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| Container | Contents | ||||||||||||
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| Series 6: Sound Recordings, 1977 (continued) | |||||||||||||
| 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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Links
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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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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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. | |||||||||||||
| Subseries 5: Scandinavian | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20594A - AFS 20594B | Interview with J. Harry and Josefa Andersøn regarding Norwegian American activities and customs, Chicago, Illinois, part 1-2, May 16, 1977 | ||||||||||||
| MBRS shelflist: RYA 0647 | |||||||||||||
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Digital content available: afc1981004_afs20594a Digital content available: afc1981004_afs20594b |
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| 2 audiocassette, C-90 | |||||||||||||
| Part 1 of 2-part interview with Mr. and Mrs. Jan Harry and Josefa Andersen: 3416 N. Oak Park Ave., regarding immigration, Norwegian activities in Chicago, and survival of Norwegian customs; other topics include language, Christmas customs, Norwegian restaurant, "Den Norske Kafe," holidays including Sankthans or Midsommer; Syttenda Mai (Norwegian Independence Day), Fastelavn; Leif Ericsson Day and statue, seasonal food customs, "The Sunshine Singers," Norwegian language organizations, church in Chicago, Norwegians in trades and trade unions. Part 2; start of recording to 26 minutes elapsed time: part 2 of 2-part interview with Mr. and Mrs. Jan Harry and Josefa Andersen: 3416 N. Oak Park Ave., regarding Norwegian American customs, Wheaton College, religious organizations and the Salvation Army, veterans association, and immigrant songs. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20594B - AFS 20595A | Interview with Paul Sveinbjörn about Icelandic American activities and customs, Evanston, Illinois, part 1-2, May 16, 1977 | ||||||||||||
| MBRS shelflist: RYA 0647-0648 | |||||||||||||
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Digital content available: afc1981004_afs20594b Digital content available: afc1981004_afs20595a |
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| 2 audiocassette, C-90 | |||||||||||||
| From 26 minutes elapsed time to end of recording: part 1 of a 2-part interview with Mr. and Mrs. Paul Svejnbjorn Johnson, 936 Sheridan Rd., Evanston, 60206, about Icelandic activities in Chicago, and survival of Icelandic customs. Svejnbjorn Johnson is the consul of Iceland and Mrs. Johnson is a cultural leader in the Icelandic American community. Topic include occupations of Icelanders in Chicago, language, food customs, National Day, Icelandic participation in Scandinavian churches , Leif Ericsson Day, Christmas customs, regular visits to Iceland, a traditional fish dish and "the Cod War." Part 2 of a 2-part interview with Mr. and Mrs. Paul Svejnbjorn Johnson, 936 Sheridan Rd., Evanston, 60206, about Icelandic activities in Chicago, and survival of Icelandic customs. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20596A - AFS 20596B | Interview with Olga Lejondahl and Ruth Peterson regarding Swedish painting in Chicago area, Evanston, Illinois, part 1-2, May 17, 1977 | ||||||||||||
| MBRS shelflist: RYA 0649 | |||||||||||||
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Digital content available: afc1981004_afs20596a Digital content available: afc1981004_afs20596b |
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| 2 audiocassette, C-90 | |||||||||||||
| Part 1 of a 2-part interview with Mrs. Olga Lejondahl and Mrs. Ruth Peterson, Evergreen Park; topics include Swedish painting in Chicago area; Mrs. Lejondahl is a Dalarmalar (may be Dala paintings or kurbits paintings from Dalarna province), as well as a mural, portrait, and landscape painter; Mrs. Peterson is her landlady; discussion of Lejondahl's background, immigration, origin, beginning of painting, styles, brushes and paint, murals on order, about immigration to Chicago and early work there, visits to Sweden, family there and in U.S., other Swedish traditions, incl. food, Christmas, etc. Part 2 of a 2-part interview with Mrs. Olga Lejondahl and Mrs. Ruth Peterson, Evergreen Park; closing fragment of interview, duration 4 minutes. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20597A - AFS 20597B | Interview with Ray Nilsen regarding musical background and repertoire, also Norwegian musical and dance activities in Chicago, Illinois, part 1-2, May 17, 1977 | ||||||||||||
| MBRS shelflist: RYA 0650 | |||||||||||||
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Digital content available: afc1981004_afs20597a Digital content available: afc1981004_afs20597b |
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| 2 audiocassette, C-90 | |||||||||||||
| Part 1 of a 2-part audiocassette recording of and interview with and performances by Ray Nilsen, 6059 N. Newburg, Chicago, IL. 60631; additional segments of this event were recorded on open-reel tapes at call numbers AFC 1981/004: AFS 20598 and AFS 20599; topics in this part include musical background and repertoire, also Norwegian musical and dance activities in Chicago; Mr. Nilsen is an accordionist, singer, and choir director; discussion of learning the music, playing in the old country, music lessons in Chicago, father's musical background, occupations in U.S. attitudes towards other Norwegian music, source of accordion repertoire, fiddling and dancing in Norway, differences in Chicago and Norway repertoire, revival of older music, Norwegian dance-groups in Chicago, "The Sunshine Singers," Salvation Army Scandinavian Night, Norwegian choirs and choral societies, church and dance music, Norwegian American holidays, Christmas parties for kids, Sjomannsvalsar (sailors waltzes), emigrants songs, Syttenda Mai (Norwegian Independence Day) and Norwegian patriotic songs; introduction to the musical portion of this recording and performances that include Se Nu Dansar Bestefar (Grandfather's Waltz), Kostarvalsen, Nidaran, Lejkaringen, Heimhugg' Schottische, Poul Sine Hans (with vocals), Springdans, Seksnummer Reel, Klapdans, Handfei ("Soldier's Joy" variant), Ekereel, Fussel, and En Sjomann Elskar Havets Brus. Part 2 of a 2-part audiocassette recording of and interview with and performances by Ray Nilsen, 6059 N. Newburg, Chicago, IL. 60631; additional segments of this event were recorded on open-reel tapes at call numbers AFC 1981/004: AFS 20598 and AFS 20599; performances in this part include Den Klare Aftanstjerne, Lapplander song (no title given), Piende Visa, Christmas song (title not given), Jeg ar sa Glad av Julan Kam, Dejlige ar Jordan; conversation about psalmodikon (or psalmodicon, musical instrument). | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20598 - AFS 20599 | Performances by Ray Nilsen, accordion and vocals, part 1, with Leandra Nilsen, piano, Chicago, Illinois; and part 2, May 17, 1977 | ||||||||||||
| MBRS shelflist: RXA 1028 - 1029 | |||||||||||||
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Digital content available: afc1981004_afs20598 Digital content available: afc1981004_afs20599 |
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| 2 audiotape reel, 7 in. | |||||||||||||
| Part 1 of a 2-part open-reel tape recording of and interview with and performances by Ray Nilsen, accordion and vocals, and Leandra Nilsen, piano, 6059 N. Newburg, Chicago, IL. 60631; additional segments of this event were recorded on an audiocassette at call numbers AFC 1981/004: AFS 20597a and AFS 20597b; selections in this part include song; waltz; and the hymn "Beautiful Savior" sung in English and Norwegian, piano and vocals; duration of this recording 4:30 minutes. Part 2 of a 2-part open-reel tape recording of and interview with and performances by Ray Nilsen, accordion and vocals, and Leandra Nilsen, piano, 6059 N. Newburg, Chicago, IL. 60631; additional segments of this event were recorded on an audiocassette at call numbers AFC 1981/004: AFS 20597a and AFS 20597b; selections in this part include "Se Nu Danser Bestefar" (Grandfather's Waltz), followed by comments on instruments; "Kostervalsen"; "Nideron"; "Lejkaringen, Heimbugg" (schottische); "Poul Sine Hons" followed by comments; "Springdans"; "Seksnummer Reel" (polka); "Klapdans"; "Handfei" (variant of' Soldier's Joy); "Ekereel"; "Fussol" (dance for couples, variant of' Turkey in the Straw); "En Sjomann Elskar Havets Brus" [En sjöman älskar havets våg, ja vågornas brus] (waltz, sailor's farewell to his girl); waltz (sailor's song, with comments); "Den Klare Aftanstjerne" (waltz); Lapplander song; "Piende Visa" followed by story. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20600A - AFS 20600B | Interview with Kurt Mathiasson at the Swedish-American Museum about Swedish traditions and music in Chicago, Illinois, part 1-2, May 18, 1977 | ||||||||||||
| MBRS shelflist: RYA 0651 | |||||||||||||
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Digital content available: afc1981004_afs20600a Digital content available: afc1981004_afs20600b |
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| 2 audiocassette, C-90 | |||||||||||||
| Part 1 of 2-part interview with and performances by Kurt Mathiasson (residence 4852 W. Ainslie, Chicago 60630), recorded at the Swedish-American Museum, 5248 N. Clark St., Chicago, 60640; topics include Swedish traditions and music in Chicago, and Mathiasson's own musical traditions and repertoire; Mathiasson plays accordion, guitar, and harmonium and sings; he is proprietor of the Svea Restaurant, 5236 N. Clark, in the Andersonville district, is chairman of the Andersonville Chamber of Commerce and director of the Swedish-American Museum; additional topic notes: Swedish-American church services, Swedish holidays in Chicago, singing societies, Leif Ericsson Day, Swedish bands, bakeries, restaurants, and bars; discussion of Mathiasson's background and immigration, occupations, musical background, repertoire; the performances are accompanied (alternatively) by harmonium and guitar, and include Har De som Dovan ja Vingar, Solskinnarbjarg, Tack for Alt, Nu Tanker Jag Pa Dej, Mellun Himmels Host ock Vie, Smalandsvisan, Soldatarvisan, Soldatans Kona, Varmlandsvisan, and Elvira Madigan (truncated by end of tape). Part 2 of 2-part interview with and performances by Kurt Mathiasson (residence 4852 W. Ainslie, Chicago 60630), recorded at the Swedish-American Museum, 5248 N. Clark St., Chicago; performances include Se Pepito Dansar Tamborito, I Corsica, Sjomannsvals (two sailor's waltzes, titles unknown), Kvasarvalsen, Amerikabrevet, Hilsa Dem Darhemma, and Flickarna i Smaland. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20601A | Interview with Jørgen Hyland regarding Hardanger fiddle music specifically and Norwegian fiddling in general, Evanston, Illinois, May 18, 1977 | ||||||||||||
| MBRS shelflist: RYA 0652 | |||||||||||||
| Digital content available: afc1981004_afs20601a | |||||||||||||
| 1 audiocassette, C-90 | |||||||||||||
| Interview with and performances by Jorgen Hyland, 244 Callan Ave., Evanston 60602, regarding Hardanger fiddle music specifically and Norwegian fiddling in general; topics include emigration, origin, occupation, early musical experiences, the Hardanger fiddle, wedding music, Hyland's occupation on arrival, musical activities later, purchase of fiddle, repertoire, revival of playing after retirement, stringing the fiddle, Norwegian musical repertoire and dances, tune Springdans, revival of interest in playing. Performances interspersed with conversation: Musavisan Schottische, unnamed Schottische, "Kalle Firmans Vals, discussion of musical preservation in Norway, Polska Vals, Sorensen's Rheinlander, about Bergen's folklore museum, playing with other fiddlers in Chicago, other Norwegian family traditions, information on other Hardanger fiddlers , Norwegian singing at private parties. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20602 | Recording of performance of Kurt Mathiasson, vocals and harmonium, guitar, and accordion, Evanston, Illinois, May 18, 1977 | ||||||||||||
| MBRS shelflist: RXA 1030 | |||||||||||||
| Digital content available: afc1981004_afs20602 | |||||||||||||
| 1 audiotape reel, 7 in. | |||||||||||||
| Recording of performance of Kurt Mathiasson, vocals, harmonium, guitar, accordion; selections include "Har De Som Dovan Ja Vingar" (dirge, hymn); "Salskinnarbjorg" (Sunshine), comments on the harmonium; "Tack for Alt" (thanksgiving song); "Nu Tankar Jag Pa Dej" (guitar and vocals, a children's dance), comments on the guitar's history in Sweden; "Mellum Himmels Host ock Vie" (guitar and voice); "Smal Andsvisan" (guitar and vocal); "Soldatorvisan"; "Soldatans Kona"; "Varmlandvisan"; "Elvira Madigan" (old Swedish melody, learned from grandmother); unnamed song (guitar and voice); "Se Pepito Dansar Tainborito" (guitar and voice), comments on the song's author; "I Corsica" (guitar and voice); "Sjomannsuals" (guitar and voice), Mathiasson describes as waltz, rhythm suggests rhumba; unnamed wa1tz (accordion solo); "Kuasarvalsan" (accordion solo, wa1tz); "Amerikabrevet" (guitar, voca1s), Swedish song with English phrases. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20603A - AFS 20603B | Interview with Elie Steffensen and Karin Tinghød Pedersen regarding Danish food and homemaking customs, and Danish needlecraft, Chicago, Illinois, part 1-2, May 19, 1977 | ||||||||||||
| MBRS shelflist: RYA 0653 | |||||||||||||
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Digital content available: afc1981004_afs20603a Digital content available: afc1981004_afs20603b |
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| 2 audiocassette, C-90 | |||||||||||||
| Part 1 of 2-part interview with Mrs. Elie (Mrs. Poul V.) Steffensen and Mrs. Karin Tinghoj Pedersen, 2849 Logan Blvd., W., Chicago, IL. 60647; topics include Danish food and homemaking customs, and Danish needlecraft, especially knipling, i.e. lacemaking; Mrs. Steffensen is a leader in Danish cultural activities in Chicago and an accomplished knipler, and Mrs. Pedersen is her mother; discussion included immigration and origin, settlement in Chicago and the Great Depression, Mr. Steffensen's occupation, about language and dialect, Danish organizations in Chicago, Mrs. Pedersen's early organizational activities, the Danish Literary Society, the Danish neighborhood in Chicago, churches and Danish language church services, Grundlovsfest (Danish National Day Festival), the Old People's Home Summer Festival , decline in festival attendance, festival speakers, the Danish Old People's Home, Danish-American Athletic Club Christmas Party and children's Christmas party Tape Index, Lillejuleaften (Dec. 23) old people's party, Athletic Club's Fastelavn party, Danish Christmas Tree at Museum of Science and Industry, African American Lutheran churches that were formerly Danish, Lillejuleaften party and food, other holidays including Sankthans, New Year's Eve, Athletic Club's gymnastic exhibition, Ollerup Gymanstic School graduates, gymnastic exhibition, folkdancing, decline in event attendance due to television, Ladies Auxiliary. Part 2 of 2-part interview with Mrs. Elie (Mrs. Poul V.) Steffensen and Mrs. Karin Tinghoj Pedersen, 2849 Logan Blvd., W., Chicago, IL. 60647; topics include Ladies Auxiliary, activities during World War II, family activities, Danish food in the home in Chicago, the Danish butcher Knud Kastrup, lack of Danish bakeries, Athletic Club and Old People's Home bazaars, daily food traditions, eftermiddagskaffee and aftenskaffe (afternoon and evening coffee) , desserts, bread, ollebrod (bread and beer soup), Danish cookbooks, needlecrafts, cross-stitching, embroidery, pull-thread embroidery, needlepoint, Mrs. Steffensen's own needlework activities, description of knipling (lacemaking), how knipling is learned, patterns, step by step description of knipling, knipling as part of other objects, knipling pillow, how Karin Pedersen learned craft, starting a pattern, origins of knipling, Karin Pedersen's description of knipling, other Danish lacemakers in Illinois, step-by-step description by Elie Steffensen. | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20604A | Recording of rehearsal of Harmonien, Danish Singing Society, Chicago, Illinois, May 20, 1977 | ||||||||||||
| MBRS shelflist: RYA 0654 | |||||||||||||
| Digital content available: afc1981004_afs20604a | |||||||||||||
| 1 audiocassette, C-90 | |||||||||||||
| Recording of the Danish Singing Society, Harmonien, rehearsal led by Wayne Spies at Normennernes Singing Society Hall; fieldworker's notes state that this recording was poorly made and is unintelligible; other recordings of Harmonien are at call numbers AFC 1981/004: AFS 20605, AFS 20611, and AFS 20612). | |||||||||||||
| Tape ID: AFC 1981/004: AFS 20605A - AFS 20605B | Recording of singing and toasting by Harmonien, Danish Singing Society, Chicago, Illinois, part 1-2, May 20, 1977 | ||||||||||||
| MBRS shelflist: RYA 0655 | |||||||||||||
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