By John Bealle
In the summertime of 1972, a gaggle of youngsters in Bloomington, Indiana, started a weekly collecting with the aim of reviving conventional American old-time tune and dance. In time, the crowd grew to become one of those unintended utopia, a group sure by way of social gathering and intentionally void of constitution and authority. during this cheerful and fascinating publication, John Bealle tells the energetic historical past of the Bloomington Old-Time tune and Dance crew -- the way it was once shaped, the way it developed its special tradition, and the way it grew to form and effect new waves of conventional tune and dance. Broader questions about the people revival move, social resistance, counter tradition, authenticity, and identification intersect this pleasant heritage. greater than a tale concerning the those who cast the gang or a unprecedented convergence of expertise and creativity, Old-Time track and Dance follows the threads of yank folks tradition and the social adventure generated by way of this residing culture of tune and dance.
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Extra info for Old-time Music And Dance: Community And Folk Revival (Quarry Books)
Its vigor throughout this century has drawn strength from several “revivals,” each a mix of community tradition, regional consciousness, promotion as recreation, and afﬁliation with younger generations. Undoubtedly, the sense of selfrenewal that Dillon and others experienced in contra dance in the late 1960s was on the one hand an appropriation of tradition as part of the countercultural movement and on the other the experience of the cycle of tradition that had sustained contra dance for two centuries.
Later, Krassen wrote two important old-time music instruction books, Appalachian Fiddle (1973) and Clawhammer Banjo (1974). They were published by Oak Publications and followed the format established by the Oak folk music style instruction books that had proliferated throughout the 1960s. They were also widely popular, even to the extent that they were sometimes stocked with band instruction materials in mainstream music stores. One might wonder why Oak would have endorsed a new banjo instruction book in 1974, just six years after Rosenbaum’s Old-Time Mountain Banjo appeared.
If the get-togethers broke up quite late, there was always room for guests to stay over, and some remained for days. Such community participation in cultural affairs has long since been lost, as has the priceless art of neighbors pleasantly visiting each other, and all the TV’s and Hi-Fi’s and Drive-In’s in America are only a poor substitution for them. ) Nevins’s writing style may later have given way to more conventional historical and ethnographic writing, but his extravagant accounts were permanently attached to the best and most inﬂuential reissue LPs.