In 1988 the U.S. Congress convened four panels of witnesses for and against proposed legislation that would designate square dance as the National American Folk Dance.
Leaders of the nationwide network of recreational clubs that perform what is generally referred to as modem Western square dance campaigned for the bill’s passage, presenting numerous petitions with thousands of signatures gathered from their membership; opponents included recognized African American, Hispanic American, and Native American dance performers, as well as professional folklorists and one square dance caller not affiliated with the sponsoring organizations.
Proponents of the legislation cited the historical depth of square dance in the U.S.—“This form of dance alone can claim a development from the earliest days of our nation, through expansion of our population across the land”—and cited the genre’s association with “old-fashioned values” rooted in the “melting-pot of the dances which our ancestors brought with them when they settled in this nation.”
Witnesses for the opposition noted the absence of people of color from this picture, and generally argued against the whole idea of designating a national dance—“I can’t see how any one dance could be singled out as our National Folk Dance when we are a pluralistic society, a land of geographic, racial, cultural, and religious differences,” testified a representative of the Makah people. “I believe choosing one, any one, would give birth to feelings of resentment and animosity.”
Although the bill was defeated, similar debates continue to this day.
This according to “Reflections on the hearing to designate the square dance as the American folk dance of the United States: Cultural politics and an American vernacular dance form” by Colin Quigley (Yearbook for traditional music XXXIII  pp. 145–57). Below, Bob Dalsemer, the one square dance caller who testified for the opposition.
In Frances Densmore’s broad sweep through Native American communities, practicing what is now considered salvage anthropology, she worked with more Native American cultures than any anthropologist of her time.
After Densmore’s passing in 1957, others found it difficult to assess the results of her decades of work or to fit them into histories of various types. She had participated actively in communities of musicologists, anthropologists, and other professional women, as well as with Native communities as she pursued her social science. These communities were historically imbricated.
Densmore saw her work as the single focus of a lifetime. That work, over time, became but one part of a larger cultural context within which musicologists and anthropologists as a whole, as well as women anthropologists in particular and Native American writers, examined her work.
This according to “Gone but not quite forgotten” by Joan M. Jensen, an essay included in Travels with Frances Densmore: Her life, work, and legacy in Native American studies (Lincoln: University of Nebraska Press, 2015, pp. 242–83).
Today is Densmore’s 150th birthday! Above, with Susan Windgrow (Maka Waste’ Win/Good Earth Woman), ca. 1930; below, Sitting Bull’s favorite song, recorded by Densmore from a man who had learned it by hearing it sung repeatedly by Sitting Bull himself.
The power of Harry Smith’s Anthology of American folk music, which turns 65 this year, lies squarely in its use of collage.
Smith’s decisions in sequencing and juxtaposing the 84 songs encouraged a play of sounds and lyrical content that calls attention to similarities and differences, opening multiple meanings and allowing for many possible interpretations.
By privileging collage over narrative, Smith created a complex and nuanced work of social commentary. Through collage, the Anthology captures the ongoing negotiation of the various voices—past and present, black and white—taking part in the reconstruction of U.S. history. These voices remain audible today.
This according to “Collage, politics, and narrative approaches to Harry Smith’s Anthology of American folk music” by Dan Blim, an essay included in Harry Smith’s Anthology of American folk music: America changed through music (Abington: Routledge, 2017, pp. 82–99).
Above, Smith ca. 1965; below, selections from volume II of the six-volume set.
In a 2008 interview, Ralph Stanley recalled his participation in the soundtrack of the film O brother, where art thou?, which brought him a level of international recognition that he had never dreamed of—particularly for his haunting rendition of the traditional Appalachian spiritual O Death.
“T-Bone Burnett had several auditions for that song. He wanted it in the Dock Boggs style. So I got my banjo and learned it the way he did it…I went down with my banjo to Nashville and I said, “T-Bone, let me sing it the way I want to sing it,” and I laid my banjo down and sung it a cappella. After two or three verses, he stopped me and said, “That’s it.”
Quoted in “Old-time man” by Don Harrison (Virginia living June 2008, pp. 54–57).
Today would have been Ralph Stanley’s 90th birthday! Below, a performance from later in his career. (Can anyone tell us the place and date? We wonder if it’s his performance for the 2006 National Medal of Arts ceremony.)
While they may not know the title or the composer, millions recognize Jay Ungar’s Ashokan farewell as the melodic centerpiece of the soundtrack for Ken Burns’s celebrated television series The Civil War.
Still fewer of those who love the tune realize that the title refers to a site that is now known as The Ashokan Center, an outdoor education, conference, and retreat located in the Catskill Mountains of upstate New York that Ungar—together with his wife and musical partner, Molly Mason—was using for summer traditional music and dance camps.
Decades after Ungar composed Ashokan farwell, and following his performance of it at the White House and in various U.S. ceremonial settings, Ungar managed to leverage its emotional connections in a successful effort to preserve the location and create a $7.25 million campus there dedicated to traditional music, Catskill history, environmental education, and local arts and crafts.
This according to “Catskill cultural center saved, and renewed, thanks to a fiddler’s tune” by Dennis Gaffney (The New York times 12 May 2013, p. A15).
Today is Ungar’s 70th birthday! Below, a performance with Mason and some friends.
From the age of 12 through a career that spanned eight decades, Lydia Mendoza was a beacon to Mexicans and Mexican-Americans, showing them that no matter how humble their situation was they had a culture worth celebrating.
In a 2004 interview, asked what happened to make her the first Mexican-American singing star, she replied “Whether I was singing a bolero or a waltz or a polka it didn’t matter. When I sang, I sang it so I felt like I was living that song. Every song I ever sang I did with the feeling that I was living that song.”
This according to “Lydia motion” by Garth Cartwright (fRoots XXVI/9:261 [March 2005] pp. 30–35, 41).
Today would have been Mendoza’s 100th birthday! Above, the singer in 1948; below, performing in 1975.
On this U.S. Thanksgiving Day, let’s pay our respects to the Wampanoag people, who helped the refugees at Plymouth Colony through their first winter, taught them to fish and grow corn, and attended their celebration of thanksgiving after their first successful harvest.
Wampanoag music is wrapped up in dance. The beat of a hardwood stick, water drum, and corn rattles is the music of their lively social dances, while appreciation and gratitude are expressed in their ceremonial dances.
“It is part of our nature is to be in thanksgiving” said Ramona Peters, a Wampanoag woman. “It’s sort of our philosophy, so it gets threaded through both the social and ceremonial dances.”
This according to Music on Martha’s Vineyard: A history of harmony by Tom Dresser and Jerry Muskin (Charleston: History Press, 2014). Above and below, the 2015 Mashpee Wampanoag Powwow.
When Alan Lomax accepted a position as the Assistant in Charge of the Archive of American Folk Song at the Library of Congress in 1936 he became a gatekeeper to the largest repository of recorded traditional music in the country.
He subsequently worked to infuse traditional music into mainstream culture and, in so doing, to publicize his interpretation of American culture and society—an interpretation that placed the American people, a category that included racial and ethnic minorities as well as the economically dispossessed and politically disenfranchised, at the center of the nation’s identity.
During the 1930s and 1940s he pursued this goal by developing radio programs that highlighted the music of American traditional communities. These included shows designed for children, including Folk Music of America, which aired weekly on CBS radio’s American School of the Air.
Lomax used this program as a forum to teach children about American cultural and political democracy by highlighting the music of socially, economically, and racially marginalized communities, often including guests from these groups to sing and explain musical traditions on the air.
An examination of the principles that motivated Folk Music of America, along with the artists, songs, and commentary that Lomax included, reveals a strong connection between the ideas of cultural pluralism that emerged during the World War I era and popular constructs of Americanism that developed during the later decades of the 20th century. Ultimately, Lomax’s radio work helped to lay the foundation for the multicultural movement that developed during the early 1970s.
This according to “Broadcasting diversity: Alan Lomax and multiculturalism” by Rachel C. Donaldson (Journal of popular culture XLVI/1 [February 2013] pp. 59–78).
Today would have been Lomax’s 100th birthday! Below, an example of his move to PBS in 1990.
While the public thinks of Macy’s as the main sponsor of NYC’s Thanksgiving Day Parade, not everyone realizes that the company’s own Department of Annual and Special Events is responsible for almost all aspects of the planning and execution of this annual tradition.
Employing over 50 people, this department is also charged with mounting flower shows, fireworks displays, and other events, but the parade accounts for most of its yearlong activities; these include designing, building, and organizing the handlers for the balloons and floats; managing celebrity appearances; and interviewing, reviewing, auditioning, and coordinating the high-school bands that travel to the city to participate.
This according to “In the wind…: Size matters. II” by John Bishop (The diapason XCVIII/6:1171 [June 2001] pp. 14–16). Above, Mickey and friends in 2013; below, Mickey and friends in 1935.
Although he was only eight years younger, Bob Dylan called Mike Seeger (1933–2009) a father figure, and considered him the ultimate embodiment of a folk-star persona. Recalling him in Chronicles. I (New York: Simon & Schuster, 2004), Dylan wrote:
“Mike was unprecedented. He was like a duke, the knight errant. As for being a folk musician, he was the supreme archetype. He could push a stake through Dracula’s black heart. He was the romantic, egalitarian, and revolutionary type all at once—had chivalry in his blood…”
“He played all the instruments, whatever the song called for—the banjo, the fiddle, mandolin, autoharp, the guitar, even harmonica in the rack….He played on all the various planes, the full index of old-time styles, played in all the genres and had the idioms mastered—Delta blues, ragtime, minstrel songs, buck-and-wing, dance reels, play party, hymns and gospel—being there and seeing him up close, something hit me. It’s not as if he just played everything well, he played these songs as good as it was possible to play them.” (pp. 69–71)
Today would have been Mike Seeger’s 80th birthday! Below, Seeger in 1976.