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Section 3: Analyzing Oral HistoriesPrimary Source Set B NOTE: The three documents of Primary Source Set B are reproduced here as one Web page for easy reference. For download versions of the other Primary Source Sets, use the links entitled "Primary Source Set" on the Lesson Overview. For a download version of the Student Lesson, use "Download Lesson Materials" on the Lesson Overview.
American Life Histories: Manuscripts from the Federal Writers' Project, 1936-1940
[Charles Cole]Scroll Down to view the text of this document. ... {excerpt begins} Circumstances of Interview NAME OF WORKER Frederick [W. Kaul?] ADDRESS Hastings, Nebr. DATE Jan. 27, 1939 SUBJECT Folklore "Square Dances" 1. Name and address of informant Charles Cole [Hotel?], [Doniphan?], Nebr. 2. Date and time of interview Wednesday p.m., Jan. 18 3. Place of interview Home of Mrs. [Harger?], 410 West 4th, Hastings, Nebr. 4. Name and address of person, if any, who put you in touch with informant Mrs. Harger, 410 West 4th St., Hastings, Nebr. 5. Name and address of person if any, accompanying you None 6. Description of room, house, surroundings, etc. I later visited Mr. Cole's home and found it to be a frame building of 5 rooms, a farm home equipped with electricity. Furnishings were modern and well cared for. FORM B Personal History of Informant NAME OF WORKER Frederick W. Kaul ADDRESS Hastings, Nebr. DATE Jan. 27, 1939 SUBJECT Folklore "Square Dances" NAME AND ADDRESS OF INFORMANT Mr. Charles Cole, Rt. 1, Doniphan, Nebr. 1. Ancestry - English Descent 2. Place and date of birth - Doniphan, Nebr., June 6th, 1890 3. Family - Three children and mother - Wife dead 4. Place lived in, with dates - Doniphan 1890 to 1920. Santa Anna, Calif. 1920 to 1925. Has since resided at Doniphan 5. Education, with dates - Doniphan Public School --9th grade 6. Occupations and accomplishments, with dates - Farming and Stock Feeder. At present is a Road Contractor. 7. Special skills and interests -Farming and calling for Dances. 8. Community and religious activities - Member of Odd Follow Lodge, Mason, Woodman of the World. Is a Protestant. 9. Description of informant - Height 5 ft 9 inches. Weight 202. Dark hair, blue eyes and has a pleasing personality. 10. Other points gained in interview - Possibility of further interviews FORM C Text of Interview (Unedited) NAME OF WORKER Frederick W. Kaul ADDRESS Hastings, Nebr. DATE Jan. 27, 1939 SUBJECT Folklore "Square Dances" NAME AND ADDRESS OF INFORMANT Charles Cole, Rt.1, Doniphan, Nebr. CALLS FOR SQUARE DANCES "My earliest recollection of dancing was when my folks took me along to the numerous 'Barn Dances' and I can distinctly remember many nights when I would beg to go home as I was not the least bit interested in them and the planks which served as seats seemed to be extraordinarly hard. It was not until I joined the Odd Fellow's Lodge in California that I had any desire to participate but since dancing-and particularly square dancing-was the major part of their social entertainment at that time I decided to take some lessons. I can remember with horror the first night I ventured on a public floor. My feet seemed to become clubs and for some reason or other I was always in the wrong place. Months of careful observation and practice-in more remote places-soon dispelled my fears and after a few successful attempts I was really bitten by the dance bug. It was during my observation period that I became fascinated in the art of calling and I began to listen and learn the different phrases used. Later this turned out to be a profitable lesson as I was soon called upon to manage dances in surrounding towns and to call for quadrilles or square dances. ... {excerpt ends} Questions:
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American Life Histories: Manuscripts from the Federal Writers' Project, 1936-1940
[Mrs. Charley Huyck]Scroll Down to view the text of this document. ... {excerpt begins}
FORM B Personal History of Informant NAME OF WORKER Harold J. Moss ADDRESS 6934 Francis, Lincoln DATE January 24, 1939 SUBJECT American Folklore Stuff NAME AND ADDRESS OF INFORMANT Mrs. Charley Huyck, Route 1, Lincoln 1. Ancestry English-German 2. Place and date of birth Delmar, Iowa, Oct. 20, 1875 3. Family Fathers name, "[W. G.?] Seidell. No children, mother living, father dead. Two brothers, one sister, husband living, 1 adopted boy at home. 4. Places lived with dates Delmar, Iowa-1875 to 1880. Rokeby, Nebr.-1880 to 1900 {Begin deleted text}????{End deleted text} Lincoln, Nebr.-1900 to date. 5. Education, with dates Rokeby, Nebraska, 1881 to 1889. 6. Occupations and accomplishments, with dates Farm work in field,1888 to 1900; musician, 1885 to date; home work, 1885 to date; plays piano, mandolin and guitar. Dance caller. Played with her father for dances, public affairs, parties, etc. for 50 years. 7. Special skills and interests Music, entertainment, farm field and home work, a great home lover. 8. Community and religious activities Christian church, Lincoln (east) Sunday school, very active member. Played for years for community affairs, church, schools, etc. 9. Description of informant Energetic, spontaneous, outdoor girl type, almost suggestive of "tom boy" girlhood. 10. Other points gained in interview Fine regular features, white hair, youthful pink complexion, seems in action and appearance to be twenty years younger then her age. Average height, good body proportions, congenial and has good personlity. Seems to fairly radiate health. Has helped raise several children though none of her own and the mother instinct is very marked. ... For 50 years and more, I have played at dances all around .... I started playing when I was so young I used to play with dolls at home. This was about 1888. We played in many a fine home in Lincoln for their private dances. These were held in the attic or on the third floor of those big houses. Square dances, polka waltzes, schottisches and lancers were the popular dances. We used to haul a parlor organ in the spring wagon as most places had no organ or piano at that time. ... It was the custom to have a big dance in the hayloft whenever a new barn was built. This was a way of dedicating a new barn and they were big affairs. The hayloft would be lighted with ... lanterns ... or hanging lamps and these were pretty gay occasions. Everybody would climb up the loft ladder, even if they had to crawl over a few horses or cows to get to it. The crowd was always full of life and they sure could dance. There was no snobbery and everyone was friendly, no 'cliquety' people who would keep to themselves. The square dance was a very democratic gathering and people dancing in sets were accustomed to mingle with the others rather than just pair off. Men and boys came dressed in overalls, swallow tail coats, peg-top pants, or tight fitting pants, derby hats; caps, and some wore an assortment which was a sight in itself. The women and girls, wore bustles, some hoop skirts, tight fitting basques and hair ornaments. ... The young folks and the old folks mingled freely together. There wasn't the distinction there is today. They were'nt cliquety at all. I think the older people are responsible for the way they do now. These young people wouldn't keep to themselves so much if they were encouraged by the older ones to all mix in the same crowd. Often when the sets were on the floor dancing both young and old, even some of the granddaddies who were not in any of the sets would get out to the side and dance a lively 'hoe down' or clog. I have played at dances where five or six small children would be sleeping on a pile of the dancers' coats and wraps in a corner of the hall. ...{excerpt ends} Questions:
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American Life Histories: Manuscripts from the Federal Writers' Project, 1936-1940
[Old Time Dance Calls]Scroll Down to view the text of this document. {excerpt begins} Form B Personal History of Informant Federal Writers' Project Works Progress Administration OREGON FOLKLORE STUDIES Name of worker - A. C. Sherbert Date 12/27/38 Address - Project Office, 614 SW Eleventh Ave., Portland, Oregon. Subject - Old Time Dance Calls .
Name and address of informant - George Duffy,
Information obtained should supply the following facts: 1. Ancestry 2. Place and date of birth 3. Family 4. Places lived in, with dates 5. Education, with dates 6. Occupations and accomplishments with dates 7. Special skills and interests 8. Community and religious activities 9. Description of informant 10. Other points gained in interview
1. Bernard and Mary Duffy, born in County Louth[,?] Ireland. 2. Peoria, Illinois, January 27, 1875. 3. Three girls and two boys living - oldest son killed in France with A. E. F. 4. Illinois, Missouri, Nebraska, Colorado, Utah, California, Washington, Oregon - Dates not remembered. (Boomer printer.) 5. High School in Marysville, Mo., graduated 1890. Attended business college following high school - Northwest Business College of Missouri, Marysville, Mo. 6. Printers editor and publisher. Operated newspaper in Nebraska 1900 to 1906. Superintendent of printing plants in various places at various times. Managed show poster plant in Spokane, Washington at one time. 7. Experienced public speaker, fraternal [organizer?], dance -hall manager. Was state organizer in Colorado for Security Benefit Association. 8. None. 9. Medium height, chunky build, graying dark hair thin at top. Pleasing personality and presence, engaging smile. 10. - - - Form C Text of Interview (Unedited) Federal Writers' Project Works Progress Administration OREGON FOLKLORE STUDIES Name of worker - A. C. Sherbert Date 12/27/38 Address - Project Office, 614 SW Eleventh Avenue, Portland, Oregon Subject - Old Time dance Calls Name and address of informant - George Duffy, 5605 SE 71st Ave[.,?] City. Text: I have been an enthusiastic follower of the dance , ball-room dancing I mean, since I was a boy of fifteen, and that's a good many years ago. As might be supposed, I have seen a great many changes in dance technique, dance forms, and dance -ball conduct during the past half century. In early days dancing was not the commercialized proposition that it is today. It was not a business in any sense of the word. Dancing was purely a neighborhood social event with profit no consideration and was indulged in by mostly all classes of people, excepting the followers of one or two religious groups that thought it sinful to dance . As with all things people enjoy doing, it was discovered that money could be raised by charging admission to the dance . First to benefit were charitable causes, church purposes, (yes, church purposes) and other community needs. From there it was a short step to commercialization and the public dance hall was the result. ... I have decided that folks want to dance for the same reason that folks want to listen to music, read poetry, or witness or engage in other forms of emotional expression. Dancing is rhythmic just like poetry or music and has the further attraction of stimulating physical activity, mingling the sexes, and sociability. Then there is usually excitement and fun at a dance , and this fact, too, makes an evening of dancing more then ordinarily attractive to all persons who are not too definitely anti-social. ... I may be wrong, but I do not believe the dance of today is of any great social importance. Automobiles and moving pictures have supplanted the community dance as a means of bringing young folks together, in my opinion. In other words, I truly think all dancing could today be abolished and the social world would move along quite as well without it. Such may not be said of the old time dance . The dance - especially the country dance - was an almost indispensable institution in those days. Perhaps I can give you a short description of a typical farm dance of the eighties or nineties[.?] The dance is to celebrate a barn raising and is to be held at a farm some fifteen or sixteen miles from Sally's home. No distance at all these days in a streamlined coupe, but in those days it was quite a distance. ... Arriving at the dance later than many, they {Sally and her boyfriend} find a long line of horses and buggies tied to fence rails and hitching racks. The shrill tones of a rapidly bowed fiddle and the lusty commands of the "caller" break the soft silence of the surrounding countryside. Thin fingers of mellow lantern-light filter through chinks and knot-holes of the new barn in which the dance is being held. Our farm boy and his Sally enter the barn and are greeted by cheery nods of welcome and recognition all around. A quadrille is in progress. ... The music here consists of the best available neighborhood fiddler assisted by another neighbor who can "chord" on the [melodson?] - without benefit of notes. Correct time is maintained by the thumping of the fiddler's boot on the hard floor, by the gyrations of his shoulders as he scrapes his fiddle, and by the vigorous nodding of his head in proper tempo. The fiddler's boot thumping in augmented in volume by the [concerted?] foot tapping of small boys who sit on the benches that line the dance floor. The fiddler and dance caller were colorful and picturesque individuals who, if they excelled in their abilities, were not without considerable repute and importance in their respective neighborhoods. A colorful fiddler knew how to draw attention to himself and to liven the proceedings by clowning a bit as he fiddled. Some fiddlers could toss their fiddles into the air or flip them upside down without losing a beat. Others made a specialty of waving their fiddles backward over their heads while playing just to prove their complete mastery of the instrument. The callers more usually were glib fellows of likeable personality and strong of lung. ... Let us watch the dance for a moment. The couples mingle, moving back and forth in response to the directions of the caller. The movements, for the most part, require no gentlemen to come in closer proximity to a lady dancer than to hold her hand momentarily as they bow, turn, and [promenade?]. Should it become necessary in the dance for a man to place his hand at a lady's waist, he would find her so completely [corseted?] with whalebone and [steel?], and so cumbersomely swathed in clothing, that any sensual stimulation resulting from the contact must have been purely psychological. Quite different today in any modern dance hall. The modern dance requires no concentration as in listening to a caller's commands. The modern dance seems to consist chiefly of walking around to music, and if you choose not to walk you may stand virtually in one spot, shifting the body's weight from one foot to the other in time to music. The modern miss steps out onto the dance floor clad in a few ounces of wispy material under which she wears a thin, elastic garment so constructed as to reveal every curve and contour of her body. Her partner grasps her in as close an embrace as the none-too-vigilant eyes of the dance -hall management will permit. In the average dance -hall, decorum is maintained by supervision rather than by the individual's desire to behave decorously. Young persons attend present-day dances and frequently dance the entire evening with one partner, leaving the dance at its conclusion without having widened the number of their acquaintances by a single person. In the days of the square dance , a newcomer to the community mingled and danced with all, and when the evening's dancing ended he found himself no longer a stranger. That is why I say ball-room dancing today seems to me to be of slight social significance. ... {excerpt ends} Questions for Discussion:
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