By Gregory Hansen
This biography of 97-year-old Richard Seaman, who grew up in Kissimmee Park, Florida, depends upon oral heritage and folklore examine to outline where of musicianship and storytelling within the state's historical past from one artist's point of view. Gregory Hansen offers Seaman's evaluation 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 youth thoughts of fiddling performances and rural dances clarify the function such gatherings performed in construction and retaining social order in the group. As an grownup, Seaman moved to Jacksonville, Florida, the place he labored as a machinist and played together with his kin band. The evolution of his musical repertory from the early Twenties during the Nineteen Fifties offers a source for reconstructing social existence within the rural south and for realizing how alterations in musical type mirror the state's more and more city social constitution. Hansen incorporates 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
And that was the only outlet we had—other than taking care of the orange grove and working for Old Man McCool. That’s what we had to do, and when I got big enough, I had to get out there and help with them. Plowing and fruiting trees, hoeing trees, taking care of fencing and mending fence—and anything that happens on the farm. And we had no outlet. When the sun went down, that was it. We’d generally eat about dark. In the time the supper dishes were washed, why, it was dark. And there was nothing else to do but just sit around.
Everybody helped everybody. If you needed anything that you couldn’t afford and if you really needed it, more than likely somebody would help you with it or do what they could for you. They would always get together, and it was just friendship all the And the Merry Love the Fiddle 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.
Copyright law is illegal and injures the author and publisher. For permission to reuse this work, contact the University of Alabama Press. 29 way around. 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.