Converted to EAD3 : Encoded Archival Description (EAD), Version 3 : Release: 1.1.1 : Release Date: 2019-12-16. Validating against latest version of schema.
Contact information: https://hdl.loc.gov/loc.afc/folklife.contact
Catalog Record: https://lccn.loc.gov/2004695177
Finding aid written in English.
DACS was used as the primary description standard.
Collection material in English, Croatian, Greek, Italian, Korean, Lithuanian, Polish, Slovenian, Spanish, and Ukrainian.
Accessioned; 1981.
No further accruals are expected.
The Chicago Ethnic Arts Project collection, 1976-1981 was processed by Lucy M. Long in 1981.
Duplication of collection materials may be governed by copyright and other restrictions.
The Chicago Ethnic Arts Project collection is open to research. To request materials, please contact the Folklife Reading Room at https://hdl.loc.gov/loc.afc/folklife.contact
Certain restrictions to use or copying of materials may apply.
The Chicago Ethnic Arts Project collection is available on the Library of Congress Web site at https://hdl.loc.gov/loc.afc/afconline.afc1981004.
Researchers wishing to cite this collection should include the following information: [item, date, container number], Chicago Ethnic Arts Project collection, 1976-1981, American Folklife Center, Library of Congress, Washington, D.C.
The Chicago Ethnic Arts Project survey was conducted in 1977 by the American Folklife Center at the request of the Illinois Arts Council to assess and document the status of ethnic art traditions in more than twenty ethnic communities in Chicago, and was jointly sponsored by both organizations.
The collection consists of sound recordings, photographs, manuscript materials, videorecordings, publications, ephemera, administrative files, and field notes produced and collected during the 1977 Chicago Ethnic Arts Project field survey from 1976-1981; but primarily during fieldwork by fourteen folklorists in 1977. The final project report presented to the Illinois Arts Council summarized the current conditions and folk arts needs in these communities. Materials from post-project activities such as workshops in the ethnic communities and a traveling photographic exhibit by Jonas Dovydenas are also included.
The Chicago Ethnic Arts Project collection, 1976-1981 is organized in seven series:
The following terms have been used to index the description of this collection in the LC Catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically.
Catalog Record: https://lccn.loc.gov/2004695177
This section contains materials pertaining to the planning and administration of the Chicago Ethnic Arts Project. Correspondence, schedules, financial records, proposals, and publicity for the project are found here along with information on the fieldworkers and project contacts. Part I of the Report provides a thorough summary and explanation of the purpose and activities of the project; materials in the administration files provide additional details The list of project contacts may be of use to other researchers in the Chicago area.
Includes 2 versions of the article.
Contents in envelope.
Bound program book.
D.A.N.K. Bicentennial Issue.
Xerox copy.
Includes xerox of table of contents.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Includes contact sheets for different ethnic groups.
Three boxes of prints. The exhibit prints are unframed.
afc1981004_afs20524a
Interview about embroidery with Theodora Siakotos and Maria Lecas at the home of Mrs. Siakotos in Palos Hills; topics include a general discussion of reasons for creating the craft, about buying patterns economically from Greece, motifs are free hand patterns; pointing out needlework in house, decorative; how embroidery is done, counting out on paper patterns; reasons for doing needlework; observation made that women work today and have less time for craft; discussion of items in house, George and Martha Washington pattern, the need to import traditional patterns; about Byzantine geometric patterns, recent popularity, transmission of patterns and technique; relationship of needlework to dowry, less important in U.S. than in Greece; about the friends who embroider; Mrs. Siaktotos's observations on why people do needlework, liking pretty things, handmade things; discussion of cooking traditional foods; observations why her daughter doesn't embroider, role of husband; satin pillow cases in traditional woven pattern, displayed in house; discussion of monetary value placed on her needlework, she would not sell her work, if you know how to do it you wouldn't do it; showing table cloths; Maria Lecas summarizing labor involved; discussion of the tradition, few of the younger generation are involved, due to television, etc.; about how men do weaving, women embroider and do more delicate fabric crafts, Maria Lecas says, "If women don't do it, it's going to disappear"; discussion of Peter [Georganas?], a bouzouki player and friend of the Siakotos family; exchange with fieldworker about his plans for field visits; duration of this recording, 22 minutes.
afc1981004_afs20525a
Interview about embroidery, coffee cup reading, and folk healing practices, with Theodora Siakotos and Maria Lecas at the home of Mrs. Siakotos in Palos Hills; topics include discussion of embroidered Byzantine cross design; about Mrs. Siakotos's design and color preferences, yel1ow and gold; discussion of coffee cup rending by Maria Lecas, cup belonging to fieldworker Peter Bartis, about the attitude towards this, preparing of the cup, turning it over, straining grounds and drying; Mrs. Siakotos tells about an Irish woman who gave a valid tea leaf reading; Maria Lecas observes that young unmarried girls often read cups, how one reads a cup, seeing birds and animals and being more sensitive; Maria reads fieldworker Jonas Dovydenas's cup and then the cup of Mrs Siakotos; observation made that fortune telling is contrary to church doctrine; about the attitude of Mrs. Siakotos's young daughter, who thinks it is dumb; Mrs. Siakotos tells about a man in the market who gave her a cheap gold chain and Maria's response; Mrs. Siakotos tells about another man who complained about a woman was working at the cash register where she always works; discussion of folk medical practices, vendouzes (cupping), letting blood from newborns to prevent pimples when older, beliefs and practices associated with a baby "born with a veil," how in the northern part of Greece women give birth standing up to avoid suffocating the newborn; Maria Lecas discusses reading palms and faces; duration of this recording, 23 minutes.
afc1981004_afs20526a
afc1981004_afs20526b
Part 1 of a 2-part interview with Angelos G. Kontaxis recorded at his home at 918 N. Karlov Ave.; Mr. Kontaxis is associated with the Division of Community Services, Department of Human Resources; topics include discussion of his job, community service; comparison of Greek Americans with problems of other communities, no problems with housing, mostly language problems; discussion of differences between Greeks and Greek Americans, same problem as between young and old, although young Greeks follow traditions more closely, Good Friday practices, for example; about a focus on family tradition; Greek culture is maintained by language and the way that Greeks work together; John Georganas as an example of continuity in family tradition, teaching bouzouki and other instruments to his family; advice to Illinois Arts Council, there is a need for promotion and of interest by the state and media, complains that attention is only paid on special occasions, there is a need for steady interest; seeks in depth intimate contact rather than monetary support; on the role of government to promote through all media, need for special museums; discussion of modern Greek attitude toward old culture; about how managers and recording company staff determine repertoire, while performers still prefer old traditions. Part 2 of a 2-part interview with Angelos G. Kontaxis recorded at his home at 918 N. Karlov Ave.; topics include description of the Greek American community, "where the church is, there is the Greek community; description of organizations, political and based on regional origins in Greece and Asia Minor; stress on persistence of tradition, artists become teachers; Mr. Kontaxis urges longer contact of type provided by the folklife ethnic arts project.
afc1981004_afs20527a
afc1981004_afs20527b
Part 1 of a 2-part interview with Fotis Litsas at his home, 5700 N. Sheridan Rd., apartment 1103; topics include a wide range of stories; story of a playing card reader and related incident, Sutana, the widow of the town predicts that the sergeant will get a bed, and a bed falls on him; Fotis Litsas gives personal experience account of his attempt to learn as the widow's understudy; stories related to icon, direct communication with icon; discussion of a woman who is of peculiar linguistic situation, a trilingual anomaly; discussion of linguistics; story of an icon in Mycenea, about a woman who threatened not to provide oil for altar candle if the Holy Virgin did not protect her son; story of the finding of the miraculous Icon of the Virgin, about a peasant woman's visions of the Mother of God, Panagia, and the woman's long struggles to dig up hidden Icons, in solid rock, with visions at 3-day intervals, continues in part 2, duration of this part 23 minutes. Part 2 of a 2-part interview with Fotis Litsas at his home, 5700 N. Sheridan Rd., apartment 1103; topics include continuation from part 1 of story about the finding of the miraculous Icon of the Virgin, about a peasant woman's visions of the Mother of God, Panagia, and the woman's long struggles to dig up hidden Icons, in solid rock, with visions at 3-day intervals, comments on the prominence of mathematical factors in folk belief and religion, finally others are enlisted to help dig and Icons are found, face is like one from Asia Minor, may be the Evangelist Luke; discussion of incubation; duration of this part 13 minutes.
afc1981004_afs20528a
afc1981004_afs20528b
Part 1 of a 2-part recording of an interview-conversations at the Yarn and Canvas shop; the people heard include shop manager Mrs. Apostolopoulos, Mrs. Pope Mouflouzelis, Marie Stanis, Chrisy Klinakis, Vicky [Vikki?] Papadopoulos, Mrs. Despo Poulos; the recording was made during a display of needlework arranged by Mrs. Apostolopoulos for the fieldworker's benefit, some exchanges are in Greek; the early part of the recording focuses on an elderly Cretan woman (74 years old); description of "machine" employed in a weaving process, a hand loom; about a silk apron, raising the silkworm, design borrowed from a ladies wedding gown, about the length of time to make this; good luck charms, about the evil eye and its relationship to needlework and the particular centerpiece displayed, stitching in blue beads for good luck; Mrs. Apostolopoulos translating comments of Cretan woman, about her attitude towards her work end the present attention,noting that life in America is very different; Mrs. Apostopoulos's observation on handicrafts: "Everything that you put in your house must be decorated." Part 2 of a 2-part recording of an interview-conversations at the Yarn and Canvas shop; the people heard include shop manager Mrs. Apostolopoulos, Mrs. Pope Mouflouzelis, Marie Stanis, Chrisy Klinakis, Vicky [Vikki?] Papadopoulos, Mrs. Despo Poulos; the recording was made during a display of needlework arranged by Mrs. Apostolopoulos for the fieldworker's benefit, some exchanges are in Greek; in the recording, a woman admires a handmade baby swaddling cloth which is then tied around fieldworker to much laughter; Vicky [Vikki?] Papadopoulos discussing needlepoint, technique, and design, she displays works done at ages 9, 14, 18, 20, and 22; Marie Stanis discusses the length of time to make tablecloth; about cross stitching; discussion with Mrs. Apostolopoulos concerning the blackface minstrel figure stitched on to her girlhood bureau cloth by her mother, noting that Uncle Tom's Cabin was popular novel in Greece at that time; Mrs. Apostolopoulos discusses the traditional arts in Greeece and the U.S.
afc1981004_afs20529a
Interview with Fotis Litsas and Mrs. Demetra (Della) Aneste at the Aneste home, 5849 North Bernard St.; discussion covers local legends, traditional narratives, beliefs and practices, including memorial services; discussion of Memorial Day Services at cemetery, special services for children, dress in white, white candy Jordan almonds added to wheat (may be reference to sitari), about photographs on gravestones; discussion of "death photo" of deceased laid out for family; about the burial of priests; stories by Fotis Litsas about chanter, about deacon who misreads, about the old person who requested that the chant be done in the Corinthian way; Mrs. Aneste discusses her father in response to story told by fieldworker, also discusses why Greeks came to the U.S., to make money and earn a dowry for sister or daughter; discussion of dowry, reason and context; Mrs. Aneste offers favorable opinion and reasons concerning "matched marriage"; about training for girls in household crafts in public school; story by Mrs. Aneste of a woman known to her who waited for her matched husband for 17 years only to find he had grown old.
afc1981004_afs20530
afc1981004_afs20531
Part 1 of a 2-part session with the Georganas family; John, leader, vocals, bouzouki; Peter, bouzouki, guitar; Anastasia, vocals; George, drum; selections include three songs with interview segments; ensemble performance, Anastasia sings lead; John comments on his musical background, recording experience, folk heritage; his professional musical life began in the U.S. in 1965; Mrs. Georganas discusses family musical heritage, all the children know how to play; story of a ballad about Greek resistance in a Turkish war, circa 1821; song at fast tempo; Peter, the oldest boy, comments on his reasons for playing music; song, with bouzouki, John sings, family vocal harmony on choruses; Peter discussed his preferences in music; John talks about his work as a shoemaker, and about when, where, and how he plays, occupational history; courtship story, about Mrs. Georganas interest in music; a "very old song" played on bouzouki and drum, John sings; explanation of the lyrics, explained, John states his reasons for choosing a song; song, bouzouki, guitar, drum, vocal chorus, family singing; discussion of reasons for producing a record, one of the dreams or John's life (music box in the background plays "Never on Sunday" very slowly); song, one of John's compositions. Part 2 of a 2-part session with the Georganas family; John, leader, vocals, bouzouki; Peter, bouzouki, guitar; Anastasia, vocals; George, drum; selections include six songs and eight interview segments; discussion of John's feelings about traditional music and its value, he doesn't think it will ever die out; song, John's "favorite," song with a more complex melody here, the story behind the song; song, bouzouki lead, guitar in background.
afc1981004_afs20532a
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Part 1 of a 2-part interview with John Lambru at his office for Hellenic Interlude, 755 N. Western Ave; topics include population figures and the number of organizations, focus on the Congress of Greek Amer1can Organizations and the United Hellenic American Congress; why Greek Americans like this country and need for them to organize; discussion of traditional culture; focus on special problems in the community, problems of modern life; what is being done to preserve the arts, dance groups, need for Greek museum, but political life is now taking all the attention; about the attitude towards new arrivals from Greece, Hellenic Interludes is an examples of bilingual radio to help hasten Americanization; how Mr. Lambru does not fear that traditional arts are fading away. Part 2 of a 2-part interview with John Lambru at his office for Hellenic Interlude, 755 N. Western Ave; topics include Mr. Lambru's soliloquy concerning the love of Greeks for America and the need to Americanize; how everyone should study all ethnic cultures in order to understand one another; about fieldwork and advice for the Illinois Arts Council, the need for building to begin a program, do not need money directly but rather time and interest; discussion of the need for government to control facilities for study of Greek American culture; importance of community control and need for government leaders and Greek Americans to avoid power struggle.
afc1981004_afs20533
Recording of John Hemonas, bouzouki, guitar (both amplified), voice; Mr. Angelos Kontaxis, occasional translator; selections include nine songs with conversation; discussion of John Hemonas's personal history (born in 1942), musical history; three songs, "I have a couple of songs that are special for me"; discussion of the previous song, dates to 1821 in Thessaloniki (Thessolonica) during the Turkish war, good background material; Hemonas discusses his first music teachers (began with harmonica, then mandolin, bouzouki, accordion and guitar), discusses range of repertory, includes Greek, hillbilly, "folk songs" in general; song, bouzouki accompaniment; discussion, about the difference in songs, including tempo; song, bouzouki accompaniment; discussion of musical peers in Chicago, players of old songs, e.g., John Katsikas; Hemonas plays guitar, with vocal, then the story of the previous song, learned from his father, summarizes the story; song learned from his father, explanation of song and the method of instruction; song, bouzouki accompaniment; about the influence of his father on his music; song, bouzouki and voice; song at slow tempo. (some spoken introduction accompanies the playing); song, with elaborate bouzouki introduction, tape runs out.
afc1981004_afs20534a
Interview with Bessie Danos about the baking of memorial wheat cake for the dead (sitari), recorded at St. Nicholas Church, 10301 South Kolmar Ave.; most discussion is with Mrs. Bessie Danos, Maria Kerhoulas is present at the beginning, fieldworker Jonas Dovydenas present to make photographs; about the preparation of wheat the previous day, boiling for ten hours; about the tradition of preparation by family of deceased forty days after funeral, raisins and walnuts are symbolic of person's character; steps in preparation: spreading out and drying wheat and discussion of need to boil and wash well because people die if improperly boiled, sifting bread crumbs over wheat to keep next layer of powdered sugar dry; about frequency of preparation, 3-4 times per month; next step, patting and smoothing with paper towel, sifting powdered sugar; discussion of cost of ingredients and preparation, ten dollars for materia, a bakery sells a sitari for 75 dollars, Bessie Danos charges 30 dollars; next step, patting out with paper towel, decorating cake with cross using a cross mold and filling with brown sugar; discussion of attitude, Bessie Danos enjoys the preparation regardless of numbers; decoration of cake with candies, about the size of cake; names of the seven past parish priests for whom the memorial service is being prepared; discussion of Bessie Danos's understanding of the reasons for baking the wheat and being taught the process by her mother when her father died.
afc1981004_afs20535
Recording of George Kefalopoulos performing Greek American Karaghiozo (Karagiozis, Karaghiozis; theater, shadow puppet); selections include two performances with interview; discussion of Kefalopoulos's life history, work as a radio announcer, about the content of his programs, a very old form of Greek theater; about performance style, manner of learning (he is from Sparta); sample of performance style, includes character introductions in English; discussion of places for performance, explanation of characters, construction; history of Karaghiozi, ancient and modern; Kefalopoulos has no apprentices; about satire and irony within the form, literary heritage, authorship; performance of a segment of the play, with occasional translation; discussion continues on the form of theater, context in the culture, Turkish Karaghiozi; a story of the form in Turkey, plot themes involving Turks; performance with voices from battle scenes; about the depiction of Turks and audience attitudes; a friend of Mr. Kefalopoulos joins the session, he had been director of a TV program featuring Karaghiozi; discussion of the problems in video presentation of Karaghiozi; TV producer comments on the art form.
afc1981004_afs20536
afc1981004_afs20537
Part 1 of a 2-part recording of John Katsikas, playing the santouri and singing. 9 songs with interview; discussion of styles in santouri music, different regions; about the problems in being American-born, personal musical history, family history; offers a humorous, apocryphal explanation of the roots of dance style, influences by region, maintenance of traditional music; about getting young people involved, discussion of Anglo-American folk music; song "Shepard Boy"; discussion of the extent of Katsikas's concert repertory, explanation of the following song, a tune from the Greek islands; "Sailor's Dance"; "Bacchanal Song"; "Samiko Style"; songs, one is said to be typical of Greeks on the Turkish mainland; "Dance of Suli"; about the story and song; story of the previous song, followed by comments on the fading of folk culture in Greece, and the uses of the santouri now; song that demonstrates accompaniment style that would be used with a band; more discussion of folk heritage and the history of the santouri. Part 2 of a 2-part recording of John Katsikas, playing the santouri and singing one song with interview; discussion continued from part 1; sbout the history and development of the santouri; Mr. Katsikas plays a scale; about the origin of his instrument which needs repair; about the need for tuning; discusses the pitch range of the instrument, names of the parts of the bouzouki; discussion of the next song, intended to be in 9/8; discusses dance, manufacture of the instrument; duration of this recording 10 minutes.
afc1981004_afs20538a
Mr. Hans Bittner silhouette cutter, artist (Scherenschnitte Kunstler), 3843 N. Sawyer Ave., Chicago, 60618; ; as a commercial artist, Herr. Bittner illustrated for NASA, other government agencies, and several large American companies; born in Breslau, Germany; about tools and paper used in freehand paper cutting; samples of cuttings described, largest, 26x14 inches, smallest, postage-stamp size; mainly rococo scenes, featuring plants and trees; about the topics of silhouettes and history of silhouette cutting; Javanese silhouette puppets; continuation of discussion on examples of cuttings; about the sale prices of silhouettes.
afc1981004_afs20538b
afc1981004_afs20539a
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afc1981004_afs20540a
afc1981004_afs20540_02
Part 1 of a 4-part interview with Martin and Sara Schwarz and their daughter Heidi Sievert on a range of topics, emphasizing crafts and culture, recorded at the Schwarz home before, during, and after the filming of a short TV spot (Chicago, Channel 2, CBS affiliate) promoting awareness of Chicago Ethnic Arts Project and featuring Sara Schwarz spinning hemp and displaying emproidery work; assisting and modeling: Heidi Siewert; topics include the origin of D.A.N.K. (German American National Congress); the Siebenburger Sachsen dialect; the family's wartime experiences in Romania, evacuation of Rode in the face of communist advances, arrival in Austria in 1944 (Sara and children), sojourn in Worgl, Tyrol refugee camp (1946-51), immigration to Indiana in 1951; explanation of embroidery that describes the seals of the seven groups of Transylvanian Saxons; occupations in Columbia, Indiana; about Martin Schwarz's years of detention in Siberia, his return to the west via East Germany, and his reunification with his family in Austria, 1947; about Martin's survival on garlic and potatoes in Siberia; occupation of Austria. Part 2 of a 4-part interview with Martin and Sara Schwarz and their daughter Heidi Sievert on a range of topics, emphasizing crafts and culture, recorded at the Schwarz home before, during, and after the filming of a short TV spot (Chicago, Channel 2, CBS affiliate) promoting awareness of Chicago Ethnic Arts Project and featuring Sara Schwarz spinning hemp and displaying emproidery work; assisting and modeling: Heidi Siewert; topics include introduction of photographer, Carl Fleischhauer; about musical traditions and history of the Transylvanian Saxons; a wine drinking song indicating historical traditions and roots in Germany and Luxembourg; about the traditional dress of women in Rode, Transylvania: the Kittel; about net materials for costume decoration; weaving done in the home; in Austria Sara learned and made Austrian costumes after her husband returned from Russia (1948-51); Sara learned embroidery work in a crafts school, crocheting from her mother; everyone in the Schwarz family learned to crochet; the "counting" method used in embroidery; about photographs of Transylvanian costumes taken in Austria (copied at call number AFC 1981/004: b41252, frames 28, 29, 37) and in the Chicago German Day Parade; the story of the discovery of a postcard from Rode in an Austrian Alpine village (copied at call number AFC 1981/004: b41252, frames 30, 31); on the topography in Transylvania and around Rode; on the religion of the Transylvanians; photograph of the village church interior (copied at call number AFC 1981/004: b41252, frames 22-26); about Columbia City, Indiana and the family's move to Chicago in 1966; story of this move to their first home, 1127 W. Oakdale, near Lincoln and Diversey Ave. Part 3 of a 4-part interview with Martin and Sara Schwarz and their daughter Heidi Sievert on a range of topics, emphasizing crafts and culture, recorded at the Schwarz home; ; topics include demonstration of spinning staff for TV filming (see call number AFC 1981/004: b41244, frames 7A-14A); discussion of spinning room activities in Rode; preserving fruit by drying alongside baking ovens, including apples, peaches, pears, plums, and grapes; on baking bread.; on drying grapes by hanging them from the rafters; on the frequency of baking rye bread, 10-12 loaves every two weeks; demonstration of spinning staff and spindle, time of year when spinning was done in Transylvanian households, conversational topics during spinning session, what men do while women weave; discussion of trips back to visit Romania; how a young girl learns spinning, older women used spinning wheels; on materials used in spinning. Part 4 of a 4-part interview with Martin and Sara Schwarz and their daughter Heidi Sievert on a range of topics, emphasizing crafts and culture, recorded at the Schwarz home.
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afc1981004_afs20542a
Part 1 of a 3-part interview with Martin and Sara Schwarz on a range of topics, emphasizing their personal histories and life in their home village of Rode, Transylvania, recorded at the Schwarz home; topics include discussion of photos of the costume demonstration by Sara at the 1976 Smithsonian Folklife Festival in Washington, D.C.; on Mr. Schwarz's cooking skills; description of photographs from a book on Transylvanian Germans; on the functions of a church fortification in a typical Transylvanian town; description of the D.A.N.K. (German American National Congress) women's sewing clubs; membership in D.A.N.K. and their activities; about the Trachtenfest (costume festival) in January; on the Siebenburger Sachsen Club's Stiftungsfest (Founding Day Festival); durrent immigration of Transylvanians; about the sponsorship of a relative to emigrate from Romania and the problems related to it; description of a recent family disaster in Transylvania; immigration of relatives from Romania to Germany, the family of Sara's brother, Sara comes from a family of musicians; on the family of Martin Schwarz; the resettlement of Transylvanians in Germany, further discussion of photo book on Transylvania. deescription of a typical Transylvanian farm, about the buildings and their functions. Part 2 of a 3-part interview with Martin and Sara Schwarz on a range of topics, emphasizing their personal histories and life in their home village of Rode, Transylvania, recorded at the Schwarz home; topics include photos taken of Rode while on a return visit (copied at call number AFC 1981/004: b41252, frames 16-25); description of traditional Transylvanian village layout and farm-house design, design and defense function of village church; discussion of pictures from a book published in Berlin in the 1930s describing architecture, costumes, and folk crafts in Transylvania; description of a picture (copied at call number AFC 1981/004: b41244, frames 22-26); why Transylvanian Saxons are called Saxons (when their origins were not Saxony); about songs from the home village (a copy of the tape recording of these songs is at call number AFC 1981/004: AFS 20561, AFS 20561, AFS 20562, AFS 20563, AFS 20564, AFS 20565, and AFS 20566); on the manner of making sauerkraut according to a traditional Transylvanian method (continues in part 3). Part 3 of a 3-part interview with Martin and Sara Schwarz on a range of topics, emphasizing their personal histories and life in their home village of Rode, Transylvania, recorded at the Schwarz home; topics include explanation of the making of sauerkraut (continued from part 2); about making pickled beets according to a traditional recipe; Sara's explanation on the creation of designs for embroidery, origins of patterns used, difference between knitting and crocheting; crafts and doll-making in Transylvania; about Sara's sewing work in her early days in Chicago, Sara's needle-point sewing learned in America.
afc1981004_afs20542b
A brief interview with Leonard Enders, the national founder of D.A.N.K. (German American National Congress), recorded at D.A.N.K. Nord (North) headquarters during a youth presentation.
afc1981004_afs20543
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afc1981004_afs20545
Part 1 of a 3-part recording of performances at the Chicago Zither Club Spring Concert; Rudy Fuhr is the master of ceremonies; the Chicago Zither Club Orchestra performs three selections, Die Singende Zither Marsch (The Singing Zither March, comp. George Freundorfer), Am Schonen Blaunen Tegernsee - Konzert-Lander (On the Beautiful Tegernsee, comp. Heinrich Stattler), and Standchen Serenade (comp. Heinrich Frh. v. Reigersberg); remarks and introductions by Rudy Fuhr and others, and names some performers for the dance to follow the concert: Rudy Wacek and his electric zither (heard in part 3), Richard Ecker's Orchestra, and the Donauschwaben Folk Dancers; also mentioned is the [Apollon] Mandolin Ensemble under the direction of Father [Dellapenta?] of DePaul University, and Heidi Siewert, guest vocalist (heard in part 2); performance by the Neapolitan Mandolins, "Always with You" (comp. G. Sartori), "Tesoro Mia" (comp. E. Becucci), and "La Golondrina" (comp. Narciso Serradell Sevilla). Part 2 of a 3-part recording of performances at the Chicago Zither Club Spring Concert; the Neapolitan Mandolins perform "Ukrainian Romance" (comp. Heinrich Schneider); Heidi Siewert, yodeler (accompanied by the Chicago Zither Club Orchestra), "Zwei Rehbraune Augen" and "Erzherzog-Johann Jodler" (identified as traditional) and "Himmelblauer Enzian" (comp. Mayer-Hertha); Chicago Zither Club Orchestra, "Spring Beautiful Spring" (comp. Paul Lincke), "Springtime Polka" (traditional). Part 3 of a 3-part recording of performances at the Chicago Zither Club Spring Concert; the first selection may be the Chicago Zither Club Orchestra playing Alpine melodies, with a nearly inaudible chorus; Rudy Wacek and his Electric Zither performs three unnamed tunes and the Beer Barrel Polka; duration of this recording, 10:30 minutes.
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Part 1 of a 2-part interview with Heidi Siewert, folk singer and yodeler; Ms. Siewert is the daughter of Martin and Sara Schwarz, the mother of three children and lives with them and her German born husband at 2N 477 Diane, Glen Ellyn, Illinois; this tape was recorded over the telephone on 26 April 1977; topics include Siewert's background and life history; origins of yodel and her singing experience; yodeling ability first exploited in this country; about job experiences; description of yodeling and how it affects the vocal chords; where and when Heidi sings, her performances are appreciated more by American audiences than ethnic groups; about her repertoire of yodel songs; difference between Alpine yodel and hillbilly yodeling; difference in the experience of singing classical music and folk tunes; the types of ethnic events for which Heidi sings; proliferation of Oktoberfests in Chicago area, from August into November; on the future of ethnic community and choruses: large clubs will survive as music organizations, rather than as ethnic organizations; social organizations will be continued through children; singing clubs are traditional among Germans everywhere; the ethnic interests of Heidi's children, effects of the use of dialects on Heidi's children. Part 2 of a 2-part interview with Heidi Siewert, folk singer and yodeler; Ms. Siewert is the daughter of Martin and Sara Schwarz, the mother of three children and lives with them and her German born husband at 2N 477 Diane, Glen Ellyn, Illinois; this tape was recorded over the telephone on 26 April 1977; topics include the possible conflict between mainland Germans who came before the WWII and the more recent exile German immigrants; the problem of immigration for exile Germans (Displaced Persons); about the family's postwar sojourn in Austria, Indiana, and Chicago; about German regionalism: regional allegiance and pride, and the reason for it, regional pride causes divisiveness, Germans and Austrians function as one ethnic group in this country; about the interaction between Austrians and some German groups, difference between Alpine and Viennese attitudes and interests; about the Friends of Austria organization; about the most active German groups in Chicago; the Donauschwaben; government involvement in the German ethnic community, news coverage of the German-American community; the German-American self-image, positive and negative features; American personality is more open and warmer; Heidi considers herself to be Transylvanian rather than German, has to do with urban vs. rural attitudes and German vs. Austrian attitudes.
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Part 1 of a 4-part interview with Frau Isabella Erbe, a columnist for the weekly German American newspaper called Eintracht; Frau Erbe writes a "Dear Abby" column and reports on German American club events; the interview was recorded at the office of her son's decorating business where she takes telephone messages; topics include a brief history of her life and the Egerland, her birthplace, her immigration and journalistic activities, the origins of the Eintracht newspaper, originally an Austrian-Hungarian-American newspaper; discussion of organizations listed regularly on the back page of Eintracht, of the 180 German-American clubs in Chicago only about 80 are regularly active; about D.A.N.K. (Gernan American National Congress), a political organization in the interest of the German-American communities in the U.S., it has an uncertain future, good leadership is lacking, German American people lack political clout primarily because of the two world wars, also German groups in the U.S. are fragmented; about the exiled German groups from eastern Europe, the exile Germans of eastern Europe are both Austrian and German; about "Schlaraffia Chicagoana." (part of a worldwide German-speaking men's social organization). Part 2 of a 4-part interview with Frau Isabella Erbe, a columnist for the weekly German American newspaper called Eintracht; Frau Erbe writes a "Dear Abby" column and reports on German American club events; the interview was recorded at the office of her son's decorating business where she takes telephone messages; topics include annual "German Day" and the Cannstatter Volksfest of the Schwaben Verein; about the Steuben Verein, a national German-American cultural organization most representative of all German-Americans, the best U.S. organization for the preservation of German culture, annual Trachtenfest (costume festival), Frau Erbe recommends government assistance for folk dancing and regional costume preservation; about Jewish-German-American organizations and theater, Ludwig Lohmiller's role in theater and music among Chicago German-Americans; the Landsmannschaft organizations: foster ethnic dance, mother tongue, costumes and customs; speaking the German langauge is very important to German Landsmannschaften; the Donauschwaben Club originally founded to assist all those German immigrants from eastern Europe; recording includes segment of a telephone conversation (in German) with the editor of Eintracht; resumption of interview: Frau Erbe explains her work for the newspaper; the Sud-ost Deutsche Organization is an umbrella organization for seven regional groups (the exile Germans); the Vereinigte Mannerchor is an umbrella organization for German male singing clubs; about the future of German singing clubs, Erbe believes the clubs can't afford to professionalize. Part 3 of a 4-part interview with Frau Isabella Erbe, a columnist for the weekly German American newspaper called Eintracht; Frau Erbe writes a "Dear Abby" column and reports on German American club events; the interview was recorded at the office of her son's decorating business where she takes telephone messages; a segment of the interview pertaining to the relationship between ethnic cultural groups and U.S. politics is transcribed in the additional related objects cited in this record; topics include the directors of German singing clubs; the presentation to the American Folklife Center of a bound copy of the 1938 national Sangerfest programs, a gift from Ludwig Lohmiller; about the Lohmiller archive on German-American singing club activities; about dance clubs and the German Veterans Associations in Chicago; on the future of German clubs in Chicago, the influence of Haley's "Roots" on German-American ethnicity, and the future of America; on the lack of togetherness and political impotence of the German Americans of Chicago; the vitality of ethnic groups depends upon how recently they immigrated; on raising second generation German Americans in the German language, criticism of government attempts to bilingualize for the sake of Spanish-Americans; about German regionalism transported to America; the best way for German ethnics to become politically involved is to do it through the American political party system, not through ethnic organizations, ethnic clubs should focus on culture; recording interrupted by telephone call; about the relationship between German and Austrian immigrants. Part 4 of a 4-part interview with Frau Isabella Erbe, a columnist for the weekly German American newspaper called Eintracht; Frau Erbe writes a "Dear Abby" column and reports on German American club events; the interview was recorded at the office of her son's decorating business where she takes telephone messages; a fragment of the interview is transcribed in the additional related object cited in this record; topics include the differences between Germans, Austrians, and German-speaking Swiss Americans; about a senior citizen group founded by Frau Erbe; ethnicity is linked with romantic notions of Europe and the past; German Americans are supportive of other Germanic groups like Dutch-Americans; about the image of German Americans held by other American, attitudes towards German Americans during and after World War II; for the folklife project, recommendations for representative German retail businesses in the Chicago area.
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Part 1 of a 2-part interview with Consul Eduard Adler at his Austrian Consular office in the Wrigley Building; themes include the interaction between German and Austrian immigrants in Chicago, and discussion of the range of individuals affected by World War II, now living in America, who identify themselves with Austria; fragments of the interview are transcribed in the additional related object cited in this record; topics include limitations on emigration by the Austrian government; earliest immigrants to America, in the Ebenezer community in Georgia (ca. 1733), 30 miles northwest of Savanna; emigration from the Burgenland to Pennsylvania and Chicago; there was a large emigration from Austria following World War I (1921, 22, 23); then emigration of intellectuals in the 1930s, primarily to the east and west coasts of the U.S. included Austrian Jews; about Austrian emigration after World War II, on the character and accomplishments of post World War II Austrian emigrants; about the Germans in Austria, the origin of the "exile" (South-east) Germans, e.g., Transylvanians and Danube Swabians; about the origin of U.S. Hutterites in Carinthia; the Donauschwaben are the most active of German-speaking groups in Chicago today; on the role of youth in maintaining ethnic traditions; about the main reasons for the emphasis of the exile German ethnicity: 1) a long tradition of maintaining German heritage, 2) being forced out of their most recent homeland; Gottschee German-Austrians: best known peddlers in Europe, originally from Franconia and Thuringia, educated in Klagenfurt. Part 2 of a 2-part interview with Consul Eduard Adler at his Austrian Consular office in the Wrigley Building; themes include the interaction between German and Austrian immigrants in Chicago, and discussion of the range of individuals affected by World War II, now living in America, who identify themselves with Austria; fragments of the interview are transcribed in the additional related object cited in this record; topics include distinguishing the Austrians from other German-speaking peoples; about Austrians more closely related to Slovenians, strong influence of Slavic culture on Austrians; about the importance of regional allegiances in Austria due to historical developments; the Donauschwaben are both German and Austrian, both German and Austrian governments take official responsibility for exile Germans; about the conflict between Hungarians and Germans; the Sudeten Germans; about American self-awareness compared to that of an Austrian; Austria after World War I, adjustment from world empire to a small country; the Consul's work among the German-speaking people in the Midwest, the official attitude of the Austrian government toward emigrants; how the 100,000 former Austrians form the 10th "Federal Province"; the importance of the Austrian Americans in providing an image of Austria in America; the ethnic revolution among Austrians; followed by the fieldworker's summary of unrecorded, post-interview remarks.
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Part 1 of 3-part interview with violin maker Siegfried Schuh, who lives and works at his apartment located at 525 W. Belmont in Chicago; Mr. Schuh is the nephew of Isabella Erbe, and he was born in Schonbach, Egerland (Czechoslovakia), studied in Bubenreuth, Bavaria, and came to Chicago in 1963; topics include learning violin-making, factory production vs. home production of stringed instruments; on the apprenticeship in violin-making; about post World War II events surrounding his exile from Schonbach; the creation of Bubenreuth in Bavaria; how Herr Schuh set up his trade in Chicago, working for an American violin company, on mass production of instruments; about materials used for violin making and their preparation, on the kinds of instruments he makes and repairs, about the process of making and repairing violins; the workshop, demonstration of repair items and stages of violin construction, kinds of wood used in the construction of a violin, staining and varnishing instruments. Part 2 of 3-part interview with violin maker Siegfried Schuh, who lives and works at his apartment located at 525 W. Belmont in Chicago; Mr. Schuh is the nephew of Isabella Erbe, and he was born in Schonbach, Egerland (Czechoslovakia), studied in Bubenreuth, Bavaria, and came to Chicago in 1963; topics include working with apprentices, instruments for sharpening tools, making the violin bridge and how it is fitted to the instrument, kinds of glues used for construction and repair work; about the time required to build a violin (ca. 80 hours), although several are built at a time; how varnish can cover mistakes or poor workmanship in wood instruments; variations in violin sizes; difference between a fiddle and a violin; importance of a label inside a violin; where violins were and are made, the best today are made in Germany; on mandolin repair; about other violin makers in Chicago; bows for violins and horsehair replacement; on making guitars; on the kinds of jobs Mr. Schuh accepts; on classical guitars; about Japanese-made instruments; the quality of modern-day violins. Part 3 of 3-part interview with violin maker Siegfried Schuh, who lives and works at his apartment located at 525 W. Belmont in Chicago; Schuh is the nephew of Isabella Erbe, and he was born in Schonbach, Egerland (Czechoslovakia), studied in Bubenreuth, Bavaria, and came to Chicago in 1963; topics include demonstration of his graduation violin; on buying a violin; constructing a violin; Schuh's involvement with the German American community, membership in Schlaraffia Chicagoans.
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Part 1 of a 3-part interview with Martin and Sara Schwarz, begun over a meal (food is a topic in the conversation), and arranged in order to photograph and describe in detail the traditional costumes of men and women from their native village of Rode, Transylvania; Stefan Roth, also from Transylvania, was present to assist with the modeling of various parts of the costume; the interview took place at the Schwarz home at 1638 West Berwyn, Chicago; topics include description of the preparation of a traditional food, Transylvanian chicken, traditional staple in Transylvanian diet, polukas (spelling ?), like polenta, cornmeal bread cooked in water, eaten with buffalo milk which is taken from a bison species brought to Romania from Africa; arrival of Stefan Roth, recorder turned off for a period; recording restarted with examples of Transylvanian German dialect; about Stefan Roth's occupation; about crocheted dolls used to conceal toilet paper rolls (photographs at call number AFC 1981/004: b42002, frames 19A-25A) made by women's sewing club at D.A.N.K. Nord; about the alcoholic beverages of Transylvanian Germans: wine, brandy, and schnapps; about the use of schnapps for medicinal purposes: e.g., healing wounds; on the bison of Romania; on the kinds and quality of milk available in Transylvania: from goats, cows, and buffaloes. Part 2 of a 3-part interview with Martin and Sara Schwarz, begun over a meal (food is a topic in the conversation), and arranged in order to photograph and describe in detail the traditional costumes of men and women from their native village of Rode, Transylvania; Stefan Roth, also from Transylvania, was present to assist with the modeling of various parts of the costume; the interview took place at the Schwarz home at 1638 West Berwyn, Chicago; topics include explanation of Transylvanian costumes (see photographs at call numbers AFC 1981/004: b41990, b41995, and b42000); examples include bride's costume, indicated by Brautkranz (bridal wreath) on a black hat (see photographs at call number AFC 1981/004: b42006, frames 2-5), Hefteln (breast jewelry) and Curtel (waist jewelry); best man's staff (see photographs at call number AFC 1981/004: b42000, frames 2-5), used to ward off potential bride stealers; about seasonal and religious customs related to engagement and marriage, description of the bridal wreath, groom's bouquet, the male's leather coat (see photographs at call number AFC 1981/004: b42000, frames 13-18), modeled by Stefan Roth; about customs association with weaving and the making of a man's coat; colored bands (confirmation ribbons) worn from the back of the bride's headdress (see photographs at call number AFC 1981/004: b42000, frames 20); on the manner in which women wore their hair (see photographs at call number AFC 1981/004: b42000, frames 19); marriageable age of a woman followed confirmation; apron of the bride (see photographs at call number AFC 1981/004: b42000, frames 23-24); the groom and best man (see photographs at call number AFC 1981/004: b42000, frames 25-26); the woman's dress (see photographs at call number AFC 1981/004: b42000, frames 33 and following); Trachtenhemd under blouse (see photographs at call number AFC 1981/004: b42000, frames 33-35); Kirel (spelling?), slip (see photographs at call number AFC 1981/004: b42000, frames 36-37, and b41990, frames 1A-2A); Spangen and Gurtel, belt (see photographs at call number AFC 1981/004: b41990, frames 3A-5A) ; Kirchen Schurze, church apron (see photographs at call number AFC 1981/004: b41990, frames 6A-7A); Hefteln: breast jewelry (see photographs at call number AFC 1981/004: b41990, frames 8A-10A); head piece (see photographs at call number AFC 1981/004: b41990, frames 11A-13A). Part 3 of a 3-part interview with Martin and Sara Schwarz, begun over a meal (food is a topic in the conversation), and arranged in order to photograph and describe in detail the traditional costumes of men and women from their native village of Rode, Transylvania; Stefan Roth, also from Transylvania, was present to assist with the modeling of various parts of the costume. The interview took place at the Schwarz home at 1638 West Berwyn, Chicago; topics include head pieces (see photographs at call number AFC 1981/004: b41990, frame 16A); confirmation ribbons (see photographs at call number AFC 1981/004: b41990, frames 17A-19A); ein dunnes Tuch, a thin black veil (see photographs at call number AFC 1981/004: b41990, frames 21A-24A); Mantel, black cloth worn down the back, a bride's cape (see photographs at call number AFC 1981/004: b41990, frames 25A-26A); reciting a related saying "Wenn man heiratet, kommt man unter die Haube" (If you get married, you get under the hood); Brustpelz, breast fur piece, leather jacket worn by the man (see photographs at call number AFC 1981/004: b41990, frames 27A-31A); about Stefan Roth, lives at 1733 W. Thorndale, Chicago; he is a cousin of Sara Schwarz; Roth comments on the current Austrian Consul in Chicago.
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Part 1 of a 2-part recording of conversation about German American cultural expression, made in a restaurant at the D.A.N.K. headquarters, 4740 N. Western Ave., with Siegfried Reinke, President of D.A.N.K. Nord (North), Willi Kanies, executive vice-president of national D.A.N.K., and Walter Baroni, editor of the German language Amerika Woche; part 3 of this conversation was not successfully recorded; at its founding in 1959, D.A.N.K. stood for Deutsch Amerikanischer National Kongress; in Chicago, the non-profit operates the D.A.N.K. House German American Cultural Center; topics include introductory remarks; about the low profile, independent attitudes, and lack of togetherness of current German Americans; on the low cultural level of German immigrants to America; about the attitude of second generation people to German American activities conducted in the German language; discussion of what are "true" German traditions; about Faust's book on German Americans (presumably The German Element in the United States, by Albert Bernhardt Faust, 1909); about the loss of German high culture and true folk traditions among German Americans; importance of promoting German culture and language among high school students; about the 1977 National Sangerfest in Chicago.; about the independent spirit of German immigrants; D.A.N.K. serves as an agency for charter flights to Germany. Part 2 of a 2-part recording of conversation about German American cultural expression, made in a restaurant at the D.A.N.K. headquarters, 4740 N. Western Ave., with Siegfried Reinke, President of D.A.N.K. Nord (North), Willi Kanies, executive vice-president of national D.A.N.K., and Walter Baroni, editor of the German language Amerika Woche; part 3 of this conversation was not successfully recorded; at its founding in 1959, D.A.N.K. stood for Deutsch Amerikanischer National Kongress; topics include on youth participation in ethnic German affairs, emphasis in maintaining German heritage by encouraging ethnic youth to marry German; the goals of the D.A.N.K. organization and its actual accomplishments in the German American community; club activities undertaken to achieve goals; about Mayor Bilandic's popularity with ethnic Chicagoans; on D.A.N.K's acceptance among German Americans as representative of that group in Chicago; about the changes in attitude of the Chicago government toward ethnic groups; what the government can do for German Americans; about ethnic neighborhoods in suburbs and weekend schools operated by D.A.N.K. to teach youth German language and culture; on U.S. government assistance for German Americans; the establishment of a German House and Culture Center; about assistance from the German government for German Americans; the search for government funds for ethnic groups; on the future of maintaining ethnic identify and the effectiveness of D.A.N.K.'s youth programs.
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Part 1 of a 3-part recording made at Laschet's Inn at 2119 W. Irving Park Rd., Chicago; this part includes the remarks of Dr. Stephan [Stephen?] Kozlowski, M.D., a bar patron, second generation German, and a friend of bar owner, Karl Laschet, followed by an interview with Karl Laschet, a key figure in the Chicago German American community; a fragment of the interview is transcribed in the additional related object cited in this record; topics include Kozlowski's remarks about Karl Laschet; about the Annual German Day and Parade, Laschet as organizer, Laschet is president of Rheinischer Verein; about the personality of Karl Laschet, Laschet as representative of older immigrants and mainland Germans; on the difference between The Rheinisher Verein and the Donauschwaben as representative of German Americans in Chicago; about Doctor Kozlowski; about the neo-Nazi party in Chicago, give a bad image to German Americans; remarks by fieldworker Jonas Dovydenas remarks on American new stereotyping; about the challenge of a Northwestern University professor's denial of the Jewish holocaust in Nazi Germany and Jewish reactions; beginning of interview with Karl Laschet, his wife Hilde offers comments; drinking toasts in German and in English, sung by Karl Laschet and his bar patrons, a round of drinks is sponsored by innkeeper for the baseball team sponsored by Laschet's Inn; Laschet reviews his role as intermediary between Chicago German Americans and the mayor's office; the annual carnival celebration sponsored by Chicago's Rheinischer Verein. Part 2 of a 3-part recording made at Laschet's Inn at 2119 W. Irving Park Rd., Chicago, consisting of an interview with Karl Laschet, a key figure in the Chicago German American community; a fragment of the interview is transcribed in the additional related object cited in this record; topics include problems in maintaining German ethnicity among German Americans; on Laschet's connections with city hall, his interest in bringing German ethnics together and contributing to the well-being of Chicago, the need for inter-ethnic cooperation in Chicago; about the United German-American Societies and how this organization differs from D.A.N.K.; about the German contribution to Chicago and America, there are 650,000 American od German descent in Chicago; on the American stereotype of German people and culture; German pride requires unity of German ethnics; about Laschet's background and life, on German togetherness; chief characteristics of German ethnics are hard-working, the desire for personal achievement is important, they tend to avoid politics to attain goals, personal and family discipline should be the first concern, then community, freedom does not mean by-passing personal effort; on government assistance for the German ethnic community, Laschet would support government assistance in the establishment of a German cultural center, but community involvement is important, if money is to be given for cultural purposes, it should be given to (folk) cultural purposes as well as to forms of high culture. Part 3 of a 3-part recording made at Laschet's Inn at 2119 W. Irving Park Rd., Chicago, consisting of an interview with Karl Laschet, a key figure in the Chicago German American community; a fragment of the interview is transcribed in the additional related object cited in this record; topics include Mayor Bilandic and his concerns for continental European ethnic groups in Chicago; how few city employees are German ethnics; Germans are hardworkers, not protesters for their cause; German Americans support Venetian night in Chicago, a city-sponsored, lakeside festival; the togetherness of German Americans in Chicago today is achieved through the numerous German clubs in this area, not every German ethnic is a member of a club, but they frequently support club efforts and activities, this variation in the participation of German-Americans in ethnic activities is an expression of American freedom; on neo-Nazi activities in Chicago and its effects on the German-American community; on German Americans in politics and support for Mayor Bilandic; comments in support of Chicago.
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Interview with Rudy Wacek, player and builder of electronically amplified zithers, Chicago, Illinois, part 1 - 3
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Interview with Johann and Irma Sieb, Chicago, Illinois, part 1 - 2
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Speeches and songs at the Siebenbürger Sachsen 1977 Stiftungsfest at the Haus Donauschwaben, Chicago, Illinois, part 1-2
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Interview with George and Anna Schuller about family history, and traditional sausage, sauerkraut, and wine-making, Chicago, Illinois, part 1 - 2
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Recordings made by the Schwarz family during a family vacation to Transylvania, Chicago, Illinois, part 1-6
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Part 1 of a 3-part recording at and about the Spertus Museum (then associated with Spertus College, after 1993, the Spertus Institute of Jewish Studies); this part includes interviews with curator Grace Grossman and artist Arthur Feldman. Part 2 of a 3-part recording at and about the Spertus Museum (then associated with Spertus College, after 1993, the Spertus Institute of Jewish Studies); this part includes interviews with curator Grace Grossman and college president David Weinstein. Part 3 of a 3-part recording at and about the Spertus Museum (then associated with Spertus College, after 1993, the Spertus Institute of Jewish Studies); this part includes interviews with the librarian and archivist Richard Marcus.
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Recording may be associated with Spertus Museum visit by fieldworker Shifra Epstein; the fieldworker's log names calligrapher Darryl Rotman [may be Darryl Rotman-Kuperstock].
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Interview with fabric artist Faith Bickerstaff, discussion of learning from mother ands grandmother, about a tefillin for her husband. Interview with fabric artist Faith Bickerstaff, discussion of funeral brotherhood and other topics.
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Interview with Mazalah Kolman, producer of amulets, recorded at 527 Romona Rd., Wilmette, Illinois.
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Recordings made at Dejan Restaurant, a venue associated with the Yugoslav (Serbian) community, 2124 W. Lawrence Ave.; music performed at Dejan's was characterized as Serbian, Russian, and Jewish; the fieldworker's recording log states that it includes a conversation with Jovan Mihailovic, fieldworker Greta Swenson, and folklorist Eleanor Wachs.
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Interview with Darcie Fohrman about tombstones and Jewish cemeteries. Fohrman was the exhibit designer at the Spertus Museum.
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Interview with Linda Goldman, a freelancer who worked on "My Brother's Keeper," part of the exhibition marking the American Bicentennial at Chicago's Museum of Science and Industry; the fieldoworker's notes mention labor unions, first Jewish book published in Chicago, pinkasim in the orthodox community, theater in Chicago, and other topics.
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Recording made at a fruit and vegetable stand at Maxwell Street Market; content includes conversation with vendor and other passers-by, much about the Jewish connections to community and family. Actual interview occupies first 7 minutes, rest of recording is blank.
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Part 1 of 5-part interview with Mary O'Reilly about her work in the Folk Fair with Irish Exhibition, and other topics, including changes in the Chicago Irish community over time, Irish crafts at home; topic sequence includes biographical information, about her involvement in Irish American activities in Chicago, her work in Folk Fair with the Irish Exhibition. Format of Fair, how she designs the Irish part; how she started working for the Fair, how it has changed over the years; about Irish contributions to American History as depicted at Fair, prominent figures, what historical sources she used, more comments about prominent figures and their contributions; about the logistics of the Fair, economics, what performers they use, musicians, dancers. Part 2 of 5-part interview with Mary O'Reilly about her work in the Folk Fair with Irish Exhibition, and other topics, including American ideas about the Irish, Irish American organizations in Chicago, Irish American roles in industry, Irish crafts often imported to US; topic sequence includes attitudes of people who attend Folk Fair, attitude of Irish Americans towards Ireland; increased Irish Tourism; Irish import stores and the items they sell; some indicators of Irish American identity, some Irish dishes, very few, the only general Irish food is soda bread, some St. Patrick's Day specials; about Irish bars in Chicago; about Irish Americans in construction industry; Irish Americans in bars and dance halls; about Irish knitting, Irish spinning or weaving, some spinning wheels exist but are not used, knitting is not economical, no lace making, other folk products are imported, dancing costumes have traditional Celtic motifs taken from books; about Irish objects in homes, many religious objects, e.g., pertaining to holy water; why Mary O'Reilly came to America, she goes home to Ireland every other year, keeps in touch through newspapers and magazines; about the change in the Chicago Irish Americans over the years, later generation more connected to skilled labor, more positive attitude to Ireland, although some negative attitudes to Ireland; about some negative attitudes toward America; about racial prejudices transmitted by earlier generations. Part 3 of 5-part interview with Mary O'Reilly about her work in the Folk Fair with Irish Exhibition, and other topics, including attitudes of Irish Americans toward folk crafts, persistence and lack of persistence of some Irish traditions in America, Irish American roles in industry; topic sequence includes charter air travel back to Ireland; about the generations, what class, ages; about the attraction of festivals, motives, cheap prices for travel; about the negative effect of the Northern Irish situation; about the loack of impetus to keep traditional Irish crafts going in Chicago; about traditional Irish craft and how it is financially impractical; there are products imported from Ireland but a small market here for the more esoteric crafts, the reasons that Mary O'Reilly buys traditional products; about the attitude of Irish Americans to Folk Fair exhibit, Irish Americans lack knowledge about Irish culture, e.g. literature, the older generations of Irish in America had different value systems, heavily tied in with the church, Irish Americans used to be the police but not any more; children born here become American through peer association and schools, and only have St. Patrick's Day Irishness; about the Irish Fellowship Club in Chicago, an elite group that included Mayor Daley, only met once a year.; about the Irish Tourist Board, diplomats, some lecture series and elite cultural events; about the way that the Irish-born view Irish Americans; Mary O'Reilly's own biases, she is proud to be Irish if successful; about the persistence (or lack) of patterns of behavior around Irish rites of passage and festivals in Chicago; Mary O'Reilly thinks not, theses died out 40 years ago; Roman Catholicism is more standardized now and today Irish Americans are no different in religious observance than other ethnic groups, no particular devotion to Irish saints, but novenas are still popular, and First Friday Devotions. Part 4 of 5-part interview with Mary O'Reilly about her work in the Folk Fair with Irish Exhibition, and other topics, including thoughts about Irish American organizations, encouraging ethnic arts; topic sequence includes discussion of the way many Irish American marriages end up in divorce, 10 percent according to the Chancery Office; how there is a drop off in religious vocations among Irish Americans, which is also a world-wide phenomenon, today there are more liberal attitudes to religion; Mary O'Reilly has several friends who financially support priests abroad; she notes a large gap between the generations, children today have more than their parents had, know more, are more materially minded, and more cynical; about the Council of Irish Arts, Mary O'Reilly is negatively disposed towards it, an organization in name only, essentially a theatre group that "never got off the ground," but it has an Illinois State Charter, factions developed and the organization split; Mary O'Reilly would like to see an Irish center with appropriate facilities; Irish Americans donate a lot of money to charity, mainly the Catholic Church; Irish organizations currently active in Chicago include the Irish Musicians Association, Gaelic Athletic Association, schools of dancing, the Gaelic League, O'Neill School of Irish Music (run by Noel Rice), the American Committee for Irish Studies with members in Chicago universities; about Emmet Larkin's work on the Catholic Church in Ireland; Mary O'Reilly is not knowledgeable about the Ancient Order of Hibernians activities in Chicago, or the Knights of Columbus; there are very few Irish County organizations, the ones she knows are for Clare, Kerry, Mayo, Cork, and Down; there is a Shamrock American Club, a very old organization with a strong religious orientation; big festivals include Rose of Tralee, Mary from Dungloe, and St. Patrick's; these have influenced the development of festivals in Ireland; about St. Patrick's Day, then there is lots of employment for performers; what Mary O'Reilly thinks needs to be done to improve the state of the ethnic arts among the Irish Community, more on the history of Ireland in the schools, this must precede involvement in the arts; Irish arts are not appreciated by most Irish Americans, Ireland is seen as a second rate nation in America; perhaps music needs to be encouraged, or an Irish library, or theatre; funding can have negative effects if used badly, about the problems sometimes associated with funding; about Noel Rice's Irish Music School. Part 5 of 5-part interview with Mary O'Reilly about her work in the Folk Fair with Irish Exhibition, and other topics, including thoughts about Irish music (harp playing), community dynamics among the Irish Americans, stores, and neighborhoods; topic sequence includes how Mary O'Reilly feels a school of traditional music should be organized; about harp playing; about organizational splits and factionalism in Irish American communities and organizations; husband Tom Reilly joins the conversation; says that he feels the problem of factions has carried over from home, he feels the Irish are more divided than other groups but doesn't know for sure, Mary disagrees, saying that some other groups are worse; Tom on the topic of community needs, says there is a need for an Irish center, potential problems discussed, musicians deserve support, Mary sees need for publications and says she doesn't know if an Irish center is really all that necessary; about how Irish American neighborhoods in the city are now gone, the community is brought together through Irish radio hours (6 in all); Irish Northern Aid activities; the Gaelic Athletic Association, etc., and the Irish American News; about how Ireland very accessible today through travel; about import stores, advertised in the Irish American News; Mary and Tom disagree about the Irish image in America, Tom feels the average American is generally ill-informed about Europe.
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Music and song from "The Irish Village" bar; fieldworker's notes state that the location was noisy; music by the Concannon Folk (accordion, banjo, guitar, bass), TV station present, encouraging audience reaction, poor arrangement meant poor recording. Musical selections include We're on the one Road, The Molly Maguires, The Lord of the Dance, The Bag of spuds, Bill Harte's [jig], As I Roved Out, Paddy Works on the Railroad, Pie in the Sky, The Big Strong Man (Sylvest), The Man Who Never Returned (fragment).
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Part 1 of 2-part interview with Noel Rice about teaching Irish music and dance in Chicago, about groups and competition; the fieldworker reports that this interview was conducted late at night in a restaurant, with music, the clattering of cutlery, and occasional rumbles of digestion in the background; the recorded part of the interview followed a candid conversation about Chicago's Irish American community that was not appropriate to record; topics include Rice's own involvement in Irish music in Chicago; about the Comhaltas Irish music preservation organization; about teaching children to play music, and the instruments selected, problems in obtaining music and getting teachers; about the club Rice has started; how much the young people pay, which children they are aiming at, how he advertised the school, problems in finding a place to teach, what Irish generation the children come from, necessity for parental approval; about competitions, dancing, the quickest and most tangible results in teaching dancing, there is a need for competent older children to provide models; about Noel Rice's own background, how he learned music, when came to America (1956) and why, where he has worked, came to Chicago (1960), involvement in music club and why he resigned, relates to a faction that started their own club on Chicago's north side, 1973; about the effects of tours by Irish musicians; how a group established affiliation with Comhaltas and why that is important. Part 2 of 2-part interview with Noel Rice about teaching Irish music and dance in Chicago; the fieldworker reports that this interview was conducted late at night in a restaurant, with music, the clattering of cutlery, and occasional rumbles of digestion in the background; the recorded part of the interview followed a candid conversation about Chicago's Irish American community that was not appropriate to record; topics include teaching in Chicago; about various ways of publicly expressing Irish identity among Chicago Irish Americans; about crafts, there is a a little painting but Noel Rice felt it was "not ethnic"; not much in the Celtic fine arts either, there is one uilleann pipe maker, now getting very old; about Noel Rice's own occupations since coming to Chicago, how his music ties in with his general life style, there are Ceilidhes on the north side; about his children and their involvement in Irish music; the need for social contact ; about the areas where Irish culture in Chicago needs assistance, areas of priority, and why; Rice feels that music keeps the culture together, without dance and music, no singing; music "is the mortar that holds them all together"; most of the great musicians in Chicago are getting old and their skill not being passed on; about the dancing scene, Rice feels it is well taken care of, there are perhaps 5,000 children learning Irish dance in Chicago, and only 50 children learning music from him; about the traditional singing scene, it is in a desperate state, there is one teacher; about the learning process; about sean-nos (old style) singing, and Rice's determination to keep it alive.
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Part 1 of 2-part interview with Denis and Margie Dennehy about teaching Irish dance in Chicago, history and methods; topics include how Denis Dennehy started dancing, when, who he learned from; how many dancing schools were around in the early l950's, how many pupils; how many others danced and/or played music in his family, how much travelling, hbw many competitions, contrasted with present; about other contexts for dancing in the past; about the kinds of costumes; change over time; about Denis Dennehy's own success in competitions, about the problems male dancers faced from peers; how Denis Dennehy started his own school, with his wife Margie, how Margie started with Pat Roche; about Margie Dennehy's own Irish background; Margie's and Denis's roles in the school; about their school today, when held, where , how many pupils, ages, gender distribution; about teaching methods, how long for a course, where the students come from, which generation (from immigrant) are they. how information about the school is disseminated, the problems with crowded classes; about other Irish dancing schools in Chicago, availability of qualified teachers, how credentials are established, the nature of examinations; the Irish Dancing Commission tests for adjudicators (contest judges); about different kinds of competitions, qualification procedures for regional, national, world championships; about adjudicators in Chicago; about the teachers' and chidrens' awareness of standards, qualification procedures; about the children dancing in Chicago, the initial motivations of children and their parents, what age they start, how long children keep up with dancing; about dance style, nature of steps , change over time, the development of more stylized routines, steps are becoming more complex; about who decides what's good and why, where aesthetic norms come from. "Norms are set by the successful"; novelty in dance and its limits; genius; introduction of ballet-like steps to girl's dancing, how standards are set back in Ireland and emulated in America. Part 2 of 2-part interview with Denis and Margie Dennehy about teaching Irish dance in Chicago, evolution of styles; topics include the changing development of styles; the rift between musicians and dancers, for example, the jig; the rift is not as wide in Chicago as in other areas; set dancing is not taught, limited figure dancing is taught but more stylized than folk dancing, Denis Dennehy thinks Irish step dancing is not really a folk form, it requires too much training, it is more of an art form, nevertheless it is seen as Irish folk dancing by other ethnic groups, and the roots of these dances are traditionally Irish traditions; about Ceili dancing, the Commission handbook offers dances that are more "folk," and this is obligatory for teachers to know, the contexts for this also can be found outside competitions; about the Dennehy's own school, gifted pupils, many competition winners; about Chicago competitions and problems in running them, financial breakdown, entrance fees, admission fees, costuming standards, what's an appropriate costume for boys or girls; how competitions have positive and negative aspects, parents and teachers can be more upset than pupils, however, competition raises standards; about the attitude of parents to competitions; what pupils do when they finish taking dancing lessons and entering competitions, often they stop dancing, there are no opportunities to get together for dancing because the Irish community is so dispersed, what might be done to recreate contexts, there is a lack of facilities, like an Irish cultural center, there are no Irish halls.
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Part 1 of a 3-part series of recordings of Terry Teahan on concertina and melodion. Includes performances of Sneem Polka, Poll Hapenny, Mickey Chewing Bubble Gum, Teahan's Delight, Tom Looney's Slide (Katie Scollard's), and Reagan's Slide. Part 2 of a 3-part series of recordings of Terry Teahan on concertina and melodion. Joined by Mary McDonagh, Includes discussion of the Irish Musician's Association running a Fleadh (music competition), about how these evolved in the U.S., dancing schools, Teahan's embroidery and needlepoint. Part 3 of a 3-part series of recordings of Terry Teahan on concertina and melodion. Joined by Mary McDonagh, Includes performances (Teahan, concertina; McDonagh, fiddle) of Mickey Chewing Bubble Gum, Teahan's Delight, Tom Dayhill's Fiddle, The Hawk's Hornpipe, Maggie Scollard's [slide], and The Paper Plate.
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Part 1 of 2-part interview with Frank Thornton about Irish Musicians' Association and Irish music in Chicago, founded 1957, about his youth in County Kerry, immigration, naturalization in US, music education need for financial support; topic sequence includes where he came from, family background, his family in Ireland, when he started to play himself, about the death of the musical tradition back home; fieldworker notes that Frank Thornton takes a few digressions; how Thornton set up the Irish Musicians Association in America in l957 in conjunction with the parent body in Ireland; how Thornton organized a concert tour of Ireland by Irish and Irish American performers from Chicago, including discussion of the tour program (copy enclosed in fieldworker's final report); about the old days in Kerry where he was born; about Comhaltas Ceolteoiri Eireann (Musicians Association of Ireland) and its work; why Thornton came to America, his attitude to America, "a great country"; details of his immigration, where he came to and when (l929), where he worked, about getting citizenship papers, how he studied for and became a policeman, when he retired (l966); how Frank Thornton taught kids music, his own involvement in music over the years; about Francis O'Neill, the great Chicago music collector; about the musicians Thornton met when he came to Chicago, several are mentioned, all now dead; where those musicians would play; about clubs and associations; Thornton as co-founder of the Irish Musicians Association, its aims and philosophy, and now has 20 branches in the U.S. and Canada, and advertises on radio, there are 12 Irish radio programs in Chicago).; about the present-day musical situation among Irish Americans in Chicago; the sacrifices people make to pass on the traditional skills; Irish American musicians are seen as a great asset to the country, musical practice teaches good behavior to children; Thornton sees the biggest need among Chicago Irish Americans right now as financial assistance for schools of Irish traditional music, some kids cannot afford instruments, and there is a need for travelling concerts to be given across the country by top quality Irish performers to encourage and foster interest. Part 2 of 2-part interview with Frank Thornton about Irish Musicians Association and Irish music in Chicago, desire for documentary to encourage music, about state of singing and Gaelic language, state of Irish music in Chicago today is good and vital; topic sequence includes the past portrayal of Ireland in the media; Frank Thornton's ideas on how Ireland should be portrayed, the need for a good documentary film focusing on authentic Irish culture; Thornton thinks a movie of Irish American culture in Chicago should be made available; about the state of Irish singing in Chicago, the need for suitable places for musicians to perform; about the general lack of interest in this topic by mass media; Irish singing is now taught in Chicago, but not enough; there are two branches of Comhaltas in Chicago, seven in the Midwest, Frank Thornton is still active in Comhaltas activities; about Gaelic language classes, and a monthly mass in Gaelic; about Frank Thornton's performance in dance balls, on radio shows, in concerts, and his son Jim's collection; how Thornton feels the scene has been changed very much for the better, there are now 60 outstanding musicians in Chicago and a "couple of hundred coming up."
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Part 1 of 2-part interview with Peggy Roche Boyle about Irish dance, including mention of her father Pat Roche who reprinted Francis O'Neill's book of Irish fiddle tunes in the 1930s, father's influence on his family, had the Harp and Shamrock Orchestra, about Peggy Roche Boyle's dancing and teaching, changes over time, methods, desire for a repertory theater; topic sequence includes her background, her family's Irish activities, about her father, Pat Roche, and his early involvement with dancing; about the World's Fair 1933, where Pat Roche helps organize the presentation of Irish culture; how Pat Roche kept the dancing alive, his involvement with the music scene and the reprinting of Francis O'Neill's collection of fiddle tunes in the 1930's; how Pat Roche transmitted his love of Ireland to his family, about other family members; about Pat Roche's Harp and Shamrock Orchestra, their recordings, his dances, other dancers who came to Chicago and from whom he learned; how Peggy Roche Boyle learned her first steps; about Pat Roche's school and his occupation; about Peggy Roche Boyle's participation in competitions, why she prefers teaching, when she started teaching, her negative attitudes toward competitions; about Peggy Roche Boyle's role in adult education in Irish dancing in St. Xavier's College; about the motivations of her students, where dancing is performed and why; about change over time in the nature of steps and techniques discussed, the reasons for change, teaching methods, steps not written down, labanotation problems, semi-formal method of transmission; about the role of Irish Dancing Teachers Commission; fieldworkers notes that at this point a child starts playing with the microphone around mother Peggy Roche Boyle's neck; about the standards and requirements of the Commission; problems with testing of teachers and teaching methods; about need for a Repertory Theatre for Irish dancing in Chicago.; about problems with dancers who never dance after they pass competition age, and the lack of suitable contexts; the number of people in Chicago learning Irish dancing; how a Repertory Theatre might be established, and potential problems, including personality problems, logistical problems, lack of finances; potential value of a study in Ireland with teachers and repertory theatres there; about the paucity of suitable rehearsal and performance contexts in Chicago. Part 2 of 2-part interview with with Peggy Roche Boyle about Irish dance, including Christmas dance exhibition, about dance style, girls attracted more than boys, some dissonance between musicians and dancers, influence of contests on style, conversation joined by husband Jimmy Boyle, about his repertory, influence of Clancy Brothers; topic sequence includes how Peggy Roche Boyle started her Christmas choreographed Irish dancing exhibition; about problems in researching authentic traditions, and the need for available folkloric source material; how she designed the show; why she only teaches certain material in her dancing classes; about Boyle's lack of knowledge of some of the old regional dances, there is a need for study in Ireland; about negative attitudes to set dances, resources may be available in Chicago, there are questions about the "right" and "wrong" ways to do things; how existing old style dancing resources in Chicago might be utilized; the need for finances seen as crucial in order to tap the talent out there, how informal dancing contexts might be stimulated; about Peggy Roche Boyle's dancing classes, 80 pupils, there is competition between dancing schools discussed; where pupils come from, what generation and gender; about the low number of males, the age at which pupils "drop off"; about the motivation of children and parents; how the school is publicized; about feelings on aspects of dancing style, the rift between musicians and dancers, a lack of mutual understanding has developed; about audience taste; Boyle has a negative response attitude to soft shoe dancing; why Irish American dancing standards are governed by attitudes among top dancers in Ireland; teachers are forced to enter their kids for competitions, they have "winning complexes"; the next segment is a conversation with Peggy Roche Boyle's husband, Jimmy Boyle, how he developed interest in his Irish background, how he started to dance, how he and Peggy met, his attitude to performing in pubs, when he learns, about his singing and his songs, where he gets them, the influence of the Clancy Brothers.
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Interview with Mike Flannery about Irish American culture, recorded out of doors (sound adversely affected by wind on microphone and jacket flapping); about influence of father, frustration at lack of interest in culture on the part of some Irish Americans; about Gaelic language, Irish Musicians Association, about context for individual's cultural understanding, relationship to politics, and other topics; this recording was made at the same time as the Fleadh Cheoil held at Bogan High School (call numbers AFC 1981/004: AFS 20587, AFS 20588, AFS 20589, AFS 20590, AFS 20591, and AFS 20592).
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Part 1 of a 6-part recording made at the Fleadh Cheoil (singing and instrumental competition) held at Bogan High School; some recordings document the contest itself while others were made to the side; see the fieldworker's logs for more detail; recorded in a large hall: Noel Rice, flute, hornpipe; slow air, An Drimin Donn Dilis; then in a classroom, singing contest (microphone at a distance): sean nos (old style) singer, The Shores of Lough Bran; Mary Conway, My Blue Eyed Mountain Queen; Mary Conway, The Banks of the Lee; next: 14-16 age group singing competition: Liza Flatley, My Snowy Breasted Pearl and The Last Rose of Summer; Adjudication; next: Men's Senior Singing Competion: John Brennan, Long a Growing and Skibereen; James Skehan, The Banks of the Lee. Part 2 of a 6-part recording made at the Fleadh Cheoil (singing and instrumental competition) held at Bogan High School; some recordings document the contest itself while others were made to the side; see the fieldworker's logs for more detail; this recording includes Men's Senior Singing Competition in English: Kevin Henry, The Emigrant's Return and The Green Fieids of Dromore; Adjudication; next, context shifts to tiny alcove for a fiddle and flute session, sounds of traffic in background: Armin Barnett, fiddle, David Molk, flute, various reels and jigs. Part 3 of a 6-part recording made at the Fleadh Cheoil (singing and instrumental competition) held at Bogan High School; some recordings document the contest itself while others were made to the side; see the fieldworker's logs for more detail. Part 4 of a 6-part recording made at the Fleadh Cheoil (singing and instrumental competition) held at Bogan High School; some recordings document the contest itself while others were made to the side; see the fieldworker's logs for more detail; this recording includes a session with Liz Carroll, fiddle, Dan Collins, fiddle, and David Molk, flute, various reels; next, the Tin Whistle Competition (recorded at about 30-40 feet distance in school gym with audience a considerable distance from the chair on which the players sat and played for the adjudicators), some humming, banging, and shuffling noises; next, Seamus Coole, hornpipe, reel, jig (a nearby cassette momentarily turned on towards the end of the reel); next, Tom Masterson, tin whistle, slow air, jig, reel, hornpipe; next, unidentified player, tin whistle, hornpipe, slow air, jig, reel; Adjudication. Part 5 of a 6-part recording made at the Fleadh Cheoil (singing and instrumental competition) held at Bogan High School; some recordings document the contest itself while others were made to the side; see the fieldworker's logs for more detail; this recording includes the flute competition: Seamus Cooley (wooden flute), slow air, jig, hornpipe; reel; Kevin Henry (wooden flute), hornpipe, jig, slow air plus reel; Michael Flatley (wooden flute), jig, slow air, hornpipe, reel; Noel Rice (silver flute), slow air, hornpipe, jig, reel; David Molk (wooden flute), jigs, slow air. Part 6 of a 6-part recording made at the Fleadh Cheoil (singing and instrumental competition) held at Bogan High School, some recordings document the contest itself while others were made to the side; see the fieldworker's logs for more detail; from the flute competition: Noel Rice, adjudication; session with Liz Carroll, fiddle, Tommy McGuire, button accordion, spoons player with Liz Carroll; Liz Carroll and Tommy McGuire.
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Part 1 of 2-part interview with Pat Roche about Irish dance in Chicago, Roche born in Ireland in 1905, came to America 1930, founded Harp and Shamrock Club; topic sequence includes where he was born, how he learned dancing at home, from whom he learned at home and in America; played football; when Roche came to Chicago (1930), he then joined a band and began teaching dancing, about some initial problems; about the system of teaching he developed; about his family back in Ireland, how many came to America, and why they emigrated; when he next went back to Ireland, when he was born (1905); about his involvement in organizing Irish American activities in Chicago over the years, music, dancing, boxing, Gaelic games, and his bands, including the Harp and Shamrock Club; about its activities; about dancing teachers in Chicago over the years, the benefits of Irish dancing to young people, it "develops their mind as well as their body"; about music and dance competitions over the years, initial problem in finding judges for competitions; about the Irish music that was played in public, e.g., in dance halls, and the types of instruments; story about how a young lad playing authentic Irish music fell under the influence of a wealthy patron and made good; about the Harp and Shamrock Orchestra, and its original (l933l members, by name, most are still alive, it is the only Ceili Band of that time; how the band made records, what company, what they were paid, how the band broke up, what happened to the members; Pat Roche incorporated the band and club name; about the World's Fair Irish Village; there has been no ceilidh bands since Harp and Shamrock until recently, convened for Feiseanna; how Pat Roche began his involvement with radio, which shows and stations over the years, he still has a show, he has been on radio steadily over the last 10 years, his show features culture, history, politics, and prominent Irish figures; how he recorded his dancing for commercial recordings. Part 2 of 2-part interview with Pat Roche about Irish dance in Chicago, Roche born in Ireland in 1905, came to America 1930, founded Harp and Shamrock Club, topics include development of Irish dancing style (tempo, steps, etc.) over the years; Pat Roche sees a constant progression; how he took his star pupils and taught them how to teach, "Most of the best teachers today are my pupils"; competitions are an important instrument for improvement in standards; why Pat Roche sees dancing as building character; discussion of his occupations since coming to America, in the Depression, he had his own business, peddled eggs, tea, coffee; then a fireman, then engineer, retired 1976; how Pat Roche found room for dancing, hard times, where he has lived in Chicago; how his children do and do not keep up Irish traditions; Pat Roche still dances, and thinks that the current state of dancing in Chicago is good, he sees dancing as keeping Irish Americans united; about step dancing and how Roche tried to get parents to learn set dancing, he feels Irish ceili dancing could be as popular in informal settings as square dancing; why dancing teachers don't teach the old sets, Pat Roche is dubious about the authenticity of the old country sets, adds comments on British exploitation of Ireland; more description of the Irish Village at the [1933 ?] World's Fair.
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Part 1 of 2-part interview with Mr. and Mrs. Jan Harry and Josefa Andersen: 3416 N. Oak Park Ave., regarding immigration, Norwegian activities in Chicago, and survival of Norwegian customs; other topics include language, Christmas customs, Norwegian restaurant, "Den Norske Kafe," holidays including Sankthans or Midsommer; Syttenda Mai (Norwegian Independence Day), Fastelavn; Leif Ericsson Day and statue, seasonal food customs, "The Sunshine Singers," Norwegian language organizations, church in Chicago, Norwegians in trades and trade unions. Part 2; start of recording to 26 minutes elapsed time: part 2 of 2-part interview with Mr. and Mrs. Jan Harry and Josefa Andersen: 3416 N. Oak Park Ave., regarding Norwegian American customs, Wheaton College, religious organizations and the Salvation Army, veterans association, and immigrant songs.
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From 26 minutes elapsed time to end of recording: part 1 of a 2-part interview with Mr. and Mrs. Paul Svejnbjorn Johnson, 936 Sheridan Rd., Evanston, 60206, about Icelandic activities in Chicago, and survival of Icelandic customs. Svejnbjorn Johnson is the consul of Iceland and Mrs. Johnson is a cultural leader in the Icelandic American community. Topic include occupations of Icelanders in Chicago, language, food customs, National Day, Icelandic participation in Scandinavian churches , Leif Ericsson Day, Christmas customs, regular visits to Iceland, a traditional fish dish and "the Cod War." Part 2 of a 2-part interview with Mr. and Mrs. Paul Svejnbjorn Johnson, 936 Sheridan Rd., Evanston, 60206, about Icelandic activities in Chicago, and survival of Icelandic customs.
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Part 1 of a 2-part interview with Mrs. Olga Lejondahl and Mrs. Ruth Peterson, Evergreen Park; topics include Swedish painting in Chicago area; Mrs. Lejondahl is a Dalarmalar (may be Dala paintings or kurbits paintings from Dalarna province), as well as a mural, portrait, and landscape painter; Mrs. Peterson is her landlady; discussion of Lejondahl's background, immigration, origin, beginning of painting, styles, brushes and paint, murals on order, about immigration to Chicago and early work there, visits to Sweden, family there and in U.S., other Swedish traditions, incl. food, Christmas, etc. Part 2 of a 2-part interview with Mrs. Olga Lejondahl and Mrs. Ruth Peterson, Evergreen Park; closing fragment of interview, duration 4 minutes.
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Part 1 of a 2-part audiocassette recording of and interview with and performances by Ray Nilsen, 6059 N. Newburg, Chicago, IL. 60631; additional segments of this event were recorded on open-reel tapes at call numbers AFC 1981/004: AFS 20598 and AFS 20599; topics in this part include musical background and repertoire, also Norwegian musical and dance activities in Chicago; Mr. Nilsen is an accordionist, singer, and choir director; discussion of learning the music, playing in the old country, music lessons in Chicago, father's musical background, occupations in U.S. attitudes towards other Norwegian music, source of accordion repertoire, fiddling and dancing in Norway, differences in Chicago and Norway repertoire, revival of older music, Norwegian dance-groups in Chicago, "The Sunshine Singers," Salvation Army Scandinavian Night, Norwegian choirs and choral societies, church and dance music, Norwegian American holidays, Christmas parties for kids, Sjomannsvalsar (sailors waltzes), emigrants songs, Syttenda Mai (Norwegian Independence Day) and Norwegian patriotic songs; introduction to the musical portion of this recording and performances that include Se Nu Dansar Bestefar (Grandfather's Waltz), Kostarvalsen, Nidaran, Lejkaringen, Heimhugg' Schottische, Poul Sine Hans (with vocals), Springdans, Seksnummer Reel, Klapdans, Handfei ("Soldier's Joy" variant), Ekereel, Fussel, and En Sjomann Elskar Havets Brus. Part 2 of a 2-part audiocassette recording of and interview with and performances by Ray Nilsen, 6059 N. Newburg, Chicago, IL. 60631; additional segments of this event were recorded on open-reel tapes at call numbers AFC 1981/004: AFS 20598 and AFS 20599; performances in this part include Den Klare Aftanstjerne, Lapplander song (no title given), Piende Visa, Christmas song (title not given), Jeg ar sa Glad av Julan Kam, Dejlige ar Jordan; conversation about psalmodikon (or psalmodicon, musical instrument).
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Part 1 of a 2-part open-reel tape recording of and interview with and performances by Ray Nilsen, accordion and vocals, and Leandra Nilsen, piano, 6059 N. Newburg, Chicago, IL. 60631; additional segments of this event were recorded on an audiocassette at call numbers AFC 1981/004: AFS 20597a and AFS 20597b; selections in this part include song; waltz; and the hymn "Beautiful Savior" sung in English and Norwegian, piano and vocals; duration of this recording 4:30 minutes. Part 2 of a 2-part open-reel tape recording of and interview with and performances by Ray Nilsen, accordion and vocals, and Leandra Nilsen, piano, 6059 N. Newburg, Chicago, IL. 60631; additional segments of this event were recorded on an audiocassette at call numbers AFC 1981/004: AFS 20597a and AFS 20597b; selections in this part include "Se Nu Danser Bestefar" (Grandfather's Waltz), followed by comments on instruments; "Kostervalsen"; "Nideron"; "Lejkaringen, Heimbugg" (schottische); "Poul Sine Hons" followed by comments; "Springdans"; "Seksnummer Reel" (polka); "Klapdans"; "Handfei" (variant of' Soldier's Joy); "Ekereel"; "Fussol" (dance for couples, variant of' Turkey in the Straw); "En Sjomann Elskar Havets Brus" [En sjöman älskar havets våg, ja vågornas brus] (waltz, sailor's farewell to his girl); waltz (sailor's song, with comments); "Den Klare Aftanstjerne" (waltz); Lapplander song; "Piende Visa" followed by story.
afc1981004_afs20600a
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Part 1 of 2-part interview with and performances by Kurt Mathiasson (residence 4852 W. Ainslie, Chicago 60630), recorded at the Swedish-American Museum, 5248 N. Clark St., Chicago, 60640; topics include Swedish traditions and music in Chicago, and Mathiasson's own musical traditions and repertoire; Mathiasson plays accordion, guitar, and harmonium and sings; he is proprietor of the Svea Restaurant, 5236 N. Clark, in the Andersonville district, is chairman of the Andersonville Chamber of Commerce and director of the Swedish-American Museum; additional topic notes: Swedish-American church services, Swedish holidays in Chicago, singing societies, Leif Ericsson Day, Swedish bands, bakeries, restaurants, and bars; discussion of Mathiasson's background and immigration, occupations, musical background, repertoire; the performances are accompanied (alternatively) by harmonium and guitar, and include Har De som Dovan ja Vingar, Solskinnarbjarg, Tack for Alt, Nu Tanker Jag Pa Dej, Mellun Himmels Host ock Vie, Smalandsvisan, Soldatarvisan, Soldatans Kona, Varmlandsvisan, and Elvira Madigan (truncated by end of tape). Part 2 of 2-part interview with and performances by Kurt Mathiasson (residence 4852 W. Ainslie, Chicago 60630), recorded at the Swedish-American Museum, 5248 N. Clark St., Chicago; performances include Se Pepito Dansar Tamborito, I Corsica, Sjomannsvals (two sailor's waltzes, titles unknown), Kvasarvalsen, Amerikabrevet, Hilsa Dem Darhemma, and Flickarna i Smaland.
afc1981004_afs20601a
Interview with and performances by Jorgen Hyland, 244 Callan Ave., Evanston 60602, regarding Hardanger fiddle music specifically and Norwegian fiddling in general; topics include emigration, origin, occupation, early musical experiences, the Hardanger fiddle, wedding music, Hyland's occupation on arrival, musical activities later, purchase of fiddle, repertoire, revival of playing after retirement, stringing the fiddle, Norwegian musical repertoire and dances, tune Springdans, revival of interest in playing. Performances interspersed with conversation: Musavisan Schottische, unnamed Schottische, "Kalle Firmans Vals, discussion of musical preservation in Norway, Polska Vals, Sorensen's Rheinlander, about Bergen's folklore museum, playing with other fiddlers in Chicago, other Norwegian family traditions, information on other Hardanger fiddlers , Norwegian singing at private parties.
afc1981004_afs20602
Recording of performance of Kurt Mathiasson, vocals, harmonium, guitar, accordion; selections include "Har De Som Dovan Ja Vingar" (dirge, hymn); "Salskinnarbjorg" (Sunshine), comments on the harmonium; "Tack for Alt" (thanksgiving song); "Nu Tankar Jag Pa Dej" (guitar and vocals, a children's dance), comments on the guitar's history in Sweden; "Mellum Himmels Host ock Vie" (guitar and voice); "Smal Andsvisan" (guitar and vocal); "Soldatorvisan"; "Soldatans Kona"; "Varmlandvisan"; "Elvira Madigan" (old Swedish melody, learned from grandmother); unnamed song (guitar and voice); "Se Pepito Dansar Tainborito" (guitar and voice), comments on the song's author; "I Corsica" (guitar and voice); "Sjomannsuals" (guitar and voice), Mathiasson describes as waltz, rhythm suggests rhumba; unnamed wa1tz (accordion solo); "Kuasarvalsan" (accordion solo, wa1tz); "Amerikabrevet" (guitar, voca1s), Swedish song with English phrases.
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Part 1 of 2-part interview with Mrs. Elie (Mrs. Poul V.) Steffensen and Mrs. Karin Tinghoj Pedersen, 2849 Logan Blvd., W., Chicago, IL. 60647; topics include Danish food and homemaking customs, and Danish needlecraft, especially knipling, i.e. lacemaking; Mrs. Steffensen is a leader in Danish cultural activities in Chicago and an accomplished knipler, and Mrs. Pedersen is her mother; discussion included immigration and origin, settlement in Chicago and the Great Depression, Mr. Steffensen's occupation, about language and dialect, Danish organizations in Chicago, Mrs. Pedersen's early organizational activities, the Danish Literary Society, the Danish neighborhood in Chicago, churches and Danish language church services, Grundlovsfest (Danish National Day Festival), the Old People's Home Summer Festival , decline in festival attendance, festival speakers, the Danish Old People's Home, Danish-American Athletic Club Christmas Party and children's Christmas party Tape Index, Lillejuleaften (Dec. 23) old people's party, Athletic Club's Fastelavn party, Danish Christmas Tree at Museum of Science and Industry, African American Lutheran churches that were formerly Danish, Lillejuleaften party and food, other holidays including Sankthans, New Year's Eve, Athletic Club's gymnastic exhibition, Ollerup Gymanstic School graduates, gymnastic exhibition, folkdancing, decline in event attendance due to television, Ladies Auxiliary. Part 2 of 2-part interview with Mrs. Elie (Mrs. Poul V.) Steffensen and Mrs. Karin Tinghoj Pedersen, 2849 Logan Blvd., W., Chicago, IL. 60647; topics include Ladies Auxiliary, activities during World War II, family activities, Danish food in the home in Chicago, the Danish butcher Knud Kastrup, lack of Danish bakeries, Athletic Club and Old People's Home bazaars, daily food traditions, eftermiddagskaffee and aftenskaffe (afternoon and evening coffee) , desserts, bread, ollebrod (bread and beer soup), Danish cookbooks, needlecrafts, cross-stitching, embroidery, pull-thread embroidery, needlepoint, Mrs. Steffensen's own needlework activities, description of knipling (lacemaking), how knipling is learned, patterns, step by step description of knipling, knipling as part of other objects, knipling pillow, how Karin Pedersen learned craft, starting a pattern, origins of knipling, Karin Pedersen's description of knipling, other Danish lacemakers in Illinois, step-by-step description by Elie Steffensen.
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Recording of the Danish Singing Society, Harmonien, rehearsal led by Wayne Spies at Normennernes Singing Society Hall; fieldworker's notes state that this recording was poorly made and is unintelligible; other recordings of Harmonien are at call numbers AFC 1981/004: AFS 20605, AFS 20611, and AFS 20612).
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Part 1 of 2-part recording of spontaneous singing and toasting by the Danish Singing Society, Harmonien, at Normennernes Singing Society Hall.; smorrebrod (Danish sandwiches) served at dinner; song selections include Helen Gar, Salange Halven Star, Harmonien's Sang. Part 2 of 2-part recording of spontaneous singing and toasting by the Danish Singing Society, Harmonien, at Normennernes Singing Society Hall; smorrebrod (Danish sandwiches) served at dinner; song selections include I Danmark Er Jeg Fodt and Glade Himmel; additional material on the recording described by fieldworker as less relevant to the ethnic arts field project.
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Part 1 of 2-part interview with Miss Selma Jacobson, 5641 W. Warwick Ave., Chicago, IL. 60641, Swedish hemslojd (home craft movement) and halmslojd (straw craft); Jacobson is an accomplished halmslojd artist, as well as serving as librarian for the Swedish-American Pioneer Historical Society Archives; interview recorded at the SAPHS Archives, 03 Nyvall Bldg., North Park College, 5120 N. Spaulding, Chicago, IL. 60625; topics include Swedish organizations in Chicago, types of crafts demonstrated in city, traditional cooking and baking, weaving activities, the artist's experiences in Swedish hemslojd school, visits to Scandinavian schools; about the methods for halmslojd: discussion of many steps in the process, detailed, continues in part 2. Part 2 of 2-part interview with Miss Selma Jacobson, 5641 W. Warwick Ave., Chicago, IL. 60641; background noise begins at 29 minutes elapsed time; topics include Swedish hemslojd (home craft movement) and halmslojd (straw craft); Jacobson is an accomplished halmslojd artist, as well as serving as librarian for the Swedish-American Pioneer Historical Society Archives; interview recorded at the SAPHS Archives, 03 Nyvall Bldg., North Park College, 5120 N. Spaulding, Chicago, IL. 60625; about the methods for halmslojd (straw craft): discussion of many steps in the process, detailed, continues from part 1; other topics include making large items of straw, problems of working in straw, Julebok, traditional Swedish Christmas decorating, some specialized halmslojd techniques, making human figures, economic aspects of Hemslojd, standard and varied techniques, color added to halmslojd, clothing of figures, tools and non-straw materials, Holy Thursday and Fastlag (Lenten) decorations of straw, use of patterns in halmslojd.
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Part 1 of 2-part interview with Reidar Rosenvinge, 5820 W. Henderson, Chicago 60634, regarding Rosemalinq (flower-painting) and Norwegian art in Chicago; initial segment of recordings is poor quality, improves as recording proceeds; Reidar Rosenvinge is an active painter and teacher of painting specializing in Rosemaling; interview recorded at the Norway Center, 2350 N. Kedzie Blvd., Chicago 60647; topics include Rosenvinge's immigration and origins, early training as an artist, childhood artistic activities, father's influence, training at Technical Institute in Oslo, occupation in Chicago (working for W.P. Nelson), places painted in Chicago, working for Marshall Field, more occupational history, the teaching, resumption, and history of Rosemaling, revival of Rosemaling in US and its return to Norway, survival as a folk art in rural Norway, Rosenvinge's reasons for taking up the craft, influence on other Chicago Rosemalere (artists), methods of teaching Rosemaling, steps in process, use of pigments and their availability, templates and designs, competitive shows , resurgence of Rosemaling among youth, definition of talent, mixing of paints, children Rosemaling, artistic traditions in family, famous Norwegian painters in Chicago, Norwegian love of nature's influence on art, Norwegians in building trades, housepainters also artists, other trade-related talents, importance of perfection, cabinetmaking activities, restoration work, some for W.P. Nelson, stencilling and stencil-cutting. Part 2 of 2-part interview with Reidar Rosenvinge, 5820 W. Henderson, Chicago 60634, regarding Rosemalinq (flower-painting) and Norwegian art in Chicago; duration about 8 minutes; Reidar Rosenvinge is an active painter and teacher of painting specializing in Rosemaling; interview recorded at the Norway Center, 2350 N. Kedzie Blvd., Chicago 60647; topics include sign-painting, mural-painting, how Rosenvinge learned a trade in Scandinavia, steps in Rosemaling an object, kinds of objects sold, Scandinavians and Germans as talented painters.
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Interview with Mr. Ivar Antonsson, 4848 N. Hoyne Ave., Chicago, IL. 60625, regarding woodcarving; Ivar Antonsson was formerly an active Swedish woodcarver; topics include immigration, origins, beginning carving, about the wood used in Sweden and items carved in Sweden, tools, obtaining wood in Sweden; kinds of items carved and wood preferred, more on immigration and work done at time of arrival, carving done in Chicago, kinds of wood available in US, grandfather as farmer and carver, cessation of carving in Chicago, pieces at Swedish Museum, extant pieces of his work, preparation of raw materials and drawings for carving, description of carving techniques, tools, and staining, grandfather as cabinetmaker, future carving plans.
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Part 1 of 2-part interview with Mrs. Aina Momquist; recorded at the Scandinavian Boutique, 18135 Harwood, Homewood IL 60430; Aina Momquist is proprietor of a Scandinavian craft shop, an accomplished Swedish seamstress, and a teacher of Swedish needlecrafts; topics include immigration and settlement, origin of the Boutique, beginnings of needlework, stages of learning, list of skills, teaching, popularity of needlework, description of Hardangersom, cutwork, pulled or drawn, threadwork, eyelet embroidery, drawn threadwork, twist-stitch, Flemish weave, weaving in Sweden, Swedish cooking, Christmas in Chicago, activities in Roseland and Homewood, Churches on the South Side, language teaching in Chicago, revival of language in Chicago, other practitioners of Scandinavian crafts in area, Swedish organizations south of Chicago, Scandinavian businesses. Part 2 of 2-part interview with Mrs. Aina Momquist; recorded at the Scandinavian Boutique, 18135 Harwood, Homewood IL 60430; duration of this part: 10 minutes; Aina Momquist is proprietor of a Scandinavian craft shop, an accomplished Swedish seamstress, and a teacher of Swedish needlecrafts; topics include saleability of various needlecrafts, small talk about the dog, saleability of various needlecrafts, intentions in doing of needlecrafts, about other items sold in shop.
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Recording of performances by Jorgen Hyland on Hardangar fiddle; discussion of tunings of the fiddle; "Spring Dance" or "Springar," followed by story of the dance accompaniment to the song, a girl and boy dance together and then separately, then a pantomime takes place; "Springar" (same title for a different tune); "Reylander," a schottisch, discussion of the nature of the drone [strings] and the invention of the Hargangar violin; discussion of wedding music, with comments on the different emotions involved; discussion of working implements, the work ethic; description of a party dance, involving acrobatics; unnamed tune; "Springar" (again); duration of recording 15:30 minutes.
afc1981004_afs20611
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Part 1 of a 2-part recording of rehearsal by Harmonien, Danish Singing Society, at Normennenes Singing Society Hall, 2414 N. Kedzie Blvd, Logan Square, led by Wayne Spies; the singers include Paul Jorgensen, Peder Larsen, Roger Stavnen, Helger Morch (soloist), Torben Jensen, Arthur Larsen, Jerry Andersen, Eivind Torske, Wayne Spies (leader); selections include "Sangerhilsen" (repeated to rehearse); "Mit Fagre Hjem"; "Nyhaven"; some conversation within group; repeat tune; unnamed song; "Modersmaalet" (piano accompaniment); repeated; "Harmonien Ins Chor" (rehearsed in sections, continued in part 2). Part 2 of a 2-part recording of rehearsal by Harmonien, Danish Singing Society, at Normennenes Singing Society Hall, 2414 N. Kedzie Blvd, Logan Square, led by Wayne Spies; the singers include Paul Jorgensen, Peder Larsen, Roger Stavnen, Helger Morch (soloist), Torben Jensen, Arthur Larsen, Jerry Andersen, Eivind Torske, Wayne Spies (leader); selections include "Harmonien Ins Chor" (continued from part 1); "Rise Up, Oh Men of God"; "Hurlange Skall Pa Bordet"; Danish National Anthem (may be 'Der er et yndigt land'); repeats to rehearse; "Serenad."
afc1981004_afs20613a
Interview with John Buffalo; fieldworker's note on tape box states "newly arrived in Chicago"; topics include comments about anthropologists and Mandan language; boarding school experience, military experience in the 82nd Airborne, story of returning to U.S. and being turned away from "Negroes Only" cinema, "Whites Only" cafe, and "Mexicans Only" bar, has published two books of poetry, Little Deer Speaks and Wolf Man (Eagle Recording and Publishing Co., Salt Lake City, Utah), recites portions of two poems.
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Interview with Alford Waters, member of Ponca tribe, director of the American Indian Center, Chicago; about unrecognized tribes, pre-1870, problems for us, most Indians came to Chicago for work, Chicago's huge number of tribes, defeatist attitude, about the American Indian Movement, lack of political power because of small numbers, plans for cultural programs at the Center, commercialized pow-wows for public appeal, the Center's start as result of relocation, lithography, about the U.S. bicentennial and the National Congress of American Indians research.
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Interview with Sharon Skolnick, coordinator for Foster Care Programs, American Indian Health Service, about the Foster Care Program, Skolnick's education, dramatics, got name from painting "Courage is like a wild horse," was adopted, must paint fast-with hands, about the Chicago Indian Artist Guild, mixing colors in traditional way, expanded work since living in Chicago, mythical butterflies, about the Art Fair, how people react to her art, guild as school and center, permanent gallery for country, theater group, Skolnick's problem is that she can't keep her hands off the finished work.
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Interview with Loniel Poco, from the American Indian Center and director of the Chicago Indian Artist Guild, about the formation of the guild, activities after one year; problems with vandalism, Poco's art, especially cartoon work, first publication, guild's original group came to Chicago primarily on relocation, unsuccessful application to Illinois Arts Council, about revolution. of art in the 1950's, censorship of cartoons, Indian religious symbols, discrimination against Indians, especially in commercial art, about the promotion of Indian art; setting an example, why Poco left commercial art field, leader in Indian community, describes his own art, wants southwest pottery class, compares art of reservation Indians with urban Indians, what is Indian art, what is an Indian, exploitation, loss of language and customs, need to encourage Indian artists for the preservation of dignity of all Indians, untapped talent, can be asset to economy, seeks renaissance of Indian art.
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Interview with Lyman F. Pierce, Illinois Employment and Training Center, 1124 W. Granville, how the Iroquois People came into being, how the Iroquois Confederacy came into being, about white roots of peace, religio-political structure, the Allegheny Reservation, about Pierce's education, how his mother pushed him to go to school, three masters degrees, about his work experience, various organizations and cities, his mother's death; duration of interview: 22 minutes.
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Part 1 of a 2-part recording of blues/boogie pianist Jimmy Walker, 750 East 46th Street, Chicago, Illinois; the fieldworker's notes state that this recording is "all music with no recognizable titles except 'Everybody Needs Somebody Sometime,' " the session was a jam with players who sat in (including the saxophone player), the bird whistling is from an audience member. Part 2 of a 2-part recording of blues/boogie pianist Jimmy Walker, 750 East 46th Street, Chicago, Illinois; the fieldworker's notes state that this recording is "all music with no recognizable titles," the session was a jam with players who sat in (including the saxophone player), the bird whistling is from an audience member.
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Interview with Mrs.Ida Mae Cress at the DuSable Museum, Chicago, Illinois; Cress is the organizer of an exhibition on quilts and an oral historian.
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Interview with Dr. Margaret Burroughs, founder of DuSable Museum, recorded at the museum; Burroughs is an art historian.
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Part 1 of 2-part interview and performances with Edith Wilson, 5921 Indiana, Chicago, Illinois; the interview with this well-known performer includes some personal history and discussion of a quilt that Wilson's family began to create during slavery and completed in 1883, also side remarks to Wilson's pet cat. Part 2 of 2-part interview and performances with Edith Wilson, 5921 Indiana, Chicago, Illinois; the interview with this well-known performer includes some discussion and musical performances; the first two songs (Try A Little Tenderness and Woke Up This Morning With Blues All Around My Bed) were recorded at the Marina Towers hosted by the Chicago Jazz Institute (Contact person re: musicians: Mr. John Defaun, 1937 N. Hudson, Chicago 60614); the remaining three songs (Can't Help Lovin' That Man of Mine, Am I Blue, and Black and Blue [chorus only]) were recorded at the Acorn on Oak Club in Chicago, piano accompaniment provided by Buddy Charles.
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Part 1 of 2-part recording of musical performances by and interview with Big Time Sarah Streeter, in this recording with Sunnyland Slim, Mickey Martin, and Eddie Taylor, her regular backup group; the bass player was not a regular with this group; the fieldworker reports that the musical recordings were made under poor acoustic conditions; the log does not identify the location; project photographs of these musicians were made at the Elsewhere club and the Flying Fox Lounge. Part 2 of 2-part recording of musical performances by and interview with Big Time Sarah Streeter, this recording features a capella singing and an interview recorded outside the club, with wind affecting the sound; the log does not identify the location; project photographs of these musicians were made at the Elsewhere club and the Flying Fox Lounge.
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Part 1 of a 2-part recording that includes interviews and performances by Sunnyland Slim (piano), Eddie Taylor (guitar), and Mickey Martin (drummer); the fieldworker's log does not identify the location; project photographs of these musicians were made at the Elsewhere club and the Flying Fox Lounge; this part includes interviews with Eddie Taylor, Mickey Martin, and Sunnyland Slim, recorded in a club with significant ambient noise, followed by performances that include Sweet Little Angel (vocal: Sunnyland), Change My Way of Living, Roll All Night Long, followed by comments by Sunnyland. Part 2 of a 2-part recording that includes interviews and performances by Sunnyland Slim (piano), Eddie Taylor (guitar), and Mickey Martin (drummer), Big Time Sarah Streeter (vocalist), and "Little" Ethel Hodges (vocalist); the fieldworker's log does not identify the location; project photographs of these musicians were made at the Elsewhere club and the Flying Fox Lounge; this part includes interviews with Ethel Hodges, recorded on the street with wind noise, and including an a capella segment, followed by music by Sunnyland, Big Time Sarah, et al, tune titles include Wonder Why That Man Wont Treat Me Right and You Don't Want Me No More (vocal: Big Time Sarah), Little Red Rooster, and Sad Sad Day (vocal by Ethel Taylor, incomplete).
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Interview and gospel music performance by brother and sister Donald and Evelyn Gay, recorded at a church banquet at or near 1l4th and Halstead, Chicago, Illinois, introduction of the Gays, performances of I'm Getting Nearer (Elder Donald Gay, vocal, Evelyn Gay, piano); What A Wonderful World This Would Be, Walk Together Children, and Closer Walk with Thee (Evelyn Gay, vocal and piano); interview with Evelyn Gay over dinner.
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Part 1 of 2-part recording at Josephine's Lounge, Halstead and 72nd Street; music by Magic Slim and the Teardrops and interview with Daddy Rabbit (Coleman Pettis, Jr.); includes two songs by an audience member sitting in: Next Time You See Me and Laundromat Blues (high frequency sound interference at one point in the recording); interview with Daddy Rabbit (Coleman Pettis, Jr.) outside of Josephine's Lounge, with significant wind noise. Part 2 of 2-part recording at Josephine's Lounge, Halstead and 72nd Street; interview with Johnny Bernard (jukebox playing in the background); duration 4:30 minutes.
afc1981004_afs20625a
Recording of a Shape Note Singing Convention at Stranger's Home Missionary Baptist Church, 1451 West 63 St., Chicago; recorded on audiocassette (same content recorded on open-reel tape at call number AFC 1981/004: AFS 20626); singers begin many hymns "sol-fa," i.e., pronouncing the syllables associated with the seven-shape hymnal in use at this event; then they sing the words to the hymn; selections include "I'm Gonna Walk With Him," "As Abraham I Look for a City," "There Is A Land," "When The Evening Shadows Fall," "A Closer Walk With Thee," and "I'm Ready to Go"; the singing is followed by comments of welcome, testimonial history and introductions interspersed in the program that follows by Ollie Gill (song leader and master of ceremonies), remarks by Brother Eugene Holder (pastor), Sister Mary Ellen Bowen, Brother Burns, Sister Emerson and Brother McGee (minister).
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Recording of a Shape Note Singing Convention at Stranger's Home Missionary Baptist Church, 1451 West 63 St., Chicago; recorded on open-reel tape (same content recorded on audiocassette at call number AFC 1981/004: AFS 20625a); Ollie Gill is the song leader; singers begin many hymns "sol-fa," i.e., pronouncing the syllables associated with the seven-shape hymnal in use at this event; then they sing the words to the hymn; selections include "I'm Gonna Walk With Him," "As Abraham I Look for a City," "There Is A Land," "When The Evening Shadows Fall," "A Closer Walk With Thee," and "I'm Ready to Go."
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Part 1 of 2-part interview with Claudia Johnson and Mary Young, quilters, crocheters, doll makers; recorded at 4359 South Oakenwald, Chicago, Illinois; although primarily an interview with Mrs. Johnson, her daughter, Mrs.Young, adds some explanations from time to time. Part 2 of 2-part interview with Claudia Johnson and Mary Young, quilters, crocheters, doll makers; recorded at 4359 South Oakenwald, Chicago, Illinois; although primarily an interview with Mrs. Johnson, her daughter, Mrs.Young, adds some explanations from time to time.
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Part 1 of a 2-part interview with Mrs. Katy Gregory, quilter and a capella (shape note) convention singer; recorded at 335 West 114th Street, Chicago. Part 2 of a 2-part interview with Mrs. Katy Gregory, quilter and a capella (shape note) convention singer; the latter section of this recording features a conversation with Ms. Ethel Lois Jackson, a crafts person and Mrs. Gregory's daughter; recorded at 335 West 114th Street, Chicago.
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Edith Wilson ;amp Magic Slim and the Teardrops Jam session at Theresa's Lounge.
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Recording of Magic Slim and the Teardrops at the Red Carpet Lounge; the fieldworker's notes include these titles: Just Shake, Got To Help Me, Little Red Rooster, Walked All Night Long, and That's All Right; duration: 30 minutes; the original field recording also included copies of three commercial recordings by Edith Wilson (see also call numbers AFC 1981/004: AFS 20620a and AFS 20620b); these copy recordings have been omitted from the online presentation.
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Recording of interview with Mary Ellen Bowen (creator of pillows and quilts) and Lee Ora Crowder (jewelry maker) recorded at 6401 South Yale, Chicago; the fieldworker's log indicate that the sequence is Bowen interview, Crowder interview, and additional conversation with Bowen; the log also notes that Crowder had recently learned to make jade jewelry in an Indian style.
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Recording of interview with artist Elwillie Baylark (crocheting) recorded at 6401 South Yale, Chicago; includes a description of a cape; duration: 8 minutes.
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Part 1 of 2-part interview with blues pianist Jimmy Walker, recorded at 750 East 46th Street, Chicago. Part 2 of 2-part interview with blues pianist Jimmy Walker, recorded at 750 East 46th Street, Chicago. Duration: 23 minutes.
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Part 1 of a 5-part recording of a Friday night service, McGee Temple, Church of God in Christ, 4946 S. Vincennes, Chicago; also celebrates the birthday of Evelyn Gaye; stereo recording, often the congregation is primarily heard on the left channel, featured or solo vocalists may be on the right; selections include "Soon, very Soon, We Are Going to See the King"; testimony and preaching (very low audio levels); "Courage My Soul, Let Us Journey On," "The Storm is Passing Over"; "Hallelujah, Born Again"; testimony (low audio levels); remarks by the assistant superintendent of the Temple with responses from the congregation; "Ain't Nobody Do You Like Jesus"; testimony; "Depths of My Soul" (female vocal solo, very low audio levels). Part 2 of a 5-part recording of a Friday night service, McGee Temple, Church of God in Christ, 4946 S. Vincennes, Chicago; also celebrates the birthday of Evelyn Gaye; stereo recording, often the congregation is primarily heard on the left channel, featured or solo vocalists may be on the right; selections include "He Came Each Time"; testimony, introductions, prayer (low audio levels at start); "'What a Blessing in Jesus I've Found" (sung by Mrs. Black, low audio level); testimony, comments on the role of the church, racial situations; "There Was a Time" (or "Long- Ago") song by the man who gave previous testimony, congregation joins choruses; segue to "I'm All Right Now"; testimony, comments on reason for this service, to bless Sister Gaye, discussion of blues as compared to gospel music, and the importance of gospel in Gaye's life; song by Evelyn Gaye, congregation takes part. Part 3 of a 5-part recording of a Friday night service, McGee Temple, Church of God in Christ, 4946 S. Vincennes, Chicago; also celebrates the birthday of Evelyn Gaye; stereo recording, often the congregation is primarily heard on the left channel, featured or solo vocalists may be on the right; selections include song with strong instrumental accompaniment (low audio levels); testimony (very low audio levels) "He Is a Wonder" featuring Evelyn Gaye (low audio levels); testimony; "When I Come to the End of My Journey" with vocal by [Matty Campbell] (very low audio levels); testimony; "I Don't Know What You Come to Do" with vocal by [Matty Campbell] (low audio levels); testimony, unidentified speaker brings greeting from various associated churches, then leads in the lining-out of "Amazing Grace," then continues reading, with segments from assorted hymns; offering; "I Wonder Why Jesus Loves Me" with male voice lead. Part 4 of a 5-part recording of a Friday night service, McGee Temple, Church of God in Christ, 4946 S. Vincennes, Chicago; also celebrates the birthday of Evelyn Gaye; stereo recording, often the congregation is primarily heard on the left channel, featured or solo vocalists may be on the right; selections include testimony that praises Evelyn Gaye; sermon and prayer by the minister, Reverend Baker; testimony from Bishop [Rander], alludes to medical problems; testimony; praise for Evelyn Gaye from Reverend Baker; "Be Not Dismayed," vocal by Dino McBride; medley that includes "God Will Take Care of You" and "What a Friend We Have in Jesus"; segue to new song with woman singing lead; "The Reason I Love Jesus," Dino McBride preaches and Evelyn Gaye sings; segue to "The Holy Ghost is Here Right Now"; Reverend Baker preaches. Part 5 of a 5-part recording of a Friday night service, McGee Temple, Church of God in Christ, 4946 S. Vincennes, Chicago; also celebrates the birthday of Evelyn Gaye; stereo recording, often the congregation is primarily heard on the left channel, featured or solo vocalists may be on the right, suffers from low audio levels throughout; selections include "When I've Gone the Last Mile of the Way," man sings lead (recording starts with this hymn in progress); testimony on the calling of Geraldine Gaye; the nature of fasting; "That's What Gives Me a Song," Geraldine Gaye, vocal (vocal is obscured in this recording); testimony by Reverend Baker; "All of My Life I'll Say 'Yes, Lord,'" Francine Johnson, vocal; unnamed song, uptempo performance.
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Part 1 of a 2-part recording of Louis Myers at the Kingston Mines pub (bar), then at 2354 N. Lincoln, Chicago; this part includes an interview and musical performances by Myers; biographical information, about his start with Little Walter and Junior Wells, has played for 25 years now, travel to Europe and Japan. Performances in this part feature Myers (guitar, vocals), Jimmy Johnson, (guitar), Robert Stroger (bass), and Odie Payne Jr. (drums). Part 2 of a 2-part recording of Louis Myers at the Kingston Mines pub (bar), then at 2354 N. Lincoln, Chicago; this part includes musical performances by Myers (guitar, vocals), Jimmy Johnson, (guitar), Robert Stroger (bass), and Fred Below (drums).
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Interview at the Mellow Yellow restaurant; fieldworker's notes provide the birth name Joyce Patricia Bowers (b. 1945), discussion of Yaounde Olu's childhood creativity, about teen years and maturation, "the science of art and the art of science," higher education Chicago Teachers College and elsewhere, traveled in Europe and, in late 1960s, felt strong affinity with Africa and Yoruba culture, developed ideas about uniphysics, about African American creativity in Chicago, states that artists create the future.
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Interview with musician and composer James Mack, recorded at 1400 E. 55th Place; Mack was born 1929 in Tuscaloosa; about the influence of Catholic Church; jazz heard in high school years, Bird [Charlie Parker] and Dizzy Gillespe; about Crane Junior College: his career; arrangments for the Jazz Interpreters on Chess Records; Shelley Fisher; challenges in finding employment, about merging unions with Red Saunders; mentions artists Nancy Wilson, Jerrry Butler, Chi-Lites, Tyrone Davis, Little Milton, Walter Jackson, Billy Butler, Della Reese, Curtis Mayfield, Earth, Wind, and Fire; work on commercials and jingles; what is special about Chicago musicians, success from paying harsh dues, fire, zeal; seek spiritual development not dollars; funding tends to exclude creative people; value of interviews and archives.
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Interview with Theresa Needham, owner of Theresa's Tavern, 4801 S. Indiana Ave.; born Meridian MS in 1912; came to Chicago 1923; history of the club, from about 1950, Paul Molette; early performers included Carl Jones, Ike Perkins, Rufus Farmer; Buddy Guy came in 1958 or 1959 and stayed for 10 years; Junior Wells came next; others include Memphis Slim, Sunnyland Slim, Jack Myers, Lefty Dizz; well known traveling artists have performed at Theresa's: Muddy Waters, Howling Wolf, Elmore James, Sonny Boy; club offers nothing but the blues, what the community wants; whites started coming in 1968 or 1969; Needham was "my own bouncer," been here 28 years, 29 in December; about young blacks and blues, worry "don't think it's gonna last much longer;" Junior Wells here six nights a week; can't get in on the weekend.
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Interview with Grace Jackson at Grace's Garden of Eden Health Food, 64th and Martin Luther King Drive; born Holly Springs MS, came to Chicago age 5 months; about her interest in yoga (Sivananda); interest in health food; many who come to Jackson with an interest in health and yoga are creative artists; about being a vegetarian, good effects; apple and banana juices; about photography, advertising, importance of proper food, critical of the Food and Drug Administration.
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Part 1 of a 2-part interview with astrologer James Black, 6319 Drexel Ave, Chicago; Black's interest in astrology from childhood; in 1907 in Alabama he was taught Egyptian astronomy by a 115-year-old African, a free man, not enslaved; the man appeared under the oak tree where Black would view the stars; this man was purposely sent; lived in an abandoned mine, and gave Black 18 months of teaching; the man was steeped in African lore, mentioned Nigeria; Black says West African astronomy is basically Egyptian astronomy; stars move by God-power, perpetual motion, "all is flux;" the best astrologers had to withstand sun, black skin protects from sun; stars are God's living bible; shepherds as astrologers, may have been taught by beings not of Earth; astrology is the means by which God talks to men; Black said "I have been blessed with this understanding and speak with authority"; this is knowledge that all need; in astrology time is of the essence; about first slaves in 1616 and 1619, at 15 degrees under certain signs; blacks will ultimately be the salvation of America; karma; Lincoln wrote the Emancipation Proclamation when Libra was rising, Aries setting, and Neptune was in the first house; Declaration of Independence with Pisces at midheaven, Gemini rising, Sagittarius setting; Jupiter rules blacks, Mercury ruled whites; Jupiter is stronger than Mercury; Black has studied for 69 years, knows 144 ways to cast a chart; about Harry Truman's campaign as turning point; Jack Kennedy's assassination; astrology is a science for blacks but they are the last to recognize it; about Roland J. Sidney (naprapathic healing), African mysticism. Part 2 of a 2-part interview with astrologer James Black, 6319 Drexel Ave, Chicago; Black states that astrology reveals nature of artistic gifts, if taught in grammar school, divorce and criminal behavior would be reduced; children would find their own true value; about the future for blacks, awakening to something they don't understand, connect to the past, heritage and pride.
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Part 1 of a 2-part interview with Darlene Blackburn, at a rehearsal of her dance troupe at the South Side Community Art Center, 3831 S. Michigan Ave.; biographical information, Blackburn has danced all her life, phys ed major in college, worked as telephone operator at Illinois Bell, school at night, studied modern dance under Neville Black, from Jamaica, and Jimmy Payne, with Afro-Cuban and Clypso styles, and at the Stone-Camryn School of Ballet; studied in Jamaica in 1967; studied at the Katherine Dunham school in New York; started her troupe in her basement; about the Darlene Blackburn Dance Troupe; in competitions, travelled to Africa; other performance venues in the U.S.; names some of the dancers: Rachelle (Rachel?) Whitney, Beatrice Samuels, Linda Williams, Atiba (musician), others; about importance of dance to community; relationship to health, breathing; about teaching and guiding people to a better life; mention of yoga, peace of mind; wish for more media coverage; discussion of financial matters. Part 2 of a 2-part interview with Darlene Blackburn, at a rehearsal of her dance troupe at the South Side Community Art Center, 3831 S. Michigan Ave.; problems related to scholarships for students, need for funding, about politics and the arts.
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Interview with blues singer Foree Montgomery recorded at his home, 6730 S. Perry Ave; born Aberdeen MS in 1940, came to Chicago in 1950, travels back and forth even today; in MS, "living the blues," eating, fighting on weekends; Mississippi and Chicago are much alike, but more rights up North; in the St. Louis branch of his family, 300 members; Montgomery was raised by his grandfather, his mother was 12 when he was born; started working at age 12; at one point went to a reform school, and graduated; final schooling in auto mechanics and mechanical drawing; started going to blues joints, including Theresa's Lounge; Philip Guy was playing there, 1965, this was Montgomery's first time singing blues, "Last Night" and "Messing with the Kid," kept at singing, started working at Theresa's in 1972; death of family members interrupted this, still performs there but not on regular basis; Theresa's is the best blues club; about the audience, many blacks don't like blues or just pretend; the blues are for real, you can't fool the blues audience, blues are a feeling.
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Part 1 of a 2-part interview with M.C. Barrett, astrologer, at his home at 5326 S. Cornell, apartment 214; topics include biograhpy, Barrett was born in Chicago in 1946, his mother was sick and he was raised by an aunt until he was about 6 years old, then foster home to age 11, went to Catholic Church and was baptized a second time, then Marigold Academy, then another foster home, then Parker High School and Our Lady of Mercy High School (Chicago Mercy High School?), began studying astrology at age 16, but at college had difficulties with faculty, in the U.S. Army in 1967, also difficult, Ft. Polk LA; about Barrett's mother Gloria Barrett, had MS when M.C. was age 4; the Army difficulties continued, Barrett did not want to go to Vietnam, went AWOL, received help from Congressman Ralph Metcalfe Sr to move on, started work as interior and architectural designer, still not a good fit and Barrett continued to pursue astrology, "I live my life partially by astrology but not totally by astrology," about the need for astrologers to work with clients in careful way, astrology teaches people how to take their destiny intheir own hands, touches everything in human nature, about the practice, and how astrology is "ingrained" for African Americans, about relation to organized religion, this is a foggy period between Acquarius and Pisces, about the level of consciousness in Chicago's African American community, stifled, need jobs and income. Part 2 of a 2-part interview with M.C. Barrett, astrologer, at his home at 5326 S. Cornell, apartment 214; discussion of astrology as an art, it is both art and human expression, it is an art based on science, art is a projection of deepest feelings, uses intuition, beautiful rapport with clients, about the origins of astrology, persecution by the Vatican but also revered there, where you find the biggest astrological library in the world, looking to a new path, great mental strides have been made in recent years.
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Part 1 of a 2-part interview with Val Gray Ward of the Kuumba Workshop, recorded at 2222 S. Michigan, Chicago; Ward born in Mound Bayou MS in 1932, always had ethnic pride, came to Chicago in 1950, suffered mild culture shock, could not understand why northern blacks did not want to go south, "they're living under the same thing"; Gray's family lives on the MS-AL border, they were always protected, Ward married young, has 5 chidren, has been interpreting black characters via the Kuumba theater workshop since 1968, started at Ward's home at 1712 E. 84th Place, a precursor organization was the Artists for Freedom, then Ward moved to the South Side community art center for 6 years, at present location for 3 years, at that time the workshop did not take funding grants, about ideas concerning Superfly and Sweetback (Sweet Sweetback's Baadasssss Song) in popular culture, staged a forum on Sweetback with prominent individuals, about the events that followed the assassination of Martin Luther King Jr, about the expansion and impact of Kuumba, about the level of consciousness in the black community, about a cultural guide to Chicago, black doctors and lawyers should support Kuumba, about performances in Africa, start of discussion of the 12 principles of Kuumba. Part 2 of a 2-part interview with Val Gray Ward of the Kuumba Workshop, recorded at 2222 S. Michigan, Chicago; about the 12 principles of Kuumba (continued from part 1), definition of a black artist, mention of Gwendolyn Brooks and Stevie Wonder, mention of Berry Gordy and soul music, mention of Gil Scott Heron, Miriam Makeba; notes that there are too many black arts organizations to support properly; black artists do positive things, but need also to concern ourselves with teachers, schools, parents; about work including in advertising.
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Part 1 of a 2-part interview with Clarence Franklin, artist, musician, dramatist, at his home 1963 E. 72d St., born 1949 in Chicago, has also lived in Arkansas, Mississippi, Michigan, Missouri; attended schools on Chicago's West Side, graduated from Marshall High School in 1968; had an interest in the arts, including music, including Afro-Cuban dance, Muntu; today Franklin plays music and paints murals; challenge to secure money; notes that art is political but one wishes to avoid politics. Fieldworker notes that this recording suffers from audio interference from Citizens Band radio transmissions. Part 2 of a 2-part interview with Clarence Franklin, artist, musician, dramatist, at his home 1963 E. 72d St., his judgments about his own work, music as a conveyor of human feelings, how it would be better world if people could express themselves, there is undeveloped talent in the African American community, education has value, Franklin taught in the public schools, sees value in alternate education.
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Part 1 of a 3-part recording of a debate about astrology at Parkway Community Center; fieldworker's notes indicate that the topic was introduced by Lu (Lutrelle) Palmer; discussion by social worker Toni Evans; Dr. Bobby Wright, director of the Greenfield Park Community Heath Center; and others, with questions from the floor. Part 2 of a 3-part recording of a debate about astrology at Parkway Community Center; fieldworker's notes indicate that the discussion is by social worker Toni Evans; Dr. Bobby Wright, director of the Greenfield Park Community Heath Center; and others, with questions from the floor. Part 3 of a 3-part recording of a debate about astrology at Parkway Community Center; fieldworker's notes indicate that this part of the discussion was by social worker Toni Evans.
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Part 1 of a 2-part interview with naprapath Roland J. Sidney, recorded at 1006 S. Michigan; healing is an art, naprapathy focuses on the joints and nervous system, there is a mental aspect, does not use drugs, is not vegetarian; there has been a growing interest in health in the African American community since the mid-1960s, soul food; naprapath clientel include artists, e.g., Dick Gregory, cast o Hair, Yusef Lateef, Reggie Workman, Gil Scott-Heron, Earth Wind and Fire, Freda Payne, Melba Moore; about the practice and treatments; Sidney notes that there is place for meidcal doctors, surgeons. Part 2 of a 2-part interview with naprapath Roland J. Sidney, recorded at 1006 S. Michigan; about having a high energy level, feel that something is working through you; Sydney has been perfoming for 15 years; born in Chicago in 1928, near Morgan and Roosevelt, neighborhood then called "Jew Town," graduated from St. Joseph's Catholic High School, but had been "victim" of Chicago's school system, kicked out; father was a carpeter from Louisiana, came to Chicago in 1926; mother a housewife; Sydney attended to the Black Power movement of the 1960s; had been a reader all his life, played piano at age 6, in an auto accident in 1945, when interest in naprapathy began; saw Doctor Keller in 1955 and cured him, motivated Sydney to study; now plans a natural health center, wants to support artistic community.
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Part 1 of a 2-part recording of a performance of the play Purlie Victorius written by Ossie Davis and performed by the Experimental Black Actors Guild (X-BAG); the part of Lulubelle played by Delia Jolly Cox; a rap session (discussion) follows the curtain. Part 2 of a 2-part recording of a performance of the play Purlie Victorius written by Ossie Davis and performed by the Experimental Black Actors Guild (X-BAG); the part of Lulubelle played by Delia Jolly Cox; a rap session (discussion) follows the curtain.
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Part 1 of a 2-part interview with Pompi (Ernesto dos Reis) Borges at 6616 S. Perry Ave., born 1947, named for father; grandmother came up with nickname Pompi; father from Cape Verde Islands; Pompi Borges came to Chicago at age 9, his mother remarried and lives in Lake Meadows; Pompi Borges went to Chicago Schools (Douglass, Howalton, Wendell Phillips Academy High School), then attended Northern Illinois University; then drafted in 1967; interest in acting grew throught that whole period; also wanted to be a doctor. Part 2 of a 2-part interview with Pompi (Ernesto dos Reis) Borges at 6616 S. Perry Ave., acted in the Great White Hope, and in the Negro Ensemble Company, married 4 years ago, about other roles, radio program with Stanley Robinson.
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Interview with actress Cerina Tolbert, 5860 N. Kenmore; born on the West Side of Chicago in 1954; Charles Sumner Elementary and Marshall High School; involved in drama in high school, attended, now at Loyola University; about her career, on the West Side when King died; poem "Peace, How Sweet it Is;" about future plans.
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Part 1 of a 2-part interview with musician Edwin Daugherty, associated with Jackson Park; born 1946 in Springfield IL, came to Chicago at age 5; parents pushed him to saxophone; Du Sable High School band director; played with many artists at the Regal Theater; Crane Junior College (renamed Malcolm X College in 1968); travelled with musician Jimmy Reed in 1966; about playing jazz in New York, then Washington DC, including a gig with WilsonPickett; mentions black theater, Macy's; came back to Chicago, travelled to California with Billy Stewart, and other places, 1967-68; mentions band called the Third World; received B.A. from Governors State University, now teaches at Lane Technical High School (Lane Technical College Prep High School); about black music in Chicgao, what it takes to survive, about artistic development, high among musicians, low on the part of the public; high levels of art are not appreciated. Part 2 of a 2-part interview with musician Edwin Daugherty, associated with Jackson Park; about musicians in Chicago, need to develop skills, money is a motivation; about categories, jazz and blues are authentic while others are false; about black artists' responsibility to the community; about promising groups.
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Part 1 of a 2-part recording of the blues Sunday weekly performance at Florence's Lounge, featuring Magic Slim (Morris Holt) and the Teardrops band, and guest artists; the weekly shows at Florence's (5443 S. Shields Ave.) ran from 2 to 7 pm; fieldworker Ralph Metcalfe Jr's note list conversation with Magic Slim outside the club, Dick Hardever (?); Louie Lee comes up; notes report John Embry, lead guitar, and his wife Sylvia discusses the blues; performances by Sylvia Embry ("Workout," "I Found a Love"). Part 2 of a 2-part recording of the blues Sunday weekly performance at Florence's Lounge, 5443 South Shields Ave., featuring Magic Slim (Morris Holt) and the Teardrops band, and guest artists; vocals by Sylvia Embry; unknown band performs "Please Accept My Love" and "Crosscut Saw."
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Recorded conversations made in an auto parked in a vacant lot across from the Checkerboard Lounge, 423 E. 43d St; Willie Monroe was born in 1945 in Jenny, Arkansas; moved north at age 17; talks about religion and the blues; then Lacy Gibson, who was Lefty Dizz's teacher, 25 years in the blues; in 1946 came to Chicago from Salisbury NC; born 1936.
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Part 1 of 2-part recording Recording of performance of The Lefty Dizz Shock Treatment at Blue Monday at the Checkerboard Lounge, 423 E. 43d St; this pair of audiocassette recordings may include some of the same performances as found on the open-reel recordings AFC 1981/004: AFS 20660, AFS 20661, AFS 20662, AFS 20663, and AFS 20664; performers include Lefty Dizz (Walter Williams), guitar, Sylvia Embry, bass and vocals, Kevin Donnelly, guitar and vocals, Woody Williams, drums and vocals; performances include two instrumentals, "Testing and Tasting," and "I Cried and I Cried" (Lefty and Woody). Part 2 of 2-part recording Recording of performance of The Lefty Dizz Shock Treatment at Blue Monday at the Checkerboard Lounge, 423 E. 43d St; this pair of audiocassette recordings may include some of the same performances as found on the open-reel recordings AFC 1981/004: AFS 20660, AFS 20661, AFS 20662, AFS 20663, and AFS 20664; performers include Lefty Dizz (Walter Williams), guitar, Sylvia Embry, bass and vocals, Kevin Donnelly, guitar and vocals, Woody Williams, drums and vocals; performances include "Going to New York" (Sylvia Embry), "Night Time is the Right Time" (joined by woman from audience), two numbers featuring Kevin Donnelly, "Can't Get No Grinding" (instrumental), band introduced by Lefty Dizz, and "Hideaway."
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Recorded conversation with Lefty Dizz (Walter Williams) made in an auto parked in a vacant lot across from the Checkerboard Lounge, 423 E. 43d St; mention of Kankakee, time in the service, guitar, teachers included Lacy Gibson in Kankakee, Esther Phillips, Dee Clark, Wade Flemons, Lula Reed, and Junior Wells, with Wells for 7 years from 1964, festivals, Expo 67, travel to Africa, Europe, and Southeast Asia; about the Shock Treatment, Blue Monday, and the need to spread the word; 20 years in blues, blues is not written but felt, about the music industry and exposure; about lack of support from funding organizations; desireable to have more cultural exchange via outdoor performances, to reach teenagers and children who cannot come into clubs, these are tomorrow's musicians and fans; Dizz enjoys Blue Monday, blues is more legitimate than rock; issues in reaching young black listeners; airplay and live concerts would provide an alternative to industry methods.
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Part 1 of 5-part recording of performances at Blue Monday at the Checkerboard Lounge, 423 E. 43d St; this set of open-reel recordings may include some of the same performances as found on the audiocassette recordings AFC 1981/004: AFS 20658a and AFS 20658b; in this part, performers include the Lefty Dizz Shock Treatment: Lefty Dizz (Walter Williams), guitar, Sylvia Embry, bass and vocals, Kevin Donnelly, guitar and vocals, Woody Williams, drums and vocals; recordist's notes state that the tape ends during the beginning of the performance of "Ninety Days." Part 2 of 5-part recording of performances at Blue Monday at the Checkerboard Lounge, 423 E. 43d St; this set of open-reel recordings may include some of the same performances as found on the audiocassette recordings AFC 1981/004: AFS 20658a and AFS 20658b; in this part, performers include of The Lefty Dizz Shock Treatment: Lefty Dizz (Walter Williams), guitar, Sylvia Embry, bass and vocals, Kevin Donnelly, guitar and vocals, Woody Williams, drums and vocals; recordist's notes state that the tape begins with the performance of "Ninety Days," carried over from part 1. Part 3 of 5-part recording of performances at Blue Monday at the Checkerboard Lounge, 423 E. 43d St; this set of open-reel recordings may include some of the same performances as found on the audiocassette recordings AFC 1981/004: AFS 20658a and AFS 20658b; in this part, the recordist's notes indicate that the featured performer is Muddy Waters Jr. Part 4 of 5-part recording of performances at Blue Monday at the Checkerboard Lounge, 423 E. 43d St; this set of open-reel recordings may include some of the same performances as found on the audiocassette recordings AFC 1981/004: AFS 20658a and AFS 20658b; in this part, the recordist's notes indicate that the featured performer is Muddy Waters Jr. Part 5 of 5-part recording of performances at Blue Monday at the Checkerboard Lounge, 423 E. 43d St; this set of open-reel recordings may include some of the same performances as found on the audiocassette recordings AFC 1981/004: AFS 20658a and AFS 20658b; in this part, the performers are unidentified; it is possible that the featured performer is Muddy Waters Jr. (as on the preceding two reels); the audio quality is challenging because the recording was made by capturing sound from the bar's public address system loudspeakers; this recording features four unnamed blues numbers, the first of which segues to "Sunshine of Your Love."
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Part 1 of a 2-part recording of performances by unnamed musicians at Florence's Lounge, 5443 S. Shields Ave.; the audio quality is challenging because the recording was made by capturing sound from the bar's public address system loudspeakers; blues tune (recording begins with tune in progress); blues tune (audio recording level changes in middle of tune); "Hey You, Get Out Here On the Floor" blues, with Sylvia [Embry?] as vocalist; "I Found Me a Love" with Sylvia [Embry?] as vocalist; "Send Me Some Lovin;'" "Oh Baby, Let Me Move Up With You," Morris Baker, vocal (recorder restart as song in progress); "I Don't Even Know Your Name" (tape runs out before end of song). Part 2 of a 2-part recording of performances by unnamed musicians at Florence's Lounge, 5443 S. Shields Ave.; the audio quality is challenging because the recording was made by capturing sound from the bar's public address system loudspeakers; blues tune, Morris Baker, vocals (recording begins with song in progress); interludes with comments about Yazoo City, Mississippi; "You Don't Love Me;" blues tune; "The Thrill is Gone" (audio marred by public address feedback); "Stoney Monday" (audio marred by public address feedback).
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Part 1 of a 3-part interview with Haki R. Madhubuti at the Institute of Positive Education, 7524 S. Cottage Grove Ave; fieldworker's notes state that the recording was made at 8 am; Madhubuti is described as a poet, writer, publisher, philosopher; Madhubuti born 1942 in Little Rock, AR; coming to Chicago off and on for 20 years; also lived in Detroit; mother died in 1959; about writing for a person who came from a non-literate family, childhood poverty, having to hustle, mother's work included cashier, barmaid, janitor, all to survive, she suffered from alcoholism; consciousness of white supremacy; at Dunbar High School (Dunbar Vocational High School) Madhubuti was 6 foot 1 inch, 133 pounds; about college thoughts, about selling magazines, about being sick and abandoned in St. Louis at age 18; second-hand clothes, trumpet; in the Army at Ft. Leonard Wood; Army food was good, concern with white soldiers; comments on partying, playing horn, black middle class, pimps and prostitutes, homosexuality; about being a squad leader in the Army, leading white soldiers older than self; learned to speed read, devoured libraries; 1962, began to collect black literature and records; attended Crane and Wilson colleges while in the Army. Part 2 of a 3-part interview with Haki R. Madhubuti at the Institute of Positive Education, 7524 S. Cottage Grove Ave; fieldworker's notes state that the recording was made at 8 am; Madhubuti is described as a poet, writer, publisher, philosopher; Madhubuti's first writings in 1961, published in 1965-66; mention of Eugene Feldman (one of the founders of the Du Sable Museum of African American History); of Madhubuti's first book, 700 copies were printed and sold in one week; he was working for the post office at night; separated from his wife, travelled, met the poet Gwendolyn Brooks, other influences; about poetry; gave talk at Fisk University, writer in residence at Cornell University 1968-70; other published work; about changing his name from Don Lee in 1974; comments on nguzo saba (the Seven Principles, associated with Kwaanza), the black value system, black family, food coop; associated with launching the Institute of Positive Education (IPE), how organized, school and office, has 22 paid staff. Part 3 of a 3-part interview with Haki R. Madhubuti at the Institute of Positive Education, 7524 S. Cottage Grove Ave; fieldworker's notes state that the recording was made at 8 am; Madhubuti is described as a poet, writer, publisher, philosopher; discussion of black literacy in community, people should read more, about the defintion of black, color, culture, and revolution; positive effect of art in community; about funding from a tax-funded organization, blacks need to catch up; about racism; schools not helpful; about the arts movement in Chicago.
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Interview with G.M. Thompson, naturopath, recorded at East 75th St and Kingston Ave; about diet analysis; Thompson born in Jamaica, where he ate the natural way, from backyard gardens, came to US at age 21, adopted American diet, became ill, returned to natural way; attended Chicago College of Naturopathy (may be the National University of Health Sciences), received degree 1974; spent 10 years with health store and therapy center; many creative people participate and want to be at their best; it would be good to offer more lectures, reach children; healing is an art and a science, people should read for themselves, mental health, the golden rule, health in the community.
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Part 1 of a 2-part interview with Ben Branch, musician and Director of Cultural Development for city of Chicago, recorded at lunch and in Branch's office at 640 North LaSalle; Branch's musical talents include gospel, playing the saxophone, and leading a band. Branch born in Tennessee in 1928; in Chicago, he attended Douglass High School (may be Douglass Academy High School), then Tennessee State University on a scholarship as football player, later involved with the band, subsequently taught music in high school; spent time in Jacksonville FL and Memphis TN; beginning in the 1950s, caught up in Civil Rights matters; heard Martin Luther King speak in 1959; "I gave what I had to the movement," about music, started playing in 6th or 7th grade, family bought a saxophone, great financial sacrifice; learned gospel songs in church, mentions Rev. Jesse Jackson; Martin Luther King asked Branch to play "Precious Lord," about how poor blacks and whites contribute to American culture; mentions the business of music, Nancy Hanks (National Endowment for the Arts), Dr. Walter Anderson. Part 2 of a 2-part interview with Ben Branch, musician and Director of Cultural Development for city of Chicago, recorded at lunch and in Branch's office at 640 North LaSalle; on the arts in educational institutions, for blacks, Latins, whites; teaching the wrong thing; American culture is institutionalized; black music is dominant in the world today, but we don't control it; debt for ideas to Rev. Jesse Jackson, Branch's musical ability pulled the people out; about Al Bell and a new recording company; Lefty Dizz.
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Interview with Muddy Waters Jr (James Williams), at his home, 4333 S. Berkeley; about the blues, "you got to feel it to do it," Waters Jr started performing 15 years ago; born in Monroe LA in 1936; left there at age 7, went to Clarksdale MS, to age 19, then to Sarasota FL for 5 years, then Memphis, then Chicago; was a show boy with the circus, turned from spiritual singing, started running with Muddy Waters, who brought Waters Jr to Chicago, started working on the dock, mentions Fred Johnson, Lefty Dizz, Waters Jr has been at Theresa's Lounge for last 14 years, mentions Junior Wells, thoughts on the blues, favorite tunes: "the old tunes is where it's at," value of neighborhood blues sets, spread the blues in the community; about blues singers and old man Muddy Waters; about spare time ruminations on blues; will play Montreal with Lefty Dizz in July.
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Interviews with Delia Jolly Coy and Douglas Alan Mann [Alan-Mann], dramatists, at their home at 7739 S. Indiana Ave; about Douglas Alan Mann's [Alan-Mann's] early experience, went to various places; in 1970 back in Chicago working on black theater; Coy comments on her history, including X-BAG (Chicago's X-BAG Theatre, Experimental Black Actors Guild), also with a touring company; plans for future, seek black community involvement in theater, seek additional publicity, wish to reach children.
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Part 1 of a 4-part recording of Walter Lowe's class on yoga philosophy, 5108 S. Harper Ave; fieldworker describes Lowe as yogi, publisher, author, musician, composer, dramatist, artist, editor at Playboy magazine, former editor at the Chicago Defender, and more; the class presentation includes three levels of the mind, sadhana, someone named John speaks then Lowe returns, about Milarepa of Tibet, shakti, about gurus, Tilopa. Part 2 of a 4-part recording of Walter Lowe's class on yoga philosophy, 5108 S. Harper Ave; fieldworker describes Lowe as yogi, publisher, authro, musician, composer, dramatist, artist, editor at Playboy magazine, former editor at the Chicago Defender, and more; additional discussion of three levels of mind: instinct, intellect, spiritual. Part 3 of a 4-part recording of Walter Lowe's class on yoga philosophy, 5108 S. Harper Ave; fieldworker describes Lowe as yogi, publisher, authro, musician, composer, dramatist, artist, editor at Playboy magazine, former editor at the Chicago Defender, and more; about being filled with joy, about intellect and duality, about transcending the intellect. Part 4 of a 4-part recording of Walter Lowe's class on yoga philosophy, 5108 S. Harper Ave; fieldworker describes Lowe as yogi, publisher, authro, musician, composer, dramatist, artist, editor at Playboy magazine, former editor at the Chicago Defender, and more; about spiritual awareness, value judgement and exercise, the obstacles to meditiation, class is dismissed and all join hands, followed by conversation.
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Interview with musician Eric Thomas, "The Lord of Lightning"; the fieldworker's notes state this recording was made as a "long distance call to California"; Thomas was born In Chicago in 1955, first interest in music at age 5, played in local talent shows, including drums, 15 years ago started guitar, has been composing for six years, spent one year in West Africa, visiting Ghana, Sierra Leone, Senegal, and Togoland, three years ago adopted name Lord of Lightning, to move his music up, electro-dynazmic space music, differs from blues but based in blues, about black music in Chicago, the purpose and message of music, changes with the times, poem.
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Part 1 of a 3-part recording of blues music at Theresa's Lounge, 4801 South Indiana Ave; musicians include John [surname unknown], guitar, Ernest Johnson, drums, Nate Applewhite; the audio quality is challenging because the recording was made by capturing sound from the bar's public address system loudspeakers; selections include "All My Loving is Loving"; "Gonna Wanna Run for Cover"; "There Ain't Nothin' I Can Do"; "I Found Your Love"; "Honest I Do"; unidentified song; introductions; For the Good Times," Roger Johnson added as vocalist, Samuel [Lawhorn] added on guitar, this song continues on part 2. Part 2 of a 3-part recording of blues music at Theresa's Lounge, 4801 South Indiana Ave; musicians include John [surname unknown], guitar, Ernest Johnson, drums, Nate Applewhite; the audio quality is challenging because the recording was made by capturing sound from the bar's public address system loudspeakers; selections include continuation of "For the Good Times" from part 1, with Roger Johnson added as vocalist, Samuel [Lawhorn] added on guitar; "I Got to Find Me a Part-Time Love," Roger Johnson, vocal (poor sound quality); "You Hurt My Feelings, Baby," Mary Lane, vocal; "Going Home Tomorrow"; "You Got Me Running, You Got Me Hidin'"; "If' You Don't Put Something In . . ."; unnamed blues tune. Part 3 of a 3-part recording of blues music at Theresa's Lounge, 4801 South Indiana Ave; musicians include John [surname unknown], guitar, Ernest Johnson, drums, Nate Applewhite, may also include vocals by Roger Johnson and guitar by Samuel [Lawhorn]; the audio quality is challenging because the recording was made by capturing sound from the bar's public address system loudspeakers; selections include "The Power of Love"; the singer introduces Junior Wells from the audience and then continues with the song; banter and remarks by Junior Wells, introduction to the song, banter with the audience; "Love Her With a Feeling" featuring Junior Wells's singing and harmonica playing; "Keys to the Highway"; "Help Me" with harmonica, seems to continue to feature Junior Wells (audio levels low); impromptu tribute by to Sonny Boy Williamson by Wells, one of his mentors.
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Interview with Slavco Hlad about origins of Balkan Music Company and the music business; how he started the company, early history as, first, an instrument-makers shop, second, wholesale phonograph records, third, music publisher, and, fourth, international music store; how he got into the record business, ethnic record sales; early recording artists on Balkan Records; on recordine contracts; on distributing records; on other Serbo-Croatian record labels; on the nationalities that record for Balkan; on his father, Ivan Hlad, instrument-maker, family problems; on making instruments, Andrew Groeschel; on the current artists, the recording studios; his own musical career with Javor, Kapugi, Popovich Brothers, Jadran, Sokol; on drama groups.
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Part 1 of 2-part recording of concert and related activities of the Danica Slovenian Society, from Klagenfurt, Austria, at the Morton College Auditorium, Cicero IL; selections include introduction (poor audio), speech by guest on the struggle of Kaernten Slovenians (Carinthian Slovenes) for national rights, introduction of performers, octet performance a capella, reading of poem, the song "Juhe" (Juhi?), humorous reading of story about Slovene who won't speak Slovenian until he steps on a rake and curses in the language, song "Mi Smo Mi." Part 2 of 2-part recording of concert and related activities of the Danica Slovenian Society, from Klagenfurt, Austria, at the Morton College Auditorium, Cicero IL; performances include singing accompanied by accordion, guitar, string bass, emphasis on 3/4 time, readings poetic and humorous, more singing and reading (much 3/4 time), end of performance, followed by speech by leader of SNPJ (Slovenska Narodna Podporna Jednota, i.e., the Slovene National Benefit Society), presentation of roses by the counsel of Yugoslavia, flowers presented by Miss SNPJ, plaque presented to visiting group, thank you statement from the Danica group, other announcements, final song.
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Performance of "Button Box Accordion Club" at a social dance that followed the concert by the Danica Slovenian Society at the Morton College Auditorium, Cicero IL (call numbers AFC 1981/004: AFS20680a and AFS 20680b); the fieldworker's notes state that the audio quality is poor and that he was unable to obtain the titles for the selections played.
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Part 1 of 2-part recording of the Happy Strings tamburitzan band, at Annunciata Church, South Chicago; poor audio quality for the spoken comments, which include announcements of song titles; varied music selection, includes polkas. Part 2 of 2-part recording of the Happy Strings tamburitzan band, at Annunciata Church, South Chicago; poor audio quality for the spoken comments, which include announcements of song titles; varied music selection, includes polkas; titles include "Harbor Lights" and "Tic Tac Polka"; latter portion of recording includes accordion, bowed string instrument, and music by other performers.
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Part 1 of a 2-part recording of wedding ceremony for Tom and Joyce Todorovic at the Holy Resurrection Serbian Orthodox Cathedral, 5701 N. Redwood Dr.; audio levels are low throughout the recording and crowd noise is evident; unnamed hymn; hymn led by chanter; English language portion of service introduced, recitation of text, little or no choral background; Serbian recitation resumes, tenor chanter; English portion resumes; Serbian liturgy resumes with a long chant and recitation; a second voice and chorus are heard; choral singing; at times, the censer can be heard. Part 2 of a 2-part recording of wedding ceremony for Tom and Joyce Todorovic at the Holy Resurrection Serbian Orthodox Cathedral, 5701 N. Redwood Dr.; audio levels are low throughout the recording and crowd noise is evident; in part 2, the service is in progress, there are long passages with recitation in both English and Serbian, with choral singing; toward the end of this part, there is a sermon in English sermon, and the reading of the service; duration of this part 12 minutes.
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Part 1 of a 2-part recording of the wedding reception of Tom and Joyce Todorovic at the Holiday Inn, Elk Grove; the dance band is Linda and Her Stars, from the Macedonian American community; the band includes guitar, drums, accordion, tenor saxophone, organ, tambourines, clarinet, bouzouki, and vocals; selections in this part of the recording include a unnamed dance piece with polka rhythm; "Rock Around the Clock" with a female lead vocal and male harmony; an unnamed dance piece featuring a clarinet and bouzouki; comments from the band, we "play in almost every nationality"; a request is made for Macedonian music; song with female lead vocal; lively dance song (recording restarts with song in progress); a Serbian number (no title provided) in 10/4 time; comment about playing American music, tape runs out before they start. Part 2 of a 2-part recording of the wedding reception of Tom and Joyce Todorovic at the Holiday Inn, Elk Grove; selections in this part of the recording include a blessing of the meal, with ringing of bells, comments in Serbian; song by a male voice, in Serbian, loud applause, comments in Serbian; another song, male vocal solo, in Serbian, applause; English remarks, singer asks for an American song; then Linda and Her Stars, from the Macedonian American community start up again; the band includes guitar, drums, accordion, tenor saxophone, organ, tambourines, clarinet, bouzouki, and vocals; announces "We'll play a few Serbian songs for you" unnamed song at medium tempo and 9/4 time; then announces "Yugoslavian number for Joyce and Tom" (the bride and groom); unnamed song, female vocal, male harmony; an unnamed fast dance tune (clicking sound in left channel may be dancers' feet); unnamed dance tune.
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Part 1 of 4-part recording made at the Iamb roast and picnic at Yugoslav Benevolent and Pleasure Club and Picnic Grove at 55th and Narragansett; this recording features the Continentals, led by Anthony "Tony" Muselin; date may have been May 29, 1977. Part 2 of 4-part recording made at the Iamb roast and picnic at Yugoslav Benevolent and Pleasure Club and Picnic Grove at 55th and Narragansett; this recording features the Continentals, led by Anthony "Tony" Muselin; date may have been May 29, 1977. Part 3 of 4-part recording made at the Iamb roast and picnic at Yugoslav Benevolent and Pleasure Club and Picnic Grove at 55th and Narragansett; this recording features the Continentals, led by Anthony "Tony" Muselin; date may have been May 29, 1977. Part 4 of 4-part recording made at the Iamb roast and picnic at Yugoslav Benevolent and Pleasure Club and Picnic Grove at 55th and Narragansett; this recording features the Continentals, led by Anthony "Tony" Muselin; date may have been May 29, 1977.
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Part 1 of 2-part recording of conversations and interviews with attendees at the Iamb roast and picnic at Yugoslav Benevolent and Pleasure Club and Picnic Grove at 55th and Narragansett; much of the discussion is in Croatian; date may have been May 29, 1977.
Part 1 of 2-part recording of conversations and interviews with attendees at the Iamb roast and picnic at Yugoslav Benevolent and Pleasure Club and Picnic Grove at 55th and Narragansett; much of the discussion is in Croatian; date may have been May 29, 1977.
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Recording of a rehearsal by the France Preseren Slovenian chorus under the direction of Frank Kubina. Songs include "Na Planine," "This is My Country," "Pozdrav," and "Gorski Split" (solo by Anton Novak).
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Part 1 of a 4-part interview with Michael Hlad about instrument making and life as an immigrant in Chicago; discussion includes problems of instrument-makers, with taxes, etc., about Hlad's father's instrument business; story about Tito as a villager; how his father kept his instruments locked up; how Hlad started to make an instrument, but his grandfather destroyed it, he had a negative attitude about musicians; about his father's instrument business in the U.S. and his attitude about instrument-making: "The people are crazy, everybody wants to make instruments, just to show it to . . . [to say] 'I made this thing.' Christ, l'm trying to make some money on it, not to show somebody what I do." About Hlad's arrival in America, early jobs. origin of Sremski Instruments, discussion of instruments, discussion of musicians and common acquaintances, about getting a job with the Harmony Guitar Co., recollections of World War I. Part 2 of a 4-part interview with Michael Hlad about instrument making and life as an immigrant in Chicago; discussion includes continuation of recollections of World War I, about immigration to America, relations with Germans and Slovaks, problem of having a foreign accent, working at Harmony/Sears, the labor union situation, story about a strike, about work in the stockyards, at the end of the Chicago stockyards; about work at the Kimball Piano, Co., tensions with Polish assistant foreman: story, "Watch out for Stanley." Part 3 of a 4-part interview with Michael Hlad about instrument making and life as an immigrant in Chicago; discussion includes continuation of story about shop foreman, "Watch out for Stanley," then about getting the job at the Cicero print shop, then about the Brothers Music Store, about relations with Bohemian, German, and Serbian people. Part 4 of a 4-part interview with Michael Hlad about instrument making and life as an immigrant in Chicago; discussion includes Serbian goat story, about conditions in the old country, towns, etc., about getting the visa to come to America in Zagreb, about the journey to and arrival in America.
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Part 1 of a 5-part recording session with the Macedonian American singers Tale and Alexandra Buling; the project numbers assigned to the tapes suggest that the two sides of the audiocassette (call numbers AFC 1981/004: AFS 20693a and AFS 20693b) were recorded first, with the three open-reel tapes (AFC 1981/004 AFS 20694, AFS 20695, and AFS 20696) recorded second; in all of the recordings, the Bulings discuss the songs and the circumstances in which they would be found or would have been created in their native Macedonia. Part 2 of a 5-part recording session with the Macedonian American singers Tale and Alexandra Buling; the project numbers assigned to the tapes suggest that the two sides of the audiocassette (call numbers AFC 1981/004: AFS 20693a and AFS 20693b) were recorded first, with the three open-reel tapes (AFC 1981/004 AFS 20694, AFS 20695, and AFS 20696) recorded second (possibly on June 3, 1977); in all of the recordings, the Bulings discuss the songs and the circumstances in which they would be found or would have been created in their native Macedonia. Part 3 of a 5-part recording session with the Macedonian American singers Tale and Alexandra Buling; the project numbers assigned to the tapes suggest that the two sides of the audiocassette (call numbers AFC 1981/004: AFS 20693a and AFS 20693b) were recorded first, with the three open-reel tapes (AFC 1981/004 AFS 20694, AFS 20695, and AFS 20696) recorded second (possibly on June 3, 1977); in all of the recordings, the Bulings discuss the songs and the circumstances in which they would be found or would have been created in their native Macedonia. Content outlined in post-fieldwork notes includes stories of working in Macedonia, in the fields, and about songs that occur in work settings, the creation of a new song in the hills; personal history of Tale Buling, his roots; song followed by translation; story includes fertility ritual, women planting the plant of fertility on a stone and watering it with tears; same song repeated, longer version, with more of the song's story; Tale Buling talks about different styles of song and about partisan songs; sings a brief partisan song; tells story of the previous song, pertains to the period of Turkish domination; additional discussion of Turkish domination; story of the previous song and discussed the entomology of personal names; song with a story about a popular Macedonian hero who fought the Turks; discussion of songs of assimilation to the Turkish rule, a beautiful Macedonian girl who is propositioned by the Turkish sultan and turns him down at the cost of her own life; song sung with Alexandra Buling providing harmony, translation of the text; tape restarted as the next song is in progress, the duet is interrupted for explanations. Part 4 of a 5-part recording session with the Macedonian American singers Tale and Alexandra Buling; the project numbers assigned to the tapes suggest that the two sides of the audiocassette (call numbers AFC 1981/004: AFS 20693a and AFS 20693b) were recorded first, with the three open-reel tapes (AFC 1981/004 AFS 20694, AFS 20695, and AFS 20696) recorded second (possibly on June 3, 1977); in all of the recordings, the Bulings discuss the songs and the circumstances in which they would be found or would have been created in their native Macedonia. Content outlined in post-fieldwork notes includes songs by Alexandra Buling (tape begins with songs in progress); explanation of text, man goes to the army, his lady promises to remain faithful to him; more songs including children's song with comments; another song picks up to a dance tempo and then falls back, vocal interjection coincides with return to dance tempo, explanation of text; song is repeated with new verse added, recording begins with the song in progress, interjected text explanation; duet with guitar accompaniment, then another song with accompaniment is in a Spanish-like style; another duet, then the tune changes and fieldworker March and friend join in. Part 5 of a 5-part recording session with the Macedonian American singers Tale and Alexandra Buling; the project numbers assigned to the tapes suggest that the two sides of the audiocassette (call numbers AFC 1981/004: AFS 20693a and AFS 20693b) were recorded first, with the three open-reel tapes (AFC 1981/004 AFS 20694, AFS 20695, and AFS 20696) recorded second (possibly on June 3, 1977); in all of the recordings, the Bulings discuss the songs and the circumstances in which they would be found or would have been created in their native Macedonia. Content outlined in post-fieldwork notes includes report that the first song stops, then same song repeated; discussion of how the song that follows tells a visual story of Macedonia; several songs with interjected comments; story of coming and going to the fields where people would "sing this song," story of the following song, told by Alexandra Buling, a Romeo and Juliet story in Macedonia, combined with Cinderella, including the losing of a shoe; the song; Tale Buling elaborates upon the story, explains the shouting style, the style is meant to be more crying than singing; explanation of the word for "boyfriend" and of the courting ritual in Macedonia; also customs of family residence in marriage. About the belief in the value of male children as opposed to female; song where the Bulings are joined by a friend of fieldworker March, comments on style and customary length of song: in context, it can be sung for hours; additional songs and stories; Tale Buling gives additional explanation of courting rituals, different levels of maturity in boys and girls of the same age; duet song, fragment of explanation; more songs.
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Part 1-3 of a 3-part interview that concerns the life story of Mato (Matthew) Brzovich, conducted in Croatian; the recording is audible although marred by a 60-cycle hum.
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Part 1 of a 5-part interview with Gordana Trbuhovic-Grasa, leader of Oplenac dance group; topics include family background; father is a Serbian priest; about patent's courtship, father's life and education; about the births of children and work in various parishes around the U.S.; how Trbuhovic-Grasa got into folklore; festive events in Chisholm, Minnesota; nationality attitudes to Slovenians and Croatians; the influence of the Duquesne University Tamburitzans; Trbuhovic-Grasa's first dance group on Serbian Day, Kolo Club in San Diego, dance class at Mesa Jr. College, sunmer stock theater; moved to Steelton, Pennsylvania, about teaching the kolo group in Steelton; mention of the eight-volume work on traditional dance titled Narodne Igre (Folk Dances) compiled by the sisters Ljubica and Danica Jankovi? and published in 1934. Part 2 of a 5-part interview with Gordana Trbuhovic-Grasa, leader of Oplenac dance group; topics include comments on the eight-volume work on traditional dance titled Narodne Igre (Folk Dances) compiled by the sisters Ljubica and Danica Jankovi? (1934), continued from part 1; about the dance group in Steelton, Pennsylvania; rehearsing on the street and "colored" kids; then to Pittsburgh to school; ran off and got married; move to Chicago; getting the dance group started at the Russian church, Venetian Night Festival, reorganizing the Serbian Church Choir, about the Oplenac dance group; about relations between various Yugoslav dance troupes; Oplenac and the Avala Orchestra; involvement with DPs (displaced persons); Trbuhovic-Grasa blossoming as a director. Part 3 of a 5-part interview with Gordana Trbuhovic-Grasa, leader of Oplenac dance group; topics in parts 3 and 4 include working with Oplenac; performance in Farrell, Pennsylvania; getting Chicago dancers involved; political hassles for the dance group, varied teaching duties, financial arrangement of dance groups; about Serbian as compared to Yugoslav; the break with the Serbian church; Steve Aleksic becomes manager, how interference from parents related to politics killed the group; the reorganization, Oplenac/American as compared to Slavic members. Part 4 of a 5-part interview with Gordana Trbuhovic-Grasa, leader of Oplenac dance group; topics in parts 3 and 4 include working with Oplenac; performance in Farrell, Pennsylvania; getting Chicago dancers involved; political hassles for the dance group, varied teaching duties, financial arrangement of dance groups; about Serbian as compared to Yugoslav; the break with the Serbian church; Steve Aleksic becomes manager, how interference from parents related to politics killed the group; the reorganization, Oplenac/American as compared to Slavic members. Part 5 of a 5-part interview with Gordana Trbuhovic-Grasa, leader of Oplenac dance group.
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Part 1 of a 2-part telephone interview with Edward Hribar of the Slovene National Benefit Society (SNPJ, Slovenska Narodna Podporna Jednota, SNPJ); about the founding of SNPJ in l904; the purpose of the society in the early period, social events of past and present, scholarships and National SNPJ days, National Campsite and Youth Olympics; musical activities for the youth; Grace Dork, the director of Circle 26 on youth group activities; sports, music, dancing; the nationality of SNPJ memberships; publications of SNPJ, elaborated description of publications, including Prosveta, calendars, Voice of Youth. Part 2 of a 2-part telephone interview with Edward Hribar of the Slovene National Benefit Society (SNPJ, Slovenska Narodna Podporna Jednota, SNPJ); about travel to Yugoslavia, membership drive awards, relationship to Yugoslavia, problems of Slovenes in Austria; the Chicano Federation of Lodges, Memorial Day Ceremonies, the organization of picnics, location of the Prosveta (publication) archives.
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Interview with Mrs. Slavoff of the Balkan Import Store; topics include how the Balkan Import Store got started, what the store carries, problems with importing, what sort of phonograph records appeal to what age groups; on newspaper delivery; other nationalities whose records thisa store also carries; about Yugoslav singers who visited the store; television and advertising on the Yugoslav TV show; the geographic range that the store covers, newspapers sent by mail, how they pick out the phonograph records to carry; other items in the store, e.g., postcards, novels.
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Part 1 of a 2-part interview with Josef Barton in English about Czech and Slovak community activities; low audio levels. Part 2 of a 2-part interview with Josef Barton in English about Czech and Slovak community activities; low audio levels; duration 2:30 minutes.
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Part 1 of 2-part interview with Martin Kapugi about tamburitza career; born in Chicago, raised in Europe; father and mother's backgrounds (father from Macedonia; in part 2 states mother was Croatian, father Serbian); Kapugi started to play music 1926, E alto sax, banjo; came to Chicago 1928 alone to his uncle, left mines in West Virginia, found a tamburitza teacher, Art Milacik [Milacek?], a Bohemian; about the repertory in the "old days: as compared to now; there was a Kolo Club during the Depression, had a great time, learned kolos; playing with Vaso Bukvic and Art Milacek [Milacik?]; played with Paul Whiteman's Orchestra; Sloboda Serbian Choir performance, Adam Popovich, Teddy Popovich; about work in Chicago, at the Crane Co.; Tamburitza Café; travel with Dave Zupkovich Orchestra, making recordings for Decca, Victor, Balkan, Zora, Continental; about the importance of Louis Hlad, about bands pressing their own records, about the money in records; then there were newcomers, like the D.P.'s (displaced persons) and American Yugoslavs; they have varied tastes; about his sources for repertory, instrumentals as compared to vocals; about money and music. Part 2 of 2-part interview with Martin Kapugi about tamburitza career; about the music business, 3-4 years with one band, 1931; about venues for music, often played wedding, often for Lithuanians (who like waltzes and slow numbers), mentions female musicians who played bass and cello; about playing in Las Vegas and Los Angeles; Kapugi's mother was Croatian, father Serbian; about selling records at performances.
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Interview recording made at F. Pancner's import store, 6514 West Cermak Road, Berwyn, Illinois; operated by a Czech family, the store provides Chicago's Czech and Slovak communities with crystal and ceramic ware, folk costume dolls, and other crafts, as well as carrying Czech and Slovak books and records; the interview is with Olga [Mitas? Midas?], has worked at store for 13 years; store had been in the old Czech neighborhood near 26th Street and St Louis Avenue; about Mr. Pancner's annual buying trips to Czech Republic, the store's customers, interest in travel to Czech Republic, about youth and dance groups in Chicago, Moravian groups included, about the merchandise in the store, band recording by artists from Omaha, names other musicians; duration about 9 minutes; photographs of the shop (and presumably the interviewee) at call number AFC 1981/004: b48707, frames 29-37 (digital sequence numbers 30-38).
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Interview with Slavco Hlad, music store proprietor (Balkan Music Company) and operator of an independent record label, Berwyn, Illinois; Hlad is the son of tamburitza instrument maker Ivan Hlad and Slavco Hlad's business began with instrument making as well; the record label features artisits from the Croatian, Slovenian, Serbian, and Bohemian communities.
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Part 1 of a 3-part recording of performances by "The Continentals" at the band-owned Club Continental on North Lincoln Ave. (probably 5515 North Lincoln); the fieldworker's notes identify Mitke Kotlarovski as the organist, Blaze Kotlarovski as the guitarist, and other band members by first names, Mince, Koco, and Mike, four of the five immigrated from Resen, Macedonia; the other instruments include drums, accordion, trumpet, bass, and vocals; selections include an unnamed rock song, sung in [South Slavic language]; an unnamed Instrumental in 5/4 time; "The Last Waltz"; "Words"; "Fraulein"; "Johnny and Lydia;" unnamed song in [South Slavic language]; "For Helen," [South Slavic language] lyrics; "Shake Your Boodie;" "Kiss an Angel Good Morning" with strong crowd reaction. Part 2 of a 3-part recording of performances by "The Continentals" at the band-owned Club Continental on North Lincoln Ave. (probably 5515 North Lincoln); the fieldworker's notes identify Mitke Kotlarovski as the organist, Blaze Kotlarovski as the guitarist, and other band members by first names, Mince, Koco, and Mike, four of the five immigrated from Resen, Macedonia; the other instruments include drums, accordion, trumpet, bass, and vocals; selections include "Neither One of us Wants to be the First to Say Goodbye" (recording begins with song in progress); "Wasted Days and Wasted Nights"; "Suspicion;" a Spanish number with rhumba beat; "Words," repeated from part 1, dedicated to a "very special lady;" "Say You'll Stay On 'Til Tomorrow;" [South Slavic language] song, a ballad similar in style to the country ballads played previously; an unnamed mazurka, with singing in [South Slavic language], includes a snatch of the "Song of the Volga Boatmen;" "I'm Sending You a Big Bouquet of Roses;" "Seasons in the Sun;" "Somewhere My Love;" unnamed instrumental. Part 3 of a 3-part recording of performances by "The Continentals" at the band-owned Club Continental on North Lincoln Ave. (probably 5515 North Lincoln); the fieldworker's notes identify Mitke Kotlarovski as the organist, Blaze Kotlarovski as the guitarist, and other band members by first names, Mince, Koco, and Mike, four of the five immigrated from Resen, Macedonia; the other instruments include drums, accordion, trumpet, bass, and vocals; selections include "I Believe in Miracles;" an unnamed [South Slavic language] song not unlike "Never on Sunday;" "Tie a Yellow Ribbon 'Round the Old Oak Tree" (in the recordings, the vocals are lost for long passages); unnamed medium-tempo ballad; song in [South Slavic language]; "Nothing in the World I do Means a Thing Without You;" "Fly Robin, Fly;" "'Til the Next Teardrop Falls;" [South Slavic language] rock tune; "Love Me Tonight;" [South Slavic language] song "For Mr. Balerio and Company," lyrics may have to do with immigration.
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Interviews in [Serbian or Macedonian ?] by fieldworker Richard March with members of "The Continentals" at the band-owned Club Continental on North Lincoln Ave. (probably 5515 North Lincoln); the existing documentation is incomplete but the two interviewees are probably Mitke Kotlarovski (the band's organist) and Blaze Kotlarovski (the band's guitarist); the two immigrated from Resen, Macedonia, in the 1960s; the first interview has a duration of 4:30 minutes, the second has a duration of 10 minutes; the entire recording has a duration of 14:30 minutes.
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Part 1 of a 3-part interview with Michael Huminiak at the School of Ukrainian Folk Arts, conducted in Ukrainian; the first segment of this interview was conducted on June 7, 1977, at about 8 pm the School of Ukrainian Folk Arts, 2353 Iowa Ave., Chicago; about various people who run and instruct at the School; the administrator, wood work, embroidery, weaving, Easter egg ornamentation; Huminiak himself concentrates on painting the ceramic forms; has published 2 workbooks on the subject; born in western Ukraine in 1911, arrived in the US in 1946; now retired, formerly worked in a dental lab; the second segment of the interview recorded on June 10, 1977, at Huminiak's home at 316 Pinecroft St.,Roselle, Illinois, about his folk art school: staff, specialities, purpose and aims of the school; cost of courses offered; sponsorship and subsidies from Ukrainian credit union; Huminiak got interested in this school program upon retirement, a hobby; the school has financial difficulties; his daughter Natalie helps support the work; about the ages of the students; about collaboration with the Ukrainian Museum, Ukrainian Institute of Modern Art; the need to preserve and develop cultural assets; arts schools like his are important and should be established in other Ukrainian communities; about his recent publications on Ukrainian ceramic ornamentation designs; his favorite patterns and the need to retain traditional motifs; his approach to his work; about ceramic trends in the Old Country, production methods, styles; currently popular Trypillian ceramic motifs, origin of same in Chicago; about archeological finding re Trypillian ceramics; motifs must talk and reflect thought; about the difficulty in producing the desired red color; Huminiak's favorable opinion about Ukrainian ceramic decalomania, commercially successful. Part 2 of a 3-part interview with Michael Huminiak at Huminiak's home at 316 Pinecroft St.,Roselle, Illinois, conducted in Ukrainian; Huminiak does not sell his work; about his work areas at home; about geometric designs on ceramics, Hutsul (Hutsullan) ornamentation; current technologies in the Soviet Union; thematic content in contemporary Ukrainian ceramics; fieldworker Carl Fleischhauer asks about the pieces he is photographing for the project (see call numbers AFC 1981/004: b48690, b48718, 120, and 121); Huminiak's pride in the work of his students, who have exhibits of their own; Huminiak reads a versified thank you from a student; more on the difficulties obtaining the desired red color; Hutsulian (Hutsul, Hutsulan) methods and techniques; idea to stage a conference of Ukrainian ceramicists, with a show and sale of works. Part 3 of a 3-part interview with Michael Huminiak at Huminiak's home at 316 Pinecroft St., Roselle, Illinois, conducted in Ukrainian; about the work of Mr. Ivanjuk, wood artisan, excellent work; Huminiak asks fieldworker which of his ceramic pieces are most pleasing; remark on Huminiak's aesthetic approach to the decoration of vases; sound of one of the photoflood lights exploding; end of interview.
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Part 1 of a 2-part interview with the instrumental-vocal ensemble Vesely Chasy (the Good Times) at their studio in the back of the home of their group leader, John Steciw, 2022 W. Chicago Ave.; interview in English; recording began about about 10:30 pm; the six members of the ensemble introduce themselves; history of the group; kinds of material they perform, costumes, Ukrainian decorations on the instruments and equipment; about the reaction of the Chicago Ukrainian community to their efforts; about out-of-town venues; composition of original material; ages of the members and their occupations; ethnic origin, only two of the six are of Ukrainian ancestry; about similar groups elsewhere in the US and Canada; about their sound equipment, lighting technician, professional approach to their work. Part 2 of a 2-part interview with the instrumental-vocal ensemble Vesely Chasy (the Good Times) at their studio in the back of the home of their group leader, John Steciw, 2022 W. Chicago Ave.; interview in English; how they view their potential, their future; their second LP is in preparation; the kind of material planned for the record, includes the composition of special songs on political themes relating to dissident movement in Soviet Ukraine; original arrangements; regarding the group's revenue, over 4,000 albums have been sold; their efforts to use best technical know-how available in the production of their recordings, best kind of quality equipment; their engagement at Soyuzivka [resort in 1976 was a breakthrough for them; the older generation still control the Ukrainian organizations in Chicago; concern for their impact, their image; about the reaction of non-Ukrainian audiences to their performances; anecdote about one of their songs with mention of a black woman, and their effort to explain this song to local Chicago audience that included African Americans; how they view the relevance of their work vis-à-vis other Ukrainian cultural and musical phenomena and forms; comment on one of their original song creations relating to middle-class life within the Ukrainian American community, "we're rebels, I guess," recording submitted for a Grammy award; non-Ukrainians find the melodies very appealing and buy their record; anecdote about a hillbillv and his reaction to Ukrainian dancing group: "they are maniacs," three of the ensemble members were born in Europe; how is a Ukrainian band supposed to sound? ; about non-Ukrainians in the ensemble; "Just because it's Ukrainian doesn't necessarily make it good, there's gotta be a better standard of excellence," impact on young people; $30,000 worth of equipment; "It's a labor of love."
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Recording of one part of a rehearsal by the parish choir at Saints Volodymyr and Olha Ukrainian Catholic Church, at 739 N. Oakley Blvd., Chicago; practice at about 8:15 pm in the church basement hall; choir conducted by Roman Andrushko, who also conducted the Chicago schools orchestra in a concert a few days before this rehearsal; recording features "Our Father" sung in Ukrainian.
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Recording of a rehearsal of the bandurist youth group, led by Mr. Alex Poszewanyck, at the Church Hall of St. Vladimir; the field documentation does not make clear if this is St. Volodymyr Ukrainian Orthodox Cathedral (probably) or Sts Volodymyr and Olha Ukrainian Catholic Church; the selections are tailored for beginners with the bandura and include an instrumental song; song, with counting of the meter by the leader; three songs and a fragment played by the group; solo song.
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Recording first segment from recording start to 14:30 minutes elapsed time presents an Interview in Ukrainian with Mary (Maria) Hrynewych; the fieldworker's notes state that the interview concerned Hyrnewych's life and the more than 60 dolls she has made, displaying the emblematic costumes of the ethnographic region of Ukraine; recording second segment, from 14:30 to 34:00 elapsed time, presents part 1 of a 2-part interview in Ukrainian with Lubo Maciuk, an active leader of the Ukrainian Congress Committee of America (UCCA); the fieldworker's notes state that the interview concerned various aspects of Ukrainian arts as created in Chicago, associated problems, and other related matters; the fieldworker's notes also mention an interview with Natalie Huminiak, not located when this metadata was compiled. Part 2 of a 2-part interview in Ukrainian with Lubo Maciuk, an active leader of the Ukrainian Congress Committee of America (UCCA), from recording start to 7:00 minutes elapsed time; the fieldworker’s notes state that the interview concerned various aspects of Ukrainian arts as created in Chicago, associated problems, and other related matters; the interview includes added comments by women who were present, probably Mary (Maria) Hrynewych and Natalie Huminiak.
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Interview with Alfonso Davino and friends, recorded at Al's Bakery, 816 S. Loomis St.; Davino discusses Passatella, an Italian tavern game that involves wine ("Boss and Under Boss Game"); about old times in Chicago, street vendors; the Mt. Carmel Fiesta (Annual Feast of Our Lady of Mount Carmel), and other fiestas in Chicago and Italy; about the Taylor Street neighborhood (Little Italy) in old times and with modern changes for the worse; Italian foods, holiday foods; about family and the authority of the older brother; the changing neighborhood; about the Mafia and its constructive aspects.
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Interview-conversation with Frank Zanzo recorded at Al's (Davino) Bakery, 816 S. Loomis St.; Zanzo is 69, born in Chicago, his father from a little town near Naples, Italy; Zanzo father and son both worked for the Burlington Railroad; Zanzo's mother died when he was young and he and his sister benefitted from assistance from Jane Addams's Hull House, not far from where he lived; woman named Helen Meyers (Myers?) worked at Hull House and was especially helpful; Zanzo remembered Addams; Zanzo's friend Fred Angelini brings in a bottle of his homemade wine, made from Zinfandel grapes; brief discussion of wine making.
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Interview with Roland V. Libonati and his wife, Jeanette (?), at the Libonati home; Libonati had been a U.S. Congressman, 1957-1965; a member of the Illinois senate 1942-1947; and the Illinois House of Representatives (1930-1934 and 1940-1942); topics include Italian musicians and art music in the neighborhood and in Chicago; Hull House and Jane Addams; Irish musicians and Mayor Daley; features of Libonati's family story; more on Italian music, the role of Italian parents and Hull House; neighborhood history in terms of ethnic groups; impact on the neighborhood by the arrival of the Medical Center (probably referring to what is now called the University of Illinois at Chicago Medical Center); about Mayor Richard Daley and Liponati's battles with him over issues; about Italian workers and miners of Italian and other nationalities; about the traditional Italian (hand, finger) game of Morra; more about the neighborhood history in terms of ethnic groups; more about the impact of the university in the neighborhood, perceived relationship to Daley; recollection of stealing pigs with Mayor Daley as children together in the neighborhood; Mrs. Libonati discussed the ltalian image and about camps for children.
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Part 1 of a 2-part recording of game-play and conversation during a session of the traditional Italian (hand, finger) game of Morra, at Mama Sue's restaurant in Little Italy, 1419 W. Taylor; speakers and players include retired U.S. Representative Roland V. Libonati, Joe Labellarte, Labellarte's son, and Mickey Carioscia; Libonati discusses ethnic community dynamics, the role of the Mafia compared with other southern Italian groups, as compared to the solidarity associated with some Jewish communities; then a round of the game of Morra begins, the youngest player is 9 years old; discussion of the Italian ball game Bocce and the group's desire to keep these games alive; Joe Labellarte, his son, and Mickey Carioscia discuss learning games and the necessity to live up to the family name; "coming up the hard way"; Mickey Carioscia and others talk about the necessity of teaching children the culture; about the unity of Italians in the neighborhood and upward mobility; about the community's common stand against threats; the success of Italians from the neighborhood; about the handicap and prejudice faced by Italians, related in part to the Mafia; Joe Labellarte (age 9) explains how he learned morra from his father and basic fundamentals of the game; Joe Labellarte on Morra technique. Part 2 of a 2-part recording of game-play and conversation during a session of the traditional Italian (hand, finger) game of Morra, at Mama Sue's restaurant in Little Italy, 1419 W. Taylor; speakers and players include retired U.S. Representative Roland V. Libonati, Joe Labellarte, Labellarte's son (may also be named Joe), and Mickey Carioscia; about the fundamentals of Morra; the Morra tradition in the Taylor Street area (Little Italy neighborhood); about the game Passatella, an Italian tavern game that involves wine ("Boss and Under Boss Game"); about the attitude of men's wives to Morra, some objections; how Morra relates to a male group; Mickey Carioscia on respect for elders among Italians; about American Indians and their difficulties.
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At Al's (Davino) Bakery, 816 S. Loomis St., interview and conversations with Giuseppe Esposito and Alfonso Davino; while kneading dough and slapping it on his work surface, Davino speaks about Italian bakers in Chicago (followed by a blank segment); discussion in English and the Neopolitan dialect about the tavern and wine-related game Passatella ("Boss and Under Boss") with Davino's helper Giuseppe Esposito; a friend enters to and duns Giuseppe Esposito for money, Esposito jokingly mocks him.
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At Al's (Davino) Bakery, 816 S. Loomis St., interview and conversations with Giuseppe Esposito, Louis Mateo, and Louis Galluzzi; the traditional Italian (hand, finger) game of Morra; the tavern and wine-related game Passatella ("Boss and Under Boss"); the Italian ball game Bocce; Louis Galluzzi on Bocce and "Peanut Park."
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Part 1 of a 3-part interview with Vincenzo (Jim) Giuseffi, recorded at the Mother Cabrini Convent (presumably associated with the Missionary Sisters of the Sacred Heart of Jesus); about Palm Weaving; Giuseffi's life story; connections back to Calabria in Italy; comment on Italian religious expression, sung prayers and chanting, in Italy, when working in the fields; comments on chants to Saint (Santa) Barbara, pictured with a castle; Giuseffi sings chants and explains context (feasts); about wakes and chants for the dead; then he sings laments; although this recording is listed as part 1 in the archival sequence, the fieldworker's notes refer to this recording as part 2; the fieldworker's notes spell the name as Guiseffi. Part 2 of a 3-part interview with Vincenzo (Jim) Giuseffi, recorded at the Mother Cabrini Convent (presumably associated with the Missionary Sisters of the Sacred Heart of Jesus); comments on women who work in factories in Chicago; more about palm weaving, and about Saint (Santa) Barbara; story about Giuseffi's grandmother; the fading of Italian traditions in the US; about cooking; discussion of Zampogna (Italian type of bagpipes), and their players; about Giuseffi's embroidery and artificial flower making; motifs of Italian American floral funeral wreaths; flowers of the dead; although this is part 2 in the archival sequence, the fieldworker's notes refer to this recording as part 1; the fieldworker's notes spells the name as Guiseffi. Part 3 of a 3-part interview with Vincenzo (Jim) Giuseffi, recorded at the Mother Cabrini Convent (presumably associated with the Missionary Sisters of the Sacred Heart of Jesus); about Italian American funeral wreaths; Giuseffi's work with costumes and flower making; about palm weaving, Italian and Italian American religious festivals; traditional foods; the Italian Art Center in Melrose Park, and folk dancing; the Italian American Hardware Store; the Tuscan community of Chicago; the Chinatown Italian area; religious feasts in Chicago; Italian settlement patterns in Chicago; about the games of Bocce and Soccer; the Little Sicily neighborhood in Chicago, and Bari neighborhood (people from Puglia); about the Sicilian Festival in Berwyn, Illinois; the fieldworker's notes spell the name as Guiseffi.
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Part 1 of a 3-part interview with Mary Spallitta (Spallita?) recorded at her home, 3358 N. Normandy Street; about Italian American organizations and clubs in Chicago (followed by blank section of recording); about Spallitta's parents and childhood; about the carpenter's unions and their controlled by other ethnic groups, yielding prejudice against Italian Americans; more about Mary's parents and childhood; about settlement patterns of Italian regional groups in Chicago from about 1925 to 1940; changing attitudes toward education of women; continuing prejudice within Italian American groups, Northern versus Southern Italians. Part 2 of a 3-part interview with Mary Spallitta (Spallita?) recorded at her home, 3358 N. Normandy Street; about the Mafia, bad publicity for Italians in the press, the gangster stereotype is still strong today in Chicago; the involvement of other ethnic groups, organized crime; the Italian Anti-Defamation League; about Italian family traditions and a decline in respect today; thr beginnings of the Italian Anti-Defamation League, prejudice against Italians, the Mafia image; decline in Italian folk traditions; some Italians changing their names so as not to be known as Italians; how to encourage Italian children to learn folk traditions, Mary's grandchildren aren't learning traditions; about Italian festivals in Chicago. Part 3 of a 3-part interview with Mary Spallitta (Spallita?) recorded at her home, 3358 N. Normandy Street.
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Part 1 of a 4-part interview with Pompeo Stillo, recorded at his store, Harrison Radio, 5909 W. Irving Park Rd., Irving Park IL; Stillo's story of coming to America and continuing his musical career here; about the Italian Americans from many regions in Italy who come into his shop; about Stillo's musical career in the U.S. and Canada; how he bought Harrison Radio; about his success in stocking and selling only Italian music with an emphasis on folk music; about his childhood in Calabria and.growing up with music; making bamboo flutes; the ocarina, a traditional instrument; plays the a tarantella on the ocarina; and a variation, "Carnival in Venice"; about his village and traditional music, and folk dances in Calabria; the cantastoria; Stillo sings a cantastoria and translates a funny and slightly bawdy story; Stillo plays a mouth harp (sometimes called a Jew's harp); customer enters the shop; about regional dialects in Italy; Stillo sings a song; about the destruction of Calabria by tourism; Stillo's love of folk music, as the true expression of the folk. Part 2 of a 4-part interview with Pompeo Stillo, recorded at his store, Harrison Radio, 5909 W. Irving Park Rd., Irving Park IL; Stillo speaks of recent death of his father, shows photos he's sending to Italy for the tombstone; his father's story; musical tradition in the family in Calabria; about musical bands in Calabria; Stillo's story and his musical aspirations; plays an old Italian love song on record player, speaks of the Italian folk dance group he has organized in the US. Part 3 of a 4-part interview with Pompeo Stillo, recorded at his store, Harrison Radio, 5909 W. Irving Park Rd., Irving Park IL; Stillo plays a mouth harp (sometimes called a Jew's harp) and demonstrates how to play; tells how he learned to play; gets out old instruments used to play the Tarantella (dance); plays the accordion (mazurka, tarantella, tango); plays and sings three Calabrese songs, for grain sowing, for harvesting, and for grape picking song; sings tongue twisters; plays a song from Abruzzia; speaks of his work and how he has little time to play; about the Calabrese dialect and Calabrese stories, reads part of a story. Part 4 of a 4-part interview with Pompeo Stillo, recorded at his store, Harrison Radio, 5909 W. Irving Park Rd., Irving Park IL.
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Part 1 of a 2-part interview with Pasquale and Gilda Sottile about musical traditions and accordion playing, recorded in their home at the kitchen table; Pasquale Sottile's story about how he came to America; how he learned to play the accordion in Italy, without knowing how to read music, all by ear; plays the accordion, a mazurka, then a polka, then a tarantella; discussion of the dance and of the accordion as an instrument of the farmlands in southern Italy; how playing now makes him remember the beauties of Calabria; about his appearance on an Italian program on television; how people clap when they hear him play; Sottile knows of few traditional Calabrese singers here; he plays a tarantella and sings but the microphone placement means that the accordion drowns out his voice. Part 2 of a 2-part interview with Pasquale and Gilda Sottile about musical traditions and accordion playing; discussion of Calabrese folk songs and of the women who sing them; Gilda Sottile speaks of Calabrese foods, and of her children; tells a werewolf story and talks about werewolves.
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Performance of Pasquale Sottile, Italian button accordion, Calabrese-style; selections include accordion solo; unnamed song (dance piece); "An Italian Waltz, #3"; "La Quadrille Italiana"; unnamed song; "La Camita"; unnamed song; "La Calzone"; "Una Mazurka"; duration of recording 21:30 minutes.
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Part 1 of a 2-part recording with Alfonso Davino, recorded at Al's Bakery, 816 S. Loomis St.; about Al's Childhood; how Davino learned to make bread from his father, the early days of the bakery, how to make bread Italian style, how his father learned from his father; about Italian bakeries in neighborhood 40 years ago; Davino's life history; the decline in traditional baking, the hardest part is putting all the bread in the oven, 350 lbs comes to about 320 loaves. Part 2 of a 2-part recording with Alfonso Davino, recorded at Al's Bakery, 816 S. Loomis St.; Davino in conversation (mostly in Italian) with a man who reminisces about life in Italy and his father's service in the cavalry in a war in the early part of the twentieth century; Davino talks about retiring; conversation is joined by Joe Kaplan, Davino's friend; Davino speaks of his father's art of baking, about baking as an art; about cutting the top, etc.; Davino on the love of handling bread.
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Part 1 of a 2-part interview with Mary Pacente about life and traditions in Chicago's Little Italy neighborhood and among those with Sicilian heritage; about her parents, first lived in Monessen PA then came to Chicago in the 1920s, father named Vincenzo Panipinto (Panipento?), mother Josephine; father worked for the Chicago Surface Lines (streetcars); first lived at 628 S. May St, then at 1150 Vernon Park Place; Pacente has been in neighborhood for 50 years; about how her mother took in people in need; religious processions in the neighborhood, on and near what was then called Vernon Park (now Arrigo Park), nicknamed "peanut park" because of the shape of the walkway when seen from above; traditions are still alive, e.g., bocce ball and the tarantella dance; about changes in the neighborhood in recent time; Sicilian (and Italian) tradition of basil growing, one person start a plant and cutting are distributed to all family members. Part 2 of a 2-part interview with Mary Pacente about life and traditions in Chicago's Little Italy neighborhood and among those with Sicilian heritage; about Saint Joseph's Table (or feast), with gatherings for a large meatless meal, children knock on the door; about midnight mass at Christmas and some tension between Italians with background from the main peninsula and those of Sicilian descent; about the role and reach of the Mafia (across the Atlantic); about Italian American craftsmen in the building trades.
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Morra is a traditional Italian multi-player hand game in which each player extends fingers and calls out a number that is the likely total number of fingers for all players; correct calls score points.
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Part 1 of a 3-part conversation and interview with Father James Callozzo and Rosalie Calozzo, at their home at 1049 W. Taylor Street; Father Callozzo is an Italian American who became an Eastern Orthodox priest; the visiting fieldworkers included Elizabeth Mathias, Jonas Dovydenas, and Greta Swenson; in the recordings on call numbers AFS 20733a and AFS 20733b "Father Jim" takes the field team on a tour of his home, explaining his art collection and his own work; discussion of how he learned to paint icons and do needle point, discusses the controlling concepts and themes of Eastern Orthodox religious iconography. Part 2 of a 3-part conversation and interview with Father James Callozzo and Rosalie Calozzo, at their home at 1049 W. Taylor Street; Father Callozzo is an Italian American who became an Eastern Orthodox priest; the visiting fieldworkers included Elizabeth Mathias, Jonas Dovydenas, and Greta Swenson; in the recordings on call numbers AFS 20733a and AFS 20733b "Father Jim" takes the field team on a tour of his home, explaining his art collection and his own work; discussion of how he learned to paint icons and do needle point, discusses the controlling concepts and themes of Eastern Orthodox religious iconography. Part 3 of a 3-part conversation and interview with Father James Callozzo and Rosalie Calozzo, at their home at 1049 W. Taylor Street; Father Callozzo is an Italian American who became an Eastern Orthodox priest; about religious leaders who do not consider the culture of their congregation; about black culture; about some culturally destructive elements of religion about the value of reinstating traditional religious processions for Italian Americans; about Irish and Italian Roman Catholics; some Italian American parishes in Chicago that continue traditions; about Sicilian traditions; [Shrine of] Our Lady of Pompeii; Chicago's 1st Ward as a strong political area.
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Part 1 of a 2-part interview with Mrs. Soo Hyang Hong about Korean dance, conducted in the Korean language, and recorded at Soo Hyang Hong's home at 6128 N. Damen Ave; a note on the log sheet states that Soo Hyang Hong teaches Korean dance at the Korean YMCA; the fieldworker's summary lists the following topics: How Soo Hyang Hong learned Korean dance; about teaching Korean dance in Chicago; Korean dance style; comparative view of dance, Korean dance compared to ballet; Soo Hyang Hong's dance training at a professional dance troup; difficulties in matching dance, costume, and music in Chicago; description of dance costume for different dances; about kinds of Korean dance.
Part 2 of a 2-part interview with Mrs. Soo Hyang Hong about Korean dance, conducted in the Korean language, and recorded at Soo Hyang Hong's home at 6128 N. Damen Ave; a note on the log sheet states that Soo Hyang Hong teaches Korean dance at the Korean YMCA; this recording has a duration of about six and a half minutes.
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Part 1 of a 4-part recording of a Korean American children's folktale contest and adult's birthday party with songs at the Shinsundo (Shin Sun Do) Studio, 3315 N. Clark St., Chicago, recorded in the Korean language; exact sequence uncertain; the fieldworker's notes indicate that this segment of the event includes an opening announcement; the Korean national anthem; a prayer; introduction of Shang Nok Hoe, from the Evergreen Club, the sponsoring organization; remarks by the Consul General of Korea; introduction of participants and judges; remarks about the basic points of the judging: language, gesture, content. Part 2 of a 4-part recording of a Korean American children's folktale contest and adult's birthday party with songs at the Shinsundo (Shin Sun Do) Studio, 3315 N. Clark St., Chicago, recorded in the Korean language; exact sequence uncertain; the fieldworker's notes indicate that this segment of the event includes children reciting folktales, Legend of Tujachun, the two brothers, the shoemaker and the three dwarfs (a German tale), and the village of a good son; followed remarks by the chairman of the Evergreen Club, the sponsoring organization. Part 3 of a 4-part recording of a Korean American children's folktale contest and adult's birthday party with songs at the Shinsundo (Shin Sun Do) Studio, 3315 N. Clark St., Chicago, recorded in the Korean language; exact sequence uncertain; the fieldworker's notes indicate that this segment of the event includes an interview with Hae Sook Kang, a six-year-old, American-born Korean American girl; how she learned Korean tales, how she learned Korean, and the games she plays; followed by activities associated with the birthday party, featuring the singing of Korean folksongs, Nilniri, Salchagi op so ye, Nilniri version 1, Nilniri version 2, Tae pyong ka, a love song, and other folksongs, western style classic songs, and popular songs. Part 4 of a 4-part recording of a Korean American children's folktale contest and adult's birthday party with songs at the Shinsundo (Shin Sun Do) Studio, 3315 N. Clark St., Chicago, recorded in the Korean language; exact sequence uncertain; the fieldworker's notes indicate that this segment of the event includes additional singing, part of the set of activities associated with the birthday party.
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Part 1 of a 4-part recording of Mrs. Soo Hyang Hong, in the Korean language and concerning music and dance, recorded at her home 6128 North Damen Ave., Chicago; Soo Hyang Hong teaches Korean dance at the Korean American YMCA; the fieldworker's summary lists the following topics: description of different kinds of Korean dance: monk dance, shaman dance, warrior dance, dance of tragic fate; about performing Korean dance in Chicago and about the audience; teaching Korean dance in Chicago and the reaction of Korean Americans; about Soo Hyang Hong's plans for the future, choreography, dances connected to epics. Part 2 of a 4-part recording of Mrs. Soo Hyang Hong, in the Korean language and concerning music and dance, recorded at her home 6128 North Damen Ave., Chicago; Soo Hyang Hong teaches Korean dance at the Korean American YMCA; the fieldworker's summary lists the following topics: the difficulties that face a person seeking to present Korean dance, lack of enthusiasm, lack of needed paraphernalia, insufficient funds; about the reaction of Americans to Korean dance and improvisation; recommendation of other dancers in Chicago. Part 3 of a 4-part recording of Mrs. Soo Hyang Hong, in the Korean language and concerning music and dance, recorded at her home 6128 North Damen Ave., Chicago; Soo Hyang Hong teaches Korean dance at the Korean American YMCA; the fieldworker's summary lists the following topics: about learning to play playing kayagum (gayageum), 12-string Korean musical instrument, at an institution and self-taught; history of kayagum; at this point, a Mrs Lee joins the discussion; Mrs. Lee was a dance teacher and now is Mrs. Hong's next door neighbor; Mrs. Lee's life history in relation to learning dance, about her performance experience, negative views from her family regarding her dancing, her motivation to learn dance, and her teaching experience of dance in Korea. Part 4 of a 4-part recording of Mrs. Soo Hyang Hong, in the Korean language and concerning music and dance, recorded at her home 6128 North Damen Ave., Chicago; Soo Hyang Hong teaches Korean dance at the Korean American YMCA; the fieldworker's summary lists the following topics: Soo Hyang Hong playing the kayagum (gayageum), 12-string Korean musical instrument, selections include the Korean folksongs Arirang and Nilniri, with comments on how to play kayagum.
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Part 1 (version 1) of a 3-part Interview with Mrs. Mine ("Minnie") Somi Kubose about the Japanesetea ceremony, recorded at the Buddhist Temple of Chicago, 4641 N. Racine Ave; the fieldworker's notes report problems in making the recording (the speed is irregular) and, during the field project, she re-recorded parts 1 and 2 in an attempt to correct the speed; both the original and rerecorded versions are included in the collection; the fieldworker's notes for part 1 list these topics: Mine ("Minnie") Somi Kubose's life history and her exposure to the tea ceremony and how she learned it; about the tea name and the tea schools; about the tea ceremony in Japan and among the Japanese Americans in Chicago; about the motivation for learning and practicing the tea ceremony; what is important in teaching the ceremony, aesthetics and mental training; the four principles of the tea ceremony (aesthetics). Part 2 (version 1) of a 3-part Interview with Mrs. Mine ("Minnie") Somi Kubose about the Japanese tea ceremony, recorded at the Buddhist Temple of Chicago, 4641 N. Racine Ave; the fieldworker's notes report problems in making the recording (the speed is irregular), and one or two of the parts may be re-recordings in an attempt to correct the speed; the fieldworker's notes for part 2 list these topics: aesthetic s and spirit of the tea ceremony: humility and awareness; significance of introducing the tea ceremony to Japanese Americans; description of the tea ceremony: procedure, utensils used, behavior; types of tea ceremonies; Rev. Gyomay M. Kubose (Mine ("Minnie") Somi 's husband) joins the interview; about the history of the cerer.ony, brought from Chlna, has been developed for 400 years; about tea societies in the U.S. and their activities; about other forms of art that accompany the tea ceremony and the Japanese life style.
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Part 1 (version 2, probably re-recorded) of a 3-part Interview with Mrs. Mine ("Minnie") Somi Kubose about the Japanese tea ceremony, recorded at the Buddhist Temple of Chicago, 4641 N. Racine Ave; the fieldworker's notes report problems in making the recording (the speed is irregular) and, during the field project, she re-recorded parts 1 and 2 in an attempt to correct the speed; both the original and rerecorded versions are included in the collection; the fieldworker's notes for part 1 list these topics: Mine ("Minnie") Somi Kubose's life history and her exposure to the tea ceremony and how she learned it; about the tea name and the tea schools; about the tea ceremony in Japan and among the Japanese Americans in Chicago; about the motivation for learning and practicing the tea ceremony; what is important in teaching the ceremony, aesthetics and mental training; the four principles of the tea ceremony (aesthetics). Part 2 (version 2, probably re-recorded) of a 3-part Interview with Mrs. Mine ("Minnie") Somi Kubose about the Japanese tea ceremony, recorded at the Buddhist Temple of Chicago, 4641 N. Racine Ave; the fieldworker's notes report problems in making the recording (the speed is irregular), and one or two of the parts may be re-recordings in an attempt to correct the speed; the fieldworker's notes for part 2 list these topics: aesthetics and spirit of the tea ceremony: humility and awareness; significance of introducing the tea ceremony to Japanese Americans; description of the tea ceremony: procedure, utensils used, behavior; types of tea ceremonies; Rev. Gyomay M. Kubose (Mine Somi Kubose's husband) joins the interview; about the history of the ceremony, brought from Chlna and has been developed for 400 years; about tea societies in the U.S. and their activities; about other forms of art that accompany the tea ceremony and the Japanese life style. Part 3 of a 3-part Interview with Mrs. Mine ("Minnie") Somi Kubose about the Japanese tea ceremony, recorded at the Buddhist Temple of Chicago, 4641 N. Racine Ave; the fieldworker's notes for part 3 list these topics: about tea societies in Japan and in the United States; tea ceremony and other forms of art; different tea schools; the tea ceremony and food; tea ceremony and Japanese life style.
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Part 1 of a 2-part interview with Kean Sea Park about Korean brush painting, recorded in the Korean language at his home at 6244 N. Claremont, Chicago; topics include the artist's exposure to brush painting; his life history and about learning brush painting, studying theology, philosophy, and brush painting. Part 2 of a 2-part interview with Kean Sea Park about Korean brush painting, recorded in the Korean language at his home at 6244 N. Claremont, Chicago; topics include schools of brush painting and ceramics, materials and techniques; comparative views of art, East compared to West, China, Japan and Korea; about brush painting in Korea, brush painting in Chicago, brush painting and the Koreans in Chicago; Kean Sea Park's vision and plan for the future, he is writing a book on brush painting; what is importanL in brush painting, Kean Sea Park's life and painting; his aesthetics, his painting in the future, about the motivation to learn brush painting.
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Interview with Bong Hee (Ma) Stephens about Korean dance, recorded in English in her home at 114 E. Fleming Rd., Arlington, Illinois; topics include Ma Bong Hee's life history and dance, the motivation to learn dance; about performance for an American audience; the transmission of dance to the Korean Americans in Chicago; introducing Korean dance to an American audience; about her repertory, motivation, and improvisation; Ma Bong Hee's relationship with the Korean American community in Chicago; observations on the dance of different Asian countries; about music and costume; about Ma Bong Hee's dance style.
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Conversation in Korean and performances on kayagum (gayageum), a 12-string Korean musical instrument, by Miss Tong Sook Ma, recorded at the home of her aunt Bong Hee (Ma) Stephens, 114 E. Fleming Rd., Arlington, Illinois; selections include Arirang, a Korean folk song; Five Hundred Miles, an American song; and a segment of Kayagum Sanjo, a traditional piece of court music composed for kayagum.
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Part 1 of a 3-part interview with Hideyumi Fujino about Japanese dance, music, and art, recorded at her home 1230 W. Hood Ave., Chicago; the fieldworker's notes also include the name Tom Fujino and indicates that the recording includes conversation in both English and Japanese; topics include a statement of Hideyumi Fujino's full name and stage name; how she received her stage name; about schools of Japanese classic dance; about the family, Mrs. Fujino's mother has been a dance teacher; about Hideyumi Fujino's life history and learning dance, and performance experience; about the Minyo Doko Club where Mrs.Fujino teaches dance; about other dance groups in Chicago. Part 2 of a 3-part interview with Hideyumi Fujino about Japanese dance, music, and art, recorded at her home 1230 W. Hood Ave., Chicago; the fieldworker's notes also include the name Tom Fujino and indicates that the recording includes conversation in both English and Japanese; topics include the Minyo Doko Club, its membership and activities; comments on the history of Japanese classic dance, on aesthetics and students' difficulties in understanding the meaning of dance and music; Hideyumi Fujino's hopes for the members. Part 3 of a 3-part interview with Hideyumi Fujino about Japanese dance, music, and art, recorded at her home 1230 W. Hood Ave., Chicago; the fieldworker's notes also include the name Tom Fujino and indicates that the recording includes conversation in both English and Japanese; topics include disicussion of Hideyumi Fujino's artistic activities in addition to dance, the tea ceremony, flower arranging, playing the shamisen, a Japanese three-stringed musical instrument; about people who play the shamisen and also the koto musical instrument in Chicago.
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Part 1 of a 2-part interview in Spanish with Mrs. Esperanza Sernas, recorded in her apartment at 1611 S. Racine, Chicago; topics include the struggle to found Benito Juarez High School, compared to the Robert Clemente school for the Puerto Ricans; struggle included interactions with school board, a thankless job with little support from many parents; Mrs. Sernas's history, born in Oaxaca, moved to Mexico City, knowledge and skill with poetry and recitation; no men would fight for the school so women had to do it; about the poor state of many schools who come to her for help, says she is too old now; came to US 22 years ago but doesn't speak English, too old to learn; her mother died in 1915 and rest of family moved to Oaxaca city; mentions brujas (witches) in Oaxaca and curing; hard times in Mexico, low pay; in Mexico City she worked at a fruit stand supplied by her father; she was born in 1899 or 1900, father died 1922; she paid to train brothers and sisters, only one brother still living; Mrs. Sernas married, had one child, son pushes for move to US; tale of a necklace of pearls and diamonds that she was forced to sell as a bribe to get her papers for admission to the US, came in 1953 or 1954; hard work in a restaurant, over one 3-day period made 600 chiles rellenos; on the recording, girls come to the door to see if she needs anything; her life featured restaurant work from 3 am to midnight. faced snow and cold, at times sorry she had come to US; son was married in Mexico, has eight children; about son's work, about size of her grandchildren; a recent problem led to son to consider a return to Mexico but he decided to stay to keep the children in school; things look better here than in Mexico; Mrs. Sernas now gets social security pension; she praises Mayor Richard Daley; she has a lot of "patrones" who would and do help; tells tale of singing to Porfirio Diaz: "He was a saint." Part 2 of a 2-part interview in Spanish with Mrs. Esperanza Sernas, recorded in her apartment at 1611 S. Racine, Chicago; topics include the song she sang to Porfirio Diaz, "Pasado y el presente" ("Past and present"); Diaz gave her a doll; about her role in the market in Mexico City and the trips to rural areas and fairs that it entailed; about travel on burro for her son when sick; Mrs. Sernas did not marry again because she feared a new husband would hurt her son; how her son cares for her, will see to it that she buried where she wished, including home in Oaxaca; about her grandchildren and their jobs; Mrss Sernas has lived in this location for two years; her life today includes cleaning, shopping, some group activity; yesterday took wrong bus to Social Security Office, but finally found the office; all of life is a struggle for "centavitos"; there are few activities at the senior citizens center she goes to, classes in English but old folks can't learn; staff trying to learn Spanish but they can't learn either; about aging, restaurant work, snow and difficult winters; about the girls who came to the door help her, she gives them little gifts or tips; about Mexican American community in Chicago when she came and now; about Spanish-speakers at center for the elderly; Mayor Daley sent them food, clothing, and fans; about Maria Gonzales and Senora Guerrero; about La Llorona (the Weeping Woman) as boogey-person to scare wayward children; Mrs. Sernas asks the fieldworker about his job and background ("she interviews me"); Philip George explains about the Chicago Ethnic Arts Project, takes photo of Mrs. Sernas; mentions a fiesta last night in which she recited poetry, recites several poem fragments.
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Part 1 of a 2-part live recording of Israel Maldonado's program, in Spanish, made in the studio of WCIU television, 141 W. Jackson St.; musical lead-in featuring his musical group playing a danza or danz6n; Israel Maldonado introduces the program and gives commercials, then introduces members of the conjunto; instrumental number, ''Pasillo Boricua," with Arcadia Otero on the cuatro; commercials; Israel Maldonado announces the next number, "something danceable," group plays a rnerengue; recording interrupted during commercials; next song improvised by Edimiro Rivera; commercials; Irma Diaz sings "Presentimento," a bolero; commercials (not recorded); discussion of what to choose for the next number; waltz (vals); Israel Maldonado and commercials, greetings, and dedications to members of the community; another merengue. Part 2 of a 2-part live recording of Israel Maldonado's program, in Spanish, made in the studio of WCIU television, 141 W. Jackson St.
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Part 1 of a 3-part interview with Jesus "Chuy" Negrete, recorded in the kitchen of his parent's home, 9125 S. Houston Ave., Chicago; topics include the Folklore Institute, Chicano-Riqueno Studies, Negrete's courses; other interviews he has given recently; the performing group Chicano Floricanto and its beginnings, came out of Teatro movement in the late 1960s; the Teatro movement and its history in Chicago; the beginning of Chicano Floricanto, playing out of the context of the Teatro, then the split from the Teatro; there are four or five members of the group: bass, percussion, saxophone, two guitars, had been a drummer; about the research that went into their program; corridos about Chicano history; the experience of the musicians and relationship to churches; outline of their tour performance, "450 Years of Chicano History in Music," included a slide show with corridos and poetry, revolution and immigration sections of the presentation; few people now work with corridos, only a few real corridistas left in the country; Negrete has composed some but is not a real corridista; mentions others, none in Chicago; rehearsals for group are hard to schedule in the summer, vacations and other work by the members; members include Jesus "Chuy" Negrete, guitar and vocals; Rosa Negrete, rhythm guitar and vocals; Carlos Bunuelos, lead and rhythm guitar; Raul Rodriguez, bass guitar; Carlos Cumpian, poet and percussionist; about the use of music, slides (mural art) and poetry to make their statement; Negrete recites a bit of poetry; members do other things as well, they need money to continue their work, he and group have worked in schoo1s and Artist in Schools programs; also ties with bilingual education programs, need for bilingual resource people; about teaching with music and slides; about bilingual programs in Chicago and Teaching English as a Second Language (TESL), problems and ideas; Negrete's center wants non-profit status for oral history and promotional grants; Negrete's use of music for teaching, desire reach more people through radio and TV; about folklore as history and as a newspaper for an illiterate peasantry; about his father as harmonica player and singer of corridos; the historic import of music to Chicanos and lesser impact of theater; the style, not the lyrics that call attention to the music, lyrics are altered to politicize; need for education through school and presentations in the barrios, create a sense of awareness, value of a television program, hopes people will rediscover the disappearing art forms; this emphasizes reaching Mexican Americans, what of others? Part 3 of a 3-part interview with Jesus "Chuy" Negrete, recorded in the kitchen of his parent's home, 9125 S. Houston Ave., Chicago; content includes Negrete singing a song on the theme "I don't want to go back, I am Mexican American"; comments on urban guitar sound, example of the poetry, some traditional and some contemporary; about the need to update some materials to hold an audience; on the audience reaction to their group Chicano Floricanto; about the presentation of the labor movement; labor organizer Lucy Gonzales Parsons as a Latina involved in the Haymarket riots; about his $2,000 grant for research into corridos and Chicano History; Negrete lives by his guitar; comments on the cultural center's three areas of activity, multi-media presentation of Chicano Floricanto, clearing house for artists for performances and schools, and getting into video production for educational purposes; there is a lack of money; about MARCH (Movimiento Artistico Chicano) and other organizations; includes a segment playing his Chicago-made guitar and telling about it. Duration: 8:45 minutes.
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The recording with call number AFC 1981/004: AFS 2751b is also identified as AFS 20751 side B.
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Interview with Israel Maldonado from the musical group El Conjunto de Cuerdas Típicas de Puerto Rico, and from the broadcast program "El Show Jíbaro"; recorded in Spanish at at a rehearsal for "El Show Jíbaro" at El Romance Club; about the origins of "El Show Jibaro" in previous radio programs and programming on Channel 44 before moving to Channel 26; Maldonado's love of folklore, this was a first as a program of folk and traditional Puerto Rican music; beginnings on Channel 26 and Maldonado's search for talent, improvisors (trovadores); types of music performed: danzas, plenas, aguinaldos, vals, mazurkas, seises, polkas, etc.; Maldonado found the best trovadores, several have appeared or appear on the program; size of his television audience and its makeup; how Maldonado works to stress traditionality and typicality ness of the performances; all of the artists work is voluntary and unpaid, some have other groups or jobs and play and sing as a pastime or for pay; about the name El Conjunto de Cuerdas Tipicas de Puerto Rico; Israel as an insurance agent for 24 years in Chicago with Prudential since 1969; the importance of this show, need for it in the Puerto Rican community, the only one in the U.S. and in Puerto Rico; about the differences between his and other Puerto Rican-run programs; the varying nature of his show and size of performing group, as many as 40 on the program at one time; videotapes of past programs exist; thanks and good-bye with comments on shows given at other places and praise of Puerto Rican folklore.
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Interview with Arcadio Otero, cuatrista (player of the cuatro musical instrument), recorded during a rehearsal for El Show Jibaro (television program) at the El Romance Club; Otero was born in Ciales, Puerto Rico; about his trips to the U.S. and final settlement in Chicago in 1971; Otero first learned guitar and then the cuatro, has played cuatro for fifteen years; Otero on born in February 1917, had been on El Show Jibaro for four years; discusses other cuatristas; discusses his instrument; Otero has a preference for living in Puerto Rico but more money can be made in the U.S.; the fieldworker's written notes inidcate that his question about the importance of this music is misunderstood; Otero names the types of music and rhythms he plays; Otero notes that young people do not like his music, they prefer salsa, which he also enjoys.
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Part 1 of a 4-part recording of performances by Conjunto de Cuerdas Tipicas de Puerto Rico, during a rehearsal at the El Romance club, 3575 W. Armitage Ave.; elapsed time indication provided on fieldworker's log; post-fieldwork notes identify the members as Israel Maldonado (leader), Arcadia Otero (first cuatro), Pablo Valentin (second cuatro), Rafael Rios (guiro), vocals by Tony Perez and Nelso Castro; discussion of what to choose for the next number; waltz (vals); content includes warm up and conversation (inaudible); selection, title unknown; comments on desire to record conversation and warm up; decision to play a danza; danze selection, title unknown; animal sounds and ·practice riffs, conversation; danza selection, title unknown; practice and conversation; two instrumental selections; conversation; "Mi Viejo San Juan"; conversation and practice riffs; selection, title unknown; conversation; danzon selection; selection and conversation. Part 2 of a 4-part recording of performances by Conjunto de Cuerdas Tipicas de Puerto Rico, during a rehearsal at the El Romance club, 3575 W. Armitage Ave.; elapsed time indication provided on fieldworker's log; post-fieldwork notes identify the members as Israel Maldonado (leader), Arcadia Otero (first cuatro), Pablo Valentin (second cuatro), Rafael Rios (guiro), vocals by Tony Perez and Nelso Castro; content includes animal sounds and conversation; danzon titled "La Electricidad"; practice and conversation; improvised song "Contraversia de los Gallitos de Pelea"; conversation and explanation of the plena to be sung by Antonio and Nelson; perform the plena; conversation; selection of a bolero as a duet, title unknown; conversation; perform merengue; conversation and discussion on how to end the song properly, begin song again; this number continues at the beginning of part 3. Part 3 of a 4-part recording of performances by Conjunto de Cuerdas Tipicas, during a rehearsal at the El Romance club, 3575 W. Armitage Ave.; elapsed time indication provided on fieldworker's log; post-fieldwork notes identify the members as Israel Maldonado (leader), Arcadia Otero (first cuatro), Pablo Valentin (second cuatro), Rafael Rios (guiro), vocals by Tony Perez and Nelso Castro; content includes completion of the song begun at the end of part 2; discussion of how the ending was executed; animal sounds and more discussion; repeat selection; conversation; two instrumental selections, titles unknown; conversation; mazurka announced by Israel Maldonado, perform mazurka, title unknown; band members Arcadio Otero and Pablo Valentin switch instruments (Arcadio now on guitar); instrumental selection; comments; first part of a danza, title unknown, continued in part 4. Part 4 of a 4-part recording of performances by Conjunto de Cuerdas Tipicas de Puerto Rico, during a rehearsal at the El Romance club, 3575 W. Armitage Ave.; elapsed time indication provided on fieldworker's log; post-fieldwork notes identify the members as Israel Maldonado (leader), Arcadia Otero (first cuatro), Pablo Valentin (second cuatro), Rafael Rios (guiro), vocals by Tony Perez and Nelso Castro; content includes includes completion of danza begun at the end of part 3, song ends with animal sounds, comments; plena, title unknown; comments from Israel Maldonado; next selection is a seis con decima, improvised; comments about the four singers who sang the seis; bolero, title unknown; comments; instrumental selection; song, title unknown; selection that is interrupted; comments; Israel Maldonado introduces a paso doble, performance thereof, title unknown; recording ends in middle of selection.
afc1981004_afs20758
Part 1 of a 2-part interview in English with mural painter Gamaliel (Bobby) Ramírez from the Puerto Rican community organization El Taller, recorded at the El Taller office at 1039 W. Grace St., Chicago; topics include the nature and organization of El Taller; outline of Board, collective, and members; members of the collective, Ramirez is one of five; reason for starting was to channel creativity, involve the community, develop alternatives to gang membership for street youth; at first members were younger people, later picked up adults and academics; the building funded through the Lutheran Church, the first big boost; about the building as place to meet, work, and exchange ideas; El Taller formalized as an organization after trips to New York to view other similar groups there; the group has held workshops on poetry, murals, silk-screening, photography, guitar, and congas; about the collective organization; the special issue of the Revista Chicano-Riquena on poetry and art from El Taller as one workshop project, partially funded by Illinois Arts Council, involving kids in murals and poetry; El Taller‘s philosophy is to promote and develop artists and their skills; performing arts workshops on guitar and conga, recitals or shows of products and skills at the end of workshops; need to develop workshops, darkroom, coffee house, and gallery in their new storefront location; funds for three congueros (congresos?), other work is volunteer; moving toward more community involvement, want a concentration on Latino artists and themes but also to deal with the whole neighborhood in which a project takes place; will emphasize Puerto Rican activities but also work with parallel Mexican American organizations like ALBA, MARCH (Movimiento Artistico Chicano), and Casa Aztlan; Ramirez does not want to be commercial artist but rather to make a statement and an impression; about the expression of self through art; about Ramirez's growth over the years; community support of his art although others may feel that "if you haven't studied the masters, you can't paint"; street people understand and don't question his schooling, he was kicked out of grammar school; about his role as community member and desire to be known as an ethnic artist, "then they can't knock me down"; about his murals and paintings on canvas; about the themes used in murals from culture and history, unity, contemporary Latino culture, the glorification of neighborhood; Ramirez sees good things happening; Ramirez's personal history; born in Bronx of parents from San Juan, Puerto Rico; comments on the Puerto Rican population and why they came to Chicago, half from the island, half born on the mainland; many came to Chicago for economic betterment as as NYC became more difficult; Puerto Rican settlement first seen around Division and Clark Streets, now an African American area; Puerto Ricans now moving into Lake View and Uptown areas from Humboldt Park, Logan Square, and West Town neighborhoods; about the Division St. riots of 1967, conflicts between Italian and Polish on one side and the Puerto Ricans on the other, there was a Humboldt Park riot in which Ramirez was beaten by police; interview interrupted by a woman's arrival.
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Part 1 of 3-part recording of the musical group "La Estudiantina De San Pio," in rehearsal at Saint Pius V Roman Catholic Church, 1909. S. Ashland Ave., in the Pilsen neighborhood on the southwest side; this recording includes count down and song, unknown title; discussion of next number; "Preguntale" (first voices and guitars only), "Preguntale" (second voices and guitars only); discussion followed by "Preguntale" by whole group; conversation, selection of next song; about a trip to Kenosha, Wisconsin; rehearsal begins, "Las Mananitas Morelenses"; instrumental selection (guitars and tamborines), title unknown; starts and false starts with different groups, then whole group performs the preceding selection three times; comments, discuss next selection. Part 2 of 3-part recording of the musical group "La Estudiantina De San Pio," in rehearsal at Saint Pius V Roman Catholic Church, 1909. S. Ashland Ave., in the Pilsen neighborhood on the southwest side; this recording includes warm up and comments; "Pueblo Mio"; comments by Brother Michael to.piano, group sings without guitar accompaniment; segments with discussion of music and stops and starts; rehearsal of final chorus; Brother Michael says they will preform this selection without the accordion; rehearsal of final chorus with guitars, comments; "Pueblo Mio" in its entirety with whole group; break for picture-making and setting up for the fieldworker's group interview; interview begins with explanation of the project, questions from the group. Part 3 of 3-part recording of the musical group "La Estudiantina De San Pio," in rehearsal at Saint Pius V Roman Catholic Church, 1909. S. Ashland Ave., in the Pilsen neighborhood on the southwest side; this recording includes comments on rehearsals, scheduled for Tuesday, beginning guitar, Wednesday, mandolins, Thursday; mandolins play a solo for the visitors; mandolin solos with Brother Michael on piano. title unknown; applause from rest of group; interviewer asks why the group spends so much time and energy on this, and the answers include "It's fun," "Enjoy the music," "Maintain Mexican traditions," "Encouragement and recognition, show that not all kids are wild," "More fun than TV," "Sense of family in the group, share musical gift with others," the group is not paid for its performances but there is some money for equipment, costumes, and picks; they play at churches, private parties, old folks homes, parades; discussion of costume (uniform); about activities and older group, the youngest of this group is 11, oldest is 19, Brother Michael is 31; about the uniqueness of the group, audience reaction and interaction, about how non-Latinos like 'Never on Sunday," "Beer Barrel Polka" and "Theme from 'Z'"; ; additional loose discussion.
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Part 1 of a 3-part interview in Spanish with Efren de Castillo, recorded in the offices of OMAR, 5525 N. Broadway; topics include discussion of theater group "Circulo Teatral de Chicago" founded in 1970; they are preparing a bilingual brochure; not a purely Cuban performing group, most actors are Mexicans, performances have been in Spanish, with sources in Latin America, Europe, and North America; discussion of Mexican Independence Day for TV last year, about TV as an outlet for their work; complains about changes in the policy of the Museum of Science and Industry concerning theater; about past performances, some dramas they have written; about money matters; plays about Viet Nam and illegal immigration, comments about the writers and past performances; about the Channel 44 program with Jimmy Payne where they have performed; about folk dancing with Cuban themes; funding from Castillo and friends, large losses, the museum gave little to help except the place to perform; now seek TV exposure hoping to reach a larger audience; plans for Mexican Independence Day celebration and performance; more productions aimed at Mexicans, for now none for Puerto Ricans, few for Cubans, this due to size of population; about difficulties in work with museum, de Castillo has severed contact with them; the scenery for plays was built and the plays were rehearsed in his basemen; expresses need for a permanent theater for rehearsal and building of sets; reaction of the community to their dramatic presentations, comments on problems due to lack of central location, climate, and publicity; the community response to TV performances has been good in spite of poor promotion; members of the troupe do it because they like it, have studied it, want to share it with Chicago's large Spanish-speaking community. Part 2 of a 3-part interview in Spanish with Efren de Castillo, recorded in the offices of OMAR, 5525 N. Broadway; topics pertain to theater group "Circulo Teatral de Chicago" and continues (from part 1) on the nature of their work and goals; actors and audience work through a performance together, goal to contribute something, to offer works of quality; de Castillo started making scenery in Cuba but there were problems with Castro's regime; today he plans scenes and directs now, started with beginners but didn't want to teach drama but rather promote, design, and direct; laments lack of good instruction in drama in Chicago in Spanish; de Castillo started in Cuba as a scene painter and was elevated to head of production at the drama school of the university and the National Theater; about mixing contemporary and classical styles, mentions works in Cuba and in Europe; came to Chicago in 1965 but no work, then to Los Angeles for a few years and then returned to Chicago, there had been problems with the union in California, so returned to Chicago; started with OMAR in Chicago designing ads for TV, radio, and press, uses his theater skills in design and directing; why de Castillo left Cuba, where he had respect, good jobs, good pay, etc., but was insecure since he was never a revolutionary, he was always watched and had no freedom; his brother was jailed for taking pictures for 7 months, friends disappeared, fear led to his departure; de Castillo saw a community play and didn't like it as art, had a line on disposing of old guard technicians when they are no longer needed that struck home; about the Cubans of Chicago, they came after the revolution as refugees or to study, most went to New York or Miami, but there are a few here, friends and family follow; some are professionals and semi-professionals and business men, few rural folk; about other Cuban groups in Chicago, the community tends to argue and they are separate from other Latino groups; about Cuban rhythms in music and dance and their difficult nature; the Cuban Lions Club promotes local talent but has no performing group of its own; mentions Cruz and Sociedad Hispanoamericana pro Arte y Cultura; pure Cuban groups don't really exist; about cultural diversity of Cubans and lack of unity; there are no Cuban music groups, there had been one but it moved to Los Angeles; about salsa, asserts that it is of Cuban origin, in terms of rhythm, not Puerto Rican. Part 3 of a 3-part interview in Spanish with Efren de Castillo, recorded in the offices of OMAR, 5525 N. Broadway; topics pertain to music; de Castillo has a friend who defines salsa as "Ritmo cubano a la cual se le ha retirado la ciudania" (a Cuban rhythm whose citizenship has been removed); there is not much difference between Cuban and Puerto Rican traditiona1 music but de Castillo is not sure if this is due to shared heritage or mutual influences, maybe both; similar instrumentation in both, the Puerto Rican cuatro is called a tiple or tres in Cuba; about the use of bandurria, being replaced by guitar; more comments on tiple, tres, and cuatro; the danza of Puerto Rico is the contradanza of Cuba; de Castillo has videotapes of some of his TV programs but nothing of the stage performances; following the interview the fieldworker and de Castillo view parts of some videotapes of some programs, with comment added.
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Part 1 of a 2-part interview in Spanish with Bernardo Negrete, recorded at 8:30 pm on the back porch of his home at 9125 S. Houston Ave.; topics include his birth place, when and where th entered the U.S., some of his jobs; where and when he learned to play the harmonica; about corridos; about harmonica playing styles; about his playing and the need for study and practice; about his education and illiteracy, due to the lack of schools in Mexico; he came as an undocumented immigrant, then returned to Mexico; he read an almanac to prepare to get his papers, how he then came back to the U.S.; about his children; the history of his life as migrant worker; his reasons for coming to Chicago and about work here, including as busboy, and laborer at Republic Steel, about labor and management positions; his years in the mill, he is now 64 years old, about a time he was mugged and he and his wife lost their Green cards and a sizeable amount of money; about crime in the area; his preference for life in U.S. over Mexico and about his visits to Mexico; about the ownership of his house, its acquisition and repairs; about his work in Iowa; thoughts on citizenship and English, about life in Mexico; discussion of the robbery, papers, and citizenship, and related problems; about attempts to help a nephew arrange to come to the U.S.; problems with immigration authorities; fieldworker Jonas Dovydenas joins the conversation; comments on drinking, smoking, and "other people's" vices; about his house, he built the garage, problems with renters and why he doesn't rent rooms; about money, ''You can't take it with you"; house payments and the value of the house; good neighborhoods reflect the presence of stores, transportation, and the prevalence of Mexicans; a about the ethnic mixture; about Jesus "Chuy" Negrete's performing group and the need for continuation of Mexican traditions. Part 2 of a 2-part interview in Spanish with Bernardo Negrete, recorded at 8:30 pm on the back porch of his home at 9125 S. Houston Ave.; topics include music, Mexican as compared to American; about [people named?] Negrete, Infante, and Solis; his love and that of Jesus "Chuy" Negrete for Mexican music; about Bernardo and corridos, he played but never really sang them; about jobs and pay in Mexico; memories of' the Mexican Revolution and the Cristero Revolt of the 1920s; about changes in the governments of Mexico; about Washington and Lincoln as the first and second Presidents of the U.S., discussion of U.S. history and U.S. citizenship; the fieldworker's description of his work at Indiana University and with the Chicago Ethnic Arts project of the American Folklife Center, comments about fieldworkers Jonas Dovydenas and Greta Swenson.
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Part 1 of 5-part recording of the musical group "Chicano Floricante," recorded upstairs in the Negrete family home, 9125 S. Houston, beginning at 8 pm; performers include Jesus, Rosa, and Bernardo Negrete and Carlos [Bunuelos?]; Bernardo Negrete warms up on harmonica; conversation; Jesus "Chuy" Negrete discusses harmonica style and announces the song "La Sinfonia" played by Bernardo on harmonica; about the need to tune the guitars, followed by the tuning; Jesus discusses harmonica techniques and compares his to his father's; comments on the harmonica within Mexican musical tradition; how Bernardo learned the harmomca from his brother and father in Guanajuato; "Huelga" performed by Jesus, Rosa, and Bernardo Negrete; discussion of harmonicas and styles; "El Corrido del Valentin"; Bernardo plays "La sinfonia" again; break in the flow as the fieldworker plays back the last cut for them; lead-in to "El Corrido de Jacinto Trevino"; Jesus instructs Bernardo on how to accompany; "El Corrido de Jacinto Trevino"; the Negrete's mother interrupts at mid-song; fieldworker assures them that mistakes and warm-ups are accepted, not just the polished songs; Jesus offers more advice to Bernardo, with examples; the phone rings and Jesus talks to the caller; discussion of beer and Carlos [Bunuelos?] goes to buy some; more work on performing "El Corrido de Jacinto Trevino" with interjected instructions; Jesus comments on the use of accordion and harmonica leads and the need to wait for riffs to end, with an example; comments on the wait for the ensemble‘s fourth member; puts on a harmonica holder; comments on the old style represented by the songs they will next perform; Carlos arrives with the beer; rehearsing Daniel Valdez's song "America de los Indios," with Rosa on flauta (recorder) and Carlos on maracas; Carlos joins practice session with a concha (conch shell) as trumpet; introductory comments on "America" and performance begins; about recent practice sessions; introduction and the song "America" with interjected comments. Part 2 of 5-part recording of the musical group "Chicano Floricante," recorded upstairs in the Negrete family home, 9125 S. Houston, beginning at 8 pm; performers include Jesus, Rosa, and Bernardo Negrete and Carlos [Bunuelos?]; continuation of performances of "America de los indios" from part 1, with Indian-like chant; discussion of the role and place of indigenous music, especially "America de los Indios," in the group's performances; discussion of next song, introductory comments on "Estrella del Oriente," based on the Conchero tradition; explanation of the use of the concha (conch shell) trumpet blown to the four cardinal points; "Estrella del Oriente," with discussion, comment on indigenous influence; looking in song books for next song, request turning off the recorder; discussion of the importance of Indian music, and the history of "Zapotec Love Song," rehearsal and performance of "Zapotec Love Song"; search for corrido materials; about the use of the harmonica in the corrido tradition; what they are attempting with a combination of the old traditional material and contemporary ideas and content, about Villa and Zapata as symbols; about Villa's entry into New Mexico and the raid on Columbus, and the folklore that comes from that period; older folks react more positively to corridos than the younger generation; there is a need to update and make them more contemporary to combine the old and new successfully. Part 3 of 5-part recording of the musical group "Chicano Floricante," recorded upstairs in the Negrete family home, 9125 S. Houston, beginning at 8 pm; performers include Jesus, Rosa, and Bernardo Negrete and Carlos [Bunuelos?]; about Villa and performance of corrido "La Persecusion de Villa"; phone rings, cutting off the song; another performance of "La Persecucion de Villa"; comments on this Spanish song with an English explanation and the use of slides in the group's public performances; about Pete Castillo's work on Los Bandidos and the use of Chicano Folk Heroes in presenting the positive, struggling side of Chicano History; folklore and song serve as history from a fresh point of view; about Joaquin Murietta, the Espinosa brothers, and Gregorio Cortez; discussion of the changing nature of the corrido and changes made to them for contemporary audiences; perform "El Corrido de Jacinto Trevino"; comments as they choose the next number and comment on fieldworker Jonas Dovydenas taking photographs; on the history of the next song, "El corrido de Rafael Citron" by Jesus Negrete; discussion of Puerto Rican politics and the community's problems with the Chicago police; perform ''El Corrido de Rafael Citron"; second and third starts on same selection; discussion of next selection; Rosa and Jesus Negrete discuss chicana and women in songs; discussion of "La Delgadina," the song and the woman; decision to do "La Delgadina" and then a song on women composed by Rosa Negrete in part 4 of this recording. Part 4 of 5-part recording of the musical group "Chicano Floricante," recorded upstairs in the Negrete family home, 9125 S. Houston, beginning at 8 pm; performers include Jesus, Rosa, and Bernardo Negrete and Carlos [Bunuelos?]; comments on decimas (ten-line song form) and other topics; "El Corrido de la Delgadina" interrupted by dog barking; Jesus Negrete performs an corrido about immigration, discussion; warm-up for Rosa Negrete's song and poem, Rosa's introduction to the poem and song she wrote, "La mujer y el hombre" composed by Rosa Negrete; mistake in performance, rehearsal; repeat "La mujer y el hombre," discussion; example of ":Bluesy sound"; Jesus Negrete performs a blues corrido called "Immigration Man"; comments multicultural influences on Chicanos in urban areas and the reflection of this in their culture and music; begin performance of "El Barzon" and an immigration corrido, continues in part 5. Part 5 of 5-part recording of the musical group "Chicano Floricante," recorded upstairs in the Negrete family home, 9125 S. Houston, beginning at 8 pm; performers include Jesus, Rosa, and Bernardo Negrete and Carlos [Bunuelos?]; conversation and talk of gangs as we wait for fieldworker Jonas Dovydenas to change tape; pick up where left off in the immigration corrido started in part 4, comments; discussion of huelga (strike) materials and songs, begin song "Huelga," comments about choice of song; about Senora [Juanita ?] Dominguez and her composition of "Yo Soy Chicano" during the Poor People's March, perform "Yo Soy Chicano"; comments of old style and new comments; joke about Jonas Dovydenas asleep on the porch, "teclmicians, what do they know"; comments on contemporary folksingers and their names, comments on "La Hierba" and begin performance, mistakes; repeat ''La Hierba" but again mistakes and the group decides to stop performing for the night; discussion of Freddy Fender, parallels between Mexican border music and country and western music, "Frankie and Johnny" compared to "El Corrido de Rosita Alvirez" and "El Corrido de Benito Canales" to Johnny Horton's "North to Alaska"; references to labor songs with examples of stanzas from "Which Side Are You On?" (bilingual); discussion of the Haymarket Riots and the role of Lucy Gonzales Parsons; Mexican or light-skinned black woman trying to pass; Carlos [Bunuelos?] introduces his poem and recites "La Migra Para 2," comments, recites stanzas of another song.
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Part 1 of a 2-part interview in English with Carlos Cumpian from MARCH (Movimiento Artistico Chicano), recorded on telephone with permission; begins with some comments from an interview begun the night before; Cumpian discusses how the poor attack the poor; discussion of the previous night's session with the performers Chicano Floricanto, and discussion of MARCH, Carlos Cumpian as corresponding secretary; the thrust of MARCH is to teach Mexican cultural elements mainly in the Midwest and to stimulate creativity, poetry is: important but prose more important, also the publication of Abrazo, a quarterly journal, with one number out by the date of this interview and another to come out by October, focus on the Midwest; MARCH was founded in 1973 in Indiana and in 1975 in Chicago, the founders were Jose Gamaliel Gonzalez and Victor A. Sorell; the membership is presently 35; the organization promotes poetry, short stories, and murals; about murals, MARCH has been involved in about six to date; about the mural process, choice of location, quality of wall, agreement with landlord, community support and involvement; about defacement or murals with a story about one example; the mural process includes a sketch, landlord and community approval of the sketch, the preparation of the wall, and the painting often proceeds with community help; funds for murals come from local people and organizations, granting agencies, and from artists' pockets; members of MARCH include are teachers, service people, factory workers, students; the organization has received some funds from the Illinois Arts Council for the publication of Abrazo; about Cumpian's role in Chicano Floricanto and relationship to teatros; MARCH may start work with performing arts in the future, especially teatro; about teatros in Chicago area; Cumpian was born in San Antonio, Texas; the family has five generations in the U.S.; his father got his college degree thanks to an athletic scholarship; family came to Chicago with the migrant stream in 1967; the MARCH members are in the age range of 25 or 26, most are from Texas, born in the U.S.; the Mexican born founders have been "Chicanoized"; MARCH sponsored art and photo exhibits in 1975-1976; they work with similar groups and need a permanent office. Part 2 of a 2-part interview in English with Carlos Cumpian from MARCH (Movimiento Artistico Chicano), recorded on telephone with permission; about how MARCH needs an office needed in the barrio for office space, gallery, and workshop; the present address of MARCH is P.O. BOX 2890, Chicago, 60690; they have sponsored poetry readings; there is a with the Abrazo publication to get materials from non-MARCH members, they use photos; MARCH has sponsored workshops for youth on woodcuts and murals and sculpture; on the importance of community involvement, MARCH members have asked themselves for whom is their art and where did it come from, the answer is "the community"; hostility often exists outside of the barrio toward their art so they rely on and trust the community; MARCH sponsors culture meetings to discuss a variety of topics; they have some Anglo members; MARCH is a springboard for the development and expression of arts in the Midwest; Abrazo carries news items as well as artistic works and criticism, hit a circulation of 1,000 for the first issue; they are developing ties with Native Americans because of perceived similarities in the histories of and problems faced by the two groups; a powwow fiesta is planned for October in conjunction with the Native American Artist's Guild; fieldworker and interviewee repeat statement that this interview is being recorded with permission (that agreement had been reached the night before); discussion of the artists Carlos Cortes, maker of woodcuts, posters, and sculpture; Cumpian feels that art should be available to everybody, and he mass-produces art and sells it cheaply; contact information for Cortes, plans related to performing arts and photographers.
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Part 1 of a 2-part recording of Puerto Rican Latin rock group Los Amantes at El Romance Club, 3575 W. Armitage Ave., at midnight; leader Pedrito Roman announces a bolero, band plays "La Barca"; comments, introduction, performance of the merengue "Para Mi No Mas"; introduction and performance of the bolero, "Asi"; comments and performance merengue, title unknown; comments and performance of the bolero "Si Quieres"; tape ends in mid-performance. Part 2 of a 2-part recording of Puerto Rican Latin rock group Los Amantes at El Romance Club, 3575 W. Armitage Ave., at midnight; leader Pedrito Roman introduces a polka medley, including "Cielito Lindo," "Beer :Barrel Polka," "Adelita," and others; comments and break, juke box is heard; post-break announcements and greetings to folklife fieldworkers; Luis [last name not provided in fieldworker's notes] announces a ranchera, "Amor Apasionada"; comments; intorduction and performance of a ranchera done to merengue rhythm, "Mas que Quisiera"; call for talent from audience, introduction of a friend of the band, who introduces and sings ranchera, "De Cigarro a Cigarro" (recording ends in mid-song).
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Part 1 of a 3-part interview with Rev. Iberus Hacker at the North American Coffee House, 2918 N. Lincoln Ave in the Lake View neighborhood; about blues artists like Homesick James, and comments about artists and festivals, mentions Lee Jackson; about the All Night Blues Jam; about organizations like the Rainbow Coalition, Uptown Community Organization, Appalachian Cultural Exchange; Hacker from Clay County KY; about Clay county politics; Hacker was raised in a conservative part of Tennessee, motivated by Christian aspects of the Civil Rights movement, sees cities as being in crisis, verge of collapse, people are afraid of neighbors; Hackers hopes the coffee shop will bridge communities, have church service and various secular music and stand-up performances; about the people with Appalachian heritage, most in their 50s, many families came in the 1940s and 1950s, 10 percent in poverty, about class structures and effect of mass culture; how bars are segregated in Chicago, seeks to have a place that is not segregated. Part 2 of a 3-part interview with Rev. Iberus Hacker at the North American Coffee House, 2918 N. Lincoln Ave in the Lake View neighborhood; about ethnic-segregated bars, Hacker does not oppose, concerning Appalachian migrants, understands that there are people who live in front of their television sets, many people live within five blocks of Lincoln Park and do not know it is there; Hacker notes that in many cases, women are the heads of households; people read their hometown newspapers , vote absentee, and never become citizens of Chicago, Hacker has preached at a thousand funerals, only one person buried in Chicago; about Appalachian arts, quilt-making, woodcraft, music; about how quilts have become a marketable commodity, had formerly been gifts; about music in bars and elsewhere, includes a lot of bluegrass; about the coffeehouse, no paid staff, one year old, small grant from Church of the Brethern, Hacker organized the coffeehouse but resigned this month (April 1977), there is a solid nucleus in place now, not intended to be a commercial success, mainly an alternative to bars, about the role of coffeehouses; about fiddle players and other musicians, mentions Bob Hoban, Little Fiddling Susie, Glen [Glenn ?] Davis; topic continues in part 3. Part 3 of a 3-part interview with Rev. Iberus Hacker at the North American Coffee House, 2918 N. Lincoln Ave in the Lakeview neighborhood; more about musicians, mention of Tennessee Slim, Luther [Swanner?], Wally [Friedrick ?], Gamble Rogers and the Serendipity Singers, Jim Hill at WMAQ radio, Art Thieme, Martha Hayes, Jo Mapes, Rosetta Tharp (Arkansas); comments about Uptown neighborhood and the boundary with Lake View.
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Part 1 of a 3-part interview with Holly Highfill and Judy McLaughlin at the Southern Culture Exchange Center of Columbia College, 954 W. Montrose Ave.; Holly Highfill on the sense of neighborhood, Uptown neighborhood, its boundaries, Appalachians and many Latinos, recently more Appalachians in Albany Park, Cicero, Crystal Lake, other suburbs; whatever the sense of unity among Appalachian, it is not expressed though organizations, more via clans and families, and by home county, e.g., Logan County WV or Pike County KY; people did not think of themselves as a group until they came to Chicago; about Jimmy Hill from northern Alabama, racing car man, has family in Michigan City IN; for Appalachians, the most obvious identifying marker is speech; about Lloyd Ratliff from Pike County, bluegrass musician, does workshops in schools, talks about coal mining; channel 5 (public) has a program called "Small World"; other musicians include Little Fiddling Susie, Tennessee Slim plays at Hank's Tap, Rick Prince, Fred Field, A.P. Crowley [Crowler ?]; there is a clogging group, ages 20 to 50; about types of dancing. Part 2 of a 3-part interview with Holly Highfill and Judy McLaughlin at the Southern Culture Exchange Center of Columbia College, 954 W. Montrose Ave.; Holly Highfill on churches, about a fundamentalist preacher comes with bus and takes kids to Hammond IN all day Sunday; then about Highfill's work, concerning murals, coal mining mural at a college here; mention of several murals that Highfill has created, with helpers, about creating murals; about alternate schools to high schools for some children; about art and schools; McLaughlin joins the conversation; about the history of the Center, four years old, started by groups that wanted a place to meet, desire to support sense of community, most who come are not college educated; one involved person was a son of political activist Peggy Terry; there was a feeling that people could be brought together via art and other activities; Center conducted a survey of children; about quilting; about how some whose parents came from the South want to learn traditional arts; Louise Heymann teaches quilting; Ada Sparks was a writer and is a quilter; Kenneth Johnson is a sculptor (figurines) from Logan WV. Part 3 of a 3-part interview with Holly Highfill and Judy McLaughlin at the Southern Culture Exchange Center of Columbia College, 954 W. Montrose Ave.; about a 12-year old girl (Pansy ?) Branham who did a mural about black lung disease, now in the Chicago black lung association office, where her mother works, other names of possible people of interest to the project, looking at atlas about locations of interest; duration of this recording about six and a half minutes.
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Part 1 of a 5-part interview with writer, poet, and quiltmaker Ada Sparks, born in Golconda, Illinois, with Kentucky family connections, at her home in the Lake View neighborhood; an additional woman's voice is heard, possibly Holly Highfill or Judy McLaughlin at the Southern Culture Exchange Center of Columbia College; topics include Spark's writing, including a short story written in 1945; biographic notes, born in Frankfurt KY, came to Chicago in 1937 at age 19, did housework, has siblings, mixed feelings about the city, finds an identity as "hillbilly" and becomes aware of other cultures; the Clearwater Saloon; about work for Southerners, many lack education; about the Uptown neighborhood; mention of Hy Thurman, "From Blues to Bluegrass"; about the Country and Western songs Sparks has written; remarks on Southern Baptists, religion as a socially cohesive element, mention of Seventh Day Adventists, about preachers, mentions North Shore Baptist Church, mentions Primitive Baptists; about knitting, crocheting, sewing, quilting, the Center for Cultural Exchange teaches quilting; how Sparks learned quilting. Part 2 of a 5-part interview with writer, poet, and quiltmaker Ada Sparks, born in Golconda, Illinois, with Kentucky family connections, at her home in the Lake View neighborhood; an additional woman's voice is heard, possibly Holly Highfill or Judy McLaughlin from the Southern Culture Exchange Center of Columbia College; topics include learning about the native plants and animals where she grew up; what makes a "good Southerner"; advantages of being in the north, including education, about discrimination against hillbillies; about Southern foodways, spring greens, wilted lettuce, banana pudding; about square dancing; Sparks reads a poem she wrote years ago, after visiting home in Kentucky, titles "Visit Home"; about writing a short story based on fact; about writing as art; about a quilting book and the market for quilts; about rolled paper beads; braided rugs; about craft sales at the Cooper Christy Handcraft Shop, including nice but sub-par quilts; about whether Sparks would do it over and come to Chicago (probably not); about her two years (including 1947) in the Chicago Municipal Tuberculosis Sanitarium on North Pulaski; this plunged Sparks into an integrated situation; in Golconda, Sparks had little exposure to African Americans; moved to nearby Rosiclare IL (all white), then to Marion County KY, segregated; meant many white people did not see "the other America"; Sparks's maiden name Stevens [Stephens ?]; about race relations, Sparks tries to respond to actions not color; about her fact-based story "Act of God," little girls, another was named Blankenship, Sparks's mother took in washing; about writers, Sparks likes Azimov, recently read Shardik by Richard Adams, likes J.R.R. Tolkien, William Brashler's City Dogs about Chicago; about poetry, Country and Western music; comments on Pentecostal churches, speaking in tongues. Part 3 of a 5-part interview with writer, poet, and quiltmaker Ada Sparks, born in Golconda, Illinois, with Kentucky family connections, at her home in the Lake View neighborhood; an additional woman's voice is heard, possibly Holly Highfill or Judy McLaughlin from the Southern Culture Exchange Center of Columbia College; topics include discussion of the near north sections of Chicago; churches; quits discussed as fieldworker Carl Fleaischhauer photographs examples; discussion about a quilt from Sparks's sister, made printed feed bags; extended technical discussion of quiltmaking; discussion of aesthetics, sources of income; about making the quilts as a fundraiser. Part 4 of a 5-part interview with writer, poet, and quiltmaker Ada Sparks, born in Golconda, Illinois, with Kentucky family connections, at her home in the Lake View neighborhood; an additional woman's voice is heard, possibly Holly Highfill or Judy McLaughlin from the Southern Culture Exchange Center of Columbia College; topics include Sparks's new quilts, including one of the twelve tribes of Israel, related to some clippings included in the photographs made during this interview; additional discussion of technical and aesthetic aspects of quilt-making and quilts; about a fabric block used as pillow top; about the names for quilt patterns; about Sparks's writing, includes songs but she does not sing, also stories, pertain to her family and early memories, mention of medicine shows and opium. Part 5 of a 5-part interview with writer, poet, and quiltmaker Ada Sparks, born in Golconda, Illinois, with Kentucky family connections, at her home in the Lake View neighborhood; an additional woman's voice is heard, possibly Holly Highfill or Judy McLaughlin from the Southern Culture Exchange Center of Columbia College; topics include children, writing; fieldworker Browning asks about Sparks's earlier comment (part 2 of the interview) about speaking in tongues in a Pentecostal church, Sparks had been frightened by the experience; about writing and taking a writing class, the role of the teacher, taking criticism in this context; biographical notes, Sparks had had tuberculosis, lived for a while in the Southwest, then in a sanitarium in Chicago; about writing songs and poems, music, a band; about Iberus Hacker's coffee house, its clientele, not really from the South; about the Southern Culture Exchange, many interesting people she met via this venue; musings on the future, what if she left town, about family.
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Part 1 of a 2-part interview with and music performances by former Alabaman and fiddle player Nancy Buckalew, recorded at Johnny's Tavern in Cicero, Illinois; topics include Buckalew's sense of making her way in the world (you need "backbone and guts"); biographical information, learning fiddle playing from her father and with her brother, playing and singing in the style of Jimmie Rodgers; Buckalew quit playing when she married but her children wanted to learn so she bought a fiddle in 1969, then other instruments, now teaching her grandson Johnnie Glassco; how Buckalew had gone far and near to play, played with Chicago musician Tennessee Slim, about reduced popular affection for country fiddle at this time; about playing banjo; fiddle repertory includes hoedowns like "Arkansas Traveler" and "Boil (bile) them Cabbage Down"; about fiddle tunings, continued in part 2. Part 2 of a 2-part interview with and music performances by former Alabaman and fiddle player Nancy Buckalew, recorded at Johnny's Tavern in Cicero, Illinois; topics include fiddle tunings, continued from part 1, Buckalew uses non-standard tunings for "Black Mountain Rag" and "Bonaparte's Retreat"; about her father, Taylor Daniel; Buckalew born in 1914, married twice, worked for three years at Victor Gaskets in Chicago, then went back to Alabama and farmed, including some work with mules, made first crop on her own in 1961; crops included cotton, corn and pimento peppers; Buckalew sold $1,200 worth of corn, 20 bales of cotton, did not take her children out of school and worked the crops alone; 1965 was the last year she farmed; plays fiddle tunes "Boil (bile) them Cabbage Down," "Raggedy Ann," "Kentucky Waltz," "Golden Slippers," "Turkey in the Straw," "Arkansas Traveler," "St. Louis Blues," and "Bonaparte's Retreat"; spelling of the name of some family members, Glassco; Buckalew's mailing address is at the home of her daughter Heather Wright, 5733 W. Roosevelt Rd., Cicero IL 60650.
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Part 1 of a 2-part recording of preaching and singing by Northside Pentecostal Church (1527 E. Edgewater) on the street near Harry S. Truman College, at W. Wilson and Racine Avenues in the Uptown neighborhood; the preaching and witnessing is largely directed at alcoholics and transients who habituate bars and a hotel in the neighborhood; the targets for evangelism included whites, Indians, and Spanish-speakers, but few African American (most who walked by seemed not in need of intervention); the leader and pastor was Bobby Goddard, as was Junior Zornes (Lawrence Edward Zornes Jr.) and his wife, Dolly, and their son Jerry, who helped hold the microphones; the lead singer and guitar player was Joann Bolen (from Beckley WV), with her 15-year-old son Charles, both had come to Chicago 9½ years ago; recorded on a stereo Nagra IV with a Sennheiser 802 hand-held microphone and a Sennheiser 402 on a stand; due to an error in tracing the cables, the fieldworker confused the inputs and much of these two recordings has the volume up on the hand-held mike while it is lying on the ground some distance from the action, and thus the recording is of inferior fidelity; the first segment of this recording is monaural and includes Bobby Goddard with a short introduction; the hymn: "When the Roll is Called up Yonder"; discussion by Goddard (whose public address system microphone is producing feedback); hvmn "We'll be Called to Meet Him in the Air"; Goddard remarks on meeting the Lord; hymn "Soon Comes the Judgement Day," also audible is the sound of a sinner being prayed over, kneeling in front of the singers; the second segment of this recording is in stereo, with the left channel silent or at very low levels; right channel carries the voice of an older man preaching, with the hymn "In that Beautiful Citv of Gold" in the background; hymn "I searched for Him . . . He filled that longing in my soul," during this hymn, the left channel (?) is heard at high volume; next segment, on the left is the sound of a sinner being prayed over while on the right there is testimony from a man from West Virginia and a woman, about family problems, while in the background an inebriated man complains that the service has woken him up; hymn " . . . to be sanctified" begins on left and right channels but the level on the rights drops off; on the next segment, there is preaching on the left channel, may be Junior Zornes, then the hymn "I can't help what others do . . ."; then Goddard's main sermon with the text from Proverbs 16:25; recording continues with better audio on the left and poor audio on the right; the sermon continues on part 2. Part 2 of a 2-part recording of preaching and singing by Northside Pentecostal Church (1527 E. Edgewater) on the street near Harry S. Truman College, at W. Wilson and Racine Avenues in the Uptown neighborhood; the preaching and witnessing is largely directed at alcoholics and transients who habituate bars and a hotel in the neighborhood; the targets for evangelism included whites, Indians, and Spanish-speakers, but few African American (most who walked by seemed not in need of intervention); the leader and pastor was Bobby Goddard, as was Junior Zornes (Lawrence Edward Zornes Jr.) and his wife, Dolly, and their son Jerry, who helped hold the microphones; the lead singer and guitar player was Joann Bolen (from Beckley WV), with her 15-year-old son Charles, both had come to Chicago 9½ years ago; recorded on a stereo Nagra IV with a Sennheiser 802 hand-held microphone and a Sennheiser 402 on a stand; due to an error in tracing the cables, the fieldworker confused the inputs and much of these two recordings has the volume up on the hand-held mike while it is lying on the ground some distance from the action, and thus the recording is of inferior fidelity; the first segment of this recording is a continuation of Bobby Goddard's sermon from part 1, mostly on the left channel with some on the right; a man interrupts with a request to "praise the man in the yellow shirt" (across the street); hymn "Please let me walk with you Jesus . . . " led by Joann Bolen; closing remarks by Goddard, with some audible heckling; final segment, left channel has mixed post-service conversation in which a woman named Huffman (Hoffman?) talks to Goddard about a sermon, right channel also has mixed post-service conversation; duration of part 2 is about 14 minutes.
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Part 1 of a 4-part recording of the Sunday service at Northside Pentecostal Church, 1527 E. Edgewater Ave. in the Edgewater neighborhood; the leader and pastor was Bobby Goddard; recorded on a stereo Nagra IV with a Sennheiser 402 microphone at the pulpit and, for most of the recording, a second Sennheiser 402 directed toward the congregation, with some variation as noted; this part includes Goddard's greetings, and a prayer with voiced heard from the congregation; song "We're together again," led by Paul Dean and Joann Bolen, both with vocal and guitar; hymn "I'll be Somewhere Listening to My Name" (number 25 in the hymnal Pentecostal Praises) led at the pulpit by a woman with Goddard standing behind her and singing as well; hymn "The Fullness of Godhead is all in Him" (number 29); Goddard makes a birthday call and a a boy and girl come forward and drop one penny for each year into a glass, as BG rings a little bell, congregation then sings "Happy Birthday to You"; Goddard states a welcome and transitions to Sunday School; Paul Dean remarks on the making of this recording (right channel only, the fieldworker then moves one microphone); Dean begins the adult Sunday School lesson, preceded by a hymn duet by Dean and Bolen (right channel), both playing guitars, "What a Glorious Day that Will Be"; Dean's Sunday School lesson, about the Pentecostal doctrine concerning speaking in tongues, baptism, and the doctrine of the Trinity (right channel only); Dean's lesson continues in part 2. Part 2 of a 4-part recording of the Sunday service at Northside Pentecostal Church, 1527 E. Edgewater Ave. in the Edgewater neighborhood; the leader and pastor was Bobby Goddard; recorded on a stereo Nagra IV with a Sennheiser 402 microphone at the pulpit and, for most of the recording, a second Sennheiser 402 directed toward the congregation, with some variation as noted; this part continues Paul Dean's Sunday School lesson from part 1, on the right channel only, which continues in part 3. Part 3 of a 4-part recording of the Sunday service at Northside Pentecostal Church, 1527 E. Edgewater Ave. in the Edgewater neighborhood; the leader and pastor was Bobby Goddard; recorded on a stereo Nagra IV with a Sennheiser 402 microphone at the pulpit and, for most of the recording, a second Sennheiser 402 directed toward the congregation, with some variation as noted; the first segment in this part continues Paul Dean's Sunday School lesson from part 2, on the right channel only; the second segment records Goddard's remarks from the pulpit that conclude the Sunday School lesson, on left channel with the right channel microphone again directed at the congregation; hymn "Oyer in the Gloryland" (number 140 in the hymnal Pentecostal Praises); led by Goddard and followed by his call for offerings; prayer from a congregant (name may be Brother Gregory), right channel only; offering hymn "You can't Outgive the Lord"; Goddard makes remarks no giving; duet by Joann Bolen, with guitar, and another woman, both standing behind pulpit with audio on both channels, "There'll be change after while"; children led by "Miss Debby" come up front and sing, right channel only, preceded by introduction by Goddard Debby, sing "Little Red Box," "There was a man who died for us and Jesus was his name, J-E-S-U-S," and "God is not Dead, He is still A1ive"; next is Goddard's sermon "Truth or Tradition," with live recording microphone on the left, while the public address system mixes with the congregational response on the right, with delay at the start as the right microphone is repositioned and its module is switched from 402 to 802. The tape runs out during the sermon, recording continues in part 4. Part 4 of a 4-part recording of the Sunday service at Northside Pentecostal Church, 1527 E. Edgewater Ave. in the Edgewater neighborhood; the leader and pastor was Bobby Goddard; recorded on a stereo Nagra IV with a Sennheiser 402 microphone at the pulpit and, for most of the recording, a second Sennheiser 402 directed toward the congregation, with some variation as noted; the first segment in this part continues Goddard's sermon from part 3; next segment is the closing prayer, with many voices speaking aloud and independently, with Goddard on the left channel and the congregation on the right, dominated by the voice of Paul Dean due to his proximity to the microphone; then an ending announcement, and for a bit, the tape continues to roll.
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Part 1 of a 2-part recording of steel mill worker Johnny Grey (Johnny Gray ?) made by folklorist Ben Sandmel in the Quiet Knight nightclub, 953 W. Belmont Ave. in the Lake View neighborhood; Grey is originally from Berry (Barry?) Alabama, and lives in the Uptown neighborhood; in this recording, Grey sings and accompanies himself on guitar on "Wedding Bells," comments on how he went to jail young, and at age 16 was obliged to quit school and find a job; "Tonight I Just Don't give a Damn," more biographical comments; "This Time I Hurt her More than She Hurt me," how Grey's parents were separated when he was young; "She Thinks I Still Care," "Jimmy Brown the Newsboy," a fragment on guitar, "Here I am, I'm Drunk Again," Grey's recollection of going to Nashville and playing from club to club, including George Jones's club in Printers Alley, how he sang at Tootsies Orchid Lounge and was complimented by Grant Turner, Grey would like to go to Nashville permanently; "Jimmy Brown the Newsboy," as instrumental, how Grey attended a bluegrass festival in Ottawa Ohio; "God Gave You to Me," about Luke Hagv (Hagee, Hagie, Hagy ?), another Uptown musician, plays banjo like Ralph Stanley; Grey plays an unidentified instrumental not unlike "Freight Train"; fragment of a tune often called "The Promised Land," discussion of playing in bars, and about Chicago musicians. Part 2 of a 2-part recording of steel mill worker Johnny Grey (Johnny Gray ?) made by folklorist Ben Sandmel in the Quiet Knight nightclub, 953 W. Belmont Ave. in the Lake View neighborhood; Grey is originally from Berry (Barry?) Alabama, and lives in the Uptown neighborhood; in this recording, Grey discusses the make-up of the ideal band, number of instruments, twin fiddles; then sings and accompanies himself on guitar on "I Saw the Light"; duration of this recording is less than 5 minutes.
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Interview with Pentecostal preacher Bobby Goddard at his home, 2506 W. Hutchison St. in the North Center neighborhood, relating to his life and to the Northside Pentecostal Church; Goddard is from Raleigh County, West Virginia; about Paul Dean, also a leader of Northside church, Dean had been in the Assemblies of God denomination for thirty years prior to joining Northside; about Joann Bolen and her husband, from Beckley WV; other members of the church have connections back to Tennessee, Kentucky, and Alabama; fieldworker moves the microphone, clips to Goddard's shirt; Goddard explains that he has been the Northside pastor for seven years, he and another man started with a storefront; the current building had been Lutheran, the Church of God, now Pentecostal; Goddard's storefront church had been in the 2300 block of Lincoln Ave near Fullerton; in the neighborhood south of Lake View (Lincoln Park ?); Goddard's home is on the western side of Lake View; Goddard says that the Northside members come from every part of Chicago, more from Lake View, Uptown, and Rogers Park; Goddard has a bus he uses to bring people to church, its route includes Albany Park, Lake View, Uptown, sometime he stops as specific homes, sometimes at street corners; the van will carry up to 42 people, including children; Goddard is working on getting a larger bus into operation; Goddard was 28 when he came to Chicago in 1959, married no children; had been truck driver at coal mines but they were shutting down; Goddard arrived in a Sunday and met his brother the next day, then got a job in a gasket factory in Skokie, four and half miles away; about people going back to the South, Goddard said, "Oh yes, that's why we have such a small church, our people all head back South"; there is also a great movement to the suburbs, suburban Pentecostal churches are the only ones growing today; about the "sections" of Goddard's branch of Pentecostalism, Illinois has 12 sections; 17 churches in Chicago and near suburbs with average of from 50-70 members, although one has 350; about Uptown, as a neighborhood from migrants from the South over time, Goddard remembers arriving and hopes to move before long; about his feelings about Raleigh County, "my heart is set on the work of God, I feel Chicago is the greatest mission field in the entire world"; Goddard's mother and wife's parents still in WV; how Goddard hopes the church will grow and he will be able to quit his job; about the call the be preacher, Goddard felt it strongly, "the Bible became real to me, as if I'm living with the Apostles"; Goddard says that he outlines his sermons, he sits by himself and thoughts come to him, inspired by God, he jots notes on paper, the starting point is always a Bible verse; Goddard studies the Bible, and a concordance, late at night, certain verses become real to him; how the Lord used material things to bring about the spiritual; Goddard had been raised as a Baptist; when preaching now, sometimes he gets in the spirit and the notes are set aside; how members get anointed and words come fast; about mastering the skill to preach, role of experience.
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Part 1 of a 4-part interview with sister and brother Jania Sajewski (Jeanette Sajewski Terley or Jeannette Sajewski Terlikowski) and Alvin Sajewski in their music store, 1227 Milwaukee Ave; about contacts to visit, Jeanette recommends Fr. Donald Bilinski (Polish Museum of America), the Daily Zgoda, and Dr. Bzienski; then discussion of how local musicians come to the store, mostly polka orchestra members, long tradition of Polish music in the Chicago area and polka is at its height, even with young people; polka has been here from the time of the first settlers; the old timers played by ear, violin, clarinet, coronet, button accordions; music was an important part of leisure time, songs were passed on through the generations; how groups were formed to play at weddings and other functions, first informal, later with more training, some were composers; Polish and English translations were used; Jeanette and Alvin know most of musicians in the Polish tradition in the area; Alvin describes how they [including his father Wladyslaw] helped musicians get their start, how they helped the recording companies with advice; we grew up with the cylinder records, folks wanted Polish music if they were to purchase phonographs, the Sajewskis agreed to stock and sell phonographs if Polish records were made, then they helped the musicians produce the records, also published sheet music, what the people wanted generated the demand; Frank Przybylski worked with their father; he would transcribe a tune from the person who knew it and then it would be printed, also songs were composed for special events; this all started around 1910 or 1911; Alvin describes immigration to Chicago, how people lived when they arrived, churches were formed, there was a need for a gathering place such as a church hall, life centered around the parish, music including hymns were common; St. Joseph's day was important; Sajewski published hymns too, and songs in Polish for Mother's Day; music would be used by the parochial schools, for example, in programs for the mothers, or the pastor's name day or mother superior's name day; Alvin says "It all starts with that little church first"; then comes the need for schools, English and Polish in them, children participated; how the Sajewski's music business was involved because of the needs generated by the schools, Polish songs for the first graders; this was 25 years ago, all in Polish, not so much now; but today Polish is offered in some schools, as well as in ethnic community Saturday schools; there are important Polish fraternal organizations such as the Polish National Alliance (PNA), the Polish Roman Catholic Union (PRCU), the Polish Wornen's Alliance, all wish to teach children Polish; Polonia (Polish Chicago) is on the south side, around 47th and Ashland, and in Sajewski's neighborhood; the music store also published Polish plays from 1910-15 to about 1930-34, performances in parishes, fundraiser like carnivals, ways for the young people to get money for the parish; before WWII there was not much outside entertainment, comments about the kinds of entertainment in Polonia before the war; about young people's activities, their social life, the ways boys met girls; there were masses for the children daily, also various societies in the parishes, e.g., the St. Ann's Society for women, others for young people; there were plays in Polish for 6th grade and up, and graduation songs, and there were "mock" Polish weddings, a staged event with invitations to parishioners so they could participate, discussion of mock weddings continues in part 2. Part 2 of a 4-part interview with sister and brother Jania Sajewski (Jeanette Sajewski Terley or Jeannette Sajewski Terlikowski) and Alvin Sajewski in their music store, 1227 Milwaukee Ave; about mock weddings, continued from part 1was a great money maker; folks paid for the food, there would be a traditional bride dance and folks would try to break plates by throwing silver dollars at them; another activity was the Polish minstrel show where people would dress in oriental costumes but speak Polish; these were run by parishes and not by professional entertainers, people could get their start this way, later some might become professional actors and actresses; song fests were big and Sajewski's published sheet music and books for these; today, Sajewski publishes polka music and books, most for popular dancing; Alvin says nowadays, "If they play an oberek [dance genre], they dance a polka to it"; piano became popular around 1905 or so, and very popular around 1910-15, families bought them, everybody wanted sewing machines too, sold door to door from carts, then sheet music was wanted, Sajewski published same; player piano rolls came out about 1919 or earlier and were desirable; Poles and other ethnic groups wanted piano rolls and created the demand; most worked at International Harvester or Pullman, the store carried the pianos but needed rolls in other languages; Alvin's father Wladyslaw approached the U.S. Music Roll Company about to making Polish piano rolls, they wouldn't, so he paid in advance and, in time, there were 140 Sajewski Specials; another company was QRS Piano Rolls and they began printing the words on the rolls; funeral homes wanted music to play in the background during funerals, and they approached Sajewski the record companies to produce these in Polish but could not offer large enough sales, some funeral homes did experiment with Polish records but it was not a success, the songs upset the Polish patrons, people would associate the songs with the death of loved ones and get upset whenever they'd hear that song; Jeanette shows instruction books Sajewski did for piano players in Polish and English, there were also used by teachers; some books are for choirs; these have Easter and Christmas hymns in them, sold to Churches and to people who used them at home; there is a sing-along book with popular old time Polish songs called the Radio Songbook because a radio show advertised the book, first published around 1943; Sajewski's advertised on Polish radio shows; Jeanette says doctors recommended during WWII that depressed persons listen to music, and songs from previous wars were recycled; Jeanette shows the latest polka books, musicians used to need music for each instrument but now music is mostly read, so just need two, C and B-flat; Sajewski is very proud of their dance instruction book for national Polish dances, with charts for dances, music, and information about each dance, used in dance schools in the U.S. and other nations; there are records with the book, music played by the man who created the book, he was born in Poland; Jeanette shows a record that was a great hit with the American public, recorded by many artists including Bobby Vinton, every daddy sang it to his daughter; Stephen J. Zielinski composed the lyrics and Frank Przybylski the music; about immigrants after WWII, Jeanette says they had their culture started and were not lonesome for the home country like the folks who came in the 1910s who clung together and whose hearts were linked to those left behind; post-WWII the immigrants were already displaced from camps and other places, simply alive and glad to be so, they wanted to fit themselves into this country or any they came to live in, they have more "international desire" and adapted more; some do come to the store for modern music imported from Poland, and classical music, and for folk songs done by choirs with ballet companies; Jeanette appreciates these forms of music for the beauty but it does not have the strength the country music did; Sajewskis have obtained records from Poland since 1914-18, and through WWII. and now they get it in greater volume, classical, rock and roll, jazz, folk songs, ballads, all modern and in Polish, but Americans don't buy the jazz or rock and roll since they have their own; some young people do buy it out of curiosity, and some buy it for their relatives in Poland. Part 3 of a 4-part interview with sister and brother Jania Sajewski (Jeanette Sajewski Terley or Jeannette Sajewski Terlikowski) and Alvin Sajewski in their music store, 1227 Milwaukee Ave; about the recent banquet honoring Sajewski, and about its program, which includes a list of people Sajewski family helped to record; Jeanette compiled the book; about the 9 children, 5 boys and 4 girls, and how they all worked in the store as children; they lived over the store, their dad Wladyslaw built a store at 1017 Milwaukee Ave. for the family, with a 12 room apartment that offered 5 bedrooms, 2 living rooms, a laundry room, kitchen, dining room; the store had custom built oak cabinets and they were moved to the current store, Jeanette says, "And we cherish these memories, it's been a whole lifetime, two lifetimes, dad's and ours"; why and how they talked Alvin into the testimonial dinner to celebrate the 80 years of Sajewski's store; Alvin talks about his trip to Washington, DC [to the American Folklife Center's 1977 Ethnic Recordings in America conference], one of the happiest days of his life; about forgetting his heart medicine, about meeting Myron Surmach and their long acquaintance by mail; about a book of speeches also published by Sajewski for name days or other occasions; a model to teach public speaking; more about the Polish dance book (discussed in part 2), how Wladyslaw had gone to Poland to find such a book but could not, he returned and told his two colleagues they would have to write one, so one got the music ready and the other took little dolls in costume and set up a stage and moved them through the dances, in order to work out the figures of the dance, charts of which are drawn by hand; Alvin discusses how his father organized the first travel excursion to Poland after WWI in 1927, when Lindbergh was f lying across the ocean, they went by the ship Ile de France from Chicago, Wladyslaw had organized the Polish Businessman's Association and they sponsored the trip, which cost about $300, the wine on the ship was special because it was prohibition in the U.S.; their mother went on the second excursion; Alvin has never been to Poland and has no desire to go, he has no relatives there, and has little time for travel; Christmas is a rush time in the store and family members come to help out, otherwise he and Jeanette manage well; each of the other brothers grew out of the store, two became pharmacists; Alvin went to high school and business college but worked with his father all the time; the other siblings wanted to do other things; by 1919-1920, he was his father's right hand man; Wladyslaw died in 1948 but was active until the end; he remembers that on a Saturday they finished in the store and were joking with each other, Alvin went home and his father went upstairs, then on Sunday they went to a Polish play at Holy Trinity school, and his dad died in his seat there, his head fell onto their mother's shoulder, it was April 14, he was waiting for the curtain to go up, everyone there was a friend, a Polish radio announcer carried him out, he never regained consciousness; they had worked as a team and many times since, Alvin has felt his father's presence in the store; especially when he has to make difficult decisions, mention the Polish National Alliance (PNA) building dedication on the coming weekend; Jeanette and Alvin show things from the testimonial dinner, one from the Polish Disc Jockey's Association; Jeanette tells how important it was to her to have this event; there are certificates from the International Polka Association, from the Polish American Press, document from the Pope, in Polish, an electric clock with the Polish musicians' names on it, the bandleader Walter "Li'l Wally" Jagiello sent a floral piece; there were displays on a table at the hall with photos and records, catalogs from the early days, assembled by a brother and brother-in-law; discussion of the displays continues in part 4. Part 4 of a 4-part interview with sister and brother Jania Sajewski (Jeanette Sajewski Terley or Jeannette Sajewski Terlikowski) and Alvin Sajewski in their music store, 1227 Milwaukee Ave; about the recent banquet honoring Sajewski, continuation of discussion of the display and its items; discussion of juke boxes in taverns after prohibition, a new market for records but the style changed, the "Beer Barrel Polka" had just come out, young people wanted something new, Frankie Yankovic was part of the new trend, the person who was recording him was uncertain about the quality and asked Alvin about him, Alvin reassured him.
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Part 1 of a 2-part interview with Wanda Krozel about her craft work, biography, and her collection of Polish craft items; topics on this recording include discussion of her parents, born in Poland as was Krozel's husband [Josef], who is the president of the Highlanders [probably the Polish Highlanders Alliance, a Chicago-based organization for the Goral ethnic group of Poland] in his second 3 year term; Wanda Krozel has been in the group since she was a child, her father was in it; about her collection of craft items, "I appreciate anything that's hand done, where these people see it all the time and think nothing of it"; Krozel picks up anything that interests her, her first trip to Poland was in 1970 for her 25th anniversary; her husband worked in Poland for a while and got things for her during that period too; she has been to Poland every year since that time; how she travels, 4 of her 6 children have gone too, she. has 3 at home now; describes a trip made in the winter; not a good time to go for her, she stays with her father's family in the Podhale region; if she meets someone or sees something they have that she likes, she asks them to get it for her or finds out where it came from and gets it herself; she describes carving or engraving on glass; work done by someone she met in Poland, also comments on a man who paints on glass now in the U.S.; she likes any kind of craft; Krozel shows her eggs, which she painted herself, she paints eggs with watercolors, after penciling in the design; she uses designs from postcards, towels, postage stamps, anywhere she can get ideas; Krozel uses "double 0" brushes, the work is very fine; she has a collection of things from which she can get ideas; the Polish eggs are her favorites; because no one else does them, some have Christmas themes, the Stations of the Cross; Krozel gives her eggs away; she started doing eggs when a nun in the 8th grade gave her class eggs to decorate for a priest, without suggestions, they were to design on their own; she experiments with different kinds of eggs to see if she can work with them, will create an egg for a friend on a special occasion; Krozel's largest is a goose egg with a church design, the smallest is a finch egg; she is full of ideas but has no time to do them and is looking forward to being alone for 3 weeks on her son's farm in Indiana; Krozel has never taken an art lesson and is afraid to do things on her own, why she copies designs; a neighbor who saw her eggs after she moved to present house about 15 years ago encouraged her to let others see them, she took them to a PTA competition with other schools and has subsequently been showing them in public; regarding her collection of craft items, Krozel likes unusual things, comments on a few, most she has are modern and made for the tourist trade like the inlaid straw pictures; about painting on glass; about a doll maker whom she visited in Poland, whose dolls are authentic in detail; Krozel's wood carving, discussion of how she decorated a mirror herself, burning the wood to make it match the style; about a man who paints on glass and instructed Krozel in this craft; Krozel also does leather work and carving; about a man who made inlaid boxes, he is back in Poland how, he had come to craft demonstrations at various functions; about a man who makes the mountaineer style pipes of metal and clay (Krozel's role in the Highlanders is/was to arrange for public displays of crafts and so on.); the collection includes items that belong to her family, e.g., a box brought to her by her mother 40 or so years ago, when Krozel was 4 years old, her mother had been visiting in Poland and the box was from a cousin, the names are marked on the bottom; as a child she treasured such things and wanted to see who made them; she has made Polish costumes for her children's dolls; about weaving and rug making, she knows a woman in the U.S. whose husband made her a little hand loom to demonstrate Polish weaving for Krozel's events; the woman has been in the U.S. for 1 or 2 years, her husband came first and brought her over, they meet at her house for the lessons in painting on glass; Krozel makes up the weaving design as she goes along; about leather work; Krozel shows examples of metal work on Highlander men's pins, her teacher knows all about the function and motifs of the pins; Krozel describes how the pins hold the material of the shirt together. Part 2 of a 2-part interview with Wanda Krozel about her craft work, biography, and her collection of Polish craft items; topics on this recording include how eggs are dyed with onion skin in the old Polish style, and then scratched with designs; about a Highlanders group that performs song and dance but sponsors no craft; Krozel shows highlander fiddle and how it fits into sleeves of men's cape; a mountain goat is part of the logo of the Highlanders group, an important mountaineer symbol; Krozel is learning things from the new people coming from Poland, although her father was president of the organization, he was not interested in history; the group is now made up of lots of second generations folks, and they have circles of their organization in Chicago and elsewhere, about 90 percent of her circle is second generation, Chicago is the main lodge, there is another circle is in New Jersey; about the embroidery on her husband's costume, made by the brother of a man who came to Smithsonian Festival of American Folklife in 1976; of her collection, some things Krozel bought and some she made, a nativity set with Christ made from oats; about the importance of the eagle in mountaineer symbolism; Krozel shows the fieldworker an authentic broom, a horse whip, a horse collar with bells, cow bells, candle holders, straw pictures, (sound from television set is heard), wood carving by a man who was in Poland but lives in Chicago now; Polish glass engraving, more dyed and etched eggs; about a ladies club meeting, Krozel made an egg tree, all eggs were colored red, white and blue for the American Bicentennial, these eggs were favors for attendees; the Highlander group will be at an International Fair at a nearby church the next day selling things.
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Part 1 of a 5-part interview with Collette and Konstanty (Konstanti) Siemaczko in their home; Konstanty Siemaczko is a well-known choreographer for several Polish American youth dance groups; mention of Henryk Oskar Kolberg's multi-volume documentation of Polish folklore; Konstanty has most of the set and uses it often; Konstanty Siemaczko's biography, born December 1918, in Warsaw, lived in Poland until 1940, in the naval academy and when WWII broke out, he was in his senior year, was in the last unit to surrender to the Germans, Oct. 6, 1939; he was a prisoner of war and escaped and returned to Warsaw where he joined the underground, in 1940 he was assigned to arrange a route from Warsaw to Hungary, but en route he was caught with a sick friend whom he refused to leave alone in a snow storm; the Germans gave him a field court and he was sentenced to die as a guerilla fighter, execution set for the same day that Paris fell to the Germans and they gave clemency to his group in honor of this, and he was sent to a concentration camp near Berlin and spent 5 years and 6 days there; Konstanty Siemaczko describes the jobs he did in the camp; at the end of March the whole camp was evacuated and they were marched from Berlin to another location where 75,000 were evacuated and 15,000 arrived at the new destination, many died of exhaustion and many were shot; the U.S. 6th Army was just across the boundary; he crossed and was free; Konstanty Siemaczko then went to Paris and England, followed by a return to Poland where he rejoined the Navy; subsequently he lived in England for a while but wanted to go to the U.S.; his father was in prison for about 10 years and he lost a lot of family during the war; biographical account is continued in part 2. Part 2 of a 5-part interview with Collette and Konstanty (Konstanti) Siemaczko in their home; Konstanty Siemaczko is a well-known choreographer for several Polish American youth dance groups; continuation of biographical account from part 1; Konstanty Siemaczko wanted to come to America because the philosophy of the American government is very similar to that of the Polish government that existed between the wars, the Polish constitution was based on the American model and was very similar; Konstanty Siemaczko always felt like a foreigner in England no matter what and, although he liked England, he had had enough of this attitude; he asks rhetorically, "Who is American?" and says that Americans are everybody who are in America, "I want to be there where I am not foreigner"; Konstanty Siemaczko spent 10 years in London and met his wife Colette (Collette Elsie McAllister, born in UK) there, about the time they were married a lost cousin was found to be in Chicago, this cousin met a friend of Siemaczko at a ball and found out that he was in London, they wrote and the Siemaczkos came to the U.S. in 1959 under the British quota which meant they had no problems getting in; there is additional content in this part of the recording, not summarized here. Part 3 of a 5-part interview with Collette and Konstanty (Konstanti) Siemaczko in their home; Konstanty Siemaczko is a well-known choreographer for several Polish American youth dance groups; discussion of teaching dance as part of Polish ethnic Saturday school activities, to Polish Scouts, and to prepare any group that asks for their help; the couple also teach a class in a school; segment of the recording made as the Siemaczkos show the fieldworker photographs and costumes; Silesian costume described, Collette Siemaczko is interested in the costumes and also in the music, how costuming has changed since they arrived in Chicago, they used to copy from costumes on display in a museum but this is not a good model because those examples had been prepared for stage plays; three vests they acquired; dance tradition is strong in Chicago, they could see at a parade this year how costumes had improved, more variety and representation of all areas of Poland, whereas earlier Chicago Polish Americans did not know much about regional differences because so many were from the Krakow area, as well as having lived in U.S. a long time and forgotten, a grandmother would remember what she had seen her grandmother wear in Poland and the costume would be reconstructed from this; beginning in about 1959, Polish dance troupes came to Chicago and people understood Konstanty Siemaczko had been telling them and they began to work on costuming, for the first time, Collette is working on a costume from the Krakow region because there are so many from that region in Chicago; most people like the sequins better than beading on the vests but the beading is older and more authentic; Collette shows a vest she acquired at a sale held by Polish veterans that she got cheaply because it was beaded; in the dance groups, the kids wear different costumes, most parents don't care about the regionality of the costumes so long as the children look good; the Siemaczkos take dance students from 3 years of age up, Collette hand makes parts of costumes; discusses costume making and beading, about Polish motifs, i.e. the rose, the poppy, oats; it was once very difficult to get the correct types of fabric but now easier; Collette Siemaczko shows a bolt of fabric that she calls "the genuine thing"; one of the couple's daughters now teaches dancing too; the family works on the "Christmas Around the World Show" at the Museum of Science and Industry that many ethnic groups participate in; working on costumes is a continuous job as kids change size or drop out or are added, and new programs must be prepared for; story told about Konstanty's costume being worn by a member of the Royal Ballet in 1957; Collette also sings and she was in the Polish mass for the Millenium Celebration (celebrating the Christianization of Poland, said to have occurred in 966); mention of the Polish Constitution Day Parade in Chicago (celebrates the 1791 ratification of the Polish Constitution); the Siemaczkos have a closet full of costumes, Collette shows another, handmade, from Poland, 50 years old, "the genuine article;" the Siemaczkos have a friend who looks for fabrics and other materials in Poland and found this costume, their older daughter wears it; one trick is to remove beading or embroidery from a worn costume and put it on new example; Collette shows and discusses appliqued beaded parts on a vest; Collette is going to college this fall and will work with folk materials. she has a National College of Education scholarship; the Siemaczkos show some photos of their Christmas production from last year; Collette uses the expression "reproduction" to refer to copies of costumes, not made in Poland; Konstanty describes Christmas traditions and the play done by the Polish Scouts (under the Polish Youth Association), King Herod's speech is adlibbed each year and usually gets a big laugh; the wigilia (traditional Christmas Eve vigil supper) is also part of the production, they do two performances in one day, each one and half hours long, Konstanty directs the dancing; their youngest daughter goes to Walt Disney Magnet School, a multi-ethnic school, and the Siemaczkos volunteered to teach Polish dances there, where Collette is a volunteer; the family practices the Easter basket blessing and have it done at St. Wenceslaus church, which is "supposed to be a Polish parish;" their 7-year-old daughter Nina is experienced enough to teach the dances; Konstanty has a large repertoire of dances but never gets to teach them all because each group goes at its own pace. He aims to have students learn at least 6 or 7 and be able to perform 3, his teaching routine starts with exercises adapted from ballet. Part 4 of a 5-part interview with Collette and Konstanty (Konstanti) Siemaczko in their home; Konstanty Siemaczko is a well-known choreographer for several Polish American youth dance groups; about how Christmas and the end of the year are their busy times, they were especially busy during the Bicenntennial year and were always asked for dance demonstrations; fieldworker notes an interruption in the tape at this point; about how recent immigration from Poland has helped bring in new interest in Polish dancing, Chicago Polish Americans do want to teach their children; Collette notes how and what is taught affects the children's interest, she wanted her children to know two languages as she did not, she reads Polish but is not confident of her speaking ability, while her children are bilingual; Collette was made member of the Legion of Young Polish Women recently, this is an unusual honor as they only take women of Polish descent (Collette is Irish and Czech); the women in the group take political positions, they once protested the television series on six American families that featured a Polish American stereotype; Collette says she was in a Polish intellectual community in England and also is familiar with the folk arts of Poles, whe cannot understand the stereotype of the dumb Pole; the Legion runs a big debutantes ball where the Polanaise and Mazur dances are performed; a man showed Collette the basics of beading but she is mainly self-taught, she has books with patterns for costumes and designs for the motifs; the Siemaczkos. have a extensive library on folk arts with the emphasis on Polish arts, and friends are always looking for additional books; the woman who lives next door does Polish crocheting and lace, she is from an area of Poland where lace is work, Konstanty describes Polish lace as "baroque;" Collette also makes Easter eggs; she is interested in all folk arts, and she shows the fieldworker some eggs into which she has painted, scratched, or etched designs; Collette took up eggs when she couldn't sleep at night, she gets designs from Easter cards and books; it is customary to trade eggs with friends; the Siemaczko children are all in Polish Scouts and carry on traditions; Collette shows the fieldworker an egg made from yarn, evolved from the making of egg shapes from rushes; about Polish shops along Milwaukee Ave.; Konstanty likes to teach dance to piano music as one can slow down, repeat, etc., he uses a book with 300 steps and positions; Collette shows the fieldworker her amber collection; Konstanty has been back to Poland once in 1968 on a visit, it used to be a problem to travel there but not anymore, while there, he saw some dancing and describes one program, also describes helping a man who wanted to learn dances and then went on to form his own group; Konstanty happy to teach, his purpose is to promote traditions not to hold on to them, he has trained many others who became teachers in turn, his younger son and older daughter teach dancing; the Siemaczkos describe their own Christmas traditions, Collette cooks Polish food, saying that it is like French in many ways; in 1931, when Collette was born, Konstanty was at a Polish Scout jamboree in Prague, he was 12 years old and marching at the end of the line, on the route, he saw many Czech scouts and thought the women were very beautiful so decided that when he wanted to marry, he would return and marry a Czech girl, he did finally marry a Czech girl although "it took a war to do it;" he knew two Czech presidents, one he met in the concentration camp; the couple discuss some of the organizations they belong to and the Polish newspapers they get; they show the fieldworker some embroidery and the axes used in the Polish Highlander dances, a cabinet maker who lives on their street made the handles while Konstanty and friends made the metal parts; about a man at the corner store who makes his own sausage at holiday time; the Siemaczkos show the fieldworker daughter me Nina's Polish school work; Nina arrives and recites the piece she is to perform the next morning at Saturday school. Part 5 of a 5-part interview with Collette and Konstanty (Konstanti) Siemaczko in their home; Konstanty Siemaczko is a well-known choreographer for several Polish American youth dance groups; Konstanty demonstrates a tape of poetry recitations he is preparing for a man who used to direct the school and is now retired; Collette says, "We have a talented bunch in Polonia," meaning artists and writers, about how parents all love to talk about their children's accomplishments; children begin the Polish ethnic Saturday school when can read and write in English; more about schoolwork from daughter Nina; about how the Polish American Youth Association got a grant from the Illinois Arts Council this year and used the funding for costumes and other materials.
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Part 1 of a 3-part recording of the Polish Saturday School Graduation program at the Hall for St. Ladislaus Roman Catholic Church, 5345 West Roscoe, Chicago, Ill. 60641; significant portions in Polish; this summary is based on post-fieldwork notes by radio producer Deborah George: sound of a teacher and children, anthem or hymn with piano accompaniment; remarks, some in Polish, including by a man, other remarks; teacher introduces people; girls reciting texts, voices of young children reciting poetry; boy makes funny remarks; children's recitation (distant from the microphone); girl recites a rhyme to rhythmic accompaniment; more recitations by girls; children sing to piano accompaniment; additional remarks; child plays violin. Part 2 of a 3-part recording of the Polish Saturday School Graduation program at the Hall for St. Ladislaus Roman Catholic Church, 5345 West Roscoe, Chicago, Ill. 60641; significant portions in Polish; this summary is based on post-fieldwork notes by radio producer Deborah George: sound of children reciting texts; notes state "Polskie Szkoly" (Polish school); teacher introduces the second part of the program; remarks by adults, girl; piano playing (low sound level at start); dancing, sound of feet on wooden floor; children shout in unison; "Come to me"; children sing two songs and seem to leave the stage. Part 3 of a 3-part recording of the Polish Saturday School Graduation program at the Hall for St. Ladislaus Roman Catholic Church, 5345 West Roscoe, Chicago, Ill. 60641; significant portions in Polish; this summary is based on post-fieldwork notes by radio producer Deborah George: sound of a teacher reading the names of the students; then remarks in English on behalf of the Cook County superintendent of schools.
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Part 1 of a 3-part dedication ceremony for the new building for the Polish National Alliance, 6100 North Cicero Ave.; remarks in a mix of English and Polish; no fieldworker summary was prepared for this recording; the newspaper Southend Reporter for May 26, 1977, offered a preview of the event that listed a blessing by the Most Rev. Alfred L. Abramowicz, auxiliary bishop, with remarks by Atty. Gen. William J. Scott and Mayor Michael Bilandic; master of ceremonies is PNA president Aloysius A. Mazewski, and the festivities will end with a mass celebrated by Bishop Abramowicz and the Catholic Choral society singing under the direction of the Rev. Msgr. Joseph L. Mroczkowski, pastor of St. Turibius parish; on this part of the recording the announcement and introductions are made by a woman; two persons identified as bishops offer invocations in Polish, followed by prayers in English; followed by remarks, in English and later in Polish, by a male speaker (probably Aloysius A. Mazewski), then a representative of PNA from Philadelphia, remarks in English; then Illinois Attorney General William J. Scott (remarks may continue in part 2). Part 2 of a 3-part dedication ceremony for the new building for the Polish National Alliance, 6100 North Cicero Ave.; remarks in a mix of English and Polish; no fieldworker summary was prepared for this recording; the newspaper Southend Reporter for May 26, 1977, offered a preview of the event that listed a blessing by the Most Rev. Alfred L. Abramowicz, auxiliary bishop, with remarks by Atty. Gen. William J. Scott and Mayor Michael Bilandic; master of ceremonies is PNA president Aloysius A. Mazewski, and the festivities will end with a mass celebrated by Bishop Abramowicz and the Catholic Choral society singing under the direction of the Rev. Msgr. Joseph L. Mroczkowski, pastor of St. Turibius parish; on this part of the recording the first speaker heard may be continuation of remarks by Illinois Attorney General William J. Scott; master of ceremonies Aloysius A. Mazewski reads a congratulatory message from President Jimmy Carter; remarks by Chicago Mayor Michael Bilandic; Mazewski reads a congratulatory message from John Cardinal Cody; remarks by the president of the Polish Roman Catholic Union of America; Mazewski reads a congratulatory message from U.S. Senator Charles Percy; remarks by Julia [Strowd? Straub ?] from the Polish Womens Alliance; Mazewski reads a congratulatory message from U.S. Senator Adlai Stevenson III; remarks by the president of the Polish Falcons organization [Jalowski?]; remarks by an Illinois state senator. Part 3 of a 3-part dedication ceremony for the new building for the Polish National Alliance, 6100 North Cicero Ave.; remarks in a mix of English and Polish; no fieldworker summary was prepared for this recording; the newspaper Southend Reporter for May 26, 1977, offered a preview of the event that listed a blessing by the Most Rev. Alfred L. Abramowicz, auxiliary bishop, with remarks by Atty. Gen. William J. Scott and Mayor Michael Bilandic; master of ceremonies is PNA president Aloysius A. Mazewski, and the festivities will end with a mass celebrated by Bishop Abramowicz and the Catholic Choral society singing under the direction of the Rev. Msgr. Joseph L. Mroczkowski, pastor of St. Turibius parish; on this part of the recording master of ceremonies Aloysius A. Mazewski cites the support of various friends of the PNA; Lottie Kubiak of PNA makes additional introductions and offers of thanks; Mazewski reads other congratulatory telegrams; additional remarks; brief interlude of song in Polish; organ music; duration of this part 14 minutes.
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Polkas and other dance music at the Omen Bar, 4134 South Archer Ave.; band in the recordings features drums, accordion, and possible a brass instrument for a slow number.
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Part 1 of a 2-part recording of the Wanderpol rock group at the Europejska Lounge, 2524 West 51 St.; the fieldworker's project report states that the band's vocals were in Polish and that the bar is frequented by people who are "young and mostly Polish-born," i.e., recent immigrants. Part 2 of a 2-part recording of the Wanderpol rock group at the Europejska Lounge, 2524 West 51 St.; the fieldworker's project report states that the band's vocals were in Polish and that the bar is frequented by people who are "young and mostly Polish-born," i.e., recent immigrants.
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Recording of performances at the Polonia Grove and Ballroom, 4604 South Archer Ave.; the fieldworker's project report states that the park is run by Casey (Casimir) Homel, also a polka bandleader, and that the park caters to families and older couples; this recording was made at one of the regular Sunday afternoon concert performances; the bands include accordions, concertinas, drums, and electric bass; some announcements by a woman (seems to be a live radio broadcast from the park, includes sausage and meat advertisement); mention of the Concertina All-Stars (may have played); one selection was the "Jig Saw Polka"; also a male announcer is heard, and presents a more or less political plug for city authorities.
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Part 1 of a 4-part interview with Franciscan Father Donald Bilinski, curator of the library at the Polish Museum of America, 984 N Milwaukee Ave.; Bilinski describes the immigration of Poles to Chicago between 1870 and 1910s; those coming from Poland at that time had little education, no study habits, wanted to group together, and wanted to go on speaking Polish; the spot where Ashland, Milwaukee, and Division Streets meet formed a triangle (there is a Polish expression for this) that was at the heart of Polonia (the name for Chicago's Polish community and their place in the city); there are about five Polish churches in the immediate area; in recent years, the neighborhood has clanged and has been changed by urban renewal and expressways; in the old days the Poles wanted to keep their ways and there was discrimination against them if they went out of the area; Polish Roman Catholic Union and other fraternal organizations were formed to help Polish Americans meet their needs, originally for things like money to bury family members; other organizations like the Polish National Alliance followed; their activities now are quite different; these organizations had cultural activities too, which is how this museum-library-archives complex grew, the library was founded in 1912 to give the neighborhood a recreation center and a chance for people to educate themselves, and it featured books in Polish on literature for enjoyment se well as self-help manuals to teach Poles skills; at that time, Polish immigrants hesitated to go to public libraries and most didn't speak English well; this service was the main function of the library for years, but its purpose has changed now, the immigrants who came after WWII are different, they want to learn English and become Americanized; Polish was taught in local schools until about 10 years ago; the Polonia neighborhood grew on a pattern like what was left behind in Poland; the church was the center, built first and then a school started, and social life revolved around these; the first schools taught in Polish; the second generation learned Polish in the schools as a second language, "the whole purpose behind these parochial schools was to retain the spirit and the customs . . . ."; interruption in the recording; the library has a large selection of children's books in Polish and is very proud of it, although they are not used much now; they are in very fragile condition and Bilinski discourages handling them; today, the library is mainly a research facility; they seek to acquire works on Poland in English; the holdings are about 80 percent in Polish and few people today can use them: "The third generation doesn't speak Polish"; many non-Poles who don't speak the language also do research in the library; they have 20, 000 volumes; Polish American students do use the library, high school and college age, if they get an assignment about ethnicity or whatever, then they favor their own background, there were many such projects during the Bicentennial; scholars from Poland use the library; here they get the true story unlike in communist Poland where things are slanted; the main, really the only, way that Polish is taught today is in the Saturday schools; there are 700 classes (or schools ?) in Chicago but since only meet once a week, they can't teach much language; for the most part, they introduce students to the culture and customs of Poland; the library doesn't work with the Saturday schools; Polish American young people in public schools may start a Polish club, there are several in colleges in area, e.g, one at the University of Illinois at Chicago Circle campus and one at Lane Tech; the Museum will cooperate with these if they ask for a display; the library is non-circulating except for fiction and literature, on for these categories, they lose many volumes; one goal is to acquire more music books, partly to put in the Paderewski room of the museum; the library collection had been cataloged up to 1950; then for about 20 years nothing was done to catalog acquisitions; recently they have been working on cataloging new acquisitions, now using Dewey Decimal system (the library had its own system through 1950), all books need to be re-cataloged. Part 2 of a 4-part interview with Franciscan Father Donald Bilinski, curator of the library at the Polish Museum of America, 984 N Milwaukee Ave.; no detailed summary of this part of the recording exists. Part 3 of a 4-part interview with Franciscan Father Donald Bilinski, curator of the library at the Polish Museum of America, 984 N Milwaukee Ave.; how lack of space is a big problem for the library; discusses periodicals, with a focus on American titles, they have 22 but none are complete runs; they are working to organize their prints, there is much demand for these from the press, artwork and photos, this serves the non-Polish community; many Chicago Polish Americans are not aware of the museum; there is not enough publicity; they were given a big batch of stuff from a world's fair held in New York before WWII, and they were swamped, able only to concentrate on housing and preserving it, not putting it in order; this happened in about 1941; now some of the materials that were in that fair are being claimed by people who lent them, they want money for them, this has resulted in many court cases for the museum; the library does have control of their clippings files, this is work done by volunteers; the museum hours are form 1-4, and they have a good guide (docent) Monday through Friday but the guide for the weekends does not have good command of English; the museum includes an art gallery with 400 original pieces, done by Poles and Polish Americans; they acquire works on Polish subjects or by Polish artists, if they get something else, they trade it for if they can; the museum's gallery is not for Polish American artists since there is a Polish Arts Club in Chicago that concentrates on this category; the museum and library has a [fund-raising] affair once a year, in different places, the event used to be at the gallery but many in their public do not like to come to this neighborhood in the evening anymore; the library is only open on one evening a week, Monday; since the museum does not sell paintings, Polish American artists are not so interested in showing there; they have 30 pieces from the Warsaw museum that came with the World's Fair lot, all classical; Father Bilinski prefers this to modern art; he was trained as an archivist but didn't use the training for a long time; he grew up in Chicago, though was not born here; he came to the museum 5-6 years ago, at that time, no one was doing much, the original director, Mr. Heiman, died in 1949 and things were left in the hands of a man who preferred other activities; he arranged for cultural events like concerts and the Polish dance troupes, in order to raise money, and tended to let the museum and archives go; they are currently publishing letters written by Kosciusko during the American Revolution; the museum is now supported by members; there is a four year old ladies auxiliary that runs the gift shop and an annual fund-raising affair, a dinner and theater party; the auxiliary also helps out when there is a temporary show in the gallery; they have had one man shows by various artists, e.g., the exhibit "Poles in Detroit," a display of Polish medals and medallions from Krakow, an exhibition of work by an artist named Zabrowski (Leszek Zebrowski ?) who did sketches of Polish scenes in America; one miniature painter, a woman who worked in flaming wax; each artist must leave a piece behind in exchange for the opportunity to show works in the gallery, this gives them a chance to be seen as most are unknown; in addition, the museum hosted a Smithsonian traveling exhibit on folk art, and invited artists to display and demonstrate reverse glass painting and wicynanki (paper cutting), these weren't from the Chicago area, the museum does not feature local artists but do feature work from Poland or other parts of the U.S.; the woman who did the wicynanki is from Connecticut, keeping up the tradition by publishing books on this, her books are sold in the gift shop; interruption in the recording; Bilinski shows books on crafts which are very popular, people use them or buy from gift shop, the shop is a convenience for people, a place where they can find such books, more of a service than a money maker; the museum had 7,000 visitors last year, tour groups come, especially consisting of senior citizens; there are five areas in the museum complex, the main hall is what was once a social hall, with an auditorium and stage, the choir loft is now used as the art gallery; there are two biographical rooms, the Kosciusko and the Paderewski, which are museum rooms; Mr. Heiman had been a friend of Paderewski so they have much memorabilia connected to him; interruption in the recording; discussion of books that sell. Part 4 of a 4-part interview with Franciscan Father Donald Bili?ski, curator of the library at the Polish Museum of America, 984 N Milwaukee Ave.; this part contains a fragment of sentence, duration less than one minute.
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Part 1 of a 2-part interview with sister and brother Jania Sajewski (Jeannette Sajewski Terley or Jeanette Sajewski Terlikowski) and Alvin Sajewski in their music store, 1227 Milwaukee Ave, made as the fieldworker photographed a number of historical photographs, record labels, and other materials in the store, as shown on rolls of film with the call numbers AFC 1981/004: b48692, b48693, and b48701; the log sheet for those rolls provide summary descriptions of the images, while these two interview recordings include elaborated descriptions. Part 2 of a 2-part interview with sister and brother Jania Sajewski (Jeannette Sajewski Terley or Jeanette Sajewski Terlikowski) and Alvin Sajewski in their music store, 1227 Milwaukee Ave, made as the fieldworker photographed a number of historical photographs, record labels, and other materials in the store, as shown on rolls of film with the call numbers AFC 1981/004: b48692, b48693, and b48701; the log sheet for those rolls provide summary descriptions of the images, while these two interview recordings include elaborated descriptions.
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Part 1 of a 3-part interview with sister and brother Jania Sajewski (Jeanette Sajewski Terley or Jeannette Sajewski Terlikowski) and Alvin Sajewski in their music store, 1227 Milwaukee Ave; topics include earlier version's of the family's store in Chicago, the current iteration is the sixth; the basement has special features to control dampness; their family includes 3 girls and 5 boys, father died in 1948; about the demolition of one store because of urban renewal; in youth, Alvin Sajewski spent the most time in the store with his father, learned the business; Polish was spoken at home, there was pride in being Polish; Jeannette explains that her husband's name Terlikowski was shortened to Terley for ease in spelling; Poles and Polish Americans always stopped at Sajewski store, "if we didn't stay here no one could find us"; musical trends, earlier favored accordions and concertinas, today guitars; Alvin grew up with the record business; we give credit to buyers; about how proud ethnic Americans were to own a phonograph; in 1914, Columbia started recording polkas and waltzes, how the Sajewskis suggested to the big companies that they start recording what people wanted, which the Sajewskis knew about; Alvin's first chore in the store had been to wind up the photographs and play records for customers, his older brother taught him to tantalize customers by only playing part of the record, this task made Alvin very aware of customers' tastes, psychology of selling, play a few good ones, a few bad ones; joke about Halley's comet, at about the time of the passing in 1910. Part 2 of a 3-part interview with sister and brother Jania Sajewski (Jeanette Sajewski Terley or Jeannette Sajewski Terlikowski) and Alvin Sajewski in their music store, 1227 Milwaukee Ave; the recorded level (volume) on this part is too low to hear.
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Part 1-7 of a 7-part interview in Lithuanian with woodworker Antanas Poskocimas at his home, 6354 South Rockwell, Chicago 60629; topics include Poskocimas's comments about America, reminiscences of Lithuania, and remarks about the place of folk art in the lives of Lithuanian refugees.
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Part 1-3 of a 3-part interview primarily in English with woodworker Antanas Poskocimas and his apprentice Tony Markus, at the Poskocimas home, 6354 South Rockwell, Chicago 60629; Markus is a third generation Lithuanian American.
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Part 1-2 of a 2-part interview in Lithuanian with weaver Aldona Veselka, at her home, 6531 South Washtenaw; discussion of her biography, when and how she learned her weaving skills, reasons for continued involvement in the art form.
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Part 1-2 of a 2-part interview in Lithuanian, together with musical performance, with Balys Pakstas, birbyne player, and his daughter, Ruta Pakstas, kankles player, at the Pakstas home, 2801 West 38th St. (in other notes, this address is also referred to as Paktas Hall); Balys Pakstas discusses his life and his reasons for reviving birbyne music.
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Part 1-4 of a 4-part recording of rehearsals by the Pakstas trio, together with discussion in Lithuanian, at the Pakstas home, 2801 West 38th St. (in other notes, this address is also referred to as Paktas Hall); the musicians include Balys Pakstas, Vincas Vaitkus, and Liubomiras Bichnevicius, all of whom play birbynes; the discussion is varied but includes biographical information about Balys Pakstas.
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Part 1 of a 3-part recording of traditional Lithuanian music by the Pakstas Ensemble; Balys Pakstas, Vincas Vaitkus, Liubomiras Bichnevicius, birbyne (Lithuanian aerophone), and Ruta Pakstas, kankles (Lithuanian chordophone); unnamed song; unnamed song (recordings starts with song in progress); repeat selection; "Softly, softly, Nemunas Flows" ("Tykiai, tykiai Nemunelis Plaukia"); unnamed song; repeat selection; song fragments; unnamed song. Part 2 of a 3-part recording of traditional Lithuanian music by the Pakstas Ensemble; Balys Pakstas, Vincas Vaitkus, Liubomiras Bichnevicius, birbyne (Lithuanian aerophone), and Ruta Pakstas, kankles (Lithuanian chordophone); "Lopsine" (lullaby); repeat selection twice; unnamed song (recording begins with song in progress), fragments are played; repeat selection; "Run Along Furrows" ("Bekit Bareliai"); "A Boat Sails" ("Plaukia sau laivelis"); "Precious Lithuania" (notes state "Lithuania, My Country"; in Lithuanian "Lietuva brangi, mano tevyne"); "I Stand, Leaning" ("Stoviu as parymus"); "Cuckoo Bird, Fly on Home" ("Gegutele"); repeat selection; "A Call is Going Out From Vilnius" ("Eina. garsas nuo pat Vilniaus"); "Song Without Words" ("Daina be zodziu"), Svedas; repeat selection; "You, My Mother" ("Tu mano motinele"), arranged by Zdanius; song fragments. Part 3 of a 3-part recording of traditional Lithuanian music by the Pakstas Ensemble; Balys Pakstas, Vincas Vaitkus, Liubomiras Bichnevicius, birbyne (Lithuanian aerophone), and Ruta Pakstas, kankles (Lithuanian chordophone); "Precious Lithuania" (notes state "Lithuania, My Country"; in Lithuanian "Lietuva brangi, mano tevyne", arranged by Navjelis; repeat selection; same selection, third stanza played through twice; repeat selection; "Nemunelis" featuring kankles, played twice; kankles player Ruta Pakstas comments on her preferences in music.
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Part 1-4 of a 4-part interview in Lithuanian with weaver Kazys Bartasius, recorded at Mr. Bartasius home, 6229 S. Campbell; the interview was conducted in Bartasius's basement workshop and covers biographical information, his learning of weaving skills; how he makes his looms; and about the demand for his work in the Lithuanian community.
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Elena Bradunas interviewed in Lithuanian by Algimantas Kezys on Lithuanian TV Channel 26; the discussion concerns the Chicago Ethnic Arts Project and ethnic folklife in general.
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Interview in Lithuanian with weaver Aldona Veselka, at her home, 6531 South Washtenaw; discussion of ways that the Illinois Arts Council could support the Lithuanian American arts in Chicago, duration about 6:30 minutes; followed by part 1 of a 2-part interview in Lithuanian with Emilija Pakstas, Lithuanian American community organizer and daughter of Balys Pasktas (in other project interviews); the two parts of the interview concern Emilija Pakstas's own musical career, involvement with the Lithuanian Opera, her work with Lithuanian American youth in schools, camps, organizations, etc.; duration about 24 minutes.
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Part 2 of a 2-part interview in Lithuanian with Emilija Pakstas, Lithuanian American community organizer and daughter of Balys Pasktas (in other project interviews), the two parts of the interview concern Emilija Pakstas's own musical career, involvement with the Lithuanian Opera, her work with Lithuanian American youth in schools, camps, organizations, etc.
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Part 1-4 of a 4-part interview in Lithuanian with Kvirinas Runimas and performances on kankles (Lithuanian chordophone) by his daughter, Dana Runimas, recorded at the Runimas home; the 4-part discussion concerns their family history and Kvirinas Runimas's interest in making kankles with his own modifications; Dana Runimas performs a few songs and discusses her reasons for taking up the instrument.
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Performances of Lithuanian music on kankles, guitar, and voice by Dana Runimas, the luthier is her father Kvirinas Runimas; unnamed song; kankles solo; unnamed song; song fragments; unnamed songs and song fragment; Dana Runimas discusses her reasons for playing; unnamed song on guitar; "A Folksong" (Christmas carol, featuring voice and guitar, sung in Spanish), unnamed song, also sung in Spanish; unnamed song, guitar and voice, sung in Lithuanian; "Red River Valley," guitar and voice, sung in Lithuanian.
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Part 1-2 of a 2-part interview in Lithuanian with fabric artist Stase Tallat-Kelpsa in her home, 6919 South California; the two parts cover crocheting (and knitting) clothing and decorative pieces with Lithuanian designs; Stase Tallat-Kelpsa's biography, how her interest in textile folk art began while she was still in Lithuania, her reasons for continuing with the craft in America.
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Part 1-6 of a 6-part interview together with performances of song, primarily in Lithuanian, with and by 90-year-old Paulina Barauskas (Barauskiene), recorded at her home 732 W, 19th St.; the fieldworker's notes describe Mrs. Barauskas as a long-time resident of the Bridgeport neighborhood, although this address is in the Lower West Side, just north of Bridgeport; Mrs. Barauskas's daughter is present for part of the interview; during the six parts of this series, Mrs. Barauskas sings old Lithuanian folk songs, reminisces about community activities among the Lithuanian immigrants who came to Chicago before World War I, and especially about drama clubs; the fieldworker's notes leaves some confusion about sequence and recording dates; parts 5 and 6 may have been the first recorded on 7 June 1977, with parts 1 through 4 recorded on 9 June 1977.
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Part 1 of a 2-part recording session with performances of song and related conversation, primarily in Lithuanian, by 90-year-old Paulina Barauskas (Barauskiene), recorded at her home 732 W, 19th St.; in some selections, an unidentified male voice joins for duets; selections of music (interspersed with conversation) include an unnamed song performed twice; four unnamed songs; three unnamed duets, joined by male voice. Part 2 of a 2-part recording session with performances of song and related conversation, primarily in Lithuanian, by 90-year-old Paulina Barauskas (Barauskiene), recorded at her home 732 W, 19th St.; in some selections, an unidentified male voice and an unidentified third voice join for certain selections; selections of music (interspersed with conversation) include duet with male voice; three unnamed songs; unnamed song sung by trio; unnamed song; unnamed duet with male voice; two unnamed songs; duet with female voices; unnamed song.
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Part 1-2 of a 2-part interview in English with woodworker Antanas Poskocimas at his home, 6354 South Rockwell, Chicago 60629; the interviewed was conducted by Chicago Sun-Times reporter Donald M. Schwartz, who was interested in Mr. Poskocimas's biography and his reason for carrying on with his craft.
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Part 1 of a 4-part recording of the wedding reception of Emilja Pakstas and Romas Sakadolskis, a Lithuanian American couple, at Pakstas Hall, 2801 West 38th St.; virtually all the remarks and vocal music is in Lithuanian; the acoustically difficult setting yields recordings of moderate-to-low quality; selections in this part include remarks by a single male speaker; the Azuolas Stelmokas Band plays "The March for the Bride and Groom" (drums and organ), crowd applauds; unnamed polka; speech of welcome by Balys Pakstas, father of the bride; introduces the masters of ceremonies, Mr. Slajus and Vanda Stankus; Vanda introduces the wedding of the wreath," a drinking ceremony; Mr. Slajus, the matchmaker, gives a speech in Lithuanian upland dialect, and invites the priest, Father Vaisnys, S.J., to give a prayer; the priest prays, followed by greetings and jokes; Mr. Slajus invites everyone to fill their glasses and get ready for toasts; the song "Long Life," a wish for a long and fertile life; Vanda Sankus makes remarks, telegrams from overseas are read; Balys Pakstas introduces a 99-year-old artist named Varnas, who reads a note; Vanda Stankus displays Varnas's portrait of the bride, which includes a violin and kankles; Vanda Stankus introduces the groom; Romas Sakadolskis thanks the parents of the bride, his mother, and concludes with a wish that his life will be like that of the artist and his wife; Vanda Stankus introduces the first dance for the bride and groom, the "Newlywed's Waltz." Part 2 of a 4-part recording of the wedding reception of Emilja Pakstas and Romas Sakadolskis, a Lithuanian American couple, at Pakstas Hall, 2801 West 38th St.; virtually all the remarks and vocal music is in Lithuanian; the acoustically difficult setting yields recordings of moderate-to-low quality; selections in this part include medley of waltzes that includes "The Newlywed's Waltz" and "Flows the Little Boat"; "Tango of the Roses" introduced by master of ceremonies Vanda Stankus, with vocal; unnamed song (foxtrot) accompanied by sccordion, organ, drums, and guitar, male voice and much crowd noise; "La Paloma" as a polka; unnamed tango featuring guitar; "Beer Barrel Polka"; "Whatever Roads I Travel," a popular song from 1967 or 1968, of German origin, sung in Lithuanian; "My Little One" tango sung by Vanda Stankus; "Never on Sunday" with altered lyrics. Part 3 of a 4-part recording of the wedding reception of Emilja Pakstas and Romas Sakadolskis, a Lithuanian American couple, at Pakstas Hall, 2801 West 38th St.; virtually all the remarks and vocal music is in Lithuanian; the acoustically difficult setting yields recordings of moderate-to-low quality; selections in this part include "Bad, Bad, Leroy Brown" (recording picks up song in progress); unnamed dance medley, going from a two-step to a tango; the bringing in of the dowry chest, Vanda Stankus invites the relatives (mother) to take the wreath off, and to put on the marriage headdress; "Oh Mother, You Raised Your Daughter Not For Yourself," with Balys Pakstas playing birbyne, Vanda Stankus leads the singing; "I Planted Myself a Green Rue, Darling You Will Be Mine, Mine," call and response song, part of the reception ritual; unnamed folk song by Vanda Stankus in Lithuanian dialect; inspection of the dowry and of the bride's worksmanship, response in the form of wolf whistles; a patterned, traditional oration; the bride gives presents of her own handiwork to her in-laws; the matchmaker comes in and, a ritual play, is attacked, much crowd noise; the matchmaker, Mr. Slajus, defends himself; the dowry is taken away; "The Dawn Will Start Breaking," a Lithuanian folk song in waltz tempo, sung by the attendees; tango medley; the attendees sing, Balys Pakstas sings. Part 4 of a 4-part recording of the wedding reception of Emilja Pakstas and Romas Sakadolskis, a Lithuanian American couple, at Pakstas Hall, 2801 West 38th St.; virtually all the remarks and vocal music is in Lithuanian; the acoustically difficult setting yields recordings of moderate-to-low quality; selections in this part include singing at the tables, mostly female harmonizing; unnamed spontaneous song with male and female voices; "Turn, Turn the Circle" with Vanda Stankus singing and talking; a polka-variation of a folk dance is led by Vanda Stankus; she tells the groom."goodbye" as the dance is in progress and a human tunnel is formed for the bride and groom to crawl through; this music is a lengthy medley of waltzes and polkas; "Kiss Me Hotly" sung by Petros (?) in Italian; "Tie a Yellow Ribbon Round the Old Oak Tree" sung in English; "Spanish Eyes"; "Proud Mary."
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Part 1 of a 4-part interview in Lithuanian with Mr. and Mrs. Vilius and Bronislava Variakojis, recorded at their home at 6919 South California, adjacent to Marquette Park; he is a woodcarver and model maker, including the creation of miniature models of Lithuanian farmsteads; she is a fabric artist, whose work includes embroidering textiles with Lithuanian folk motifs; the basement of their home is a personal museum in which they display their work; part 1 is with Bronislava Variakojis and topics include discussing her embroidery patterns and the development of her interest in the craft, some patterns were drawn by her husband, she makes place mats, "only in America," for a craft fair (Kazuiko Muge, English Kaziukas fair), organized by Lithuanian scouts in Chicago; about the influence of the Tamosaitas family on developing respect for Lithuanian folk patterns; Bronislava Variakojis's aesthetic has changed, new appreciation for folk patterns, "they are uniquely our own"; about Girl Scouts and their interest in crafts, they seem to prefer non-Lithuanian expression, e.g., clowndolls; in general most craft items are made by adults while youngsters sell them at the fair; about learning from her mother who died at 97, has an heirloom from her mother; Bronislava Variakojis has three tablecloths brought from Lithuania, everything she made; about leaving Lithuania, done in haste, though it only temporary, she was in Dresden during the U.S. bombing of that city; refugee story continues in part 2. Part 2 of a 4-part interview in Lithuanian with Mr. and Mrs. Vilius and Bronislava Variakojis, recorded at their home at 6919 South California, adjacent to Marquette Park; he is a woodcarver and model maker, including the creation of miniature models of Lithuanian farmsteads; she is a fabric artist, whose work includes embroidering textiles with Lithuanian folk motifs; the basement of their home is a personal museum in which they display their work; part 2 begins with Bronislava Variakojis; refugee story continued from part 1; about DP (Displaced Persons) camps, then to the U.S. via New Orleans, met by nuns and an orchestra; first impressions of America, dirty, depressing; in Chicago, Marquette Park seemed rural; husband Vilius Variakojis got a job with [Behardt's ?] construction, carried bricks, exploited as a DP, no overtime, cheated, later got a job at the Campbell Soup Co., Bronislava Variakojis worked in a shoe factory, paid as piece work, low pay; "without the language, what can you do"; she also taught piano to Lithuanian children in Bridgeport, about 50 students over time; "I was always shy and afraid to look for other jobs"; retired in the 1960s; recap Vilius Variakojis's jobs: Behardt's, Campbell Soup, railroads as a mechanic, maintenance man at Wilson's; about Vilius Variakojis's woodcarving, symbolic value of folk art, if everyone had remained in Lithuania, the same appreciation would not have developed; lack of interest in these crafts among young people, adults ready to pass on to apprentices but few come forward; Bronislava Variakojis notes that some recent publications from Lithuania offer images of excellent textile patterns; at this point, Vilius Variakojis arrives and joins the conversation; he talks about carving in Lithuania, decorated rakes, given to girls; he learned how to make carved wooden chains from his grandfather;, in Lithuanial, he lived in an old homestead with linden and oak trees, but has heard from relatives recently who report that where the lindens grew, now only wheatfields sway and pigs graze; Vilius Variakojis wrote down his family history as dictated by his illiterate grandfather; comments on the family surname, surgery, copper (varis) pin in foot gave rise to the name of a veteran ancestor; his grandfather fought in the czar's army in the Russo-Japanese War; Vilius Variakojis has some knowledge of Latvian, Russian, Ukrainian, German, and Polish; he knew no English when he came to the U.S., learned numbers by listening to the bus driver call out street names; studied English at night at Englewood High School for 3 years, prepared him to pass his U.S. citizenship test; he has been called Willie, Bill, and William in English. Part 3 of a 4-part interview in Lithuanian with Mr. and Mrs. Vilius and Bronislava Variakojis, recorded at their home at 6919 South California, adjacent to Marquette Park; he is a woodcarver and model maker, including the creation of miniature models of Lithuanian farmsteads; she is a fabric artist, whose work includes embroidering textiles with Lithuanian folk motifs; the basement of their home is a personal museum in which they display their work; topics include discussion of Vilius and Variakojis's models of Lithuanian building and farmsteads, says "I make them for young people, to show them what the Lithuanian countryside looked like"; scouts in Lithuania are different from those in the U.S., there, they rough camped, hiked, unlike the pampered scouts in the U.S.; U.S. scouts do woodcraft and textiles, not done in Lithuania; carving wooden chain links came from his grandfather; when Vilius Variakojis got to Germany as a DP (Displaced Person) there was no time to carve, he has taken this up in his retirement, there is nothing else to do, he does not drink and does not got to taverns, his wife wants him to stay out of the kitchen; discusses trees, the Paradise Tree, the Golden Apple tree, had thought this a folktale but recently learned it is known in Greek mythology; then discussion of carved wooden objects; towel racks, in the museum, made in Lithuania by others, may hang near doorways with water, may be used for decoration; black trees, priest's hell, motif related to tar kettles in hell; world tree with stars; about other items, something with form of a cube, spoons, utensils, he is looking for horns the convert into drinking horns; Vilius Variakojis discusses why he does this craftwork, "I want to leave something behind"; he has written a will, to bring things back to Lithuania, he hopes "free" Lithuania, no longer oppressed; about the Balzekas Museum of Lithuanian Culture in Chicago but Vilius Variakojis demurs, it is too possessive, wants to donate in a way that gives to all Lithuanians; discussion of exhibiting his work, one attempt had not worked, hence the museum in his home; some of his farmstead models were made from memory, some from photographs; grandchildren do not show any special appreciation; additional comments on Balzekas museum, includes some inauthentic items; about windmills, very prominent in Lithuania'a Birzai region; Vilius Variakojis plans to do some writing later, after his hands can no longer work wood; about Lithuanian coins, books; about assembling his museum, what might its future be; comment about real estate taxes, their house has higher tax because across the street from Marquette Park. Part 4 of a 4-part interview in Lithuanian with Mr. and Mrs. Vilius and Bronislava Variakojis, recorded at their home at 6919 South California, adjacent to Marquette Park; he is a woodcarver and model maker, including the creation of miniature models of Lithuanian farmsteads; she is a fabric artist, whose work includes embroidering textiles with Lithuanian folk motifs; the basement of their home is a personal museum in which they display their work; topics include comment by fieldworker Jonas Dovydenas, offering a black walnut carving for the museum; Vilius Variakojis discusses carving of Christ in a boat with the apostles, he is interested in both themes, those that relate to hell and the devil and those that feature positive aspects of relgion; comment, "Sun and beauty, one cannot hide"; about how he remembers tales told by his father and grandfather, both are Protestants; his wife belongs to another Lithuanian Protestant denomination; Protestantism in Lithuania goes back to the Reformation; about how Vilius Variakojis prefers not to carve crucifixes, the cross is a symbol of death; discussion of religion; the carving of Christ in the boat is related to a hymn that Bronislava Variakojis sings.
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Part 1-2 of a 2-part recording of traditional Lithuanian music by the Pakstas Ensemble, recorded at Paktas Hall, 2801 West 38th St. (in other notes, this address is also referred to as the home of Balys Pakstas); the performers include Balys Pakstas, Vincas Vaitkus, Liubomiras Bichnevicius, birbyne (Lithuanian aerophone), and Ruta Pakstas, kankles (Lithuanian chordophone); this was a practice session for the ensemble, music is interspersed with conversation in Lithuanian.
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Part 1-2 of a 2-part interview in English with the Latvian American videomaker Anda Korsts, recorded at a cafe on Lincoln with poor sound quality; discussion of Chicago's Latvian community in general and about Korsts's views of the need for documentary video programs.
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Part 1-4 of a 4-part interview in Lithuanian with artist Victoras Petravicius, recorded at his home, 7231 South Claremont Ave; the fieldworker states that Mr. Petravicius is a well known and respected Lithuanian American graphic artist who uses folk art motifs; the discussion covers his biography and ideas about art.
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Part 1-2 of a 2-part recording of a Mexican folk mass in Spanish at Providence of God Roman Catholic Church at 18th and South Union Ave.; for many years, this church served a Lithuanian congregation, when the recording was made, many parishioners were Spanish-speaking.
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Recording first segment, from the start to about 8:45 minutes elapsed time: a variety of remarks from a podium in Marquette Park, by women and men speakers, in Lithuanian and English, that commemorate the 44th anniversary of the flight by the Lithuanian American aviators Steponas Darius and Stasys Gir?nas, who perished during the transatlantic flight of the Lituanica on July 17, 1933; a monument to the men was placed in the park in 1935; this segment includes the playing of taps and, overall, is of moderate sound quality; recording second segment, from about 9 minutes elapsed time to the end: part 1 of a 3-part recording of informal conversation and singing at an outdoor event at the Sisters of St. Casimir Motherhouse on Marquette Street; this recording is of good sound quality; the main, continuing element is an interview-discussion with Sister Anne Marie [surname not documented], primarily in English; overall the recording is casual and social, the recorder is turned off and on, and other voices of women and men are also heard, some speaking in Lithuanian, regularly interspersed with singing in Lithuanian.
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Recording first segment, from the start to about 8:45 minutes elapsed time: a variety of remarks from a podium in Marquette Park, by women and men speakers, in Lithuanian and English, that commemorate the 44th anniversary of the flight by the Lithuanian American aviators Steponas Darius and Stasys Gir?nas, who perished during the transatlantic flight of the Lituanica on July 17, 1933; a monument to the men was placed in the park in 1935; this segment includes the playing of taps and, overall, is of moderate sound quality; recording second segment, from about 9 minutes elapsed time to the end: part 1 of a 3-part recording of informal conversation and singing at an outdoor event at the Sisters of St. Casimir Motherhouse on Marquette Street; this recording is of good sound quality; the main, continuing element is an interview-discussion with Sister Anne Marie [surname not documented], primarily in English; overall the recording is casual and social, the recorder is turned off and on, and other voices of women and men are also heard, some speaking in Lithuanian, regularly interspersed with singing in Lithuanian. Part 2 of a 3-part recording of informal conversation and singing at an outdoor event at the Sisters of St. Casimir Motherhouse on Marquette Street; the main, continuing element is an interview-discussion with Sister Anne Marie [surname not documented], primarily in English, touching on topics like early ethnic newspapers, banks, and other aspects of ethnic community life at an earlier time; overall the recording is casual and social, the recorder is turned off and on, and other voices of women and men are also heard, some speaking in Lithuanian, regularly interspersed with singing in Lithuanian. Recording first segment, from the start to about 18:45 minutes elapsed time: part 3 of a 3-part recording of informal conversation and singing at an outdoor event at the Sisters of St. Casimir Motherhouse on Marquette Street; the main, continuing element is an interview-discussion with Sister Anne Marie [surname not documented], primarily in English, touching on topics like the role of the Lithuanian language in Chicago, and song books with hymns and other music in Lithuanian; overall the recording is casual and social, the recorder is turned off and on, and other voices of women and men are also heard, some speaking in Lithuanian, regularly interspersed with singing in Lithuanian; recording second segment, from about 18:45 minutes elapsed time to the end: part 1 of a 3-part recording of an interview in Lithuanian with Mr. and Mrs. Vladas and Sophia Polikauskas, at their home at 7212 [7217 ?] South Sawyer Ave., in the background of segments of this recording is the voice of a broadcast announces, in Lithuanian; the fieldworker's notes state that the topics include general discussion about Lithuanian community life in Chicago, and the Polikauskases' life stories.
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Recording first segment, from the start to about 18:45 minutes elapsed time: part 3 of a 3-part recording of informal conversation and singing at an outdoor event at the Sisters of St. Casimir Motherhouse on Marquette Street; the main, continuing element is an interview-discussion with Sister Anne Marie [surname not documented], primarily in English, touching on topics like the role of the Lithuanian language in Chicago, and song books with hymns and other music in Lithuanian; overall the recording is casual and social, the recorder is turned off and on, and other voices of women and men are also heard, some speaking in Lithuanian, regularly interspersed with singing in Lithuanian; recording second segment, from about 18:45 minutes elapsed time to the end: part 1 of a 3-part recording of an interview in Lithuanian with Mr. and Mrs. Vladas and Sophia Polikauskas, at their home at 7212 [7217 ?] South Sawyer Ave., in the background of segments of this recording is the voice of a broadcast announces, in Lithuanian; the fieldworker's notes state that the topics include general discussion about Lithuanian community life in Chicago, and the Polikauskases' life stories. Part 2 of a 3-part recording of an interview in Lithuanian with Mr. and Mrs. Vladas and Sophia Polikauskas, at their home at 7212 [7217 ?] South Sawyer Ave., the fieldworker's notes state that the topics include general discussion about Lithuanian community life in Chicago, and the Polikauskases' life stories. Part 3 of a 4-part recording of an interview in Lithuanian with Mr. and Mrs. Vladas and Sophia Polikauskas, at their home at 7212 [7217 ?] South Sawyer Ave., the fieldworker's notes state that the topics include general discussion about Lithuanian community life in Chicago, and the Polikauskases' life stories. Part 4 of a 4-part recording of an interview in Lithuanian with Mr. and Mrs. Vladas and Sophia Polikauskas, at their home at 7212 [7217 ?] South Sawyer Ave., the fieldworker's notes state that the topics include general discussion about Lithuanian community life in Chicago, and the Polikauskases' life stories; this part has a duration of about 16:40 minutes.
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Part 1 of a 6-part recording of music performances at Europe at Night, 2986 Elston, Chicago; project notes refer to the venue as a Yugoslav displaced person nightclub, owned by accordion player Milija Spasojevich; project notes include fragments of band member names, [Slawko, Slavco ?], guitar; Larry Ekermann, piano; Salvatore [?], vocals; Eddie [Crackey, Kraki ?], vocals and master of ceremonies; [Tramiglia ? Milija ?], accordion, guitar; in parts 4 and 6, a woman's voice is heard announcing and singing, referred to as "hostess"; selections in this part include "They Call the Wind Maria," male vocal; "Volga Boatman," male vocal; unnamed polka, male vocal; unnamed ballad, male vocal; "Sailor's Dance," instrumental; unnamed song led by accordion; unnamed song, with added tambourine; song medley including "Milord" (associated with Edith Piaf), waltz; dance piece featuring the accordion. Part 2 of a 6-part recording of music performances at Europe at Night, 2986 Elston, Chicago; project notes refer to the venue as a Yugoslav displaced person nightclub, owned by accordion player Milija Spasojevich; project notes include fragments of band member names, [Slawko, Slavco ?], guitar; Larry Ekermann, piano; Salvatore [?], vocals; Eddie [Crackey, Kraki ?], vocals and master of ceremonies; [Tramiglia ?, Milija ?], accordion, guitar; in parts 4 and 6, a woman's voice is heard announcing and singing, referred to as "hostess"; selections in this part include "'Til There was You," piano solo; "Feelings," piano solo; unnamed song, piano and guitar (electric), tambourine; "By the Time I Get to Phoenix," piano, guitar; "Satin Doll," piano, guitar; "Alfie," piano, guitar, pianist calls out chords for the guitarist; "The Sunshine of My Life" ; "Life's Eternal Springtime," sung in Serbian (?) and English; "Another little Irish number," with vocal; "The Day You Took My Hand" and "A Love Song," vocal, tape runs out before end of song. Part 3 of a 6-part recording of music performances at Europe at Night, 2986 Elston, Chicago; project notes refer to the venue as a Yugoslav displaced person nightclub, owned by accordion player Milija Spasojevich; project notes include fragments of band member names, [Slawko, Slavco ?], guitar; Larry Ekermann, piano; Salvatore [?], vocals; Eddie [Crackey, Kraki ?], vocals and master of ceremonies; [Tramiglia ?, Milija ?], accordion, guitar; in parts 4 and 6, a woman's voice is heard announcing and singing, referred to as "hostess"; selections in this part include unnamed song, sung in Serbian (?); three unnamed songs with accordion featured as lead; song identified in notes a Tsarist Russian national anthem, male vocal; "Old Man River," vocal; "The Impossible Dream," vocal; "Dulcinea," vocal; unnamed song; unnamed instrumental, tape runs out before end of song. Part 4 of a 6-part recording of music performances at Europe at Night, 2986 Elston, Chicago; project notes refer to the venue as a Yugoslav displaced person nightclub, owned by accordion player Milija Spasojevich; project notes include fragments of band member names, [Slawko, Slavco ?], guitar; Larry Ekermann, piano; Salvatore [?], vocals; Eddie [Crackey, Kraki ?], vocals and master of ceremonies; [Tramiglia ?, Milija ?], accordion, guitar; in parts 4 and 6, a woman's voice is heard announcing and singing, referred to as "hostess"; selections in this part include introduction by hostess; "Russian Songs," male vocal with joking banter with the audience; additional comments by hostess, says many in crowd are Jewish; "A Russian Song," male vocal with crowd clapping; additional comments by hostess, says many in crowd have heritage in other nations, introduces Vietnamese songs; "A Gypsy Song," male vocal; additional comments by hostess, says many in crowd have Hungarian heritage; "A Yiddish Song," male vocal; unnamed song, audience sings along; unnamed song featuring accordion; "Somewhere My Love" as instrumental featuring accordion; unnamed instrumental. Part 5 of a 6-part recording of music performances at Europe at Night, 2986 Elston, Chicago; project notes refer to the venue as a Yugoslav displaced person nightclub, owned by accordion player Milija Spasojevich; project notes include fragments of band member names, [Slawko, Slavco ?], guitar; Larry Ekermann, piano; Salvatore [?], vocals; Eddie [Crackey, Kraki ?], vocals and master of ceremonies; [Tramiglia ?, Milija ?], accordion, guitar; in parts 4 and 6, a woman's voice is heard announcing and singing, referred to as "hostess"; selections in this part include instrumental medley that includes "Sunrise, Sunset"; two unnamed instrumentals; three unnamed songs sung in Italian; song in Italian from the "Barber of Seville"; unnamed song sung in Italian; all Italian vocals by Salvatore [?]. Part 6 of a 6-part recording of music performances at Europe at Night, 2986 Elston, Chicago; project notes refer to the venue as a Yugoslav displaced person nightclub, owned by accordion player Milija Spasojevich; project notes include fragments of band member names, [Slawko, Slavco ?], guitar; Larry Ekermann, piano; Salvatore [?], vocals; Eddie [Crackey, Kraki ?], vocals and master of ceremonies; [Tramiglia ?, Milija ?], accordion, guitar; in parts 4 and 6, a woman's voice is heard announcing and singing, referred to as "hostess"; selections in this part include unnamed song sung in Italian by Salvatore [?], tape begins with song in progress; "Moonlight Sonata" (Beethoven), Larry Eckermann, piano solo; unnamed song, featuring piano; medley of "Happy Birthday" and "Hail, Hail, the Gang's All Here" led by the hostess, followed by announcement of the length of marriage of some of the couples in the audience, followed by "Anniversary Waltz," sung by the hostess, audience response as couples are introduced and dance; instrumental dance piece; fox-trot medley of "Tea for Two" and "Never on Sunday"; unnamed song with tambourine added to ensemble.
afc1981004_afs20853a
afc1981004_afs20854a
afc1981004_afs20855a
Part 1 of a 3-part interview with Gertrude Westphal by fieldworker Greta Swenson; topics include how Westphal got into early childhood education, low income children, mentored by Margaret Bush, librarian in Oak Park; about the role of the library, family story hours, she "tells" stories (not "reads"), importance of oral delivery, use in classroom; about the mental representation of education, images and imagination develop, children want a tale every day, reference to Bruno Bettleheim's Uses of Enchantment; about going from storytelling to dramatic play with costumes; importance of correct use of English; Cinderella is a favorite; about a girl who used "classroom English on stage, praise led children to group-goal oriented; explanation of the Child-Parent Center operation, the operation here reflects parent concern with language, desire from small groups, like a one-room schoolhouse; how imagination for writing comes from story telling, visit grandparents in the South on farms, led to story writing by students with an audience in mind; language development toward "proper" English important for low income children to find jobs later; importance of folklore (folk tales) with children, about Westphal's mother's influence; about the old country (Germany); Westphal learned German at home and English in school; about how Germans were unpopular in America in the period of the two wars and between; Westphal's maiden name is Schraut, led to teasing in U.S.; her father is (was?) a janitor in the Englewood area; only whites in a black neighborhood, then moved to white neighborhood and called "n----- lover." Part 2 of a 3-part interview with Gertrude Westphal by fieldworker Greta Swenson; topics include comments on the Schwaben Klub (Swabian Club), dances as a girl, polka, waltz; about German folksongs; Westphal had a white friend, they socialized with black girls, ghost tales, "steps and liver," "Mary Mack" (song for a clapping game), using rhythm when teaching (Westphal sings "Mary Mack"), "Hambone," and from her neighborhood, "Double Dutch" (played by black children), hopscotch; comments on the physical abilities of black and white children; about singing on Sunday at a Baptist church; Westphal grew up with gospel and polka; about "Zum Deutschen Eck" (famous Chicago German bierstube and restaurant) as authentic; about a German folksong learned from her father; about the German American community in Chicago, moved from the Near North Side; about Westphal's work in schools, always in all-black schools, when she raised her family, she spent 17 and a half years not teaching, then went into early childhood teaching, work at the Child-Parent Center on North Lawndale, served low income African American families; good support from principal, need to offer assurances of justice and law and order for children, the class is not "open" at first, but is later after children learn to structure their time and develop a community spirit; method depended on storytelling, giving of self and values through fairy tales, there are moral judgements in the tales, "justice will come"; Westphal uses classic folktales, Cinderella, no crime stories, which would be retelling news accounts of crime in the neighborhood; parents are protective, this is a high crime area, children kept in the house, parents take them to visit friends, families do not have the means to move away; story about a child missed school after the mother in a downstairs apartment murdered her child; migration from the South is over for blacks, during the 1950s we had a new kid class every week; the families all go South to home for Thanksgiving and Christmas, many have farm experience, a popular book is Blaze [possibly the C.W. Anderson series ?], kids like horse stories; these families do not know Chicago, arts opportunities not used, they visit family and friends and are active in churches; comments on collecting. Part 3 of a 3-part interview with Gertrude Westphal by fieldworker Greta Swenson; topics include comments on the Schwaben Klub (Swabian Club), dances as a girl, polka, waltz; about German folksongs; Westphal had a white friend, they socialized with black girls, ghost tales, "steps and liver," "Mary Mack" (song for a clapping game), using rhythm when teaching (Westphal sings "Mary Mack"), "Hambone," and from her neighborhood, "Double Dutch" (played by black children), hopscotch; comments on the physical abilities of black and white children; about singing on Sunday at a Baptist church; Westphal grew up with gospel and polka; about "Zum Deutschen Eck" (famous Chicago German bierstube and restaurant) as authentic; about a German folksong learned from her father; about the German American community in Chicago, moved from the Near North Side; about Westphal's work in schools, always in all-black schools, when she raised her family, she spent 17 and a half years not teaching, then went into early childhood teaching, work at the Child-Parent Center on North Lawndale, served low income African American families; good support from principal, need to offer assurances of justice and law and order for children, the class is not "open" at first, but is later after children learn to structure their time and develop a community spirit; method depended on storytelling, giving of self and values through fairy tales, there are moral judgements in the tales, "justice will come"; Westphal uses classic folktales, Cinderella, no crime stories, which would be retelling news accounts of crime in the neighborhood; parents are protective, this is a high crime area, children kept in the house, parents take them to visit friends, families do not have the means to move away; story about a child missed school after the mother in a downstairs apartment murdered her child; migration from the South is over for blacks, during the 1950s we had a new kid class every week; the families all go South to home for Thanksgiving and Christmas, many have farm experience, a popular book is Blaze [possibly the C.W. Anderson series ?], kids like horse stories; these families do not know Chicago, arts opportunities not used, they visit family and friends and are active in churches; comments on collecting.
afc1981004_afs20856
Discussion between Paul Hummer, representing the city of Chicago's Fine Arts Council and fieldworker (and on-site project administrator) Greta Swenson about ethnic folk art and folk expression and how or when this might be a fit for support from the Fine Arts Council; the recording is marred for a few seconds before and after the discussion by a loud electrical noise; in the recording of the discussion, there is a residual hum with the voices off-mike; duration 33 minutes.
afc1981004_afs20857
afc1981004_afs20857_02
afc1981004_afs20858
Part 1 of a 3-part recording of the Irish Musicians Fourth Annual Concert at Bogan High School Auditorium, 7900 South Pulaski Road; poor sound quality due to problems with public address system in the auditorium and placement of fieldworker's audiocassette recorder in the audience area; the fieldworker's notes indicate the radio announcer Tom McNamara served as master of ceremonies, and state that families attended with younger children but no teenagers or young people in their 20s; the mimeographed program for the event lists artists but the exact sequence may or may not have been followed; likely performers in this part may include full band, reels and jigs; dancing school, Jerry O'Loughlin; song, Bill Cody and Jim Thornton; champion accordion player, Jimmy Keane; dancing school, Mae Kennedy Kane; song, Jack Finan and Jimmy Keane Sr. Part 2 of a 3-part recording of the Irish Musicians Fourth Annual Concert at Bogan High School Auditorium, 7900 South Pulaski Road; imperfect sound quality due to problems with public address system in the auditorium and placement of fieldworker's audiocassette recorder in the audience area; the fieldworker's notes indicate the radio announcer Tom McNamara served as master of ceremonies, and state that families attended with younger children but no teenagers or young people in their 20s; the mimeographed program for the event lists artists but the exact sequence may or may not have been followed; likely performers in this part may include violin champion, Johnny McGreevy; dancing school, Barbara McNulty; duet Fleadh Ceoil champions, Steve Trent and Mary Cloonan; the Noel Gaffney Group; Kevin Henry family (two daughters, one son); champion dancers, Flatley brothers; full band; champion Fleadh Ceoil singer, Mary Cooley; dancing school, Toni Weber-Brown; duet, Seamus Cooley and Pat Burke. Part 3 of a 3-part recording of the Irish Musicians Fourth Annual Concert at Bogan High School Auditorium, 7900 South Pulaski Road; imperfect sound quality due to problems with public address system in the auditorium and placement of fieldworker's audiocassette recorder in the audience area; the fieldworker's notes indicate the radio announcer Tom McNamara served as master of ceremonies, and state that families attended with younger children but no teenagers or young people in their 20s; the mimeographed program for the event lists artists but the exact sequence may or may not have been followed; the initial performance is an unaccompanied song by an unidentified female singer; other possible performers in this part may include Fleadh Ceoil singer Jimmy Fahey; dancing school, Jerry O'Loughlin; Fleadh Ceoil lilting champions, Tom McMahon and Maggie Henry (age 10); the Noel Gaffney Group; champion dancers, the Flatley brothers; song, Martin O'Brien and Maggie Henry; duet on flute and spoons, Tom Masterson Sr and Jr; finale, full band.
afc1981004_afs20858_02
Recording made in a bar at 6511 South Kedzie (may have been named Frank's or Flanagan's), following the Irish Musicians Fourth Annual Concert at Bogan High School Auditorium, 7900 South Pulaski Road; the fieldworker's notes state that she was invited to attend this back room session by Johnny McGreevy and Tom McMahon; they were joined in their music by 10-year-old Maggie Henry, described as "trying out various instruments."
afc1981004_afs20859
afc1981004_afs20859_02
Part 1-2 of a 2-part recording of vespers at Holy Trinity Orthodox Cathedral, 1121 North Leavitt. The priest is identified as Father Kuberski; this service was attended by project fieldworkers Jonas Dovydenas, Elena Bradunas, Greta Swenson, and Carl Fleischhauer, with support from Gordana Trbuhovic-Grasa; project notes sometimes give the date as July 8, 1977; assuming the service was on Saturday, the correct date is July 9.
afc1981004_afs20860
Recording of informal conversation and snatches of song made after the vespers service at Holy Trinity Orthodox Cathedral, 1121 North Leavitt; duration 10:15 minutes. The priest is identified as Father Kuberski; this service was attended by project fieldworkers Jonas Dovydenas, Elena Bradunas, Greta Swenson, and Carl Fleischhauer, with support from Gordana Trbuhovic-Grasa. Project notes sometimes give the date as July 8, 1977; assuming the service was on Saturday, the correct date is July 9.
afc1981004_afs20861
afc1981004_afs20862_01
afc1981004_afs20864
The tapes with the title "Demonstration Tape" are recorded samples of excerpts from various interviews and performances recorded in this collection.
afc1981004_afs20865
The tapes with the title "Demonstration Tape" are recorded samples of excerpts from various interviews and performances recorded in this collection.
afc1981004_afs20866
The tapes with the title "Demonstration Tape" are recorded samples of excerpts from various interviews and performances recorded in this collection.
afc1981004_afs20867
The tapes with the title "Demonstration Tape" are recorded samples of excerpts from various interviews and performances recorded in this collection.
afc1981004_001
Image numbers, descriptions: 1-5, exterior of St. Andrew's Greek Orthodox Church, 5649 N. Sheridan, Chicago; 6-17, interior of church, series of photographs taken progressively closer to altar
afc1981004_002
Image numbers, descriptions: 1-2, painting by Bob Clark and Andy Karafatias in gym of St. Andrew's Greek Orthodox Church, 5649 N. Sheridan Rd., Chicago; 3-11, close-ups of painting; 12-19, series of paintings on wall in gym by Dean Pappas (G.O.Y.A. - Greek Orthodox Youth Association).
afc1981004_003
Image numbers, descriptions: 1-3 Rev. Peter C. Karloutsos in his office, St, Andrew's Greek Orthodox Church, 5649 N. Sheridan, Chicago.
afc1981004_004
Image numbers, descriptions: 1-10, large icon in studio of Stathis Trahanatzis, iconographer, 7007 N. Ridge Blvd., Chicago; 11-13, painting materials; 14-16, chest in living room; 17-19, living room wall - paintings are directly on the wall; 20, decorated shells and pebbles - paintings will be added in the white spaces.
afc1981004_005
Image numbers, descriptions: 1-3, in the studio of Stathis Trahanatzis, iconographer, 7007 N. Ridge Blvd., Chicago, decorated shells and pebbles - paintings will be added in the white spaces; 4-14, miscellaneous small painted and constructed items; 15-17, table in living room; 18-20, close-up of table decoration.
afc1981004_006
Image numbers, descriptions: 1, Rev. James Callozzo, iconographer, 1049 W. Taylor St., Chicago, with fieldworker Greta Swenson; 2-5, Father Callozzo; 6, Greta Swenson, left; Mrs. Callozzo, right (Rosalie); 7-8, Father Callozo in his workroom; 9, icon by Father Callozzo; 10-12, kitchen of Callozzo house; 13-14, portraits on wall; 15-18, room decorations - icon, paintings, flowers; 19-20, bedroom of Father Callozzo's daughter - note wall decorations - icon in corner, posters of Farah Fawcett and characters from "Happy Days" TV series; Father Callozzo is an Italian American who became an Eastern Orthodox priest.
afc1981004_007
Image numbers, descriptions: 1-12, icons painted by Rev .James Callozzo, iconographer, 1049 W. Taylor, Chicago; Father Callozzo is an Italian American who became an Eastern Orthodox priest.
afc1981004_008
Image numbers, descriptions: 1-3, John Georganas family orchestra at the home of Angelos Kontaxis, 918 N. Karlov, Chicago, left to right, Tasia, Stella, John, George, Peter; 4-6, left to right, Tasia, Stella, John playing bouzouki; 7-8, Stella and John Georganas; 9, Georganas family with Fotis Litsas (standing at rear, blue shirt), fieldworker Peter Bartis holding bouzouki, Robbie, a friend of Angelo Kontaxis (center, with red Greek soldier's hat), and Mr. Kantaxis (kneeling, at lower right); 10, John Georganas, his son Peter, and Peter Bartis; 11, left to right, Tasia, Stella, and John Georganas, Peter Bartis, and Robbie, front center, wearing fustenella, Greek soldier's dress.
afc1981004_009
Image numbers, descriptions: 1-5, John Hemonas, bouzouki player, 4450 N. Kedzie, Chicago; 6-7, John's wife, Chrisoula, holding Easter basket in knitted cover - note icon corner at upper right of slide - a fustenella, a Greek soldier's dress, is barely visible, hanging on the wall behind and to the left of Mrs. Hemonas.
afc1981004_010
Image numbers, descriptions: 1-5, Mrs. Apostolopoulos, manager of the Greek needlework shop called Yarn and Canvas, Ltd., 4658 N. Western Ave., Chicago, being interviewed by fieldworker Peter Bartis; 6, selecting thread - woman in black is Mrs. Chrissi Klinakis, a 74 year old woman who has since returned to her home in Crete; 7, Mrs. Klinakis at right, others unidentified; 8, Mrs. Apostolopoulos in center, others unidentified; 9-10, interior of shop, showing needlework materials; 11-12, interior of shop, examples of finished work on table in foreground; 13-17, examples of needlework.
afc1981004_011
Image numbers, descriptions: 1, In Yarn and Canvas Ltd., 4650 N. Western, Chicago, a Greek needlework shop, Mrs. Chrissi Klinakis, 74 year old Cretan woman, at left; 2-9, Mrs. Klinakis and Mrs. Apostolopoulos, manager of shop; 10-14, Mrs. Klinakis modeling silk wedding apron she made; 15-20, other silk aprons by Mrs. Klinakis - she said she raised the silkworms herself.
afc1981004_012
Image numbers, descriptions: 1-17, In Yarn and Canvas Ltd., 4650 N. Western, Chicago, a Greek needlework shop, details from embroidered dresser scarf made in Greece by manager Mrs. Apostolopoulos's mother for her as a young child; 10-13, note Black banjo player - Uncle Tom's Cabin was popular in Greece at the time.
afc1981004_013
Image numbers, descriptions: 1-5, In Yarn and Canvas Ltd., 4650 N. Western, Chicago, a Greek needlework shop, unidentified woman displaying tablecloth; detail of decoration; 6-11, manager Mrs. Apostolopoulos displaying tablecloth; detail of decoration; 12-16, details of embroidery on tablecloth; 17-20, unidentified woman displaying her needlework inside and outside the shop.
afc1981004_014
Image numbers, descriptions: 1-18, In Yarn and Canvas Ltd., 4650 N. Western, Chicago, a Greek needlework shop, examples of Greek needlework.
afc1981004_015
Image numbers, descriptions: 1-18, In Yarn and Canvas Ltd., 4650 N. Western, Chicago, a Greek needlework shop, examples of needlework - embroidery, knitting, crochet.
afc1981004_016
Image numbers, descriptions: 1-16, George Kefalopoulos, karagiopechtis (silhouette puppeteer), 2525 W. Lawrence, Chicago, man in red sweater unidentified.
afc1981004_017
Image numbers, descriptions: 1-5, needlework being displayed by Presbytera Tasia Assimikides (in black) at Saint Nicholas Greek Orthodox Church, 10301 S. Kalmar Ave., Oak Lawn , Illinois, other women unidentified, fieldworker Peter Bartis at left; 6, Presbytera Tasis Assimikides; 7-12, display of various knitted and crocheted items; 13-15, demonstration of crocheting by unidentified woman; 16-20, crocheted tablecloth.
afc1981004_018
Image numbers, descriptions: 1-20, display of needlework at St. Nicholas Greek Orthodox Church, 10301 S. Kalmar Ave., Oak Lawn, Illinois, various crocheted and embroidered items.
afc1981004_019
Image numbers, descriptions: 1-20, display of needlework at St. Nicholas Greek Orthodox Church, 10301 S. Kalmar Ave., Oak Lawn, Illinois, various crocheted and embroidered items.
afc1981004_020
Image numbers, descriptions: 1, at St. Nicholas Greek Orthodox Church, 10301 S. Kolmar Ave., Oak Lawn, Illinois, fieldworker Peter Bartis interviewing Bessie Danos, maker of sitari, a memorial tray of wheat for the dead,this particular sitari was being made for memorial service in honor of past priests of the parish; 2-3, washing wheat after it has soaked all night; 4-6, spreading the wheat in the tray, sifting breadcrumbs to absorb moisture; 7-8, wheat; 9, patting wheat dry; 10-11, sifting powdered sugar over wheat; 12-13, using a mold to put the brown sugar cross on top; 14-16, decorating edge with Jordan almonds; 17-18, Bessie Danos with finished sitari; 19-20, finished sitari.
afc1981004_021
Image numbers, descriptions: At St. Nicholas Greek Orthodox Church, 10301 S. Kolmar Ave., Oak Lawn, Illinois, preparation area in kitchen of church showing utensils and ingredients for making sitari, a memorial tray of wheat for the dead, this particular sitari was being made for memorial service in honor of past priests of the parish.
afc1981004_022
Image numbers, descriptions: 1-10, examples of needlework by Mrs. Theodora Siakotos, embroideress, Palos Hills, Illinois, shown by her daughter.
afc1981004_023
Image numbers, descriptions: 1-10, examples of needlework by Mrs. Theodora Siakotos, embroideress, Palos Hills, Illinois, including views of her house.
afc1981004_024
Image numbers, descriptions: 1-11, John Katsikas, santouri player, 1123 W. Jackson Blvd., Oak Park, Illinois.
afc1981004_241
Image numbers, descriptions: 1-8, at the Greek American Post-Fieldwork Community Workshop, fieldworker Peter Bartis, standing; 9-11, left to right, Fotis Litsas, Steve Frangos, Ami Dres [Dress?], last two unidentifed; 12-14, left to right, Fotis Litsas, Steve Frangos, Ami Dres [Dress?], unidentified; 15, left to right, James Brotos, Adeline Bretos, Fotis Litsas; 16-20, left to right, Peter Bartis, Cookie Davos, Kiki Starogianis.
afc1981004_242
Image numbers, descriptions: 1-4, at the Greek American Post-Fieldwork Community Workshop, fieldworker Peter Bartis, Cookie Davos, Kiki Starogianis; 5-7, group picture: Seated left to right: Peter Bartis, Ami Dres [Dress?], Fotis Litsas; Standing: James Bretos, Kiki Starogianis, Steve Frangos, Adeline Bretos, Hon. John Cambolis, Dr. Steve Rusika, John Ress, Dino Ress.
afc1981004_1_18266
Film negative frame numbers, descriptions: 2-7, at the post-fieldwork Irish American community workshop, from left: John Corrigan, unidentified, Peggy Roche Boyle (back shot), Mick Moloney, Bob Burns, Justin O'Brien; 8-11, Mick Moloney; 12-13, Bob Burns; 14-15, from left: Marion Walsh, Peggy Roche Boyle; 16-19, same as in image 2 plus Marion Walsh; 20-25a, at the Greek American community workshop; closeup, from left: Fotis Litsas, Steve Frangos, Ami Dres [Dress?], no identifiction for last two; 33-34, fieldworker Peter Bartis; 35-36, Fotis Litsas and Ami Dres [Dress?]; 37, from left: Dino Ress, Peter Bartis, Fotis Litsas, and John Ress.
afc1981004_4_18266
Film negative frame numbers, descriptions: 13-14, at the post-fieldwork Greek American community workshop, from left: John Ress (back), Fotis Litsas, Dino Ress, fieldworker Peter Bartis; 15-24, from left: Peter Bartis, Cookie Davos, Kiki Starogianis; 25-27, group picture, seated left to right: fieldworker Peter Bartis, Ami Dres, Fotis Litsas; standing: James Brotsos, Kiki Starogianis, Steve Frangos, Adeline Brotsos, Hon. John Cambolis, Dr. Steve Rusika, John Ress, Dino Ress.
afc1981004_b37762
Film negative frame numbers, descriptions: 1-12, Mrs. Theodora Siakotos, Palos Hills, Illinois; 1, 5-7, Mrs. Siakotos; 2-4, Mrs. Siakotos and her daughter; 7-8, 11-12, interior of Siakotos home; 10. fieldworker Peter Bartis at left; 13-36a, Antanas Poskocimas, woodcarver, 6354 S. Rockwell, Chicago; 28-29, Antanas Poskocimas and fieldworker Elana Bradunas, at right.
afc1981004_b37766
Film negative frame numbers, descriptions: 0-3, Ray Hillburn (with hat) and the Coyotes at the Postillion; 4, Elena Bradunas, Rebecca Browning, Jonas Dovydenas, Greta Swenson; 5-8, Postillion; Montrose and Artesian Avenues (north side); 9-11, Rebecca Browning and Iberius Hacker at Great American Coffeehouse; 12-16, Great American Coffeehouse on Lincoln Avenue and Iberius Hacker; 17-25, Holly Highfill (on desk) and Judy McLaughlin at the Southern Culture Exchange Center of Columbia College, 954 Montrose Avenue; 26-28, exterior of the Postillion; 29-32, Rev. Peter C. Karloutsos, St. Andrew's Greek Orthodox Church, 5649 N. Sheridan Rd., Chicago, Illinois; 33-36, painting by Bob Clark and Andy Karafotias at St. Andrew's.
afc1981004_b37768
Film negative frame numbers, descriptions: St. Andrew's Greek Orthodox Church, 5649 N. Sheridan Rd., Chicago, Illinois: 1-5, details of painting by Bob Clark and Andy Karafatias (see also AFC 1981/004: b37766); 6-36, series of wall paintings in gymnasium by Dean Pappas (G.O.Y.A. stands for Greek Orthodox Youth Association).
afc1981004_b37769
Film negative frame numbers, descriptions: 1-16, views of interior and exterior of St. Andrew's Church 5649 N. Sheridan Rd., Chicago, Illinois; 17-22, quilt top in possession of Ada Sparks, made by her sister; 24-26, same, showing underside of the top; 27-28, same, quilt top; 29-31, Ada Sparks and fieldworker Rebecca Browning; 32-34, Ada Sparks.
afc1981004_b37770
Film negative frame numbers, descriptions: 0-2, Iberius Hacker; 3-6, Iberius Hacker with fieldworker Rebecca Browning at the Great American Coffeehouse; 7-8, 11, Judy McLaughlin, Southern Culture Exchange Center of Columbia College; 9-10, Holly Highfill, Southern Culture Exchange Center; 12-13, Kenmore and Grace Sts.; kids building mud dam in gutter; 14-15, back of Apartments on Magnolia, near Wilson; 18-36, painting in gym at St. Andrew's Greek Orthodox Church, 5649 N. Sheridan Rd., Chicago, Illinois, by Dean Pappas; 37, sign in front of St. Andrew's.
afc1981004_b37771
Film negative frame numbers, descriptions: 2-13, first large chapel pole made by Antanas Poskocimas, commissioned by the owner of the house, Dr. Jonas Adomavicius, at 55th and S. Claremont; the house also has a gabled doorway extension, a very common characteristic of Lithuanian folk architecture; folk design is also represented by the carved fence that surrounds the property; Dr. Adomavicius clearly wished to have the house look like a typical Lithuanian home; to enhance the effect he planted birch trees, typical of the Lithuanian countryside; even the birdhouse is typically Lithuanian; 14-18, Lithuanian co-op apartment complex at 66th and So. Carolina. for senior citizens cared for by Dr. Jonas Adomavicius who also administers the housing complex, which is called "Sodyba" meaning homestead; articles about the residents and their photographs appear regularly in the Lithuanian press; on Sunday afternoon they have an open house in a large gathering room and the residents perform for guests; the chapel pole in the middle of the complex is made from metal and was designed by architect Jonas Mulokas, who also designed the Lithuanian parish church, Nativity of the Blessed Virgin Mary on Washtenaw and 69th Streets; the rounded flower bed seen here is quite common in traditional Lithuanian landscaping; note birdhouse in frame 14; frames 19-36, examples of Greek embroidery by Mrs. Theodora Siakotis, 23, Peter Bartis (fieldworker}, on left; 29-35, Daughter of Mrs. Siakotos; 36-37, Mrs. Theodora Siakotis.
afc1981004_b37920
Film negative frame numbers, descriptions: 1-4, Antanas Poskocimas, woodcarver, talking with Elena Bradunas; 5-8, Mrs. Chrissi Klinakis, 74 year old woman from Crete, displaying her needlework; 9-13, Mrs. Klinakis with unidentified woman; 18-20, 23-28, silk wedding aprons made by Mrs. Klinakis; 29-30, Mrs. Klinakis; 31-36, Mrs, Klinakis with Mrs. Apostolopoulos, manager of Yarn and Canvas Ltd., 4650 N. Western Ave.
afc1981004_b37921
Film negative frame numbers, descriptions: at the Greek needlework shop, Yarn and Canvas Ltd., 4650 N. Western Ave., Chicago: 2a-3, Byzantine needlework pattern; 4a-10, interior of Yarn and Canvas Ltd., 4650 N. Western Ave.; 10a-14, shop front; 14a-17, closeup of front window of shop; 18a-20, selecting threads; 23a-30, Cretan woman, Mrs. Chrissi Klinakis, 74, and her daughter-in-law leaving session with box of handiwork; 31-33, displaying needlework outside of shop; 34-36, displaying tablecloths within shop.
afc1981004_b37922
Film negative frame numbers, descriptions: at the Greek needlework shop, Yarn and Canvas Ltd., 4650 N. Western Ave., Chicago: 1-11, various needlework patterns and styles; 12-13, interior of shop; 14-15, street scenes; John Georganas family orchestra at home of Angelos Kontaxis: 20-21, 23-24, Robbie in fustenella (man who lives with Angelos Kontaxis) and Mr. Kontaxis; 25-26, Robbie in fustenella, Greek soldier's dress; 27-36, John Georganas family orchestra - "OPA Orchestra."
afc1981004_b37923
Film negative frame numbers, descriptions: 1-8, at the Yarn and Canvas Ltd., 4650 N. Western Ave., shop interior; 7-8, back wall of shop; 1, 2, 5, 6, right wall of shop; 9-12a, shop interior; 13-30, display of needlework; 31-36, display of swaddling cloths, the maker of the swaddling cloths, the 74-year-old Cretan woman Chrissi Klinakis, wraps one around fieldworker, Peter Bartis.
afc1981004_b37924
Film negative frame numbers, descriptions: 2a-13, display of needlework at the Yarn and Canvas Ltd., 4650 N. Western Ave.; 13a-16, patterned around cut-out areas; 17-32, Mrs. Apostolopoulos's girlhood bureau cover made by her mother in Greece, figures embroidered around border depict various scenes, item in frame 31 includes African American banjo player, Uncle Tom's Cabin was popular novel in Greece at the time; 34a-36, Mrs. Apostolopoulos displaying tablecloth; detail of decoration.
afc1981004_b37925
Film negative frame numbers, descriptions: 2-5a, needlework examples at the Yarn and Canvas Ltd., 4650 N. Western Ave.; 6-8a, Mrs. Despo Poulos; 10-16a, displaying tablecloths; 17-21a, displaying needlework; 22-24, selection of threads and material, note prime position of religious patterns; 25-29, display of unfinished works in frames 28 and 29, compare completed with uncompleted corners; 34-36, Mrs. Apostolopoulos displays her mother's work.
afc1981004_b41245
Film negative frame numbers, descriptions: 2-4, Ada Spark's house - she lives on the second floor; 5-12, Greek painter Strathis Trahanatzis, large work in studio; 13-16, paint table; 17, Strathis Trahanatzis; 18-19, medal from Greek military; 20-22, living room wall; paintings are directly on the wall; 23-27, table in living room; 28, Strathis Trahanatzis; 29-30, chest in living room; 31-32, decorated shells and pebbles; paintings will be added in white space; 33-36, miscellaneous small painted and constructed items.
afc1981004_b41246
Film negative frame numbers, descriptions: 1, 9, left to right, Peter Bartis (fieldworker), John Hemonas, Angelos Kontaxis (human resources representative and initial contact with Hemonas); 2-3, Fustenella - Greek soldier dress; 3a-6, Gus Hemonas, John's son; 6a.-9, John Hemonas with instrument; 10a-15, Gus's Easter basket in knitted cover; also John's wife, Chrisoula; 15a.-17, Gus Hemonas; 17a, Chrisoula Hemonas; note icon corner; 18a-23, wall decorations, Last Supper, photograph of parents; 23a-29, John Hemonas family; 29a, Angelos Kontaxis; 31-32, Chrisoula displays her icon cover; 11, 14-15, 17-18, 24, 26, home altar and icon corner.
afc1981004_b41250
Film negative frame numbers, descriptions: 0-14, John Georganas family "OPA Orchestra"; 11, family members l-r: Tasia, Stella, John, George, Peter; 15, Fotis Litsas and George Georganas; 16, Robbie (shares house with Mr. Kontaxis); 17-18, Robbie, Mr. Litsas, and George Georganas; 19-20, Georganas family plus Robbie, Mr. Kontaxis, fieldworker Peter Bartis, Fotis Litsas; 2la, Angelos Kontaxis and Gus Hemonas; 22, Mr. Kontaxis, Chrisoula Hemonas and her son Gus; 23-27, Gus Hemonas; 28, Mr. Kontaxis, John and Chrisoula Hemonas; 29-30, John Hemonas - professional name "Bouzouki Fantasy Orchestra"; 31, 34, Chrisoula Hemona; 33, Gus Hemonas; 35-36, John Hemonas and fieldworker Peter Bartis.
afc1981004_b41254
Film negative frame numbers, descriptions: 1-5, needlework displayed by Presbytera Tasia Assimikides; fieldworker Peter Bartis with her in frame 5; 6-18, needlework examples; 19-36, Bessie Danos demonstrating making of the sitari, a memorial tray of wheat for the dead (continued on roll at call number AFC 1981/004: b41256); 19, washing wheat after soaking all night; 25, spreading wheat in tray; 26, sifting breadcrumbs to absorb moisture and protect powdered sugar; 30-31, opening bag of powdered sugar; 33, wheat covered with sugar; 34, placing special mold and filling it with brown sugar to make center cross; 35-37, garnishing with Jordan almonds.
afc1981004_b41255
Film negative frame numbers, descriptions: 1-18, George Kejalopoulos; 19-24, Mr. Kejalopoulos with unidentified man; 25-36, Chicago Zither Club concert; 26, 27a, Heidi Siewart, guest soloist (in costume); 29a, 31a, Heidi Siewert and Tony Hellenberg (fieldworker).
afc1981004_b41256
Film negative frame numbers, descriptions: 0-1, finished sitari, memorial tray of wheat for the dead; this particular example was for ceremony for deceased pastors of St. Nicholas Greek Orthodox Church; 2-3, sitari displayed by its maker, Bessie Danos; 4-5, preparation area in parish kitchen, showing utensils used in preparing sitari; 6-12, views of Greektown at Rockwell and Lawrence; 13-25, fish market, owner is Mr. Athananasion Gaves; frames 13 and 14 include decorative painting; 26-37, George Kefalopoulos who was recorded by the project performing Greek American Karaghiozo (Karagiozis, Karaghiozis; theater, shadow puppet).
afc1981004_b41993
Film negative frame numbers, descriptions: 1a-4, object made by Stathis Trahanatzis; 5-11, Stathis Trahanatzis; 12-16, telephone decorated by Trahanatzis; 17-24, Leonard Enders, founder of DANK; 25, display of fabric at event (Sara Schwarz is in middle); 26-35, food area and bar, with guests; 36, fabric and craft display, with Sara Schwarz eying the camera.
afc1981004_b48695
Film negative frame numbers, descriptions: 1-4, Mr. and Mrs.John Katsikas, 1123 W. Jackson Blvd., Oak Park, Illinois; 5-22, John Katsikas with santouri; 23-27, holding mallets (discussed on sound recordings at call numbers AFC 1981/004: AFS 20536 and AFS 20537); 28-29, photo of the Katsikas Orchestra, 1939; left to right, Chris Fotopulos, John Katsikas, Sam Fotopulos (Chris' brother), Gus Katsikas (John's brother); 30-31, photo of the Katsikas Orchestra, 1952; left to right, Andrew Cerra., Ray Janas, Sam Fotopulos, John Katsikas (playing cymbalon from Hungary), Lucas Katsikas (John's father}, Chris Fotopulos; 32-35, John Katsikas entire repertoire written out; probably drafted in response to phone call from fieldworker Peter Bartis prior to this photo-documentation visit.
afc1981004_025
Image numbers, descriptions: 1-2, exterior of apartment building at 1638 W. Berwyn, Chicago, Mr. and Mrs. Martin Schwarz live upstairs; 3-6, Sara Schwarz, Tony Hellenberg, and Martin Schwarz in kitchen; 7-11, display of costumes made by Mrs. Schwarz in dining room - banner commemorates Heidi Siewert's trip to Washington, D.C. for the 1976 Festival of American Folklife; 12-15, Mrs. Schwarz and Heidi Siewert, her daughter, showing costumes - event being filmed for TV station WBBM; 16-17, Tony Hellenberg interviewing Sara Schwarz in living room; 18, portrait of Sara Schwarz.
afc1981004_026
Image numbers, descriptions: 1-2, at the home of Mr. and Mrs. Martin Schwarz, 1638 W. Berwyn, Chicago, Heidi Siewert and her mother, Sara Schwarz in dining room - costume accessories displayed on tables; 3-6, close-ups of costume accessories; 7-12, Heidi Siewert modeling costume in front of display of other costumes.
afc1981004_027
Image numbers, descriptions: 1-3, exterior of Lutz's conditorei (Lutz Cafe, 2458 West Montrose, Lincoln Square neighborhood); 4-7, pastries in shop window; 8, interior of bakery section of Lutz' s; 9-12, interior of restaurant section of Lutz's.
afc1981004_027a
Image numbers, descriptions: 1-3, exterior of D.A.N.K. House (German American National Congress) building; 4-6, close-up of D.A.N.K. House sign; 7-20, at a German American event at D.A.N.K. House, first dance group - "German."
afc1981004_027b
Image numbers, descriptions: 1-5, at a German American event at D.A.N.K. House (German American National Congress), first dance group - "German"; 6-19, second dance group - "Transylvania Saxons."
afc1981004_028
Image numbers, descriptions: 1-5, Heidi Siewert, vocalist, guest soloist at the Chicago Zither Club concert, at the Golden Tiara Hall, 3213 N. Cicero, Chicago (men are unidentified); 6-7, unidentified; 8-10, folk dancers from the Donauschwaben Club.
afc1981004_029
Image numbers, descriptions: 1-20, Transylvanian Saxon [typed as "Austrian" in fieldworker notes] bride and bridegroom costumes shown at the home of Martin and Sara Schwarz, 1638 W. Berwyn Ave., Chicago, dummy as bride, Stefan Roth as bridegroom, wearing Rode, Transylvania, style of costume, close-ups of various parts of costumes, see also photographs in set at call number: AFC 1981/004: 30.
afc1981004_030
Image numbers, descriptions: 1-2, Transylvanian Saxon [typed as "Austrian" in fieldworker notes] bride and bridegroom costumes shown at the home of Martin and Sara Schwarz, 1638 W. Berwyn Ave., Chicago, dummy as bride, Stefan Roth as bridegroom, sleeve detail of bride costume (see also photographs in set at call number: AFC 1981/004: 29); 3-5 Sara and Martin Schwarz in costume with bride dummy.
afc1981004_031
Image numbers, descriptions: 1-7, Various views of the living room at the home of zither player Rudy Wacek, 3133 N. Nottingham, Chicago; 8-20; Various zithers built by Mr. Wacek, All instruments were designed and constructed with electronic amplification.
afc1981004_032
Image numbers, descriptions: 1-7, Various instruments built by Rudy Wacek, 3133 N. Nottingham, Chicago; 8-20; All instruments were designed and constructed with electronic amplification.
afc1981004_033
Image numbers, descriptions: 1-4, Workshop of Siegfried Schuh, violin maker, 525 W. Belmont, Chicago, showing instruments in progress; 5-19, Siegfried Schuh at work constructing and repairing stringed instruments in his workshop.
afc1981004_034
Image numbers, descriptions: 1-20, photos of dolls made by Irma Sieb (3816 N. Hermitage, Chicago), secretary of the Donauschwaben Club of Chicago. These dolls show some of the traditional women's costumes of Danube Swabians from settlements in Yugoslavia and southwestern Romania.
afc1981004_035
Image numbers, descriptions: 1-4, detail from doll made by Irma Sieb, and the home of Mr and Mrs Johann and Irma Sieb, 3816 N. Hermitage, Chicago; Sieb's dolls show some of the traditional women's costumes of Danube Swabians from settlements in Yugoslavia and southwestern Romania; 5-20, wall decorations from the Sieb home - Mrs. Sieb's mother is in slides 5 and 6.
afc1981004_036
Image numbers, descriptions: 1-11, interior of the home of Johann and Irma Sieb, 3816 N. Hermitage, Chicago; 12-16, exterior of the Sieb home.
afc1981004_036a
Image numbers, descriptions: 1-9, Garden of Mrs. Mary Belica, 2528 S. 61st Ct., Cicero, who inherited garden from her mother; the garden has been vandalized; 10-13, photograph showing garden as it originally was in the 1930's (date uncertain).
afc1981004_44029
Film negative frame numbers, descriptions: 1-12, photos of dolls made by Irma Sieb, Secretary of Donauschwaben Club of Chicago; these dolls show some of the traditional women's costumes of Danube Swabians from settlements in Yugoslavia and southwestern Romania.
afc1981004_44030
Film negative frame numbers, descriptions: 2-3, at the home of Johan and Irma Sieb (Irma Sieb is the Secretary of the Donauschwaben Club of Chicago), photographs of Mrs. Sieb's mother, who lives in lower apartment of Sieb's duplex; 4-10, interior of home; 11, exterior of home.
afc1981004_44031
Film negative frame numbers, descriptions: 1-4, at the home of Johan and Irma Sieb, dolls made by Irma Sieb, Secretary of the Donauschwaben Club of Chicago; these dolls show some of the traditional women's costumes of Danube Swabians from settlements in Yugoslavia and southwestern Romania.
afc1981004_b22207
Film negative frame numbers, descriptions: 19-21, George Schuller, sausage maker; 22, unidentified subject matter.
afc1981004_b41244
Film negative frame numbers, descriptions: 2, copy of photo taken of costume festival in Austria; 3, Copy of photo taken of costume festival in Austria; 4-7, Schwarz family, photo taken during Austrian sojourn; 7a-15, taken during filming of CBS affiliate channel 2 (WBBM) publicity spot featuring Ethnic Arts Project - featuring Mrs. Schwarz, fieldworker Tony Hellenberg and Elizabeth Brackett from WBBM; 15a-18, living room at Schwarz home; 18a-22, embroidery display with Heidi Siewert (daughter of Martin and Sara Schwarz), taken during CBS filming; 22a-27, Copy of photo showing village church of Rode, Transylvania; 27a-31, embroidery work of Sara Schwarz displayed on dining room walls; 32a-35, china cabinet in Schwarz dining room; 35a-37, exterior of apartment house owned by the Schwarz family; the Schwarz family occupies apartment on the second floor, west side (on left in photo).
afc1981004_b41247
Film negative frame numbers, descriptions: 1-5, interior of Lutz's (Lutz Cafe, 2458 West Montrose, Lincoln Square neighborhood); 6,7, Exterior of Lutz's; 8-11, pastry at Lutz 's; 12-14, at folklife project apartment: fieldworkers Tony Hellenberg, Jonas Dovydenas, Greta Swenson; 15-17, Peter Bartis - chicken supper from carryout; 18-24, from TV segment on WBBM, Sara Schwarz and Heidi Siewert; 25-30, playback of bouzouki tapes: Peter Bartis, Jonas Dovydenas; 31-33, same, add Elena Bradunas.
afc1981004_b41248
Film negative frame numbers, descriptions: 2-5, 10, 19-20a, scenes after the concert taken during dinner and dance; 6-7, Mrs. Kindlbinder, wife of the president of the Chicago Zither Club; 8, Heidi Siewert, guest soloist, with Tony Hellenberg, fieldworker; 9, Heidi Siewert, Tony Hellenberg, and Austrian Consul Eduard Adler; 11-13a, Heidi Siewert; 14-17a, Rudy Wacek, zither concert participant and Ms. Siewert's accompanist; 18, 32-37, folk dancers from the Donauschwaben Club; 21-22a, Rudy Wacek; 22-30, unidentified; 31, Craig Berman, attorney for board of appeals, Cook County.
afc1981004_b41252
Film negative frame numbers, descriptions: -5a, Heidi Siewert modeling embroidered Austrian costume; 6-15a, Sara Schwarz with embroidery work; 16-25a, Sara Schwarz during interview with the fieldworker Tony Hellenberg; 26-29a, photos from Austrian sojourn; 30-33a, postcard photos from Rode, Transylvania, showing native costume; costumes of Siebenburger Sachsen; 34-36a, Sara Schwarz as a young woman - dated July 22, 1947; 37, photo of Austrian costume festival.
afc1981004_b41253
Film negative frame numbers, descriptions: 2-7, interior of Johnny's Tavern; 8-11, Nancy Buckalew; 12-14, Nancy Buckalew's daughter and grandchild; 15-18, patrons of Johnny's Tavern; 19-20, exterior of Johnny's Tavern, Cicero; 21-22, Victor Manufacturing and Gasket Company, former employer of Nancy Buckalew, in the vicinity of W Roosevelt Rd, 12th Street and 58th Avenue (believed to be in "The Island" neighborhood on the far west side); 23-30, displaying costumes in the bedroom of the Schwarz house - 1eft to right, fieldworker Tony Hellenberg, Heidi Siewert, Martin Schwarz, Sara Schwarz; 31, Sara Schwarz, Tony Hellenberg, and Martin Schwarz in the kitchen; 32-36, Sara Schwarz displaying the dining room.
afc1981004_b41255
Film negative frame numbers, descriptions: 1-18, George Kejalopoulos; 19-24, Mr. Kejalopoulos with unidentified man; 25-36, Chicago Zither Club concert; 26, 27a, Heidi Siewart, guest soloist (in costume); 29a, 31a, Heidi Siewert and Tony Hellenberg (fieldworker).
afc1981004_b41990
Film negative frame numbers, descriptions: 1-37, series of photos (begun on film roll at call number AFC 1981/004: b42000, frames 33-37a) showing progressively (beginning with undergarments) the items of the costume worn by a woman from Rode, Transylvania; this series is accompanied by names and descriptions recorded on the sound recordings at call numbers AFC 1981/004: AFS 20551b, AFS 20552a, and AFS 20552b; Sara Schwarz dressed as a married woman from Rode, Martin Schwarz as an adult man, dummy as a bride, Stefan Roth (14a-16) as a bridegroom.
afc1981004_b41991
Film negative frame numbers, descriptions: 2-3, the silhouette-cutter, Herr Hans Bittner; event at D.A.N.K. House; 4-11, first dance group - "German"; 12-13, audience; 14-27, second dance group - "Transylvanian"; 28, doorway pediment; 29-33, exterior of D.A.N.K. House.
afc1981004_b41993
Film negative frame numbers, descriptions: 1a-4, object made by Stathis Trahanatzis; 5-11, Stathis Trahanatzis; 12-16, telephone decorated by Trahanatzis; 17-24, Leonard Enders, founder of DANK; 25, display of fabric at event (Sara Schwarz is in middle); 26-35, food area and bar, with guests; 36, fabric and craft display, with Sara Schwarz eying the camera.
afc1981004_b41995
Film negative frame numbers, descriptions: 1-17, Martin and Sara Schwarz in traditional adult costumes from Rode, Transylvania, region; Stefan Roth (2nd from right in 15-17a) as bride groom, dummy dressed in fashion of young bride; 18, project photographer Jonas Dovydenas with dummy; 19-20a, fieldworker Tony Hellenberg with dummy; 21-22a, living room of Schwarz home; 23-37, Mr. Balys Pakstas, musician, at home; images include kankles (Lithuanian chordophone) and birbyne (Lithuanian aerophone).
afc1981004_b41997
Film negative frame numbers, descriptions: 1-3a, mural at Racine and Magnolia depicting southern migration to northern industrial center; 4-12, blank; 13-16a, bar scenes, patrons unidentified; 17-20a, Karl Laschet, operator of bar, behind bar; 27-32a, local baseball team sponsored by Karl Laschet's inn; 33-34a, 37, fieldworker Tony Hellenberg with Dr. Stephan Kozlowski.
afc1981004_b41999
Film negative frame numbers, descriptions: 0a-2, wall mural at Inn; located over the traditional Stammtisch, the honored table in the Inn for regular, well-known patrons and honored guests; 2a-5, left to right, Tony Hellenberg (fieldworker), Karl Laschet, and his wife, Hilde, during interview at Stammtisch; 7a-19, amateur baseball team sponsored by the Inn and Karl Laschet - free round of drinks from the proprietor prompts folksongs, German and American, and sung German toasts; 19a-21, Hilde Laschet behind bar; 21a-23, Bar scenes; 23a-32, Karl Laschet and Laschet Inn baseball team.
afc1981004_b42001
Film negative frame numbers, descriptions: 1-6a, basement workshop of Rudy Wacek; 7-9a, Rudy holding home-made zither at recording table; 10-23a, various zithers built by Mr. Wacek, instruments designed and constructed with electronic amplification; 24-25a, 28, Mr. Wacek with Tony Hellenberg, fieldworker; 26-27, lunch at the Wacek home; 29-30a, living room of Wacek home; 31-33a Rudy Wacek; 34-37, Appalachian mural at Racine and Magnolia showing southern movement to northern industrial centers.
afc1981004_b42002
Film negative frame numbers, descriptions: 0a-7, Siegfried Shuh and shots of workshop; 7a-12, Sigfried Shuh with Tony Hellenberg, fieldworker; 13a-14, living room of Shuh residence; 14a-17, Martin and Sara Schwarz at kitchen table before noon dinner; 17a-19, Sara with home-made pickled beets and sauerkraut; 19a-24, Sara showing dolls made to hide toilet paper rolls - crocheted at the D.A.N.K. sewing club - also pictured: Tony Hellenberg, Martin Schwarz, Stefan Roth; 29a-33, dummy bride wearing flowered wedding wreath; 33a-36, dining room in Schwarz home; 36a, Stefan Roth as bridegroom with dummy bride in Rode, Transylvania, costume.
afc1981004_b42000
Film negative frame numbers, descriptions: 1-10a, dummy bride with Stefan Roth as bridegroom shown holding traditional flower bouquet; 11-12a, arrangement of bridal ribbons and neck band from rear; 13-17a, white leather embroidered church coat, modeled by Stefan Roth; 19-24a, various views of bridal costume; 25-26a, Stefan Roth and Martin Schwarz in traditional embroidered man's shirt; 27-32a, Martin Schwarz at home in living room; 33-37a, this is the beginning of series that is continued on the roll at call number begun on film roll at call number AFC 1981/004: b41990 (see also photographs on roll at call number AFC 1981/004: b41995), showing layers of woman's traditional dress from Rode, Transylvania - Mrs. Schwarz modeling; this clothing is also described on the sound recording at call numbers AFC 1981/004: AFS 20551b, AFS 20552a, and AFS 20552b.
afc1981004_b43068
Film negative frame numbers, descriptions: 1-14, interior of Schmitts Metzgerei; 15-17, unidentified building; 18-end, unidentified American Indian craftsmen.
afc1981004_b43532
Film negative frame numbers, descriptions: 0-4, unidentified woman in office; 5-6, same woman with unidentified man; 7-9, three unidentified men outside D.A.N.K. House; 10-20, very dark (underexposed) - people on a stage in costume.
afc1981004_b44027
Film negative frame numbers, descriptions: 1-9, Siegfried Shuh at home, his living room with instruments (harp, piano); 10-11, Siegfried Shuh in his workshop; 12-14, Gilda Sottile, fieldworker Elizabeth Mathias, Pasquale Sottile in their kitchen; 15-19, Mr. and Mrs. Sottile in the kitchen; 20-24, Sottile living room; 25-29, Mr. Sottile in his living room; 30-31, Gilda Sottile and fieldworker Elizabeth Mathias, Mrs. Sottile is preparing tagliatelli; 32-33, Room in Sottile home, kitchen or family room (?); 34, table set for lunch; 35, view of dining room; 36-37, Mr. Sottile in dining room.
afc1981004_b44421
Film negative frame numbers, descriptions: 1-11, Irish music competion at Bogan high school; 11a-31, Siegfried Schuh at work constructing and repairing stringed instruments in his workshop; 31a-35, dining room of Schuh house; 35a-37, hallway entrance of Schuh home.
afc1981004_b48705
Film negative frame numbers, descriptions: 0-8, Mrs. Mary Belica's garden, 2528 S. 61st Ct., Cicero; 9-21, Yaounde Olu, uniphysicist, at her Osun Studio, 2541 E. 75th St., Chicago; 22-30, Yaounde Olu outside the gallery.
afc1981004_037
Image numbers, descriptions: 1, Shifra Epstein, fieldworker; 2-7, Mrs. Faith Bickerstaff at home, 6226 N. Francisco, Chicago; 8-19, objects put together by Mrs. Bickerstaff from found and purchased materials; 8-12, lace tablecloth; 13-14, unidentified; 15-17, lace work by Mrs. Bickerstaff's grandmother; 18-19, unidentified.
afc1981004_038
Image numbers, descriptions: 1-20, objects put. together by Mrs. Faith Bickerstaff, (6226 N. Francisco, Chicago) from found and purchased materials; 1-4, phylacteries bag made by Mrs. Bickerstaff; 5-8, various knitted objects; 9-11, cloth for a Torah scroll; 12-13, unidentified; 14-18, lace work by Mrs. Bickerstaff, in 17 and 18, the Hebrew lettering means "For the honor of the Sabbath and the festivals"; 19-20, challah covers for the Sabbath.
afc1981004_039
Image numbers, descriptions: 1-20, objects, mostly with religious significance, put together by Mrs. Faith Bickerstaff, (6226 N. Francisco, Chicago) from found or purchased materials; 1-2, talis (prayer shawl), the work of Mrs. Bickerstaff; 3-8 assorted pillows; 9-10, kitel, a male's white linen robe, worn on special days; 11-12, unidentified embroidery; 13-14, cross stitch embroidery, pattern of a book; 15-16, knitted apron.
afc1981004_040
Image numbers, descriptions: 1-2, at the home of Mrs. Rose Ann Chasman, 6147 North Richmond, Chicago, phylacteries bag; 3-4, unidentified; 5-7, unidentified; 8-12, preserving an orange to be used for the ritual of the separation of the Sabbath and the everyday; 13-14, painting by Mrs. Chasman; 15-17, paper cuts, used for the decoration of the home in Pentecost and the Festival of the Tabernacle; 18-20, paper flowers used for the same purpose.
afc1981004_041
Image numbers, descriptions: 1-2, at the home of Mrs. Rose Ann Chasman, 6147 North Richmond, Chicago, phylacteries bag; 3-6, embroidery.
afc1981004_042
Image numbers, descriptions: 1-11, before the ceremony at the wedding of Gail and Warren Kasztel, writing the "conditions of marriage."
afc1981004_043
Image numbers, descriptions: 1-7, Mrs. Naomi Cohen at home at 3800 N. Lake Shore Dr., Chicago; 8-13, autobiographical house by Mrs. Cohen, scenes of her life; 14-17, candle-holder/spice box; 18-20, example of Mrs. Cohen's work, Jonah and the whale(?)
afc1981004_044
Image numbers, descriptions: 1-6, monument of the Holocaust by Mrs. Naomi Cohen at Anshe Emet Synagogue; 7-9, work by Mrs Cohen depicting Lake Shore Drive showing the park, apartments, etc., may include her building and one synagogue or other Jewish building, the one with the dome; 10-18, work by Mrs. Cohen (who lives at 3800 N. Lake Shore Dr., Chicago).
afc1981004_045
Image numbers, descriptions: 1-3, ceramic work of Mrs. Naomi Cohen, 3800 N. Lake Shore Dr., Chicago, candle holder; 4-7, candle holders in Mrs. Cohen's non-orthodox arrangement; 8-9, candle holder in Mrs. Cohen's orthodox arrangement; 10-13, spice boxes, drawer holds cloves in the photos.
afc1981004_b42180
Film negative frame numbers, descriptions: 1-11, unidentified Native Americans at craft show, sign reads "Indian magic stick, a toy for fun"; 14-26, at the Maxwell Street market, fruit stand run by same person for at least 40 years; formerly belonged to his father; 16, Shifra Epstein, fieldworker; 17, unidentified woman; 29-31, unidentified couple; 27-28, 32-36, Kosher delicatessan run by non-Jew; 36a, unidentified woman (left), Shifra Epstein (right).
afc1981004_b42182
Film negative frame numbers, descriptions: 0-10, at the Maxwell Street market, setting up for market day around 6AM Sunday morning; 11-36, market peddlers; 22-24, 31, 34-36, fieldworker Shifra Epstein with unidentified man.
afc1981004_b42183
Film negative frame numbers, descriptions: 1-24; at the Maxwell Street market, unidentified people around clothing store; 25-36, shoe store belonging to a Holocaust survivor, exterior and interior views.
afc1981004_b42184
Film negative frame numbers, descriptions: 1-17a, at the Maxwell Street market, faces in the Sunday market; 3-4, fieldworker Shifra Epstein with unidentified male; 18-36, clothing store.
afc1981004_b43074
Film negative frame numbers, descriptions: 1-8, Terry Teahan, Mick Moloney (fieldworker, with beard), and Mary McDonagh in Mr. Teahan's kitchen; 9-11, Mr. Teahan and Mick Moloney in living room; 12-16, Terry Teahan displaying his plants; 17-21, Terry Teahan and Mick Moloney outside the house; 22-32, Mary McDonagh on fiddle, Terry Teahan on concertina; 33-37, interior of Jewish Teaching Center, Green Bay Road, Wilmette, Illinois.
afc1981004_b43075
Film negative frame numbers, descriptions: 1-5, 8-10, Rose Ann Chasman, 6147 North Richmond, Chicago, with her art; 6-7, embroidered poster with Hebrew saying, "There is a little time and lots of work"; 11-14, festive rolls; 15-16, 29-30, preserving an orange to be used for the ritual of the separation of the Sabbath and the everyday; 17-20, phylacteries bag; 21-24, embroidered cloth; 25-26, paper cuts, used to decorate the home in Pentecost and the Festival of the Tabernacle; 27-28, paper flowers used for the same purpose; 31-36, paintings by Mrs. Chasman.
afc1981004_b43076
Film negative frame numbers, descriptions: 1-19, objects made by Rose Ann Chasman, 6147 North Richmond, Chicago; 20-24, 27-28, 31-34, Mick Moloney (fieldworker, with beard) and Terry Teahan; 25-26, embroidery done by Mr. Teahan on wall above display of family photos; 30, 35-37 Terry Teahan.
afc1981004_b43079
Film negative frame numbers, descriptions: 1-4, lace work by Mrs. Faith Bickerstaff, in frames 3 and 4, the Hebrew words mean, "For the honor of the Sabbath and the Festivalsâ€; 5-7, talis (prayer shawl) by Mrs. Bickerstaff; 8-9, Mrs. Faith Bickerstaff holding the phylacteries bag she made; 10-13, phylacteries bag made by Mrs. Bickerstaff; 14-15, book illustration that shows a table with lace cloth; 16, Mrs. Bickerstaff and Dr. Barbara Kirshenblatt-Gimblet; 17-18, unidentified embroidery; 19-20, a kitel, a male's white linen robe, worn on special days; 21-25, prayer shawl with spanier arbet (Yiddish for "Spanish work†or weaving); 22, Challah covers for the Sabbath; 28-30, embroidery in the pattern of a book; 31-34, lace work, table cloth; 35-36, examples of knitted work.
afc1981004_b43080
Film negative frame numbers, descriptions: 1-16, interior and exterior of a Reform synagogue designed by a Japanese architect; 18-20, Denis and Margie Dennehy with dance trophies; 21-24, Denis Dennehy, left, Mick Moloney (fieldworker), right; 25, unidentified boy; 26-28, Margie Dennehy and unidentified boy; 29-30, Margie and Denis Dennehy with Mick Moloney, center; 31-33, Denis Dennehy; 34-35, Dennehy dance trophies.
afc1981004_b48693
Film negative frame numbers, descriptions: 1-7, additional sides to Mrs. Naomi Cohen's autobiographical house (see also photographs on roll at call number: AFC 1981/004: b48712); 8-14, Portrait of Mrs. Naomi Cohen, craftswoman, 3800 North Lake Shore Dr., Chicago; 15-23, a work by Mrs. Cohen depicting Lake Shore Drive with the park, apartments, etc.; includes her building (possibly) and one synagogue or other Jewish building, the one with the dome; 24-27, Monument to the Holocaust by Mrs. Cohen at Anshe Emet Synagogue; 28-30, at the Sajewski Music Store, 1227 Milwaukee Ave , Chicago, Jania Sajewski publicity photograph ca 1955; 31-34, some of Jania Sajewski’s records on the Capitol label; 36, portrait of Frank Przybylski, ca early 30's - composer, arranger, and orchestra leader; Alvin and sister Jania Sajewski (Jeannette Sajewski Terley or Jeanette Sajewski Terlikowski) talk about his accomplishments and personality in the recorded interview at call numbers AFC 1981/004: AFS 20803 and AFS 20803b.
afc1981004_b48712
Film negative frame numbers, descriptions: 1-4, at the home of Mrs. Naomi Cohen, 3800 N. Lake Shore Dr., Chicago, candle holder/spice box; 8-10, candle holder, Mrs. Cohen's non-orthodox arrangement; 11-13, candle holder, said to be orthodox arrangement; 14-22, 26-31, examples of Mrs. Cohen's work; 23-25, spice boxes with the drawer that holds cloves in this photo; 32-36, autobiographical house, scenes from Mrs. Cohen's life.
afc1981004_b49848
Film negative frame numbers, descriptions: 1-20, wedding of Gail and Warren Kasztel, ceremony under the canopy; 21-25, wedding guests; 26-36, wedding musicians.
afc1981004_b49849
Film negative frame numbers, descriptions: 1-36, wedding of Gail and Warren Kasztel.
afc1981004_b49850
Film negative frame numbers, descriptions: 1-4, at the wedding of Gail and Warren Kasztel, Badeken ceremony (Yiddish: covering); 5-36, wedding ceremony.
afc1981004_b49851
Film negative frame numbers, descriptions: 1-36, wedding of Gail and Warren Kasztel, guests and wedding party.
afc1981004_b49852
Film negative frame numbers, descriptions: 1-9, after the wedding ceremony for Gail and Warren Kasztel; 10-36, groom's friends are dancing with and around him; the bride's friends are dancing with and around her.
afc1981004_b49853
Film negative frame numbers, descriptions: 1-36, after the wedding ceremony for Gail and Warren Kasztel, "Making the bride and groom happy" by dancing with them.
afc1981004_b49854
Film negative frame numbers, descriptions: 1-36, scenes at the wedding ceremony for Gail and Warren Kasztel.
afc1981004_b49880
Film negative frame numbers, descriptions: 1-36, scenes at the wedding of Gail and Warren Kasztel; before the wedding ceremony, writing the "conditions of marriage."
afc1981004_b49882
Film negative frame numbers, descriptions: 1-36, at the wedding of Gail and Warren Kasztel.
afc1981004_046
Image numbers, descriptions: 1, exterior of home of Terry Teahan, 5041 W. Agatite, Chicago; 2-3, Terry Teahan, left, with fieldworker Mick Moloney; 4, Terry Teahan in garden; 5-6, Mary McDonagh and Terry Teahan; 7, same, with Moloney at left; 8, Terry Teahan with his plants; 9, Terry Teahan, one of his embroidered pictures on the wall; 10-14, Terry Teahan, left, Mick Moloney, right; 15-18, display of family photographs.
afc1981004_047
Image numbers, descriptions: 1, Terry Teahan (5041 W. Agatite, Chicago) showing piece of his embroidery to fieldworker Mick Moloney; 2-5, framed embroidery by Mr. Teahan hung on wall of his home; 6-20, unframed examples of Mr. Teahan's embroidery.
afc1981004_048
Image numbers, descriptions: 1-20, unframed examples of Terry Teahan's (5041 W. Agatite, Chicago) embroidery, mostly on religious or sentimental themes.
afc1981004_049
Image numbers, descriptions: 1-13, examples of Terry Teahan's (5041 W. Agatite, Chicago) embroidery.
afc1981004_050
Image numbers, descriptions: 1-2, at the Annual Mid-West Fleadh Cheoil, Bogan High School, 79th and Pulaski, Chicago, David Molk, flute; Jim Thornton, center; fieldworker Mick Moloney, right (see also call number: AFC 1981/004: 51); 3-9, Seamus Connelly (adjudicator, younger man, without tie) and Johnny McGreevy (older, with tie), performer unidentified; 10-11, unidentified competitor; 12-18, two flute players, Mike Flatley on left, Kevin Henry, on right.
afc1981004_051
Image numbers, descriptions: 1-3, at the Annual Mid-West Fleadh Cheoil, Bogan High School, 79th and Pulaski, Chicago, unidentified fiddler; 4-5, David Molk, flute; Jim Thornton in blue sweater (see also call number: AFC 1981/004: 50); 6-7, competition context.
afc1981004_052
Image numbers, descriptions: 1, Denis Dennehy with dance trophies; 2-3, dance trophies; 4, Denis and Margie Dennehy with dance trophies.
afc1981004_238
Image numbers, descriptions: 1-3, at the Irish American Post-Fieldwork Community Workshop, left to right, John Corrigan, unidentified, Peggy Roche Boyle (back shot), fieldworker Mick Moloney, Bob Burns, Justin O'Brien; 4-7, same people, different camera angle; 8-14, same, plus Marion Walsh, sitting at right of Peggy Roche Boyle, and unidentified woman at Boyle's left; 15-16, Peggy Roche Boyle; 17-19, John Corrigan; 20, Mick Moloney.
afc1981004_239
Image numbers, descriptions: 1-2, at the Irish American Community Post-Fieldwork Workshop, fieldworker Mick Moloney.
afc1981004_1_18266
Film negative frame numbers, descriptions: 2-7, at the post-fieldwork Irish American community workshop, from left: John Corrigan, unidentified, Peggy Roche Boyle (back shot), Mick Moloney, Bob Burns, Justin O'Brien; 8-11, Mick Moloney; 12-13, Bob Burns; 14-15, from left: Marion Walsh, Peggy Roche Boyle; 16-19, same as in image 2 plus Marion Walsh; 20-25a, at the Greek American community workshop; closeup, from left: Fotis Litsas, Steve Frangos, Ami Dres [Dress?], no identifiction for last two; 33-34, fieldworker Peter Bartis; 35-36, Fotis Litsas and Ami Dres [Dress?]; 37, from left: Dino Ress, Peter Bartis, Fotis Litsas, and John Ress.
afc1981004_b43065
Film negative frame numbers, descriptions: 1-9, Frank Thornton; 10-13, Marie Davino (Al's sister who lives above the bakery); 14-15. wall behind the counter showing Al's signs (jokes, wise sayings, etc.) and his trophies for golf; 16-20, Al rolling out pizza dough; 21-22, Al's brother, Roger Davino, who helps him on Saturdays; 23-27, Louis Matteo (friend of Al's); 28, Al carrying a tray of pizza; 29, Roger Davino; 30-33, bread kneading table; 34-35, Al and Roger; 36-36a, the weighing scales for the dough.
afc1981004_b43066
Film negative frame numbers, descriptions: 1-6, Guiseppi Esposito and Louis Matteo continue to play morra; 7-9, Louis and Elizabeth Mathias, fieldworker (Louis is explaining aspects of the game of morra and of passatella); 10, Guiseppe with a wrapped loaf of bread; 11-12, wrapped pizza; 13-14, Guiseppe with Italian bread; 16-17, Italian bread fresh from the oven; 18-19, Al Davino displays Italian bread; 20-21, Al wraps bread; 22, Al with bread; 23, customer leaves with pizza; 24-25, Italian bread waiting to be wrapped individually as it is bought traditionally, loaves are not wrapped in advance of sale, each loaf of bread is an "individual"; 26-27, Al and a customer; 28-33, shots of neighborhood; 34-36, Frank Zanzo talking about his childhood and about Hull House and Jane Addams.
afc1981004_b43067
Film negative frame numbers, descriptions: 2-3, Guiseppe Esposito; 4, Al Davino putting tomato sauce on the dough; 5-6, Guiseppe clowning for the fieldworker; 7-10, Al making the pizza; 11-12, pizza with tomato sauce; 12-15, Guiseppe clowning; 16-18, Guiseppe with Al; 19-20, pizza with mozzarella topping, ready for the oven; 20a, Al putting the pizza into the oven; 21-24, Al and Guiseppe (Guiseppe mugging for the camera); 25-26, Guiseppe and Elizabeth Mathias, fieldworker (Guiseppe does a little dance - the tarantella); 27-28, Pizza ready for the oven; 29, Al puts the French bread into the oven; 29-33, Guiseppe induces the fieldworker to play a game of morra with him; 34, Al and Roger Davino working at the oven; 35-36, Al putting Italian bread into the oven.
afc1981004_b43070
Film negative frame numbers, descriptions: 3-10, Kevin Henry singing; 11-22, David Molk, flute; Jim Thornton in center; 23-25, David Molk, flute; 26-27, Liz Carroll, fiddle, ? on bodhran; 28-30, Liz Carroll, fiddle; ? on bodhran; 31-34, Competition context; 35-37, Seamus Connolly on left; John McGreevy on right.
afc1981004_b43073
Film negative frame numbers, descriptions: 1-9, Seamus Connelly (adjudicator, without tie) and Johnny McGreevy (with shirt and tie), performer unidentified; 10-11, unidentified competitor; 12-31, flute players, Mike Flately on left and Kevin Henry on right; 32-36, Liz Carroll and Dan Collins on fiddle, David Molk on flute.
afc1981004_b43074
Film negative frame numbers, descriptions: 1-8, Terry Teahan, Mick Moloney (fieldworker, with beard), and Mary McDonagh in Mr. Teahan's kitchen; 9-11, Mr. Teahan and Mick Moloney in living room; 12-16, Terry Teahan displaying his plants; 17-21, Terry Teahan and Mick Moloney outside the house; 22-32, Mary McDonagh on fiddle, Terry Teahan on concertina; 33-37, interior of Jewish Teaching Center, Green Bay Road, Wilmette, Illinois.
afc1981004_b43076
Film negative frame numbers, descriptions: 1-19, objects made by Rose Ann Chasman, 6147 North Richmond, Chicago; 20-24, 27-28, 31-34, Mick Moloney (fieldworker, with beard) and Terry Teahan; 25-26, embroidery done by Mr. Teahan on wall above display of family photos; 30, 35-37 Terry Teahan.
afc1981004_b43077
Film negative frame numbers, descriptions: 1-12, Terry Teahan (with concertina in frame 2, with melodeaon in 7-12); 13-30, Mr. Teahan' s embroidery; 31-36, Terry Teahan with Mick Moloney (fieldworker, with beard) and Mary McDonagh; 37, Terry Teahan with Mick Moloney.
afc1981004_b43078
Film negative frame numbers, descriptions: 1-6, morra players outside MaMa Sue's Restaurant; 7-36, scenes of the audience, dancers, musicians before the Fleadh Ceili at the Garden of Eden; 13-19, Terry Teahan is dancing; 16-18, Mary McDonagh is Mr. Teahan's partner; 23, Terry Teahan on left; 9-10, John McGreevy, second from left; 27, 33, Kevin Henry is second from right; 28-29, Armin Barnett is fiddler on right in 28, on left in 29.
afc1981004_b43080
Film negative frame numbers, descriptions: 1-16, interior and exterior of a Reform synagogue designed by a Japanese architect; 18-20, Denis and Margie Dennehy with dance trophies; 21-24, Denis Dennehy, left, Mick Moloney (fieldworker), right; 25, unidentified boy; 26-28, Margie Dennehy and unidentified boy; 29-30, Margie and Denis Dennehy with Mick Moloney, center; 31-33, Denis Dennehy; 34-35, Dennehy dance trophies.
afc1981004_b43081
Film negative frame numbers, descriptions: 1-27, audience, dancers, musicians before the Fleadh Ceili at the Garden of Eden; 14-15, Mick Moloney (fieldworker, with beard) and Terry Teahan are on the left; 16-17, left-right, Mick Moloney, Terry Teahan, Jim Thornton, and Denis Dennehy; 18-19, Mary Cooley and Mick Moloney; 21, Mike Flately and his girlfriend; 22, Mike Flatley, his girlfriend, and Jim Thornton; 24-27, Seamus Connolly (Fleadh Adjudicator) is the right hand fiddler; 28-37, at the Fleadh Ceili at Bogan High School; 29, Mary Cooley is the lady on the right; 30, Kevin Henry is sitting on the left; 31-33, Kevin Henry seated; 34-37, unidentified.
afc1981004_b44421
Film negative frame numbers, descriptions: 1-11, Irish music competion at Bogan high school; 11a-31, Siegfried Schuh at work constructing and repairing stringed instruments in his workshop; 31a-35, dining room of Schuh house; 35a-37, hallway entrance of Schuh home.
afc1981004_053
Image numbers, descriptions: 1-20, at the Norwegian Independence Day Celebration at the home of Jan Harry and Josefa Andersen, 3416 N. Oak Park, Chicago, unidentified party goers, Norwegian costumes, with some close-up shots.
afc1981004_054
Image numbers, descriptions: 1-2, painting of harbor scene by Per Guldbrandsen displayed at the Norwegian Independence Day Celebration at the home of Jan Harry and Josefa Andersen, 3416 N. Oak Park, Chicago.
afc1981004_055
Image numbers, descriptions: 1, exterior of home of Ray Nilsen, 6039 Newberg, Chicago; 2, 6-7, fieldworker Jens Lund, left, with Ray Nilsen playing accordion; 3-5, 8-14, Ray Nilsen; 15, Ray Nilsen, with daughter at piano.
afc1981004_058
Image numbers, descriptions: 1-4, street scenes, 5100-5300 block of N. Clark, Andersonville, exterior of Erickson's Delicatessen; 5-9, interior of store; note painting on cover of freezer chest; 10-11, Ann Nilsson, shopgirl at Erickson's; 12-13, Erickson's front window; 14, Wikstrom's food store, 5247 N. Clark.
afc1981004_062
Image numbers, descriptions: 1-20, display of rosemaling at Norway Center, 2350 N. Kedzie Blvd., Logan Square - wall plaques, trays, plates, candelabra; 9-10, work dated 1929 and signed R. Rosenvinge (see also call number: AFC 1981/004: 64).
afc1981004_063
Image numbers, descriptions: 1-19, display of rosemaling at Norway Center, 2350 N. Kedzie Blvd., Logan Square, plaques, bowls, box, plate.
afc1981004_064
Image numbers, descriptions: 1-16, Display of rosemaling at Norway Center, 2350 N. Kedzie Blvd., Logan Square; 9-10, work dated 1929 and signed R. Rosenvinge (see also call number: AFC 1981/004: 62).
afc1981004_065
Image numbers, descriptions: 1-5, interior of Norway Center, 2350 N. Kedzie Blvd., Logan Square, showing tables set for some sort of banquet.
afc1981004_069
Image numbers, descriptions: 1-3, exterior of home of Jan Harry and Josefa Andersen, 3416 N. Oak Park Ave.; 4-7, breakfront in dining room holding many carved pieces; 8-10, view of dining room, tablecloth was embroidered by Mrs. Andersen; 11-13, close-up of embroidery; 14-16, Mr. and Mrs. Andersen holding Christmas tablecloth; 17-19, detail of embroidery.
afc1981004_070
Image numbers, descriptions: 1-6, Needlework by Mrs. Andersen, at the home of Jan Harry and Josefa Andersen, 3416 N. Oak Park Ave; 7-9, bell pull embroidered by Mrs. Andersen; 10-18, examples of carvings in the Andersen home.
afc1981004_071
Image numbers, descriptions: 1-2, carved wooden relief image of Norwegian homeplace in situ above piano, in the home of Jan Harry and Josefa Andersen, 3416 N. Oak Park Ave.; 3-6, carved homeplace; 7-12, painting of homeplace that inspired carving.
afc1981004_072
Image numbers, descriptions: 1-5, bas-relief woodcarving in the home of Jan Harry and Josefa Andersen, 3416 N. Oak Park Ave.; 6-8, Andersen living room; 9-11, replica of Viking ship.
afc1981004_073
Image numbers, descriptions: 1-5, Mr. Jorgen (with stroke) Hyland (244 Callan Ave, Evanston) playing the Hardanger fiddle; 6-20, various views of Mr. Hyland's Hardanger fiddle.
afc1981004_077
Image numbers, descriptions: 1-5, exterior of Norwegian Memorial Norwegian Church, Minnekirken, 2614 Milwaukee Ave., Logan Square.
afc1981004_b44423
Film negative frame numbers, descriptions: 0-32, Norwegian Independence Day Parade, State St., the Loop.
afc1981004_b44424
Film negative frame numbers, descriptions: 1-2, wall decorations, mostly family photographs, at the home of Rev. James Callozzo, 1049 W. Taylor St.; 3-4, pot of flowers on radiator; 5-6, kitchen of Callozzo home; 7-14, icons painted by Father James Callozzo (Father Callozzo is an Italian American who became an Eastern Orthodox priest.); 15-17, bedroom of Father Callozzo's daughter, icon in corner, together with posters of Farrah Fawcett and characters from "Happy Days" TV series; 18-19, icon on wall; 20, living room; 21-22, Father Callozzo and Greta Swenson; 23, Father Callozzo; 23a-24a, work area; 25a.-27a, Father Callozzo in his workshop; 28a-36a, Norwegian Independence Day celebration at home of Jan Harry and Josefa Andersen, 3416 N. Oak Park, unidentified party goers, scene includes Norwegian national costume.
afc1981004_b44668
Film negative frame numbers, descriptions: 0-27, Ray Nilsen and family at home, 6039 N. Newburg, Chicago; 28-37, Norwegian Independence Day (Syttende Mai) church service, Norwegian Memorial Lutheran Church, Minnekirken, 2614 Milwaukee Ave., Logan Square; 27-29, congregation seated; 29a-35, choir rehearsal of the "Sunshine Singers"; 30, Ray Nilsen, director, left; 35a-37, kitchen of downstairs buffet.
afc1981004_b44670
Film negative frame numbers, descriptions: 1-4, local (non-Norwegian) Logan Square youths hang out on steps of Minnekirken parsonage, 2614 Milwaukee Ave.; 5-14a, The Sunshine Singers singing at Minnekirken on Norwegian Independence Day; 15-.37, downstairs buffet at Minnekirken; 17-18a, Archie Andersen, president, Norwegian National Council; 20a, Wayne Spies, president, Minnekirken church council and choir; director, Normennernes Singing Society and Danish Singing Society Harmonien, left; 22-23a, Mrs. Josefa Andersen, center; 27-28a, Rev. Roald Kverndal, pastor of Minnekirken, right; 29-30a, Mr. and Mrs. Ray Nilsen.
afc1981004_b45398
Film negative frame numbers, descriptions: 0a-13, Reidar Rosenvinge at Norway Center, 2350 N. Kedzie Blvd., Logan Square; 0a-9, Rosemaling (Norwegian rose-painting) by Mr.Rosenvinge; 9a-13, Reidar Rosenvinge and rosemaling; 13a-26 Norway Center; 19a-21 and 22a-24, Reidar Rosenvinge; 26a-34 Bjuhr's Bakery, 5348 N. Clark, Andersonville; Gosta Bjuhr, baker; 26a-30 Gosta Bjuhr making "lussikat" (Santa Lucia Day pastry); 31a-34 Gosta Bjuhr, left, Jens Lund (fieldworker), right.
afc1981004_b45399
Film negative frame numbers, descriptions: 0a-2, student practicing; 2a-7, students practicing; 7a, students practicing; 8a-12, Reidar Rosenvinge; 12a-14, Reidar Rosenvinge; 14a-16, student practicing; 16a, Norway Center, 2350 N. Kedzie Blvd., Logan Square; 17a-20a, exterior of Norway Center; 21a, Reidar Rosenvinge, right, Jens Lund, left; 22a-26, Reidar Rosenvinge, right, Jens Lund (fieldworker), left; 27a-36a, rosemaling examples by Mr. Rosenvinge.
afc1981004_b47816
Film negative frame numbers, descriptions: 0-36a, artifacts and interiors at the home of Jan Harry and Josefa Andersen, 3416 N. Oak Park Ave.; 4a-7, carved homeplace in situ; 8-10, Christmas tablecloth; Mr. and Mrs. Andersen; 32-33, reproduction in publication (cited in frame 34) of a drawing, the source of the carving on photographs at call number: AFC 1981/004:b47818; 34, title page of book: Norges Jul, Nordmanns-Forbundets Julehefte 1975, Oslo; 34a-36, painting of the homeplace.
afc1981004_b47820
Film negative frame numbers, descriptions: 1-3, embroidered bell pull at home of Jan Harry and Josefa Andersen, 3416 N. Oak Park Ave.; 4-7a, exterior of Andersen home; 9-17, 30-31, Mr. Jorgen ("o" with stroke) Hyland, Hardanger fiddler at home, 244 Callan Ave., Evanston; 18-29, closeup of Hardanger fiddle; 32-34, Mr. and Mrs. Jorgen Hyland.
afc1981004_b47821
Film negative frame numbers, descriptions: 2-3, exterior of Ferrara Manor, where dinner was held for the 80th anniversary of the Holy Trinity Russian Orthodox Church; 4-28, interior of Ferrara Manor, including church dinner head table and dancers relaxing afterward; 8-9, Anton Angelich, left; 11, 1-r, Gordana Trbuhovic-Grasa, Danny Wolff, Anton Angelich; 14, Anton Angelich; 23, Gordana Trbuhovic-Grasa, center; 25-27, Richard March, 3rd from right; 29-33, exterior of Continental Night Club; 34-37, interior of Jan Harry Andersen and Josefa Andersen home, 3416 N. Oak Park Ave.
afc1981004_056
Image numbers, descriptions: 1-13, at the Swedish-American Museum, 5248 N, Clark, Andersonville, painting on walls; 14, 18-19, portraits over fireplace; carved candelabra by Ivar Antonsson; 15-17, troll-like figures on display.
afc1981004_057
Image numbers, descriptions: 1-8, at the Swedish-American Museum, 5248 N, Clark, Andersonville, candlabra carved by Ivar Antonsson; 9-12, Halmslojd (straw work) by Selma Jacobson; 13-14, exterior of Swedish-American Museum.
afc1981004_059
Image numbers, descriptions: 1-2, demonstration of Halmslojd (straw work) by Selma Jacobson at the Swedish American Pioneer Historical Society Archives, choosing straw; 3-4, soaking straw; 5-13, making straw figure.
afc1981004_060
Image numbers, descriptions: 1-20, display of Halmslojd (straw work) by Selma Jacobson at the Swedish American Pioneer Historical Society Archives.
afc1981004_061
Image numbers, descriptions: 1-14, display of Halmslojd (straw work) by Selma Jacobson at the Swedish American Pioneer Historical Society Archives; 6-7, Julebuk (Christmas goat).
afc1981004_075
Image numbers, descriptions: 1-15, Paintings by Olga Lejondahl, 2835 W. 97th St., Evergreen Park, she is in frames 1-3; 16-20, garage door painted by Olga Lejondahl in her trademark coachman design.
afc1981004_076
Image numbers, descriptions: 1-9, mural by Olgo Lejondahl at home of Angelina Marzolla, 2503 S. Lombardi; 10-12, exterior of Marzolla home, showing lawn ornaments; 13-16, rear of Marzella home(?).
afc1981004_b45146
Film negative frame numbers, descriptions: 1-13, Mrs. Selma Jacobson demonstrating the craft of Halmslojd or straw craft at the Swedish-American Pioneer Historical Society Archives, 97 Nyvall Blvd., North Park College, 5120 N. Spaulding, Andersonville; 14-36, businessman's jam session at the Marina Towers, "Jazz at Noon"; 22-23, Mrs. Edith Wilson and Franz Jackson, center; 25-26, Mrs. Edith Wilson and Franz Jackson, right; 28, 30-31, 36-37, Franz Jackson, left (clarinet player); 32-33, Mrs. Edith Wilson, left.
afc1981004_b45147
Film negative frame numbers, descriptions: 0-10, carvings by Ivar Antonsson at Swedish American Museum, 5248 N. Clark, Andersonville; 10a-12, halmslojd by Selma Jacobson at Swedish-American Museum; 12a-15, exterior of Swedish-American Museum; 15a-25, street scenes, 5100-5300 blocks, N. Clark, Andersonville; 18a-20a, Ann Nilsson, shopgirl at Erickson's Delicatessen.
afc1981004_b45148
Film negative frame numbers, descriptions: 0-37, Miss Selma Jacobson demonstrates halmslojd (strawcraft) at Swedish-American Pioneer Historical Society Archives, 97 Nyvall Blvd., North Park College, 5120 N. Spaulding, Andersonville; 0-22a, finished objects; 17, julebuk (or julebukk, Christmas goat); 23-37; Selma Jacobson making halmslojd of rye straw.
afc1981004_b45398
Film negative frame numbers, descriptions: 0a-13, Reidar Rosenvinge at Norway Center, 2350 N. Kedzie Blvd., Logan Square; 0a-9, Rosemaling (Norwegian rose-painting) by Mr.Rosenvinge; 9a-13, Reidar Rosenvinge and rosemaling; 13a-26 Norway Center; 19a-21 and 22a-24, Reidar Rosenvinge; 26a-34 Bjuhr's Bakery, 5348 N. Clark, Andersonville; Gosta Bjuhr, baker; 26a-30 Gosta Bjuhr making "lussikat" (Santa Lucia Day pastry); 31a-34 Gosta Bjuhr, left, Jens Lund (fieldworker), right.
afc1981004_b46714
Film negative frame numbers, descriptions: 0, Elizabeth Mathias, fieldworker for Italian Americans in project lodgings or office; 1, mural sign with Viking ship for Hagen's Fish Market, 5635 W. Montrose Ave.; 2-3, Roseland Salvation Army Corps (New Life House), 115 E. 111th St., Roseland; 4, Svea's Restaurant (not Mathiasson's Svea), 1160 S.Western Ave., Blue Island; 5-9a, Kurt Mathiasson at the Swedish-American Museum, 5248 N. Clark, Andersonville; 11-32a, Mrs. Aina Momquist's shop, the Scandinavian Boutique, 18135 Harwood, Homewood; 11-26a, needlecraft by Mrs. Momquist (see recordings AFC 1981/004: AFS 20609a and AFS 20609b for IDs); 27-33; Mrs. Momquist in shop.
afc1981004_b48696
Film negative frame numbers, descriptions: 0-18a, paintings by Olga Lejondahl, 2835 W. 97th St., Evergreen Park; 19-22a, Ruth Peterson, left, Olga Lejondahl, right; 23-27, 33-36, murals by Olga Lejondahl at home of Angelina Marzolla, 2503 S. Lombardi; 28-32, exterior of Marzolla home, showing lawn ornaments.
afc1981004_b52031
Film negative frame numbers, descriptions: 0-3, garage door at 8108 W. 127th St., Palos Hills, painted by Swedish painter Olga Lejondahl; 4-5, Sodyba, Lithuanian home for pensioners on South Carolina Ave., with chapel pole on grounds; 6-36, Knights of Columbus picnic, 47th and Campbell, generally attended by Lithuanian Americans from Marquette Park and Brighton Park.
afc1981004_066
Image numbers, descriptions: 1-2, bakery workers packing cake, Gosta Bjuhr at left, at Bjuhr's Bakery, 5348 N. Clark, Andersonville; 3-4, Gosta Bjuhr making lussikat (Santa Lucia Day pastry); 5-7, Gosta Bjuhr holding cake that says "Volkommen Harry."
afc1981004_067
Image numbers, descriptions: 1-5, Mrs. Anna Momquist in Scandinavian Boutique, 18135 Harwood, Homewood, a Swedish needlework shop; 6-7, partly finished rya piece held by Mrs. Momquist; 8-9, detail of rya piece showing women in fields; 10-20, examples of needlework (see tapes for ID: AFC 1981/004: AFS 20609a and AFC 1981/004: AFS 20609b).
afc1981004_068
Image numbers, descriptions: 1-17, examples of needlework in Scandinavian Boutique, 18135 Harwood, Homewood, a Swedish needlework shop, see tapes for ID: AFC 1981/004: AFS 20609a and AFC 1981/004: AFS 20609b).
afc1981004_b44421
Film negative frame numbers, descriptions: 0a-5, Kurt Mathiasson (with accordion and guitar) and unidentified employees in Svea Restaurant kitchen, 5236 N. Clark, Andersonville (Swedish-American); 0a-2 (Mrs. K.) Solveig Mathiasson (seated, white uniform) (Swedish-American); 5a-16, Norwegian Independence Day Parade, State St., the Loop; 16a, view of 3400 block, N. Oak Park Ave., Jan Harry and Josefa Andersen's house in center (Norwegian-American); 17a, yard ornament of Andersen's neighbor, N. Oak Park Ave.; 18a-20a, in the Andersen home; 18a painting by Per Guldbrandsen; 19a kransekake (marzipan wreath); 20a buffet table; 21a-34, Danish-American Athletic Club, 4624 N. Pulaski Rd.; 23a, cocktail hour table in basement; 24a-32, dinner; 26-28, Mrs. Elisabeth Larsen, right; 28-32, unidentified Swedish-American vocalist; 32a-34, D.A.A.C. bulletin board (Danish-American Athletic Club).
afc1981004_b44423
Film negative frame numbers, descriptions: 0-32, Norwegian Independence Day Parade, State St., the Loop.
afc1981004_b44424
Film negative frame numbers, descriptions: 1-2, wall decorations, mostly family photographs, at the home of Rev. James Callozzo, 1049 W. Taylor St.; 3-4, pot of flowers on radiator; 5-6, kitchen of Callozzo home; 7-14, icons painted by Father James Callozzo (Father Callozzo is an Italian American who became an Eastern Orthodox priest.); 15-17, bedroom of Father Callozzo's daughter, icon in corner, together with posters of Farrah Fawcett and characters from "Happy Days" TV series; 18-19, icon on wall; 20, living room; 21-22, Father Callozzo and Greta Swenson; 23, Father Callozzo; 23a-24a, work area; 25a.-27a, Father Callozzo in his workshop; 28a-36a, Norwegian Independence Day celebration at home of Jan Harry and Josefa Andersen, 3416 N. Oak Park, unidentified party goers, scene includes Norwegian national costume.
afc1981004_b44669
Film negative frame numbers, descriptions: 0-27, home of Serbian American violinist/painter Jovan Demetrius Mihailovic, 5112 N. Wolcott (Mr. Michailovic wearing dark turtleneck); 25, 27, Greta Swenson, center; 29-37, Ray Nilsen at home, 6039 N. Newberg; 29-30, 37 Jens Lund, left, Ray Nilsen, right; 31-32, exterior of Nilsen home; 30-36, Ray Nilsen.
afc1981004_b47821
Film negative frame numbers, descriptions: 2-3, exterior of Ferrara Manor, where dinner was held for the 80th anniversary of the Holy Trinity Russian Orthodox Church; 4-28, interior of Ferrara Manor, including church dinner head table and dancers relaxing afterward; 8-9, Anton Angelich, left; 11, 1-r, Gordana Trbuhovic-Grasa, Danny Wolff, Anton Angelich; 14, Anton Angelich; 23, Gordana Trbuhovic-Grasa, center; 25-27, Richard March, 3rd from right; 29-33, exterior of Continental Night Club; 34-37, interior of Jan Harry Andersen and Josefa Andersen home, 3416 N. Oak Park Ave.
afc1981004_074
Image numbers, descriptions: 1-6, Danish Singing Society Harmonien rehearsing at Normennenes Singing Society Hall, 2414 N. Kedzie Blvd., Logan Square - Wayne Spies is leading (dark suit, reddish tie, standing in frames 5 and 6).
afc1981004_b44421
Film negative frame numbers, descriptions: 0a-5, Kurt Mathiasson (with accordion and guitar) and unidentified employees in Svea Restaurant kitchen, 5236 N. Clark, Andersonville (Swedish-American); 0a-2 (Mrs. K.) Solveig Mathiasson (seated, white uniform) (Swedish-American); 5a-16, Norwegian Independence Day Parade, State St., the Loop; 16a, view of 3400 block, N. Oak Park Ave., Jan Harry and Josefa Andersen's house in center (Norwegian-American); 17a, yard ornament of Andersen's neighbor, N. Oak Park Ave.; 18a-20a, in the Andersen home; 18a painting by Per Guldbrandsen; 19a kransekake (marzipan wreath); 20a buffet table; 21a-34, Danish-American Athletic Club, 4624 N. Pulaski Rd.; 23a, cocktail hour table in basement; 24a-32, dinner; 26-28, Mrs. Elisabeth Larsen, right; 28-32, unidentified Swedish-American vocalist; 32a-34, D.A.A.C. bulletin board (Danish-American Athletic Club).
afc1981004_b48714
Film negative frame numbers, descriptions: 0-4a, solo player in Bandurist Youth Group, the field documentation does not make clear if this is St. Volodymyr Ukrainian Orthodox Cathedral (probably) or Sts Volodymyr and Olha Ukrainian Catholic Church; 5-17, Danish Singing Society Harmonien rehearsing at Normennernes Singing Society Hall, 2414 N. Kedzie Blvd, Logan Square, led by Wayne Spies; 18, Peder Larsen (president), Holger Morch and unidentified listen to playback; 19-27, smorrebrod (o with stroke), Danish sandwiches at banquet in basement after rehearsal; 19-20, Wayne Spies, 2nd from left; Pedar Larsen, far right; 22, Wayne Spies, left; Peder Larsen, 2nd from right; 25, Peder Larsen, left at far end of table; Wayne Spies, far end of right side of table; 26-27a, Peter Larsen, right; 28-35, project photographer Jonas Dovydenas editing pictures at home.
afc1981004_078
Image numbers, descriptions: 1-10, unidentified American Indian craftmen and craftswomen with their work at the Second Annual American Indian Fine Arts, Crafts and Trade Show at Lincoln Park Center, 2520 N. Lincoln Park, Chicago.
afc1981004_079
Image numbers, descriptions: 1-6, Lyman Pierce, executive director of the Illinois (Indian) Employment and Training Center, in front of the American Indian Business Association Industrial Training and Employment Program office, 1124 W. Granville, Chicago.
afc1981004_b41989
Film negative frame numbers, descriptions: 1-20a, scenes of Uptown neighborhood, near Magnolia and Racine; 21-36, second Annual American Indian Fine Arts, Crafts and Trade Show at Lincoln Park Center, 2520 N. Lincoln Park, Chicago, Illinois, unidentified American Indian craft-makers with their work.
afc1981004_b41992
Film negative frame numbers, descriptions: 1-36, Second Annual American Indian Fine Arts, Crafts and Trade Show at Lincoln Park Center, 2520 N. Lincoln Park, Chicago, Illinois; unidentified American Indian crafts-makers with their work.
afc1981004_b42180
Film negative frame numbers, descriptions: 1-11, unidentified Native Americans at craft show, sign reads "Indian magic stick, a toy for fun"; 14-26, at the Maxwell Street market, fruit stand run by same person for at least 40 years; formerly belonged to his father; 16, Shifra Epstein, fieldworker; 17, unidentified woman; 29-31, unidentified couple; 27-28, 32-36, Kosher delicatessan run by non-Jew; 36a, unidentified woman (left), Shifra Epstein (right).
afc1981004_b43068
Film negative frame numbers, descriptions: 1-14, interior of Schmitts Metzgerei; 15-17, unidentified building; 18-end, unidentified American Indian craftsmen.
afc1981004_b72635
Film negative frame numbers, descriptions: 1-22, at the St. Jerome Croatian Catholic Church Annual Parish Festival in Bridgeport, site of much Croatian nationalism; 23-36, Lyman Pierce, executive director of the Illinois (Indian) Employment and Training Center.
afc1981004_b72637
Film negative frame numbers, descriptions: 1-5, Lyman Pierce, executive director of the Illinois (Indian) Employment and Training Center, in front of American Indian Business Association Industrial Employment and Training Program office, 1124 W. Granville, Chicago; 6-10, Street scene, Davidson's Bakery; 11-13, Latino mural in the predominantly Mexican American Little Village neighborhood, depicting a rural scene presumably in Mexico; 14-15, Wall mural in the Little Village neighborhood, slogan on mural painted in Spanish ("El Respeto al Derecho Ajeno es La Paz") and English ("To Respect the Rights of Your Neighbor is Peace"), attributed on the mural to Benito Juarez, former president of Mexico; 16-22, Mr. Kean Sea Park, brush painter, with his work, 6244 N. Claremont, Chicago; 23-26, Mr. Park and unidentified children; 27-33, Mr. Park playing bamboo flute.
afc1981004_080
Image numbers, descriptions: 1-8, Mrs. Katy Gregory and her daughter, Mrs. Ethel Lois Jackson, craftswomen, 335 W. 114th St., Chicago, red, white and blue quilt - unidentified child - possibly a family record, since names and birth dates are embroidered on each square; 9-10, orange, beige, and yellow quilt - medallion type - Mrs. Jackson on left, Beverly Robinson (?) on right; 11-12, multi-color (pastel) quilt; 13-18, unjoined quilt blocks in Dresden plate type pattern - held by Mrs. Jackson, left, Mrs Gregory, right; 19-20, yellow, pink, blue and white quilt held by Mrs. Gregory - Trip Round the World pattern variation.
afc1981004_081
Image numbers, descriptions: 1-9, Sunbonnet Sue quilt, with close-ups of some blocks, at the home of Mrs. Katy Gregory and her daughter, Mrs. Ethel Lois Jackson, craftwomen, 335 W. 114th St., Chicago - unidentified child in photos.
afc1981004_082
Image numbers, descriptions: 1-2, lightbulb figures made by Mrs. Ethel Lois Jackson at the home of Mrs. Katy Gregory and her daughter, Mrs. Ethel Lois Jackson, craftwomen, 335 W. 114th St., Chicago; 3-9, craft work area and materials.
afc1981004_083
Image numbers, descriptions: 1-20, dolls made by Mrs. Claudia Johnson and her daughter, Mary Young, craftswomen, 4359 S. Oakenwald, Chicago.
afc1981004_084
Image numbers, descriptions: 1-20, dolls made by Mrs. Claudia Johnson and her daughter, Mary Young, craftswomen, 4359 S. Oakenwald, Chicago.
afc1981004_085
Image numbers, descriptions: 1-7, dolls made by Mrs. Claudia Johnson and her daughter, Mary Young, craftswomen, 4359 S. Oakenwald, Chicago; 8-9, red, white, and blue log cabin quilt.
afc1981004_086
Image numbers, descriptions: 1-2, unidentified children with basketball; 3-4, unidentified woman and children on steps of McGee Temple, Church of God in Christ, 4946 S. Vincennes, Chicago, Friday night services; 5-6, interior of the church - slides are very dark; 7-9, wall decorations - painted clouds and angels, portrait, and banner with Biblical quotation; 10, three unidentified men.
afc1981004_087
Image numbers, descriptions: 1-8, at the Kingston Mines Bar, Louis Myers on guitar, others unidentified.
afc1981004_088
Image numbers, descriptions: 1-11, exterior of Theresa's Lounge, 48th and Indiana, with Theresa's dog Ship; 12-16, Theresa Needham with fieldworker Ralph Metcalfe, Jr. at bar.
afc1981004_089
Image numbers, descriptions: 1-6, James Mack, with flute, 1400 E. 55th Place, Chicago; 7-8, James Mack with unidentified female.
afc1981004_090
Image numbers, descriptions: 1-3, Grace Jackson at Grace's Garden of Eden, a health food store, 6449 King Dr., Chicago, with fieldworker Ralph Metcalfe; 4-5, Grace Jackson; 6, interior of store.
afc1981004_091
Image numbers, descriptions: 1- 20, the Lefty Dizz Shock Treatment at the Checkerboard Lounge, 423 E. 43rd, Chicago, musicians: Lefty Dizz, lead guitar and vocal (wearing flowered shirt); Sylvia Embry, bass (loose blue top ), Kevin Donnelly, guitar (white tee shirt); Woody Williams (?), vocal; note: all slides are very dark (underexposed).
afc1981004_092
Image numbers, descriptions: 1-11, the Lefty Dizz Shock Treatment at the Checkerboard Lounge, 423 E. 43rd, Chicago, musicians: Lefty Dizz, lead guitar and vocal (wearing flowered shirt); Sylvia Embry, bass (loose blue top), Kevin Donnelly, guitar (white tee shirt); Woody Williams (?), vocal; note: all slides are very dark (underexposed).
afc1981004_093
Image numbers, descriptions: 1-3, fieldworker Ralph Metcalfe, left, interviewing Val Grey Ward, Kuumba Workshop, 2222 S. Michigan, Chicago; 4-9, unidentified actors with Val Grey Ward, in jumper and striped shirt.
afc1981004_094
Image numbers, descriptions: 1-3, Yaounde Olu, uniphysicist, at her Osun Studio, 2541 E. 75th St., Chicago, outside the gallery; 4-20, Yaounde Olu inside the gallery, with views of various paintings.
afc1981004_095
Image numbers, descriptions: 1-4, Yaounde Olu, uniphysicist, at her Osun Studio, 2541 E. 75th St., Chicago.
afc1981004_096
Image numbers, descriptions: 1-18, unidentified members of the Darlene Blackburn Dance Troupe performing at the Museum of Science and Industry.
afc1981004_097
Image numbers, descriptions: 1-12, unidentified members of the Darlene Blackburn Dance Troupe performing at the Museum of Science and Industry.
afc1981004_098
Image numbers, descriptions: 1-18, street scenes at Jazz Alley, 50th and Langley, Chicago, with unidentified people, signs, wall murals, vendors.
afc1981004_099
Image numbers, descriptions: 1-9, at Jazz Alley, 50th and Langley, Chicago, wall murals; 10-12, neighborhood around Jazz Alley; 13-16, left to right, Charles Hollingsworth, fieldworkers Elena Bradunas and Ralph Metcalfe, Jr.; 17-18, vendor's wares on hood of car.
afc1981004_100
Image numbers, descriptions: 1-3, at Jazz Alley, 50th and Langley, Chicago, vendor's truck (fruit seller?); 4-11, wall murals; 13-17, hot dog vendor's truck, with customer; 18-20, fieldworker Carl Fleischhauer sweeping up packing materials in photographer Jonas Dovydenas's backyard on N. Kenmore.
afc1981004_b42182
Film negative frame numbers, descriptions: 0-10, at the Maxwell Street market, setting up for market day around 6AM Sunday morning; 11-36, market peddlers; 22-24, 31, 34-36, fieldworker Shifra Epstein with unidentified man.
afc1981004_b45142
Film negative frame numbers, descriptions: 0-3, Mrs. Katy Gregory (left), with her family; 4-6, Mrs. Ethel Lois Jackson with her light bulb crafts (she is Mrs. Gregory's daughter); 7-9, 11-12, Mrs. Gregory, left; 10, House decoration; 13-36, Examples of Mrs. Gregory's quilts.
afc1981004_b45143
Film negative frame numbers, descriptions: 0-1, Mrs. Mary Ellen Bowens, left, Mrs. Elwillie Baylark, right, 6401 South Yale, Chicago; 2-5, Mrs. Bowens, Beverly Robinson (fieldworker), Mrs. Baylark; 6-7, wall decoration; 8-10, Mrs. Mary Ellen Bowens; 11-15, 17-20, 23-29, 33-36, Jimmie Walker (750 E. 46th St., Chicago ) (at piano) with unidentified guitar player; 16, fieldworker Beverly Robinson at far left, Lynn Emmerman (friend of photographer Jonas Dovydenas) at left, others unidentified; 21-22, unidentified guitar player; 30, unidentified musicians; 31-32, Beverly Robinson, left; Lynn Emmerman, right.
afc1981004_b45144
Film negative frame numbers, descriptions: 1-15, 18-22, 25-36 Mrs. Edith Wilson, vocalist; Franz Jackson, clarinet; at the Marina Towers businessman's jam session, "Jazz at Noon"; 16-17, unidentified; 23-24, Mrs. Wilson, center.
afc1981004_b45145
Film negative frame numbers, descriptions: 1-2, interior of Mrs. Katy Gregory's home, 335 W. 114th, Chicago; 3-7, Mrs. Ethel Lois Jackson, left; Beverly Robinson, fieldworker, right; 8, Mrs. Gregory, left; Mrs. Jackson, right; 9-10, l-r, Mrs. Gregory, Mrs. Jackson, Beverly Robinson; 11-12, Mrs. Mary Ellen Bowens - she made pillows on back of sofa; 13, Mrs. Bowens, left; Mrs. Lee Ora Crowder, right; 14-23, Mrs. Bowens displaying quilts; Beverly Robinson at right; 24-25, Mrs. Bowens' pillows; 26, sofa upholstery; 27-28 ,Mrs. Lee Ora Crowder, jewelry maker; 28a, wall decoration; 29-36, Mrs. Elwillie Baylark, showing cape she crocheted, 6401 S. Yale, Chicago.
afc1981004_b45146
Film negative frame numbers, descriptions: 1-13, Mrs. Selma Jacobson demonstrating the craft of Halmslojd or straw craft at the Swedish-American Pioneer Historical Society Archives, 97 Nyvall Blvd., North Park College, 5120 N. Spaulding, Andersonville; 14-36, businessman's jam session at the Marina Towers, "Jazz at Noon"; 22-23, Mrs. Edith Wilson and Franz Jackson, center; 25-26, Mrs. Edith Wilson and Franz Jackson, right; 28, 30-31, 36-37, Franz Jackson, left (clarinet player); 32-33, Mrs. Edith Wilson, left.
afc1981004_b45149
Film negative frame numbers, descriptions: 1-36, rehearsal with Jimmie Walker (750 E. 46th St.,Chicago) and his group, the sax player was from the firehouse across the street; 7-8, unidentified sax player, Beverly Robinson (fieldworker), Lynn Emmerman (friend of photographer Jonas Dovydenas); 9-12, fieldworker Beverly Robinson, Jimmie Walker; 24-25, project photographer Jonas Dovydenas and Lynn Emmerman, center; 30-31, l-r, Beverly Robinson, Jimmie Walker, unidentified guitarist.
afc1981004_b45150
Film negative frame numbers, descriptions: 0-20, Mrs. Edith Wilson at her home; 2-9, Mrs. Edith Wilson (5921 Indiana, Chicago) and fieldworker Beverly Robinson holding quilt started by Mrs. Wilson's family in slavery and completed in 1883; 10-16, 20, Mrs. Edith Wilson; 17-19, portraits; 21-22, Big Time Sara Streeter, a blues singer, at Elsewhere; 23-27, Big Time Sara's back up group composed of Sunnyland Slim (piano), Micky Martin, Eddie Taylor, and unidentified bass player.
afc1981004_b45395
Film negative frame numbers, descriptions: 1-15, Examples of dolls made by Claudia Johnson and her daughter, Mary Young; 4359 S. Oakenwald, Chicago; 16-20, Examples of crocheted articles; 21-22, Mary Young, wearing crocheted apron; 23-30, 35, Mrs.Young, left, and Mrs Johnson display quilts; 31-32, Close-up of quilt; 33-34, Mrs.Johnson in front of quilt, Beverly Robinson, fieldworker, right; 36-37, Mrs. Young and fieldworker Beverly Robinson showing quilt.
afc1981004_b45396
Film negative frame numbers, descriptions: 1-17, Mrs. Edith Wilson at Marina Towers business man's jam session, "Jazz at Noon," Mrs. Wilson, vocalist, Franz Jackson on sax; 18-21, fieldworker Beverly Robinson, left, Mrs. Wilson, right; 22-25, 31-34, Beverly Robinson, Big Time Sara Streeter, Micky Martin in front of Flying Fox Lounge, 757 W. 69th St., Chicago; 26-30, 35-37, unidentified.
afc1981004_b45397
Film negative frame numbers, descriptions: 1 - 9, at the church banquet held at the 69 Club, 117th and Halstead, Evelyn Gaye at piano (back to camera), Donald Gaye (standing) - others unidentified; 10, 15, unidentifed people at banquet; 11-14, Evelyn Gaye at piano, Donald Gaye, vocal; 16-25, Evelyn Gaye at the piano; 26-29, unidentified people at banquet; 30-32, formal portrait of head table; 33-35, Donald Gaye at right, others unidentified.
afc1981004_b45400
Film negative frame numbers, descriptions: 0-33, a cappella (shape note) singing convention, Stranger Home Baptist Church, 1451 W. 63rd, Chicago; 34-35, quilt made by Mrs. Mary Young, 4359 S. Oakenwald, Chicago; 36, Crocheted dog by Mrs. Mary Young.
afc1981004_b45839
Film negative frame numbers, descriptions: 0-1, displaying front of quilt, Mary Young, left, fieldworker Beverly Robinson, right; 2, reverse of same quilt; 3-4, displaying front of string/crazy quilt; 5, reverse of string/crazy quilt; 6-7, displaying quilt; 8-9, Mary Young holding pillow; 10, interior of house; 11-15, Mrs. Johnson and Mrs. Young posing in the parlor (Claudia Johnson and her daughter, Mary Young, craftswomen, 4359 S. Oakenwald, Chicago); 16-19, 29-33, Louis Myers on guitar at the Kingston Mines blues club; 24-28, Louis Myers, below, Jimmy Johnson, unidentified bass.
afc1981004_b45840
Film negative frame numbers, descriptions: 1-4, unidentified street scenes; 5-6, church banquet held at the 69 Club, 117th and Halstead, exterior of the 69 Club; 7-17, 19-20, 26-27, unidentified people at banquet; 18, 21-22, Evelyn Gaye, left; 23-25, Evelyn Gaye; 28-29, Evelyn Gaye, left, Beverly Robinson, fieldworker, right.
afc1981004_b45841
Film negative frame numbers, descriptions: 1-2, at the Kingston Mines Bar, Eugene Young, The Greedy (?) Man; 3-5, Ralph Metcalfe, Jr., fieldworker, left; Eugene Young, right; 6-13, scenes of bar and clientele; 14-16, Lee.Jackson (blues guitar) and unidentified female; 17, 20, 24, 28, 31-33, 36, unidentified; 18-19, 25-27, 29-30, Louis Myers, guitar; 21-23, Kevin Donnelly, Ellen (?), his girlfriend; 34-35, Freddy Below, guitar.
afc1981004_b46041
Film negative frame numbers, descriptions: 1-7, James Black at Daley's, Drexel and 63rd, Chicago; 8, street scene; 9-34, James Black, astrologer, at home at 6319 S. Drexel, Chicago.
afc1981004_b46042
Film negative frame numbers, descriptions: 1-2, fieldworker Ralph Metcalfe, Jr., James Mack, musician and educator, 1400 E. 55th Place, Chicago; 3-4, Ralph Metcalfe, Jr.; 5-15, James Mack, with flute; 16-23, James Mack with unidentified female; 23-35, exterior of Theresa's Lounge, 4801 South Indiana Ave., with Theresa's dog Ship; 36, Theresa Needham with Ralph Metcalfe, Jr., at bar.
afc1981004_b46043
Film negative frame numbers, descriptions: 1-3, exterior of Theresa's Lounge, 4801 South Indiana Ave.; 4-20, interior of Theresa's Lounge; 21-36, Grace Jackson at Grace's Garden of Eden, a health food store, 6449 King Dr., Chicago, Grace wearing light coat; 21-23, 26-28, Grace with Ralph Me1calfe, Jr, fieldworker.
afc1981004_b46702
Film negative frame numbers, descriptions: 1-9, exterior of Florence's Lounge, 5443 South Shields, Chicago; 7a-9a Ralph Metcalfe, Jr. in light shirt; 11-35, musicians at Florence's Lounge; 11-14a, 16a-21a, 25a-26a guitarist in upper right is John Embry; 30a-34a, vocalist Sylvia Embry, guitarist John Embry.
afc1981004_b46703
Film negative frame numbers, descriptions: 0-1, Lefty Dizz (aka Walter Williams) and Ralph Metcalfe, Jr; 2a-7, Kevin Donnelly and Sylvia Embry, bass player for Dizz; 7a-9, unidentified; 9a, Kevin Donnelly, left, with his girlfriend Ellen (?); 11a, Lefty Dizz, center; 12a-13a, Lefty Dizz, right; 14a-36, The Lefty Dizz Shock Treatment at the Checkerboard Lounge, 423 E. 43rd St., Chicago, members of the band: Lefty Dizz, lead guitar and vocal; Sylvia Embry, bass; Kevin Donnelly, guitar; Woody W(?}, vocal.
afc1981004_b46705
Film negative frame numbers, descriptions: 0-9, outside Florence's Lounge, 5443 South Shields Ave.; 8, Len Dunn, right; fieldworker Ralph Metcalfe, Jr., left; 11-18, Cicero, on Memorial Day; 19-36, Memorial Day family picnic at 4827 S. Lotus, Croatian American family.
afc1981004_b46706
Film negative frame numbers, descriptions: 1-22, The Lefty Dizz Shock Treatment - musicians: Lefty Dizz, lead guitar and vocal; Sylvia Embry, bass; Kevin Donnelly, guitar; Woody W (?),vocal, at the Checkerboard Lounge, 423 E. 43rd St., Chicago; 23, bartender; 27-29, bar clientele and band; 31-34, Kevin Donnelly (left center), Sylvia Embry, right center; 35-37, Ellen (?), left, Kevin Donnelly, right.
afc1981004_b46717
Film negative frame numbers, descriptions: 0-21, family picnic, Croatian American family, Memorial Day, 4827 S. Lotus, Chicago; 22-28, 33-36, left-to-right, Sylvia Embry, bass, Lefty Dizz, guitar, Woody Williams, drums, Kevin Donnelly, guitar, unidentified singer; 29-32, exterior of Checkerboard lounge, 423 East 43rd St., fieldworker Ralph Metcalfe, Jr.
afc1981004_b46865
Film negative frame numbers, descriptions: 0-7, 21-24, 31-34, Ralph Metcalfe, Jr. (fieldworker) and Val Gray Ward, Kuumba Workshop, 2222 S. Michigan, a black theater company; 8-20, 35-37, unidentified actors rehearsing; 25-30, Val Gray Ward.
afc1981004_b46866
Film negative frame numbers, descriptions: 1-36, Friday night church service, McGee Temple, Church of God in Christ, 4946 S. Vincennes, Chicago.
afc1981004_b46867
Film negative frame numbers, descriptions: 0-13, unidentified band at the Checkerboard Lounge, 423 E. 43rd St., Chicago; 14-19, Ralph Martin, Jr, left; Muddy Waters, Jr., right; 20-26, 32-36, Muddy Waters, Jr., 4333 S. Berkley Ave., Chicago; 27-30, Hattie Williams, Muddy Waters, Jr. with puppy.
afc1981004_b46868
Film negative frame numbers, descriptions: 1-2, Muddy Waters, Jr., 4333 S. Berkley, Chicago; 3-15, Muddy Waters, Jr. with the "Blue Goose" (a car); 16-23, Muddy Waters, Jr.; 24-27, fieldworker Ralph Metcalfe Jr. left; Muddy Waters, Jr., right; 28-29, unidentified; 31-34, Delia Coy and Douglas Mann, actors, 7739 S. Indiana, Chicago; 35-36, Delia Coy; 37, Jackie Coy, left; Delia Coy, right.
afc1981004_b46869
Film negative frame numbers, descriptions: 1-36, Friday night church service, McGee Temple, Church of God in Christ, 4946 S. Vincennes, Chicago.
afc1981004_b46870
Film negative frame numbers, descriptions: 1-36, Friday night church service, McGee Temple, Church of God in Christ, 4946 S. Vincennes, Chicago.
afc1981004_b46871
Film negative frame numbers, descriptions: 1-36, Friday night church service, McGee Temple, Church of God in Christ, 4946 S. Vincennes, Chicago.
afc1981004_b46872
Film negative frame numbers, descriptions: 1-36, Friday night church service, McGee Temple, Church of God in Christ, 4946 S. Vincennes, Chicago.
afc1981004_b47515
Film negative frame numbers, descriptions: 1-4, 8-9 Jackie Coy (light shirt) and Delia Coy, actress; 5-7, Delia Coy; 10-18, Walter Lowe, yoga teacher; 22-23, audience at St. Ladislaus School graduation, 5345 W. Roscoe; 24-32, unidentified people in front of St Ladislaus Church; 33-36, children of St. Ladislaus School, dancing in costume at graduation.
afc1981004_b48699
Film negative frame numbers, descriptions: 1-36, Jimmie Walker, 750 E. 46th St., Chicago, Illinois, piano player.
afc1981004_b48703
Film negative frame numbers, descriptions: 1-36, Darlene Blackburn Dance Troupe at the Museum of Science and Industry.
afc1981004_b48705
Film negative frame numbers, descriptions: 0-8, Mrs. Mary Belica's garden, 2528 S. 61st Ct., Cicero; 9-21, Yaounde Olu, uniphysicist, at her Osun Studio, 2541 E. 75th St., Chicago; 22-30, Yaounde Olu outside the gallery.
afc1981004_b48706
Film negative frame numbers, descriptions: 1-36, Darlene Blackburn Dance Troupe at the Museum of Science and Industry.
afc1981004_b48708
Film negative frame numbers, descriptions: 0-9, Blind John Davis at Columbia College; 5a, Barry Dollins, John's manager, immediately behind; 10-36, Jimmie Walker, at piano, with group practicing in his basement, 750 E. 46th St., Chicago.
afc1981004_b48711
Film negative frame numbers, descriptions: 1-36, Darlene Blackburn Dance Troupe at the Museum of Science and Industry.
afc1981004_b48713
Film negative frame numbers, descriptions: 1-36, Darlene Blackburn Dance Troupe at the Museum of Science and Industry.
afc1981004_b48715
Film negative frame numbers, descriptions: 1-2, 18, at Elsewhere, a blues club at Clark and Belmont, Chicago, unidentified; 3, 5, 7-14, 26-36, unidentified musicians; 4, 6, 19-22, Jimmie Walker; 15-17, L-r,.Barry Dollins, Sunnyland Slim, unidentified; 23-25, Big Time Sara Streeter, center.
afc1981004_b52024
Film negative frame numbers, descriptions: 0-16, Knights of Columbus Picnic at 47th and Campbell, attended mostly by Lithuanians from Marquette Park and Brighton Park, although the fieldworkers did not identify the ethnicity of the people in this series of photographs; 17-19, street scenes; 20-24, family and friends gathering at vicinity of 43rd and King [S. Martin Luther King Drive], Chicago; 25-28, at the Checkerboard Lounge, 423 E. 43rd St.: Lefty Dizz, Woody Williams, Kevin Donnelly; 30-36, same, with Sylvia Embry at far left (bass player); 37, Sylvia Embry, Woody Williams (Lefty's brothers).
afc1981004_b52026
Film negative frame numbers, descriptions: 1-7, Riddle's Bar, 312 E. 43rd, Chicago, left to right, Mae McEven, unidentified, Bernice Riddle, Queenesther Wright; 8-16, unidentified; 17-19, 22, Ralph Metcalfe, Jr., fieldworker, with Queenesther Wright; 23-24, Mae McEven, right, with unidentified woman; 24-26, left, Mae McEven; right, unidentifed woman; 27-36, Bernice Riddle, Mae McEven, sisters.
afc1981004_b52027
Film negative frame numbers, descriptions: 1, at the Checkerboard Lounge, 423 E. 43rd St., Dennis Ginosa, blues aficionado, and Ralph Metcalfe, Jr., right; 2-14a, The Lefty Dizz Shock Treatment: Lefty Dizz, vocals and lead guitar; Sylvia Embry, bass; Kevin Donnelly, second guitar; Woody Williams, drums; 15-25, Dino Alvarez, drummer, disc jockey, and car pimp (person who works on cars and women); 26, Josephine, the bartender, in dark dress; other woman unidentified; 27-31, Lefty Dizz; 32-36, Lefty Dizz, left, with unidentified woman.
afc1981004_b52030
Film negative frame numbers, descriptions: 0-6, Mary Lane, singing at the Checkerboard Lounge; 8-14, patrons of Checkerboard Lounge; 15-18, Josephine, bartender at the Checkerboard Lounge; 19-30, Josephine the bartender with Ralph Metcalfe, Jr.; 31-36, At Riddle's Bar, 312 E. 43rd, unidentified man with Queenesther Wright; 37, left, unidentified; right, Bernice Riddle.
afc1981004_b52862
Film negative frame numbers, descriptions: 1-14, Riddle's Bar, on 43rd St., Chicago; 16-36, Latino soccer game, Montrose Harbor Park.
afc1981004_b52865
Film negative frame numbers, descriptions: 1-36, street scenes at Jazz Alley, 50th and Langley, Chicago.
afc1981004_b53456
Film negative frame numbers, descriptions: 0-18, nightime scenes of Disciples of Jesus Revival Crusade (painted on van) on 43rd St., in front of the Checkerboard Lounge; 19-23, unidentified musicians at Theresa's Lounge; 24-34, patrons at Theresa's Lounge, 4801 South Indiana Ave.; 35-37, Ernest Johnson (bass).
afc1981004_b53457
Film negative frame numbers, descriptions: 0-3, at Theresa's Lounge, 4801 South Indiana Ave., Chicago, left to right, Layfield, James Green (bass), Muddy Waters, Jr; 4-10, left to right, Bob (Little Bob), bass player, Son Seals, Bill Warren; 11-12, 14, Bill Warren, 13, Son Seals; 15, left to right, Muddy Waters, Jr., Layfield, Rebecca Sive-Tomashetsky; 16-18, James Green, Rebecca Sive-Tomashetsky, Muddy Waters, Jr., Layfield; 19-36, unidentified dancers.
afc1981004_b53458
Film negative frame numbers, descriptions: 0-8, daytime scenes in front of Checkerboard Lounge; 0-5, 8, unidentified people; 6-7, project fieldworker Elena Bradunas in front of Checkerboard Lounge; 9-36, revival meeting at night (probably the Disciples of Jesus Revival Crusade), laying on hands for those who wish to receive Jesus.
afc1981004_b53460
Film negative frame numbers, descriptions: 0-2, 9-13, unidentified dancers at Theresa's Lounge, 46th and Indiana, Chicago; 3-6, Samuel Lawhorn, John [surname unknown] on guitar, Mary Lane; 7-8, Steve and Rebecca Sive-Tomashetsky; 14-22, Nate Applewaite, blues drummer (in plaid shirt); 23-31, Philip Guy, Junior Wells; 32-36, Samuel Lawhorn, Junior Wells.
afc1981004_b53461
Film negative frame numbers, descriptions: 0-14, street scenes around Jazz Alley, 50th and Langley, Chicago; 15-18, Charles Hollingsworth, an organizer, with fieldworker Ralph Metcalfe, Jr.; 19-23, street wall murals; 24-25, 27-36, street scenes in Jazz Alley neighborhood; 26, Charles Hollingsworth, and fieldworkers Ralph Metcalfe, Jr. and Elena Bradunas.
afc1981004_b53462
Film negative frame numbers, descriptions: 1-19, neighborhoods around Jazz Alley, 50th and Langley, Chicago; 20-21, Charles Hollingsworth, fieldworkers Elena Bradunas and Ralph Metcalfe, Jr.; 23-24, unidentified; 25-37 M.C. Barrett, astrologer, 5326 S. Cornell, Chicago.
afc1981004_102
Image numbers, descriptions: 1-2, bride and bridesmaid on way to wedding of Tom and Joyce Todorovic at Holy Trinity Serbian Cathedral; 3-8, last minute preparations before entering church.
afc1981004_b46523
Film negative frame numbers, descriptions: 1-36, wedding of Tom and Joyce Todorovic at Holy Resurrection Serbian Orthodox Cathedral.
afc1981004_b46524
Film negative frame numbers, descriptions: 1-36, wedding of Tom and Joyce Todorovic at Holy Resurrection Serbian Orthodox Cathedral.
afc1981004_b46707
Film negative frame numbers, descriptions: 1-36, wedding of Tom and Joyce Todorovic at Holy Resurrection Serbian Orthodox Cathedral.
afc1981004_b46709
Film negative frame numbers, descriptions: 1-36, wedding reception of Tom and Joyce Todorovic (Serbian American) at the Holiday Inn, Elk Grove; 4, Gordana Trbuhovic-Grasa, far right; 6-7, Richard March (fieldworker), far right.
afc1981004_b46711
Film negative frame numbers, descriptions: 1-36, wedding reception of Tom and Joyce Todorovic (Serbian American) at the Holiday Inn, Elk Grove; 1, Richard March (fieldworker) at left; 19a, 20a, Richard March at left, Gordana Trbuhovic-Grasa, 2nd from right.
afc1981004_b46712
Film negative frame numbers, descriptions: 1-36, wedding reception of Tom and Joyce Todorovic (Serbian American) at the Holiday Inn, Elk Grove; 25, Richard March (fieldworker) at tape recorder; 35, Gordana Trbuhovic-Grasa, left, fieldworker Richard March, right.
afc1981004_b46713
Film negative frame numbers, descriptions: 1-36, wedding reception of Tom and Joyce Todorovic (Serbian American) at the Holiday Inn, Elk Grove; 13-22, band is Macedonian, called Linda and Her Stars.
afc1981004_b46716
Film negative frame numbers, descriptions: 1-36, wedding reception of Tom and Joyce Todorovic (Serbian American) at the Holiday Inn, Elk Grove; 21, Gordana Trbuhovic-Grasa, Joyce and Tom Todorovic.
afc1981004_b47514
Film negative frame numbers, descriptions: 1-19, metal sculpture of Adam Popovich; welded conglomerate of nuts, bolts and springs; 20, Adam Popovich; 21a, fieldworker Elena Bradunas either at project office or apartment; 22a, project coordinator Greta Swenson either at project office or apartment; 25-31, unidentified bar and band with podium sign "Lively Sounds," South Slavic cultural connection (accordion marked "Juricic"), side table with buffet suggests private event.
afc1981004_b47818
Film negative frame numbers, descriptions: 1a-9, Oplenac Yugoslav Folklore Group at the dinner celebrating the 80th anniversary of the Holy Trinity Russian Orthodox Church at Ferrara Manor banquet hall. Dancers include Danny Wolff (blond), Anton Angelich (tall, moustache), and Gordana Trbuhovic-Grasa; 10-12, Some [Arabian ?] girls in the lobby from a wedding in another room of Ferrara Manor; 12a-17, the Continental Night Club interior; 17, Oplenac Yugoslav Folklore Group dancing with Richard March (4th from left), spontaneous; 18-19, the carved homeplace at the home of Jan Harry and Josefa Andersen, 3416 N. Oak Park Ave.; 20-33, embroidery by Mrs. Andersen; 34-36, carving based on image in book on roll at call number: AFC 1981/004: b47816.
afc1981004_b47821
Film negative frame numbers, descriptions: 2-3, exterior of Ferrara Manor, where dinner was held for the 80th anniversary of the Holy Trinity Russian Orthodox Church; 4-28, interior of Ferrara Manor, including church dinner head table and dancers relaxing afterward; 8-9, Anton Angelich, left; 11, 1-r, Gordana Trbuhovic-Grasa, Danny Wolff, Anton Angelich; 14, Anton Angelich; 23, Gordana Trbuhovic-Grasa, center; 25-27, Richard March, 3rd from right; 29-33, exterior of Continental Night Club; 34-37, interior of Jan Harry Andersen and Josefa Andersen home, 3416 N. Oak Park Ave.
afc1981004_103
Image numbers, descriptions: 1-19, scenes of lamb roast and picnic at Yugoslav Benevolent and Pleasure Club and Picnic Grove, 55th and Narragansett, red, white, and blue picnic table features Croatian (and American) national colors.
afc1981004_104
Image numbers, descriptions: 1-6, scenes of lamb roast and picnic at Yugoslav Benevolent and Pleasure Club and Picnic Grove, 55th and Narragansett; 7-8, the Continentals, musical group led by Anthony "Tony" Muselin, right; 9-20, dancing at the picnic.
afc1981004_105
Image numbers, descriptions: 1-19, scenes of lamb roast and picnic at Yugoslav Benevolent and Pleasure Club and Picnic Grove, 55th and Narragansett.
afc1981004_108
Image numbers, descriptions: 1-5, scenes in neighborhood of St. Jerome Croatian Catholic Church in Bridgeport, at the time of the Annual Parish Festival (Mayor Michael Bilandic is a parishioner at this important site of Croatian nationalism); 6-8, banner welcoming Heather Bilandic, bride of the mayor; 9-10, typical window decoration for feast of St. Jerome; 11-20, crowd on stairs of church, some in national costume.
afc1981004_109
Image numbers, descriptions: 1-5, crowd outside St. Jerome Croatian Catholic Church in Bridgeport, at the time of the Annual Parish Festival, to greet Mayor Michael Bilandic and his wife Heather, parishioners at this important site of Croatian nationalism, Mayor Bilandic is wearing tan suit with red, white, and blue striped sash, Mrs. Bilandic is blond woman at his side, also wearing sash; 7-8, vendors outside church selling "Happiness is being Croatian" T-shirts.
afc1981004_110
Image numbers, descriptions: 1-13, scenes of dancing at St. Jerome Croatian Catholic Church in Bridgeport, at the time of the Annual Parish Festival; 14-18, close-ups of costumes; 19-20, unidentified spectators.
afc1981004_111
Image numbers, descriptions: 1-3, scenes of dancing St. Jerome Croatian Catholic Church in Bridgeport, at the time of the Annual Parish Festival, parishioners in national costume posing outside the church with the Croatian flag; 4-5, festival spectators; 6-7, parishioners in costume; 8-9, street scene at festival.
afc1981004_71986
Film negative frame numbers, descriptions: 1-12, view of St. Jerome Croatian Catholic Church exterior after morning mass; 6-9, Mayor Michael Bilandic, center, wearing striped sash, St. Jerome's Annual Parish Festival in Bridgeport; Mayor Bilandic is a parishioner at this important site of Croatian nationalism; 6-9, 11-12, Bill Veeck (Chicago Cubs) at left (in profile, wearing glasses), Mayor Bilandic, center.
afc1981004_b46704
Film negative frame numbers, descriptions: 1-36, family picnic, Croatian American family, Memorial Day, 4827 S. Lotus, Chicago; 22a, 33, fieldworker Richard March on left; 27a, 28a, Richard March on right.
afc1981004_b46705
Film negative frame numbers, descriptions: 0-9, outside Florence's Lounge, 5443 South Shields Ave.; 8, Len Dunn, right; fieldworker Ralph Metcalfe, Jr., left; 11-18, Cicero, on Memorial Day; 19-36, Memorial Day family picnic at 4827 S. Lotus, Croatian American family.
afc1981004_b46708
Film negative frame numbers, descriptions: 1-36, Croatian American lamb roast and picnic at Yugoslav Benevolent and Pleasure Club and Picnic Grove, 55th and Narragansett; date may have been May 30, 1977.
afc1981004_b46710
Film negative frame numbers, descriptions: 1-36, Croatian American lamb roast and picnic at Yugoslav Benevolent and Pleasure Club and Picnic Grove, 55th and Narragansett, scenes of dancing at picnic, the band is called the Continentals, led by Anthony "Tony" Muselin; date may have been May 30, 1977.
afc1981004_b46715
Film negative frame numbers, descriptions: 1-6, roasting lamb at the Croatian American lamb roast and picnic at Yugoslav Benevolent and Pleasure Club and Picnic Grove, 55th and Narragansett; 7, George Juretic and kitchen help; 7a-14, making strudel; 15-20, interior of Yugoslav Benevolent and Pleasure Club; 22-36, exterior of club and picnic grove; 33-36, fieldworker Richard March interviewing old-timers; date may have been May 30, 1977.
afc1981004_b46717
Film negative frame numbers, descriptions: 0-21, family picnic, Croatian American family, Memorial Day, 4827 S. Lotus, Chicago; 22-28, 33-36, left-to-right, Sylvia Embry, bass, Lefty Dizz, guitar, Woody Williams, drums, Kevin Donnelly, guitar, unidentified singer; 29-32, exterior of Checkerboard lounge, 423 East 43rd St., fieldworker Ralph Metcalfe, Jr.
afc1981004_b46718
Film negative frame numbers, descriptions: 1-37, scenes of Croatian picnic and dance; lamb roast and picnic at Yugoslav Benevolent and Pleasure Club and Picnic Grove, 55th and Narragansett; 5-8, 14, 34-36, The Continentals, music group; director is Anthony "Tony" Muselin, right; 37, George Joredic and two unidentified friends; date may have been May 30, 1977.
afc1981004_b47516
Film negative frame numbers, descriptions: 1-18, Annunciata Church, South Chicago; Happy Strings Tamburitza Orchestra and unidentified group of South Chicago children; 19-23, Yugoslav Benevolent and Pleasure Club and Picnic Grove, 55th and Narragansett, lamb roast; 24-27, kitchen of Yugoslav Benevolent and Pleasure Club; 28, plaque at same; 29-33, rehearsal of Preseren ("s"with caron) choir, a Slovenian group, at Slovenian Cultural Center; 34-36a, farewell party for Mr. Umeck, leader of the button box accordion club, at the Slovenian Cultural Center; dates may have been May 27 (Happy Strings), May 29 (picnic), and May 31, 1977 (others).
afc1981004_b48709
Film negative frame numbers, descriptions: 0, Susan Kalcik, fieldworker; 1-20, instrument shop of Mike Hlad, 4111 Gage Ave., Lyons, Illinois; views of instruments, and Mr. Hlad; 21, exterior of Mike Hlad's shop; 22-25, rehearsal of Oplenac Yugoslav Folklore Group with Linda and Her Stars providing music at Annunciata Church, South Chicago; 26, 32, Richard March, fieldworker [photograph by Gordana Trbuhovic-Grasa]; 27, Alexandra Buling; 28, 37, Tale Buling; 29, 31, Gordana Trbuhovic-Grasa, left, Alexandra Buling , right; 30, From left, Tale Buling, Gordana Trbuhovic-Grasa, Alexandra Buling; 33-35, Richard March, left, Tale Buling, right [photograph by Gordana Trbuhovic-Grasa]; 36, Tale and Alexandra Buling.
afc1981004_b71992
Film negative frame numbers, descriptions: 0-20, St. Rocco di Simbario Parade near S. Wells and 26th Streets, Bridgeport, Chicago; 21-22, at the St. Jerome Croatian Catholic Church Annual Parish Festival in Bridgeport, welcome banner in front of 3216 S. Wells St. for Heather Morgan Bilandic, bride of Chicago's Mayor Michael Bilandic; Thomas J. Biamonte, Jr., left, Joseph Nowak, right; 24-25, window decoration for St. Jerome's feast; 26-36, people in front of St. Jerome's Catholic Church, 2823 S. Princeton St., Chicago. Illinois.
afc1981004_b72635
Film negative frame numbers, descriptions: 1-22, at the St. Jerome Croatian Catholic Church Annual Parish Festival in Bridgeport, site of much Croatian nationalism; 23-36, Lyman Pierce, executive director of the Illinois (Indian) Employment and Training Center.
afc1981004_101
Image numbers, descriptions: 1-5, Serbian American violinist/painter Jovan Michailovic, 5112 N. Wolcott, Chicago, playing violin, other instruments and his paintings are in the background; 6-7, unidentified young girls, instruments and paintings in background; 8-9, paintings displayed on walls; 10-11, Mr. Mihailovic at right; 12-14, more paintings; 15, close-up of stuffed toy on radiator.
afc1981004_106
Image numbers, descriptions: 1-2, exterior of Ferrara Manor banquet hall; 3-4, scenes inside hall at dinner celebrating the 80th anniversary of the Holy Trinity Russian Orthodox Church; 5-15, Oplenac Yugoslav Folklore Group performing at dinner, dancers include Danny Wolff (blond), Anton Angelich (tall, moustache), and Gordana Trbuhovic-Grasa (at right in 8, 9, 10).
afc1981004_107
Image numbers, descriptions: 1-3, exterior of Slavo Hlad's Balkan Music Store, 6917 W. Cermak, Berwyn, Illinois; 4-10, Interior of store, fieldworker Richard March and Slavo Hlad at rear.
afc1981004_2_18266
Film negative frame numbers, descriptions: 2a-3a, setting up for the post-fieldwork South Slav community workshop, Friday evening; 4a, Gordana Trbuhovic and Corinne Leskovar; 5a, Naomi Trinka and Corinne Leskovar, both from Slovenian dance group; 6a, Robert Salisbury of Illinois Arts Council setting up slide projector; 7a-8a, Saturday setup in the Illinois Arts Council; 9a, Mildred Pucel and Olga Ancel (specific identities uncertain), Slovenian Americans, Olga Kulovitz, Gordana Trbuhovic, Anton Angelich, Oplenac dance group; 10a-14a, clockwise from man in front of coat closet: Antone Udovich, Mr. and Mrs. George Witkovich, Mildred Pucel and Olga Ancel (identities uncertain), Slovenian Americans, Olga Kulovitz, Serbian American, Kay Zvonkovich, Helen Santy, Croatian American; 11a-13a, far side of table from left: Kay Zvonkovich, Helen Santy, Corinne Leskovar, Mary Maralt, Susann Craig; 15a, practicing with tape recorder: Mr. and Mrs. Witkovich tell Mildred Pucel and Olga Ancel about immigration; 16a, left to right, Nicola Moore, Kay Zvonkovich and Helen Santy, Gordana Trbuhovic and Corinne Leskovar; 17a-18a, left to right, Olga Kulovitz, Mr. George Witkovich, Mrs. Witkovich, Greta Swenson, Mildred Pucel, and Olga Ancel; 19a-20, clockwise from Greta Swenson (standing): Nicola Moore, Helen Santy. Gordana Trbuhovic, Corinne Leskovar, Mr. and Mrs. George Witkowich, Mildred Pucel and Olga Ancel; note: frames 17a-20a photographed by Susann Craig.
afc1981004_b44669
Film negative frame numbers, descriptions: 0-27, home of Serbian American violinist/painter Jovan Demetrius Mihailovic, 5112 N. Wolcott (Mr. Michailovic wearing dark turtleneck); 25, 27, Greta Swenson, center; 29-37, Ray Nilsen at home, 6039 N. Newberg; 29-30, 37 Jens Lund, left, Ray Nilsen, right; 31-32, exterior of Nilsen home; 30-36, Ray Nilsen.
afc1981004_b46040
Film negative frame numbers, descriptions: 6, Mayor Michael Anthony Bilandic, center, at the Yugoslav Naive Art Exhibition opening at the Cultural Center, Chicago Public Library; 7-10 Mayor and Mrs. Bilandic (Heather Morgan?), center; 15, Alan Jabbour, center; 18, Bruce Boyer, 2nd from left; Alexia Lalli, 2nd from right; 30-31 Mayor Bilandic, right; 32-33, dancers; 34-35, dancers at Washington St. entrance; 36-37, man, on way to lake to fish, dies and is taken away by fire department, ambulance on Montrose Ave.
afc1981004_b46523
Film negative frame numbers, descriptions: 1-36, wedding of Tom and Joyce Todorovic at Holy Resurrection Serbian Orthodox Cathedral.
afc1981004_b46524
Film negative frame numbers, descriptions: 1-36, wedding of Tom and Joyce Todorovic at Holy Resurrection Serbian Orthodox Cathedral.
afc1981004_b47516
Film negative frame numbers, descriptions: 1-18, Annunciata Church, South Chicago; Happy Strings Tamburitza Orchestra and unidentified group of South Chicago children; 19-23, Yugoslav Benevolent and Pleasure Club and Picnic Grove, 55th and Narragansett, lamb roast; 24-27, kitchen of Yugoslav Benevolent and Pleasure Club; 28, plaque at same; 29-33, rehearsal of Preseren (“s†with caron) choir, a Slovenian group, at Slovenian Cultural Center; 34-36a, farewell party for Mr. Umeck, leader of the button box accordion club, at the Slovenian Cultural Center; dates may have been May 27 (Happy Strings), May 29 (picnic), and May 31, 1977 (others).
afc1981004_b47821
Film negative frame numbers, descriptions: 2-3, exterior of Ferrara Manor, where dinner was held for the 80th anniversary of the Holy Trinity Russian Orthodox Church; 4-28, interior of Ferrara Manor, including church dinner head table and dancers relaxing afterward; 8-9, Anton Angelich, left; 11, 1-r, Gordana Trbuhovic-Grasa, Danny Wolff, Anton Angelich; 14, Anton Angelich; 23, Gordana Trbuhovic-Grasa, center; 25-27, Richard March, 3rd from right; 29-33, exterior of Continental Night Club; 34-37, interior of Jan Harry Andersen and Josefa Andersen home, 3416 N. Oak Park Ave.
afc1981004_b48694
Film negative frame numbers, descriptions: 1-6, at Europe at Night, 2986 Elston, Chicago (Yugoslav displaced person nightclub), unidentified girls; 7, 22, fieldworkers Richard March and Greta Swenson; 8, fieldworker Chungmoo Choi; 9-21, 23-27, Milija Spasojevich (accordion player) is the club owner; 28-32, Chungmoo Choi, Milija Spasojevich; 33-34, Greta Swenson, Milija Spasojevich, Chungmoo Choi; 35-37, Dancing at the club.
afc1981004_b48697
Film negative frame numbers, descriptions: 1-2, 11-19, 2J-29, At Europe at Night, 2986 Elston, Chicago (Yugoslav displaced person nightclub), Milija Spasojevich, club owner, on accordion; 3-10, unidentified dancers; 20-34, unidentified vocalists; 35-37, Milija Spasojevich (accordion), Nada (vocal), Slavko (Slasko ?, guitar).
afc1981004_b48700
Film negative frame numbers, descriptions: 1-3, exterior of the Balkan Music Store operated by Slavco Hlad, W. Cermack, Berwyn, Illinois; 4, Brothers Food and Liquor store, at Milwaukee and Noble Streets, Chicago, thought fieldworker to be African American owned; 5-8, exterior of Sajewski Music store, 1227 Milwaukee Ave., Chicago; 9-12, dining room of Mrs. Maria Brama, 2307 W. Walton, Chicago, with bowls of Easter eggs on table; 13-14, selection of Ukrainian Easter eggs by Mrs. Brama; 15-16, egg decorating apparatus, moved from back room or the kitchen for the sake of the photo; 17-18, simulation of decorating Easter eggs, in living room because light was better for photography; 29-35, living room with and without Mrs. Brama; 36, closeup of Mrs. Brama's eggs.
afc1981004_b48717
Film negative frame numbers, descriptions: 1, Eisenhower expressway; 2-3, Michael Hlad, in kitchen of his shop/home, 4111 Gage Ave., Lyons, Illinois; 4-12, interior of Hlad's shop, some with fieldworker Richard March; 13-15, exterior of Hlad's shop; 16-21, Slavco Hlad making sale in his Balkan Music Store, W.Cermak, Berwyn, Illinois; 22-24, from left, Clara Hlad, Louis Hlad (son), Slavco Hlad; 25-28, simulated display of records at store, for the sake of photography, the Yugoslav records were moved nearer the window; 29-31, interior of store, Richard March and Hlad in background; 32, Slavco Hlad; 33-35, Slavco Hlad with customer; 36, exterior of Balkan Music Store.
afc1981004_b49872
Film negative frame numbers, descriptions: 1-34, scenes at Europe at Night, 2986 N. Elston (Yugoslav displaced person nightclub); 1a-6, fieldworker Chungmoo Choi and Milija Spasojevich; 32-34, Nada (vocalist), left, and Slavco (Slasko ?, guitar).
afc1981004_b50886
Film negative frame numbers, descriptions: 1-36, scenes at Europe at Night, 2986 N. Elston (Yugoslav displaced person nightclub).
afc1981004_b52028
Film negative frame numbers, descriptions: 0-5, musicians at Europe at Night, 2986 N. Elston, Chicago (Yugoslav displaced person nightclub), Milija Spasojevich, accordion player, is the club owner; 6-10, at the El Romance Club, 3575 W. Armitage, Chicago, dancers during performance of Los Amantes; 11, "Georgie" plays timbales for Los Amantes; 12, "Pedrito Roman;" 13, "Pedrito" and "Georgie"; 14, 17-19, Dancers; 15, Chungmoo Choi and Philip George, fieldworkers; 16, a friend of Jonas; 21-23, Los Amantes play and sing; 24, "Pedrito Roman."
afc1981004_b52828
Film negative frame numbers, descriptions: 5-6, fieldworker Carl Fleischhauer; 7-8, fieldworker Jonas Dovydenas at left, unidentified; 9-10, fieldworker Betsy Mathias; 11-16, statue of Christopher Columbus by Moses Ezekiel, 1891; in Victor Arrigon Park at West Polk and South Loomis, from the Italian Pavilion at the 1893 Chicago's World's Columbian Exposition; 17-21, unknown, possibly apartment kitchen; 22-23, front room of apartment (fieldworker Greta Swenson's office); 24-26, fieldworkers Jonas Dovydenas and Elena Bradunas with government vehicle; 27, downtown office; 29-33, exterior of Alexia Lalli's house with her dog (Lalli is staff member of Illinois Arts Council).
afc1981004_b52829
Film negative frame numbers, descriptions: 1-36, Rupcic Restaurant, 109th at Indiana; 1-8, 20, 32, Kapugi Brothers band, "Balkan Strings", 11a, project coordinator Greta Swenson on left; 12a, fieldworkers Carl Fleischhauer and Elena Bradunas.
afc1981004_b52863
Film negative frame numbers, descriptions: 0-6a, performers at the Yugoslav bar called AVALA, a small neighborhood bar in South Chicago (just off the Skyway) with live entertainment, music currently popular in Yugoslavia; the clientele consists primarily of recent emigres from Yugoslavia, most of them Serbian, some here on temporary visas, but staying several years, while others hope to establish permanent residency in the US; the bar is located near the steel mills where many of the young men find work; 7, young men giving a toast; 10-35, the bar clientele; 24, fieldworkers Elena Bradunas and Greta Swenson.
afc1981004_b52864
Film negative frame numbers, descriptions: 0-6, Latino picnickers on Montrose Ave. Park [Montrose Harbor Park?]; 7-10, 19-20, unidentified man; 11-14, Nick Nakyna with wife; 15-18, Nick Nakyna on right, grape arbor in background; 21-27, after vesper service at Holy Trinity Cathedral Orthodox Church, 1121 N. Leavitt; 29-36, Rupcic's Restaurant, 109th and Indiana, the Kapugi Brothers band, Balkan Strings.
afc1981004_112
Image numbers, descriptions: 1-6, exterior of the St. Nicholas Ukrainian Catholic Cathedral; 7-8, 14-16, interior of cathedral, scaffolding is for redecoration project; 9-13, Svitoslaw Makarenko working on redecoration; 17-19, workmen's material, template/stencil hanging on the rail.
afc1981004_113
Image numbers, descriptions: 1-5, Bohdan Matusiak working on the ceiling of St. Nicholas Ukrainian Catholic Cathedral during redecoration.
afc1981004_114
Image numbers, descriptions: 1-2, exterior of Saints Vladimir and Olga Ukrainian Catholic Church, next door is Ukrainian Family Restaurant, "Ukrajins'ka hostynnycja," has Miller beer sign over door; 3, exterior of church; 4-6, interior of church, embroidered seat cushions on seats behind the altar.
afc1981004_115
Image numbers, descriptions: 1-2, Ukrainian-American Publishing and Printing Co. window, in the Ukrainian neighborhood; 3-4, close-up of contents of window, featuring Ukrainian imports, crafts, records; 5-6, "Ukie Power" bumper sticker on automobile; 7-9, sporting goods store window featuring T-shirts with Ukrainian themes.
afc1981004_116
Image numbers, descriptions: 1-2, exterior of home of Mr. and Mrs. Michael (?) Bilynsky, 2157 Superior St., Chicago; 3-8, Mr. and Mrs. Bilynsky in their living room; 9-10, Mrs. Anna Bilynsky, embroidery maker; 11-19, embroidered woman's festive shirt, embroidered by Mrs. Bilynsky at 11 years of age, in her home village in the old country (village of Serafynci, district of Horodenka, Western Ukraine).
afc1981004_117
Image numbers, descriptions: 1-18, items embroidered by Mrs. Anna Bilynsky, at the home of home of Mr. and Mrs. Michael (?) Bilynsky, 2157 Superior St., Chicago.
afc1981004_118
Image numbers, descriptions: 1-6, items embroidered by Mrs. Anna Bilynsky, at the home of home of Mr. and Mrs. Michael (?) Bilynsky, 2157 Superior St., Chicago.
afc1981004_119
Image numbers, descriptions: 1-2, Eugene Wojtowycz, 2258 W. Iowa, Chicago, with a fence he decorated in Ukrainian themes; 3-5, Mr, Wojtowycz and fieldworker Robert Klymasz; 7-16, various views of the fence; 17-18, minature building for a Christmas nativity crèche; the fieldworker referred to this as a vertep, a Ukrainian stage for a puppet play, and also used the Polish word szopka for this crèche built by Mr. Wojtowycz.
afc1981004_120
Image numbers, descriptions: 1-5, exterior of the home of Mr. and Mrs, Michael Huminiak, 316 Pinecroft, Roselle, Illinois; 6-8, Mr. and Mrs. Huminiak in their living room; 9-11, Huminiak dining room, breakfront and buffet hold ceramics by Mr. Huminiak; 12-14, close-up of vases and pitchers on dining room buffet; 15-18, two jugs decorated in Poltave style; 19-20, vase in Kievan style of decoration.
afc1981004_121
Image numbers, descriptions: 1-2, ceramics by Mr. Michael Huminiak, at his home at 316 Pinecroft, Roselle, Illinois, vase and plate decorated in Kievan style; 3-4, vase and pots in Kievan style; 5-6, vases decorated in Trypillian style motifs; 7-8, vases, plate and covered bowl decorated in Hutsulian (Hutsul, Hutsulan) style, geometric motifs; 9-10, vases and plates decorated in Hutsulian (Hutsul, Hutsulan) style, vegetation, floral motifs; 11-13, vase and cache pot decorated in Mr. Huminiak's own combination of traditional styles; 14-16, decorative trinket box owned by Mr. Huminiak, showing traditional burn-and-encrust technique, made by Ivan Ivaxnjuk (Ivanjuk?), 2227 W. Walton, Chicago.
afc1981004_122
Image numbers, descriptions: 1-3, Mrs. Maria Brama, egg decorator, in her living room, 2307 W. Walton, Chicago; 4-7, Brama family living room with extensive Ukrainian decoration; 8-13, dining room with decorated eggs in bowl on table; 14-16, bowl of decorated Easter eggs.
afc1981004_123
Image numbers, descriptions: 1-14, Ukrainian Easter eggs decorated by Mrs. Maria Brama, egg decorator, 2307 W. Walton, Chicago; 6-8, Trypillian design.
afc1981004_243
Image numbers, descriptions: 1, 3, 4, at the Ukrainian American Post-Fieldwork Community Workshop, workshop participant Lubo Maciuk (tenor); 2, 5, fieldworker Robert Klymasz; 6-7, exterior of home of Anna Kulczycky, 2036 W. Thomas St., Chicago 60622; 8-15, embroidered pillow covers by Mrs. Kulczycky, 11 and 12 are Trypillian design; 16, reproduction of historical Ukrainian scene used for reference in determining embroidery motifs, etc., by Mrs. Kulczycky; 17, 19, formal woman's gown with embroidery in Ukrainian style by Mrs. Kulczycky; 18, personal collection of reference books used by Mrs. Kulczycky to determine historically accurate motifs, stitches, etc.; 20, customer in booth, Ukrainian Family Restaurant, corner of Chicago and Oakley, Chicago, Illinois.
afc1981004_244
Image numbers, descriptions: 1, at the Ukrainian American Post-Fieldwork Community Workshop, fieldworker Robert Klymasz; 2, Michael Huminiak, ceramics; 3, Mr. Huminiak and Dr. Klymasz; 4, 8, John Steciw, leader of vocal/instrumental group Vesely Casy (The Happy Good Times); 5, 9, Bohdan Piwtorak, vocalist with Vesely Casy; 6, Anna Bilynsky, embroideress; 7, John Olshansky, community cultural activist; 10-15, fieldoworker Robert Klymasz; 16, Robert Klymasz, with embroidered apron (?)
afc1981004_245
Image numbers, descriptions: 1, at the Ukrainian American Post-Fieldwork Community Workshop, Ihor and Irene Miakush; 2, Irene Miakush (nee Huminiak), Natalie Huminiak (no sweater, identification not confirmed), and their father Michael Huminiak; 3, John Olshansky; 4, Halyna Zajac, community organizer; 5, fieldworker Robert Klymasz; 7-18, 20, Mary Hrynewych, doll maker (wearing brown blouse), with dolls in some photographs, Robert Klymasz in some photographs, as well as Natalie Huminiak (red sweater; entrepreneur with Ukrainian arts and crafts studio headed by her father, Michael Huminiak) in others; 19, Sts. Olga and Vladimir Ukrainian Catholic Church, Oakley Blvd.
afc1981004_246
Image numbers, descriptions: 1, 2 , 4-7, at the Ukrainian American Post-Fieldwork Community Workshop, fieldworker Robert Klymasz interviewing Mary Hrynewych, doll maker; 3, elaborate wall-sized shield pertaining to various historical coats of arms, on view/in storage at the office of the Ukrainian Congress Committee of America (UCCA), Oakley Blvd., Chicago; 8-17, photographs that variously include Mary Hrynewych, her dolls dressed in Ukrainian costume, fieldworker Robert Klymasz, or Natalie Huminiak (red sweater; entrepreneur with Ukrainian arts and crafts studio).
afc1981004_57372
Film negative frame numbers, descriptions: 1-12, views of street and St. Vladimir's Ukrainian Orthodox Cathedral, 2238 W. Cortez, Chicago.
afc1981004_b48689
Film negative frame numbers, descriptions: 1-36, Mrs. Anna Bilynsky, embroideress, and her husband Michael (?), in their living room, 2157 Superior St., Chicago.
afc1981004_b48690
Film negative frame numbers, descriptions: 1-2, basement workshop with ceramic molds; kiln was in a different corner, this was mostly modern American equipment for casting with molds and firing ware; 3, Mr. and Mrs. Michael Huminiak; 4, Robert Klymasz (fieldworker); 5-9, Mr. and Mrs. Huminiak in living room; 10-12, Mr. Huminiak posing near samples of his work in the dining room; 14-18, exterior of the Huminiak home, 316 Pinecroft, Roselle, Illinois.
afc1981004_b48691
Film negative frame numbers, descriptions: 1-3, exterior of home of Michael and Anna Bilynsky, 2157 Superior St., Chicago, they live on the second floor; 4-13, Saints Vladimir and Olga Ukrainian Catholic Church; 4-7, embroidered seat cushions on behind the altar seats; 14-24, store fronts and window displays on W. Chicago Ave., in Ukrainian neighborhood featuring Ukrainian items; 25-36, fence decoration and a miniature building for a Christmas nativity creche; the fieldworker referred to this as a vertep, a Ukrainian stage for a puppet play, and also used the Polish word szopka for this creche built by Mr. Wojtowycz; fieldworker Robert Klymasz (plaid slacks) shown with Mr. Wojtowycz; 34-35, Mr. Eugene Wojtowycz.
afc1981004_b48698
Film negative frame numbers, descriptions: 1a-2a, At St. Nicholas Ukranian Catholic Cathedral, plan for iconostasis posted in workroom (cathedral is being redecorated); 3-4, basement room, unidentified man, possibly custodian of the church, left; chief painter, Boris Mararenko, at right; 5-7, 14-15, scaffolding inside church; 8-19, painting ceiling of church; 8-13, 16, Svitoslaw Makarenko, Boris' son, decorating around the circular painting of the saint; 17-19, Bohdan Matusiak, working on the top of the arch; 20-21, closeup of one of the saints; 22, at the home of Mrs. Anna Bilynsky, 2157 Superior St., Chicago, fieldworker Robert Klymasz, left, with Mr. and Mrs. Michael Bilynsky; 22-28, closeups of selected items of embroidery by Mrs. Bilynsky; 29-32, embroidered woman's festive shirt, embroidered by Mrs. Bilynsky at 11 years of age, in her home village of Serafynci, district of Horodenka, Western Ukraine.
afc1981004_b48700
Film negative frame numbers, descriptions: 1-3, exterior of the Balkan Music Store operated by Slavco Hlad, W. Cermack, Berwyn, Illinois; 4, Brothers Food and Liquor store, at Milwaukee and Noble Streets, Chicago, thought fieldworker to be African American owned; 5-8, exterior of Sajewski Music store, 1227 Milwaukee Ave., Chicago; 9-12, dining room of Mrs. Maria Brama, 2307 W. Walton, Chicago, with bowls of Easter eggs on table; 13-14, selection of Ukrainian Easter eggs by Mrs. Brama; 15-16, egg decorating apparatus, moved from back room or the kitchen for the sake of the photo; 17-18, simulation of decorating Easter eggs, in living room because light was better for photography; 29-35, living room with and without Mrs. Brama; 36, closeup of Mrs. Brama's eggs.
afc1981004_b48702
Film negative frame numbers, descriptions: 1-2, street in Ukranian neighborhood; 3-8, fence decorated with Ukranian symbols by Eugene Wojtowycz, 2258 W. Iowa, Chicago; 9-10, bumper sticker: "Ukie Power"; 11-18, exterior of Family Restaurant, "Ukrajins' ka hostynnycja"; 19-35, Bandurist youth group in rehearsal (conductor: Alex Poszewanyk), the field documentation does not make clear if this is St. Volodymyr Ukrainian Orthodox Cathedral (probably) or Sts Volodymyr and Olha Ukrainian Catholic Church; 36-37, fieldworker Robert Klymasz at the Nagra.
afc1981004_b48704
Film negative frame numbers, descriptions: 1-4, parts of the Lithuanian national costume woven by Mrs. Aldona Veselka, 6531 S. Washtenau, Chicago; 5-6, assembled national costume; 7-8, 15-18, aprons woven by Mrs. Veselka; 9-14, 18-22, material to be used for national costume; 23-25, headdress; 26-32, fieldworker Elena Bradunas, Mrs. Veselka; 33-34, woven placemats.
afc1981004_b48710
Film negative frame numbers, descriptions: 1-11, Svitoslaw Makarenko working on redecoration of St. Nicholas Ukranian Catholic Cathedral; 12-15, template/stencil hanging on the rail; 16-20, Bohdan Matusiak working on ceiling; 21-23, left to right, fieldworker Robert Klymasz, Mrs. Anna Bilynsky, high school age granddaughter, unknown visitor to Bilynsky home, 2157 Superior St., Chicago, Mr. Bilynsky; 24-28, decorative runners embroidered by Mrs. Bilynsky; 29-32, decorative serviettes embroidered by Mrs. Bilynsky; 33-36, decorative cushion covers embroidered by Mrs. Bilynsky.
afc1981004_b48714
Film negative frame numbers, descriptions: 0-4a, solo player in Bandurist Youth Group, the field documentation does not make clear if this is St. Volodymyr Ukrainian Orthodox Cathedral (probably) or Sts Volodymyr and Olha Ukrainian Catholic Church; 5-17, Danish Singing Society Harmonien rehearsing at Normennernes Singing Society Hall, 2414 N. Kedzie Blvd, Logan Square, led by Wayne Spies; 18, Peder Larsen (president), Holger Morch and unidentified listen to playback; 19-27, smorrebrod (o with stroke), Danish sandwiches at banquet in basement after rehearsal; 19-20, Wayne Spies, 2nd from left; Pedar Larsen, far right; 22, Wayne Spies, left; Peder Larsen, 2nd from right; 25, Peder Larsen, left at far end of table; Wayne Spies, far end of right side of table; 26-27a, Peter Larsen, right; 28-35, project photographer Jonas Dovydenas editing pictures at home.
afc1981004_b48716
Film negative frame numbers, descriptions: 2-13, Ukranian Easter eggs made by Mrs. Maria Brama, 2307 W. Walton, Chicago; 4-7, Trypillian design; 14-17, Mrs. Brama and Robert Klymasz, fieldworker; 18-25, exterior of St Nicholas Ukranian Catholic Cathedral; 26-28, mosaics, part of materials stored in basement room ready for use in the redecoration; 29-36, work room for the redecorating crew in the basement, the walls are covered by mock-ups, templates, stencils; 36-37, plan for proposed iconostasis with names of saints, etc.
afc1981004_b48718
Film negative frame numbers, descriptions: 1-3, fieldworker Robert Klymasz, left, interviewing Michael Huminiak. 316 Pinecroft, Roselle, Illinois; 4-6, Kievan style of decoration; 7-8, Hutsulian (Hutsul, Hutsulan) ornamentation style: vegetation, floral motifs; 9-10, Hutsulian (Hutsul, Hutsulan) ornamentation style, geometric motifs; 11-12, Kievan ornamentation style; 13-14, Kievan ornamentation style; 15-16, Poltave ornamentation style; 17-19, Huminiak’s own combination of traditional motifs; 20-21, Trypillian style motifs in ornamentation; 22-23, decorative trinket box, showing traditional burn-and-encrust technique, made by Mr. Ivan Ivaxnjuk (Ivanjuk?), 2227 W.Walton, Chicago - box owned by Mr. Huminiak; 24-29, family dining room of Mr. and Mrs. Huminiak., which has displays of some of Mr. Huminiak's best pieces; 30-32, fieldworker Robert Klymasz and Mr. and Mrs. Huminiak looking at photos; 33-34, Robert Klymasz, left; Mr. Huminiak., right.
afc1981004_124
Image numbers, descriptions: 1, Mr. Pasquale Sottile in his backyard, 5918 N. Manton St., Chicago; 2-4, Mr. Sottile in yard with his accordion (these slides taken on a later visit, probably July 13, 1977); 5-18, Mr. Sottile with his accordion in his living room.
afc1981004_125
Image numbers, descriptions: 1-3, Pasquale and Gilda Sottile posing in their backyard, 5918 N. Manton, Chicago; 4-5,fieldworker Elizabeth Mathias with the Sottiles in their kitchen; 6-9, Mrs. Sottile preparing pasta and sauce; 10-13, dining room; 14-17, possibly family room or den.
afc1981004_126
Image numbers, descriptions: 1-18,various shots of the decorated living room of Mr and Mrs Pasquale and Gilda Sottile, 5918 N. Manton, Chicago.
afc1981004_127
Image numbers, descriptions: 1-9, at the home of Mr and Mrs Pasquale and Gilda Sottile, 5918 N. Manton St., Chicago, bedroom with religious items and family photographs; 10-11, Sottile backyard; 12-14, close-up of backyard items, with shoes left outside the door and the mud-scraper; 15-19, front of Sottile home.
afc1981004_128
Image numbers, descriptions: 1-6, Mrs. Gilda Sottile in her vegetable garden, 5918 N. Manton St., Chicago.
afc1981004_129
Image numbers, descriptions: 1-13, Pompeo Stillo in his music store, Harrison Radio, 5909 W. Irving Park Rd., Irving Park.
afc1981004_130
Image numbers, descriptions: 1-3, Saturday morning baking at Al's Bakery, Loomis and Taylor Streets, Chicago, Al Davino, baker, and his brother Roger, who helps him on Saturdays; 4-5, Al Davino; 6, Roger Davino; 7-9, scale for weighing the dough; 10-11, bread ovens; 12-13, kneading machine; 14, trays of pizza dough; 15-16, Al standing near oven; 17-18, Roger and Al turn out dough; 19-20, Roger Davino at kneading machine.
afc1981004_131
Image numbers, descriptions: 1, Saturday morning bread baking at Al's Bakery, Loomis and Taylor Streets, Chicago, Roger Davino at kneading machine; 2-3, Al Davino cutting and weighing dough for the 2 1/2-pound loaves; 4-5, Roger Davino turning out dough from kneading machine; 6-10, Al, Roger, and Guiseppe Esposito (an immigrant who helps Al on Saturday) shape dough into loaves; 11-12, loaves rising; 13, Roger preparing rising tray for loaves; 14, Al and Guiseppe Esposito; 15-17, Guiseppe Esposito; 18-20, Al taking loaves of bread from the oven.
afc1981004_132
Image numbers, descriptions: 1-2, Saturday morning bread baking at Al's Bakery, Taylor and Loomis Streets, Chicago, Al Davino removing loaves from oven; 3-5, finished loaves of bread, not wrapped until sold; 6-10, Al Davino with trays of pizza; 11-13, neighborhood around Al's Bakery.
afc1981004_133
Image numbers, descriptions: 1-5, Saturday morning bread baking at Al's Bakery, Taylor and Loomis Streets, Chicago, old photograph of Al Davino's father father in the bakery (which he founded), taken in the 1930s; 6-11, wall behind the counter showing Al's signs, jokes, wise sayings, etc., and his golf trophies; 12-13, Al Davino wrapping a loaf of bread at the counter; 14-16, Louis Matteo, a friend of Al; 17-18, unidentified.
afc1981004_134
Image numbers, descriptions: 1-15, morra players outside of MaMa Sue's Restaurant, Taylor and Loomis Streets, Chicago, Mr. Roland Libonati, former U.S. Representative, State Senator, and State Representative, is the older man wearing grey suit and topcoat, Micky Carioscia, owner of MaMa Sue's, is wearing light brown shirt and darker brown slacks; list of players: Joe Labelloarte, Joe Labelloarte (son, 10 years old), Lenny Fresca, Rocky Brandonisio, Randy Gentilli, Michael Trotti, Micky Carioscia.
afc1981004_135
Image numbers, descriptions: 1, at the St. Joseph Athletic Association's 5lst Annual Parade, left to right, Marshall Joe Lococo, President Sam Bongiovani, Chairman Iggy Montaldo; the St. Joseph Athletic Association is multi-ethnic, but predominately Italian, established on August 13, 1925, with about 75 members in 1977; the annual parade is held to raise money for the organization; 2, outside the association headquarters, Iggy Montaldo at right; 3, man in red shirt sets off aerial bombs every 15 feet, from his pickup truck, to lead parade; 4-15, members of the Gugino Band, originally founded in Italy, came to the United States in 1955, the band president in 1977 was Salvatore Michael; 16, crowd outside headquarters; 17-20, Iggy Montaldo readying statue of St. Joseph on float.
afc1981004_136
Image numbers, descriptions: 1-20, scenes of the St. Joseph Athletic Association's 51st Annual Parade; the "honorary girl" riding on the float takes money from crowd and pins it to the sashes around the statue's neck.
afc1981004_137
Image numbers, descriptions: 1-11, scenes of St. Joseph Athletic Association's 51st Annual Parade; Iggy Montaldo, parade chairman, is wearing the red and white shirt; 9-11. dollar bills pinned to sash around the neck of statue; 12, man who set off fireworks from his truck to lead the parade; 13-20, scenes of neighborhood along parade route.
afc1981004_138
Image numbers, descriptions: 1-17, scenes in Italian neighborhood along the route of the St. Joseph Athletic Association's 51st Annual Parade, with decorated windows.
afc1981004_139
Image numbers, descriptions: 1-20, scenes of St. Rocco di Simbario Parade through the Bridgeport neighborhood of Chicago; a statue of St Rocco di Simbario is carried through the streets at South Wells and 26th, money is collected and pinned to ribbons on the statue, several bands play, and fireworks are set off along the route; this is a society of Italians founded in Chicago on July 2, 1920; St. Rocco is the patron saint of the grievously wounded; the statue, together with a number of large displays of altar candles, is carried through the streets; the money collected is donated to the society.
afc1981004_140
Image numbers, descriptions: 1-5, scenes of St. Rocco di Simbario Parade through the Bridgeport neighborhood of Chicago, setting off fireworks along the parade route; 6-20, scenes of parade and spectators.
afc1981004_141
Image numbers, descriptions: 1-6, scenes of St. Rocco di Simbario Parade through the Bridgeport neighborhood of Chicago, carrying the statue of St. Rocco; donations are pinned to the ribbons around the statue's neck.
afc1981004_240
Image numbers, descriptions: 1-2, at the Italian American Post-Fieldwork Community Workshop, exterior of the Italian Cultural Center; 3-4, close-up of doorway; 5-18, workshop, fieldworker Elizabeth Mathias in white blouse.
afc1981004_3_18266
Film negative frame numbers, descriptions: 1-20, participants in Italian community post-fieldwork workshop.
afc1981004_4_18285
Film negative frame numbers, descriptions: 13- 20a, 27-36, at the post-fieldwork Italian American community workshop at the Italian Cultural Center, fieldworker Elizabeth Mathias wearing white blouse; 22-26, exterior of the Italian Cultural Center.
afc1981004_54866
Film negative frame numbers, descriptions: 1, unidentified parade watchers at the St. Joseph Athletic Association's 51st Annual Parade; 2-7, "honorary girl" riding with statue of St. Joseph, shown taking money from crowd members and pinning it to ribbons attached to statue; the man with the chairman sash is Iggy Montaldo; 8-12, street scenes, unidentified people.
afc1981004_54869
Film negative frame numbers, descriptions: 1-2, St. Joseph Athletic Association chairman Iggy Montaldo, right, unidentified man who sets off aerial bombs to lead 51st Annual Parade, left, at entrance to St. Joseph Athletic Association, 608 W. 26th St., Chicago, Illinois; 3, left to right, President Sam Bongiovani, Marshall Joe Lococo, others unidentified; 4, Sam Bongiovani, second from left; 5-7, unidentified people at entrance to St. Joseph Athletic Association.
afc1981004_54879
Film negative frame numbers, descriptions: 1-4, exterior of homes near route of St. Joseph Athletic Association's 51st Annual Parade; 5-6, pinning donations to the sash on the statue of St, Joseph in the parade; 7, Gugino Band members; 8, “honorary girl" in doorway of St. Joseph Athletic Association; 9, interior of athletic association; 10-11, statue of St. Joseph inside athletic association.
afc1981004_54881
Film negative frame numbers, descriptions: 1-8, readying the statue of St. Joseph for the St. Joseph Athletic Association's 51st Annual Parade; chairman Iggy Montaldo, wearing light sash, is directly in front of the statue; 9-10, Gugino Band; 11-12, unidentified parade watchers.
afc1981004_b43062
Film negative frame numbers, descriptions: 0-6, Al (Alfonso Davino) cutting and weighing dough for the loaves (2 1/2 lbs.); 7, Roger Davino (Al's brother) making a braided loaf; 8-10, Al weighing dough; 11-12, Al and Roger; 13-14, Al weighing dough; 15, the new loaves rising; 16-17, Elizabeth Mathias (fieldworker) leaning against the dough machine taking notes; 18, Al weighing; 19-21, Al's father, the founder of the bakery, in a photo taken in the 1930s; 22-30, Guiseppe Esposito (an immigrant who helps Al on Saturday morning) - forming the loaves for another rising before they are put in the oven; 31-32, Al and Roger stand near the wooden pallets where the loaves are rising; 33-34, Guiseppe and the wooden pallets; 35-36, Guiseppe and fieldworker Elizabeth Mathias.
afc1981004_b43063
Film negative frame numbers, descriptions: 1, Guiseppe Esposito and Louis Matteo; 2-4, Guiseppe; 5-7, Guiseppe and Elizabeth Mathias, fieldworker; 8-19, Guiseppe (clowning in response to a man pressing him to pay back a $50 loan); 20-24, Guiseppe dances the tarantella with the fieldworker (the man has left without his money); 25-26, bread baking in the oven; 27-30, Al (Alfonso Davino) displays the finished bread; 31-37, Guiseppe and Louis Mateo play a game of morra.
afc1981004_b43064
Film negative frame numbers, descriptions: 1-4, Roland Libonati in his living room, he is a former U.S. Representative, State Senator, and State Representative; 5-24, Playing morra inside the restaurant; 25, Roland Libonati and Micky Carioscia, owner of Mama Sue's Restaurant; 26-37, playing morra outside of restaurant, players include Joe Labelloarte (2nd generation), Joe Labelloarte (son, 10 yrs old, 2nd generation, on mother's side), Lenny Fresca (2nd generation), Rocky Brandonisio (2nd generation), Randy Gentilli (2nd generation), Michael Trotti (2nd generation), Micky Carioscia (3rd generation).
afc1981004_b43065
Film negative frame numbers, descriptions: 1-9, Frank Thornton; 10-13, Marie Davino (Al's sister who lives above the bakery); 14-15. wall behind the counter showing Al's signs (jokes, wise sayings, etc.) and his trophies for golf; 16-20, Al rolling out pizza dough; 21-22, Al's brother, Roger Davino, who helps him on Saturdays; 23-27, Louis Matteo (friend of Al's); 28, Al carrying a tray of pizza; 29, Roger Davino; 30-33, bread kneading table; 34-35, Al and Roger; 36-36a, the weighing scales for the dough.
afc1981004_b43078
Film negative frame numbers, descriptions: 1-6, morra players outside MaMa Sue's Restaurant; 7-36, scenes of the audience, dancers, musicians before the Fleadh Ceili at the Garden of Eden; 13-19, Terry Teahan is dancing; 16-18, Mary McDonagh is Mr. Teahan's partner; 23, Terry Teahan on left; 9-10, John McGreevy, second from left; 27, 33, Kevin Henry is second from right; 28-29, Armin Barnett is fiddler on right in 28, on left in 29.
afc1981004_b44026
Film negative frame numbers, descriptions: 1-22a, Pompeo Stillo with accordion in his store, Harrison Radio; 23a-24a, Harrison Radio exterior; 25a-28a, unidentified women, clerks at store?; 29a, Pompeo Stillo, left, unidentified woman, right; 30a-34a, Pompeo Stillo, face and hands; 35a-36a, Pompeo Stillo, portrait shot.
afc1981004_b44027
Film negative frame numbers, descriptions: 1-9, Siegfried Shuh at home, his living room with instruments (harp, piano); 10-11, Siegfried Shuh in his workshop; 12-14, Gilda Sottile, fieldworker Elizabeth Mathias, Pasquale Sottile in their kitchen; 15-19, Mr. and Mrs. Sottile in the kitchen; 20-24, Sottile living room; 25-29, Mr. Sottile in his living room; 30-31, Gilda Sottile and fieldworker Elizabeth Mathias, Mrs. Sottile is preparing tagliatelli; 32-33, Room in Sottile home, kitchen or family room (?); 34, table set for lunch; 35, view of dining room; 36-37, Mr. Sottile in dining room.
afc1981004_b44028
Film negative frame numbers, descriptions: 0-1a, Sottile bedroom; 2-8, fieldworker Elizabeth Mathias sharing pasta meal with Gilda and Pasquale Sottile; 9-10, Sottile back yard; 11-12, Sottile back yard, with shoes and shoe scraper; 13-17, front of Sottile house; 18-19, Sottile yard; 20-21, Sottile yard; 22-25, Mr. and Mrs. Sottile in their yard; 26-36, Mr. Sottile with accordion in his living room.
afc1981004_b44420
Film negative frame numbers, descriptions: 0-3, Gilda and Pasquale Sottile in their kitchen; 4-11, Benny Zucchini, radio personality, host of Italian American "Radiorama" show; 12-13, 15-16, fieldworker Elizabeth Mathias and Benny Zucchini; 14, door of radio studio; 17-18, Benny Zucchini; 19-20, Pompeo Stillo playing ocarina; 21-25, Pompeo Stillo playing the recorder; 26-28, Pompeo Stillo playing ocarina; 29-30, Pompeo Stillo playing the jews harp; 31-32, display of amulets in store; 33-34, Pompeo Stillo plays instrument, triccheballacche; 35, display of Italian records at Harrison radio; 36-36a, Pompeo Stillo with accordion.
afc1981004_b44424
Film negative frame numbers, descriptions: 1-2, wall decorations, mostly family photographs, at the home of Rev. James Callozzo, 1049 W. Taylor St.; 3-4, pot of flowers on radiator; 5-6, kitchen of Callozzo home; 7-14, icons painted by Father James Callozzo (Father Callozzo is an Italian American who became an Eastern Orthodox priest.); 15-17, bedroom of Father Callozzo's daughter, icon in corner, together with posters of Farrah Fawcett and characters from "Happy Days" TV series; 18-19, icon on wall; 20, living room; 21-22, Father Callozzo and Greta Swenson; 23, Father Callozzo; 23a-24a, work area; 25a.-27a, Father Callozzo in his workshop; 28a-36a, Norwegian Independence Day celebration at home of Jan Harry and Josefa Andersen, 3416 N. Oak Park, unidentified party goers, scene includes Norwegian national costume.
afc1981004_b54868
Film negative frame numbers, descriptions: 3-36, street scenes, showing progress of the St. Joseph Athletic Association's 51st Annual Parade; 3-5. 16, 22-23, the Gugino [marching] Band; 6-15, 7-21, 30-34, parade watchers; 32-34, same, with Infant of Prague statue visible in window; 24-26, 35, float with "honorary girl" and St. Joseph statue; 27-29, same, with reflections in store windows and small religious statue in lower center of window.
afc1981004_b54870
Film negative frame numbers, descriptions: 0-3, left to right, Marshall Joe Lococo, President Sam Bongiovani, Chairman Iggy Montaldo at the St. Joseph Athletic Association's 51st Annual Parade, the Association is multi-ethnic, but predominate!y Italian, established on August 13, 1925, and has about 75 members in 1977; the annual parade is held to raise money; 4-5, man who sets off aerial bombs from his pickup truck every 15 minutes, leading the parade; 6-7, young musicians; 8-12, Gugino [marching] Band, originally organized in Italy, came to the United States in 1955; the 1977 band president is Salvatore Michael; 13-14, 22-23, 28, pickup truck with aerial bombs; 16-19, 25-27, parade watcher outside of St. Joseph Athletic Association building; Association president Sam Bongiovani is wearing dark shirt; 20-21, 24, readying statue on float; 29-36, scenes of parade.
afc1981004_b54871
Film negative frame numbers, descriptions: 0-7a, Pasquale Sottile with accordion in his living room, 5918 N. Manton St., Chicago; 8a-10a, Pasquale Sottile with accordion in his back yard; 11a-19a, Gilda Sottile in her back yard and garden.
afc1981004_b54878
Film negative frame numbers, descriptions: 1-5, parade watchers at the St. Joseph Athletic Association's 51st Annual Parade; 6-7, Float and the Gugino Band; 8, pickup truck with aerial bombs; 9-11, float, Iggy Montaldo holding child; 12-14, flag carriers; 15-17, 20-23, Gugino Band members; 18-19, "honorary girl" in doorway of athletic association; 24-34, interior at St. Joseph Athletic Association building.
afc1981004_b54880
Film negative frame numbers, descriptions: 1-36, street scenes at the St. Joseph Athletic Association's 51st Annual Parade, parade watchers.
afc1981004_b71990
Film negative frame numbers, descriptions: 0-3, Alfonso Pedrago, ice cream maker, 2552 S. Central Park, Chicago, Illinois 60623; 4-5, wrecked car at 22nd St. near Archer; 6-36, at the St. Rocco di Simbario Parade, views of the Bridgeport area of Chicago during the parade.
afc1981004_b71992
Film negative frame numbers, descriptions: 0-20, St. Rocco di Simbario Parade near S. Wells and 26th Streets, Bridgeport, Chicago; 21-22, at the St. Jerome Croatian Catholic Church Annual Parish Festival in Bridgeport, welcome banner in front of 3216 S. Wells St. for Heather Morgan Bilandic, bride of Chicago's Mayor Michael Bilandic; Thomas J. Biamonte, Jr., left, Joseph Nowak, right; 24-25, window decoration for St. Jerome's feast; 26-36, people in front of St. Jerome's Catholic Church, 2823 S. Princeton St., Chicago. Illinois.
afc1981004_142
Image numbers, descriptions: 1-2, children's folktale contest and old people's birthday party, held at Shinsundo (Shin Sun Do) Studio, 3315 N. Clark St., Chicago, also the Korean Forum (a service organization for American-Asians); 3 (left-to-right reversed in online display), stage setting for folktale contest; 4 (left-to-right reversed in online display), participants in the contest, this group consists of American born or infant immigrants; 5, participants in the contest, this group consists of recent immigrants; 6 (left-to-right reversed in online display), participant tells story of two brothers (in recording at call number AFC 1981/004: AFS 20736a); 7, six year old Haesuk Kang, American born girl who speaks fluent Korean reads the text written by her parents, Korean repertoire; 8, I-uk Chung, tells story of the village of the good son; 9, Korean-born participant, Korean repertoire; 10, at the birthday party, this lady initiated the singing; 11, the only man who sang at this party; 12 (left-to-right reversed in online display), while singing, some of the ladies got up and danced; 13, unknown singer, in the recordings, this is the first of women ladies who sang love song that includes a nightingale; 14-15, guests and audience at the birthday party, with men and women seated separately on the floor; most men wore western style clothing, while the women wore traditional Korean costume or Korean version of western style dress; 16, birthday celebration, blowing out the candles (American tradition; traditional Korean custom would have been rice cakes), here men and women are sitting together for this American style celebration; 17, cutting the birthday cakes.
afc1981004_153
Image numbers, descriptions: 1-19, interior of home of Mrs. Bong Hee (Ma) Stephens, Korean dancer, 1430 E. Fleming, Arlington, Illinois, with Korean objects as decoration; 8-9, includes kayagum (gayageum), a 12-string Korean musical instrument, leaning against wall.
afc1981004_154
Image numbers, descriptions: 1-19, interior of home of Mrs. Bong Hee (Ma) Stephens, Korean dancer, 1430 E. Fleming, Arlington, Illinois, with Korean objects as decoration; 17-18, beer can collection.
afc1981004_155
Image numbers, descriptions: 1-4, Mrs. Bong Hee (Ma) Stephens, Korean dancer, in her Korean dancing costume with musical instruments, at home at 1430 E. Fleming, Arlington, Illinois; 5-20 Korean costume modeled by Mrs. Stephens.
afc1981004_156
Image numbers, descriptions: 1-3, musical instruments used by Mrs. Bong Hee (Ma) Stephens, Korean dancer, at home at 1430 E. Fleming, Arlington, Illinois; 4-7, Miss Chongsook Ma (Tong Sook Ma), niece of Mrs. Stephens, playing the kayagum (gayageum), a 12-string Korean musical instrument.
afc1981004_158
Image numbers, descriptions: 1-2, Mr. Kean Sea Park, brush artist, 6244 N. Claremont, Chicago, Mr. Park with unidentified child; 3, Mr. Park at work; 4-6, painting supplies; 7-10, hanging scrolls, stored in closet; 11-13, living room, paintings and scroll on walls; 14, fieldworker Chungmoo Choi.
afc1981004_159
Image numbers, descriptions: 1-12, examples of brush painting by Mr. Kean Sea Park, 6244 N. Claremont, Chicago.
afc1981004_160
Image numbers, descriptions: 1-12, examples of brush painting by Mr. Kean Sea Park, 6244 N. Claremont, Chicago; 16, 17, and 19 include children's drawings; 18, painting by Mr Park (rotated in online display; correct orientation shown in image 17).
afc1981004_161
Image numbers, descriptions: 1-4, fieldworker Chungmoo Choi and Mr. Kean Sea Park, brush artist, 6244 N. Claremont, Chicago, Mr. Park is holding an example of his work; 5-9, brush painting by Mr. Park; 10-18, fan painted by Mr. Park.
afc1981004_162
Image numbers, descriptions: 1-9, examples of lacquered wood furniture inlaid with mother-of-pearl, brought from Korea, at the home of Mr. Jae K. Lee, 6225 N. Claremont, Chicago; 10-14, lacquered box inlaid with mother-of-pearl; 15-17, dolls dressed in Asian costumes.
afc1981004_163
Image numbers, descriptions: 1-13, eight-panel wall screen, embroidered in silk at the home of Mr. Jae K. Lee, 6225 N. Claremont, Chicago.
afc1981004_164
Image numbers, descriptions: 1-9, at the home of Mr. Jae K. Lee, 6225 N. Claremont, Chicago, Mrs. Lee modelling traditional Korean costume; 10-14, Korean foot wear; 15-17, the Lee family; 18, Mrs. Lee with child; 19-20, Mrs. Lee making kimchee.
afc1981004_b50817
Film negative frame numbers, descriptions: 1-12, at the home of Mrs. Bong Hee (Ma) Stephens, Korean American dancer, 1430 E. Fleming, Arlington, Illinois, interior of home, showing wall decorations, largely Korean artifacts; 13-15, fieldworker Chungmoo Choi, Mrs. Stephens; 16-17, 32-33, wall decorations, especially dance posters; 18-19, Mrs. Stephens; 20-23, Exterior of home; 24-31, 34-36, Miss Chongsook Ma (Tong Sook Ma), niece of Mrs. Stephens, playing kayagum (gayageum), 12-string Korean musical instrument.
afc1981004_b50819
Film negative frame numbers, descriptions: 3-4, Miss Chongsook Ma (Tong Sook Ma), niece of Mrs. Bong Hee (Ma.) Stephens, pictured at the home of Mrs, Stephens, 1430 E. Fleming, Arlington, Illinois; 5-11, 18-36, interior of home; 12-14, unidentified boy (son or Mrs Stephens or related in other way?); 15-17, Miss Ma with boy; 20-21, interior with kayagum (gayageum) leaning against the wall.
afc1981004_b50890
Film negative frame numbers, descriptions: 1-6, at the home of Mr. Jae K. Lee, 6225 N. Claremont, Chicago, eight-panel wall screen, with patterns embroidered in silk; 7-9, part of traditional Korean costume; 10-11, lacquered wood furniture inlaid with mother-of-pearl; 12-17, Mrs. Lee making kimchee; 18-20, unidentified man and child; 21-26, Mrs. Lee in traditional costume; 27-30 Lee family; 31-33, Mrs. Lee with Mr. Kean See Park, brush painter; 34, unidentified; 35-36, Mr. Park on left.
afc1981004_b50887
Film negative frame numbers, descriptions: 1-16, Mrs. Bonghee (Ma) Stephens, Korean dancer in Korean costume with instruments, 1430 E. Fleming Arlington, Illinois; 19-35, unidentified (may be crowd at Mayor Michael Anthony Bilandic's inauguration, May 22, 1977).
afc1981004_b50896
Film negative frame numbers, descriptions: 1-18, home and family of Mr. Jae K. Lee, 6225 N. Claremont, the Lee family brought a large quantity of mother-of-pearl inlaid furniture from Korea; 2-3, at left, Mr. Kean See Park (brush painter) and Mr. Jae K, Lee, right; 4, Mrs. Lee (mother), Mr. Lee, Mr. Park; 5-6, Mr. Lee, Mrs. Lee (wife), Mr. Park; 7, Chungmoo Choi, fieldworker; 8-9, Mr. Park, Mrs. Lee; 10-11, A Lee son, Mr. Lee, Mr. Park, Mrs. Lee; 12-16, Lee sons, demonstrating Tae Kwan Do; 17-18, Lee sons, Mr. Park, Mrs. Lee; 19-36, at the Romas Sakadolskis- Emilija Pakstas wedding at Immaculate Conception Church (Roman Catholic), 2745 W. 44th St., Brighton Park, exchange of vows and rings, performed by Rev. Algimantas Kezyz, SJ, assisted by Rev. Antanas Saulo, the vows, prayers, and blessings were all in Lithuanian.
afc1981004_b50898
Film negative frame numbers, descriptions: 1-11, Mr. Kean Sea Park, brush artist, 6244 N. Claremont, Chicago; 12-13, closet for the storage of scrolls; 14, scroll; 15-21, in the home of Mr. Jae K. Lee, 6225 N. Claremont, Mrs. Lee and unidentified child; 22-36, examples of lacquered wood furniture inlaid with mother-of-pearl brought from Korea.
afc1981004_b50899
Film negative frame numbers, descriptions: 2-3, artist's materials at the home of Mr. Kean Sea Park, brush artist, 6244 N. Claremont, Chicago, 4-6, 24-25, brush painting; 7-23, 30-31, Mr Park at work; 26-29, painted fan; 32-33, artist's materials; 34-35, coloring materials; 36, Mr. Park.
afc1981004_b51720
Film negative frame numbers, descriptions: 0-4, 16-19, Indian Temple Dance (East India) at the Civic Center Plaza Ethnic Dance Festival; 5-15, 21, 36-37, audience; 22-29, Korean dancers preparing for their dance; 30-35, Korean dancers on stage.
afc1981004_b72637
Film negative frame numbers, descriptions: 1-5, Lyman Pierce, executive director of the Illinois (Indian) Employment and Training Center, in front of American Indian Business Association Industrial Employment and Training Program office, 1124 W. Granville, Chicago; 6-10, Street scene, Davidson's Bakery; 11-13, Latino mural in the predominantly Mexican American Little Village neighborhood, depicting a rural scene presumably in Mexico; 14-15, Wall mural in the Little Village neighborhood, slogan on mural painted in Spanish ("El Respeto al Derecho Ajeno es La Paz") and English ("To Respect the Rights of Your Neighbor is Peace"), attributed on the mural to Benito Juarez, former president of Mexico; 16-22, Mr. Kean Sea Park, brush painter, with his work, 6244 N. Claremont, Chicago; 23-26, Mr. Park and unidentified children; 27-33, Mr. Park playing bamboo flute.
afc1981004_ch2
Film negative frame numbers, descriptions: black and white copy negatives of color slides 8 and 15 in the set at call number AFC 1981/004: 142; the images are from the Korean American children's folktale contest and old people's birthday party held at Shinsundo (Shin Sun Do) Studio, 3315 N. Clark St., Chicago, also the Korean Forum (a service organization for American-Asians); frames 1-2 (identical images), I-uk Chung, tells story of, "village of the good son"; 3-4 (identical images), guests and audience at the birthday party, the fieldworked noted that men and women were seated separately on the floor, with most men wearing western style clothing and most women in Korean costume or Korean version of western style dress.
afc1981004_150
Image numbers, descriptions: 1-20, fishing on Lake Michigan with Butch Okkada (Okada?), Sonny, and John, fieldworker Chungmoo Choi is wearing red jacket in image 19.
afc1981004_151
Image numbers, descriptions: 1-20, fishing on Lake Michigan with Butch Okkada (Okada?), Sonny, and John; 1-3, Butch, Sonny, and John, 4-15, catching and landing a fish; 16-18, Sonny with the fish.
afc1981004_152
Image numbers, descriptions: 1-17, Japanese dancing instruction, Chicago Buddist Temple, 1151 W. Leland, Chicago; folk dance rehearsal for performance at Natsu Matsuri (Summer Festival) to be held July 2-3, 1977, at the temple.
afc1981004_157
Image numbers, descriptions: 1-5, at a flower arranging class held by Mrs. Mary Higeko Hamano, 2921 N. Halstead, Chicago, Mrs. Hamano, at right, with students; 6-8, student at work; 9-10, arrangement with daffodils.
afc1981004_165
Image numbers, descriptions: 1-2, Japanese tea ceremony at home of Rev. Gyomay M. Kubose and his wife Mine ("Minnie") Somi Kubose, 4635 N. Racine, Chicago, participants: Ms. Joyce Kubose Evans, hostess (cream kimono), Ms. Peggy Tokimoto, second guest (blue kimono), Mrs. Sobi Kubose, main guest (dark kimono); 3-4, hostess brings in sweet, okashi, to guests; 5-6, hostess begins to prepare tea; 7, bowl of sweets; 8-10, guests begin to eat sweets; 11-13, hostess prepares tea; 14-15, guest looks at tea making equipment; 16-20, posing for picture.
afc1981004_b49873
Film negative frame numbers, descriptions: 1-4, fishing on Lake Michigan with Butch Okkada (Okada?), Sonny, and John, fishing boat on the lake; 5-8, John; 9, Chungmoo Choi (fieldworker), Butch; 10-11, Sonny; 12-13, John, Sonny; 14-15, John; 16-17, Sonny, Butch; 18-22, L-r, Sonny, John, Butch; 23-24, 27, 33-36, John; 25-26, the boat; 28-32, Sonny, Butch.
afc1981004_b49874
Film negative frame numbers, descriptions: 1-36, Japanese dancing instruction at the Chicago Buddist Temple, 1151 W. Leland, Chicago, folk dance rehearsal for performance at Natsu Matsuri (Summer Festival), to be held July 2-3, 1977, at the temple.
afc1981004_b49877
Film negative frame numbers, descriptions: 0-10, scenes of Korean and other Asian shops and organizations in Chinatown near S. Wentworth Ave.; 11-36, preparing for fishing trip on Lake Michigan with Butch Okkada (Okada?), Sonny, and John, at diner, on the dock; 16a, Butch; 17, 19-20, Sonny, John; 18, John; 21-22, Sonny; 23-25, boat on the trailer; 26-27, launching the boat; 28, Sonny, Butch; 29, John, Butch; 30-32, John, Chungmoo Choi (fieldworker); 33, John, Sonny, Butch; 34, fishing poles; 35, Sonny, Butch; 36, John, Sonny, Butch.
afc1981004_b49878
Film negative frame numbers, descriptions: 1-22, fishing trip on Lake Michigan with Butch Okkada (Okada?), Sonny, and John, with fieldworker Chungmoo Choi; 23-29, after the fishing trip; 30-36, unidentified.
afc1981004_b50877
Film negative frame numbers, descriptions: 1, fishing trip on Lake Michigan with Butch Okkada (Okada?), left to right, Sonny, Butch, and John; 2-3, Sonny, John; 4-6, Chungmoo Choi, fieldworker; 7-8, Sonny, Chungmoo Choi; 9, Butch, John; 10, Butch, John, Chungmoo Choi; 11-13, Chungmoo Choi, Sonny; 14, lunch box, traditional Japanese foods; 15, Sonny, Chungmoo Choi; 16, Chungmoo Choi, John; 17-21, landing a fish; 22-23, Sonny with the fish; 24-35, Butch landing fish; 36-37, Sonny.
afc1981004_b50878
Film negative frame numbers, descriptions: 1-6, Japanese tea ceremony at home of Rev. Gyomay M. Kubose and his wife Mine ("Minnie") Somi Kubosi, 4645 N. Racine, Chicago; second guest starts eating sweets (fieldworker's notes based in interviews indicates that eating sweets must precede drinking tea because the sweetness enhances the relatively bitter taste of tea that follows); 7, Chungmoo Choi, fieldworker, looks on; 8-12, second guest goes and gets tea; 13-14, second guest drinks tea; 15, after drinking the tea, the guest admires the art of the tea bowl (chawan) - not a cup, a cup is smaller; 16, returns the bowl; 17, main guest asks to see the tea caddy (natsume), lacquered container with the fine green powder (tea) and the tea scoop (chashaku); 18-21, cleaning the items to present them; 22, presenting the items; 24, hostess leaves room; 25, hostess brings fresh water in mizutsugi; 26, shows mitzutsugi; 27-31, hostess has gone to replenish water being heated; guests closely observing and chashaku (fieldworker's notes based in interviews indicates that this should not be occurring); 32, waiting for return of hostess; 33, hostess returns; "such beautiful art,†she tells about tea caddy and scoop; 34, answering - ''nice combinationâ€; 35, "Thank you," it is always the main guest who speaks; 36, removes items, 37, hostess thanks guests for coming.
afc1981004_b50882
Film negative frame numbers, descriptions: 0-8, participants in Japanese tea ceremony at home of Rev. Gyomay M. Kubose and his wife Mine ("Minnie") Somi Kubosi, 4645 N. Racine, Chicago include Mrs. Sobi M. Kubose, Ms. Peggy N. Tokimoto, Ms. Joyce Kubose Evans (Joyce Kubose); 9-12, Rev. Gyomay M. Kubose on left; 12-16, Kubose family; 17-22, Ms. Peggy N. Tokimoto, Ms. Joyce Kubose Evans (Joyce Kubose); 23-31, Mrs. Kubose making tea (the fieldworker's notes, based on interviews, indicates that 23 and 24 are incorrect moves); 32-36, Joyce Kubose Evans putting on sash with help from Ms. Tokimoto.
afc1981004_b50890
Film negative frame numbers, descriptions: 0-1, observing the scroll in door at the Japanese tea ceremony at home of Rev. Gyomay M. Kubose and his wife Mine ("Minnie") Somi Kubosi, 4645 N. Racine, Chicago; 2-5, posing for picture, participants: Ms. Joyce Kubose Evans (Joyce Kubose), hostess (light kimono); Ms. Peggy Tokimoto, second guest (medium kimono); Mrs. Sobi Kubose, main guest (dark kimono); 6-8, hostess brings in sweet, okashi, to guests; 9, hostess brings in utensils to make tea; 10-25, preparing the tea; 26-30, as tea is prepared, guest begins to eat sweets; 31-33, waiting for tea; 34, main guest excuses herself to second guest for being the first to drink tea; 35, main guest thanks hostess for making tea; 36-37, main guest drinks the tea.
afc1981004_b50891
Film negative frame numbers, descriptions: 1-36, at the flower arranging (ikebana) class held by Mrs. Mary Higeko Hamano, 2921 N. Halstead, Chicago, Mrs. Hamano and unidentified students; 4, Mrs. Hamano; 10, Chungmoo Choi, fieldworker, left.
afc1981004_b50897
Film negative frame numbers, descriptions: 1-25, Ms. Joyce Kubosi Evans removing kimono with help of Ms. Peggy Tokimoto and Chungmoo Choi, fieldworker; 26, Chungmoo Choi, Mrs. Sobi Kubose; 27, Chungmoo Choi, Mine ("Minnie") Somi Kubose and her husband the Rev. Gyomay M. Kubose; 28-34, Mrs. Kubose modelling kimono.
afc1981004_b52025
Film negative frame numbers, descriptions: 1-34, Japanese Buddhist Temple Street Fair, W. Leland Ave; 35-37, unidentified girl with tattoo on her arm.
afc1981004_143
Image numbers, descriptions: 1-20, scenes of Chinatown near S. Wentworth Ave and 23d St. 17-20, Pui Tak Center (former On Leong Building).
afc1981004_144
Image numbers, descriptions: 1-5, scenes of Pui Tak Center in Chinatown near S. Wentworth Ave and 23d St.; 6-8, skull in car window with sticker with word Mexico on windshield, exact location unknown; 9-10, decorated doorway, exact location unknown; 11, Longevity Health Clinic street scene (probably on N. Clark St.); 12-14, Chinatown including identifying plaque; 15-20, scenes of Arirang Food Mart (Korean) on N. Clark St. in or near the 3300-3400 block.
afc1981004_145
Image numbers, descriptions: 1-20, scenes of Korean and other Asian shops and organizations on N. Clark St. in or near the 3300-3400 block. 11-12, upper portion of exterior façade of Shinsundo (Shin Sun Do) Studio, 3315 N. Clark St., Chicago.
afc1981004_146
Image numbers, descriptions: 1-20, scenes of the interior of an Asian food store in on N. Clark St. on or near the 3300-3400 block.
afc1981004_147
Image numbers, descriptions: 1-20, scenes of Korean and other Asian shops and organizations on N. Clark St. on or near the 3300-3400 block; 3-4, exterior of Sam Mee Korean Restaurant, 3370 N. Clark St.
afc1981004_148
Image numbers, descriptions: 1-20, scenes of Korean and other Asian shops and organizations on N. Clark St. on or near the 3300-3400 block; 1-4, exterior façade of Shinsundo (Shin Sun Do) Studio, 3315 N. Clark St., Chicago; 5-6, Pan International Travel (Chicago to Seoul travel is highlighted); 8-9, Mike Art Studio (photography).
afc1981004_149
Image numbers, descriptions: 1-20, scenes of Korean and other Asian shops and organizations on N. Clark St. on or near the 3300-3400 block; 1-3, exterior façade, of Korea Food Market; 4-6, Latino-style wall mural on Sheffield, at Clark; 7-8, exterior of Lantern Korean Restaurant; 9-20, Manna Oriental Foods façade, sign, and show windows.
afc1981004_166
Image numbers, descriptions: 1-2, at the Civic Center Plaza Ethnic Dance Festival, Indian dancer before performance; 3-11, Indian Temple Dance; 12-16, Asian Forum; Shin Sun Do (Shin-sun-Do, Shinsundo), world peace through a program of physical exercise; 17-19, spectators.
afc1981004_167
Image numbers, descriptions: 1-10, at the Japanese Buddist Temple Street Fair, Racine and W. Leland Ave., Chicago; performers (Hawaiian? Sign says “Kauai Surf Ridersâ€) on stage, different groups also portrayed with no change in signage; 11, woman in costume that includes lei (?)
afc1981004_168
Image numbers, descriptions: 1-13, at the Civic Center Plaza Ethnic Dance Festival, Korean dancers on stage; 14-19, Filipino dancers.
afc1981004_71987
Film negative frame numbers, descriptions: 1-9, garden of Roberto and Amelia Leval, 1515 W. Berteau, Chicago; the Levals are a retired Cuban couple and their garden has vegetables, flowers (plastic and real), and animal figures, windmills, and a madonna; 10-11, Manna Oriental Food Store; 12, unidentified children.
afc1981004_b49879
Film negative frame numbers, descriptions: 0-3, Balys Pakstas' birbyne ensemble, left to right, Mr. Vincus Vaitkus (Vaitkevicius), Mr. Liubomiras Bichnevicius, Mr. Balys Pakstas; 5-8, Antanas Poskocimas, center, with neighbors; 10-15, Woodcarving by Mr. Poskocimas; 16-29, views of shops in Chinatown near S. Wentworth Ave. and 23d Street, fieldworker Chungmoo Choi in frame 16. 4, 9, 19-27, and 30-34 spoiled by camera malfunction.
afc1981004_b51722
Film negative frame numbers, descriptions: 0-12, group shots of La Estudiantina de San Pio (1909 E. Ashland) on stairs and at rehearsal, led by Brother Michael Seiberlick, OP [Order of Preachers (Dominicans)]; group members include: guitars: Alan Flores, Dalila Flores, Chita Vazquez, Celia Kielminski, Uliser Flores, Corinne Liza, Lydia Toscano, Maria Vazquez, Bob Delgado, Rosario Badillo, Jane Badillo, Rosie Lopez, Sandy Lopez, Tammy Lopez, Eddie Flores; mandolins: Bicky [Ricky?] Vazquez, Arturo Coevas, Cata Martinez; tambourines: Longino Flores, Letty Badillo; Bass: Mayra Flores; accordion and director; Brother Michael Seiberlick, OP; 13-16, demonstration of La Estudiantina de San Pio group's costume; 17-29, at Civic Center Plaza Ethnic Dance Festival, Korean dancers performing; 30-37, Filipino dancers performing at the festival.
afc1981004_b51727
Film negative frame numbers, descriptions: 1-5, at the Civic Center Plaza Ethnic Dance Festival: unidentified dancers; 6-14, 17-26, 28-35, Asian Forum; Shin-Sun-Do, world peace through a program of physical exercise; 15-16, 27-36, audience.
afc1981004_b52021
Film negative frame numbers, descriptions: 1, raising chapel pole; 2, 7-8, Rev. Algimantas Kezys, SJ, left, Antanas Poskocimas, maker of the chapel pole, right; 3-4, closeup of the chapel pole; 5-6, Antanas Poskicimas, center; 9-20, Antanas Poskocimas (in dark shirt) checking pole; 21, AntanasPoskocimas, left; 22-36, scenes from Buddist Temple Street Fair, Racine and Leland Streets; 22-29, 33, dancing; 30-32, 34-35, audience.
afc1981004_b52029
Film negative frame numbers, descriptions: 1-14, Some shade tree car mechanics near Montrose, behind Kenmore; 15-26 Japanese Buddhist Temple Street Fair, W. Leland Ave; 17, fieldworker Chungmoo Choi.
afc1981004_b71991
Film negative frame numbers, descriptions: 1-36, street scenes along N. Clark St. between Belmont and Sheffield; 11, Latino-style wall mural on Sheffield, at Clark; 17-26, Leo Rodriquez [Rodriguez?] and friends pitching pennies on Sheffield St. at Addison; Cubs Park is visible on the left; 27-end, Korean American children.
afc1981004_169
Image numbers, descriptions: 1-4, rehearsal of El Conjunto de Cuerdas Tipicas de Puerto Rico under the direction of Israel Maldonado at El Romance Club, 3575 W. Armitage, Chicago, Pablo Valentin, second guitar, left; Arcadia Otero, on cuatro, right; 5, Arcadio Otero; 6-7, "El Mucaro" (left) and "El Zumbadour" (right).
afc1981004_170
Image numbers, descriptions: 1-10, Latino soccer game, Montrose Harbor Park; 11, picnic at soccer game; note: images are underexposed.
afc1981004_171
Image numbers, descriptions: 1-22, views in the predominantly Mexican American Little Village neighborhood, along 26th St. between Kedzie and Pulaski; 1-5, wall mural; 7-8, front window of grocery, foods advertised in Spanish; 9-12, Little Village Pet Shop with supplementary signs in Spanish; 13-17, Super Mercado La Chiquita food store with painted imagery above door (includes fruits, livestock, and vegetables); 18-20, Carneceria y Fruteria; 21-22, La Victoria (store sign).
afc1981004_172
Image numbers, descriptions: 1-20, in the predominantly Mexican American Little Village neighborhood, along 26th St. between Kedzie and Pulaski; scenes include people on sidewalk; 9-13, storefront, signage includes the word "Paleteria;" 14-15, seafood storefront, signage includes "Ostionaria Boca del Rio;" 16-20, window of seafood store.
afc1981004_173
Image numbers, descriptions: 1-20, in the predominantly Mexican American Little Village neighborhood, along 26th St. between Kedzie and Pulaski; 1-9, store display windows; 1-2, seafood; 3-9, furniture store windows; 10-13, T-shirt transfer display by street vendor; 14-16, street scene, urban landscape, with bilingual car dealer sign; 17-20, wall mural depicting rural landscape, to suggest Mexico.
afc1981004_174
Image numbers, descriptions: 1-20, in the predominantly Mexican American Little Village neighborhood, along 26th St. between Kedzie and Pulaski; 1-2, part of wall mural depicting rural landscape, suggesting Mexico, and store sign 'Supermercado Cardenas;' 3-16, storefronts in a Latino neighborhood; 3, window with canned food, sign "Diariamente;" 4, window of restaurant with sing including "Carry out, Ricas, Flautas:" 5-7, Mexico Studio photography business; 8-13, store for general merchandise with windows filled with toys and other colorful objects (some with child looking in), signage includes "Richard's Dish;" 14-16, seafood store windows; 17-19, street scene, wide landscape view that includes "Supermercado Cardenas" and mural.
afc1981004_175
Image numbers, descriptions: 1-20, wall mural in the predominantly Mexican American Little Village neighborhood, slogan on mural painted in Spanish ("El Respeto al Derecho Ajeno es La Paz") and English ("To Respect the Rights of Your Neighbor is Peace"), quote attributed on the mural to Benito Juarez, former president of Mexico.
afc1981004_176
Image numbers, descriptions: 1-16, garden of Roberto and Amelia Leval (retired Cuban couple), 1515 W. Berteau, Chicago; with vegetables, flowers (plastic and real), and animal figures, windmills, and a Madonna.
afc1981004_237
Image numbers, descriptions: 1, at the Latino Post-Fieldwork Community Workshop, left to right at the taco lunch, Jose Gonzales and Albert Vazquez; 2, lunch, rear, left to right, Beth Hoye, Elda Chavez, Victor Sorell; 3, Maria de la Cruz; 4, Catalina Garcia and Beth Hoye; 5, Elda Chavez, Victor Sorell, Maria de la Cruz; 6, Group at lunch; 7, Maria de la Cruz and Jose Gonzales; 8-9, Alberto Vazquez; 10 Jose Gonzales and Maria de la Cruz; 11, Jesus Negrete and photographer Jose Gonzales; 12, Maria de la Cruz and Jesus Negrete; 13-14, Jose Gonzales; 15, Jesus Negrete and Maria de la Cruz.
afc1981004_2_18285
Film negative frame numbers, descriptions: 0, at the post-fieldwork Latino community workshop, left to right, Alberto Vazquez, Jesus Negrete; 1, room scene, fieldworker Philip George at blackboard; 2, Bert Mazer (NEA) addresses group, Maria de la Cruz at right; 3-6, group around the table; 7, Carlos Cumpian; 8, Maria de la Cruz, fieldworker Philip George, and Jesus Negrete; 9, left to right, Catalina Garcia and Elda Chavez; 10-11, left to right, Albert Vazquez, Philip George, and Jesus Negrete; 12, Albert Vasquez; 13, Albert Vazquez and Philip George; 14, Jesus Negrete, Albert Vasquez, Philip George; 15, Albert Vazquez and Jesus Negrete; 16, 18, Maria de la Cruz and Philip George; 17, 19-23, 26, group discussion around table; 24, 28, Maria de la Cruz; 29-31, Jesus Negrete and Maria de la Cruz; 27, 33, Jesus Negrete; 32, book and photo display; these photographs by Jose G. Gonzales, MARCH (Movimiento Artistico Chicano), P.O. Box 2890, Chicago, Illinois.
afc1981004_71987
Film negative frame numbers, descriptions: 1-9, garden of Roberto and Amelia Leval, 1515 W. Berteau, Chicago; the Levals are a retired Cuban couple and their garden has vegetables, flowers (plastic and real), and animal figures, windmills, and a madonna; 10-11, Manna Oriental Food Store; 12, unidentified children.
afc1981004_b49875
Film negative frame numbers, descriptions: 1-36, "Sweet Sixteen" party for unidentified Puerto Rican girl.
afc1981004_b49881
Film negative frame numbers, descriptions: 1-36, quinceanera (Sweet Sixteen) party for unidentified Puerto Rican girl.
afc1981004_b51718
Film negative frame numbers, descriptions: 0-37, scenes of the group and its members of at a rehearsal at the Estudiantina de San Pio at 1909 S. Ashland, Chicago.
afc1981004_b51719
Film negative frame numbers, descriptions: 0-26, Jose Santana rolling cigars, 4831 W. Roscoe, Chicago; 27-36, Mr. Santana lighting a cigar; 37, group of people in street (may be Diane Sandoval and friends), photographer's notes say Pilsen [neighborhood] but probably the nearby Little Village neighborhood; see also photographs on the roll at call number AFC 1981/004: b51721.
afc1981004_b51721
Film negative frame numbers, descriptions: 1-16, Diane Sandoval and friends, in the predominantly Mexican American Little Village neighborhood, along 26th St. between Kedzie and Pulaski; see also photographs on roll with call number AFC 1981/004: b51719; 19-22, Francisco Garcia and son; 24-28, Brother Michael leads the Estudiantina de San Pio [music class], 1909 E. Ashland; 29-37, Estudiantina de San Pio [music class] practices.
afc1981004_b51724
Film negative frame numbers, descriptions: 2-18, Jose C. Santana, cigar maker, 4831 S. Roscoe, in in his living room, some with Philip George, fieldworker; 19-37, Mr. Santana in his kitchen.
afc1981004_b51725
Film negative frame numbers, descriptions: 0-3, Mr. Jose C. Santana, cigar maker, 4831 Roscoe, Chicago, talks in his kitchen; 4-9, Mr. Santana shows his shop; 10-13, Philip George, fieldworker, smokes a cigar; 14-36, Mr. Santana rolls cigars; 15, Santana points to a bulletin board filled with letters from individuals praising his cigars; Santana is the principal informant for Patricia Cooper who is doing her dissertation on cigar makers in the United States, who gives cigars to her friends with the understanding that they will write to Santana.
afc1981004_b51726
Film negative frame numbers, descriptions: 0-4, Israel Maldonado in front of El Romance Club; 5-7, sign for El Romance Club; 9-10, 15-16, 20, 23-25, 34-37, rehearsal of El Conjunto de Cuerdas Tipicas de Puerto Rico under the direction of Israel Maldonado at El Romance Club,3575 W. Armitage, Chicago, 9-10, Arcadia Otero (on cuatro), right; guitarist Pablo Valentin, left; 11-12, El Mucaro on guiro, with Arcadio Otero and Pablo Valentin; 13-14, woman who serves as [blind?] Arcadio Otero's leader and guide; 17-19, El Mucaro on guiro; 21-22, Arcadio Otero; 26-33, El Mucaro, Edwin ("El Zumbador"), sunglasses, Arcadio Otero, no glasses.
afc1981004_b52022
Film negative frame numbers, descriptions: 0-12, scenes of the Negrete home and neighborhood (some with Bernardo Negrete), 9125 S. Houston, Chicago; 6-8 statue of the Virgen de Guadalupe in the Negrete front yard; 14-29, recording session with Chicano Floricanto (Jesus, Rosa, Bernardo Negrete and Carlos Cumpian), Bernardo plays harmonica with Jesus and Rosa on guitar and Carlos Cumpian looks on; 26 Bernardo Negrete listens to playback; 30-31, Jesus Negrete talks as Rosa Negrete looks on; 32-35, Jesus, Rosa and Carlos sing; 36-37, Jesus and Rosa sing as Bernardo listens.
afc1981004_b51722
Film negative frame numbers, descriptions: 0-12, group shots of La Estudiantina de San Pio (1909 E. Ashland) on stairs and at rehearsal, led by Brother Michael Seiberlick, OP [Order of Preachers (Dominicans)]; group members include: guitars: Alan Flores, Dalila Flores, Chita Vazquez, Celia Kielminski, Uliser Flores, Corinne Liza, Lydia Toscano, Maria Vazquez, Bob Delgado, Rosario Badillo, Jane Badillo, Rosie Lopez, Sandy Lopez, Tammy Lopez, Eddie Flores; mandolins: Bicky [Ricky?] Vazquez, Arturo Coevas, Cata Martinez; tambourines: Longino Flores, Letty Badillo; Bass: Mayra Flores; accordion and director; Brother Michael Seiberlick, OP; 13-16, demonstration of La Estudiantina de San Pio group's costume; 17-29, at Civic Center Plaza Ethnic Dance Festival, Korean dancers performing; 30-37, Filipino dancers performing at the festival.
afc1981004_b51723
Film negative frame numbers, descriptions: 1-6, group shots during rehearsal of El Conjunto de Cuerdas Tipicas de Puerto Rico under the direction of Israel Maldonado at El Romance Club, 3575 W. Armitage, Chicago; 7-8, Israel Maldonado and Philip George, fieldworker, right; 9-11, Alan Jabbour (director, American Folklife Center), Alexia Lalli (Illinois Arts Council), and Philip George (fieldworker) during rehearsal; 12-20, El Conjunto rehearses; 21-24, Edwin, "El Zumbador," sings; 25-27, Israel Maldonado and Alexia Lalli dance; 28-31, Alan Jabbour, Alexia Lalli, Philip George; 32-35, Pablo Valentin, second guitar, left with glasses; Arcadio Otero, on cuatro, right, no glasses; 36-37, "El Zumbador," "El Mucaro," and Otero's guide [he may be blind, and the woman assists him] during playback of recording.
afc1981004_b52022
Film negative frame numbers, descriptions: 0-12, scenes of the Negrete home and neighborhood (some with Bernardo Negrete), 9125 S. Houston, Chicago; 6-8 statue of the Virgen de Guadalupe in the Negrete front yard; 14-29, recording session with Chicano Floricanto (Jesus, Rosa, Bernardo Negrete and Carlos Cumpian), Bernardo plays harmonica with Jesus and Rosa on guitar and Carlos Cumpian looks on; 26 Bernardo Negrete listens to playback; 30-31, Jesus Negrete talks as Rosa Negrete looks on; 32-35, Jesus, Rosa and Carlos sing; 36-37, Jesus and Rosa sing as Bernardo listens.
afc1981004_b52023
Film negative frame numbers, descriptions: 0-2, recording session with Chicano Floricato (Jesus, Rosa, Bernardo Negrete and Carlos Cumpian), 9125 S. Houston, Chicago, Jesus and Rosa sing as Bernardo looks on; 3-4, Jesus and Rosa sing as Carlos looks on; 5-6, Jesus and Rosa sing as Bernardo plays harmonica; 7-8, fieldworkers George and Greta Swenson look on; 9-11, Carlos holds telephone toward Jesus and Rosa as they sing; 12, Bernardo plays harmonica as Jesus and Rosa sing; 13, Rosa, the dog, Carlos, and Philip George, fieldworker; 14, Jesus, Rosa and the dog; 15-17, Jesus, Rosa, and Carlos; 18a-36, raising a chapel pole made by Antanas Poskocimas at the Lithuanian Jesuit Fathers Youth Center, 5620 S. Claremont, Chicago, Antanas Poskocimas is wearing peaked cap and dark shirt.
afc1981004_b52028
Film negative frame numbers, descriptions: 0-5, musicians at Europe at Night, 2986 N. Elston, Chicago (Yugoslav displaced person nightclub), Milija Spasojevich, accordion player, is the club owner; 6-10, at the El Romance Club, 3575 W. Armitage, Chicago, dancers during performance of Los Amantes; 11, "Georgie" plays timbales for Los Amantes; 12, "Pedrito Roman"; 13, "Pedrito" and "Georgie"; 14, 17-19, Dancers; 15, Chungmoo Choi and Philip George, fieldworkers; 16, a friend of Jonas; 21-23, Los Amantes play and sing; 24, "Pedrito Roman."
afc1981004_b52860
Film negative frame numbers, descriptions: 2-3, Mrs. Esperancita Sernas in her apartment #221, 1611 S. Racine, Chicago; 4-29, El Conjunto de Cuerdas Tipicas de Puerto Rico at Channel 26 TV studio; 4-5, Arcadio Otero (on cuarto), Luis Pantoja (guitar), and Edimiro Rivera; 6, 14, 26-29, Israel Maldonado, MC; 7-8, 15-18, Edimiro Rivera; 10, 13 Irma Diaz; 9, 19 Arcadio Diaz; 11-12, 20-25, group shots; 30-33, Jesus "Chuy" Negrete in his kitchen at 9125 S. Houston, Chicago.
afc1981004_b52861
Film negative frame numbers, descriptions: 3-8, 24-27, Latino soccer players [Montrose Harbor Park?]; 9-23, 33-36, onlookers and picnickers.
afc1981004_b52862
Film negative frame numbers, descriptions: 1-14, Riddle's Bar, on 43rd St., Chicago; 16-36, Latino soccer game, Montrose Harbor Park.
afc1981004_b71993
Film negative frame numbers, descriptions: 0-36, views along 26th St. between Kedzie and Pulaski, in the predominantly Mexican American Little Village neighborhood; 0-3 Monterey Supermercado at 26th and Spaulding.
afc1981004_b72638
Film negative frame numbers, descriptions: 0-7, knitting by Mrs. Stase Tallet-Kelpsa using Lithuanian patterns, 6829 S. Rockwell, Chicago; 8-16, garden of Roberto and Anelia Leval, 1515 W. Berteau, Chicago, a retired Cuban couple, the garden has vegetables, flowers (plastic and real), animal figures, windmills, a Madonna.
afc1981004_177
Image numbers, descriptions: 1-2, exterior of the Great American Coffeehouse; 3-4, Iberius Hacker outside the Great American Coffeehouse; 5-7, Iberius Hacker; 8-12, fieldworker Becky Browning and Iberius Hacker.
afc1981004_178
Image numbers, descriptions: 1-3, exterior of the Southern Culture Exchange Center of Columbia College, 954 Montrose Ave., Chicago; 4-5, front window of the center, Holly Highfill and Judy McLaughlin can be seen seated at desk inside; 6-7, Judy McLaughlin, left; Holly Highfill, right, outside of the Southern Culture Exchange Center of Columbia College.
afc1981004_179
Image numbers, descriptions: 1-3, exterior of the Postillion tavern, Montrose and Artesian Avenues, Chicago north side; 4-7, neighborhood scenes, back of apartments on Magnolia, near Wilson, on the north side; 8-20, Johnny's Tavern in Cicero; 11-12, interior of Johnny's Tavern; 13-15, Victor Manufacturing and Gasket Company (former employer of Nancy Buckalew) in the vicinity of W. Roosevelt Rd, 12th Street and 58th Avenue (may be in “The Island†neighborhood on the far west side).
afc1981004_180
Image numbers, descriptions: 1-6, Nancy Buckalew and grandchild.
afc1981004_181
Image numbers, descriptions: 1-4, Ada Sparks; 5-6, Ada Sparks, fieldworker Becky Browning, right; 7-8, Ada Sparks on her living room couch - couch is covered with a quilt; 9-10, exterior of Ada Sparks' house, she lives on the second floor; 11-15, newspaper ad clipped by Ada Sparks, planning to use the design motif in a future quilt; 16-17, sketch-designs; in paper, discussed during the recorded interview at call numbers AFC 1981/004: AFS 20776a, AFS 20776b, AFS 20777a, AFS 20777b, and AFS 20778a.
afc1981004_182
Image numbers, descriptions: 1-11, quilt top in possession of Ada Sparks, made by her sister, with close-ups (Duck-foot-in-the-mud); 12-14, quilt block in progress (Dresden plate variation); 15-17, quilt design worked out in colored paper, with pencil lines showing fancy embroidery; 18-20, quilt block in progress (fan pattern).
afc1981004_183
Image numbers, descriptions: 1-4, quilt blocks in progress (crazy pattern), by quiltmaker Ada Sparks; 5-8, material in progress, outline stitch method.
afc1981004_184
Image numbers, descriptions: 1-14, various rolled paper and string jewelry items created by Ada Sparks.
afc1981004_185
Image numbers, descriptions: 1-8, Appalachian-themed mural at Racine and Magnolia showing southern movement to northern industrial centers, adjacent to sign for Paramount Rexall Drugs, north side near Wrigley Field.
afc1981004_186
Image numbers, descriptions: 1-3, Northside Pentecostal Church sidewalk witnessing, members witnessing on the sidewalk near Harry S. Truman College, at W. Wilson and Racine Avenues in the Uptown neighborhood; 4-5, church members singing, woman with glasses (second from right) is possibly Joann Bolen (Mrs. Charles Bolen), from Beckley, West Virginia, came to Chicago 9 1/2 years ago; 6-7, Junior Zornes (Lawrence Edward Zornes) holding Bible, Zornes is originally from the Williamson area of West Virginia, now of 4513 Magnolia in Chicago; woman at left in print dress is probably Dolly Zornes, Junior's wife; 8-19, Rev. Bobby Goddard preaching.
afc1981004_187
Image numbers, descriptions: 1-8, Northside Pentecostal Church Sunday service, 1527 Edgewater Ave., in the Edgewater neighborhood; at church on Sunday morning, Paul Dean teaches Sunday school, Dean was born in Roan (Rowan?) County, Kentucky, came to Chicago at age 18 and now lives at 3329 N. Osceola; 9-14, the congregation; 15-18, children's choir; 19-20, Rev. Bobby Goddard preaching.
afc1981004_188
Image numbers, descriptions: 1-7, Rev. Bobby Goddard preaching the Sunday morning sermon at the Northside United Pentecostal Church, 1527 W. Edgewater Ave., Chicago, in the Edgewater neighborhood; 8-12, the congregation; 13-15, exterior of the church; 16-18, close-up of the church sign; 19-20, Rev. Bobby Goddard's home.
afc1981004_b37763
Film negative frame numbers, descriptions: 1-5, newspaper ad clipped by Ada Sparks, who plans to use the design motif in a future quilt; 6-14, Sketch-designs; in paper, discussed on the tape; 15-19, quilt work in progress; 20-21, material in progress, outline stitch method; 23-33, selected songs and poems from Sparks's writing collection book {book shown in frame 36, and continued on roll at call number afc1981004_b37765); 34-35, letter from Kitty Wells concerning country songs offered her for use.
afc1981004_b37765
Film negative frame numbers, descriptions: 1-2, Ada Spark's writing book (continued from roll at call number afc1981004_b37763); 4-12, Ada Sparks; 13-16, quilt parts in progress; 17-19, Ada on couch in her living room - couch cover is a finished quilt; 20-33, various rolled paper and string items; 34-36, at Johnny's Tavern in Cicero; Nancy Buckalew and grandchild.
afc1981004_b37766
Film negative frame numbers, descriptions: 0-3, Ray Hillburn (with hat) and the Coyotes at the Postillion; 4, Elena Bradunas, Rebecca Browning, Jonas Dovydenas, Greta Swenson; 5-8, Postillion; Montrose and Artesian Avenues (north side); 9-11, Rebecca Browning and Iberius Hacker at Great American Coffeehouse; 12-16, Great American Coffeehouse on Lincoln Avenue and Iberius Hacker; 17-25, Holly Highfill (on desk) and Judy McLaughlin at the Southern Culture Exchange Center of Columbia College, 954 Montrose Avenue; 26-28, exterior of the Postillion; 29-32, Rev. Peter C. Karloutsos, St. Andew’s Greek Orthodox Church, 5649 N. Sheridan Rd., Chicago, Illinois; 33-36, painting by Bob Clark and Andy Karafotias at St. Andrew's.
afc1981004_b37769
Film negative frame numbers, descriptions: 1-16, views of interior and exterior of St. Andrew's Church 5649 N. Sheridan Rd., Chicago, Illinois; 17-22, quilt top in possession of Ada Sparks, made by her sister; 24-26, same, showing underside of the top; 27-28, same, quilt top; 29-31, Ada Sparks and fieldworker Rebecca Browning; 32-34, Ada Sparks.
afc1981004_b37770
Film negative frame numbers, descriptions: 0-2, Iberius Hacker; 3-6, Iberius Hacker with fieldworker Rebecca Browning at the Great American Coffeehouse; 7-8, 11, Judy McLaughlin, Southern Culture Exchange Center of Columbia College; 9-10, Holly Highfill, Southern Culture Exchange Center; 12-13, Kenmore and Grace Sts.; kids building mud dam in gutter; 14-15, back of Apartments on Magnolia, near Wilson; 18-36, painting in gym at St. Andrew's Greek Orthodox Church, 5649 N. Sheridan Rd., Chicago, Illinois, by Dean Pappas; 37, sign in front of St. Andrew's.
afc1981004_b41245
Film negative frame numbers, descriptions: 2-4, Ada Spark's house - she lives on the second floor; 5-12, Greek painter Strathis Trahanatzis, large work in studio; 13-16, paint table; 17, Strathis Trahanatzis; 18-19, medal from Greek military; 20-22, living room wall; paintings are directly on the wall; 23-27, table in living room; 28, Strathis Trahanatzis; 29-30, chest in living room; 31-32, decorated shells and pebbles; paintings will be added in white space; 33-36, miscellaneous small painted and constructed items.
afc1981004_b41997
Film negative frame numbers, descriptions: 1-3a, mural at Racine and Magnolia depicting southern migration to northern industrial center; 4-12, blank; 13-16a, bar scenes, patrons unidentified; 17-20a, Karl Laschet, operator of bar, behind bar; 27-32a, local baseball team sponsored by Karl Laschet's inn; 33-34a, 37, fieldworker Tony Hellenberg with Dr. Stephan Kozlowski.
afc1981004_b54872
Film negative frame numbers, descriptions: 1-3, Rev. Bobby Goddard's home, 2506 Hutchinson, Chicago; 3a-8, Rev. Bobby Goddard in his living room; 9, at the home of project photographer Jonas Dovydenas, 4327 N. Kenmore, view from back porch; 10a-17, dining (and working) room at home of Jonas Dovydenas; 17-end, portraits of Jonas Dovydenas.
afc1981004_b54873
Film negative frame numbers, descriptions: 0-2, interior of Northside United Pentecostal church, 1527 W. Edgewater Ave., Chicago, in the Edgewater neighborhood, with congregation at Sunday morning services; 3-4, Paul Dean, who teaches adult Sunday school class; 5-9, duet special music; 10-16, children's choir; 17-32, Rev. Bobby Goddard preaching the sermon; 33-36 exterior of the church; 37, closeup of church sign.
afc1981004_b54875
Film negative frame numbers, descriptions: 3-9, in project office on 8th floor of 111 N. Wabash at Illinois Arts Council; 7-8, left to right, AFC director Alan Jabbour, Robert Salisbury (Illinois Arts Council), fieldworkers (and project leaders) Elena Bradunas and Greta Swenson; 10-11, meeting of board of trustees {directors?) of the Illinois Arts Council, presentation by Alan Jabbour at end of table; 12, In project office, Ted Fitzwilliam and Elena Bradunas; 13-14, fieldworker Carl Fleischhauer, probably taken by Greta Swenson; 15-31, Northside Pentecostal Church street preaching, near Harry S. Truman College, at W. Wilson and Racine Avenues in the Uptown neighborhood; 18a-19a, woman with glasses is possibly Joann Bolen (Mrs. Charles Bolen), came from Beckley, West Virginia 9 1/2 years ago; 20a, woman at left in print dress is possibly Dolly Zornes, Junior's wife; 23a-24a, Indian (?) and Junior Zornes (Lawrence Edward Zornes, originally from the Williamson area of West Virginia, now of 4513 Magnolia); 26a-30a, Rev. Bobby Goddard preaching; 3la-36a, at the church on Sunday morning, Paul Dean teaches Sunday school (Dean was born in Roan [Rowan ?] County, Kentucky, came at age 18 to Chicago, when photos made, lived at 3329 N. Osceola, Chicago).
afc1981004_190
Image numbers, descriptions: 1-20, scenes of the Polish Constitution Day Parade, mostly costumes and floats; 1, float with sign "Pod Twoja Obrone" (Under Your Protection); 17-18, float with sign "Queen of Polish Highlands."
afc1981004_191
Image numbers, descriptions: 1-20, scenes of the Polish Constitution Day Parade, mostly musicians and costumes, including close-ups of ornamentation.
afc1981004_192
Image numbers, descriptions: 1-20, scenes of the Polish Constitution Day Parade, mostly costumes and floats, including close-ups; 8-9, sign reads "The 145th Anniversary of Thaddeus Sobieski-Loew, Pioneer Aeronaut, Often called the Father of Aviation."
afc1981004_193
Image numbers, descriptions: 1-12, scenes of the Polish Constitution Day Parade, costumes, including close-ups of detail.
afc1981004_194
Image numbers, descriptions: 1-2, at the Polonia Grove and Ballroom, 4604 S. Archer, Chicago, ballroom sign ("Sun, Casel Homel Picnic"); 3-9, dancers at the Polish American picnic; 10-20, unidentified picnickers.
afc1981004_195
Image numbers, descriptions: 1, at the Polonia Grove and Ballroom, 4604 S. Archer, Chicago, spectators at picnic; 2-5, bar and patrons; 6, 8-12, Mike Ryba Orchestra; 7, unidentified picnicker; 13, dancers; 14, windshield of car with a "Polish and Proud" sticker.
afc1981004_196
Image numbers, descriptions: 1-7, exterior of Sajewski Music Store, 1227 Milwaukee Ave., Chicago.
afc1981004_43085
Film negative frame numbers, descriptions: 1-36, Polish Constitution Day Parade scenes, musicians, floats, costumes; 9, float for Roman Pucinski, committeeman; 10, participants with signs that read "Free Poland, Russians Go Home," and "We Survived Auschwitz."
afc1981004_b43069
Film negative frame numbers, descriptions: 1-36, Polish Constitution Day Parade scenes, musicians, costumes, floats.
afc1981004_b43082
Film negative frame numbers, descriptions: 1-36, Polish Constitution Day Parade scenes, musicians, floats, costumes; 2-3, float with sign “Pod Twoja Obrone†(Under Your Protection), 19, sign reads “The 145th Anniversary of Thaddeus Sobieski-Loew, Pioneer Aeronaut, Often called the Father of Aviationâ€; 30, participants with signs that read "Free Poland, Russians Go Home," and "We Survived Auschwitz."
afc1981004_b47510
Film negative frame numbers, descriptions: 1-11, children in costume, dancing, at graduation day at St. Ladislaus School, 5345 W. Roscoe (most parishioners are Polish American); 12-16, children in gymnasium; 17-22, children posing outside school in costume; 23-36, shots of crowd outside church (school building is next door).
afc1981004_b47511
Film negative frame numbers, descriptions: 1-36, picnickers at Polonia Grove and Ballroom, 4604 S. Archer, Chicago.
afc1981004_b47512
Film negative frame numbers, descriptions: 1-19, polka dancers at Polonia Grove and Ballroom, 4604 S. Archer, Chicago; 20-36, picnickers at Polonia Grove and Ballroom.
afc1981004_b47513
Film negative frame numbers, descriptions: 0, fieldworkers Carl Fleischhauer and Richard March walking on unidentified street; 00, 1-27, picnickers at Polonia Grove and Ballroom, 4604 S. Archer, Chicago; 28a, fieldworkers Richard March and Susan Kalcik; 29-36, picnickers.
afc1981004_b47515
Film negative frame numbers, descriptions: 1-4, 8-9 Jackie Coy (light shirt) and Delia Coy, actress; 5-7, Delia Coy; 10-18, Walter Lowe, yoga teacher; 22-23, audience at St. Ladislaus School graduation, 5345 W. Roscoe; 24-32, unidentified people in front of St Ladislaus Church; 33-36, children of St. Ladislaus School, dancing in costume at graduation.
afc1981004_b48692
Film negative frame numbers, descriptions: 2-10, various old pictures of the Sajewski Music Store, 1227 Milwaukee Ave., Chicago, run by Alvin Sajewski and his sister Jania ((Jeannette Sajewski Terley or Jeanette Sajewski Terlikowski); 11-19, Dances of Poland by Stefan J. Zielinski, published by W.H. Sajewski Music and Publishing Co., Inc.; 11-13, picture of Zielinski in book; 14-15, cover of book; 16-19, diagram of dance in book; 20-22, cover of album "Dances of Poland" by the Polish All Stars; 23-24, Mr. and Mrs. (?) W.H. Sajewski; 25-27, "Polish Religious Songs," by Jania Sajewski, first long playing record of Polish religious songs. on Credo Records, contains Marian hymns, old hymns not previously recorded, old favorites, Easter and Lenten hymns, part of five-record set; 28-29, School for Concertina. a music instruction book published by W.H. Sajewski Music and Publishing Co.; 30-33, School for the Violin, music instruction book published by W.R. Sajewski Music and Publishing Co., Inc, cover and inside page.
afc1981004_b48693
Film negative frame numbers, descriptions: 1-7, additional sides to Mrs. Naomi Cohen's autobiographical house (see also photographs on roll at call number: AFC 1981/004: b48712); 8-14, Portrait of Mrs. Naomi Cohen, craftswoman, 3800 North Lake Shore Dr., Chicago; 15-23, a work by Mrs. Cohen depicting Lake Shore Drive with the park, apartments, etc.; includes her building (possibly) and one synagogue or other Jewish building, the one with the dome; 24-27, Monument to the Holocaust by Mrs. Cohen at Anshe Emet Synagogue; 28-30, at the Sajewski Music Store, 1227 Milwaukee Ave , Chicago, Jania Sajewski publicity photograph ca 1955; 31-34, some of Jania Sajewski’s records on the Capitol label; 36, portrait of Frank Przybylski, ca early 30's - composer, arranger, and orchestra leader; Alvin and sister Jania Sajewski (Jeannette Sajewski Terley or Jeanette Sajewski Terlikowski) talk about his accomplishments and personality in the recorded interview at call numbers AFC 1981/004: AFS 20803 and AFS 20803b.
afc1981004_b48700
Film negative frame numbers, descriptions: 1-3, exterior of the Balkan Music Store operated by Slavco Hlad, W. Cermack, Berwyn, Illinois; 4, Brothers Food and Liquor store, at Milwaukee and Noble Streets, Chicago, thought fieldworker to be African American owned; 5-8, exterior of Sajewski Music store, 1227 Milwaukee Ave., Chicago; 9-12, dining room of Mrs. Maria Brama, 2307 W. Walton, Chicago, with bowls of Easter eggs on table; 13-14, selection of Ukrainian Easter eggs by Mrs. Brama; 15-16, egg decorating apparatus, moved from back room or the kitchen for the sake of the photo; 17-18, simulation of decorating Easter eggs, in living room because light was better for photography; 29-35, living room with and without Mrs. Brama; 36, closeup of Mrs. Brama's eggs.
afc1981004_b48701
Film negative frame numbers, descriptions: 2-4, at the Sajewski Music Store, 1227 Milwaukee Ave, Chicago; portrait of Frank Przybylski, early 1930's composer, arranger, and orchestra leader; store owners Alvin and sister Jania Sajewski (Jeannette Sajewski Terley or Jeanette Sajewski Terlikowski) talk about his accomplishments and personality in the recorded interview at call numbers AFC 1981/004: AFS 20803 and AFS 20803b; 5-6, photograph of Przybyliski's orchestra from record catalog, early 1920's; 7-8, Przybyliski record on Columbia label, early 1920's; 9-12, 1930 Columbia Polish record catalog; 13-14, song sheet, ca 1946-47, for records of Alicja Kusek, publicity device given away free with records so that listeners could learn words to the sometimes very long songs, Alvin Sajewski calls them "song pluggersâ€; 15-16, Some Rondo records by Alicja Kusek; 17-22, Alvin and Jania in store arranging displays for photographer; 23-24, record by Polish All Stars on Sajewski's label; 25-26, Sajewski's Polish catalog - the first complete Polish recordings catalog published in the United States; 27-29, 37, old photograph of the store; 30-32, W.H. Sajewski, founder of the store; 33-36, 1910 Polish Music Catalog from Sajewski.
afc1981004_197
Image numbers, descriptions: 1-15, fieldworker Elena Bradunas interviewing the weaver Kazys Bartasius in his work room, 6229 S. Campbell, Chicago; 16-20, Mr. Bartasius adjusting his floor loom.
afc1981004_198
Image numbers, descriptions: 1-4, Kazys Bartasius, weaver, 6229 S. Campbell, Chicago, posing at his loom; 5-7, close-up of weaving process; 8-11, samples of work and materials; 12-17, Mr. Bartasius at small tape (sash) loom; 18-20, close-up of tape (sash) in progress.
afc1981004_199
Image numbers, descriptions: 1, sash in progress on tape loom at the home of the weaver Kazys Bartasius, 6229 S. Campbell, Chicago; 2-5, close-up of work on floor loom; 6-7, floor loom; 8-15, examples of Mr. Bartasius's weaving.
afc1981004_200
Image numbers, descriptions: 1-5, tools in the work room of the weaver Kazys Bartasius, 6229 S. Campbell, Chicago; 6-10, examples of Mr. Bartasius's weaving hanging in his work room; 11-12, liquor supply, includes some some homemade.
afc1981004_201
Image numbers, descriptions: 1-19, quilts made by Ida (Mrs. Kazys) Bartasius, 6229 S. Campbell, Chicago.
afc1981004_202
Image numbers, descriptions: 1-2, quilts made by Ida (Mrs. Kazys) Bartasius, 6229 S. Campbell, Chicago.
afc1981004_203
Image numbers, descriptions: 1-19, examples of chapels carved by Mr. Antanas Poskocimas, 6354 S. Rockwell, Chicago; such chapels were carved in Lithuania and fastened to trees along the wayside, the Madonna inside one wall chapel is a miniature copy of the Madonna of Vilnius, a well-known shrine to all Lithuanians and Poles.
afc1981004_204
Image numbers, descriptions: 1-29, examples of woodcarving by Antanas Poskocimas, 6354 S. Rockwell, Chicago.
afc1981004_205
Image numbers, descriptions: 1-5, wood carving by Antanas Poskocimas, 6354 S. Rockwell, Chicago; 6-8, fieldworker Elena Bradunas interviewing Mr. Poskocimas, left; 9, Mrs. Poskocimas joins her husband and the fieldworker; 10-12, lamp carved in style of Lithuanian chapel-cross.
afc1981004_206
Image numbers, descriptions: 1-20, parts of a Lithuanian chapel pole made by Mr. Antanas Poskocimas, 6354 S. Rockwell St., Chicago; this pole was soon erected in front of the Jesuit Fathers Lithuanian Youth Center, 5620 S. Claremont.
afc1981004_207
Image numbers, descriptions: 1-16, parts of a Lithuanian chapel pole made by Antanas Poskocimas, 6354 S. Rockwell St., Chicago; this pole was soon erected in front of the Jesuit Fathers Lithuanian Youth Center, 5620 S. Claremont; 17-19, Mr. Poskocimas, holding cross for top of the chapel pole.
afc1981004_208
Image numbers, descriptions: 1-20, Antanas Poskocimas (dark brown shirt) and helpers raising a Lithuanian chapel pole in front of the Jesuit Fathers Lithuanian Youth Center, 5620 S. Claremont; Mr. Poskocimas made the pole, such chapels were carved in Lithuania and fastened to trees along the wayside; this cross is dedicated to the memory of an incident in the church of Kraziai in Lithuania in 1893 when Russian soldiers raided the village and slaughtered a great number of villagers who had taken refuge in the Kraziai church, Mr. Poskocimas’s mother was one of them and received a sword slash across her face but survived; in a project recording, Mr. Poskocimas tells the story of how his mother's wound opened "as if by a miracle" on the day hearings concerning the incident were taking place in Moscow, thousands of miles from where she was living, she did not know about the trial and only learned of the coincidence later; the recorded interview with Mr. Poskocimas, in Lithuanian, is presented at call numbers AFC 1981/004: AFS 20806a, AFS 20806b, AFS 20807a, AFS 20807b, AFS 20808a, AFS 20808b, and AFS 20809a.
afc1981004_209
Image numbers, descriptions: 1-16, Mr. Antanas Poskocimas (dark brown shirt) and helpers raising a Lithuanian chapel pole in front of the Jesuit Fathers Lithuanian Youth Center, 5620 S. Claremont; Mr. Poskocimas made the pole, such chapels were carved in Lithuania and fastened to trees along the wayside; this cross is dedicated to the memory of an incident in the church of Kraziai in Lithuania in 1893 when Russian soldiers raided the village and slaughtered a great number of villagers who had taken refuge in the Kraziai church, Mr. Poskocimas’s mother was one of them and received a sword slash across her face but survived; in a project recording, Mr. Poskocimas tells the story of how his mother's wound opened "as if by a miracle" on the day hearings concerning the incident were taking place in Moscow, thousands of miles from where she was living, she did not know about the trial and only learned of the coincidence later; the recorded interview with Mr. Poskocimas, in Lithuanian, is presented at call numbers AFC 1981/004: AFS 20806a, AFS 20806b, AFS 20807a, AFS 20807b, AFS 20808a, AFS 20808b, and AFS 20809a.
afc1981004_210
Image numbers, descriptions: 1-8, At the residence of Dr. Jonas Adomavicius, 55th and S. Claremont, a chapel pole, bird house, carved fence and birch trees, all are typical elements to be found in or near homes in Lithuania; 9-20, Close-up of chapel pole. The chapel pole was the first large example made by Antanas Poskocimas, commissioned by Dr. Jonas Adomavicius. The house also has a gabled doorway extension, a very common characteristic of Lithuanian folk architecture. The same applies to the carved fence which surrounds the property. Dr. Adomavicius clearly wished to have the house look like a typical Lithuanian home in Lithuania. To enhance the effect he planted birch trees, typical of the Lithuanian countryside. Even the birdhouse is typically Lithuanian.
afc1981004_211
Image numbers, descriptions: 1-20, Close-up of chapel pole at the residence of Dr. Jonas Adomavicius, 55th and S. Claremont, a chapel pole made by Mr. Antanas Poskocimas.
afc1981004_212
Image numbers, descriptions: 1-20, Close-up of chapel pole at the residence of Dr. Jonas Adomavicius, 55th and S. Claremont, a chapel pole made by Mr. Antanas Poskocimas.
afc1981004_213
Image numbers, descriptions: 1-13, Lithuanian cross carved by Antanas Poskocimas in front of the Lithuanian Jesuit Fathers' Youth Center; such chapels were carved in Lithuania and fastened to trees along the wayside; this cross is dedicated to the memory of an incident in the church of Kraziai in Lithuania in 1893 when Russian soldiers raided the village and slaughtered a great number of villagers who had taken refuge in the Kraziai church, Mr. Poskocimas’s mother was one of them and received a sword slash across her face but survived; in a project recording, Mr. Poskocimas tells the story of how his mother's wound opened "as if by a miracle" on the day hearings concerning the incident were taking place in Moscow, thousands of miles from where she was living, she did not know about the trial and only learned of the coincidence later; the recorded interview with Mr. Poskocimas, in Lithuanian, is presented at call numbers AFC 1981/004: AFS 20806a, AFS 20806b, AFS 20807a, AFS 20807b, AFS 20808a, AFS 20808b, and AFS 20809a.
afc1981004_214
Image numbers, descriptions: 1-6, chapel pole in front of Lithuanian American co-op apartment complex for senior citizens at 66th and S. Carolina, flanked by American and Lithuanian flags; the senior citizens who live there are cared for by Dr. Jonas Adomavicius who also administers the housing complex; the place is called "Sodyba" meaning homestead, and articles about the residents and their photographs appear regularly in the Lithuanian American press; on Sunday afternoon they have an open house in a large gathering room and the residents perform for guests; the chapel pole in the middle of the complex is made from metal and was designed by architect Jonas Mulokas, who also designed the Lithuanian parish church (Nativity of Blessed Virgin Mary on Washtenaw and 69th Streets); the rounded flower bed is quite common in traditional Lithuanian landscaping.
afc1981004_215
Image numbers, descriptions: 1-4, fieldworker Elena Bradunas, left, interviewing Mrs. Aldona Veselka, weaver, 6531 S. Washtenaw, Chicago; 5-20, carved and woven wall decorations in home of Mrs. Veselka.
afc1981004_216
Image numbers, descriptions: 1-5, wall decorations in home of Mrs. Aldona Veselka, weaver, 6531 S. Washtenaw, Chicago.
afc1981004_217
Image numbers, descriptions: 1-5, at the home of Mrs. Aldona Veselka, weaver, 6531 S. Washtenaw, Chicago, parts of Lithuanian costume in front of living room fireplace; 6, vest, skirt, and apron; 7-8, Mrs. Veselka adds blouse; 9, completed costume; 10-15, parts of costume; 16-17, completed costume; 18-19, illustration of costume in book.
afc1981004_218
Image numbers, descriptions: 1-10, at the home of Mrs. Aldona Veselka, weaver, 6531 S. Washtenaw, Chicago, material for aprons; 11-15, headdress; 16-17, woven sashes; 18-20, material for vest.
afc1981004_219
Image numbers, descriptions: 1-8, at the home of Mrs. Aldona Veselka, weaver, 6531 S. Washtenaw, Chicago, material for vests; 9, material for blouse; 11-13, woven placemats.
afc1981004_220
Image numbers, descriptions: 1-9, at the home of Mrs. Aldona Veselka, weaver, 6531 S. Washtenaw, Chicago, Mrs. Veselka at her loom; 10-12, close-up of work in progress on loom.
afc1981004_221
Image numbers, descriptions: 1-9, at the home of Mrs. Aldona Veselka, weaver, 6531 S. Washtenaw, Chicago, Mrs. Veselka at her loom, wearing Lithuanian national costume.
afc1981004_222
Image numbers, descriptions: 1-2, at the Sakadolskis-Pakstas wedding reception at Pakstas Hall, 2801 W. 38th, Chicago, left to right, Mrs. Vanda Stankus (mistress of ceremonies), Mrs. Pakstas (mother of bride), Elena Bradunas (fieldworker); 3-5, wedding party at head table, the bride is Emilija Pakstas, groom is Romas Sakadolskis; 6-7, musicians include Azoulas Stelmokas on accordion; 8, guests, decorations include extensive use of rue; 9-10, Mrs, Vanda Stankus bringing in the wedding cake; 11-16, head table, wedding party and guests; 17-18, traditional wedding cake called raguolis; 19, cooks (?)
afc1981004_223
Image numbers, descriptions: 1-2, house in Cicero flying both the American and Lithuanian flags on Memorial Day.
afc1981004_224
Image numbers, descriptions: 1-20, in the basement museum at the home of Mr and Mrs Vilius Variakojis, wood carver, 6919 S. California Ave., Chicago, featuring Lithuanian objects and models of Lithuanian homesteads.
afc1981004_225
Image numbers, descriptions: 1-16, displays in the basement museum of at the home of Mr and Mrs Vilius Variakojis, wood carver, 6919 S. California Ave., Chicago, featuring Lithuanian objects and models of Lithuanian buildings; 17-18, display of smoking pipes surrounding the carved head of a man.
afc1981004_226
Image numbers, descriptions: 1-12, displays from the basement museum of Mr and Mrs Vilius Variakojis, wood carver, 6919 S. California Ave., Chicago, photographed out of doors in front of the house; 1-7, display of smoking pipes surrounding the carved head of a man; 8-10, Mr. Variakojis holding boat he carved; 11-12, carved boat; 13-20, Mr. and Mrs. Variakojis and fieldworker Elena Bradunas in the Variakojis garden (behind the house).
afc1981004_227
Image numbers, descriptions: 1, at the home of Mr and Mrs Vilius Variakojis, wood carver, 6919 S. California Ave., Chicago, Mr. and Mrs. Variakojis with fieldworker Elena Bradunas, in their garden; 2-10, exterior of Variakojis home; 11-12 Mr. Variakojis and Elena Bradunas.
afc1981004_228
Image numbers, descriptions: 1-20, knit mittens in Lithuanian patterns by Mrs. Stase Tallat-Kelpsa, 6829 S. Rockwell, Chicago.
afc1981004_229
Image numbers, descriptions: 1-14, knit mittens in Lithuanian patterns by Mrs. Stase Tallat-Kelpsa, 6829 S. Rockwell, Chicago; 15-20, Afghans knitted in Lithuanian patterns by Mrs. Tallat-Kelpsa.
afc1981004_230
Image numbers, descriptions: 1-19, vests in Lithuanian patterns by Mrs. Stase Tallat-Kelpsa, 6829 S. Rockwell, Chicago.
afc1981004_231
Image numbers, descriptions: 1-14, sweaters in Lithuanian patterns by Mrs. Stase Tallat-Kelpsa, 6829 S. Rockwell, Chicago; 15-20, cape knitted in Lithuanian pattern by Mrs. Tallat-Kelpsa.
afc1981004_232
Image numbers, descriptions: 1-16, skirts, vests, and sweaters knitted in Lithuanian patterns by Mrs. Stase Tallat-Kelpsa, 6829 S. Rockwell, Chicago.
afc1981004_233
Image numbers, descriptions: 1, at the home of Mrs. Stase Tallat-Kelpsa, 6829 S. Rockwell, Chicago, family photographs; 2-3, wall decorations, Lithuanian carved chapel on wall, Lithuanian flag on television set; 4-5, macrame done by Mrs. Tallat-Kelpsa's daughter 6-7, smocking done by Mrs. Tallat-Kelpsa's daughter.
afc1981004_37764
Film negative frame numbers, descriptions: 1-9, woodwork examples by Antanas Poskocimas.
afc1981004_37767
Film negative frame numbers, descriptions: 1-9 woodwork examples by Antanas Poskocimas.
afc1981004_53452
Film negative frame numbers, descriptions: 1-12, work by Vilius Variakojis, wood carver.
afc1981004_53453
Film negative frame numbers, descriptions: 1, at the home of Vilius Variakojis, wood carver, 6919 S. California Ave., Chicago, Mrs. Variakojis with examples of carving; 2, examples of carving; 3, Mr. and Mrs. Vilius Yariakojis, with fieldworker Elena Bradunas; 4, Mr. Variakojis, Elena Bradunas; 5-10, views of the interior of the house.
afc1981004_53454
Film negative frame numbers, descriptions: 1-2, examples of wood carving by Vilius Variakojis, wood carver, 6919 S. Carolina Ave., Chicago; 3-7, views of Variakojis living room.
afc1981004_53455
Film negative frame numbers, descriptions: 1-7, hand-painted sign in an African American neighborhood; 8-12, interior of Vilius Variakojis home, 6919 S. Carolina Ave, Chicago.
afc1981004_b37762
Film negative frame numbers, descriptions: 1-12, Mrs. Theodora Siakotos, Palos Hills, Illinois; 1, 5-7, Mrs. Siakotos; 2-4, Mrs. Siakotos and her daughter; 7-8, 11-12, interior of Siakotos home; 10. fieldworker Peter Bartis at left; 13-36a, Antanas Poskocimas, woodcarver, 6354 S. Rockwell, Chicago; 28-29, Antanas Poskocimas and fieldworker Elana Bradunas, at right.
afc1981004_b37771
Film negative frame numbers, descriptions: 2-13, first large chapel pole made by Antanas Poskocimas, commissioned by the owner of the house, Dr. Jonas Adomavicius, at 55th and S. Claremont; the house also has a gabled doorway extension, a very common characteristic of Lithuanian folk architecture; folk design is also represented by the carved fence that surrounds the property; Dr. Adomavicius clearly wished to have the house look like a typical Lithuanian home; to enhance the effect he planted birch trees, typical of the Lithuanian countryside; even the birdhouse is typically Lithuanian; 14-18, Lithuanian co-op apartment complex at 66th and So. Carolina. for senior citizens cared for by Dr. Jonas Adomavicius who also administers the housing complex, which is called "Sodyba" meaning homestead; articles about the residents and their photographs appear regularly in the Lithuanian press; on Sunday afternoon they have an open house in a large gathering room and the residents perform for guests; the chapel pole in the middle of the complex is made from metal and was designed by architect Jonas Mulokas, who also designed the Lithuanian parish church, Nativity of the Blessed Virgin Mary on Washtenaw and 69th Streets; the rounded flower bed seen here is quite common in traditional Lithuanian landscaping; note birdhouse in frame 14; frames 19-36, examples of Greek embroidery by Mrs. Theodora Siakotis, 23, Peter Bartis (fieldworker}, on left; 29-35, Daughter of Mrs. Siakotos; 36-37, Mrs. Theodora Siakotis.
afc1981004_b37920
Film negative frame numbers, descriptions: 1-4, Antanas Poskocimas, woodcarver, talking with Elena Bradunas; 5-8, Mrs. Chrissi Klinakis, 74 year old woman from Crete, displaying her needlework; 9-13, Mrs. Klinakis with unidentified woman; 18-20, 23-28, silk wedding aprons made by Mrs. Klinakis; 29-30, Mrs. Klinakis; 31-36, Mrs, Klinakis with Mrs. Apostolopoulos, manager of Yarn and Canvas Ltd., 4650 N. Western Ave.
afc1981004_b41251
Film negative frame numbers, descriptions: 1-2a, interior of Antanas Poskocimas's home, with the wall in the dining room decorated with chapels carved by Mr. Poskocimas; such chapels were carved in Lithuania and fastened to trees along the wayside; 3, Mr. Poskocimas talking to Elena Bradunas in his bedroom; 4-7a, Mr. and Mrs. Poskocimas's bedroom, the cross on the table is about 3 feet high; the Madonna inside the wall chapel is miniature copy of the Madonna of Vilnius, a well-known shrine to all Lithuanians and Poles; on the dresser are pictures of the Poskocimas children; 8-9, Mr. Poskocimas in his living room; on the mantle is a candelabra made by Mr. Poskocimas as a gift for his boss on his retirement; 10-11, item carved by Mr. Poskocimas according to a Greek design he liked; 12a-17a, cross carved by Mr. Poskocimas in front of the Jesuit Fathers' Lithuanian Youth Center, 5620 S. Claremont; such chapels were carved in Lithuania and fastened to trees along the wayside; this cross is dedicated to the memory of an incident in the church of Kraziai in Lithuania in 1893 when Russian soldiers raided the village and slaughtered a great number of villagers who had taken refuge in the Kraziai church, Mr. Poskocimas’s mother was one of them and received a sword slash across her face but survived; in a project recording, Mr. Poskocimas tells the story of how his mother's wound opened "as if by a miracle" on the day hearings concerning the incident were taking place in Moscow, thousands of miles from where she was living, she did not know about the trial and only learned of the coincidence later; the recorded interview with Mr. Poskocimas, in Lithuanian, is presented at call numbers AFC 1981/004: AFS 20806a, AFS 20806b, AFS 20807a, AFS 20807b, AFS 20808a, AFS 20808b, and AFS 20809a; 18-27a, the coffee room in the Youth Center, part of the extension built in the 1970's; in 1977 a young Lithuanian American crystal cutter, Raimundas Lapsus (who came to America from Austria in 1972), decorated the light panels with Lithuanian folk art motifs, with colors that are primarily blue, red, and white; 28-31a, a collection of Lithuanian miniature crosses and chapel poles on permanent display at the Youth Center; 32-36, miniature crosses on display at the Lithuanian Jesuit Monastery located next to the Youth Center.
afc1981004_b41994
Film negative frame numbers, descriptions: 0a-2, Mr. Vincas Vaitkus (Vaitkevicius} playing the birbyne (Lithuanian folk instrument); the instrument he is playing has been imported from Lithuania, although Mr. Vaitkus has also made them himself; 2a-10, Mr. Vaitkus and Mr. Balys Pakstas; 11-13, Mr. Liubomiras Bichnevicius and Mr. Pakstas; 13a-22, Mr. Vaitkus, Mr. Pakstas, and Mr. Bichnecicius, the three men started playing together while in Norway during WWII, where they played birbynes that Mr. Vaitkus made; in America they played in dance orchestras together, but only in the last year have they picked up the birbyne, using examples from Lithuania that have been improved with an additional valve in the back for octave change; 22a-23, Mr. Kazys Bartasius, weaver, in his basement workshop; 24-36a, Mr. Bartasius telling fieldworker Elena Bradunas his life story.
afc1981004_b41996
Film negative frame numbers, descriptions: 1-11, weaving demonstration; 12-25a, Mr. Kazys Bartasius showing fieldworker Elena Bradunas examples of materials and finished work; 27, assortment of liqueurs, some homemade; 26a, 28a, examples of weaving; 30-36, Mr. and Mrs. Kasyz and Ida Bartasius and Elena Bradunas sampling homemade liqueurs.
afc1981004_b41998
Film negative frame numbers, descriptions: 1-36, Mr. and Mrs. Kazys and Ida Bartasius with fieldworker Elena Bradunas; 18-20, quilts made by Mrs. Bartasius.
afc1981004_b41995
Film negative frame numbers, descriptions: 1-17, Martin and Sara Schwarz in traditional adult costumes from Rode, Transylvania, region; Stefan Roth (2nd from right in 15-17a) as bride groom, dummy dressed in fashion of young bride; 18, project photographer Jonas Dovydenas with dummy; 19-20a, fieldworker Tony Hellenberg with dummy; 21-22a, living room of Schwarz home; 23-37, Mr. Balys Pakstas, musician, at home; images include kankles (Lithuanian chordophone) and birbyne (Lithuanian aerophone).
afc1981004_b47817
Film negative frame numbers, descriptions: 0-2a, Mrs. Aldona Veselka, weaver, 6531 S. Washtenau, Chicago, at her loom; 3-8, 28-29, 36-37, details of weaving patterns; 9-16, closeups of loom; 17-27, Mrs. Veleska at loom (with fieldworker Elena Bradunas in 21-22); 30-35, interior of Veselka home, showing carved and woven wall decorations.
afc1981004_b47819
Film negative frame numbers, descriptions: 0-1, Elena Bradunas, Lithuanian American fieldworker, at home in Marquette Park; 2-18, Elena Bradunas on Lithuanian TV in Chicago; 19-32, Mrs. Aldona Veselka, weaver, 6531 S. Washtenau, Chicago, at loom; 33-34, closeup of material on the loom.
afc1981004_b49879
Film negative frame numbers, descriptions: 0-3, Balys Pakstas' birbyne ensemble, left to right, Mr. Vincus Vaitkus (Vaitkevicius), Mr. Liubomiras Bichnevicius, Mr. Balys Pakstas; 5-8, Antanas Poskocimas, center, with neighbors; 10-15, Woodcarving by Mr. Poskocimas; 16-29, views of shops in Chinatown near S. Wentworth Ave. and 23d Street, fieldworker Chungmoo Choi in frame 16. 4, 9, 19-27, and 30-34 spoiled by camera malfunction.
afc1981004_b50879
Film negative frame numbers, descriptions: 0-6, bridesmaids and ushers before the Romas Sakadolskis- Emilija Pakstas wedding reception at Pakstas Hall, 2801 W. 38th, Chicago; 7-9, Mrs. Goba and Mrs. Pakstas holding dish with rue on which will be placed bread, salt and liquor to meet bride and groom; 9a-10, wedding party's table; 11-12, guests {three in center: Mr. and Mrs. K. Bradunas and Mr. K. Keblys); 13-14, oldest guests {in center): Mr. and Mrs. Varnas; 15-16, contents of dowry chest {hidden bar next to hall); 17, traditional wedding cake, ragualis; 22-24, cooks, Mrs. Norvila and her two daughters, Liucija and Grazina; 24 with Mrs. Pakstas; 26-29, 36, Mr. Jonas Ikiukas with decorated pole used to bar entrance for bride and groom.
afc1981004_b50883
Film negative frame numbers, descriptions: 0, bride, Emilija Pakstas, and groom, Romas Sakadolskis, dancing, at the Sakadolskis-Pakstas wedding reception at Pakstas Hall, 2801 W. 38th., Chicago; 1-3, Romas Kasparas and members of wedding party; 4-5, Mr. Jonas Ilciukas; 7, bride, groom, svocia (master of ceremonies) Mrs. Vanda Stankus and traditional wedding cake, raguolis; 8, bride and groom; 9-12, bridesmaids; 13-14, entrance into the barroom next to the wedding hall; 15-16, singers: Mrs. Gobas, Mrs. Vanda Stankus, Mrs. Pakstas (mother of bride); 17, fieldworker Elena Bradunas speaking to Daiva (Vaitkevicius) Meile and her husband, recently married in Chicago; 18-20, Mr. Kastutis Keblys (from Detroit) and Mr. Kleiza (usher), singing by the bar; 21-23, bridesmaids, one with headdress is maid of honor, Nora Spurgis; 24, photographer Alexas Urba, with bride and groom; 25-26, 28-31, dancing tunnel, underneath which bride and girl leave the hall; 32-36, tunnel outside, on the street.
afc1981004_b50884
Film negative frame numbers, descriptions: 1-6, dancing at the Romas Sakadolskis- Emilija Pakstas wedding reception at Pakstas Hall, 2801 W. 38th, Chicago; 7-15, after the reception; 17-32, Rev. Gyomay M. Kubose in his garden at the Chicago Buddist Temple, 1141 W. Leland, Chicago; 22-24, displays Shi Shi Odoshi, water fills bamboo, spills over, "clunk" to scare wild boar; 31-32 Rev. Kubose with Chungmoo Choi, fieldworker; 33-36, beginning of tea ceremony at the home of Rev. Gyomay M. Kubose and his wife Mine ("Minnie") Somi Kubosi, at entrance to tea room; 33, 35-36, Mrs. Kubose; 34, Ms. Peggy N. Tokimoto, Ms. Joyce Kubose Evans (Joyce Kubose).
afc1981004_b50885
Film negative frame numbers, descriptions: 0-7, at the Romas Sakadolskis- Emilija Pakstas wedding reception at Pakstas Hall, 2801 W. 38th, Chicago, fastening on of married woman's headdress, nuometas; Mrs. Goba and Mrs. Pakstas tie and arrange the headdress while Mr. Jonas Ilciukos (in white suit) looks on; 8-12, bride and her mother, 13, 16, wedding guests; 14-15, bride, Mr. Ilciukas, mother; 17-18, bridesmaids, Mr. Ilciukas, bride, others; 19, bride and groom; 20-22, singing accompanying ceremony; 23-24, photographer Aletas Urba; 25-29, inspection of dowry and giving of gifts to bride's relatives; 30-.31, accusation of the matchmaker for being a "liar" and he pleads to be saved from a "hanging"; 32, bride "forgives" the matchmaker; 34-35, bride and her mother; 36-37, Mr. and Mrs. Balys Pakstas, parents of bride.
afc1981004_b50888
Film negative frame numbers, descriptions: 1a, at the Sakadolskis-Pakstas wedding at Immaculate Conception Church (Roman Catholic), Brighton Park, bride Emilija Pakstas and groom Romas Sakadolskis, with their parents, Mr. and Mrs. Balys Pakstas and Mrs. Sakdolskis, a widow, in front of the church after the ceremony; 2a-30a, wedding party posing for pictures after the service; 32a-36a, wedding party resting at groom's place after the ceremony; 34, photographer Aletas Urba at right.
afc1981004_b50889
Film negative frame numbers, descriptions: 0, gifts at the Romas Sakadolskis- Emilija Pakstas wedding reception at Pakstas Hall, 2801 W. 38th., Chicago; 1, at the wedding, from left, Mr. Jonas Ilciuka, P. Prankevicius, K. Rinkus, the two young men announce the invitations to the wedding, playing the role of kviaslys {crier); both have sashes over their shoulders and one carries a decorated pole signifying his official role; 2-6, announcing the beginning of the wedding; reading of a humorous account of the couple's courting; 7-9, barring of the "gate," couple and wedding party are not allowed to enter until they pay a "toll;" 10, permission to enter after toll was paid in candy; 11-12, wedding party proceeds down the hall to head table; 13-14, bride and groom are met by their parents and are offered wine and bread with salt; 16-18, bride and groom break the bread and exchange toasts; 22-27, 34, fieldworker Elena Bradunas; 28-37, Chungmoo Choi, project fieldworker for Asian American communities.
afc1981004_b50892
Film negative frame numbers, descriptions: 2-4, bride and groom Emilija Pakstas and Romas Sakadolskis during their wedding at Immaculate Conception Church (Roman Catholic), 2745 W. 44th St., Brighton Park; 5-8, bride prays at the Blessed Mother's side altar after ceremony; 9-11, walking out of church; 13-19, congratulating bride and groom in church vestibule; 20-21, father of bride; 22-23, parents of bride and groom: Mr. and Mrs. Balys Pakstas (right) and Mrs. Sakadolskis, a widow; 24-26, young guests; 27, picture taking outside church after the ceremony.
afc1981004_b50893
Film negative frame numbers, descriptions: 0, standing, head cook Mrs. Norvila and her oldest daughter, Grazina, at the Romas Sakadolskis- Emilija Pakstas wedding reception at Pakstas Hall, 2801 w. 38th., Chicago; 1-2, bride and groom dancing; 3-4, dancing at reception; 5-6, wedding guests; 7, bride's sister, Ruta Pakstas with usher and Mrs. Pakstas; 8, Aiuilas Stelmokas's band; 9-11, 23-24, wedding guests; 12-14, Elena Bradunas (fieldworker) and her brother, Jurgis; 15-16, Mr. Balys Pakstas and Rev. Algimantas Kezys, SJ; 17-20, Ruta Pakstas and friend; 21, Jurgis Bradunas, fieldworker Elena Bradunas, unidentified; 22, Mr. and Mrs. Bradunas (Elena’s parents); 25, bride and groom; 26, outside Pakstas Hall; 34-36, bride and groom with guests.
afc1981004_b50894
Film negative frame numbers, descriptions: 0-3, bride and groom urged to kiss by song and noise made by silverware against glasses and plates at the Romas Sakadolskis-Emilija Pakstas wedding reception at Pakstas Hall, 2801 W. 38th., Chicago; 4, Mr. Jonas Ilciuka, 2nd left, fieldworker Elena Bradunas, 2nd right; 5-6, Elena Bradunas with bridesmaid bouquet tied with traditional handwoven sash; 7-8, Mr. Balys Pakstas, son and wife; 9-17, 22-35, wedding guests; 18-20, Mr. Adamas Varnas reading his greeting, microphone held by Mr. Pakstas; 21, 36, bride and groom.
afc1981004_b50895
Film negative frame numbers, descriptions: 0-1a, Azuolas Stelmokas (accordion) and Vanda Stankus (singer) at the Romas Sakadolskis-Emilija Pakstas wedding reception at Pakstas Hall, 2801 W. 38th., Chicago; 2-5, at the bar: Juozas Aleksuinas, Algis Ruksenas (Cleveland), Jurate Jaksty; 6-9, clientele at regular bar next to wedding hall; 10-29, wedding guests; 30-31, Mrs. Gobas, Vanda Stankus (reading) and Pranas Pranckevicius (announcing the delivery of the dowry chest; 33-34, bride pins wreath of rue on her younger sister, Ruta; 32, Mr. J. Ilciukas and helper bring in dowry chest; 35-37, taking off bride's crown and veil and covering her head with a traditional married woman's headdress, nuometas - bride's dress and headdresses were made by Mrs. Aldona Veselka - the nuometas is fastened by Mrs. Gobas who knew the special way of tying it.
afc1981004_b50896
Film negative frame numbers, descriptions: 1-18, home and family of Mr. Jae K. Lee, 6225 N. Claremont, the Lee family brought a large quantity of mother-of-pearl inlaid furniture from Korea; 2-3, at left, Mr. Kean See Park (brush painter) and Mr. Jae K, Lee, right; 4, Mrs. Lee (mother), Mr. Lee, Mr. Park; 5-6, Mr. Lee, Mrs. Lee (wife), Mr. Park; 7, Chungmoo Choi, fieldworker; 8-9, Mr. Park, Mrs. Lee; 10-11, A Lee son, Mr. Lee, Mr. Park, Mrs. Lee; 12-16, Lee sons, demonstrating Tae Kwan Do; 17-18, Lee sons, Mr. Park, Mrs. Lee; 19-36, at the Romas Sakadolskis- Emilija Pakstas wedding at Immaculate Conception Church (Roman Catholic), 2745 W. 44th St., Brighton Park, exchange of vows and rings, performed by Rev. Algimantas Kezyz, SJ, assisted by Rev. Antanas Saulo, the vows, prayers, and blessings were all in Lithuanian.
afc1981004_b52021
Film negative frame numbers, descriptions: 1, raising chapel pole; 2, 7-8, Rev. Algimantas Kezys, SJ, left, Antanas Poskocimas, maker of the chapel pole, right; 3-4, closeup of the chapel pole; 5-6, Antanas Poskicimas, center; 9-20, Antanas Poskocimas (in dark shirt) checking pole; 21, AntanasPoskocimas, left; 22-36, scenes from Buddist Temple Street Fair, Racine and Leland Streets; 22-29, 33, dancing; 30-32, 34-35, audience.
afc1981004_b52023
Film negative frame numbers, descriptions: 0-2, recording session with Chicano Floricato (Jesus, Rosa, Bernardo Negrete and Carlos Cumpian), 9125 S. Houston, Chicago, Jesus and Rosa sing as Bernardo looks on; 3-4, Jesus and Rosa sing as Carlos looks on; 5-6, Jesus and Rosa sing as Bernardo plays harmonica; 7-8, fieldworkers George and Greta Swenson look on; 9-11, Carlos holds telephone toward Jesus and Rosa as they sing; 12, Bernardo plays harmonica as Jesus and Rosa sing; 13, Rosa, the dog, Carlos, and Philip George, fieldworker; 14, Jesus, Rosa and the dog; 15-17, Jesus, Rosa, and Carlos; 18a-36, raising a chapel pole made by Antanas Poskocimas at the Lithuanian Jesuit Fathers Youth Center, 5620 S. Claremont, Chicago, Antanas Poskocimas is wearing peaked cap and dark shirt.
afc1981004_b52031
Film negative frame numbers, descriptions: 0-3, garage door at 8108 W. 127th St., Palos Hills, painted by Swedish painter Olga Lejondahl; 4-5, Sodyba, Lithuanian home for pensioners on South Carolina Ave., with chapel pole on grounds; 6-36, Knights of Columbus picnic, 47th and Campbell, generally attended by Lithuanian Americans from Marquette Park and Brighton Park.
afc1981004_b53459
Film negative frame numbers, descriptions: 0-13, Mrs. Paulina Barauskas, actress, in living room, 732 W. 19th St., Chicago; 14-35, Mrs. Barauskas and fieldworker Elena Bradunas in kitchen; 36, exterior of Barauskas home.
afc1981004_b54874
Film negative frame numbers, descriptions: 0-4, 6, 11-18, 29-32, 34, 36, Ruta Pakstas, daughter of Balys Pakstas, playing kankles (psaltery), at home 2801 W 38th St, Chicago; 5, 26-27, Ruta and Mr. Pakstas; 7-8, Mr. Pakstas, Ruta, Mr. Yincas Vaitkus (Vaitkevicius); Ruta plays the kankles, the men, birbyne; 9-10, 19-24, Ruta Pakstas, Mr. Vaitkus; 28, Birbyne trio: Mr. Liubomiras Bichnevicius, Mr. Balys Pakstas and Mr. Vincas Vaitkus (Vaitkevicius); 33, 35, Mr. Balys Pakstas with birbyne.
afc1981004_b72636
Film negative frame numbers, descriptions: 1-14, Scenes from unidentified bar - note display of police badges and large portrait of Mayor Richard Daley; 15-36, knitting by Mrs. Stase Tallat-Kelpsa, 6829 S. Rockwell, Chicago, various sweaters, vests, capes and skirts knit using Lithuanian patterns.
afc1981004_b72639
Film negative frame numbers, descriptions: 1-36, knitting by Mrs. Stase Tallat-Kelpsa, 6829 S. Rockwell, Chicago, using Lithuanian patterns; 1, vest and skirt; 2, skirt; 3-4, sweater; 5-6, sweater dress; 7-19, 22-23, mittens; 20-21, afghan; 24-26, vests; 27-28, sweaters; 29-36, pillows.
afc1981004_b72638
Film negative frame numbers, descriptions: 0-7, knitting by Mrs. Stase Tallet-Kelpsa using Lithuanian patterns, 6829 S. Rockwell, Chicago; 8-16, garden of Roberto and Anelia Leval, 1515 W. Berteau, Chicago, a retired Cuban couple, the garden has vegetables, flowers (plastic and real), animal figures, windmills, a Madonna.
afc1981004_234
Image numbers, descriptions: 1-3, interior of Holy Trinity Orthodox Cathedral, 1121 N. Leavitt, Chicago; 4-9, vesper service; 10-14, exterior of church.
afc1981004_57371
Film negative frame numbers, descriptions: 1-11 exterior of Holy Trinity Orthodox Cathedral, 1121 N. Leavitt, Chicago (designed by Louis Sullivan).
afc1981004_b54877
Film negative frame numbers, descriptions: 1-4, exterior of Holy Trinity Orthodox Cathedral, 1121 N. Leavitt, Chicago; 5, sign in English: Holy Trinity Russian Orthodox Greek Catholic Cathedral; 6, sign-in Russian; 8-20, interior of church during vesper service; 21-23, exterior of church; 24, left to right, fieldworkers Greta Swenson and Elena Bradunas, Father Kuberski, project photographer Jonas Dovydenas; 25, left to right, Elena Bradunas, priest, Jonas Dovydenas; 26, group of fieldworkers outside church after vesper service; 27-30, Greta Swenson and priest; 31-32, L-r, Greta Swenson, Father Kuberski, Gordana Trbuhovic-Grasa; 33, Gordana Trbuhovic-Grasa, Father Kuberski, unidentified man; 34-36, ethnic arts project downtown project office.
afc1981004_b49875
Film negative frame numbers, descriptions: 1-36, "Sweet Sixteen" party for unidentified Puerto Rican girl.
afc1981004_b49881
Film negative frame numbers, descriptions: 1-36, quinceanera (Sweet Sixteen) party for unidentified Puerto Rican girl.
afc1981004_b51723
Film negative frame numbers, descriptions: 1-6, group shots during rehearsal of El Conjunto de Cuerdas Tipicas de Puerto Rico under the direction of Israel Maldonado at El Romance Club, 3575 W. Armitage, Chicago; 7-8, Israel Maldonado and Philip George, fieldworker, right; 9-11, Alan Jabbour (director, American Folklife Center), Alexia Lalli (Illinois Arts Council), and Philip George (fieldworker) during rehearsal; 12-20, El Conjunto rehearses; 21-24, Edwin, "El Zumbador," sings; 25-27, Israel Maldonado and Alexia Lalli dance; 28-31, Alan Jabbour, Alexia Lalli, Philip George; 32-35, Pablo Valentin, second guitar, left with glasses; Arcadio Otero, on cuatro, right, no glasses; 36-37, "El Zumbador," "El Mucaro," and Otero's guide [he may be blind, and the woman assists him] during playback of recording.
afc1981004_b52860
Film negative frame numbers, descriptions: 2-3, Mrs. Esperancita Sernas in her apartment #221, 1611 S. Racine, Chicago; 4-29, El Conjunto de Cuerdas Tipicas de Puerto Rico at Channel 26 TV studio; 4-5, Arcadio Otero (on cuarto), Luis Pantoja (guitar), and Edimiro Rivera; 6, 14, 26-29, Israel Maldonado, MC; 7-8, 15-18, Edimiro Rivera; 10, 13 Irma Diaz; 9, 19 Arcadio Diaz; 11-12, 20-25, group shots; 30-33, Jesus "Chuy" Negrete in his kitchen at 9125 S. Houston, Chicago.
afc1981004_b41990
Film negative frame numbers, descriptions: 1-37, series of photos (begun on film roll at call number AFC 1981/004: b42000, frames 33-37a) showing progressively (beginning with undergarments) the items of the costume worn by a woman from Rode, Transylvania; this series is accompanied by names and descriptions recorded on the sound recordings at call numbers AFC 1981/004: AFS 20551b, AFS 20552a, and AFS 20552b; Sara Schwarz dressed as a married woman from Rode, Martin Schwarz as an adult man, dummy as a bride, Stefan Roth (14a-16) as a bridegroom.
afc1981004_b42000
Film negative frame numbers, descriptions: 1-10a, dummy bride with Stefan Roth as bridegroom shown holding traditional flower bouquet; 11-12a, arrangement of bridal ribbons and neck band from rear; 13-17a, white leather embroidered church coat, modeled by Stefan Roth; 19-24a, various views of bridal costume; 25-26a, Stefan Roth and Martin Schwarz in traditional embroidered man's shirt; 27-32a, Martin Schwarz at home in living room; 33-37a, this is the beginning of series that is continued on the roll at call number begun on film roll at call number AFC 1981/004: b41990 (see also photographs on roll at call number AFC 1981/004: b41995), showing layers of woman's traditional dress from Rode, Transylvania - Mrs. Schwarz modeling; this clothing is also described on the sound recording at call numbers AFC 1981/004: AFS 20551b, AFS 20552a, and AFS 20552b.
afc1981004_b49876
Film negative frame numbers, descriptions: 0, exterior of Czechoslovak Society of America; 1-10, museum exhibits in office of CSA; 11-15, paintings of figures in folk costume by Mrs. Lillian Picha in CSA corridors; 16-17, exterior of Slovak-American Club, Berwyn; 18, exterior of F. Pancner's, Slovakian import store, 6514 W. Cermak Rd., Berwyn, Illinois; 19-25, Unidentified buildings; 26-29, Gordana Trbuhovic-Grasa; 30-36, street scenes; 37, Chungmoo Choi, fieldworker for Asian American communities.
afc1981004_b49876
Film negative frame numbers, descriptions: 0, exterior of Czechoslovak Society of America; 1-10, museum exhibits in office of CSA; 11-15, paintings of figures in folk costume by Mrs. Lillian Picha in CSA corridors; 16-17, exterior of Slovak-American Club, Berwyn; 18, exterior of F. Pancner's, Slovakian import store, 6514 W. Cermak Rd., Berwyn, Illinois; 19-25, Unidentified buildings; 26-29, Gordana Trbuhovic-Grasa; 30-36, street scenes; 37, Chungmoo Choi, fieldworker for Asian American communities.
afc1981004_235
Image numbers, descriptions: 1-4, display of police shields in unidentified bar; 5-7, portrait of Mayor Richard Daley in the bar; these are underexposed, see also black and white version on the roll with call number AFC 1981/004: b72636.
afc1981004_236
Image numbers, descriptions: 1-4, project field director Greta Swenson in the downtown office on the 8th floor of 111 N. Wabash, Chicago; 5-6, American Folklife Center director Alan Jabbour and Greta Swenson.
afc1981004_b23392
Film negative frame numbers, descriptions: 1-36, photos of the installation of the exhibition "Inside Our Homes/Outside our Windows" at the Chicago Museum of Contemporary Art; the exhibition features photographs from the Chicago Ethnic Arts Project selected and printed by project photographer Jonas Dovydenas; the exhibition was open from August 10 to September 10, 1979.
afc1981004_b41243
Film negative frame numbers, descriptions: 5-8, near Flo's Korean Restaurant; 9, fieldworkers Rebecca (Becky) Browning and Elena Bradunas; 10, fieldworkers Carl Fleischhauer and Peter Bartis at De Mar's on Broadway; 11, 15, Peter Bartis; 13, 18, fieldworker Antony Hellenberg; 14, Carl Fleischhauer; 19, Bruce Rosenberg, Bruce Boyer, Alexia Lalli (from Illinois Arts Council); 20, Bruce Rosenberg, folklorist Roger Abrahams, Bruce Boyer, Alexia Lalli; 21, Bruce Boyer, Alexia Lalli; 22, Bruce Rosenberg and Roger Abrahams; 23-26, Elsa Freitem at the Field Museum; 27-29, Elena Bradunas at the Field Museum watching TV to catch feature on project; 30-34, Carl Fleischhauer; 35-36, Project apartment at 3808 N. Pine Grove, Chicago, Illinois.
afc1981004_b43071
Film negative frame numbers, descriptions: 1-2, assorted work of Mrs. Anita Mazala Kolman; 3, Kabbalistic hand with inscription from Psalms 121; 4, Persian amulet, shield with Hebrew blessing of Joseph; 5-6, Ana Bekoach (Ana BeCoach, Ana B'Koach), 42-letter mystic code, based on the first century prayer; 7-8, three angels amulet, heart shaped amulet inscribed with the priestly blessing; 9-10, King David shield based on the traditional inscription, Psalms 16:8; 11-12, assortment of the amulets described above; 13-28, outside the Kolman home, 527 Romona Road, Wilmette, Illinois; includes the Burton Kolman Tree Memorial watering truck; Shifra Epstein, in white shirt, is with Mrs. Kolman; 29-34, visit to Burton Kolman Tree Memorial; 35-36, Mrs. Kolman at the Memorial.
afc1981004_b43072
Film negative frame numbers, descriptions: documentation at the home of Faith Bickerstaff, 1-3, knitted items; 4-5, unidentified; 6-9, assorted pillows; 10, 15, cloth for a Torah scroll; 11, lace work by Mrs. Bickerstaff's grandmother; 12-14, tissue box cover, held by Mrs. Bickerstaff; 16-18, 25-26, view of the dining room, with Mrs. Bickerstaff; 19-22, Kitchen table ?; 23-24, left to right, fieldworker Shifra Epstein, Mrs. Faith Bickerstaff, folklorist Dr. Barbara Kirshenblatt-Gimblett; 27, 30-33, Dr. Kirshenblatt-Gimblett and Mrs. Bickerstaff examining a piece of lace work; 28-29, Mrs. Bickerstaff displaying piece of lace work; 34-36, left-to-right, unidentified boy, Mrs. Rose Ann Chasman, Shifra Epstein, Barbara Kirshenblatt-Gimblett.
afc1981004_b43083
Film negative frame numbers, descriptions: 1-15, Jewish Teaching Center, Green Bay Road, Wilmette, Illinois; 16-18, unidentified objects; 19-30, studio of Anita Mazala Kolman; 31-34, Mrs. Kolman' s daughter with family dog; 35-36, amulet copies made by Mrs. Kolman, with originals.
afc1981004_b48707
Film negative frame numbers, descriptions: 2, 6-7, 9, 12, Alexandra Buling; 8, Tale Buling; 11, Gordana Trbuhovic-Grasa; 15-20, unidentified store and clerk, possibly Mrs. Slavoff of Slavoff Imports, Montrose near Daven; 21-24, unidentified, possibly Josef Barton and family; 25-28, unidentified, possibly Martin Kapugi; 29-36, unidentified store, probably F. Pancner's, 6514 W.Cermack Rd., Berwyn, Illinois.
afc1981004_b71989
Film negative frame numbers, descriptions: 9-11, 13-14, 19-20a, scenes of Arirang Food Mart (Korean) on N. Clark St. in or near the 3300-3400 block; 12, upper portion of exterior façade of Shinsundo (Shin Sun Do) Studio, 3315 N. Clark St., Chicago; 15-18, scenes of Korean and other Asian shops and organizations on N. Clark St. on or near the 3300-3400 block; 15-16, Pan International Travel (Chicago to Seoul highlighted); 17-18, Mike Art Studio (photography).
afc1981004_ch1
Film negative frame numbers, descriptions: 2-5, staff member Carol Armbruster at American Folklife Center office, Library of Congress, Washington; 6-8, 14, project director Elena Bradunas at downtown office at Illinois Arts Council Office, room 822, 111 N. Wabash; 9-13, Elena Bradunas, project coordinator Greta Swenson; 15-18, Bruce Boyer (Illinois Arts Council); 19, Bruce Boyer, Elena Bradunas; 20, Bruce Boyer, Elena Bradunas, Greta Swenson; 21-22, Front of project apartment; 23-24, Rear of project apartment with one of the GSA autos used in project.
afc1981004_ch3
afc1981004_b50818
Film negative frame numbers, descriptions: 0-3, shrine to Chinese god of music in headquarters of Chinese Music Club, 211-B West Cermac Rd., Chicago; 4, man repairing a stringed instrument; 5-11, unidentified man playing violin (possibly Mr. James Wong).
afc1981004_b51720
Film negative frame numbers, descriptions: 0-4, 16-19, Indian Temple Dance (East India) at the Civic Center Plaza Ethnic Dance Festival; 5-15, 21, 36-37, audience; 22-29, Korean dancers preparing for their dance; 30-35, Korean dancers on stage.
afc1981004_b51722
Film negative frame numbers, descriptions: 0-12, group shots of La Estudiantina de San Pio (1909 E. Ashland) on stairs and at rehearsal, led by Brother Michael Seiberlick, OP [Order of Preachers (Dominicans)]; group members include: guitars: Alan Flores, Dalila Flores, Chita Vazquez, Celia Kielminski, Uliser Flores, Corinne Liza, Lydia Toscano, Maria Vazquez, Bob Delgado, Rosario Badillo, Jane Badillo, Rosie Lopez, Sandy Lopez, Tammy Lopez, Eddie Flores; mandolins: Bicky [Ricky?] Vazquez, Arturo Coevas, Cata Martinez; tambourines: Longino Flores, Letty Badillo; Bass: Mayra Flores; accordion and director; Brother Michael Seiberlick, OP; 13-16, demonstration of La Estudiantina de San Pio group's costume; 17-29, at Civic Center Plaza Ethnic Dance Festival, Korean dancers performing; 30-37, Filipino dancers performing at the festival.
afc1981004_1_18266
Film negative frame numbers, descriptions: 2-7, at the post-fieldwork Irish American community workshop, from left: John Corrigan, unidentified, Peggy Roche Boyle (back shot), Mick Moloney, Bob Burns, Justin O'Brien; 8-11, Mick Moloney; 12-13, Bob Burns; 14-15, from left: Marion Walsh, Peggy Roche Boyle; 16-19, same as in image 2 plus Marion Walsh; 20-25a, at the Greek American community workshop; closeup, from left: Fotis Litsas, Steve Frangos, Ami Dres [Dress?], no identifiction for last two; 33-34, fieldworker Peter Bartis; 35-36, Fotis Litsas and Ami Dres [Dress?]; 37, from left: Dino Ress, Peter Bartis, Fotis Litsas, and John Ress.
afc1981004_71987
Film negative frame numbers, descriptions: 1-9, garden of Roberto and Amelia Leval, 1515 W. Berteau, Chicago; the Levals are a retired Cuban couple and their garden has vegetables, flowers (plastic and real), and animal figures, windmills, and a madonna; 10-11, Manna Oriental Food Store; 12, unidentified children.
afc1981004_b37762
Film negative frame numbers, descriptions: 1-12, Mrs. Theodora Siakotos, Palos Hills, Illinois; 1, 5-7, Mrs. Siakotos; 2-4, Mrs. Siakotos and her daughter; 7-8, 11-12, interior of Siakotos home; 10. fieldworker Peter Bartis at left; 13-36a, Antanas Poskocimas, woodcarver, 6354 S. Rockwell, Chicago; 28-29, Antanas Poskocimas and fieldworker Elana Bradunas, at right.
afc1981004_b37771
Film negative frame numbers, descriptions: 2-13, first large chapel pole made by Antanas Poskocimas, commissioned by the owner of the house, Dr. Jonas Adomavicius, at 55th and S. Claremont; the house also has a gabled doorway extension, a very common characteristic of Lithuanian folk architecture; folk design is also represented by the carved fence that surrounds the property; Dr. Adomavicius clearly wished to have the house look like a typical Lithuanian home; to enhance the effect he planted birch trees, typical of the Lithuanian countryside; even the birdhouse is typically Lithuanian; 14-18, Lithuanian co-op apartment complex at 66th and So. Carolina. for senior citizens cared for by Dr. Jonas Adomavicius who also administers the housing complex, which is called "Sodyba" meaning homestead; articles about the residents and their photographs appear regularly in the Lithuanian press; on Sunday afternoon they have an open house in a large gathering room and the residents perform for guests; the chapel pole in the middle of the complex is made from metal and was designed by architect Jonas Mulokas, who also designed the Lithuanian parish church, Nativity of the Blessed Virgin Mary on Washtenaw and 69th Streets; the rounded flower bed seen here is quite common in traditional Lithuanian landscaping; note birdhouse in frame 14; frames 19-36, examples of Greek embroidery by Mrs. Theodora Siakotis, 23, Peter Bartis (fieldworker}, on left; 29-35, Daughter of Mrs. Siakotos; 36-37, Mrs. Theodora Siakotis.
afc1981004_b37920
Film negative frame numbers, descriptions: 1-4, Antanas Poskocimas, woodcarver, talking with Elena Bradunas; 5-8, Mrs. Chrissi Klinakis, 74 year old woman from Crete, displaying her needlework; 9-13, Mrs. Klinakis with unidentified woman; 18-20, 23-28, silk wedding aprons made by Mrs. Klinakis; 29-30, Mrs. Klinakis; 31-36, Mrs, Klinakis with Mrs. Apostolopoulos, manager of Yarn and Canvas Ltd., 4650 N. Western Ave.
afc1981004_b37766
Film negative frame numbers, descriptions: 0-3, Ray Hillburn (with hat) and the Coyotes at the Postillion; 4, Elena Bradunas, Rebecca Browning, Jonas Dovydenas, Greta Swenson; 5-8, Postillion; Montrose and Artesian Avenues (north side); 9-11, Rebecca Browning and Iberius Hacker at Great American Coffeehouse; 12-16, Great American Coffeehouse on Lincoln Avenue and Iberius Hacker; 17-25, Holly Highfill (on desk) and Judy McLaughlin at the Southern Culture Exchange Center of Columbia College, 954 Montrose Avenue; 26-28, exterior of the Postillion; 29-32, Rev. Peter C. Karloutsos, St. Andew’s Greek Orthodox Church, 5649 N. Sheridan Rd., Chicago, Illinois; 33-36, painting by Bob Clark and Andy Karafotias at St. Andrew's.
afc1981004_b37769
Film negative frame numbers, descriptions: 1-16, views of interior and exterior of St. Andrew's Church 5649 N. Sheridan Rd., Chicago, Illinois; 17-22, quilt top in possession of Ada Sparks, made by her sister; 24-26, same, showing underside of the top; 27-28, same, quilt top; 29-31, Ada Sparks and fieldworker Rebecca Browning; 32-34, Ada Sparks.
afc1981004_b37770
Film negative frame numbers, descriptions: 0-2, Iberius Hacker; 3-6, Iberius Hacker with fieldworker Rebecca Browning at the Great American Coffeehouse; 7-8, 11, Judy McLaughlin, Southern Culture Exchange Center of Columbia College; 9-10, Holly Highfill, Southern Culture Exchange Center; 12-13, Kenmore and Grace Sts.; kids building mud dam in gutter; 14-15, back of Apartments on Magnolia, near Wilson; 18-36, painting in gym at St. Andrew's Greek Orthodox Church, 5649 N. Sheridan Rd., Chicago, Illinois, by Dean Pappas; 37, sign in front of St. Andrew's.
afc1981004_b41245
Film negative frame numbers, descriptions: 2-4, Ada Spark's house - she lives on the second floor; 5-12, Greek painter Strathis Trahanatzis, large work in studio; 13-16, paint table; 17, Strathis Trahanatzis; 18-19, medal from Greek military; 20-22, living room wall; paintings are directly on the wall; 23-27, table in living room; 28, Strathis Trahanatzis; 29-30, chest in living room; 31-32, decorated shells and pebbles; paintings will be added in white space; 33-36, miscellaneous small painted and constructed items.
afc1981004_b41255
Film negative frame numbers, descriptions: 1-18, George Kejalopoulos; 19-24, Mr. Kejalopoulos with unidentified man; 25-36, Chicago Zither Club concert; 26, 27a, Heidi Siewart, guest soloist (in costume); 29a, 31a, Heidi Siewert and Tony Hellenberg (fieldworker).
afc1981004_b41993
Film negative frame numbers, descriptions: 1a-4, object made by Stathis Trahanatzis; 5-11, Stathis Trahanatzis; 12-16, telephone decorated by Trahanatzis; 17-24, Leonard Enders, founder of DANK; 25, display of fabric at event (Sara Schwarz is in middle); 26-35, food area and bar, with guests; 36, fabric and craft display, with Sara Schwarz eying the camera.
afc1981004_b41990
Film negative frame numbers, descriptions: 1-37, series of photos (begun on film roll at call number AFC 1981/004: b42000, frames 33-37a) showing progressively (beginning with undergarments) the items of the costume worn by a woman from Rode, Transylvania; this series is accompanied by names and descriptions recorded on the sound recordings at call numbers AFC 1981/004: AFS 20551b, AFS 20552a, and AFS 20552b; Sara Schwarz dressed as a married woman from Rode, Martin Schwarz as an adult man, dummy as a bride, Stefan Roth (14a-16) as a bridegroom.
afc1981004_b42000
Film negative frame numbers, descriptions: 1-10a, dummy bride with Stefan Roth as bridegroom shown holding traditional flower bouquet; 11-12a, arrangement of bridal ribbons and neck band from rear; 13-17a, white leather embroidered church coat, modeled by Stefan Roth; 19-24a, various views of bridal costume; 25-26a, Stefan Roth and Martin Schwarz in traditional embroidered man's shirt; 27-32a, Martin Schwarz at home in living room; 33-37a, this is the beginning of series that is continued on the roll at call number begun on film roll at call number AFC 1981/004: b41990 (see also photographs on roll at call number AFC 1981/004: b41995), showing layers of woman's traditional dress from Rode, Transylvania - Mrs. Schwarz modeling; this clothing is also described on the sound recording at call numbers AFC 1981/004: AFS 20551b, AFS 20552a, and AFS 20552b.
afc1981004_b41995
Film negative frame numbers, descriptions: 1-17, Martin and Sara Schwarz in traditional adult costumes from Rode, Transylvania, region; Stefan Roth (2nd from right in 15-17a) as bride groom, dummy dressed in fashion of young bride; 18, project photographer Jonas Dovydenas with dummy; 19-20a, fieldworker Tony Hellenberg with dummy; 21-22a, living room of Schwarz home; 23-37, Mr. Balys Pakstas, musician, at home; images include kankles (Lithuanian chordophone) and birbyne (Lithuanian aerophone).
afc1981004_b41997
Film negative frame numbers, descriptions: 1-3a, mural at Racine and Magnolia depicting southern migration to northern industrial center; 4-12, blank; 13-16a, bar scenes, patrons unidentified; 17-20a, Karl Laschet, operator of bar, behind bar; 27-32a, local baseball team sponsored by Karl Laschet's inn; 33-34a, 37, fieldworker Tony Hellenberg with Dr. Stephan Kozlowski.
afc1981004_b42180
Film negative frame numbers, descriptions: 1-11, unidentified Native Americans at craft show, sign reads "Indian magic stick, a toy for fun"; 14-26, at the Maxwell Street market, fruit stand run by same person for at least 40 years; formerly belonged to his father; 16, Shifra Epstein, fieldworker; 17, unidentified woman; 29-31, unidentified couple; 27-28, 32-36, Kosher delicatessan run by non-Jew; 36a, unidentified woman (left), Shifra Epstein (right).
afc1981004_b42182
Film negative frame numbers, descriptions: 0-10, at the Maxwell Street market, setting up for market day around 6AM Sunday morning; 11-36, market peddlers; 22-24, 31, 34-36, fieldworker Shifra Epstein with unidentified man.
afc1981004_b43065
Film negative frame numbers, descriptions: 1-9, Frank Thornton; 10-13, Marie Davino (Al's sister who lives above the bakery); 14-15. wall behind the counter showing Al's signs (jokes, wise sayings, etc.) and his trophies for golf; 16-20, Al rolling out pizza dough; 21-22, Al's brother, Roger Davino, who helps him on Saturdays; 23-27, Louis Matteo (friend of Al's); 28, Al carrying a tray of pizza; 29, Roger Davino; 30-33, bread kneading table; 34-35, Al and Roger; 36-36a, the weighing scales for the dough.
afc1981004_b43078
Film negative frame numbers, descriptions: 1-6, morra players outside MaMa Sue's Restaurant; 7-36, scenes of the audience, dancers, musicians before the Fleadh Ceili at the Garden of Eden; 13-19, Terry Teahan is dancing; 16-18, Mary McDonagh is Mr. Teahan's partner; 23, Terry Teahan on left; 9-10, John McGreevy, second from left; 27, 33, Kevin Henry is second from right; 28-29, Armin Barnett is fiddler on right in 28, on left in 29.
afc1981004_b43068
Film negative frame numbers, descriptions: 1-14, interior of Schmitts Metzgerei; 15-17, unidentified building; 18-end, unidentified American Indian craftsmen.
afc1981004_b43074
Film negative frame numbers, descriptions: 1-8, Terry Teahan, Mick Moloney (fieldworker, with beard), and Mary McDonagh in Mr. Teahan's kitchen; 9-11, Mr. Teahan and Mick Moloney in living room; 12-16, Terry Teahan displaying his plants; 17-21, Terry Teahan and Mick Moloney outside the house; 22-32, Mary McDonagh on fiddle, Terry Teahan on concertina; 33-37, interior of Jewish Teaching Center, Green Bay Road, Wilmette, Illinois.
afc1981004_b43076
Film negative frame numbers, descriptions: 1-19, objects made by Rose Ann Chasman, 6147 North Richmond, Chicago; 20-24, 27-28, 31-34, Mick Moloney (fieldworker, with beard) and Terry Teahan; 25-26, embroidery done by Mr. Teahan on wall above display of family photos; 30, 35-37 Terry Teahan.
afc1981004_b43080
Film negative frame numbers, descriptions: 1-16, interior and exterior of a Reform synagogue designed by a Japanese architect; 18-20, Denis and Margie Dennehy with dance trophies; 21-24, Denis Dennehy, left, Mick Moloney (fieldworker), right; 25, unidentified boy; 26-28, Margie Dennehy and unidentified boy; 29-30, Margie and Denis Dennehy with Mick Moloney, center; 31-33, Denis Dennehy; 34-35, Dennehy dance trophies.
afc1981004_b44027
Film negative frame numbers, descriptions: 1-9, Siegfried Shuh at home, his living room with instruments (harp, piano); 10-11, Siegfried Shuh in his workshop; 12-14, Gilda Sottile, fieldworker Elizabeth Mathias, Pasquale Sottile in their kitchen; 15-19, Mr. and Mrs. Sottile in the kitchen; 20-24, Sottile living room; 25-29, Mr. Sottile in his living room; 30-31, Gilda Sottile and fieldworker Elizabeth Mathias, Mrs. Sottile is preparing tagliatelli; 32-33, Room in Sottile home, kitchen or family room (?); 34, table set for lunch; 35, view of dining room; 36-37, Mr. Sottile in dining room.
afc1981004_b44421
Film negative frame numbers, descriptions: 1-11, Irish music competion at Bogan high school; 11a-31, Siegfried Schuh at work constructing and repairing stringed instruments in his workshop; 31a-35, dining room of Schuh house; 35a-37, hallway entrance of Schuh home.
afc1981004_b44421
Film negative frame numbers, descriptions: 0a-5, Kurt Mathiasson (with accordion and guitar) and unidentified employees in Svea Restaurant kitchen, 5236 N. Clark, Andersonville (Swedish-American); 0a-2 (Mrs. K.) Solveig Mathiasson (seated, white uniform) (Swedish-American); 5a-16, Norwegian Independence Day Parade, State St., the Loop; 16a, view of 3400 block, N. Oak Park Ave., Jan Harry and Josefa Andersen's house in center (Norwegian-American); 17a, yard ornament of Andersen's neighbor, N. Oak Park Ave.; 18a-20a, in the Andersen home; 18a painting by Per Guldbrandsen; 19a kransekake (marzipan wreath); 20a buffet table; 21a-34, Danish-American Athletic Club, 4624 N. Pulaski Rd.; 23a, cocktail hour table in basement; 24a-32, dinner; 26-28, Mrs. Elisabeth Larsen, right; 28-32, unidentified Swedish-American vocalist; 32a-34, D.A.A.C. bulletin board (Danish-American Athletic Club).
afc1981004_b44423
Film negative frame numbers, descriptions: 0-32, Norwegian Independence Day Parade, State St., the Loop.
afc1981004_b44424
Film negative frame numbers, descriptions: 1-2, wall decorations, mostly family photographs, at the home of Rev. James Callozzo, 1049 W. Taylor St.; 3-4, pot of flowers on radiator; 5-6, kitchen of Callozzo home; 7-14, icons painted by Father James Callozzo (Father Callozzo is an Italian American who became an Eastern Orthodox priest.); 15-17, bedroom of Father Callozzo's daughter, icon in corner, together with posters of Farrah Fawcett and characters from "Happy Days" TV series; 18-19, icon on wall; 20, living room; 21-22, Father Callozzo and Greta Swenson; 23, Father Callozzo; 23a-24a, work area; 25a.-27a, Father Callozzo in his workshop; 28a-36a, Norwegian Independence Day celebration at home of Jan Harry and Josefa Andersen, 3416 N. Oak Park, unidentified party goers, scene includes Norwegian national costume.
afc1981004_b44669
Film negative frame numbers, descriptions: 0-27, home of Serbian American violinist/painter Jovan Demetrius Mihailovic, 5112 N. Wolcott (Mr. Michailovic wearing dark turtleneck); 25, 27, Greta Swenson, center; 29-37, Ray Nilsen at home, 6039 N. Newberg; 29-30, 37 Jens Lund, left, Ray Nilsen, right; 31-32, exterior of Nilsen home; 30-36, Ray Nilsen.
afc1981004_b45146
Film negative frame numbers, descriptions: 1-13, Mrs. Selma Jacobson demonstrating the craft of Halmslojd or straw craft at the Swedish-American Pioneer Historical Society Archives, 97 Nyvall Blvd., North Park College, 5120 N. Spaulding, Andersonville; 14-36, businessman's jam session at the Marina Towers, "Jazz at Noon"; 22-23, Mrs. Edith Wilson and Franz Jackson, center; 25-26, Mrs. Edith Wilson and Franz Jackson, right; 28, 30-31, 36-37, Franz Jackson, left (clarinet player); 32-33, Mrs. Edith Wilson, left.
afc1981004_b45398
Film negative frame numbers, descriptions: 0a-13, Reidar Rosenvinge at Norway Center, 2350 N. Kedzie Blvd., Logan Square; 0a-9, Rosemaling (Norwegian rose-painting) by Mr.Rosenvinge; 9a-13, Reidar Rosenvinge and rosemaling; 13a-26 Norway Center; 19a-21 and 22a-24, Reidar Rosenvinge; 26a-34 Bjuhr's Bakery, 5348 N. Clark, Andersonville; Gosta Bjuhr, baker; 26a-30 Gosta Bjuhr making "lussikat" (Santa Lucia Day pastry); 31a-34 Gosta Bjuhr, left, Jens Lund (fieldworker), right.
afc1981004_b46523
Film negative frame numbers, descriptions: 1-36, wedding of Tom and Joyce Todorovic at Holy Resurrection Serbian Orthodox Cathedral.
afc1981004_b46524
Film negative frame numbers, descriptions: 1-36, wedding of Tom and Joyce Todorovic at Holy Resurrection Serbian Orthodox Cathedral.
afc1981004_b46705
Film negative frame numbers, descriptions: 0-9, outside Florence's Lounge, 5443 South Shields Ave.; 8, Len Dunn, right; fieldworker Ralph Metcalfe, Jr., left; 11-18, Cicero, on Memorial Day; 19-36, Memorial Day family picnic at 4827 S. Lotus, Croatian American family.
afc1981004_b46717
Film negative frame numbers, descriptions: 0-21, family picnic, Croatian American family, Memorial Day, 4827 S. Lotus, Chicago; 22-28, 33-36, left-to-right, Sylvia Embry, bass, Lefty Dizz, guitar, Woody Williams, drums, Kevin Donnelly, guitar, unidentified singer; 29-32, exterior of Checkerboard lounge, 423 East 43rd St., fieldworker Ralph Metcalfe, Jr.
afc1981004_b47515
Film negative frame numbers, descriptions: 1-4, 8-9 Jackie Coy (light shirt) and Delia Coy, actress; 5-7, Delia Coy; 10-18, Walter Lowe, yoga teacher; 22-23, audience at St. Ladislaus School graduation, 5345 W. Roscoe; 24-32, unidentified people in front of St Ladislaus Church; 33-36, children of St. Ladislaus School, dancing in costume at graduation.
afc1981004_b47516
Film negative frame numbers, descriptions: 1-18, Annunciata Church, South Chicago; Happy Strings Tamburitza Orchestra and unidentified group of South Chicago children; 19-23, Yugoslav Benevolent and Pleasure Club and Picnic Grove, 55th and Narragansett, lamb roast; 24-27, kitchen of Yugoslav Benevolent and Pleasure Club; 28, plaque at same; 29-33, rehearsal of Preseren (“s†with caron) choir, a Slovenian group, at Slovenian Cultural Center; 34-36a, farewell party for Mr. Umeck, leader of the button box accordion club, at the Slovenian Cultural Center; dates may have been May 27 (Happy Strings), May 29 (picnic), and May 31, 1977 (others).
afc1981004_b47821
Film negative frame numbers, descriptions: 2-3, exterior of Ferrara Manor, where dinner was held for the 80th anniversary of the Holy Trinity Russian Orthodox Church; 4-28, interior of Ferrara Manor, including church dinner head table and dancers relaxing afterward; 8-9, Anton Angelich, left; 11, 1-r, Gordana Trbuhovic-Grasa, Danny Wolff, Anton Angelich; 14, Anton Angelich; 23, Gordana Trbuhovic-Grasa, center; 25-27, Richard March, 3rd from right; 29-33, exterior of Continental Night Club; 34-37, interior of Jan Harry Andersen and Josefa Andersen home, 3416 N. Oak Park Ave.
afc1981004_b48693
Film negative frame numbers, descriptions: 1-7, additional sides to Mrs. Naomi Cohen's autobiographical house (see also photographs on roll at call number: AFC 1981/004: b48712); 8-14, Portrait of Mrs. Naomi Cohen, craftswoman, 3800 North Lake Shore Dr., Chicago; 15-23, a work by Mrs. Cohen depicting Lake Shore Drive with the park, apartments, etc.; includes her building (possibly) and one synagogue or other Jewish building, the one with the dome; 24-27, Monument to the Holocaust by Mrs. Cohen at Anshe Emet Synagogue; 28-30, at the Sajewski Music Store, 1227 Milwaukee Ave , Chicago, Jania Sajewski publicity photograph ca 1955; 31-34, some of Jania Sajewski’s records on the Capitol label; 36, portrait of Frank Przybylski, ca early 30's - composer, arranger, and orchestra leader; Alvin and sister Jania Sajewski (Jeannette Sajewski Terley or Jeanette Sajewski Terlikowski) talk about his accomplishments and personality in the recorded interview at call numbers AFC 1981/004: AFS 20803 and AFS 20803b.
afc1981004_b48700
Film negative frame numbers, descriptions: 1-3, exterior of the Balkan Music Store operated by Slavco Hlad, W. Cermack, Berwyn, Illinois; 4, Brothers Food and Liquor store, at Milwaukee and Noble Streets, Chicago, thought fieldworker to be African American owned; 5-8, exterior of Sajewski Music store, 1227 Milwaukee Ave., Chicago; 9-12, dining room of Mrs. Maria Brama, 2307 W. Walton, Chicago, with bowls of Easter eggs on table; 13-14, selection of Ukrainian Easter eggs by Mrs. Brama; 15-16, egg decorating apparatus, moved from back room or the kitchen for the sake of the photo; 17-18, simulation of decorating Easter eggs, in living room because light was better for photography; 29-35, living room with and without Mrs. Brama; 36, closeup of Mrs. Brama's eggs.
afc1981004_b48705
Film negative frame numbers, descriptions: 0-8, Mrs. Mary Belica's garden, 2528 S. 61st Ct., Cicero; 9-21, Yaounde Olu, uniphysicist, at her Osun Studio, 2541 E. 75th St., Chicago; 22-30, Yaounde Olu outside the gallery.
afc1981004_b48714
Film negative frame numbers, descriptions: 0-4a, solo player in Bandurist Youth Group, the field documentation does not make clear if this is St. Volodymyr Ukrainian Orthodox Cathedral (probably) or Sts Volodymyr and Olha Ukrainian Catholic Church; 5-17, Danish Singing Society Harmonien rehearsing at Normennernes Singing Society Hall, 2414 N. Kedzie Blvd, Logan Square, led by Wayne Spies; 18, Peder Larsen (president), Holger Morch and unidentified listen to playback; 19-27, smorrebrod (o with stroke), Danish sandwiches at banquet in basement after rehearsal; 19-20, Wayne Spies, 2nd from left; Pedar Larsen, far right; 22, Wayne Spies, left; Peder Larsen, 2nd from right; 25, Peder Larsen, left at far end of table; Wayne Spies, far end of right side of table; 26-27a, Peter Larsen, right; 28-35, project photographer Jonas Dovydenas editing pictures at home.
afc1981004_b49875
Film negative frame numbers, descriptions: 1-36, "Sweet Sixteen" party for unidentified Puerto Rican girl.
afc1981004_b49881
Film negative frame numbers, descriptions: 1-36, quinceanera (Sweet Sixteen) party for unidentified Puerto Rican girl.
afc1981004_b51723
Film negative frame numbers, descriptions: 1-6, group shots during rehearsal of El Conjunto de Cuerdas Tipicas de Puerto Rico under the direction of Israel Maldonado at El Romance Club, 3575 W. Armitage, Chicago; 7-8, Israel Maldonado and Philip George, fieldworker, right; 9-11, Alan Jabbour (director, American Folklife Center), Alexia Lalli (Illinois Arts Council), and Philip George (fieldworker) during rehearsal; 12-20, El Conjunto rehearses; 21-24, Edwin, "El Zumbador," sings; 25-27, Israel Maldonado and Alexia Lalli dance; 28-31, Alan Jabbour, Alexia Lalli, Philip George; 32-35, Pablo Valentin, second guitar, left with glasses; Arcadio Otero, on cuatro, right, no glasses; 36-37, "El Zumbador," "El Mucaro," and Otero's guide [he may be blind, and the woman assists him] during playback of recording.
afc1981004_b52860
Film negative frame numbers, descriptions: 2-3, Mrs. Esperancita Sernas in her apartment #221, 1611 S. Racine, Chicago; 4-29, El Conjunto de Cuerdas Tipicas de Puerto Rico at Channel 26 TV studio; 4-5, Arcadio Otero (on cuarto), Luis Pantoja (guitar), and Edimiro Rivera; 6, 14, 26-29, Israel Maldonado, MC; 7-8, 15-18, Edimiro Rivera; 10, 13 Irma Diaz; 9, 19 Arcadio Diaz; 11-12, 20-25, group shots; 30-33, Jesus "Chuy" Negrete in his kitchen at 9125 S. Houston, Chicago.
afc1981004_b49876
Film negative frame numbers, descriptions: 0, exterior of Czechoslovak Society of America; 1-10, museum exhibits in office of CSA; 11-15, paintings of figures in folk costume by Mrs. Lillian Picha in CSA corridors; 16-17, exterior of Slovak-American Club, Berwyn; 18, exterior of F. Pancner's, Slovakian import store, 6514 W. Cermak Rd., Berwyn, Illinois; 19-25, Unidentified buildings; 26-29, Gordana Trbuhovic-Grasa; 30-36, street scenes; 37, Chungmoo Choi, fieldworker for Asian American communities.
afc1981004_b49879
Film negative frame numbers, descriptions: 0-3, Balys Pakstas' birbyne ensemble, left to right, Mr. Vincus Vaitkus (Vaitkevicius), Mr. Liubomiras Bichnevicius, Mr. Balys Pakstas; 5-8, Antanas Poskocimas, center, with neighbors; 10-15, Woodcarving by Mr. Poskocimas; 16-29, views of shops in Chinatown near S. Wentworth Ave. and 23d Street, fieldworker Chungmoo Choi in frame 16. 4, 9, 19-27, and 30-34 spoiled by camera malfunction.
afc1981004_b52021
Film negative frame numbers, descriptions: 1, raising chapel pole; 2, 7-8, Rev. Algimantas Kezys, SJ, left, Antanas Poskocimas, maker of the chapel pole, right; 3-4, closeup of the chapel pole; 5-6, Antanas Poskicimas, center; 9-20, Antanas Poskocimas (in dark shirt) checking pole; 21, AntanasPoskocimas, left; 22-36, scenes from Buddist Temple Street Fair, Racine and Leland Streets; 22-29, 33, dancing; 30-32, 34-35, audience.
afc1981004_b50896
Film negative frame numbers, descriptions: 1-18, home and family of Mr. Jae K. Lee, 6225 N. Claremont, the Lee family brought a large quantity of mother-of-pearl inlaid furniture from Korea; 2-3, at left, Mr. Kean See Park (brush painter) and Mr. Jae K, Lee, right; 4, Mrs. Lee (mother), Mr. Lee, Mr. Park; 5-6, Mr. Lee, Mrs. Lee (wife), Mr. Park; 7, Chungmoo Choi, fieldworker; 8-9, Mr. Park, Mrs. Lee; 10-11, A Lee son, Mr. Lee, Mr. Park, Mrs. Lee; 12-16, Lee sons, demonstrating Tae Kwan Do; 17-18, Lee sons, Mr. Park, Mrs. Lee; 19-36, at the Romas Sakadolskis- Emilija Pakstas wedding at Immaculate Conception Church (Roman Catholic), 2745 W. 44th St., Brighton Park, exchange of vows and rings, performed by Rev. Algimantas Kezyz, SJ, assisted by Rev. Antanas Saulo, the vows, prayers, and blessings were all in Lithuanian.
afc1981004_b51720
Film negative frame numbers, descriptions: 0-4, 16-19, Indian Temple Dance (East India) at the Civic Center Plaza Ethnic Dance Festival; 5-15, 21, 36-37, audience; 22-29, Korean dancers preparing for their dance; 30-35, Korean dancers on stage.
afc1981004_b51722
Film negative frame numbers, descriptions: 0-12, group shots of La Estudiantina de San Pio (1909 E. Ashland) on stairs and at rehearsal, led by Brother Michael Seiberlick, OP [Order of Preachers (Dominicans)]; group members include: guitars: Alan Flores, Dalila Flores, Chita Vazquez, Celia Kielminski, Uliser Flores, Corinne Liza, Lydia Toscano, Maria Vazquez, Bob Delgado, Rosario Badillo, Jane Badillo, Rosie Lopez, Sandy Lopez, Tammy Lopez, Eddie Flores; mandolins: Bicky [Ricky?] Vazquez, Arturo Coevas, Cata Martinez; tambourines: Longino Flores, Letty Badillo; Bass: Mayra Flores; accordion and director; Brother Michael Seiberlick, OP; 13-16, demonstration of La Estudiantina de San Pio group's costume; 17-29, at Civic Center Plaza Ethnic Dance Festival, Korean dancers performing; 30-37, Filipino dancers performing at the festival.
afc1981004_b52023
Film negative frame numbers, descriptions: 0-2, recording session with Chicano Floricato (Jesus, Rosa, Bernardo Negrete and Carlos Cumpian), 9125 S. Houston, Chicago, Jesus and Rosa sing as Bernardo looks on; 3-4, Jesus and Rosa sing as Carlos looks on; 5-6, Jesus and Rosa sing as Bernardo plays harmonica; 7-8, fieldworkers George and Greta Swenson look on; 9-11, Carlos holds telephone toward Jesus and Rosa as they sing; 12, Bernardo plays harmonica as Jesus and Rosa sing; 13, Rosa, the dog, Carlos, and Philip George, fieldworker; 14, Jesus, Rosa and the dog; 15-17, Jesus, Rosa, and Carlos; 18a-36, raising a chapel pole made by Antanas Poskocimas at the Lithuanian Jesuit Fathers Youth Center, 5620 S. Claremont, Chicago, Antanas Poskocimas is wearing peaked cap and dark shirt.
afc1981004_b72638
Film negative frame numbers, descriptions: 0-7, knitting by Mrs. Stase Tallet-Kelpsa using Lithuanian patterns, 6829 S. Rockwell, Chicago; 8-16, garden of Roberto and Anelia Leval, 1515 W. Berteau, Chicago, a retired Cuban couple, the garden has vegetables, flowers (plastic and real), animal figures, windmills, a Madonna.
afc1981004_b52028
Film negative frame numbers, descriptions: 0-5, musicians at Europe at Night, 2986 N. Elston, Chicago (Yugoslav displaced person nightclub), Milija Spasojevich, accordion player, is the club owner; 6-10, at the El Romance Club, 3575 W. Armitage, Chicago, dancers during performance of Los Amantes; 11, "Georgie" plays timbales for Los Amantes; 12, "Pedrito Roman"; 13, "Pedrito" and "Georgie"; 14, 17-19, Dancers; 15, Chungmoo Choi and Philip George, fieldworkers; 16, a friend of Jonas; 21-23, Los Amantes play and sing; 24, "Pedrito Roman."
afc1981004_b52031
Film negative frame numbers, descriptions: 0-3, garage door at 8108 W. 127th St., Palos Hills, painted by Swedish painter Olga Lejondahl; 4-5, Sodyba, Lithuanian home for pensioners on South Carolina Ave., with chapel pole on grounds; 6-36, Knights of Columbus picnic, 47th and Campbell, generally attended by Lithuanian Americans from Marquette Park and Brighton Park.
afc1981004_b52862
Film negative frame numbers, descriptions: 1-14, Riddle's Bar, on 43rd St., Chicago; 16-36, Latino soccer game, Montrose Harbor Park.
afc1981004_b71992
Film negative frame numbers, descriptions: 0-20, St. Rocco di Simbario Parade near S. Wells and 26th Streets, Bridgeport, Chicago; 21-22, at the St. Jerome Croatian Catholic Church Annual Parish Festival in Bridgeport, welcome banner in front of 3216 S. Wells St. for Heather Morgan Bilandic, bride of Chicago's Mayor Michael Bilandic; Thomas J. Biamonte, Jr., left, Joseph Nowak, right; 24-25, window decoration for St. Jerome's feast; 26-36, people in front of St. Jerome's Catholic Church, 2823 S. Princeton St., Chicago. Illinois.
afc1981004_b72635
Film negative frame numbers, descriptions: 1-22, at the St. Jerome Croatian Catholic Church Annual Parish Festival in Bridgeport, site of much Croatian nationalism; 23-36, Lyman Pierce, executive director of the Illinois (Indian) Employment and Training Center.
afc1981004_b72637
Film negative frame numbers, descriptions: 1-5, Lyman Pierce, executive director of the Illinois (Indian) Employment and Training Center, in front of American Indian Business Association Industrial Employment and Training Program office, 1124 W. Granville, Chicago; 6-10, Street scene, Davidson's Bakery; 11-13, Latino mural in the predominantly Mexican American Little Village neighborhood, depicting a rural scene presumably in Mexico; 14-15, Wall mural in the Little Village neighborhood, slogan on mural painted in Spanish ("El Respeto al Derecho Ajeno es La Paz) and English ("To Respect the Rights of Your Neighbor is Peace"), attributed on the mural to Benito Juarez, former president of Mexico; 16-22, Mr. Kean Sea Park, brush painter, with his work, 6244 N. Claremont, Chicago; 23-26, Mr. Park and unidentified children; 27-33, Mr. Park playing bamboo flute.