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         SPEAK   FLORIDIAN

                                                                                                                                continued

                   FLORIDA Song and Song Writers 

                                                                                                                          continued

      

                                         Florida FOLK Music

The Sound of 1930s Florida Folk Life Blues Songs, Rural Life Focus of Library of Congress Web Archive

During the height of the Great Depression, the U.S. government began an unprecedented effort to record the sights and sounds of American folk life. In one program, archivists and so-called "sound recordists" were hired by the Library of Congress to document the diverse cultures of Florida -- including the "underground" culture of working-class black Americans, struggling with Jim Crow segregation and racial discrimination.

Teams of archivists hauled a massive "portable" disc recorder across Florida to record regional folksongs and folktales in many languages -- including blues and work songs from fishermen, railroad gangs and "turpentine camp" workers who turned pine tree sap into turpentine. The archivists also recorded children's songs, dance and gospel music, and interviews they called "life histories." The project was part of the Works Progress Administration, a New Deal program created by President Franklin Roosevelt.

Stetson Kennedy was a leader among those sound recordists. Independent producer Barrett Golding spoke with Kennedy, now 85 and living near Jacksonville, Fla., for an in-depth retrospective of the folk life project, featuring Kennedy's recordings from 1937 through 1942. As Black History Month draws to a close, All Things Considered features a report from Golding.

Kennedy traveled throughout Florida with another recordist, famed Harlem Renaissance writer Zora Neale Hurston. Together they visited places like the turpentine camps near Cross City and the Clara White Mission soup kitchen in Jacksonville. Hurston's book Men and Mules is about her travels gathering folklore in Florida.

The Jim Crow laws forced Stetson and Hurston to travel separately -- he is white, she was black, and they couldn't legally work together. "You could get killed lighting someone's cigarette," Kennedy told Golding. "Or shaking hands -- both colors, white and black."

The Library of Congress recently made a wealth of recordings and pictures from the project available online. Kennedy has been called "one of the pioneer folklore collectors during the first half of the 20th century," and his work is a keystone of the library's presentation.

The project eventually documented folktales, life histories, superstitions and religious and secular music of African-American, Arabic, Bahamian, British-American, Cuban, Greek, Italian, Minorcan, Seminole and Slavic communities throughout Florida.

One Kennedy recording testifies to how the project was welcomed by those who contributed their music or voices. "Dear Lord, this is Eartha White talkin' to you again," one recording begins. "I just want to thank you for giving mankind the intelligence to make such a marvelous machine (the portable recorder), and a president like Franklin D. Roosevelt who cares about preserving the songs people sing

The American Folklife Center of the Library of Congress' Web site Florida Folklife from the WPA Collections has hundreds of audio files and photos collected during the project.


1 Listen to Irene Jackson sing "I Lost My Jersey Cow Last Year," a song she sang as a child growing up near Jacksonville, Fla.

1 Listen to Harold B.Hazelhurst sing "John Henry," a work song he learned in a logging amp railroad in central Florida.

 

 

             Friends of Florida Folk
was created to
Identify, protect, preserve, encourage and promote folk arts, crafts, dance and music. This site directs you to music over the air waves, local music groups, and their favorite links.

And a CD for the low price of ten dollars. Do not miss out on this.

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                                         Florida COMPOSERS

 

Famous Floridian James Weldon Johnson

James Weldon Johnson wrote Lift Every Voice and Sing, the national anthem to millions of black Americans. He was widely known as a man of many talents, all of which he used in some form to help shape America’s history. Johnson was a poet, novelist, historian, diplomat, lawyer, civil rights leader, editor, educator, and songwriter.

In 1871, Johnson was born in Jacksonville, Florida. His father was a headwaiter and his mother was a teacher. Johnson’s mother was a great influence on his interest in music and reading. She taught in the segregated Stanton school, which Johnson attended through the eighth grade. Since there were no high schools for blacks in Jacksonville, his parents sent him to high school and college in Atlanta, Georgia.

After graduation from Atlanta University, he returned to Jacksonville and became principal of the Stanton elementary school. He converted Stanton to a 12-year school. While at Stanton, he also studied law and became the first black lawyer in the state of Florida.

In 1895, Johnson started the first black newspaper in the United States, The Daily American. The paper lasted only a year but gave Johnson the opportunity to reflect on racial issues.

His writings became popular with blacks in America. In 1900, he wrote his famous poem Lift Every Voice and Sing. His talented brother, John Rosamond Johnson, set the poem to music. The brothers wrote over 200 songs for Broadway musicals.

Johnson was named Ambassador to the countries of Venezuela, Nicaragua, and the Azores. While in the Azores, he wrote a major novel, The Autobiography of an ExColoured Man. It tells the story of a musician who rejects his black roots for a life of material comfort in the white world. The novel explores the issue of racial identity in the twentieth century.

In the 1920s, Johnson was a leader in the Harlem Renaissance, a significant literary and artistic movement. He had a talent for persuading people of differing ideas to work together for a common goal. Using this talent, he became the national organizer for the National Association for the Advancement of Colored People (NAACP).

He edited The Book of American Negro Poetry, a major contribution to the history of African-American literature. His book of poetry God’s Trombones was influenced by his impressions of the rural South.

With words, Johnson battled discrim-ination. His life illustrated that African-Americans could embrace their past and traditions while succeeding in a diverse culture.

 

Lift Every Voice and Sing


Lift every voice and sing
Till earth and heaven ring,
Ring with the harmonies of Liberty;
Let our rejoicing rise
High as the listening skies,
Let it resound loud as the rolling sea.
Sing a song full of the faith
That the dark past has taught us,
Sing a song full of the hope
That the present has brought us,
Facing the rising sun of our new day begun
Let us march on till victory is won.

Stony the road we trod,
Bitter the chastening rod,
Felt in the days when hope unborn had died;
Yet with a steady beat,
Have not our weary feet
Come to the place for which our fathers sighed?
We have come over a way
That with tears have been watered,
We have come, treading our path
Through the blood of the slaughtered,
Out from the gloomy past,
Till now we stand at last
Where the white gleam of our bright star is cast.

God of our weary years,
God of our silent tears,
Thou who has brought us thus far on the way;
Thou who has by Thy might
Led us into the light,
Keep us forever in the path, we pray.
Lest our feet stray from the places,
Our God, where we met Thee;
Lest, our hearts drunk
With the wine of the world, we forget Thee;
Shadowed beneath Thy hand,
May we forever stand.
True to our GOD,
True to our native land.

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