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En provenance du cours de The University of North Carolina at Chapel Hill

The American South: Its Stories, Music, and Art

254 notes

The University of North Carolina at Chapel Hill

The American South: Its Stories, Music, and Art

254 notes

From small farms to urban neighborhoods, from the region itself to the more distant worlds of the southern diaspora, we discover the stories, music, and art of the American South.

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Introduction to the American South

Reflecting on geography, the diaspora, the mythic and the global South as ways to approach the contested memory of the region.

Welcome to the American South3:52

The Region, the Diaspora, and the Mythic4:17

Contested Memory and the Global South5:23

Race, Class and Gender5:14

Rencontrer les enseignants

Dr. William Ferris
Joel R. Williamson Eminent Professor of History; Senior Associate Director of CSAS; Adjunct Professor in the Curriculum in Folklore
Department of History

[MUSIC]

>> I talked about teachers and

how as a folklorist I learned from the people with whom I worked.

Among my earliest teachers was Mary Gordon, who raised me and

who took me to the little church, Rose Hill Church as a child, and

introduced me to spirituals and the sermon within that church.

And at her death, just before she died, I visited her and I always remember,

she looked in my eyes as I was leaving and said, you are my white child.

She taught me and passed on

a responsibility to study and to share her worlds.

In many ways she inspired my life's work as a folklorist.

There was also Ray Lumb, the mule trader, storyteller,

auctioneer whom I also knew from childhood.

And I would visit the auction barn and hear his stories, and

they were always greater than life, very dramatic, very beautiful.

And eventually, I came back with camera and tape recorder and

I recorded those stories as a part of my own life.

There was James Thomas, the Blues singer, who taught me about

Highway 61, which literally ran by his door.

And whom I discovered was not only a Blues singer, but

an amazing storyteller and a sculptor who made art.

And there was James Thomas' friend, Shelby Poppa Jazz Brown

in Leland, Mississippi, who lived in Kent's Alley.

And in the backroom of his little home,

every Saturday night he had James Thomas come and play the Blues.

And he would serve corn liquor and sandwiches.

And that was an amazing education for me.

There was Eudora Welty, the wonderful writer and

storyteller, whom I visited whenever I came home.

And we would sit and talk about writers and stories.

She would tell me about her friends and the history of worlds in Jackson,

Mississippi, that inspired her to write short stories and novels about them.

And there was of course, B.B. King, the greatest Blues singer in history,

who visited my classes and who worked with me to create

the Blues Archive, where all of his record collection is housed.

And B.B., with his guitar Lucille,

talked about how he found his own family through the Blues.

And when he sang, he would look out at the audience and

sing to them as he would to his own family.

So these are all the teachers.

They're some of the many teachers that I learned from,

that helped me understand the South and the meaning of race,

class and gender as we enter the worlds of musicians, of storytellers,

of writers all of whom are Southern, all of whom are teachers.

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