Paul,
Go for it.
I'm a'grinnin'
DVD
-----Original Message-----
From: Museum on Main Street [mailto:[log in to unmask]] On Behalf
Of Paul McCoy
Sent: Friday, December 14, 2007 10:51 AM
To: [log in to unmask]
Subject: Re: Question about New Harmonies venues
David,
You made me realize New Harmonies provides an excellent opportunity to
gather together all the banjo player jokes in a brochure. Granted,
that's gonna be a whopper of a brochure. OED-sized at least. Perhaps
tome is a better word.
What happened to the bass player when he locked his keys in his car?
It took him half an hour to get the banjo player out.
paul
Paul McCoy, Program Officer
Humanities Tennessee
306 Gay Street
Suite 306
Nashville, TN 37201
Phone: 615-770-0006 Ext. 17
Fax: 615-770-0007
[log in to unmask]
Founded in 1973 through funding from the National Endowment for the
Humanities (NEH), Humanities Tennessee is dedicated to developing a
sense of community through educational programs in the humanities across
Tennessee. An organization that began with a focus on grant-making and
cultural development of the state's museums and historical organizations
has grown into a multi-faceted not-for-profit with two distinct focuses:
studies of community history and cultural life and studies of language
and literature.
>>> [log in to unmask] 12/14/07 09:13AM >>>
Definition of perfect pitch:
Tossing an according into a dumpster and making a direct hit on a
banjo.
Keep on Rootin'!
-----Original Message-----
From: Museum on Main Street [mailto:[log in to unmask]] On Behalf
Of Paul McCoy
Sent: Thursday, December 13, 2007 4:39 PM
To: [log in to unmask]
Subject: Re: Question about New Harmonies venues
Ryan,
You're right. The speakers are certainly a supplement to the
communities' own programs, and not to be used in lieu of original
programming. And it is vital to have the "what is roots music"
discussions with host communities early and often throughout the
process. I was thinking of the general, intro to roots music speaker
more for the audience's sake than that of the host community. At that
point, I hope the host orgs will be pretty well-versed in roots music.
But it may be the audience's first brush.
If you ever go to the Kentucky Folklife Festival (and who doesn't?!?!)
you'll find great narrative stages there. Three or four years ago, JD
Crowe, Tony Rice, and a folklorist named Erika Brady did one, and it
was
more fun than a barrel full of monkeys. That is unless you don't like
bluegrass or banjos. Then, I'd imagine it was akin to a root canal.
They also did a participatory black gospel choir rehearsal. Members
of
the audience came on stage, learned their parts, discussed dynamics
and
meaning in the song, rehearsed, and performed the piece before the
crowd. Less a narrative stage and more like a "fly on the wall" view
of
a choir rehearsal. Still, very fun. The choir leader was John
Edmonds,
a musician from Bowling Green, KY. In terms of range, Edmonds can go
note for note with Barry White or Aretha Franlin. So he's singing
along
with the basses, altos, tenors, and sopranos. Plus, he's about the
nicest guy you'll ever meet and a great teacher.
Cheers,
paul
Paul McCoy, Program Officer
Humanities Tennessee
306 Gay Street
Suite 306
Nashville, TN 37201
Phone: 615-770-0006 Ext. 17
Fax: 615-770-0007
[log in to unmask]
Founded in 1973 through funding from the National Endowment for the
Humanities (NEH), Humanities Tennessee is dedicated to developing a
sense of community through educational programs in the humanities
across
Tennessee. An organization that began with a focus on grant-making and
cultural development of the state's museums and historical
organizations
has grown into a multi-faceted not-for-profit with two distinct
focuses:
studies of community history and cultural life and studies of language
and literature.
>>> [log in to unmask] 12/13/07 04:00PM >>>
Paul-
No offense taken. It sounds like something I could have said but I'm
afraid there has been lots of "roots music" between then and now.
While I like the idea of offering them the speakers package, I'd try
not
to emphasize it too much. For my time and money, I like to sit down
with the folks a few times before their respective events/activities,
especially with the scholar/expert in tow, and talk through their
ideas.
Ownership will mean a lot and encouraging them to pursue their own
unique story early on, I think, will pay off some good dividends in
the
end (i.e., those folks learning the nuts and bolts of programming).
I'd
typically err on the side of "humanities lite" for a MoMS project so
that these sites build capacity, and confidence, in programming for
later.
That back-and-forth between the musician and the scholar would be
awesome. Could be a ton of fun, too.
Best, Ryan
Ryan Lewis
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Program Officer
Illinois Humanities Council
17 North State Street, Suite 1400
Chicago, IL 60602.3296
312.422.5585 ext. 231
312.422.5588 Fax
[log in to unmask]
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Watch the "Future Perfect: Conversations on the Meaning of the
Genetics
Revolution" programs online at IllinoisChannel.org/Genetics.htm or
download and listen at ChicagoPublicRadio.org/Amplified.
Coming in Fall 2008, our next year-long, statewide series, Running On
Empty: Conversations on Oil and Water
-----Original Message-----
From: Museum on Main Street [mailto:[log in to unmask]] On Behalf
Of Paul McCoy
Sent: Thursday, December 13, 2007 3:29 PM
To: [log in to unmask]
Subject: Re: Question about New Harmonies venues
The trouble is, New Harmonies DOES emphasize performance arts. So
what
to do, what to do? Pull a VH-1 and go "Behind the Music." Focus on
roots music traditions, styles, social changes, etc. With an exhibit
like this, it is inevitable--and advisable--that venues are going to
have performance based programs. Other than companion exhibits
created
by the venues themselves to explain local roots music traditions,
there
are a couple of ways you can "encourage" and create strong humanities
content.
Speakers: Have a roster of speakers that can travel to your various
sites. This kind of programming gives each community more bang for
their buck. They only have to schedule it, as opposed to develop it.
Plus, they can use the extra time to develop a stronger companion
project. We use 4-6 speakers for each exhibit. Sites can request
one
or all of the speakers. The programs last about an hour and fifteen
minutes each. For New Harmonies we have the following topics.
1. Roots Music in Tennessee: I believe Ryan in Illinois mentioned
the
importance of having a speaker give a general overview of roots music
very early in the exhibit tour (apologies to RL if I'm incorrect).
It
isn't easily defined, and scholars still squabble over the term
itself.
We have a scholar who will address this followed by discussing the
forms
of roots music found throughout the state.
2. Tune-In Tennessee: A scholar will discuss the impact of radio on
the lives of Tennesseans. How did we listen to radio? What was the
impact of radio on society, and how did it contribute to the
popularity,
or lack thereof, of roots music from Tennessee on the national stage.
3. Hillbilly: The controversial and complex icon of the "hillbilly"
has been used as an insult, a mark of pride, and a marketing tool
since
the birth of country music (The Carter Family wore suits and Sunday
dresses until Ralph Peer dressed 'em up like Jethros). Tony Harkins of
Western Kentucky University literally wrote the book on the
iconography
of the hillbilly. His program will address how the image has been
used
in connection with roots music over the years.
4. Race, Rock, and Elvis: This program will discuss the intersection
and reciprical influences of roots and popular music and the Civil
Rights Movement.
5. Using Roots Music in the Classroom: This program is an in-service
for teachers sponsored by each community. It will train teachers how
to
use roots music across the curriculum and fits state and national
standards for social studies, art, music, history, etc. The beauty
is,
you not only train teachers how to use music cross curriculum, you
also
get them interested in the exhibit. They will bring students to your
museums.
Narrative Stages: Another way of injecting the humanities into a
performanced based topic is using narrative stages. Folklorists live
for the narrative stage (First time I saw one I said, "that's what I
want to do for a living. How do I become qualified? Get a degree in
folklore? Really? You're kidding? No? Ok." Never looked back.).
Anyway, let's say you have a blues performance. Have your state
scholar, or a scholar, sit on stage with the performer. They talk a
bit, the performer plays a bit, and back and forth and so on. It's
like
a staged interview with songs. It puts the music in context, and the
audience learns much more about the tradition and form of the music
than
they would at just a concert. See? You've just turned a performance
into a humanities event. Take that artmongers!
Ok, I've rambled on long enough. Hope that helps. I'm sure there are
a billion more ways to do this, and I'd love to hear others' thoughts.
Paul
Paul McCoy, Program Officer
Humanities Tennessee
306 Gay Street
Suite 306
Nashville, TN 37201
Phone: 615-770-0006 Ext. 17
Fax: 615-770-0007
[log in to unmask]
Founded in 1973 through funding from the National Endowment for the
Humanities (NEH), Humanities Tennessee is dedicated to developing a
sense of community through educational programs in the humanities
across
Tennessee. An organization that began with a focus on grant-making and
cultural development of the state's museums and historical
organizations
has grown into a multi-faceted not-for-profit with two distinct
focuses:
studies of community history and cultural life and studies of language
and literature.
>>> [log in to unmask] 12/13/07 02:10PM >>>
Has anyone used an art center or art council space for the exhibit or
as a partnering venue of some kind? Arts Council staff are very
supportive, but I am wary of their wanting to turn the emphasis of New
Harmonies toward performance arts. What is good language to keep them
engaged yet keep them tuned to the wider context?
Shelley Crisp, Ph.D., M.F.A.
Executive Director
North Carolina Humanities Council
122 N. Elm St., Suite 601
Greensboro, N.C. 27401
(336) 334-5383
www.nchumanities.org<http://www.nchumanities.org/>
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