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| Container | Contents | ||||||||||||
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| Series 6: Sound Recordings, 1977 (continued) | |||||||||||||
| Subseries 2: German (continued) | |||||||||||||
| Speeches and songs at the Siebenbürger Sachsen 1977 Stiftungsfest at the Haus Donauschwaben, Chicago, Illinois, part 1-2, April 30, 1977 (continued) | |||||||||||||
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Digital content available: afc1981004_afs20559a Digital content available: afc1981004_afs20559_02 |
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| 2 audiocassette, C-60 | |||||||||||||
| Speeches and songs at the Siebenbürger Sachsen 1977 Stiftungsfest at the Haus Donauschwaben, Chicago, Illinois, part 1-2 | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20560A - AFS 20560B | Interview with George and Anna Schuller about family history, and traditional sausage, sauerkraut, and wine-making, Chicago, Illinois, part 1-2, May 01, 1977 | ||||||||||||
| MBRS shelflist: RYA 0628 | |||||||||||||
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Digital content available: afc1981004_afs20560a Digital content available: afc1981004_afs20560b |
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| 2 audiocassette, C-60 | |||||||||||||
| Interview with George and Anna Schuller about family history, and traditional sausage, sauerkraut, and wine-making, Chicago, Illinois, part 1 - 2 | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20561 - AFS 20566 | Recordings made by the Schwarz family during a family vacation to Transylvania, Chicago, Illinois, part 1-3, 1977 | ||||||||||||
| MBRS shelflist: RXA 1013 - RXA 1018 | |||||||||||||
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Digital content available: afc1981004_afs20561 Digital content available: afc1981004_afs20562 Digital content available: afc1981004_afs20563 Digital content available: afc1981004_afs20564 Digital content available: afc1981004_afs20565 Digital content available: afc1981004_afs20566 |
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| 6 audiotape reel, 7 in. | |||||||||||||
| Recordings made by the Schwarz family during a family vacation to Transylvania, Chicago, Illinois, part 1-6 | |||||||||||||
| Subseries 3: Jewish | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20567A - AFS 20568A | Interview with Grace Grossman, curator in Spertus Museum, Chicago, Illinois ; David Weinstein, president of Spertus College, Chicago, Illinois ; and Richard Marcus, librarian and archivist with Spertus College, Chicago, Illinois, April 26, 1977 | ||||||||||||
| MBRS shelflist: RYA 0629 - RYA 0630 | |||||||||||||
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Links
Digital content available: afc1981004_afs20567a Digital content available: afc1981004_afs20567b Digital content available: afc1981004_afs20568a |
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| 3 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20568B | Interview with Darryl Rotman, calligrapher, Chicago, Illinois, April 26, 1977 | ||||||||||||
| MBRS shelflist: RYA 0630 | |||||||||||||
| Digital content available: afc1981004_afs20568b | |||||||||||||
| 1 audiocassette, C-60 | |||||||||||||
| 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]. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20569A - AFS 20569B | Interview with Faith Bickerstaff, Chicago, Illinois, part 1-2, April 28, 1977 | ||||||||||||
| MBRS shelflist: RYA 0631 | |||||||||||||
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Digital content available: afc1981004_afs20569a Digital content available: afc1981004_afs20569b |
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| 2 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20570A | Interview with Mazalah Kolman, producer of amulets, Wilmette, Illinois, April 28, 1977 | ||||||||||||
| MBRS shelflist: RYA 0632 | |||||||||||||
| Digital content available: afc1981004_afs20570a | |||||||||||||
| 1 audiocassette, C-60 | |||||||||||||
| Interview with Mazalah Kolman, producer of amulets, recorded at 527 Romona Rd., Wilmette, Illinois. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20571A - AFS 20571B | Recording at Dejan Restaurant of Serbian, Jewish and Russian music and interviews, Chicago, Illinois, part 1-2, April 30, 1977 | ||||||||||||
| MBRS shelflist: RYA 0633 | |||||||||||||
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Digital content available: afc1981004_afs20571a Digital content available: afc1981004_afs20571b |
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| 2 audiocassette, C-90 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20572A | Interview with Darcie Fohrman about tombstones and Jewish cemeteries, Chicago, Illinois, 1977 | ||||||||||||
| MBRS shelflist: RYA 0634 | |||||||||||||
| Digital content available: afc1981004_afs20572a | |||||||||||||
| 1 audiocassette, C-60 | |||||||||||||
| Interview with Darcie Fohrman about tombstones and Jewish cemeteries. Fohrman was the exhibit designer at the Spertus Museum. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20573A - AFS 20573B | Interview with Linda Goldman, a freelancer who worked on the Jewish bicentennial exhibition in the Museum of Science and Industry, Chicago, Illinois, part 1-2, 1977 | ||||||||||||
| MBRS shelflist: RYA 0635 | |||||||||||||
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Digital content available: afc1981004_afs20573a Digital content available: afc1981004_afs20573b |
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| 2 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20574A - AFS 20574B | Recording made at a fruit and vegetable stand at Maxwell Street Market, Chicago, Illinois, May 01, 1977 | ||||||||||||
| MBRS shelflist: RYA 0636 | |||||||||||||
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Digital content available: afc1981004_afs20574a Digital content available: afc1981004_afs20574b |
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| 2 audiocassette, C-90 | |||||||||||||
| 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. | |||||||||||||
| Subseries 4: Irish | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20575A - AFS 20577A | Interview with Mary O'Reilly about her work in the Folk Fair with Irish Exhibition, Chicago, Illinois, part 1-5, May 04, 1977 | ||||||||||||
| MBRS shelflist: RYA 0637 - RYA 0639 | |||||||||||||
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Links
Digital content available: afc1981004_afs20575a Digital content available: afc1981004_afs20575b Digital content available: afc1981004_afs20576a Digital content available: afc1981004_afs20576b Digital content available: afc1981004_afs20577a |
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| 5 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20578A | Music and song from "The Irish Village" bar, Chicago, Illinois, May 04, 1977 | ||||||||||||
| MBRS shelflist: RYA 0640 | |||||||||||||
| Digital content available: afc1981004_afs20578a | |||||||||||||
| 1 audiocassette, C-60 | |||||||||||||
| 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). | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20578B - AFS 20579A | Interview with Noel Rice about teaching Irish music and dance in Chicago, Illinois, part 1-2, May 05, 1977 | ||||||||||||
| MBRS shelflist: RYA 0640 - RYA 0641 | |||||||||||||
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Digital content available: afc1981004_afs20578b Digital content available: afc1981004_afs20579a |
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| 2 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20580A - AFS 20580B | Interview with Denis and Margie Dennehy about teaching Irish dance in Chicago, Illinois, part 1-2, May 05, 1977 | ||||||||||||
| MBRS shelflist: RYA 0642 | |||||||||||||
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Links
Digital content available: afc1981004_afs20580a Digital content available: afc1981004_afs20580b |
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| 2 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20581 - AFS 20583 | Interview with Terry Teahan, part 1, with performances of Irish music, Chicago, Illinois. Interview with Terry Teahan, part 2, with Mary McDonagh, Chicago, Illinois. Interview with Terry Teahan, part 3, with Mary McDonagh, performances of Irish music, Chicago, Illinois, May 05, 1977 | ||||||||||||
| MBRS shelflist: RXA 1019 - RXA 1021 | |||||||||||||
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Digital content available: afc1981004_afs20581 Digital content available: afc1981004_afs20582 Digital content available: afc1981004_afs20583 |
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| 3 audiotape reel, 7 in. | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20584A - AFS 20584B | Interview with Frank Thornton about Irish Musicians' Association and Irish music in Chicago, Illinois, part 1-2, May 06, 1977 | ||||||||||||
| MBRS shelflist: RYA 0643 | |||||||||||||
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Digital content available: afc1981004_afs20584a Digital content available: afc1981004_afs20584b |
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| 2 audiocassette, C-60 | |||||||||||||
| 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." | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20585A - AFS 20585B | Interview with Peggy Roche Boyle about Irish dance, Chicago, Illinois, part 1-2, May 07, 1977 | ||||||||||||
| MBRS shelflist: RYA 0644 | |||||||||||||
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Digital content available: afc1981004_afs20585a Digital content available: afc1981004_afs20585b |
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| 2 audiocassette, C-60 | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20586A | Interview with Mike Flannery about Irish American culture, Chicago, Illinois, May 08, 1977 | ||||||||||||
| MBRS shelflist: RYA 0645 | |||||||||||||
| Digital content available: afc1981004_afs20586a | |||||||||||||
| 1 audiocassette, C-60 | |||||||||||||
| 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). | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20587 - AFS 20592 | Recording of Fleadh Cheoil, held at Bogan High School, Chicago, Illinois, part 1, singing and instrumental competition; part 2, men's singing competition and fiddle and flute session ; part 3, singing and instrumental competition; part 4, singing and instrumental competition; part 5, flute competition; part 6, flute competition and fiddle-accordion session, May 08, 1977 | ||||||||||||
| MBRS shelflist: RXA 1022 - RXA 1027 | |||||||||||||
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Links
Digital content available: afc1981004_afs20587 Digital content available: afc1981004_afs20588 Digital content available: afc1981004_afs20589 Digital content available: afc1981004_afs20590 Digital content available: afc1981004_afs20591 Digital content available: afc1981004_afs20592 |
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| 6 audiotape reel, 7 in. | |||||||||||||
| 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. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20593A - AFS 20593B | Interview with Pat Roche about Irish dance in Chicago, Illinois, part 1-2, May 09, 1977 | ||||||||||||
| MBRS shelflist: RYA 0646 | |||||||||||||
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Links
Digital content available: afc1981004_afs20593a Digital content available: afc1981004_afs20593b |
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| 2 audiocassette, C-60 | |||||||||||||
| 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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