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| Container | Contents | ||||||||||||
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| Series 6: Sound Recordings, 1977 (continued) | |||||||||||||
| Subseries 11: Asian (continued) | |||||||||||||
| Interview with Mrs. Soo Hyang Hong, Chicago, Illinois, part 1-4. Part 3 includes discussion with Mrs. Lee. Part 4 includes playing the kayagum (gayageum) musical instrument, June 13, 1977 (continued) | |||||||||||||
| 4 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20741A - AFS 20741B | Interview with Mine ("Minnie") Somi Kubose about Japanese tea ceremony, Chicago, Illinois, part 1-2 (version 1), June 15, 1977 | ||||||||||||
| MBRS shelflist: RYA 0759 | |||||||||||||
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Links
Digital content available: afc1981004_afs20741a Digital content available: afc1981004_afs20741b |
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| 2 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20742A - AFS 20743A | Interview with Mine ("Minnie") Somi Kubose about Japanese tea ceremony, Chicago, Illinois, part 1-2 (version 2) and part 3, June 15, 1977 | ||||||||||||
| MBRS shelflist: RYA 0760-0761 | |||||||||||||
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Links
Digital content available: afc1981004_afs20742a Digital content available: afc1981004_afs20742b Digital content available: afc1981004_afs20742b |
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| 3 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20744A - AFS 20744B | Interview with Kean Sea Park about Korean brush painting, Chicago, Illinois, part 1-2, June 17, 1977 | ||||||||||||
| MBRS shelflist: RYA 0762 | |||||||||||||
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Links
Digital content available: afc1981004_afs20744a Digital content available: afc1981004_afs20744b |
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| 2 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20745A | Interview with Bong Hee (Ma) Stephens about Korean dance Chicago, Illinois, June 19, 1977 | ||||||||||||
| MBRS shelflist: RYA 0763 | |||||||||||||
| Digital content available: afc1981004_afs20745a | |||||||||||||
| audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20745B | Recording of Tong Sook Ma playing the kayagum (gayageum) musical instrument, Chicago, Illinois, June 19, 1977 | ||||||||||||
| MBRS shelflist: RYA 0763 | |||||||||||||
| Digital content available: afc1981004_afs20745b | |||||||||||||
| audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20746A - AFS 20747A | Interview with Hideyumi Fujino about Japanese dance, music, and art, Chicago, Illinois, part 1-3, June 23, 1977 | ||||||||||||
| MBRS shelflist: RYA 0764 | |||||||||||||
| MBRS shelflist: RYA 0764 | |||||||||||||
| MBRS shelflist: RYA 0765 | |||||||||||||
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Links
Digital content available: afc1981004_afs20746a Digital content available: afc1981004_afs20746b Digital content available: afc1981004_afs20747a |
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| 3 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Subseries 12: Hispanic, Filipino | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20748 - AFS 20748_02 | Interview with Esperanza Sernas, Chicago, Illinois, part 1-2, June 24, 1977 | ||||||||||||
| MBRS shelflist: RYA 0766 | |||||||||||||
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Links
Digital content available: afc1981004_afs20748 Digital content available: afc1981004_afs20748_02 |
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| 2 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20749 - AFS 20749_02 | Recording of "El Show Jíbaro," broadcast at WCIU Chicago, Illinois, part 1-2, June 25, 1977 | ||||||||||||
| MBRS shelflist: RYA 0767 | |||||||||||||
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Links
Digital content available: afc1981004_afs20749 Digital content available: afc1981004_afs20749_02 |
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| 2 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20750 - AFS 20751 | Interview with Jesús "Chuy" Negrete, Chicago, Illinois, part 1 and part 3, June 27, 1977 | ||||||||||||
| MBRS shelflist: RYA 0768-0769 | |||||||||||||
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Digital content available: afc1981004_afs20750 Digital content available: afc1981004_afs20751 |
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| 2 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20751_02 | Discussion of Spanish-language songs and lyrics, unidentified speakers, Chicago, Illinois, June 27, 1977 | ||||||||||||
| MBRS shelflist: RYA 0769 | |||||||||||||
| Digital content available: afc1981004_afs20751_02 | |||||||||||||
| audiocassette, C-60 | |||||||||||||
| The recording with call number AFC 1981/004: AFS 2751b is also identified as AFS 20751 side B. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20752 | Interview with Israel Maldonado from "El Conjunto de Cuerdas Típicas de Puerto Rico", and "El Show Jíbaro," Chicago, Illinois, June 28, 1977 | ||||||||||||
| MBRS shelflist: RYA 0770 | |||||||||||||
| Digital content available: afc1981004_afs20752 | |||||||||||||
| audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20753 | Interview with Arcadio Otero, cuatrista Chicago, Illinois, June 28, 1977 | ||||||||||||
| MBRS shelflist: RYA 0771 | |||||||||||||
| Digital content available: afc1981004_afs20753 | |||||||||||||
| audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20754 - AFS 20757 | Recording of performance by Conjunto de Cuerdas Tipicas de Puerto Rico at El Romance Club, Chicago, Illinois, part 1-4, June 28, 1977 | ||||||||||||
| MBRS shelflist: RXA 1063-1066 | |||||||||||||
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Links
Digital content available: afc1981004_afs20754 Digital content available: afc1981004_afs20755 Digital content available: afc1981004_afs20756 Digital content available: afc1981004_afs20757 |
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| 4 audiotape reel, 7 in. | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20758 | Interview with Gamaliel Ramírez from the El Taller organization, Chicago, Illinois, part 1, June 29, 1977 | ||||||||||||
| MBRS shelflist: RYA 0772 | |||||||||||||
| Digital content available: afc1981004_afs20758 | |||||||||||||
| audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20759 - AFS 20761 | Recording of "La Estudiantina De San Pio," Saint Pius Church, Chicago, Illinois, part 1-3, June 30, 1977 | ||||||||||||
| MBRS shelflist: RXA 1067-1069 | |||||||||||||
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Digital content available: afc1981004_afs20759 Digital content available: afc1981004_afs20760 Digital content available: afc1981004_afs20761 |
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| 3 audiotape reel, 7 in. | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20762 - AFS 20763 | Interview with Efrén del Castillo, Chicago, Illinois, part 1-3, July 01, 1977 | ||||||||||||
| MBRS shelflist: RYA 0773-0774 | |||||||||||||
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Digital content available: afc1981004_afs20762 Digital content available: afc1981004_afs20762_02 Digital content available: afc1981004_afs20763 |
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| 3 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20764 - AFS 20764_02 | Interview with Bernardo Negrete, Chicago, Illinois, part 1-2, July 01, 1977 | ||||||||||||
| MBRS shelflist: RYA 0775 | |||||||||||||
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Digital content available: afc1981004_afs20764 Digital content available: afc1981004_afs20764_02 |
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| 2 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20765 - AFS 20769 | Recording of band Chicano Floricanto, Chicago, Illinois, part 1-5, July 01, 1977 | ||||||||||||
| MBRS shelflist: RXA 1070-1074 | |||||||||||||
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Digital content available: afc1981004_afs20765 Digital content available: afc1981004_afs20766 Digital content available: afc1981004_afs20767 Digital content available: afc1981004_afs20768 Digital content available: afc1981004_afs20769 |
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| 5 audiotape reel, 7 in. | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20770 - AFS 20770_02 | Interview with Carlos Cumpián from MARCH: Movimiento Artístico Chicano, Chicago, Illinois, part 1-2, July 02, 1977 | ||||||||||||
| MBRS shelflist: RYA 0776 | |||||||||||||
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Digital content available: afc1981004_afs20770 Digital content available: afc1981004_afs20770_02 |
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| 2 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20771 - AFS 20772 | Recording of band Los Amantes at El Romance Club, Chicago, Illinois, part 1-2, July 02, 1977 | ||||||||||||
| MBRS shelflist: RXA 1075 | |||||||||||||
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Digital content available: afc1981004_afs20771 Digital content available: afc1981004_afs20772 |
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| 2 audiotape reel, 7 in. | |||||||||||||
| 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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