bill included a square dance caller from
Maryland. a tap dancer from Philadelphia.
an Eskimo dancer from Alaska. and
representatives of folklore organizations.
Joe Wilson. Executive Director of the National Council on the Traditional ArtS. an organization that produces the annual National
Folk Festival in Washington. D. C.. testified
that "our half-century of work in this area
convinces us that the strength of our nation's
folk culture lies in its diversity and that pressures toward standardization and official status should always be resisted."
The American Folklore Society passed a
resolution on June 18. 1984 disapproving the
bill. Dr. Charles Camp, Folklife Coordinator for the Maryland State ArtS Council, testified against the bill on behalf of the Society.
"We supplied information that the views of
the square dance conunin.ee were not universally held.:· he said.
The Society's testimony says "the identification of one dance as the ·national folk
dance: undermines the true meaning of the
word ·folk' and the degree to which all
Americans may equally and proudly use it to
draw attention to the traditional aspects of
their lives and communities:·
In wrinen testimony. folklore specialist
Richard Van KJeeck. of the Kentucky Center
for the Arts. says: "It's analogous to making
the curve ball the official pitch of baseball.
We all know it's a great pitch. but it is only
one of many that make the game as interesting as it is."
\
CALENDAR NOTES
MARGARET MEAD FlLM FESTIVAL
GRANDMA MOSES
SHAKER EXHIBIT
Forty documentary ftlms about human
cultures throughout the world will be featured at t:he eighth annual Margaret Mead
Film Festival. September 17-20 at the
American Museum of Natural History. For a
schedule of events. call (21 2) 873-1070.
''The World of Grandma Moses" opens
September 12 at the American Museum of
Folk Art. The exhibit brings together 50
paintings and sketches from private collections. museums and galleries. The paintings
are displayed so as to trace the artist's
sources, techniques and stylistic development. It will be on view until October 28 at
125 W. 55 Street. New York. NY 10019. For
further information, call (2 12) 581-2474.
An exhibition of photographs and Shakermade objects will be on view July I through
October 31 at the Shaker Museum in Old
Chatant. New York. "Through-Their Eyes:
Three Shaker Collectors" highlights the collections of Faith and Edward Andrews, Helen and Charles Upton, and John S. Wil·
liams. Included are wooden bowls.
cupboards. a lap desk, oval boxes. and
chairs. among other items. Some objects
have never been exhibited. The Shaker
Museum is located on Shaker Museum
Road. Old Chatam. NY 12136. For further
information. call (518) 794-9100.
FIDDLER'S FAIR
Nineteenth century music and dance will
be featured at the Genessee County
Museum's annual Fiddler's Fair on August
19. Musicians from New York. Pennsylvania. and Ohio will perform on the fiddle.
hammered dulcimer, the musical saw, banjos
and mandolins from 114 p.m. An old-time
square dance from 4:30-5:30 will round off
the <.lay. For more infonnation contact Jo
Betz. GCM , Flint Hill Road, Mumford. NY
14511. or call (716) 538-6822.
IROQUOIS ARTISTS
The Seneca-Iroquois National Museum
sponsors its Living Artists Series from August through October. Iroquois artists and
craftspeople will demonstrate silversmithing, basketmaking, woodcarving. poning.
bcadworking and other arts. Music and
dance presentations are also scheduled~ No
admission is charged. For a full schedule of
events. contact Sandy Kenyon. Broad Street
Extension. Salamanca. NY 14779. or call
(716) 945-1738.
INDIAN FAIR
Indian foods. crafts. music and dance are
planned for the Allegany Indian Fair on August 25-26. from 10 a.m. to 5 p.m. The fair
will be held on t:he Allegany Indian Reservation at t:he Haley Building Complex, Jimersontown, NY. No admission is charged. For
more information. contact Rovena Abrams
at (7 16) 945-1790.
5 New lbrk Folklore News/1!1/er 7184
JUSI' FOR FtJ1\
Animated sculptures may be seen at the
Society for the Preservation of Long Island
Antiquities through September 2. Contemporary folk art sculptOr. Richard Gachot.
created the objects from scraps of wood,
metal and other discarded materials. such as
an old wheel, a lawnmower chain. and a broken tricycle. The sculptures can be operated
by wind or hand. The exhibit is on display at
SPLIA's Joseph Lloyd Manor House. in the
Village of Lloyd Harbor. For further information. contact SPLIA. 93 North Country
Road , Setauket. NY 11733, or call (516)
941-9444.
PAST MEETS PRESENT
Visions of the past will come to life at a
conference to be held October 7-9. 1984 in
New York City. "Past Meets Present" examines the design and development of
museum exhibits. landmark districts. and
historic sites. Sessions will focus on the construction of interpretive exhibits and programs. Trips to South Street Seaport,
ChinatOwn. and the manufacturing district of
Paterson, NJ are planned. The conference is
sponsored by the New York Council for t:he
Humanities. It is open to scholars, curators.
educators and designers who produce interpretive exhibits. Registration is limited to
150 people. A fee is charged. For further information, contact Jo Blarti. NYCH. Room
204, 33 West 42nd Street, NY 10036.
SOCIETY NEWS
New Editor Appointed
Dr. Gerald E. Warshaver is the new
Reviews Editor tor New York Folklore, announced Phil Stevens. journal editor. Dr.
Warshavcr is a founding member of the New
York City Chapter of the New York Folklore
Society. In 1981 he edited a special issue of
the journal titled "Folklife Contexts: Studies
on the Spatial Matrix and Essays on the Tern·
por-al Re-Construction of Folklore.'' His education includes the Ph.D. In Folklore from
Indiana University.
Reviews of books. recordings and tilms
about New York folklore. or \VOrks of general
interest to the journal readership are being
solicited. Contact Dr. Warshaver at 19 Grace
Court. Brooklyn. J\1Y 11201 to submit review anicles. See Vol. 10. Nos. 1-2. Winter/Spring. 1984 for the journal's editorial
policy.
Journal Confusion
There is some confusion about the correct
sequencing of the Summer I 983 issue of
Nell' York Folklore. The cover indicates the
issue is Vol. 9. os. 1-2. The inside pages
list the issue as Vol. 9. Nos. 34. The designation on the cover is correct.
1984 FALL :MEETING
The Society's fall meeting will be held September21-22, 1984 in
Saratoga County. NY. Vaughn Ward is organizing the events with
the help of the Saratoga County Museum. Greenfield Grange, Galway Improvement Society, and Round lake Association.
Lodging is available at the Springs Motel, 165 Broadway.
Saratoga Springs. (518) 584-6336. Rates are $35. double. and $31.
sing1e. Reservations must be made before September I. A deposit
is required.
Vaughn will arrange transportation from the train station or airport. Contact her to make arrangements. She also needs to know if
you will need transportation during your stay.
If you plan to attend, fill out the form below and mail to: Vaughn
Ward. P. 0. Box 201. Rexford. NY 12 148. (518) 399-03 15.
MEETING HIGHLIGH1S
Friday. 5 pm
Board Meeting and Dinner
Caffe Lena, Saratoga Springs
Saturday. 9 am
Breakfast and Business Meeting
Greenfield Grange, Greenfield, NY
Saturday. II am
Field tours of four Saratoga County
communities, led by descendents of
original settlers.
Saturday. 7 pm
Reception and buffet supper
Saratoga County Museum
YES,
I plan to anend the New York Folklore Society Fall Meeting. Please send me program details and registration information.
I enclose a self-addressed. stamped envelope.
NAME ___________________________________________________ PHONE_________________
ORGANIZATION
ADDRESS--------------------------------------------------------------------CITY/STATE/ZIP
NEW YORK FOLKLORE SOCIETY
Queens Council on the Arts
161 -04 Jamaica Avenue
Jamaica. NY 11432
NON·PROFIT ORG.
U.S. POSTAGE
PAID
Jamaica. NY
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