By Gregory Hansen
This biography of 97-year-old Richard Seaman, who grew up in Kissimmee Park, Florida, is dependent upon oral heritage and folklore study to outline where of musicianship and storytelling within the state's background from one artist's standpoint. Gregory Hansen offers Seaman's overview of Florida's altering cultural panorama via his tall stories, own event narratives, legends, mess around song repertory, and outlines of day-by-day life.
Seaman's formative years thoughts of fiddling performances and rural dances clarify the position such gatherings performed in construction and keeping 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 family members band. The evolution of his musical repertory from the early Twenties throughout the Nineteen Fifties offers a source for reconstructing social lifestyles within the rural south and for realizing how alterations in musical type replicate the state's more and more city social constitution. Hansen contains a set of Seaman's mess around tunes, transcribed for the advantage of performer and researcher alike. The thirty tall stories incorporated 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 info for A Florida Fiddler: The Life and Times of Richard Seaman
S. Copyright law is illegal and injures the author and publisher. For permission to reuse this work, contact the University of Alabama Press. key of A. And he never changed. He’d get in A, and he’d just keep that beat. But they were dancing by it. ” Although skilled old-time musicians were welcome to play at the dance, the focus of the dancers’ attention was directed away from the tunes. Richard’s assessment of the place of the ¤ddler within the square dance tradition emerges in his stories and vibrant descriptions.
Well, in fact, it had to be to live out like that. 18 Being neighbors in Kissimmee Park meant that people contributed what they could and that they asked for help when it was needed. Richard Seaman sees the square dance as an occasion for practicing and celebrating the system of neighborly survival. 19 Richard speaks of the connection so directly that he sounds as if he had written the textbook interpretation of the square dance as a microcosm for community life. He explains that the dance was one outlet for creating the connections that were essential for keeping people together in his home community of Kissimmee Park.
A few people would show off some fancy clogging steps, and Richard adds that he tried some of the new steps with limited success. ” Shifting from a consideration of the dance to a description of the music, he notes that he was always more interested in the ¤ddling than the dancing. He begins by explaining where the ¤ddlers were positioned in the room. “They’d be sitting in a corner, generally in a room or in the corner. Or where he could sit where he’d be out of the road. ” Laughing, Richard continues with a story that shows how understanding ¤ddling in central Florida entails an understanding of the dance.
A Florida Fiddler: The Life and Times of Richard Seaman by Gregory Hansen