By Gregory Hansen
This biography of 97-year-old Richard Seaman, who grew up in Kissimmee Park, Florida, depends on oral heritage and folklore examine to outline where of musicianship and storytelling within the state's background from one artist's point of view. Gregory Hansen provides Seaman's review of Florida's altering cultural panorama via his tall stories, own adventure narratives, legends, mess around music repertory, and outlines of day-by-day life.
Seaman's early life thoughts of fiddling performances and rural dances clarify the position such gatherings performed in development and retaining social order in the neighborhood. As an grownup, Seaman moved to Jacksonville, Florida, the place he labored as a machinist and played together with his relatives band. The evolution of his musical repertory from the early Twenties in the course of the Nineteen Fifties offers a source for reconstructing social existence within the rural south and for knowing how alterations in musical sort mirror the state's more and more city social constitution. Hansen features a set of Seaman's mess around tunes, transcribed for the good thing about performer and researcher alike. The thirty tall stories integrated within the quantity represent a consultant pattern of Florida’s oral culture within the early years of the 20 th century.
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Extra resources for A Florida Fiddler: The Life and Times of Richard Seaman
But that was very seldom. It was just the same old thing. “Shear ’Em” was generally the old stand-by. The tune Richard mentions, “Shear ’Em,” is a lively hoedown tune. ” It is the ¤rst tune that he learned to play. After ¤rst learning it at home, he would play the tune at dances, repeating it scores of times to allow dancers to perform sets that could take thirty minutes to complete. The repetition allowed him to perfect the tune and develop some slight variations on the melody. 12 The ¤ddlers whom Richard ¤rst heard had picked up their tunes from other musicians who had never learned ¤ddle tunes through formal music lessons or from written sheet music.
But they would have a big time and dance till two or three o’clock in the morning. That was just about the only fun we had. Picnics and square dancing were about the only two real outings we had in those days. Because there wasn’t nothing else to do, we had to do something to create a little excitement. 6 Carpets and stuff like that, very few people had them. If they did, we’d roll them up. And we’d sprinkle corn meal on the hardwood ®oor. We’d sprinkle corn meal out there, and in about the ¤rst ¤fteen or twenty minutes of dancing, that corn meal would be sifted around.
Outside of his voice, the only sound is the grandfather’s clock in the back of the church. The tick-tocks resound off the hardwood ®oor. ” The audience laughs as all of the performers are clearly enjoying the story, Workshop You are reading copyrighted material published by the University of Alabama Press. S. Copyright law is illegal and injures the author and publisher. For permission to reuse this work, contact the University of Alabama Press. 37 and Richard continues, “And I put it back together with clamps, and it looked pretty bad.
A Florida Fiddler: The Life and Times of Richard Seaman by Gregory Hansen