American - Folklife 1982

Festival of

American

Folklife 1982

Smithsonian Institution

National Park Service

Dedication

The 1982 program book

isdedicatedtothe

memon-

of JanetStratton, a

woman whose

energ\'

and

intelligencehavehelpedtoshapeFestivalpresenta- tions

from

1967,

when

shefirstjoinedtheFestivalstaffas^itsdesigner,

up

toher untimely death

on

April 15, 1982,attheageof42.

Her

unflaggingvitalir\-has

bequeathed

tousthefruitsofher

devoted

labor

and

alsoa

model

forusallto follow ofloving

engagement

inlife'swork.JanetStratton'screative

mind

^first conceivedthepossibility'ofcelebrating

Oklahoma's Diamond

Jubileeatthe Folklife Festival,

and

the

form

thecelebrationhas taken^is

due

inlarge

measure

tohercultural

and

designsensibilities.

Janet's influence

on

theFestivalhasenricheditoverthe years sinceshe designedthefirst

program book

in 1968.

During

theinitial

decade

oftheFes- tival,Janetdesigned

most

ofthe

program books

aswellasthe layoutforthe Festivalsite.Followingthe BicentennialFestival,she studiedfolkloreat

George

>X'ashingtonL'niversit)-

and

thendesigneda special

program on Chesapeake Bay

fishingtraditionsforthe

1978

Festival.Sheleftherpositionas Festival designerto

become

theDirector ofDesignfortheSmithsonianPress earlyin

19~9. butherinterest inthe

program was

an abidingone.

and

just rv\-odays prior toherdeath,

we met

toreviewherplansforthe

Oklahoma

Hospitality Tentfor this year'sFestival.

Even

during theselastdays,Janetsustainedher characteristicenthusiasm

and concern

fortheFestival's

programs and

design.

We

carr)-theFestivalforwardinherspirit.

RalphRinzler Director

Office

of

^Folklife

Programs

Contents

Fcstiv-alofAmericanFoUdifeProgramBook SmithsonianInstitutionC ₁₉₈₂

Editor:ThomasX'cnnum Designer:DaphneShuttleworth AssistantDesigner:LindaMcKnight TjpesetterHarloweTypographyInc.

Printer: X'irginia Litho.

4 Celebrating

Beginnings by

S.DillonRipley,Secretary,SmithsonianInstitution 5 Fnlklife Festival Reflects Diversity

of

^{Customs. Traditions}

and

Arts

byRussell E.Dickenson,Director,NationalParkSer\ice

6 Woody

Guthrie

by Guy Logsdon

8

.\ationalHeritage FellowshipsP>-ograni

by

Bess

Lomax Hawes

12 Folklife in

Oklahoma by Guy Logsdon

15 Slappin'Collars

and

Stabbin'Pipe:

Occupational

Folklife

ofOld-Time

Pipeliners

by George Carney

1

8

Old-

Time

PipeliningGlossary

by George Carney

21

Match Racing

in

Oklahoma by

Clydia

and

Fred

Nahwooksy 24 Oklahoma Indian

Crafts

by

Clydia

Nahwooksy

26 Honoring Dance by

Clydia

Nahwooksy 27

Western

Suing by Guy Logsdon

29 Fa-SolLa

(Shape-note) Singing

by Guy Logsdon 30

Ethnic

Foodways

in

Oklahoma by

Sue

Manos 35

Children^'sFolklife

Hjeliciditions

of Oklahoma

b\jean Alexander HjeIradilions

of Korea

by DouglasC.

Kim

38 Korean

FolkCulture:Yesterday

and Today by

AlanC.

Heyman 40

Defining

Korean

FolkTraditions

by

Frederic

Lieberman

42 Rediscoi'ering

Korea

'songgiPotters

by

^RobertSayers

45

Traditional

Korean

Crafts

by Bo

Kim, RobertSayers,

and

BarbaraSmith

50 Korean

Folksong,

Dance and Legend by

Michael Saso

52 Enjoy

the FestivalallYear

Long by

Jack Santino

Begi]

Celebrating 'nnings

by ^{S. Dillon} Ripley, Secretary,

Smithsonian Institution

llTi^war'sFolklifc Fcsti\al

marks

threefelicitousoccasionsot international, national

and

^local importance.

One hundred

}ears ago,diplomaticrelations

\\erefirstestablished

berwecn Korea and

theL'nited States. Inthe early yearsof thisrelationshipitsframers.particularlyAdmiral

R.W

Shufeldt,

who

negotiated the"opening" withtheaidofthe(Chinese,

ma\ haw been somewhat

disap- pointedatitsapparentlackofdramaticresults.

He

probablyhopetlforthekind ofacclaimthat

Commodore

Ferr)'receivedfor hisforced

opening

ofjapanin

I8S4.Although few peopleinthe 19th

centun

recognizedtheimportancethat the

Korea

IS. relationship

would come

to

haw, we

areplea.sed tonotethat

from

the \er) beginningthe Smith.sonianInstitutionhas

had

anactiwinterest inthe

Korean

countn,

and

itspeople.Shorth ;ifterthe

opening

of diplomatic relationsthe Secretar\'of theSmithsonianInstitution,Spencer H Baird,dis-

patched anornithologist. Pierre Louis jouy,toexplore

and document

the species of birdsinKorea.Shorth .ifter

jouys

arrixal.Secretan Bairddispatched anethnographer, Jean^BaptisteBernadou,to

document

theart

and

cultureof

what was

thenthe

"Hermit Kingdom."

Inpreparingforthecentennial ofdiplomaticrelations, 1read

some

of Bernadoii'sreports

from

Korea and

was

pleasedto find that

many

of thekindsof traditionshe found

w

ill berei^resentedatthisyear's lolklifelesti\al,including musical instrumentm.iking,musicalperformance,

potten making

andrituals

from

theindigenous shamanislicreligionofKorea.In additit)n,

we

lookfor-

ward

to enj()\ingother

wnerable

traditionsincluding

masked dance

drama,

hemp-clolh and

hatmaking,

and

^theoccupational songsoffarmers

and women

pearldi\ers.

Korean-Americans

v\illalsopresent traditionsbroughtfrom

Korea

that

haw

t;ikenrootinthe

American

land.

.Sewnr\-fi\e \earsagothe

American

nation

was

also

made

grander

w

iihthe addition of theState oft)klahoma I

he

anni\ersai"\ ofthis

ewnt

- the

Diamond

Jubilee -iscelebratedatihe Iestixal

w

ith the]-)reseniationofcultural tradi- tionstliat⁽)kl;iliomansnourish

and

support.

We

^arepleasetl thai

Oklahomans haw

in\itedoutsidersto join theircelebrationbyheljiingustopresentit

on

the National.Mall Iraditionsassociatetlwithethnic

gn)ups

in()klahomaare hereaswellasthoseassociatedwith

two

major⁽)klahomainstiliilions- horses

and

^oil. Robust\itality

and

athleticelegancecharacterize thetraditional

work

andthe playof

people inxolwd

in oil

and

horses..\nd inaddition,the per-

formance

andcniftsof()klahoma's ethnic ixdjiIcsbring anaesthetic\italilyand

st\listiceleganceoftheir

own We welcome

the⁽)klahomanstothe National

.Museum

and thank

them

forsharingwithustheirculturalpatrimoin.

()nJuly,-1.theFesti\alwill

be

thesiteforthe

ceremon\ awarding

thefirst aniiLial National Heritage Fellowships. Tliesehonors,

which

have

been

orga- nizedand fundedb\ the National l^ndownieniforthe,\rts,willbegiventotra- ditional musicians

and

inifi,s|iersons

who

have

made

outstandingcontributions tothe culturallifeof

our

nation.

We

are extraordinarih pleasedto

be

ableto presenta seriesoftributeconcerts

on

eachda\

of

the Festival todemonstrate ourrespect and

esteem

forthetalent,vision,antlapplication of the recipients.

In addition,anexhibition ofcrafts bv Fellowshipwinnerswill be

shown,

appro- priately, inthe National

.Museum

i)f.\merican lliston through.\ugust

Further,thelong-timeFolklife Festivalgoerswill joinincelebrating the Festival'sreturn toitsoriginalplot

on

the National .Mall

among

Smithsonian

Museum

buildings

We

celebrate the returnloa qLiieter,

more

easily .iccessible, .imllargersite,andalsoto

one

that

makes more

clearlv visiblethe strong,

com-

plimentarv relationship

between museum

collections

and

thepresentersof

livingtraditions.

Folklife Festival Reflects Diversity of Customs,

Traditions, and ^Arts

by Russell E. Dickenson, Director, National Park Service

The

NationalPark

Senicc welcomes you

tothe I6thannualFestivalof

Amer-

icanFolklife. >X'e;u-epleasedto

cosponsor

withtheSmithsonianInstitution this yearh'event

which

enlivens

summer

in

our

Nation'sCapital.

Tliisyear'sFesti\'al,mo\'eclbacktothe site

where

it

was

firstheld ¹5 years ago,promisesto

be

asentertaining

and

enrichingas ever.Itfeaturesadiversity' offolkmusic,

dance and

crafts-inparticular

from

theStateof

Oklahoma and from Koreans and Korean-Americans

ⁱⁿobserxance ofthe centennialofI nited States-Korean diplomaticrelations.Asalways,thee\ent isheld

on

land adminis- teredb\'the NationalParkSer\iceand belongingtoall

Americans

- appropriate becausetheFestivalof

American

Folklifereflectsthecustoms,traditions,

and

artsofallAmericans. Ittakesplace

on

the NationalMall, setasideas aformal parkin

1^90 under

the L'Enfant Plantorthe(Jt> ofVi'ashington.Extending

from

the Capitol to the>Xashington .Monument,the.Mall

comprises some

146 acres

and

is

bordered by

magnificent

museums and

artgalleries.TlieMallis

one

of

more

than

330

areasthroughouttheInitedStatescaredfor

by

the National ParkSer\ice,

each

of

which

hasits

own unique

history-reflectingthe dixersityofthis

countn's

regions

and

cultures,llieseare

what

arerecognized

and

celebratedin this Festi\alof

American

Folklife.

We hope

yt)uenjoyyourvisittotheFestival

and

ha\e anopportunit)' to\isit

many

oftheotherattractionsin

our

Nation'sCapital.

Once

again,

welcome.

\V'()od\GuthrieandFete Seeger, 1940.

PHOTOCOURTESYOFHIGHLANDER CENTER LIBRARY

Woody ^Guthrie

by Guy Logsdon

Wood)'

Guthrie

was our

nationalfolklaureate.

Born

inOkeniah.

Oklahoma on

July 14, 1912,

Woody was

the thirdoffi\echildren intheCharle\

and

Nora

(iuthriefamih.Bothparents

were

talented,

handsome

indi\iduals; (;harle\

was

asuccessful

businessman

\\

ho

dabbledin local politics

and

enjoxed\\ril- ing.\\hile

Nora

maintainedahapp\

home

andoftenentertainedthefamiK by .singingherfolk ballads.\\

bodx

stalents\\eretamiU ones.

From

Charley

he

learned

optimism and

gaineda spiritof fightingfor hisbeliefs.

From Nora he

inlieritedtheunfortunate

Huntingtons

Diseasethat ultimateU

destnned

his b()d\'asitdidhismother's.I nfortunateh, famih hajipiness

and

success

were slowh eroded

byNora'sundiagnosed bout\\ithherdi.sease,and during>X()()dy's

adolescencethesecurin,-oftheirfamih

w

as

destnned

b> traged\

and

illness.

As

a result,bytheageofIS\\

bod}

\\astra\ellingthe

highw

a\seach

summer

as a migrator) farmlaborer, returning to

Okemah

intimeforschool.

In

1929

\Xood\ left

Okemali

for

Fampa,

lexas

where

herejoinedhisfamih.

There he

learned

more music from

hisuncle,jeflGuthrie,

and

friends;

he became

a

western dance band member and began

writing songs, often

w

ith his father'sassistance. But inthe mid-thirties the Depression

and

dust storms,

combined w

ithhis restless^spirit,dro\e

Wood\

backtothehighwa\s;

He thumbed

his

wa)

to(California,v\here he

wrote and

spoke about hisexperi- ences

and

sangthesongs ofhisyouth,

and

thoselearnedwhile

he

tra\elled.

>X'hilethere,

he became

acquaintedv\ithsocialacti\ ists

w ho encouraged him

towriteabouttheplightofpeople

and

to travel to

New

^brk(at)

where

in 19.-^9he

met

Alan

Lomax.

FeteSeeger,

and

others

who

ultimatel)

became

the foundation oftheurbanfolkre\hal.llirough

encouragement from Lomax and

admirationforNX

bod)

s

genuine

folkexpression, the Interior

Department

hired

him

towrite songsabouttheir

Columbia

Rixerprojectsin theNorthwest.

From

therehe returned to

New

'^brk (at)

which became

his

home when

he

was

not travellingthe

highways

ofthe nation.

Inspirationfor

Wood)

ssongs

and

writings

came from

the

beaun and

^.spirit ofthe nations'terrain

and

citizenn^.Hissongsof reflection

and

love ofcoiintr)

and

friendsha\e

and

willcontinueto inspiregenerationsin

our

quest for a

more humane and

justworld, lliroughhissongs

Wbod\ became

the.spiritof thefolk

music

re\ival

and

the

prime

inspirationforman)-musicians,

among whom

is

Bob

Dylan.L'nf'ortunatel),

Wbod)

s lifeofcreatixit)-

w

asshortfor

when he

v\as

approximateh

-i2he

was

hospitalized.

He

died

October

3, 196'',

butaslongasthereisavoiceto singhissongs

Wbod)

^willli\e. Indeed,

he

lo\ed hisOkialiomahills,

and

thislandishis land.

GuyLogsdonhasbeenacollectorandstu- dentofAmericanfolkloreandmusic.Heis presently ProfessorofAmericanCultureand

Folklifeat the⁽'niversityof^Tulsa,hating receivedhis

PhD

fnmitlx Universityof Oklalxtma.

Siii^i^cslci/ rciidiiit;

(iiillini-,Wcimh HoundforGloiy.(KPOut- tdii ^;Co..N.'i.. 1943) AIm)available in paperback.

(uthric.\\i)()d\ HornIhViin.(Kd. b\ Robert Shelton..\l,ie\lillanCi).N.V19()S.

)

(iiithrie.VXoodv Seeds(ifWhin.(V\'

Dumm

^iS:

Co ^.\

V

iy-() )

Klein.Joe Waodydiillmc.Alive.(.Mtred Knopl.N'l 1981) )

Suggestedlistening:

thisLundis)ourl.iind WoodyGuthrie,l-olk

\\a\>StereoFISS1001

ATrihutetoVioodyGuthrie.^\\arnerB^)tller^

1198(atworecordNet

)

WoodyGuthrie..ALegendtnyI'erfornier.RCA

\ictor<,Pl.l-J0y9e

WhollyGuthrie,l.ibrarvot(,ongres>Record- ings, lllectraRecords. EK.L2"1 2"!

BessUmicLXHem'esisthe Directorof^the FolkArtsh-ognim_ofthe \utioncilllmiow- mentfortlyeArtsShehastiiiightfolkloreat the(xilifoniiitState⁽niversityat Xorthridge

amihas beenaDeputy^•DirectorofIheFesti lalofAmeiicanFolklife Her/>iihlicaticjns in- clude uith co-aulhorBessieJones. Step^It Down:(lamcs,Pla\s.Songs,andStoriesfrom theAfro-AmericanHeritage.

SI.Miclxielandthe[X'lilc3.T\xiibyGeorgeLopez of ("ordova.\e\vMexico

National Heritage

Fellowships Program

by Bess Lomax Hawes

The North American

continent has long

been

hospitable toimmigrants

-

_to the^firstAmericans,to Hispanics, toFrench,to Russians, to English; toAfricans, Irish,Jews,Scandinavians,Chinese,

Germans;

tothehomeless,tothehungry, tothe rebellious, to theadventurous oftheworld.

The

rolling

North American

landhas

been broad enough

tonourish usall.

Still,

none

of

our

settlers

came

here

emptv

-handed.

Each people who

under- tookthe frighteningjt)urne\ tothis

new

^landbrought with

them

both mother- wit

and know-how

aswellas their

own

special part of theva.st,centuries-old encyclopedia ofparticular

human

solutionstotheinescapable

human

prob- lems.

Human

beings long ago learnedho\\'to takeano;iktree

and make

out of

itnot only

something

usefulbut

something

beautiful-_a

caned

front door,a

woven

basket.

Human

beings longago learned

how

to takeamelodv-

and make

ofita

hvmn

ofpraiseora

song

^{oflove,totake}apersonal experience

and

turn

itintoa classicjokeor an epicballad. Ilieparticularv\a\sallthese things are

done depend upon

the particulartraditionalstream within

which

theartist

has developed.

Our

artistictrades

go

far

back

inhistorv',eachartistbuilding

on what

has

been

learnedbefore.

Beinghost toan extraordinan

number

of

human

beings

from

differentparts oftheworld,

we

intheIiiitedStatesaretherebv hoststoanextraordinary

number

of

matured and developed

artistic

and

technicaltraditions. >Xliata privilege.Itisthisthatthe Folk Arts

Program

of the National

Endowment

for the Arts celebratesthroughitsNational HeritageFellowships.

Each

year

we

willgreet, salute,

and honor

justa

few examples

of the dazzling arrayofartistic traditions

we

haveinlieritedthrougliout

our

nation'sfortunatehistorv'.

Each

year,

we

willhappilv'presentyetanothera.ssortmentofsplendidmaster

Amer-

icanfolkartists

and

artisanswiio representstilldifferentartisticforms

and

traditions.

We

believethat thiscan continuefarintothefuture,eachyear's

group

ofartistsdemonstratingyetotherdistinctiveart

forms from

theAmeri- can experience.

Forthisyear of

1982 we commend

^{toyourattention:}

Dewey Bal&,

a Louisiana

man,

an eloquent musician

and spokesman

for Cajunculture. Hispeople,exiled centuriesago

from

French Canada, carveda

new homeland

inthe

swamps

ofthe MississippiDelta

and

over

two hundred

years graduallycreateda

new music

tocelebrate theirachievement.

Joe Heaney,

an Irishman

and

afabled

scan

^iiossingerofgreatrange

and

depth.AsIrish

workmen

helped

push

the

expanding

system ofcanals,road- wavs,

and

railwaysacross the

young

nation,Irishtunes

became

part of the

countn's

standardrepertoire.Joe

Heaney

is

one

ofalonglineofIrishbards

w

hose songs speakto

our

deepest

remembrances.

Tommy

^Jarrell,a

^North

^(Carolina

^{countn man and}

^a

^mountain

^fiddlerof

storied repertoire

and

technique,llie

home-made

fiddle

was

the

most

impor- tant instnimentt)fthefrontier,ea.sv tocarrv'along

and

an orchestraall

by

itself.

In

Tommy

^{Jarrell'swise}

and

experiencedhands,itstillis.

Bessie

Jones,

aBlack

woman from

ruralGeorgia witha

head

^fullofthe oldest

and

strongestsongs of herpeople. LikeJoe Heaney,^Be.ssieJonessings the 'deepsongs:^" likehim,sheusually singswithout

accompaniment.

But unlikehim,hertraditioncallsforher children

and

neighborsto singinhar-

monv w

ithher,tobear herup,

and

so

make

herjovful

sound

allthe

more

jovilil.

George Lopez,

a sixthgeneration

woodcarver from

thevillageof

Cordova

inthe Sangre

de

^Cristo

mountains

ofnorthern

New

Mexico.Hissaiitos.or religiousfigures,aresimplycarved;their puritv ofline reflectsthepuritv-of

spiritthat informsthisancientdevotional ^tradition.

Brownie McGhee's

singinglaysbarethewit

and

ironic

detachment

that characterize thebluesoftheuplandsouth. Hisbrilliantguitar

work

isalmost cxsualh tossedoff;hismusicianshipi^impeccable. I'ogetherwithhislong-

term

partner,

Sonny

Terr)-,

Brownie McGhee

has influenced

many

generations of

bluesmen and

musicians.

Hugh McGraw

haslaboredtirelessly

on

behalfofhisbeloved Sacred

Harp

music,an

American

choral religious traditionthatdates

back

atleast

two

centuries.

A song

leader

and

singingschool organizer

beyond compare, Hugh McGraw's

dedication,

knowledge, and

musicalskillshdveinspiredSacred

Harp

singingconventionsacrt),s.sthe entire south.

Lydia Mendoza began

singinginherfamily

conjunto

(musical

group

)as theyentert;iinedinsmall

towns

alongthelower Rio

Grande

N'alleyageneration ago.She

was

onlysix

when

she began, but her\ibrantpersonaliD,-,strongsing- ing voice,

and

\-igorous twelve-string guitar

work

brouglitherinto earlypromi- nence,

and many

songs

now

considered standardinthe

Mexican-American

repertoire

were

first recorded

by

Lydia

Mendoza.

Bill

Monroe,

song-maker,mandolinist,

and

fatherofbluegrass.

Once

described as "folk

music

inoverdrive," this brilliantmusicalst^letakesthefamiliarAmeri- canccjuntn-string

ensemble

offiddle,banjo,guitar,

and mandolin

into a

new

dimension. Bill

Monroe

is

one

ofthe

few

li\ing

American

musicians

who

can justlyclaimlo ha\ ecreated anentire

new

musical st) le.

Elijah

Pierce began

tocarsewithapocketknifeattheage ofnine.Begin- ning\^•ithtraditionalforms,suchaswalkingsticks. Piercelater

came

to

cane

free-standing figures

and

thenlargeelaboratebas-reliefsofBiblicalscenes

and

personal experiences.His 'sermonsin

wood"

reflectthe

importance

oftradi- tionalreligionin

much

Afro-

American

folkexpression.

Adam Popovich,

seniormusician

and

a princip;xlshaper ofthe

American

tanibniitzci.the

most

important

form

oftraditional

music

ⁱⁿolderSerbian

and

(xoatian-Americancommunities.Like bluegrass, tamhtiritzci

music

isplayed

by

small

ensembles

ofstringediastrumentsimpro\isingendlessly

and

brilliantly iiroundtraditionalmelodies.L'nlike bluegra.ss,

tambuhtza

^singingisfulltliroated, liquid

and

choral.

Adam Popo\ich

ismaster of

both

\'oice

and

instrument.

Georgeann Robinson

isa

member

ofthe

Deer

Clanof the

Osage

Tribe

and one

ofthe

most

skilledpractitionersofthe

Osage

artofribbonwork,aneedle-

work

traditionthatfeaturesstriking

geometric

designs

executed

in brilliant

bands

of contrastivecolor.Mrs.

Robinson works from

designs shehaslearned

from

old

Osage women and

researchedthroughfamily

and museum

collec- tions,

becoming both

scholar

and

artistofthisalnn)stlosttradition.

Duff

Severe,

saddlemaker and

ra\shide\\orker.His

work

occupiesa central placein

contemporan' Western

folkart.Well-made,well-crafted saddles,reins, bits,

and

bridles aretheoccasionnotonlyforexpertcraftsman.shipbutforthe expression of anaesthetic

dimension

insiherinlay

and

engra\ing,inleather-

work and

design,in

rawhide and

inhorsehair.DuftSevereislegendan'througli- outthe

western

states for hismasten- ofallthesecrafts.

Philip

Simmons,

ablacksmith

and

^ornamental

ironworker from

South Carolinaexemplifiesskill,excellence

and

a

deep knowledge

oftraditional design."Hie\ac\'tracen,-of blackiron.speaqioints, lea\es,

and

scrollsdecorat- ing

homes and

gardensthrougli (iharleston

and

otherfortunatesouthern citiesare

owed

tothe

work

ofsuchskillftilartisans as Philip

Simmons,

liis

mail) apprentices

and

fellow-workers.

Sanders (Sonny)

Terry,mastermusician, peerlessly inventive,hasdevel-

oped

his tinyinstrument, thesimpleharmonica, intoamini-orchestra. ^X^^en

Sonny "whoops"

the blues,

one

often

does

notkncm-

which

voiceisspeaking, theinstrument ortheman.Tlie balletic

mmements

ofhishands,theconstant inteqilay

between

voice

and

instrument, the infectious beatofliismu.sic distinguishes

him among

all

American

folkmusicians.

VCestern saddlemadeby DuffSevere of Pendleton.

Oregon.Photo byOrmondLoomis

The

foregoingfifteenmastertraditionalartistshave

each

takentheir respec- ti\e art

form

toa

new

height.

Each one

hasbuilt

upon

the inventions, the per- fectedtechniques,the aesthetic

experiments

ofcountlessartLstsinthe

same

tradition

who

have

gone on

before -singers,musicians,artisans

whose names

we

willnever

know. As we honor

the

winners

oftheNational HeritageFellow- shipsin1982,

we honor

theirartisticforebearsaswell. Itisthis,perhaps,that trulydistinguishes these

awards

^-that inthepersons of these outstandingindi- viduals

we

can

honor

anentire tradition

and

thelonglineofearlierartists

who

havehelpedinventthe

many

folkartformsthatgrace

our

land

and our

people.

The National Endou metttfor

theArts^'

National

HeritageFellou'shipsiiill

be an arded

annually: TljeFolkArts

Pnygram of

^theNational

Endou

•nwnt

for

theArts

welcomes nominations for

^the J

983

HeritageFellowships. Please

send your nomination

tothefollowing address

by October

1.

1982

- FolkArts

Program. National Endowment for

theArts.2-i()l

E

Street.N\\. Washington.

DC.

20506.

PHOTO COURTESYOF THE ARCHIVES OF

THE ETHNICFOLK ARTSCENTER PHOTOBYDAPHNESHUTTLEWORTH

Dewe> Balla Cajunliddler Louisiana

-\daniPopovith

Scrliiaii-Anicrican IiiMairiKntalist

GeorgeannKobin.son OsageRibhoiiworkcr

Okialioma

titorgcl.opt'/

HispanicWoodcancr

New

Mexico

SonnyTcrr>

BluesHarmonicaPlayer

New "(ork

Brownie

McGhee

Blues(iuitarist C:alifornia

PHOTOBY THARMONPARKHURST COURTESYOFMUSEUMOFNEWMEXICO.

SANTAFE

PHOTO COURTESYOFAGENCYFOR THEPERFORMINGARTS

PHOTO COURTESYOFAGENCYFOR THEPERFORMINGARTS

PHOTOBYMARKMAMALAKIS PHOTOBYJOHNVLACH

Tommy

Jarrell AppalachianFiddler

NorthCarolina

JoeHeaney

IrishBalladSinger New'^brk

Philip

Simmons

OrnamentalIronworker

South(Carolina

Hugh McGraw

SacredHarpSinger Cieorgia

ElifahPierce Cancr-Painter

Ohio PHOTOBYRICKKOCKS

Duff Severe

WesternSaddlemakcr andRawhider Oregon

PHOTOBYORMONDLOOMIS

Lydia

Mendoza

Mexican-AmericanSinger Texas

Bill

Monroe

Blue CrassMandolinist Singer Kentuck)

PHOTOBYDAVIDGAHR

BessieJones CeorgiaSea Island Singer

Ceorgia

Guy

Logsdonhasbeenacollectorandstu- dentofAmerican^folkloreandmusicHeis presently ProfessorofAmerican^Cultureami

Folklifealthe UniversityofTulsa,hating ivceivedhis Ph.D. frtmi the Universityof Oklahoma.

Folklife in Oklahoma

by Guy Logsdon

The

strengthoffolklifein

Oklahoma

stems

from

contrastsinthestate'sland- scape

and

diversityofitscultures.Northeastern

Oklahoma

enjoys the physical

and

culturalcharacteristicsofthe

Ozark Mountain

region;southeasternOkla-

homa,

withrainfallsimilartothe

humid

gulf region,exhibitsstrongsouthern

and

Texasculturalinfluences-_infact,itistraditionallyreferred to as"Little

Dbde." By

contrast,innorthwestern

Oklahoma, where

the terrainrisesto nearly5,000feet

and

^isthe heartofthehighsouthernPlains

wheat

beltregion, thesparce

populace shows

astrongKansas-Plains cultural influence. South-

western Oklahoma

issimilar to

West

Texasinclimate,terrain,

and

culture;

cattle,horses,cotton,

and wheat dominate

thelivesofthepeople.

And

the centralregionofthestateisan

amalgam

ofthe others.

Asthelaststate inthe nation to

be opened

to

white

settlement, non-Indian traditions

were

lateinarriving.Nevertheless,ineastern

and

southern

Oklahoma where

the Five Civilized Tribes- Cherokees,

Choctaws,

Chickasaws,Creeks

and

Seminoles

- were

settled,there

was

^already

much

southernculture,for thesetribesfor

decades had

intermarriedwith non-Indiansinthe Southeast.

Because

ofthis,conflicts,

both

^political

and

cultural,

between

fuUblood

and blooded

citizensin

each

ofthe nations

were common.

The

originalsettlersinthe area

now Oklahoma were

theOsages,

Quapaws,

Caddos,Pawnees,Wichitas,

Comanches, and

Kiowas, butinthe 1820sasthe Indianremoval

from

theSouth

became

the nationalgoal,the Five Civilized Tribes

were

forceably

marched

to"IndianTerritorv. "

During

thenextfiftv'

years,additionaltribes

were removed

totheTerritorv'untiltodayoverfifty-five tribesarerepresented withinthestate.>XTiile

some

culturalpatterns are

com- mon

toalltribes,

each

hasits

own

distinctive traditions.Thus,withinitsAmeri- canIndian culture alone,

Oklahoma

hasa diversityinlanguage

and

folklife similartothatofEurope.

Innon-Indianculture

Oklahoma

isalate-comer.>Xlutesettlementdidnot startuntil

1889

withthefirstland run.

and

forthenextfifteenyears additional Indian lands

were opened

througliotherland runs,lotteries,

and

allotments.

During

thistime,asthe nation strived to

be

the"melting pot" oftheworld,

Oklahoma became

themelting pot ofthe nation.

Because

itoffered freefarm landfor

many new European

immigrants,

more people moved

into

Oklahoma

inashorterperiod of time thanany other migrationin

American

history.Also,

mining -

particularlycoal

mining

-

was developed

^bv'Indiansinthe eastern Territorv',

which

attracted

many

Italian,aswellas

Mexican and Welsh

immi- grants, tothe

new

coalfields,

and communities

that

were predominantly

Italian

grew up around

them.

Other communities predominantly

of

one

ethnicgroup, suchas Polish,

German.

Russian-German,

and

Czechoslovakian,

were

estab- lishedinthe free landare;isofcentral

and western Oklahoma, and

their

Old World

traditionscontinuetoflourish.

However,

while

Mexican-Americans

todayconstitute

one

ofthelargestethnic

groups

inthestate,

no

specifically

Mexican communities emerged from

their influx.Thisis

due

inpart tothe nature ofthe

work

thatattractedthem:withtheexception ofcoalmining, their

work was

migrator)-,i.e.,asagriculture

and

railroad laborers Still,through thevears,large

Mexican-American

settlementshave

grown

ⁱⁿ

Oklahoma

City

and

Tulsa,

and

thepopularitv'oftheirfoods hasattracted families to

most com-

munities of.significantsize inthestate.Infact,the

demand

^issogreatthatsmall

companies making

tortillas

and corn

chipshave

been

established to serve the

numerous

family-ownedrestaurants.

Next

toAnglo,Mexican,

and

Indian cultures.Blacks

compose

thelargest ethnicgroup,buteven

some

Blacktraditions

were

transportedto

Oklahoma

bv'Indians. Manv'citizensofthe Five Civilized Tribes

were

plantationslave holdersintheirsouthern

homes, and when

they

were removed

to IndianTer- ritorv,theytooktheircotton farmingtraditions

and

slaveswith them.Infact,

some

ofthe

most

popular Blackspirituals

were composed by two

slavesofthe

Choctaws

^-LIncleWallaceWillis

and

liiswife

Aunt

Minerva.Inthelate

1840s

amissionarytothe

Choctaws, Reverend Alexander

Reid,heard

them

singingas they

worked

inthecottonfields

and

putthe

words and

melodies

on paper

for

"Swing Low. Sweet

Chariot,""Steal

Away

toJesus,"

and

a

few

otherspirituals.

Inthelate 1860s

he

taught

them

tothe Fisk Jubilee Singers

who,

inturn,

made them

famous.

When

the

Emancipation

Proclamationfreed theslavesofthe Indians,they

became known

asIndian

Freedmen and

congregatedintoall-Blacksettlements.

Later, a

movement was

startedto

make Oklalioma

anall-Blackstate.Also,for

two

years, starting in1912, the 'Chief

Sam Movement"

calledBlacksto Okla-

homa from where

they

would

departtostarttheirmigrationtoLiberia.

Both mo\ements

failedbut broughtagreat influxof Blackstothestate,

and

approxi- mately twent)-threeall-Black

communities were

established.Butthe oldest Blacktraditions-particularh-

foodways

^-arestillpracticed

among

thedescen- dantsofIndian

Freedmen:

wildonions

and

eggs,sofkey-atraditionaldrink with\ariousother

names.

Indian breads,

and

other foodsareastraditional with

(^klahoman

BlacksastheyarewithNativeAmericans.

Music

hasplayedastrongroleinall;ireasof

Oklahoma

folklife.

American

Indian

music

forentertainment

and

ritualcan

be

heard throughoutthestate.

Black music,particularlythe blues,ha.s

been

strong;the original

"Howling Wolf

"orFunn)-

Papa

Smith,

was

li\ing insouthwestern

Oklahoma when he was

recorded

inthe early 30s.But

when

^the

dance band became

the

predominant

influence,

such

legendar}-musiciansasCharlie Christian

and Jimmy Rushing from

theBlack bluestraditionleft

Oklahoma

forbig

band

careers.

Those who

stayedin

Oklahoma

joinedlocal

dance

bands.

Oklahoma

may,infact,

be

the"dancingest" stateofthe countn-.

Although Oklahoma

^isoften referred toasthe"buckle

on

the BibleBelt,"nevertheless

its

dance

hallsarefilled

on

Saturday- nights.

While

there arenotas

many dance

hallsastherearechurches,places

where

Saturdaynightdancesareheldcan

be found

in

communities

ofallsizes aswellas inthecountry-,miles

from

the near- esttown.For the

most

part,their

crowd

capacityisfi-om

500

to2,500 dancers forballroom or coupledancing.

The most

popular

music

is

western

s'wing,but theethnic

background

determinesthemusic.

There

are,forexample,

numer- ous Czech

HallsinCentral

Oklahoma where

older

Czech dance music

is

mixed

with

swing

tunes.

Not

all

music

issecular,forgospelisalsovery

much

aUve.

The

traditionof shape-notesinging

was

^firstintroduced

among

the Five Ci\ilized Tribes

and

taught to the Indian

Freedmen.

Shape-notesinging

became widespread among

Christians,and,aswhitessettledinthestate,the singingschools

expanded.

Singingconventions,fifth-Sundaysingings,

and

all-nightsingings

were common

and

oftenfeatured family

groups

orIndianquartets.

The song books

^-stillin use -

were

published

b\\'aughn and

Stamps-Baxter.

These books

areused

by

the

New-Harmony

Singing

Convention

thathasitsrootsinIndian

Freedmen

histor\'.But

many

Blacksbroughtsinging traditions

from

otherstates.

When

an

Oklahoma

Black blues

man

is"calledby God," he putsasidethebluesforever

and

useshis\oiceasaninstrument of worship.

Thus

for

decades

in

Oklahoma, both

the

church and

the

dance

hallhave

been

thecore ofanindi\iduarssocial life;they

became

the

two dominant

culturalinfluences.

Fiddle

music

is

widespread and

^{its\arioussD,iesreflectthestate'sdiversifi-}

cation. VC'estern

swing and dance music

de\'elopcd into

what

isoften referred toasthe

Texas-Oklahoma

st\'le,in

which

a

"breakdown"

is

slowed and

thefull

bow

isused;still,ah)'brid

Oklahoma

fiddlerhastheabilir\-toplayalmost any

st)ie.

The

guitaristhe

most

popular instrumentfor

rh\thm

inthe

dance

bands,

and open chord

guitarst\leis still

used

forbacking

up

fiddlers.

The

banjo

was

notwidely useduntil recenth".

Western swing music

isthe

outgrowth

ofranch

house

dances,

which accom-

paniedthe

development

ofthe livestockindustr\-.Itisparticularlypopularin

western Oklahoma, where

cattletrails

and

grazing lands leased

from

Indians

produced

amajorcattle-horse culture.Asthe industn spreadstatewide, the folklifeof

cowboys and rodeo hands became

widely

known and

popularized.

Houses and bams

areasvariedasthe landscape.

The

oldest

known house

isa log cabin,butsod

houses were

also

once common

innorthwestern

Oklahoma.

In

Osage

County,largenativesandstonehouses,

many

of

which

arestilloccu- pied,

were

popularprior tostatehood.

Houses made

ofrocksgathered

on

the owner'sproperty-

may

still

be

seen,

and

theoil

camp

"shotgunshack'"

was common. Some petroleum companies

pro\idehousingfortheir lesstransitory employees.

Tliefolkloreofthe

petroleum

industn-isripeforstudysincelittlecollecting ofdatahas

been

done.

Few

studiesother thanhistorical

ones

have

been made.

One

explanationtor this

may be

thatthemigrationto

Oklahoma

^has,until recentyears,

been

based

on "boom

orbust^"

economics

^-land,wheat,oil,

and

cattle.

Those who

could not

make

^itmo\'ed

on

toanother

boom

attraction, while those

who

stayed

were

toobus\'toreflect

on

theirlives.

With

a

more

stablepopulation

and

agreatersense of pride

and

heritage,interest inOkla-

homan

folklifeisgrowing.

Slappin' Collars

and ^Stabbin' Pipe:

Occupational Folklife

of Old-Time Pipeliners

b\^ George Carney

The development

ofpipelines to transport

petroleum began soon

afterthe discover)ofthefirstoilwellnearTitus\ille,

PennsAhania

in 1859.

Samuel \an

SyckelofTitus\illelaidthefirstsuccessful pipelinein 1865;itranfor adistance offourmilesand

was

buried

two

feetunderground. Hie^firstpipeline

com- pany was

organizedinthe late 186()s

by Henn-

Harlc>-,aPemisTlvanian,

who

supervisedtheconstniction ofatwo-inchline

from

the

Pennsyhania

oilfields tothe Atlanticseaboard.It

was

notuntilthe disccnen, oftheprolific(ilenn Poolfield inOklaliomain I9()6-()~,however,thatthefirstlongpipelines

were

laid.

The

remarkable output ofthe CilennPoolresultedintheTexas

Company,

GulfOil.

and

StandardOil(

under

the

name

ofOkl;ilioma Pipeline

Compam)

completing

pipelines

which reached from

eastern

Oklahoma

totheGulfCx)a,st

by

1910.

It

was

duringthesethreecompanies' operationsthat

many

oftheskills

and customs

a.s.sociatedwiththe

work

of pipelinersreachedfniition.

A

greatdeal ofpreparation

and

thecoordinatedeflbrtsofalarge

number

of

workers was

necessan,'forthe successfulcompletit)n ofapipelinecner longdistances.

Acquiringtheright-of-wa>',sur\e\ingthe route,

and

stakingtheline

were among

the

many

tasks

performed

before thevarious pipe-la\inggangs

moved

in tobegincon.stniction.

The

firstjobinlayingpipe

was executed by

the

bush

gang,a

crew

of50-^5

men who

clearedthe right-of-way oftrees,brush,

and

otherdebrisand graded

itinpreparationforstringingthe pipe. Ilienextresponsibilit) \\asthatof the stringing

gang

toplacethejointsofpipe

end

to

end

alongtheroute

where

they

were

to

be screwed

together. Old-time pipejoints(sections)

were

approxi- mateh'twent}-feetlong

and

rangedindiameter

from

rv\

o

toeight inches,the largest joints

weighing

closeto

600

pounds.

The ends

ofeachjointofpipe

were

tlireaded;

screwed

tighth

on one end was

acoupling, calledbypipeliners acollar.

A

half collar,or "threadprotector,"'

on

theother

end

keptitsthreads

GeorgeO.CarneyisProfessorof Geography atOkUihonuiState I'mversity.Stillwater.OK.

HereceiredhisPh.D. inAmericansocialhis- tory in19~I.Hehas publishedarticlesiinil

monographs(mIhepresetTationofhistoric properties in theoilfieldsof Oklahoma.

longgangneardlcnnI'ool1icklin()kl.ilii>ni.i L-a. 1908.

PHOTO COURTESYOFWESTERNHISTORY COLLECTIONS UNIVERSITYOFOKLAHOMA LIBRARY

Pipelinecamp.incllongganginC)klali()nia in

1909

PHOTO COURTESYOFEXXONPIPELINECO,

from

being

damaged

duringthe transportation

and

handling ofthe pipe.

The

ditching gang, consistingofsevent)'-five

men,

usually tV)llowedthepipe stringers.

The

ditchers

were equipped

withpicks, round-pointedshovels,

and

spades withlong,

narrow

bladescalled"sharpshooters." Ilicfirst layerofthe ditchv\as

dug

withthesharpshooters

and

thedirtthat

remained

\\;ls"cninibled out"withthe sho\el. Picks

were

usedinespeciallyhard ground.

Normal

depth forpipelinetrenches

was two

feet

and

the

width depended on

thediameter of the pipe.

Aftertheline

was

strung

and

thetrenchdug, the lading

gang mo\ed

into beginthe

screw

pipeconnectit)ns.Tlie

work

processof thela\ing

crew inxohed

a

number

of specialized tools

and

skillsnecessary-inscrewingthejointsofpipe togetherinplace.Major items of

equipment

includedlaytongs(alsocalled pipescissorsorhooks),pipejacks

and

jackboards,growlerboards,hiz\ boards, carniingirons,pipecalipers

and

spinningropes(see sketch oftools).

One member

ofthe^la\ingcre\\ preparedthepipeby

remo\ing

thethreadprotec- tor,cleaning

and

oilingthethreads

on

bothends,

and

checkinginsidethepipe torforeign matter. Hieke\'

workers

ofthe laying

gang

consisted ofa

backup man,

thecollar

pecker

(alsocalledthecollarpounder, knocker, orslapper), the

hook

hittersorstrokers,thejackman,

and

the slabber.Additional

men were needed

to

move

jointsofpipes

and

"spelloff,"orrelieve,theother

men.

The procedure

followedinscrewinga jointofpipeincludedseveralsteps

\\hichrequiredan

enormous amount

^ofskill

and

interaction

between

the

\\()rkers.Tlielastjoint

on

theline\\asheldabcnctheditchbythelaz)'board, usuallyoperatedb\'the

backup man, who was

ptjsitioned

behind

^thecollar.

He

alsomanipulatedtheback-up tongs withthehandles

on

the

ground

to

keep

thepipe

from

recoilingwhilethene\\'jointofpipe

was

being .screwedinto the collar. Hiejointofpipetobe

screwed

in

was

thenpicked

up

with pipecalipers resemblinglarge icetongs,

sometimes

called

earn

inghooks,

and

placedwith

itsthreaded

end

read\ to insertintothecollarof thelastjointofpipe ^laid.As thejoint

was

.set intothecollar, the stabber,

who

stoodat theopposite

end

of thecollar,threw his

arm around

thepipe

and

startedthethreads into thecollar.

Foralargediameterpipe,thestabberusedastabbin'

board

(a

board

orpole stuckinthe

end

ofthepipe)tohelpholdthepipestraight untilthethreads could

be

startedintothecollar.

As

soon

asthejoint

w

aslined

up and

threadsstarted,thestabber

shouted

"Catchit!" lliis

cued

thejack

man who quickh

placed thejack

and

jack

board

inposition toholdthe pipe. Tliejack(a

wooden board which

actedas abrace torthe jack)stood

on

a

growler board which

providedstabilit\'

and

keptthe jack

and

jack

board from

slidingintothe ditch

once

thepipe

was

rotated.

W hen

thepipe

w

assecure, thestabbercried"Roller!"

which

indicated

he was

readv'forthespinningropes(usually

two

1

h

^{inch ropestenfeet long)to}

be

looped around

thepipe

two

orthree times.

As one worker

pulled

back on

the

end

of

each

ropeto

make

^itgripthe pipe, several

gang members

pulled forward, causingthejointto rotateinthe

proper

direction.

By

pullingthe ropes

from

oppositesidesofthe pipe, itv\'askeptstraight

and

theinitialstages ofscrewingthepipe

were completed

whilethethreads

were

stillloose.

Asthejoint

was

beingstarted

and

slackt;iken

up

b\ thespinningrt)pes,the collarpecker,

who w

asseated

behind

the ct)llar

on

thejointthat

had

^already

been

^laid,

began

to

pound

rh\thmicallyorslapthecollarinto

which

thepipe

was

being screwed.

The cadence

providedb\'thecollar

peckers

h;unmer(s)

(one

or

two

oftheball

peen

tvpe)served

two

purposes:it

made

thepipeturn easier,orasBillHester,^^-yearoldformerpipeliner

from

Dnimright,Okla-

homa,

explained,^"itkeptthecollar

warm;"

thecollarpecker's actionalso set the VM)rkpaceforother

members

of the laying gang.

When

thepipe

began

to turn hard, thecollar

pecker w

ould

"knock

off'thespinningrope

crew and

they

would

immediateh'

"hook on"

withthe^laytongs.

Each

setoftongsvaried insize

and

weight

depending on

thediameter ofthe pipe.Forsixinchpipe or largerthere

were

three

men

toasetoftongs

(two

strokers,or

hook men,

and

one

point

man

).

According

toAlHill,68-year-old retired pipeliner

from Broken Arrow

,Okla-

homa,

thecollar

pecker developed

certain

rhnhmic

"licks"foreachsetof

tongsasthey

hooked onto

thepipe.At the beginning,

two

setsof tongsturned the pipe;however,asit

became more

difficulttoscrew,

more

setsoftongs

were "knocked on" by

thecollarpecker. Inorderto

keep

thepipeconstantly rotating,thetongs

were

operated sothat halfofthesets

were

screwing while theotherhalfrecovered,e.g., ifthere

were

fourtongs

on

the pipe,

numbers one and

three

would be

"on top" turningthepipe

down

as

numbers

tu'O

and

four

would be

recovering

from down

position to

be

'ontop"forthenext rotationdowTiward.Inthisprocess, thetong

men were

hittingthe

hooks on

alternatingbeatsofthe

hammer

⁽"break out")

which

could

be done when

the piperolledeasily.

When

thepiperolled harder, thecollar

pecker would

"hit a lick"thatcalledforallsetsof tongstostrokeinimison⁽"breakin").

WTien

the pipe

was made

up,thecollar

pecker would "ringem

off'withaspecialrh)thmic pattern

and

thela\'ing

crew would move on

tothenextjointofpipe.

Hill,

who

recalls"slappina

few

collars in

my

day," says"it

was

amatter of

teamwork between

thecollar

pecker and

thetong

men." Each

collar

pecker developed

his

own method

and,

once

thetong

men

learnedthattechnique, they could not follow another

hammer man.

It

was

imperative, therefore,fora collar

pecker and

tong

crew

to

remain

togetherfortheduration ofapipelay- ing contract.

Brice

Downing,

a 56-year-old pipeliner

from

Tulsa,

Oklahoma, compares

the collarpecking

rhythms

to "listening tomusic."

He contends

thatthetong

men

developed

an"ear"forthetones

and tempo

ofthe

hammer

and,"ifthecollar

pounder

^liitasournote,thetong

men

let

him know

aboutit."

The

bestcollar peckers

used two hammers and

couldplaytunes

on

thecollar

such

as"Turkey intheStraw"

and Tankee

Doodle."Hill

remembers

that

on

variousoccasions the

workers would "dance

alittlejig"tohiscollarpecking rhythms.

Aspartofthe laying operation,thepipe

was

paintedforprotectionagainst corrosion. "Ship

bottom

red,"aredleadpaint,

was used

in

swampy

areas,while ablacktarpaint

was

appliedindrier regions.

The "dope

gang"

performed

this task.

Afterthejoints

were

properly

connected and

painted, theline

was

placed

on

skids

where

^it

was

eventualluy

lowered

intothe ditch

by

the lowering-in gang.Large

wooden

windlasses

were

usedtoraiseitoffthe skids

and

intothe ditch.

The

backfilling

gang

then coveredtheline

by

usingshovels

and

aspecial piece of

equipment

called a

marmon

board,

which some former

pipeliners suchasBillHesterbelieve

was

theforerunner ofthe bulldozer.It

was

a

board

approximatelyfivefeetlongby'threefeet

wide

with eyebolts

on each end and two

handlesinthe center.

A double

tree

was

attachedtothee)'ebolts

whereby

a

team

of

mules

could proyide

power

for

moying

thedirt.

The worker

usedthe handlestomanipulatethe

board and

directthedirtintotheditch.

FoUoyvingthebackfillwork,acleanup,ordress-up,

gang moved

intopick

up damaged

jointsofpipe,threadprotectors, empty- paintbarrels,

and

otherdebris.

They

alsorepairedfences

and

any

damage done

yvhilelayingtheline.

Upon completion

oftheirwork,the pipeline

was

laid.

After

1940

pipelining

became more

mechanized.Bell-hole

welders

replaced tong

men,

side

boom

operatorsdisplaced jack

men, and

airplane spotters sup- planted line riders.Despitethesechanges,pipelineconstructionretains the basicobjectiveoflaying apipe

underground

over longdistances,

and

toachieve that goal,large

crews

of

workers

areneeded.

Among

these workers, an occupa- tionalculturecontinuestothrive.

Each worker

contributesaspeciaUzedskill,

certain

codes

ofbehayiorareobserved,

and communication between workers

isa necessary' partofthe

work

process.

Thus

theoccupationalfolklifeofpipe- linersremainsasignificant

element

ofthe

American

oil industry.

Finally,I

would

liketoexpressmy-appreciationtoallthose

Oklahoma

^pipe-

liners

who

contributed informationfor thisresearch.

Had

^itnot

been

forthem, this article

would

never have

been

"flanged up."

Bibliography

Boatright,Mody

C

Folkloreofthe OilIndus- try Dallas:Southern Methodistllniversit}' Press, 196.^.

Boatright,ModyC,Wilson

M

Hudsonand Allen Ma.wvell. Texas FolkandFolklore Dallas:Southern MethodistLiniversity Press.1954.

Boatright,ModyC.and WilliamA.Owen.

TalesFromtheDerrickFloor:APeoples Historyofthe (MlIndustryGardenCity,

New

York:DoubledayandCompany, 1970.

Bowles,CharlesE.ThePetroleumIndustry.

Kan.sasCity:SchooleyPrintingCompany, 1921.

Lagenkamp,R.

D

Handbookof^CMlIndus-

tiyTermsandPhrasesTulsa,Oklahoma:

PennWellPublishingCompany,198

1

(ThirdEdition)

Loos,John^L.OilonStream

A

Historyof^Inter- stateOil PipeLineCompany. 1909-1959- Baton Rouge:LouisianaStateUniversity Press,1959.

Rister,CarlC. Oil!Titanof^{theSouthwest.}

Norman:UniversityofOklahomaPress, 1949.

Wilson,CharlesM.OilAcrossthe World:The American Saga of^Pipeliners.

New

^'ork:

Longmans,GreenandCompany, 1946 Discography

Dolan.Ramblin' Jimmy.ToolPusheron a RotaryRig.Capitol2713.RecordedDe- cember2.3,1953 Released^{Januar)'5. 1954.}

Simpson,Jimmy OilfieldBlues Republic 7064. ReleasedNovember, 1953.

Terr>-, Al.RoughneckBlues.Hickory45-1056 RecordedJuly19,1956.

Texas Wanderers.Pipeliner'sBlues.Decca 5831 RecordedApril9, 1940attheRice Hotel,Houston, Texas

Zanetis, Alex.Alex ZanetisWritesandSings the Storyofthe Oil Fields Ric

M

¹001.Re cordedApril 16, 17and29,1964atthe ColumbiaStudiosinNashville,Tennessee.

Research throughthefacilitiesofthe Countni' Music FoundationLibrarj-andMediaCen- ter inNashville,Tennessee.

PrqDaringtoscrewonthenextjointol pipt- inSoutheasternOklahomain1909.

PHOTO COURTESYOFEXXONPIPELINECO

Old-Time ^Pipelining

Glossary

by George ^Carney

Listedhereareterms

and

phrasesassociatedwiththe

work

ofpipeliners untilca. 194().Afterthattime,

many

oftheterms

became

obsoletebecause<^f

changesinmaterials

and equipment; however,

scxeralhdve

been

retainedin the

modern

pipelinersvocabulary.

The Crew:

back-up num.

the

worker on

thepipelaying

gang who

holds

one

lengthofpipe witha

wrench

calledalaytong.

w

hileanotherlengthisbeing

screwed

intoor out ofit.

hroiic.orhroiur):a

new worker on

apipelining

crew

hiiilgaiig:

common

laborers

who

did theditching

and

otherhea\y'

work on

a pipelineconstructionjob.Ditching

gang members were

alsocalled ditchers.

bush

gcui};:a

crew

^of

men

thatclearedthe right-of

way

forlaying pipe;also calledright-of\\a) gang.

aits:the older,

more experienced

pipeliners.

co/hirpecker, collarpoiuicter.collarknocker, orcollar slapper: thekey

mem-

ber ofthe laying

gang who

beatstimewitha

hammer

^-

sometimes he

u.sed X\\o-

on

thecollar(coupling)into

which

a jointof pipeisbeing

screwed by

thetonggang. Iliisaction pr()\ideda

rh\thm

forthetong

men and

keptthe collar

warm

sothat atighter

screw

jointcould

be made.

connection

gang:pipeline

crew

that laysfieldgatheringlines

and

connects, or

tiesin,gatheringlinestotank batterieslocatednearoil

w

ells.

(Iress-ii/)creii:or clean ii/>crew: the

gang

^of

workers

followingthela\inggang, picking

up

debrisleft

behind

inthepipela)ingpr(.)cess

and

repairing

dam-

agedfences.

18