Documenting Maritime Folklife: An Introductory Guide

DOCUMENT RESUME

ED 390 760 SO 025 631

AUTHOR Taylor, David A.

TITLE Documenting Maritime Folklife: An Introductory

Guide.

INSTITUTION Library of Congress, Washington, D.C. American

Folklife Center.

REPORT NO ISBN-0-8444-0721-6

PUB DATE 92

NOTE 96p.; This guide is a product of a joint project ofthe American Folklife Center and the Bureau of

Florida Floklife Program, Florida Department of

State.

AVAILABLE FROM U.S. Government Printing Office, Superintendent of

Documents, Mail Stop: SSOP, Washing*en, DC

20402-9328.

PUB TYPE Reports Descriptive (141) Guides Non-Classroom

Use (055)

EDRS PRICEDESCRIPTORS

ABSTRAC1

MF01/PC04 Plus Postage.Cultural Background; Cultural Education; *Folk

Culture; *Heritage Education; Higher Education; Local

History; *Maritime Education; *Navigation;*Seafarers; Social History; *United States History

This booklet has two main purposes: (1) to promote

understanding of maritime cultural heritage; and (2) to provide an

introduction to the methods for identifying and documenting common

maritime traditions. The guide is intended for non-professional

researchers and community groups who wish to explore their own

maritime cultural heritage. It also may !,e useful to professionals in

fields such as marine biology, fisheries extension, community

planning, and education who are trying to understand the cultural

aspects of maritime activities, as well as to students and lay

persons working on projects under the direction of professional

folklorists. anthropologists, historians, preservationists, cultural

geographers. and other specialists in cultural studies. Inc booklet

includes exa.nples of common maritime traditions and methods used to

document them, as well as offering suggestions for projects to

disseminate collected information and appendixes containing examples

of fieldnotes, a step-by-step description of the documentation of a

small boat's hull shape, and sample forms for collecting and

organizing information and obtaining informants consent. A

bibliography of important publications supplemonts the resources

provided here. (EH)

Reproductions supplied by EDRS are the best that can be made

from the original document.

01,r--0CsM

f3.1

$

U S DEPARTMENT OF EDUCATIONOffice or Fducanona, Research and lrnprrnereenr

EDUCATIONAL RESOURCES INFORMATnN

X CENTER iERICThi, oori Jrnent has been reprodur..1 is,ecn ,pd !rod, the peson of ,Jrcpo r 1 , nor qjra.,ng I

0 Mvh, , mangos i-,i,e been m,ine turnOr . rob fd. , o , quar,I.

Pnnts , , ....eo, J L:prnions staled n rrnsIou ,vrt ,40 rm nece55ar4 represerablf1(. Ix oEIh en, tor or policy

v"

.Fl $

upn If I

0

,

Ie

.1

*

II

,

mull-

1

0.

;

,

,BEST COPY AVAILABLE

3

%.

DocummUng NbriUme FoWifeAn Introductory Gliide

By David A. Taylor

Library of' Congress Washington 1992

4

Publications of the American Folk life Center, No. 18

Documenting Maritime Folk lij: is a product of a joMt project of the

American Folklife (enter and the Bureau of Florida Folklife

Programs, Florida Department of State.

Onvr: Waterman Alex Kellam ot Crisfield, MarNland, (lett ) with his ft iend

Charlton Marshall and their catch of. rockfish. Photo in Kellam's album

copied bv Carl Fleischhauer (AF(: 45/28).

Library of Congress Cataloging-in-Publication Data

Tit k)t. David Alan, 1951-Documenting maritime f(ilklife: an int roduct( )rv guide by David

A. Taylor.p. cm.( Publications Of the American Folklife Cent(r: no.

18)Includes bibliographical references.ISBN 0-8414-0721-6

Cop% 3 hiti3. 116 .DG3 1992I. FolkluicNIctlimlulnp. 2. NIaritimc ,ttlthrupul()p. :; Mat itimc

antlimpoli)pUnitud Srataring5. Seafaring liteUnited StatusFolklore. I. Title. II Scrics.

(;1Z-10.1'39 1992398' .01-dc20 91-36699

1.0! thv I S (iw.ernmcnt UltiLy

Supcnntendoil I)o.koncrls. \ 1,1i1 S 11,1,hmtun. I )(' 2114(C-9;2S

a

Contents

Preface Vii

Introduction xi

Part 1: What to Document 1

Part 9: How to Doument 19

App;ndixes 45

A.1: Informant Information Form 47

Infi)rmant Consent Form 48

A.3: Audio Tape Log 49

Photograph IA .)g- 5 1

A.5: Boat Documentation ForIll 59

A.6: Building Documentation Form 9

A.7: Artifact 1.()an Form 64

B.1: Sample Fieldn(qes 65

11.2: Taking the lines of a Small Boat 69

Bibliography 73

'01

)fl

prfv;..

4

.1111.111.f*.k"

r

o,

'Fl

t051.0. C- "

1

,i

av...... -4

t - '..

Iiss

0 fiLIP v - .'" -1.11,4\1:.*

IIc *70 ;, *-1411, 4...

IP

I4. .

..._.

.._...., ,....

../0111

Painting shrimpboat and its crru .on the side of oseafood proursini;building in.Apalachimlo.Florida. Photo In.DatidFAIPS6-80 2,

Preface

Documenting Maritime Folklife has two mainpurposes: to promote understanding ofmaritime cultural heritage (the body oflocally distinctive traditional knowledgefound wherever groups of people live nearoceans, rivers, lakes, and streams); and toprovide an introduction to the methods foridentifying and documenting common mar-itime traditions. The guide is intended fornonprofessional researchers and commu-nity groups who wish to explore their ownmaritime cultural heritage. But it may alsobe useful to professionals in fields such asmarine biology, fisheries extension, commu-nity planning. and education who are tryingto understand the cultural aspects of mar-itime activities, as well as to students and laypersons working on projects under thedirection of prolessi(mal folklorists, anthro-pologists. historians, preservationists, cul-tural geographers. and other specialists in

cultural studies.In addition to examples cif common mar-

itime traditions and the methods that canbe used to document them, DocumentingMaritime lot/dile includes suggestions forprojects to disseminate collected informa-tion and appendixes containing examplesof fieldnotes, a step-b% step description ofthe documentation of a small boat's hull

shape, and sample forms for collecting andorganizing information and obtaininginformants' consent. A bibliography ofimportant publications supplements theresources provided here.

Documenting Maritime Folklife seeks toopen the door to maritime culture and itsdocumentation. It does not pretend to be acomprehensive survey of all the manifesta-tions or all the theories and documentationmethods cultural investigators have used torecord and analyze them. Neither does itoffer a thorough discussion of contempo-rary issues pertaining to maritime culture.Readers who wish to explore the subject fur-ther should consult the bibliography.

Work on Documenting Ataritime Folluifebegan in July 1986. when I tested docunwn-tation techniyies in the fishing village ofMayport, on the northeast coast of Florida.Following two months of fieldwork in May-port. I wrote a first draft for the guide,which was then tested by a team of folk-lorists Fr( ma the Bureau of Florida FolklifePrograms and an anthropologist from theFlorida Department of Community Affairs(luring two months of fieldwork in the com-munities of Apalachicola and Eastpoint, onFltirida's Gulf Coast. Although the bulk ofthe examples of maritime traditions men-

vii

tioned here are taken from Florida, thetechniques for documenting culturalresources can be applied and adapted tomany other maritime settings.

Many people assisted in the developmentof this publication: I am grateful toOrmond Loomis, chief of the Bureau ofFlorida Folk life Programs, for developingthe initial concept. Alan Jabbour and PeterT. Bartis, of the American Folk life Center,refined that concept and made helpfulgestions. James Hardin, the Center's editor,charted a safe passage through the trickywaters of the government publishing pro-cess with his customary adroitness.

The National Trust for Historic Preserva-tion provided a grant that enabled the pro-ject to obtain the consulting services ofmaritime folklife experts Paula J. Johnsonand Janet C. Gilmore. They in turn offeredinnumerable suggestions to sharpen thefocus of the guide.

The staffs of the American Folklife Cen-ter and the Bureau of Florida Folklife Pro-grams provided considerable assistance. Inparticular, Carl Fleischhauer at the Centeroffered valuable advice about fieldworktechniques, ethics, and cataloging fielddata, and assisted with the selection of ilhis-trations. and Yvonne Bryant at the Bureaulabored long and hard to type the various

Fieldwork in the Apalachicola area wascoin d tic t ed by Barbara Beauchamp.Ormond Loomis. and Nancy Nusi, all ofthe Bureau of Florida Folkiife Programs.and hy Marcus Ilepburn of the FloridaDepartment of Community Affairs.

I am gratefnl to the many residents of thetwo study areas who generously took the

viii

time of talk with me and other project field-workers about their maritime heritage.including Cletus Anderson, Kristen Ander-son, Deborah Beard, Dennis Butler, CostaBuzier. George Chapel, Dale Davis. LloydDavis, Steve Davis, Virginia Duggan AngeloFichera, Joe Fichera, Ken Folsom. RoyceHodge, Charles House, Robert Ingle,George Kiryin, Alice and Grady Leayins,John Lee, Nannette Lolley, NVoody Miley,Isabel Nichols, Stan Norred, Christo Poloro-nis, Gloria and.Sonny Polous, Willie Polous,Corky Richards, Arthur Ross, Lawrence San-garay, Lawrence Scarabin, Bud Seymour,Walter Shell, Judy Stokowski-Hall, WillieSpeed, Anthony Taranto, Linda Thompson,Andrew Valkuchuk, Ralph Varnes, LouieVan Vleet, Carla Watson, George Wefing,and Donnie Wilson of Apalachicola; Corenaand Loys Cain, Buford Golden, James

lewitt, Bernard Miller, Xuripha Miller, Inezand Frank "Sonny Boy" Segree, and BobbyShiver of Eastpoint; Joan Bouington of St.George Island; Eddie Baker, Albert Guf-ford, Donald Herrin, Mat Roland, and Ray-mond Singleton of Mayport; Joann andCharles Herrin, Thomas Herrin, andCamilla "Mickie" McRae of Jacksonville;John Gavagan of Atlantic Beach; and Geral-dine Margerum of Neptune Beach.

Charlie Nevells, of Stonington. Maine,and Mack Noyack, a native of Eastpoint,Florida. kindly granted permission to quotethe lyrics of songs they wrote about com-mercial fishing.

.joe Haluskv. extension agent with theFlorida Sea Grant Program, provided help-ful infiirmation about the commercial andrecreational fisheries of northeasternFlorida. Helen Cooper Floyd and Hilton

he home, boats,wharf. and gear of.fisherman Andrewl.m.e of Sumington.Aloinc. Photo copy-

right C by DavidKloplenstein

Floyd, natives of Mayport who now reside inPascagoula, Mississippi, supplied informa-tion and photographs concerning Mayport.

The guide has benefited from the adviceof many individuals who attended meetingsto review preliminary drafts, including ScottAndree, Florida Sea Grant Program; WilliamDerr, Florida Inland Navigation District;Beth Drabyk, Organized Fishermen ofFlorida; Rusty Fleetwood, Coastal HeritageSociety; Roberta Hammond, Florida Depart-ment of Community Affairs; Ann Hender-son, Florida Endowment for the Humani-ties; Lynn Hickerson, National Trust for His-oric Preservation; Linda Lampl, T.A. Her-bert & Associates; Jim Miller, Bureau ofArchaeological Research, Florida Depart-ment of State; Joan Morris, Florida Photo-graphic. Archives, Florida Department of

1 0 .

State; Charles Olsen, Florida Trust for His-toric Preservation; J. Anthony Paredes,Florida State University; Charles Thomas,Bureau of Marketing, Florida Departmentof Natural Resources; William Thurston,Bureau of Historic Preservation, FloridaDepartment of State; Patricia Wickman,Division of Historical Resources, FloridaDepartment of State. Folklorists Robert S.McCarl, Jr., and Gary Stanton providedinsightful comments about the manuscript.Any errors contained in this publication are,of course, solely my responsibility.

Finally. I wish to thank my wife, LeeEllenFriedland, for considerable support withall aspects of the project. including field-work. cataloging of field dw a, and editoriala.ssistance.

1X

Slop snot mit), ned,elth humprrOuher of Empire.toniSionn.rshresws o writ,

COMmunl% pitIn fishing nnens.Phut() 1, N'iclupla%

R. Spittrr. ourtcvs1 oinsiona I olh

Iqe Prin,ninn

Introduction

During the summer, when I was a youngster,it was common for my parents to take mybrother and me on drives from our inlandMaine community to the coast. Althoughthese drives were not very longwe livedabout forty miles away as the crow fliesthedifferences in landscape between my hometerritory and the ocean-dominated coastwere striking. And there were many lessspectacular differences as well: the way peo-ple talked, the food they ate, the jobs theyheld (notably in commercial fishing and inbusinesses that catered to tourists), and therhythms of their daily lives. Eventually, theelementary conclusion entered my youngmind that the regular ways of doing thingsin my family and community were distimtfrom the regular way of doing things in amaritime community. .Nnd, as I was to learnmany years later. these were cultural differ-ences.

What is culture? Culture is a complex andever-changing hods of lumwledge that pin-vides rules, methods, and beliefs for con-ducting life within families, «immunities,and the vat ions occupational, ethnic, I eh-gious, recreational, and other humangroups. In the ctnirse of everyday life, peo-ple use cultural knowledge in mans forms,including the structure and rides of lan.

1 2

gel "tit

guage. belief's about nature and the super-natural, and methods for getting andpreparing food. Culture also encompassesthe range of ideas that define beauty andhow those ideas influence such things asthe shape of a boat, the color of paint usedon a house, the performance of a song, andthe way clothes are hung on a clothesline.

At the heart of the concept of maritimeculture is the assumption that the naturalenvironment pla:s a major role in shapinghuman behavior and that similar settingsare likely to stimulate similar responses. Inother words, people living in maritime set-tings have a maritime way of life, just as peo-ple living in mountainous settings have apeculiarly mountain way. This sort of envi-ronmental (fetem minism is an oversimplifi-cation, however, since differences inclimate, natural restturces, popuiatirm den-sity, local culture, and economic systemsir.count for a great diversity in the manycommunities around the world that can begrouped under the loose categorizationmaritime. Nimetheless, the terms maritime( ullure and martItme communitN are tiwhilbecause they call attention to similarities inhuman hehavior that arise from broadlyanalogous environmental circtunstant es.For example, while the coastal community.

xl

Doommothillintimelkildre

of Beaufort, North Carolina, possesses cul-Ito al traits that resemble those of manyothei simthern towns, and traits of Ameri-can communities in general, it also hastraits that specifically link it to other mar-itime communities in the United States andabroad.

What is a maritime community? That is adifficult question. in a community whoseeconomy is dominated by commercial fish-ing and other maritime trades, the local cul-ture is full of maritime elements. We mightcall such a place a classic maritime commit-nits. Other communities, however, owing tosuch factors as thc diversity of localeconomies and the size of populations, mayhave significant but not predominant mar-itime-r elated cultural attributes. Majorcities, such as New York, Boston, and SanFrancisco, whose founding and growth arednet tly related to thei; fine harbors, arewiw m) populous and economically diversethat maritime aspects of local culturethough important, distinctive, varied, andof great longevityare not of a scale thatpel mits them to exert an overwhelminginfluence. On the other hand, with nearlyS9,000 miles of saltwater coastline and innu-meraLle miles of freshwater coastline alonglakes, rivers, and streams, one may findthroughout the United States an enormousnumber of communities possessing culturalattributes that have maritime connections.'

Cultural expressions are often dividedinto two broad categories: the tangibleloi)15, boats, lighthouses. and other physi-

( al artifacts) and the intangible (songsabinit fishing. legen(Ls about how an islandv,ot its name. svstems Icir navigation based

ii the use of landmaiks. and the like). But.to me, this is a mi leading separation. To

xii

call a song, a legend, or a navigational sys-tem intangible is to imply that they have noimportance in people's daily lives. This isclearly not the case. Though they do nothave physical substance, they have as muchfunctional and symbolic meaning as boats,lighthouses, and widow's walks. Cultural val-ues are lodged in nonphysical expressionsjust as much as they are in physical ones.

Sometimes forms of expressive cultureare intimately connected to a particularplace, such as the annual celebration ofmaritime heritage held in Apalachicola,Florida, initially known as the Mardi Graswhen it began in the early part of this cen-tury, and now known as the Seafood Festi-val. A particularly distinctive element of thistribute to marine resources and occupa-tions is the selection of an oyster king andqueen. A grassroots cultural expression thatis equally complex and place-specific is theannual International Eelpout Festival heldover a winter weekend on Leech Lake inWalker, Minnesota. This event, which wasbegun by the owner of a local sports shop in1979, pokes fun at th.: many fishing contestsheld in the north by focusing attention onthe eelpout, perhaps the least desired fishin Minnesota. The festival is also aboutturning the seasons topsy-tuny. Accordingto one report: 'The pouters spend a lot oftheir time denying that winter is winter andice is ice. By sundown on Saturday, two vol-leyball games are in progress at differentencampments. (In past festivals, anglershave held bowling contests using frozeneelpouts for pins.) One team here has builta split-level ice house with sundeck. volley-

ball court, bowling alley, and golf range."'Sometinws forms of expressise ultut e

underscore connections with other times

13

0.

Introduction

and places, such as saints processionsenacted in the United States that originatedin Europe. For example every year on ornear Santa Rosa lids Dav (September -I), Ital-ian-Americans in Monterey, California, reen-act a Sicilian tradition that includes carryinga statue of the saint through the streets ofthe city' and then ,lown to the harbor for ablessing of the commercial fishing fleet.Artifacts can also have strong connections toother places. In Tarpon Springs, Florida, acoastal community with a large populationof Greek-Americans, the shapes of woodenboats once used in the local sponge industryexhibit characteristic features of the smallcraft of Greece.1

Folklorists are interested in the ways cul-tural expressions vary over time and fromplace to place. because variation reveals dif-ferent solutions to common problems, solu-tions often inseparable from loccl contexts.Locally built boats used for fishing in Mainediffer from those built and used on Florida'sGulf Coast on the basis of different tradi-tions of design and construction, but also onthe basis of differences in environmentalconditions. The study of variation within arelatively small area can also help us under-stand how a bod y. of traditional knowledgechanges over time in response to social, eco-nomic, and technological factors.

In some cases, expressive culture tran-scends the local scene and assumes otherlevels of' meaning for a wider audience. Fotexample, a dialectal utterance of CoastalMaine"a-vuli"has become a widely rec-ogniied tismbol of' the stet eotvpic DownEaster and is featured on T-Shirts, postcards.and commercial sound recordings of MaineImmo!. In other ( ases, ccutain local artifactsbecome invested with deeply symbolic

ti 1 4

meanings. The magnili«lu Viking Age craftpreserved at the cathedral-like Viking ShipsMuseum in Oslo (especially the Goksuidship and the Oseberg ship) have becomesymbols for Norway's great maritime her-itage.

Why do folklorists study expressive cul-ture? They study it because expressive cul-ture emerges from shared experiences andvalues, and examples of this expressionserve as windows to a group's worldview. Inother words, they are a means of viewingcommunity life and values from an insider'sperspective.

Documenting Maritime Folklife was devel-oped in response to laymen's requests forguidance with the identification and docu-mentation of cultural resources found inmaritime communities. It provides guidancefbr the collection of information on mar-itime folklife that can be used to teach resi-dents of maritime communitiespolicymakers and average citizens alikehow tobetter appreciate both physical and non-physical cultural resources, to assess the sig-nificance of these resources, and to developstrategies for tneir conscrvation..1

U.S. 1)1 minter( e, Bureau ot Census. Sta-tairtal 1 barna of the 'rated .Sfaies I 906 I.Washington: Depart-ment of (:ornmerce. 19841), 200.

Erik I.arm in, "It SIT ellti F.Vrrs Fish !las Its DasFsen theliated Eelpsna," 4a11 Vim Inernal. February 20, 1987, pp. I, I I.

' These vessels are div rimed by anthropoklist II. RussellBernard in his article "( reek Sponge Boats in Florida."A nthmpologsral Quarteth 3$, no. 2 ( 19M):

' Comervanon is debberatels given preference here overferiervaann. In doing so, I hillow Ilufford's reasoning in dis-tinguishing between the two terms. As she has written.

ni )11 Al rests the Cs thltln and dr( as nt a barn, .1ileumbet, or a trae t iii wilderness C.Amservamin enhances

the pitenti.,1 ot a renewable rem nirces, efficientls moving itthrough a le ot use, ienewal and re-use. Caniservattonentails chit attention to the cii-evoleing ft-attires within assstrin (Mar v I luttool. One Spate Maav Pim el. helkale arid1 awl I el. en New lenei'i Pi Wands .Naaanal Hewn., iWashitig.

)IV 1.11)1a1 y met Iongiess, 19SOO, 10744

1

.4

Icrmarttpalaciutfolaflorula. Muth) h%David 1. Imbn.( ()Utley\ fit BurfAll

thirldfl tdtbtoPrngrarri

Part 1: What to Documen

To give the reader a sense of the ';'irm andvariety' of traditions found in maritime com-munities, this section provides a few typicalexamples. While such a listing emphasizesseparate categories or genres, it is impor-tant to remember that the traditionalexpressions always take place within the livecultural settings that create them. Jokes.beliefs about luck, and boat types can onlybe understood within their natural con-texts. And within such natural contexts scv-eral traditional expressions may be enactedat the same time. When a commercial fish-erman pilots a locally built boat to fishinggrounds by lining up "marks" (landmarks).at the same time interpreting the circularflight patterns of sea gulls as a sign of animpending storm, traditional knowledgeabout boat forms suited to local conditionsnavigation by eye, and prediction ofweather are integrated.

In maritime communities, ime rich con-text fOr traditional expressimis is the. Occu-pational group. Commercial fishermen, fishplant workers, boat builders, net makers,harbor pilots, and deep-sea fishing boatcaptains all acquire an amazing varlets oftraditional knowledge from coworkers thatthey pass along to others in the workplace.

At the core of any Occupation is the tech-nique required to perform a given task.'

16

This technique consists of the ways workersuse their tools, respond to their environ-ment, and interact with other workers. Forexample, the central technique of oyster-shucking consists of four operations: break-ing off the tip of the oyster, inserting a knifeblade in the shell, cutting the muscle fromthe top and bottom of the shell, and deposit-ing the meat into a bucket. To outsiders thismay sound like a fairly simple procedure,but insiders know that skillful execution ofthe sequence of movements takes years ofpractice. Virginia Duggar of Apalachicola,Florida, is an oyster shucker with over twentvyears of experience. Her description of thework conveys its ctimplexity.

You used to use a hammer and an ironblock with a tip-thing on it. And You hold theoyster behind the block with the lip of the oys-ter on this raised-up piece and you hit acrossthat thin part of the oyster with the hammerWe base shucking hammers which arc flat onboth sides. And the main thing is to keep thep(nnt of your knife tip towards the top shell.Now, You have a top and a bottom to an oys-tut.. Ninety percent of the time the top of theoyster will be natter, and bottom Of the oysterwill be rounder. So. you keep your knife, thepoint of your knife, and You bring it acrossthat top shell. And then you put the top shell

1

off, and then you come under and you cut offthe bottom of the eye of the bottom shell. Butif you're not particular to keep that knife kindof pushed up against the top of that top shell,then you'll cut your oyster. Your knife will goright through the belly part of it.2

Surrounding the central technique of anoccupation are many related expressiveforms: words and gestures used betweenworkers, the arrangement of tools and otherobjects within the work area, and customspracticed there. In the oyster house, theshuckers select oyster knives with the mostappropriate blades for certain shell shapes;distinguish oysters of varying size, shape,color, and shell composition; tell storiesabout events that have occurred in the oys-ter house; gesture to the "houseman" tobring more oysters; and, perhaps, organize a

2

party for another shucker who is about to bemarried. Examined altogether, these tradi-tional activities help reveal how the group ofshucker expresses itself and its values.3

Frequently, certain kinds of traditionalknowledge are shared only by the membersof a particular occupation: the names andlocations of shrimp fishing grounds areoften known only by the shrimp fishermenwithin a specific area. Other kinds of knowl-edge, such as environmental clues used topredict the weather, might be known bypersons in several occupations or by thecommunity at large. A prominent exampleof traditional knowledge used by boat oper-ators from different occupational groupsrelates to navigation. Although state-of-the-art electronic navigation devices are avail-able to contemporary commel cial fisher-

- 7

Hands of oystershucker Photo byLvntha EikrCourtesy of CalvertMarine Aluseum

Page from the-range. hook" ol oys-terman Ken Folsom

of Apalachicola.Florida. Fishermen

often use sketchessuch as these to

relocate navigationchannels and pro-

ductive fishingareas. On this

page. Folsom hassketched the loca-

tions of trees. pointsof land and poles

marking the. hound .aries of a leasedhr bedsome of

which hell line upin urdrr to.find a

course to a "lump-of marketable oy.s-trrs he discovered

mi a previous trip.Photo les David

favior I 1-11P46-BDT025/12

Part 1: What to Document

Men and other boat operators. many whooperate close to shore still calculate astraight.line course using a time-honoredsystem based on lining up two landmarks. Afisherman might plot his course to a primefishing spot by aligning a familiar tree withthe steeple of the local church. A line, or'range.- such as this helps captains locate.fishing spots. and also its.ists them in nego-

4 8

tiating narrow, tricky' passages and avoidingunderwater obstructions Lhat can damageboats and fishing gear. Sometimes skipperswill record this information in notebooks;more often, they will memorize it.'Although this basic system of navigation iswell known to many boatmen, the coursesthemselves are usually known only by thosewho travel the waters of a specific region.Sometimes, as in the cL:se of marks used tolocate a rich fishing ground, courses areclosely guarded secrets known only to a few.ln any case, systems of navigation are wor-thy of researchers' attention because oftheir historic importance to maritime peo-ples, and also because they can provideinsight into the ways watermen conceptual-ize space above and below the water.'

Although all folklife expression is embed-ded in a larger context, for the purpose ofdocumentation and studs' it is useful to ana-lyze them by category.. Several of the mostcommon ones are: oral traditions, belief's,customs, material culture, and foodways.

Oral TraditionsOral traditions include jokes, riddles,

rhymes, legends, songs. and stories, as wellas non-narrative forms such as jargon.regional speech. and local plAce names.Often these expressions can he distin-guished from normal discourse on the basisof certain verbal clues, or "markers," thatannounce the beginning of an oral perfor-mance. For example. the phrase "thatreminds me of the one about suggeststhat a joke is about to be told. "As the oldpeople used to say. . . man herald api met b. Tall tales, on th,. whet hand, Inasnot be identifiahle at first. hut gradualls

3

define themselves as the teller begins toexaggerate. John Cotvagan of AtlanticBeach, Florida, relates a brief tall tale:

'Ms tumid/ told me that he 1 etIll'Illheled%then tittle )%asil I an) !Millet. Ile thele))as 0 big (tonight about fishing and the hem IIfisliel men stased tittle Inn the beach.' all \\in-let and I got nothing whatsoever. Utley wouldactu.ilk go in their boats and go looking (tortishl. Ile said that Me\ saw a lire one night onthe Net lal end Of tilt littlu ettueo. .\11d diespidlcd ti thet & to see ottis ho ii tile\ overt.( ato hing something..And theo 1 say that therewelt' 100o porpoises thrt Toasting a p00S11111.Illat.N hint had the fishing vo(is. 11ou knoisythat's bad.'

Sometimes an oral performance Call bevery brief and can occur with no warning atall. In the following interchange, the inter-viewer falls for a verbal trap set bv Mayport.Florida. net maker and former shrimperMartin Cooper:

Interviewer: 'What's the 11111)1 lant pallnt I afthing shrimpl1r

Cooper: I he most important part is. I'llespiain it m sou this Was, The shrimping Oper-ation starts (it the bow stem ot a boat and itends Where owl lie OW end end. It anythingwoes wrong in between anv of Mein places itaffects tour shrimping. And, th, but the mostimportant thing, getting back to Your ques-tion. What is the thing that holds the steeringwheel on-r You know, that, what's that littlething uu so Few on behind the steering wheelto hold it mr;

Interviewer .N 11111 or something

Cooper: Thats right, On nut belnitd au' wheelis the 11111)0(1111M thing

4

Personal-expericin e stories ..ind legendsare other narrative forms. Personal experi-ence stories are slot ics that recount espe-cially dramatic episodes in people's hoes.Turning an account of an experience intoat t. the storytelleu frames it with a begin-ning. middle. and end, and people's it witha cast of char,tcters.

Captain Eddie Baker of Nlavport. Florida.a retired shrimp fisherman. relates the fol-lowing personal-experience story about aclose c,dl:

Baker: [se gut ill nimble a siorm. I goto aught down un the beach herr in stnl ItO

e5etslii.ids else I ostilt %Oil the sseallit'lalld I figured I could have heat (against' theweaMet to 011. Augustine. And it kink in. s)ell.it intik Ilk' nineteen hours.

Interviewer: Going right into the win(117'

Baker: I 'wing into the wind. And I haslow down. and something tell me, i nu slow it(lotion.- And I slowed the boat down. And then,the hos right there said, "Captain. vou got theboat full ot water.- I said, "It issr' I said, "Losethe :in( hor oserhoard.- And he got down indie hold and all die trash, all the trash 1 !cacti

got in the pump. And (he had tol clean it out .ICI the engine run, and he pumped it out.

We got the anchor up. and we made it on toSt. Augustine. We got to St. Augustine, ;Ind hesaid, "Captain. vou can't go in there." nd Isaid, "Von (lo like I tell you to (hi." I say, "I'M1101 111) heel' lw myself." And I set the cmnpass.ind went straight in Ito) the bar with twoother fellow's boats behind me. And I got onill 1 the harmd the\ said, "I leo, you goingto tigustine-r" And I said. "No. I'm going onhonne." I come up thi.ough the inside (pas-sage', (lime on in In Ma\ poi i. And I gutinside. and I said, "Thank You, Jesus."'

19

Retired shrimp boatcaptain Eddie

Baker (right) ofMayport, Florida,

discusses his careerwith fieldworker

David Taylor Thelast vessel Baker

skippered, the MissAlice (named after

Baker's wife), isseen in the back-

ground. Photo bvFrank Smith.

Laurin). of FloridaPublishing Co.

At

part 1: What to Document

;," , Alo

1.0)

Legends are narratives, supposedly basedon fact, that are told about persons, places, orevents. For example, in the adjacent fishingrommunities of Beals and Jonesport, Maine,legends about fisherman Barney Beal are wellknown. Beal was a giant of a man and the sto-ries about him invariably focus on his tremen-dous strength. As the stories were passed onto newer generations in the years since Beal'sdeath in 1899, actual events have beenembellished and new stories created. I n 1956,folklorist Richard Dorson wllected this stotsabout Beal from one of Bears grandsons:

20

,f28-

5.

;It

Dorson: Now, you were telling me a veryinteresting account of the time the bully ofPeak's Island challeoged him to a fight.

Esten N'es, I've heard that story toldmany a time, that he went into Peak's Islandto get water for his fishing vessel. And thebully of Peak's Island met him on the beachand challenged him to a fight. So he told himthat as soon as he filled his water barrel whyhe would accommodate him. So he went andfilled his water barrel. And they used to usethese large molasses tierces for water barrels.So he brought the water barrel down on Owbeach, and he said, "Well," he said. "1 guess

5

before we start, I'll have a drink of water." Sohe picked up the water barrel and took adrink out of the bunghole, set it down on thebeach, and the bully of Peak's Island walkedup. slapped him on the shoulder, and says,"Mr. Beal, I don't think have anything todo with you whatever."'

Oral traditions common to maritimecommunities include legends about buriedtreasure, how an individual met his death atsea, and how an island or some other fea-ture of the landscape acquired its name.Tall tales are frequently told about large orunusual catches of fish, bad weather, andfeats of strength. Personal-experience sto-ries abound and are often concerned withsuch topics as the biggest catch ever made,the strangest catch ever made, and the clos-est encounter with death on the water.

The vernacular names used for familiarthings such as fish, plants, birds, cloudforms, boats, and gear are important ele-ments of traditional knowledge that areexpressed orally. While identical terms aresometimes used in different communities,there is generally a good deal of regionalvariation as well. For example, the end of atrawl net is usually called the "cod end" byNew England fishermen, while in theSoutheast it is often called the "tail bag."And, not surprisingly, things found onlywithin relatively small geographic regions,including unique boat types or species offish or birds, possess traditional namesunknown outside the region. An example isthe "bird dog" boat, an open, inshoff, fish-ing craft used along the Gulf Coast ofFlorida. In manv communities, residentsfollow traditional rules for giving formalnames to individual boats. For example, ina large number of fishing towns it k custom-

621

Net malaT AlamoFloyd al .thsvpurr.Florida. repairs ashrimp trawl tor oboa/ If ,ilermoaNaha in David .1laylar (coBomar al flarida

Pratrraml

a

The richness oflocalized namingpractices is eldto-inked by this du-

p1a of ditio Riverhells. Kent

McDanidAtetrupolic.

submitted the dis-play as his entry in

a high sthool sciencefair The names of

the shelLs are asfollows:

Row I Ilo. toright huchhorn,

buzzard.head. rab-bit's foot, mule-ear.

monkey faceRow 2: yellow

huclehorn. buderfly,stock sandshell

Row 3: niggerhead,eggyhell. bullhead.

pimple back. pigtoe.Row 4: pockethook,

maple4eaf three-ridge. wash.boani

Photo Jens Lund


ary to name a boat after the owner's wife,child, or some other close relative.

The use of distinctive words and phrasesalso constitutes traditional knowledgeexpressed orally. In many Florida fishingcommunities, it is common to hear fisher-men use such regionally distinctive wordsas "hang" (an underwater obstruction),"kicker" (an outboard motor), and "lick"

('ver fishing v,rounds with a net orother gear).

A(2:22

Nearly every' maritime occupation has itsown jargon of words and phrases, seldomknown outside of the occupation, that labelfishing gear, tools, procedures, and occupa-tional roles. Place names are of great signifi-cance, especially traditional names forfishing grounds. If these names have beenin use long enough, they sometimesbecome recognized as official names andare used on charts. Many, however, areknown only by fishermen. Other importantnames identify local landmarks used for lin-ing up courses and for judging distancesalong the shore. Names that shrimpers usefor landmarks south of Mayport. Florida,followed by the features from which thenames were derived, include:

"Crazy House": a shoreside house builtto an unorthodox design.

"Golf Ball": a water tower shaped like anenormous golf ball.

"The Road": a dirt road running perpen-dicular to the shore.

"Three Houses": a cluster of three houses.

Place names like these sometimes continueto be used after the original landmarks havedisappeared.

Song is another category of oral expres-sion, and songs with maritime themes orsongs performed within the contexts ofmaritime occupations are sometimesencountered. In the past. songs about thesea and worksongs sung to facilitate certaintasks figured prominently in the lives of sea-men and other inhabitants of coastal com-munities. Toda %. largely because oftechnological change in maritime occupa-tions and the spread of poptiliir musicthiough electr()nic media. these expres-

7

Doctuneatiag Mare Fo Wife

siop Irss ( I )11'11110n. For example. withthe a 'vent of engines to haul anchors andnets, the need to sing songs that helpedconcentrate group labor was eliminated.And ip most oyster houses, popular inusicbroadcast from a radio has replaced thesinging of songs bv shuckers. songs sung toreduce the monotony Of the work.'" But res-idents of maritime communities still com-pose songs that reflect ties to maritimeheritage and associated values. Take, forexample. the song "Oyster Man Blues," writ-ten by Mack Novak. a native of Eastpoint.Florida.

rhis song is noteworthy because, in addi-tion to choosing the most distinctive fishersof the Apalachicola Bay region as its theme.it describes oystering trom an insider's per-spectise. It depi( ts a typical das of oystering.using ))( cupational tat gun such as "hickorssuck," )s500t1en osst('l tongs), "cull iron''(metal tool used to hang apart Os stcrS thathave tormed clumps), "grouper trooper"(state fisheries patrol officer). and "oysterruler" I ineasuring device used to determineif ovsters are of' legal suit.). Songs like "Ovs-terman's Blues" can provide researcherswith valuable clues to the was insiders con-ceptualize the process of work, and canhelp illuminate the values that are impot-tant to fishermen, their families, and otherresidents of then communities.1-'

BeliefsBeliefs are easily among the most distinc-

tive ..ind endurnig portions ot maritime cili-um.. I.:minion:LI beliefs populai Is calledsupei stilton.) at t nuns th... are Usti-ails [elated to ( misc., and effects and areof ten manifest in certain practices. Com-

8

"Oyster Man Blues"

By Mack Novak"

[Spoken:1Now, this is going to be a quick story in oystering in which youhave to go out and separate the little oysters from the big oys.ters so you won't get a ticket. And it goes something like this:

(Sung:1Their day it starts at 5 A.M.they hit the bar.Theyve got their Maxwell House Coffee in a Rama Mayonnaise jar.Out goes the anchor, and then over ge the tongs.At 10 A.M. they're saying. "Oh, Lord, where did I go wrong?"

He's got those oysterman's blues.He can't afford a pair of shoes.His hickory sticks, well, they're slapping out a tune.And it's called those oysterman's blues.

When he tongs up those oysters, then he throws them on the deck.He reaches over to his wife and he gives her a little peck.Then he hands her a glove and a cull iron.And says, "Honey, separate these things 'cause I sure am tired."

I've got those oysterman's blues.I can't afford a pair of shoes.My hickory sticks, well, they're slapping out a tuneAnd it's called those oysterman's blues.

[Instrumental Break]

He comes in from the bar expecting to go home,but there's a grouper trooper on the dock in his grey uniform.He pulls out his oyster ruler and he goes to work.When the count is 35 percent. he says, "Hey, you're out of luck."

You've got those oysterman's blues.You can't afford a pair of shoes.Your hickory sticks. I'll bet they're slapping out a tune.And I'll bet it's called those oysterman's blues.

Yeah, it's called those ovsterman's blues.

Shrimper (larksHerr-in offach-

stowille, Florida. inthe pilot house ofhis fishing boat.

Mis% Joann. Photob David A. lavlor

(IMP86-8117T105/28)


mon examples include beliefs about goodand bad luck, signs for predicting theweather, interpretations of supernaturalhappenings, and remedies for sickness andinjury.

Since maritime occupations often placeworkers in a highly unpredictable, con-stantly changing, and hazardous environ-ment, it is not surprising that workers holdmam beliefs about fortune andmisfortune." A primary function of suchbeliefs is to explain the unexplainable.Watermen generally can cite many actions

?4

-t..

;rob

44Rn6'140.

14101.111.1falp

ts#

that invite bad luck. These actions includeuttering certain words while aboard a boat,taking certain objects or peopb: on a boat,going out in a boat on a certain day, manip-ulating parts of a boat in a certain way, orpainting boats with certain colors. A Floridashrimp fisherman notes beliefs about ha(1luck that he and his peers have learned:

Tlwre are a lot of words, you know, that vondon't say on a boat. lake) alligator. Von don'tsav alligator on a boat oi you're going to havea pile of had Ill( k. (i. qi'( have no Owns (In

there, no shells on a boat. Thu don't nun the

9

Documenting Maritime Folk life

11,11( h I o\ III ilti 1%.1\ 1111,111C (illt111. '(tiltI .111\ Ill) 10,1(1.. t it MI III) iii

ssillsth '

\LIM hCliCis ithlifit bad 10(.1. have beenpart of local maritime culture tor so longthat their origins arc unknown. Occasion-allv, however, stories ai e told that eitherdescribe the origin of a !whet or depict aninstance where circumstances appear to val-idate one. The billowing t itt example ofthe lattei:

The shell storv, now in tat t, this boy used towork with me on the Miss Vogv. lie was outthere dragging I fOr shrimp one night, and hewas on the stern, and he hung up [his Oct I.So, he rim up there. and cut die engine down.and it took him t while to get oft the hang.And lir started dragging .Fliv engineshut oft. So, he got that goin4, again, starteddragging sotto. more, picked up I his net I, andwent on the stem, and (wasl helping his crewpick out I shrimpl mil he noticed the boatstarted to yt around one wav, and startedrunning tor the pilot hotise\nd the lauto-mink 1 pilot had hung yp It tat ried the boataround (me StlirInd tt htti (ht. quadrant i,sassupposed If) sii Ihr titthtiti III the back, well.it did stop the i tutu' r, but the pilot didn'tstop, So, it tore op pat itt the dash, alldlipped all the pilot lint ot the door And this isall in Mir nigh( S4), 11(' kind of, he helieses inall of that Isind itt stud turn\ mu, '1.111 salti,

something (III IhIs im),(1 (hal Isn't slip-1)1(.4'd 4t11 ht. Ltttl itt I./44.11N Mid

,d1 mut the boat..\nit he got on topof the pilot lionse. t iii theirshells on the pilot house that his de( k handbad inn up their to utit ttt good he said,

shells %%as the irason we had all the!inutile.- lir thomed theni shut ttuilmatit,and he Steil( lii uuuttitihts. Ilcsur /Ltd ,Ito tuttle

1 0

126-

Ze

25

11,4

Breaking a bottle ofchampagne over thebow of a new vesselat its launching is awidely practicedcustom believed toinvoke good luck.llere the Otesa-peaky lia) shipjachConnie Francis ischristened at PineyPoint. Afar viand..bv Connie God-dard. witi' of theboat's builder.

ranci, .oadardPhoto trl

o r! letchbaut.rCourtes1 ,4 Calvert11a ii ii, lis set, to


Beliefs about actions that invite good luckappear to be fewer in number than thoseabout bad luck, but many can he found.Beliefs about good luck include the break-ing of a bottle of champagne or other liquidover the bow of a vessel when it is launched,participating in a blessing-of-the-fleet cere-mony, placing a coin under a mast, carryinga lucky object aboard a boat, and steppingon or off a boat with the same foot.

Beliefs about the prediction of weatherand the movement of fish are usually quitenumerous. These beliefs, often linked tothe detection of minute environmentalchanges, reflect watermen's intimate con-tact with the natural environment. A retiredFlorida shrimp fisherman recalled:

When son were shrimping and you startedcatching shrimp with their legs just blood-red,you knew to watch very close because youwere fixing to have either a strong northeasteror a strong southeaster. Their legs will turnjust as red as fire, so, ves, their legs will turnjust as red as fire, and you know you're in fora spell of bad weather.'

Another shrimper who fishes out of thesame community explained how wind direc-tion can provide clues about the location ofshrimp:

There's certain places that shrimp get in indifferent types of weather. Say, for instance.You go out to the jetties one morning, and it'sblowing a pretty stiff southwest wind. Well,that tells you, in most cases, that you want togo southwest on the beach, get close up to thebeach, and you probabiv would do better. It100 COM(' out of the jetties, atul it's blowing apretty good. still northeast wind, you can gonortheast or southeast. but you want to go off-shore in the deep water, and most of the time

: 9 6

you'll do better that way. When the wind isblowing out of the northwest, turn your boatback around, and go back to the dock, andmake you another cup of coffee because youain't going to catch a thing. It just dries it upcompletely. A northwest wind is a bad wind onshrimping. I don't know why, but you justdon't catch no shrimp."

Sometimes beliefs are expressed conciselyin the form of a rhyme. When discussing therelationship between wind direction and fish-ing success, an oysterman from Apalachicola,Florida, remarked to a researcher:

East is the least,and the west is the best."'

In other words, in Apalachicola Bay,winds out of the east generally produce con-ditions that are least conducive to goodcatches, while winds out of the west tend toravor good catches. Other "signs" often..ssociated with weather prediction includerings around the moon, concentrations ofrefracted sunlight in the sky called "sun-dogs," the color of the sky at sunrise andsunset, and the color and texture of the sea.

Beliefs relatA to the supernatural arealso found in maritime communities:ghosts, phantom ships, burning ships, orsea monsters. But, because many people arereluctant to discuss them, they are consider-ably less conspicuous than beliefs aboutluck and weather. A net maker tells of hisexperience with a supernatural event:

I saw an occurrence, and I never said verymuch about it. . . It was in the bin, and itnever really got close enough for me to reallysee it, but it was right down off town, offstraight out from the city marina. And Iwatched it c.,toe in from the Gulf. And itcome in and went across a bar where it's

11

a,

11.1111/?1 111'1 III1 NS,1% ,1 ship that big (mildnts. \Int it appeal cd tel be ing t h1/011C1--

hig °HP "I %"1". "1". Anti it)esplaming Ii ae%,n. It was a

ship «line In their and went across that bar.!hit I don't know %skit It 55..15. And I 5yas curt-trus Atilt!? It, hut I neer!. said much about it141.111st 11111' 10111 ,11, "1 /11, s1111.11. 11,1/s." S11,

%111 I LIST (It Ill I 1.11 L about it. But this vessel1 1111It III 111/111 1111' 11111 11.111, 11151 like it wouldhut dijit a 111111d1rd Sears agu. And it comeII1 .11111 111ss(11 11111.111r1 1)1/1111. .11111 C0111.1-

11('S 101111 IS 11111 shallow. And %Olen it crossedIi %sum Itchind the day mat Ise!, and still Weill

114 111 1/11 111/ 1111' 11,15 111%V1111S S1, A111111155. Anti

then It lust sasn't

Customslistottis ate sinillat to beliefs in that they

5rthal and nomerbal exptessionsthat air pill 11110 pia\ uiitltt certain circurn-slant cs 1 Illikt' dill III(' Ili /1 !milliar-d\ «nle et 11(11 1111 asslIII11)11011s that certainsigns ot ae nuns veill indicate or cause partic-Uhl es1111 ( .11511 /111S ,11 1)1 at 111 l'S h/110Wed

i. ,11 matte! of (muse.. \Vell-knenvn customsate. ass( te iiittl 5vith holidays and festivals, as55(.11 IS tiles of passage such as birth, mar-1 lavse, t110 11110 an occipation, retiretnern,anti ele.ath. Fieepientls, itnportant eventsin( I tide. ,1 S,11111 ( 11 111/111,11A pracficeS.

\Veddings, lot example., femme such thingsas tt,telitional 5oe55, must( , clothing. riceillitming, Ii tod think, toasts, dancing, bou-quet and gat lei tt 1ssing. and car "sabotag-nig Hi('s). 1 11s1 1/111s lit II i1IIit.((l 1 11 a

/1'1 11iI IIIIit1 111,11 %5C11 1.1101%11 In CVCI'N-

01ir III Ihlu WM111111111.

\tali\ lis1011I 11111(111)' 10 111.10111111r

5) lilt itt I II1111 011III 1 1 Ill 1111 111 III %1 11 11 111,111 11 111 111(111 S. 1 11 SC\

1'1,I1 .11 \ 1,1111('S ( « its. luhstrt

1 2

MD IOW NOW.411....116..44,

4.11trotelli

4.1

11.et

4..

.27

11116

PIN

I.

In the fishing com-munity ofApalachicola,Florida. residentsannually celebratetheir maritime her-itage with a seafoodfestival. An impor-tant element if thisfestival, whichdates back to earlyyears of the twenti-eth century, is thecrowning f KingRets-yo oysterspelled backwards)and a festivalquern. In 1986,Lori Ingram waschosen l'estivalqueen and HobJones um selectedto wrre as KingKetylo. Photo bsLet.Flialt IriadlandFill )40 MU /311)

S.


boat races, rowboat races, and the sale ofseafood prepared in a traditional mannerare key elements of annual Fourth of Julycelebrations. At Easter time in many coastalregions of the country, local clergymenbless boats and their crews as they pass by ina procession. Community-based seafood fes-tivals also include many customs. In thetown of Apalachicola. Florida, site of one ofthe nation's most productive oyster fish-eries, an annual festival is held to celebratelocal maritime heritage. Inaugurated in1915, the festival includes such events as thecrowning of king Retsyo ("oyster" spelledbackwards), a blessing of the fleet, an oys-ter-shucking contest, an oyster-eating con-test, crab races, and the sale of localseafood.

Customs related to death also have mar-itime correlatives. They include memorialservices held at sea for fishermen lost there,and tombstones that display engravings ofboats, anchors, and other nautical objects.

Finally, there are remedies for sickness,especially seasickness, and injury. For manycommercial fishermen, wounds caused bysharp fish fins are a constant hazard. Thefollowing is a description of a method usedby some fishermen to ease the pain causedby such injuries:

Take a penny and wrap it in a piece ofbacon and put it on [the wound). Andwhether it be a nail or a catfish puncture, ..you will not believe what it will do. . . . I'vepersonally. a number of times, took the permsand a slice of bacon about this big and put thepetms inside of it, and just fold it over. put itright to the puncture wound. And you will notbelieve. The next day it's like nothing eserhappened to 501.1.2"

5 .9

Material CultureMaterial culture refers to artifacts and the

knowledge required for their creation anduse. These artifacts are usually the most eas-ily identifiatIle forms of traditional expres-sion. In maritime communities, boats of allsizes and typesfrotn small plywood rowboats to large shrimp trawlers--areextremely important elements of the cul-tural environment. In communities wherebuilders design and construct watercraftaccording to informal rules and pricedureshanded down over the years, boats reflectbuilders' evolving solutions to such prob-lems as depth of water, prevailing winds, cli-mate, availability of construction materials,and intended uses. Due to gradual improve-ment over time, many boats, such as theApalachicola Bay oyster skiff and the Mainelobster boat, are superbly suited to localcontexts.

Fishing gear is another rich and signifi-cant aspect of maritime material culture.Nets, traps, buoys, line trawls, spears, canepoles, hooks, lures, anchors, weights,sinkers, bait bags, and other types of equip-ment illustrate the methods fishermen havedeveloped for capturing local marinespecies. As with boats, fishing gear oftenundergoes change over time in response tolocal conditions and materials.

Shoreside buildings of all kinds, such ashouses, boat shops, boat houses, net lofts,shucking houses, and fish camps. representa third major category of maritime materialtilture. Such structures often illustrate the

adaptation of traditional design and con-struction techniques to a maritime environ-ment. They also reveal local preferencesthotit the arrangement of interior space,

13

14

the repair tzmimanufactun' of fish-in gear I. a cam-man activitlmaritime communi-ties. Sonuliims thework is carried onhy specialists. suchas olster tong makerCorky Richards ofApalachicola.Florida (shownhere); sometimes itis dam' hy the Ji %hermen themselves orother nonspecialiNiS,Ph oto hyDavid A. lilylor(11116-111)11127/16)

JEST CPPY

Locally caughtseafood usually

Nays a major rotein the food tradi-tions of maritime

communities. llen,members of a Beauxlirrd4r. Louisiana.

family brepare acraulish "In

1/hitherto bniisirma.the tonsumptiimcrawfish caught in

the AtchafalayaBasin ts the wider-

blew rst !rum socialthee, 111 pa-fam-ily monhers andfriends, Photo by

\.icholas R. .spitzer(:mirtrs-v fy

1,151511,70151 folhldeProgram


and the spatial requirements of traditionalactivities such as oyster shucking, net mak-ing, and boat building. How the interiors ofdwellings are arrangedthe shapes, sizes,and locations of rooms and the type andplacement of furnishingssays much aboutthe traditional patterns people use to ordertheir lives,

In addition to boats, fishing gear, andbuildings, many other artifacts illustrate acommunity's relationship to maritime cul-ture. Thus, decoys and blinds are used forhunting waterfowl; specific types of boots,caps, and other items of clothing are wornby commercial fishermen; and yard decora-tions consist of overtly maritime objects

4

30

such as salvaged anchors, ship wheels,hawsers, and shells. Artifacts also includewharves and moorings, paintings and signs,half-hull boat models used by builders todevelop hull designs, and full-rigged scalemodels used to decorate interiors of homesor restaurants. All these items, from thefishing vessel to the painting of a lighthouseon a mailbox, can reveal much about mar-itime culture when viewed in relationship toother objects and human activities.

FoodwaysFoodways are the traditions associated

with the growing, gathering, preparation,serving, and consumption of food. In mar-

law

15


itime communities many food traditionsbased on locally available fish and shellfish.For exmnple, residents of Key %Vest, Flinida,have developed several unique recipes forthe prelmration of conch, .t shellfish thatwas extremely ablimiant in local waters inthe past anti served as a major food sourceduring the Depressitm.'n Some recipes areunique to certain areas. For example, in thefishing communities Of Newfoundland bat-tered and fried tongues of codfish are con-sidered a delicacy, and in parts of coastalVirginia "planked.' shad is a specialty. 'Muchregional variation appears in the names forlocal fish and shellfish, the types of foodserved in combination with fish and shell-fish, and taboos against eating certain typesof fish and shellfish. hmdwavs also play arole in traditional rituals and celebrations.In fact, food can be the keystone of anentire event. In the New England clambake,frequently held in connection with fiunilvreunions, participants gather at theseashore and build a large wood fire that isallowed to burn down to coals. Next, a feastof' local lams, lobsters, and emu on the cobis steamed over the coals between layers of,caweed. Other events involving foodsinclude boat-launching ceremonies andseafood festivals. In these contexts, as withthe clambake, fbodways occur with manyother traditional expressions.

' I Flu concept lit iii Ilpalli Mal It's 61519451 5 devel-oped ti Robert S. \is:Call, Ji., in his essas "(kccipa-tional Theoretic.,c1 Ikpothesis." in ItsorkingAtrierzsanc: Contemporary .1plooaches lii lh.i.ulnitional folkhp% eititvil Rstheit II. Ilvington, Smithsonian Folk-life Series, Mi. 3 (Los Angt CAM)! nia FolkloiuSoviets. 19781, :(18.

i 6

Intel sass suhi nstei shut kei Visginia Duggai ofpalm hioola. Flinida. [vomited Oc tobei Ill. 108h, IA

Dasid laslor. On deposit ai Florida Folklife AR hivcs,Buican of Hot ida Folklife Progiams, White *nig.Hot ida.

' liii a fine des( option of the eXprssise dimensionrrt ICI Shill king, see: Paula .j..Johnsom, SloppsWork for Women': Shin king Oysters on the Patuxent."

iaturs Patuxent Biro. caked IA Paula" Johnson (Cliai-

35-)1.' For illusnations of lus process. sec: IluffOrd, tune

Spice Ma, y. Plives,S;(...,us; R. Butler, "Culture, Cugni.thai and Communic.ition: Fishernwn's location Find-ing in I...Anse-a-Canards. Newlomulland," Canadianhalklore Carwdieri 5, nos. 1-2 (10831: 7-21, and ShepardFM mais . l'aignitimi and "Fhe Cats h: The Location ofFishing Spots in a Bra/lhall Coastal Village," Fthmdogs

WI. .1 (1067):117-26.' Andiropological studies of traditional systems of

navigation include: Rio hard Feinberg, Polynesian Sea/wing and Navigation: Ocean Travel in .Anutan Cultureand Society (Rent. Olno, and Londmi: The Rent StateI nissu sity Pt 19551: Thomas Gladwin. Fast is a BigBird: Navigation and Logic on Puluwat Atoll Wbridge: Ilarvaid University Press, 19701: and DavidLewis. We, the Navigator, (Honolulu: illy U"iversiivPress of I Lmaii, 1972) .

Interview With John Ga5agan of Neptune Bemh,Florida, recorded .Julv 26, 1986, by David Taylor. Ondeposit at the Florida Folklife Archives, Bureau ofFhsi ida Folklife Programs, White Springs, Florida.

Intei viess with net maker Martin Cooper of M,u-port, Floristic. recorded Julv 27, 19144, tw David Tay-lor. Florida Folklife Archives accession numbeiC.-86-198.

" Interview with retired shrimp fisherman EddieBaker of Ma port, Florida, recorded Julv 16, 1956, loDavid Talor. On deposit at the Florida FolkliteArchives, White Springs. Florida. For a tine C ollipila-noir of personal experience liar ratives concernedwith a maritime os cupation, see: Timothy C. 1.1osdand Patrick B. Mullen, Lake f:rie Fishermen: Ink, 'hadition, and Identity (Urbana and Chicago): Unkei sits.of Illinois Press, 19901.

Rh hard Dorson, Buying the Wind (Chicago: Universits of (hit ago Press. 1911.1). hfi odicu storiesiiho out Beal, sec: 'elton Peaboidv, 'lid! Barney: The Gourd

: :'AV

Billy Pare Ihit)and Henn. Overtonprepare to do somerecreational fishing

tni Georgia Ala-paha River. aboardPare's home-made

boat. Photo byDavid Stanley1447534,124 i


Anmainsisap-or

of Beals Island (Williamsville, N.Y: Periwinkle Press,1975).

10 In shucking houses where the use of electricshucking machines has replaced shucking by hand, thenoise level created by the machines is so high thatsinging is virtually unintelligible. In such contexts,shuckers often listen to a radio that broadcasts musicthroughout the room, or to personal radios or cassetteplayers tho listen to through headphones. Singing bvoyster shuckers is discutsed by Johnson in her article

'Sloppy N'ork for NAni, 0,tu king Oysters on thePatuxent," 49-51.

" Mack Novak, "Ossterman Blues," St. GeorgeSound Records CSS-1!52, I978. 45 i.pcm disk reming. Copyright Mack Novak, reprinted with permission

For a mine detailed analstili. SUC DAM .A."Songs About Fishing: Examples of ContemporarsMaritime Songs," Canadian holidore Cant-Warn 12. ?K2(19911I. 85-99,

Conimercial fishing is .1insidcred the most ha,-ardous of all industrial o« upations in the UnitedStates. Statistics show that fishermen ale so's en timesmore likely to die on the joh than %sinkers in the nextmost dangerous occupanon.

Interview with shrunp fishy! mut ;harks Herrin:if Jet( ksonsille, Florida, ret order( filY 31, 1986, hi

it32

David Taylor. Tape recorded interview on deposit atthe Florida Folklife Archives, White Springs, Florida.

" Interview with shrimp fisherman Charles Herrinof Jacksonville, Florida, recorded July 31, 1986. byDavid Taylor.

'" Interview with retired fisherman Albert Guffordof Mayport. Florida. recorded August 8, 1986, by DavidTaylor. On deposit at the Florida Folklife Archives.White Springs, Florida.

17 Interview with shrimp fisherman Charles Herrinof Jacksonville, Florida, recorded July 31, 1986, hsDavid Taylor.

From oyster fisherman Cletus Anderson ofApalm hicola, Florida. Recorded in fieldrunes hi NancyN1152 and David Taylor on Novembel 6, 1986. Notes ondeixmit at the Florida Folklife .3trihises, White Springs,Florida.

'4 Net maker Jimmy Carden of Panama Citv, Florida.in the video documentary fishing All ,Ifs Davi 1WhiteSprings Blireall of Elm ida Ft dklift. Piogi anis, 1985).

r" Interview with John (;avagan of Neptune Rya(Florida, recorded July 26. 1986, hy David Taylor.

In addition to playing an important role inlocal (midways, conch serves a symbolis functionFor most Floridians, the term cone h denotes a nativeof. v

17

A4c-

1

EsT CnrY AVAILABLE

14.410,4.46._

3 3

riehheorher Paulalohnmi 111111watt-ratan SatthtniI$41lionsltrootns$larvland. II,rlieldzIwk &as Int 0rq the davanulaa-Non ccl Patu%ent

talhlde undertaken bv the I alrert%farm %Impart; III

Alanland. in 19S1-82.I. he dacumentatt, 011la an 11111111 if

Part 2: How toDocument

Researchers can draw upon a core of tech-niques to document the variety of culturalexpressions described in the precedingchapter. Cultural specialists, like doctors,lawyers, and cabinet makers, employ a pro-fessional methodology, and the results oftheir endeavors are judged according to cer-tain professional standards. Skillful execu-tion of techniques will not only result in thecollection of information of high quality butwill implicitly show respect for the peoplebeing documented. Since Part 2 providesonly a general introduction to documenta-tion, readers are advised to consult workscontained in the bibliography for moredetailed information.

The Project PlanThe first step in any project to document

maritime cultural resources is the formula-tion of a plan that addresses certain basicquestions alumt the work to be undertaken.including:

1. What are the goals of the project?2. What ate the boundaries of the souk'

ht. the Ultima/ area?tarhavment Mr the S. What methods are to be used to col-Human, nes. l'hataIP% h.rry tiler lect data?

,cartesi ,q ateert 1.

$lartne .11un.um

Who will be involved with the projectand what tasks will they be assigned?

et. w 34

5. What equipment and supplies will berequired?

6. What funds must be obtained?7. What is the project's timetable?8. How will field data be organized and

preserved after the project has beencompleted?

9. What cultural specialists and institu-tions, if any, are to be involved?

10. How will the public be informed aboutthe project?

11. How will the public be involved withthe project?

12. What products will be developed withthe collected data?

Even though aspects of the plan maychange over the course of the project,much time and effort will be saved and con-fusion avoided if the answers to as many ofthese questions as possible ar e determinedbefore other project activities commence.'

Projects can be conducted at various lev-els of depth and extent, depending on anumber of factors, including the needs ofthe projert, available time and resources,and the expertise of personnel. One projectmight attetnpt to survey a community'sexpressive culture cotnprehensivelv..,knother might seek ut detcument one typeof cultural expression, such as net-making

19

skills or architecture. Yet another mightdocument a single, local boat type.

If the project is to be a group effort, aproject coordinator should be selected. Thecoordinator will determine the assignmentof tasks in accordance with fieldworkers'specific knowledge or interests, or along thelines of the study area's demographic orgeographic features. The coordinator mayalso decide if project participants are towork singly, in pairs, or in teams.

Cultural institutions such as historicalsocieties, museums, libraries, and archivescan enhance the success of a project in anumber of ways. In addition to providingaccess to their collections, they can oftensupply technical assistance concerningmethods for collecting, cataloging, and pre-serving field data. Some repositories lendtape recorders, cameras, and other fieldequipment. Choose a suitable repository toensure the preservation of field data longafter the project has ended. Making theselection at the start of the project will allowfieldworkers to comply with any specialrequirements and procedures establishedby the repository. For example, if catalogingprocedures require that all photographs beaccompanied by specific data (such as date,subject, place of the photograph, and nameof the photographer), fieldworkers will beprepared to record these data when thephotograph is taken. Many repositorieshave forms that can be used by fieldworkersfor collecting and cataloging field data, andfor the acceptance of donated materials.

Tlw goal of a project might be to docu-ment some aspect of an area's maritimeheritage and preset ve the documents in anarchive. Alternatively, a project's goal might

20

. 0

include not only collection and preserva-tion of data but also dissemination of por-tions of it. There are many ways to informothers about local maritime heritage. Onecan plan exhibits, walking tours, or presen-tations of maritime skills at public schoolsin conjunction with the study' of local his-tory. One can arrange a local maritime folkarts dav consisting of demonstrations of avariety of traditional skills such as boat-building, net-making, oyster-shucking, story-telling, and cooking. Possible publicationsinclude local histories, cook books, photoalbums, and anthologies of local tales.

The development of such projectsrequires careful planning and, in somecases, budgeting. If funds are necessary, itmay be appropriate to solicit contributionsfrom local businesses and organizations. If aproject requires major funding, investigatepossible resources, including granting insti-tutions, locally based corporations, andfoundations.' Local or state arts councils,state humanities councils, state historicpreservation offices, municipal offices ofcultural affairs, and state folk culturaloffices can sometimes provide fundingand/ or information about grant programssponsored by other agencies.

Preliminary ResearchIn order to obtain maximum benefit

from time in the field, the researcher mustlocate and analyze as much information aspossible about the study area and the topicsthe project addresses before the start offieldwork. If significant data are uncovered,they. can help dett.111111W the best course forfieldwork and enhance the quality of workin the field. To ensure that research efforts

.45

Ili,tuni pho-tographs are a valu-able source of data.this photo from the

Florida Photo-graph i c Arch ivedepicts a parade

held in conjunctionwith the 1915

Mardi Gras Carni-val at Apalachicola,

Florida. Parades,the selection cf an

oyster king andqueen, and other

events held in 1915continue to be

important featuresl-the community's

annual seafood festi-zal. Photo cmirtesy

1 Florida Photo.graph ic Archive

Part 2: How to Document

are not duplicated, it is essential to deter-mine what cultural documentation projects,if any, have been previously undertakenwithin the study area.

Valuable information on maritime her-itage can be found in books, articles, censusrecords, wills, deeds, university theses anddissertations, photograph collections, maps,charts, and business records. Helpful publi-cations concerned with natural resourcesare issued by federal and state agenciessuch as the U.S. Coast Guard, the NationalMarine Fisheries Service, and the Sea GrantCollege extension system. Likely sources ofresearch materials include libraries, histori-cal societies, archives, museums, courthouses, newspaper files, and private collec-tions. A number of major publications

a'S

devoted to maritime heritage are listed inthe bibliography. Two especially usefulsources of information: Directory of MaritimeHeritage &mires, published by the NationalTrust for Historic Preservation, and Afar.itime Folklife Resources, published by theAmerican Folklife Center at the Library of'Congress.'

For most research projects, it is importantto acquire knowledge about the study area'snatural environment, including its climate.seasonal weather patterns, topography,flora, and fauna. If, for example, local fish-ing traditions are to be investigated, it is

"ssential to know what species are found inlocal waters and the life cycle of each. Infor-mation about the biology of fish and shell-fish provides a key to understanding the

2 1

patterns of behavior of the fishermen whopursue them.

Similarly, it is essential to learn about thelaws that regulate commercial and recre-ational fishing within the study area. Arethere different categories of fishinglicenses? Is there a "limited entry" systemfor licensing? Are there specific open andclosed fishing seasons? Are there species-specific fishing zones? Do regulationsrestrict fishing activities to certain types ofvessels or gear?

In addition to amassing specific types ofinformation about the environment andlaws that regulate its use, researchers shouldattempt to synthesize data and formulate ahistory of the relationship between the envi-ronment and people. How has the environ-ment shaped human activities? How havehuman activities altered the environment?What are the principal "seasonal rounds" ofactivities followed by people within thestudy area, and how have thev changed overtime? In order to develop a study area'senvironmental history, researchers may' findit helpful to consult with biologists, ecolo-gists, geographers. soil scientists, and otherswho are familiar with the region.

Before commencing fieldwork, aresearcher should use maps and charts tobecome more familiar with the study' area.Ordinary road maps provide some informa-tion about the landscape. but U.S. Geologi-cal Service topographical maps andNational Oceanic and Atmospheric Admin-istration nautical charts provide muchMort!. Other cartographic aids includemaps used lw local governments for zoningand property assessment, and maps used 1)%historic reservation organizations to showthe locations sites and properties. Aerial

22

photographs, sometimes obtainable fromstate departments of natural resources orthe offices of county property appraisers,can serve the same function. All these mate-rials can illuminate settlement patterns andlocate man-made structures, waterways,landmarks, and fishing grounds. After field-work has begun, researchers can draw theirown maps or modify existing maps in orderto plot features of the landscape such as thedistribution of house types, the boundariesof fishing territories, and the locations ofsignificant buildings and navigation land-marks.

Another valuable preliminary activity is areconnaissance field trip. This is especiallyuseful if researchers are not familiar withthe study area. Essentially, the purpose ofsuch a trip is lo survey the study area todetermine a region's general layout, and toidentifv features that merit documentation.

The next task is to create a list of potentialinterviewees. This is done by talking withresidents of the study area. Individuals likelyto have especially broad views of local mar-itime activities include harbor masters, fish-eries extension agents. fish buyers, and theemployees of marine supply stores and baitand tackle shops. Postal clerks, clergymen,town officials, shop keepers, and newspaperreporters may also be good sources of infor-mation. When asking questions, researchersshould make it clear who they are, whatinformation is being sought. and why theinformation is being sought. There is nosubstitute for honesty in such matters. Field-workersespecially if they are strangersmav encounter some measure of suspicionon the part of people they contact. Whileattitudes vary considerably from place toplace, it is important to bear in mind that

?


mot

r

I.i

".

on'

,`".

\1lt,

inquisitive outsiders are .not alwass siewedin a positise light. Oftensuch attitudes aretlie result of ..tctual or }wrecked ill-treat-ment from marine patrol officers, biolo-gists, and oiher npresentatives of stateregulators agencies, as well as agents of theInternal Revenue Service and various typesor researchers. A tactic that sometimeshelps to acquaint people with researchefforts is to subnnt a news release about theproject to the local newspaper. If therelease imludes a request for assistance,accompanied by the address and teleplmnenumber of the project coordinator, arearesidents may provide suggestions aboutknowledgeable people to interview andother sources of' information. The "Infor-mant Information" forns included asAppendix A.1 can be used to develop a fileof potential informants.

After a list of potential informants hasbeen drawn up, use it to plan a schedulefor interviewing and other types of docu-mentation. For example, if researchershave little understanding of the history ofthe study area, they might first interview aretired school teacher whom area residentshave named as the person most kmmledge-able about local history. Similarly, if theproject is concerned only with local boat-building traditions, researchers might drawup a list of all local builders, collect basicinfOrmation about each one, then decideto contact the most experienced builderbefore speaking with the others. For thepurposes of some projects, such as compre-hensive surveys of local maritime tradi-tions, it is important to select a repre-sentative sample of local residents.

Researchers should be flexible in theirwork and be prepared to modify their field

23

Documenting Maritione Po Miffs

plan if new leads develop or new sources ofinformation are discovered. If the project isa group effort, regular meetings with otherfieldworkers will be needed to share infor-mation and to assess the need for any mod-ifications in the work plan. As more andmore data are collected, fieldworkers mayrecognize the need to add or delete certainqueries, potential informants, and topics.In addition, experiences in the field mayindicate the need to alter documentationtechniques.

Before interviewing begins, attempt todetermine local standards for meeting anew person. Is it considered appropriate tomake initial contact over the telephone? Isan unannounced visit to a person's home bya stranger acceptable? Would an introduc-tion by another resident be the bestapproach? It is also prudent to learn localviews about proper attire, times of the dayto visit, and forms of address.

It is often beneficial to use the first face-to-face contact with a potential informant tointroduce oneself, explain the project, andobtain more information about the personbefore getting down to the business ofscheduling an interview. It may turn ou.that the person knows nothing whatsoeverabout project topics; consequently, it maynot be necessary to bring up the subject ofan interview. If the person does possess rele-vant knowledge, the initial meeting can alsoserve as an opportunity to gather informa-tion for use in preparing for the formalinterview. On occasion, when the subject iswilling and the interviewer is prepared, theinitial meeting Inas also prove to be anappropriate tinie to conduct an interview.In order to be readv to take advantage of'such opportunities. fieldworkers should

2439

'EST CrTY AVAILABLE

.% h'n sumr)/\tat 5. swil as

.WarincSupphes

Hmida,here. are qtenplace., to gleaninfUrmatiim aboutfishermen. boatbuilders. gearmak-ers, and otherpotential infor-mants. In thisphoto. fieldworker.Vancy .Vus: rightspeaks with a localengine mechanic asa stare clerk lookson. Photo byDavid A. Taylorr IMPSUBITIM 3.'l

Remrthug ish ss n'a.hums and other aata

m a /if*/ Mite/lathis an essentoil

WO)* lash. IlerelieIdworker .VanevAus: Jots lieldnotes

while aboardon oyster

Apalash nolo Bay,Florida. Photo hyDavid 1 Taylor

i.mirfev Bureau11,551,511

Prrit,Fram.1

Part 2: Haw to Document

have the necessary equipmenttaperecorder, tape, noteNiok, pen or pencilclose at hand (in the car, for example) andready for immediate use.

To promote successful fieldwork andencourage community support and cooper-ation, fieldworkers should: (1) be open andhonest about the nature of their work; (2)demonstrate enthusiasm for their work; (3)cultivate the skill of listening to what peoplehave to say; (4) be sensitive to appropriatebehavior and etiquette; (5) protect sensitiveor cnfidential information elicited frominformants; and (6) show informants thattheir assistance is genuinely appreciated.

11.

IMa

AO

FieldnotesEvery researcher should maintain a field

notebook. Fieldnotes are a record of theresearcher's activities in the field andshould be written up before the end ofeyerv dav. They should include such thingsas general observations about the progressof fieldwork, impressions of p02rsons whohave been interviewed, summaries of con-versations, descriptions of settings, anddrawings and diagrams of buildings andother artifacts. They should also includeinformation that is useful for the interpreta-tion of project documents, such as lightingconditions during photography and sourcesof extraneous sounds picked up by a taperecorder.' Maintaining a field notebook orfieldnote files in a portable computer is anexcellent way of rreserving small hits ofdata that may seem insignificant at the timeof entry but will take on importance afterfieldwork is completed. At the very least,fieldnotes provide a useful chronology ofthe fieldworker's activities. At best, they arethe intellectual core of a project's docu-mentation, preserving the observations andruminations of the fieldworker as the pro-ject unfolds.Interviewing

Interviewing is an efficient technique forgathering data and the one most Often usedby many cultural specialists. When a field-worker conducts an interview, he or shemust determine the amount of controlto he applied. A nondirected interviewencourages discussion of a wide range of'topics that are largely determined by theinterests of the informant. A directed inter-view is usually characteriled bv the inter-viewer's attention to very specific topics andquestions. Sometimes the interviewer may

25

Documenting Maritime Folk life

hange the appt oach. 1.(41: example, an1111(.1%1(.5511 might sscitch from a directed k)A III)11(111 ted AppFnitch it It beC011leti(tent 111,11 ttl 11114(1 MAW'S StoFel)11tit' (If tra-flilkllIAI ktiovledge presents an unusual(4)1)4 (I ItIllit \ tOt the documentation Of manygenet al aspects of local culture. I)ata4.114 ited during iliterviesys can be reCOrtledIII (SI iiing ill the form of fi(..1(1notes, 01 ,tsanslActs to questions on ,t questionnaire.I IIi'S 4.111 ,11 50 he Ft'l'Ordc.(1 vtihitiiii 011Audit) tape with a tape I ecorder, ore« ded both ,turalls and visually on vide( I-

tape v)ith video ( and slItind Wilt. Iiithe ( ase ()I interviews recorded (ni audio orideo tape, it is proper tu ask the informant

to sign 'A C0115e111 forIll in order to establishthat he of slit. has given permission for theuse of infolmation On the tape. 'the text ofthe 1141111 '411()1111f1 spe.ci1V as accurately as pos-slide whet(' the tape recording will bedeposited and how it mav be used. If theink )I Mall Wisheti tO place reStFiCtiOnti onthe use II the recording, these restrictionsshould be written on the form. A sample-111101 111a111 Consent" form is included as\ppendix

I het(' is no question that tape-reconledinlet views ate an effective wa% to collectthhtt Illation. Tut thltse unfamiliar with field-%%tit Is, inlet viewing on tape may appear tobe the easiest task imaginable: .just turn onthe tape tecordet and let the 11(.1.5011 talk.Rut I obtain maxim 11111 VAR', a tape-

oided intei view 5110111(1 not be viewed asteplat ement for background res(.arch

AN A lbstillIte Int taking notes. litirtlit.r-1111)1(.. s)tu(' ()nt.'s tiuh e. in the field is lim-ited, it is essay) to prepare thoroughly1o1 Intel 5ic55.5. Leal n as much as possible.11)0111 the topi( ot topics to lte discussed.\tumult to anti( ipate the kind (i1 (.xpertise

26

JEST COPY AVAILABLE41

Itrunord olt ()st/mita, florula,

IsSes (1 111q ?wt.Photo InIhwid(11116-4tIHM 5/.271

Part2: Haw to Document

the 111101 111,1111 po55Cs5e5 hetOIC the noel-view. Jot down notes in advance «m«.1n-ing topics to he explot ed. A lIOVl r sluruldpractice nue, viewing with a fellow team

talllik Menthei behgeentering the field. The experience ofbeing nue, viewed is equally instructive.111(1 C011t1 iblIft's ,1 krell appreciation ofthe prticess.

Interviews let orded on tape are dor u-merits that not olds benefit the collet tor,but. if preserved in a repository such aslibrary, 111104(11111. ol at Chive, C1111 alSO sSisl

110111 C It'Seat the! s. The interviewer sh011id1)ear in mind that others not present at thetime of the actual interview may somedaylisten to the tap('. 'Ft) facilitate hill andproper comprehension of the interview, pay.close attenthm to the technical quality ofthe recording, and try to clarify all issuesdiscussed. If, for example, an informantsays, "I caught a fish this big," and holds hisor her Inunis apart to indicate the size, theinterviewer slundd say, "Oh, about thirtyinches" (or whateyet length is appropriat('),in order to clarifY the approximate size forthe benefit of those who listen to theecording later on.

Since the field recording should repre-sent, as accurately as possible, the commu-incative event involving the interviewe,- andthe subject, the interviewer should not turnthe recorder on and off during the inter-vie5% in an effirrt to save tape. M(KeOver, ifthe interviewer frequently turns therecorder on and off when the subjet t isspeaking, the sublet t can easily form theimpression that the interviewer considerssome statements to be less valuable than

42

othet s. Fichlwot kers should lit ing an ade-quaw suPl" If lalw .111(1 I"'Parod letthe ler older 1 1111 ,IS tVeely as possible.

1 he use or tape r atalog for ms, to be filledout by the collector as soon as possible aftereach interview, is esm.mtial. Completed cata-log tot nis strengthen the value of record-ings by put detailed outlines of their()mews. Even if full, verb, tim transcrip-

tions oi field recordings are to be madelater onofien an expensive and time-con-suming processthe preparation of cata-logs is still beneficial. An "Audio Tape Log"lot m is included as Appendix 1.3.

Interviewing is c skill ofsome complexity.Available guides to the subje('t includeEdward I). Ives's The "lape-liecorded Interview:A Guide for Fieldworkers in Folklore and OralI It .stor.v, Bruce Jackson's Fieldwork, and Ken-neth S. Goldstein's A Guide for Field Workersin Folldore. These works cover such key top-

s as selecting infOrmants, learning to userecording equipment, keeping fieldnotes,using interviewing strategies, and cata-loging and transcribing field tapes. Thesetopics are also covered ill the instructionalvideotape program on interviewingAn OralHistorians Work, that features explanationsand demonstrations by seasoned inter-view('r Edward I), Ives.f,

Sound RecordingsA researcher's level of craftsmanship with

tape-recorded interviews is evidenced notonly by interviewing skill, but bv the abilityto produce recordings of high quality% Theachn.yement of high-quality sound record-ings telateti to the type of recorder, micro-phone, anti tape used, the way theequioment is set up, anti the choice ofrecording site.

27

Audiocassette tape recorders, if carefullyused, can give very satisfactory results. Byand large, more expensive models ($200 to$500) offer the best performance, but goodresults can be obtained with less-expensivemachines. Although the size of the verysmallest recorders may be attractive,researchers should consider that slightlylarger machines often provide some of thefollowing desirable features: the use oflarger batteries and hence greatt r battery'capacity; an easy-to-read volume NI')meter that indicates the recording level(and often the condition of the batteries as

28

well); a line- or auxiliary-level input to per-mit the copying of other recordings, therecording of an event directly from a publicaddress system, or the like; and, occasion-ally, the ability to choose between automaticand manual control of recording levels.The very best recordings are made with pro-fessional open-reel equipment. In the nearfuture, this equipment will likely be sur-passed by a new generation of portable digi-tal recorders.

If interviews are structured so that theinformant does most of the talking. amonaural recorder will probably' suffice.

4 3JEST CC,PYAVAILABLE t

Shrimp fishermanCharles Herrin ofjacksorwille.Florida. explainsan aspect of thedesign of his boatduring a tape-recorded interzwu.conducted in hishome by field.worker DavidTaylor Photo InLeeEllen Friedland(FMPS7-111.1101/llh


Even with the use of a clip-on microphonean interviewer's questions will be heard,although with an "off-mike" quality. On theother hand, if the interviews are structuredas dialogue or if interviews are conductedwith two or more individuals, a stereorecorder and two microphones may well becalled for. A stereo recorder may also beuseful for recording events or activitiesother than interviews. A professional soundrecordist, however, may be needed to makea high-quality recording of, say, a churchservice or the verbal exchanges betweenworkers on the deck of a fishing vessel. Andcertain types of musical performance maybest be recorded in a studio.

Regardless of the type of recorder, thetwo most important factors in producing agood recording are the placement of themicroplione and the control of ambientsound. External cardioid, lavaliere, or clip-on microphones are recommended overinternal, built-in microphones that pick upexcessive amounts of machine noise andambient sounds. Because ambient noiseincreases in proportion to the distancebetween the microphone and the subject, itis important to place the microphone asclose as possible to the subject's mouth. Acardioid microphone can be attached to aboom and suspended above and in front ofthe subject's head. A lavaliere or clip-onmicrophone can be easily fastened to thesubject's clothing.

The type of recording tape used is animportant consideration. For best results,use high-quality, name-brand tape.Researchers who use cassette tapes usuallyselect sixty-minute cassettes (thirty minutesper side). Longer tapesthose Over forty-five minutes per sideare thinner and

k-stA

more susceptible to stretching or breaking.Cassettes held together with screws are bet-ter than those held together with gluebecause they can be easily disassembled forrepair of broken or jammed tape.Researchers who employ open-reelmachines usually prefer tape with a thick-ness of 1.5 mils because tape of this thick-ness is stronger and subject to less "printthrough" than thinner tape.

The recording site is another importantfactor in achieving high-quality recordings.Since field interviews are usually conductedin a subject's home or work place ratherthan in a sound studio, the researcher mustselect a location within such areas offeringthe best possibility for a clear recording.This might mean choosing a room with car-pets and curtains, which minimize thereverberation of sound, or selecting theroom furthest from a noisy street. If a televi-sion or radio is playing, or a fan is whirling,the researcher might request that they beturned off during the interview. Althoughfieldworkers may feel hesitant about theserequests, those "who work carefully withgood equipment convey to the infinmanthow much they value his words and thusproduce a flattering and positive effect."7

In order to facilitate the preservation of afield recording, copies should be made assoon as possible and used for catalogingand transcribing so the original tape can bespared the wear and tear. In short, the origi-nal recording should be viewed its the "mas-ter" and protected accordingly.

Participant-ObservationOne of the best ways to understand the

forms and functions of maritinie traditionsis to take part in the day-to-day activities of

29

the community. The premise underlyingparticipant-observation, as this approach iscalled, is that the researcher becomes amore effective observer by taking an activerole in the performance of regular activi-tiesby assisting a local cook with thepreparation of seafood gumbo, for exam-ple, or by working as a deckhand on ashrimp boat. The approach also demon-strates to members of the community theresearcher's commitment to the documen-tation of maritime heritage. In many cases,involvement with such ordinary chores as

JIM

3 0

cleaning fish, culling oysters, or shovelingice into a hold will not only enhance theresearcher's understanding of the pro-cesses, techniques, and words associatedwith these activities, but will also result inbetter rapport with informants.

How does one arrange to be a participantobserver in a maritime community? Usually,it is best not to broach the subject too earlyin a relationship. Once rapport has beenestablished, many community members willspontaneously issue an invitation: "Well, ifyou really want to learn about oystering, the

1"14441".SVP.;.'ALwow "4`

JEST COPY AVAILABLE

5.

Fielduwrher. GernlelParson.% ut Ilu Amer.icon Folklife Centertright t participatestn railhird huntingtot the 51aurictIiitrr near l'net Eh:-nheth. .*5 olijersetPars or,s bartteipaw.oh,,,,an

contitu led tn1(6.4 tutuunctum

the. tone.,'ono, 1 eelitho

Pro?, h1,1,1)

1)17,MS'NI/1M:7'0C IN-7;

Shrimp(7'Ilerrin empticA

shrimp and othermarine creature%

onto the deck oltrazi.ler

standing lune a ta.shsuch a.s thi.s fits into

the equenivactivities thator% during the

,ii,pse if a fishingtrip ts on important

task Inr firld1: 011lb) Is%

Duval .1. astor,/ \UN?. B/WM/I ;/,

,x+".. .:7.;.


051

-4_1r ,

it.

btst %vay Yould be for you to) come Out inthe lutat with me." ()tilers, many ()I whom,issume that "everyone knosys about thesethings," \yin 10 (hal illVit-ing the li) )1)s0FV(' Mid pal II( 'l-imit. in 111(11 %yolk is a good idea. .1s withall initial «uitai lit I eseal( lir, shouldpt (wide a clear explanation of why he orshe is 11)11111u I i1i iescal I ii ssIiul 11 pi( \ .11

}Wing III Ntsligatcil, Ii(u% info! illation Isbeing ii 111e0 fed. and \slim svill be done Syiththe u idle( ted data

116

.:

In some cases, it may not be possible bothto observe and to participate. Tins is espe-cially likely with activities that require ahigh level of expel tise or are conducted at apace required to meet a production sched-ule. For example, professional boat buildersare seldom interested in taking the tinwrequired to teach their multiple skills to anovice because they usually caimot atTordto interrupt their work schedules. Conse-quently, unless the researcher already pos-sesses the skills necessary to be hired by aboat builder, or can place an order for aboat and convince the builder that he orshe should be permitted to help build it,probably the best one can hope for is to beallowed to observe boatbuilding activitiesand, when time permits, to interview r'-.ebuilder. There are, however, a number ofactivities common to maritime communitiesthat the researcher can try without a greatdeal of' difficulty. These inchule tasks thatare baskally simple and repetitive, stICh ascooking, mending nets. sorting fish, fillingbait bags, atufpoling a boat.

Although it is sometimes necessary to for-mally request permission to) be a par tic i-pant-observer, as in the case of filleting fishat a fish plant, in most instances opportuni-ties to try one's hand at an activity arise nat-urally. The researcher who has gone alongon a fishing trip mainly to observe tiyitiesand take photographs may, for example, seea chance to help the clew suit fi ShRi.scarchers should :i!ways be on the hiok-out for such opportunities. However, oneshould mver be pushy about participating:wait ha a dile( t ler iii obtain ',emissionrust.

InsInue fishing activities ate among th()sebest suited hit partio vatiun.

31

After obtaining permission from an experi-enced fisherman to go along on a fishingtrip, it is important to determine the time ofdeparture, destination, and approximatetime of return. The researcher should findout what personal gear and supplies shouldbe obtained, including special clothing suchas gloves, rubber boots, and foulweathergear; a life preserver; tools; and food. Sincein some areas all persons engaged in com-mercial fishing must be properly licensed, askwhether a license or permission from an offi-cial is required. Before the trip, it is also agood idea to go aboard the boat and checkout the arrangement of space and the avail-ability ot' running water, cooking equipment.and restroom facilities. Since boats, especiallysmall inshore craft, are sometimes not outfit-ted with "heads" (restrooms), this is a detailthat many researchers (especially femaleresearchers) will not want to overlook.

In most cases a notebook, pens, pencils,camera, and film are the best equipmentfor the documentation of fishing. Becausethese items may be exposed to the ele-ments, it is advisable to keep them in a plas-tic bag, rucksack, or other waterproofcontainer. Bring along several pens andpencils, plenty of film in a variety of speeds,lens-cleaning fluid and tissue, and a sparebattery for the camera. Also bring along acouple of rubber bands to keep the pagesof the field notebook from blowing aroundif the wind comes up. Tape recording inter-views on a boat may be hindered by thenoise created by the vessel's engines.R Fur-thermore, it may not be possible for thefishermen to take time from their normalactivities to participate in an interview.However, some tYpes of fishing trips. espe-cially those which are characterized hv long

32

periods of slack time, can be conducive totape recording. The feasibility of makingsound recordings should be determinedbefore the trip. If the decision is made tobring recording equipment, be sure tocarry along enough fresh batteries.

Before leaving on the fishing trip, writedown a list of topics to be investigated onboard the boat. These might include:

names and uses of boat spaces and gearsequence of fishing operationsinformation needed to locate fishing areasroles of crewmenages and working experience of crewmenfamily ties between crewmennames fishermen use for birds, fish,

landmarks, and fishing groundsapproximate times of fishing opera-

tions, rest periods, and mealsjokes, stories, and other narratives

beliefscustomscommunication with fishermen on

other boatsnavigation techniques, including the

use of landmarksWhile aboard a fishing boat, researchers

should be honest about the amount ofexperience they have had with fishing.There is no point in pretending to be expe-rienced. In fact, if the researcher is recog-nized as a novice, fishermen will often goout of their way to explain the basicdetailsthe how and the whyof theiractivities; such details would not be articu-lated under normal circumstances. More-over, because fishing can he hazardous,even for the most experienced fisherman,be sure to ask the crewmen to identifY thesafest places to stand during fishing opera-

4 7

teldum-krr VanevAIM: uses a 35.mm

camera to photo.,prOh ha lo(h i(da.

Horida. os%ter man(lens Anderson

culling his ran*.Photo hs

l)aiid .1. hnlort .11PM-111)1025/61


tions. Although fishermen will probably becontent to let the researcher stand back andobserve their work, write notes, and takephotographs, it is worthwhile to volunteerto help with some aspect of the work. If theoffer is accepted, assistance will lightenfishermen's work load, and also give themcause to view the researcher as a "goodsport" and a person "not too proud to get hishands dirty."

In order to understand the meaning ofthe activities taking place on the boat,"begin very generally and let the patterns ofmovement, smells, noises and colors suggesttheir own structure to you.9 Throughout thefishing trip try to determine the flow of

work. How are decisions reached aboutwhen and where to fish? What is the regularsequence of activities involved with settingand retrieving gear? What are the specificresponsibilities of each crewman? How isinformation communicated between crew-men? When do periods of intense activityoccur? When are the slack times? Becausemost types of fishing involve the repetitionof a particular sequence of actions, it islikely that the researcher will have severalopportunities to observe the performanceof the "core technique" characteristic of thefishery.

If time permits, it is instructive to makemore than one trip on the same boat in

6EST COPY AVAILABLE33

order to verify observations made on thefirst trip. Additional trips can also be madeto study how changes in gear, weather,time of year, and depth of water influencefishing.

PhotographyPhotography is an invaluable tool for

recording many subjects of cultural signifi-cance, from single artifacts to complicatedevents. A detailed discussion of the meritsof photography as a research tool is beyondthe scope of the present publication, butthe reader is advised to consult John andMalcolm Collier's Visual Anthropology: Pho-tography as a Research Tool and Bruce Jack-son's Fieldwork.1°

Today, the standard equipment for stillphotography in the field is the 35-mm singlelens reflex (SLR) camera with interchange-able lenses. Since it is often beneficial tomake a photographic record on color aswell as on black-and-white film, access to twocamera bodies with an identical lens mount-ing system is desirable. Due to advancesmade in electronics in recent years, modern35-mm cameras are relatively easy to oper-ate. Most possess "automatic" modes thatrequire the photographer to do little morethan focus and press the shutter release.

The choice of color or black-and-whitefilm should be based on how the pho-tographs will be used. For example, if apublication will be the result of a documen-tation project, black-and-white film is proba-bly the appropriate choice in most cases. Ifthe main vehicle for communication will bea slide show, then color slides are the betterchoice. The goals of some projects will dic-tate that fieldworkers use both color andblack-and-white film for documentation. A

34

wide assortment of slow and fast filmsdesigned for various lighting conditions al'eavailableslower films for bright light andfaster films for low light. In order to obtainthe best possible photographs under fieldconditions, researchers should carry sev-eral rolls of film suited to different levelsof light. In settings where very low lightprevails, the use of an electronic flash(strobe) and/or a sturdy tripod may beadvantageous.

When planning how photography will beconducted in the field, it is advisable todraw up a schedule of photographic tasks.Most field photography can be assigned toone of four subject categories: human activ-ities, portraits, artifacts, and photographs inan informant's collection. Each of thesepresents particular problems for the pho-tographer and calls for the application ofcertain equipment or techniques.

When photographing human activities,24-mm and 35-mm wide-angle lenses areuseful for capturing two or more peoplerelating to each other, to their work, and tointerior space. Complete coverage ofhuman activities requires taking a variety ofmedium and close-up shots while walkingall the way around the scene. In order toensure that every step of a process isrecorded, fieldworkers should learn to takemany photographs. Later, copies of photoscan be used to great advantage in elicitingdetailed information from informantsabout the various, steps in the processdetails that might otherwise escape theattention of the fieldworker.

Portrait photography is usually con-ducted with lenses with focal lengths of 85-in m to 135-ni in. When taking portraitphotos, tripods may be used to increasecamera steadiness. People who pose for por-traits are usually more conscious of the pho-

9

Photi<rapos tun tiused to effectivelyconvey processm

and sequences.nest images.

selected from sev-eral hundred docu-

menting theamstruction

Charles Herrin 'Nfifty-two:loot shrimp

trauler MissJoann. at .1hnport.

Florida, illustratekey stages of the con-

struction project.( ) Charles Herrin

(right) and hisbrothers. Donald

Ileft ) and Thomas.erect a side timberPhotos In DavidTaylor Courtesy olBureau of FloridaFolklif e Programs

12, bet* q.MissJoann after tar

paper has been laid.3) Thomas Herrin

nails the fitrwardend of a plank in

place.4 ) Thomas (hit,

and Charles Herrininstall a plank.

) Thomas HerrinIINes a hammer and

a putty knife todrivc caulking

Material into plank0a1115 al till' .steTti

nt thy, Alter

\hos?Iran 11)111/1101101 a!

(1 Ihnpurt dm L.

tir

2

4 . 5

"

ql

.

Mr"Cr -" 171;11W

4 Ned

;EST (7,0ml AVAILABLE

35

Documenting Maritime Fo &lite

tographer than are those who are engagedin activities. Frequently subjects will stitknup and assume an extremely gravedemeanor. It is the fieldworker's responsibil-ity to make the subject feel at ease so that amore natural image may be recorded. Usu-ally this can be achieved if good rapport isestablished. It is often helpful for the pho-tographer to explain the type of shot that heor she would like to take and how the equip-ment will be used to achieve that end.

With artifact photography, it is importantto take photographs of each artifact from avariety of angles in order to record its basiccharacteristics. With complex objects, takeclose-up shots of significant features as well.So that viewers of photographs will be ableto discern the size of the artifact, it is advis-able to place a suitable object of knownsizea coin, a ruler, a range polenext toit for at least one shot. For example, whenphotographing buildings a range polemarked off in one-foot intervals and ashorter measuring stick marked off in ketand inches are appnipriate foir most shots.Photographers should pay close attentionto background and depth of field to ensurethat the artifact is sharply depicted on tilm.With Ian ge, immovable artifacts, such ashouses, the photographer should selectlighting conditions and viewing anglesthat depict them to best advantage. Smallartifacts can be placed in front of contrast-ing backgrounds. Because tripods increasecamera stability and permit longer expo-sure times, they are useful fin al tam t pho-tography.

Fieldworkers are often given permissitmto cops' photographs in pi ivate collectitms.While it is somethnes possible to btu towphotographs and take them to a proles.

38

sional photo lab to be copied, if copies aremade at the owner's home the chance oflosing originals is eliminated." Copies canbe made with a 35-mm camera and a stan-dard copy stand consisting of an adjustablecamera mount, a platform upon which thephoto rests, and bright lights for illuminat-ing the photo. An acceptable substitute canbe improvised by inverting the center col-umn of a tripod, affixing the camera to themount, and using adjustable lamps or natu-ral light to illuminate the subject photo.Special attachments for close-up work, or"micro" or "macro" lenses, are highly rec-ommended for copying photographs andother small objects. When copying photos,fieldworkers should bear in mind that aphoto itself is an artifact. In order to conveythis, it is important to take at least one shotof the entire photo. including its borders.

Although it is impossible to predict allthe photographic problems that may occurin maritime settings, it is possible to note afew that fieldworkers are likely toencounter. When photographing on andaround water, glare from reflected sunlightis a frequent annoyance. In order to reduceglare, one may wish to consider attaching apolarizing filter to the camera lens. Thesefilters are relatively inexpensive and may bepurchased at most camera shops. Anotherproblem is damage to emlipment resultingfrom contact with water, espy( ially saltwater. Photography on moving boats, fort xample. neatly alwass "xposes photo-graphic gear to Inas. lu out down on expo-sure to water, equipment not in use shouldbe kept in a plastic hag or some other water-proof containet. In ;ifidition, it is input tantto change film and lenses in protected arras


to ensure that water does not enter a cam-era's internal mechanisms. If underwaterphotographs' is required, special waterproofhousings and waterproof cameras can beobtained at a variety of prices. One otherproblem that often confronts fieldworkersis achieving good photographic coverage inconfined spaces, such as boat cabins andsmall workshops. This problem is easilysolved with the use of wide-angle lenses. Insuch situations, 24mm and 28mm lensesare especially useful.

In order to permit proper cataloging andanalysis, it is necessary to record all perti-nent data about each photograph. Generalinformation about the photo session (suchas date, place, names of subjects, descrip-tion of scene, and name of photographer)should be recorded in the fieldnotes at theend of each day of photography. The cata-loging of individual images will probablynot occur until after the film has been pro-cessed and converted into slides or nega-tives. After processing, data pertinent toeach image can be entered on a form, suchas the "Photograph Log" included as Appen-dix A.4. Black-and-white films can be moreefficiently cataloged and filed if a contactsheet is made of each roll. The filing ofslides is enhanced with the use of archival-quality slide storage sheets.

If a project's fieldwot kers are not experi-enced photographers. or if the productionof high-quidity photographs is importantfor the success of a project, it may be a goodidea to obtain the services of a professionalphotographer.

Documenting ArtifactsThe investigation of many topics is

required for a full understanding of any

5 2k

item of culture within its natural setting.Documentation of items of material cultureshould begin with a review of published andunpublished information pertaining to thetype of artifact to be documented. Althoughthe nature of information sought will varyaccording to the goals of the project andthe expertise of researchers, central topicsto be investigated include distribution,design, construction, and use. Moving fromthe general class of artifacts to the specificexample to be documented in the field,researchers should ascertain:

the date of its creationthe name of its designerthe name of its makerthe names of present and past ownersits usesthe materials of which it is madeits component partsmodifications to its structure or useits significance to the community

The next step in the documentation pro-cess is the recording of physical properties.This can be accomplished through theapplication of techniques such as photogra-phy, drawings, field observation, and mea-surement of principal dimensions. Becauseboats and buildings are two of the mostprominent tvpes of artifacts to be found inmaritime communities, additional com-ments about the documentation of theirphysical properties are in order.

Boats are an important and conspicuousclass of objects in marit;.me culture, andthey often exhibit regional difTerences infOrm, construction, and use as a result of

37

adaptation 0) specific environmental condi-tions and use requirements. For example.the light "gledes skiff- is well suited to thecalm, shallow waters of the everglades otsouth Florida. Other types. such as theMaine lobster boat. the New jersev sneak-box. the Lake Superior fish tug. and theLouisiana pirogue, possess forms that haveevolved as builders attempted to improvetheir suitabilitv to local contexts. Because oftheir importance to residents of maritimecommunities, boats are prime candidatesfor documentation.

In many cases, the documentation of theforms of boats requires specialized skillsand knowledge. It is especiallY important tolearn how to take accurate measurements1-)Y hand. Unlike buildings and other arti-facts that possess straight lines and flat sur-faces, boats often have complicated shapesbased on complex (.11rveti. Such shapes.which generally vary greatly. Met- the lengthoi a hull, make the accurate recording ofhull forms a painstaking and time-consum-ing task and call tor the use ot certain toolsand techniques. In addition, to ensure thatcomponent parts of vessels are properlyidentified. it is necessary to become familiarwith standard terminologY as well as local-ized terms. An ex«.IIem reference work fOrstandard terminology. is Rene de kerchoye'sInternattonal Alaritime Dirtomar.v.11:

If the goal of a project is to documentlocal craft so that exact forms t an be pre-seryed, then the desiied coo product offieldwork is probably a set of ai curate linesplans and a table of offsets for emit boat. Inaddition to preserving boat foi ins graphi-cally. such data Call ht. 11) 111111(1 11,1)11( asand to stud\ 1410 al design and 4 onstruction

,u to t. !f lIlt plole( I requiles the pro-

38

Olt Caafy

"

16

Photos and otheritems collected beyinformants areialuahle souroes ofinformation aboutlife in maritimecommunities. 771ispage frmn the scrap-book of Alex Kellamof Criificld. Mary-land. includes aphom. a proem, andmoron's written byKellam. Photo In

o P [leis( roomerLAf( 5/2N)

Part St How to Documwit

duction of high-quality lines plans, it maybe necessary to hire a naval architect torecord the hull form and execute drawings.Alternatively, researchers may elect to learnhow to "take the lines" of a vessel and sup-ply these data to a naval architect or compe-tent draftsnmn for conversion to a linesplan. For projects that do not demand professional-quahty lines plans, it may be possi-ble for fieldworkers to record hullmeasurements and execute adequate linesplans for small craft (under twenty feet).Essentially, "taking the lines" is a process ofobtaining measurements from an existinghull, recording these measurements in astandard table of offsets, and then usingthese measurements to draft (or loft) in twodimensions the set of drawings that definesthe hull form. The amount of time requiredto learn this process will vary, but it is prob-ably safe to say that a person can acquirethe basic skills necessary for small craft doc-umentation in a week or less.

The best way to learn is to observe anexperienced person take the lines of a boat,then imitate the lines taker's actions. If suchan opportunity is not available, one maylearn the basics by studying publisheddescriptions of the process, then practicingwith an actual boat, preferably a boat undertwenty feet in length. Fieldworkers mustbear in mind that no single methodologycan be used for the documentation of allvessels. Lines-taking techniques must bemodified in accordance with such factors asvessel size, shape, and location. Techniquesare discussed by John Gardner in his arti-ck-s "Taking Lines Off Bigger Boats," "Tak-ing Off Lines Allows Duplication of ExistingBoats," and "Triangulation Method is 11'ellSuited to Lifting Lmes", by Walter j. Sim-

a i.. ;

P Opp .4.

PY AVARABLE 5 4

mons in his book Lines, Lofting and HalfModels; and by David A. Taylor in his article"Taking the Lines."' The lofting procedureis clearly explained in Allan H. Vaitses'sbook Lofting." A concise description of howthe lines of a particular small boat weretaken off in the field is given in AppendixB.2 of this book. If the project's goal ismerely to record the genet al characteristicsof local boats, then fieldworkers can recordkey measurements and other significantdetails. A boat documentation form thatcan be used for the latter purpose isincluded as Appendix A.5.

For a thorough documentation of a ves-sel, it is necessary to gather a variety of con-textual data. These data includeinformation about the history of boat build-ing and boat use in the area, as well asinformation about the designer, builder,owner, and the uses of, and modificationsto, each boat to be documented.

Properly executed measured drawingsare the most accurate record of a building.Unfortunately, exact scale drawings can beexpensive to produce since they oftenrequire the services of an architect ordraftsman. However, for the purposes ofmans. projects, serviceable drawings can beproduced by fieldworkers who do not pos-sess formal training in architecture.

Before measurement activities com-mence, it is important to decide whichbuildings should be measured, how muchtime and personnel can be devoted to thetask, and the manner in which the workshould he conducted. Since it is essential tounderstand the structure of a building inorder to determine what types of drawingsshould be made, it is beneficial to make apreliminary survey. Because it is seldom

39

Documeoths41111Witionialkilte

possible to record mery detail of a building,the fieldworker must decide what featuresof the structure to record and the types ofdrawings and their complexity. As Harley"McKee points out in Recording Mitotic Buildings: The Historic American Building Survey,sevri al types of drawings can be made,including location plan (which locates theproperty with reference to highways, towns,and natural features), plot plan (which indi-cates the building's relationship to struc-tures. gardens, or other features of theimmediate eiwironment) , floor plan (whichrecords room layout, and locations of (loors,windows, stairways, and structural supportsof each level of the building), and exteriorelevation (which represents the facade of abuilding projected on a vertical plane).15

With regard to the measurement of theactual structure, best results are obtained bytecor ding measurements by hand. This canhe efficiently accomplished by three-personteams; two to take measurements and oneto record measurements in a field note-book. Two can accurately collect data if onecalls out measurements and the otherrecords them. Because it is difficult to mea-mre large surfaces without assistance, singlefieldworkers cannot work as efficiently. Toensure that field measurements are prop-erly interpreted when it is time to use themto produce a scale drawing, it is helpful tosketc h the feature to be measured in thefield notebook before measuring begins.Then, as measurements are taken, they canbe %%linen alongside corresponding aspects

Ilw skete h. Measuring devices employedbY fieldworkers include steel tapes, foldingole and straight ides \ pritfile gauge c;in

lit used to record the shapes of muulding.

4 0

411,

55

,.70 tra.

NO. mg

Floor plan alHerman IS: Dixon'shaatshop showingarrangement afwarkspam tools,materials. andanat. Plan by

limioiraand Witham D.1.1c6invon. Plan

alcccI la r! litru in

Site plan prop, It% r# 11,4(1 t hiniderHerman It, nitent

Ahell. Alarstattd.This plan Was ete.cuted to 10S7architecture stu-dents MilianBonstra and

D,McGowan /or theCalvert AlarmeIluseum. Solomons.fitnland. !heiru,orli um part lit Onexhibit project.JUncled By the.Vational Endow-ment for the ..trts.Folk Arts Program,that resulted at themuseums perma-nent ethihtt. "Builtto Work: BuildingDeadrise It 'Orld10(11Ain Southern Alarvland." Planeourtesv Calvert

Aluseum

Part How to Document

In addition to) other data noted above,measurements of buildings should be sup-plemented by interior and exterior pho-tographs, and by. inventories of furnishingsand sketches of their placement. Artifactsfound within the structure or on its prop-erty are particularly significant, and theyshould be fully documented. A samplebuilding documentation form, which canbe used to record measurements and otherdata, is included as Appendix A.6.

After You Leave the FieldUpon the completion of fieldwork,

researchers should move on to the businessof cataloging and analyzing the data thathas been collected. This work, some ofwhich should have already been accom-plished in the field. includes such tasks ascataloging tape recordings and photo-graphic materials, and evaluating the bodyof field data. If analysis reveals that somecritical item of information was not col-lected, it may he necessary to return to thefield to obtain it.

Another post-fieldwork activity is thepreparation of field data fbr a repository..This includes proper identification, cata-loging, and packaging of all materials inaccordance with the repository's standardprocedures. If duplicate copies of taperecordings or other materials are required byproicct resealchers, it may lw iulvamageousto make them befbre the originals are placedin a repository., since mune repositories maynut he equipped lb handle this (Imre abetthe materials have been turned over. It is

important to work closely with repository per-sonnel to ensure that materials are preparedin a manner most conducive to prem.1 vationand full use by tither resean. hers.

Fieldworkers should express their appre-ciation to individuals who have assisted withthe project. Face-to-face expressions of grat-itude are appropriate, as are thank-you let-ters on letterhead stationery when theproject has been sponsored by an institu-tion. If photography and sound recordinghave been important parts of documenta-tion efforts, copies of photographs andtaped interviews make suitable gifts for peo-ple who have been helpful. If a publication,exhibit, or film results from the project,acknowledge the assistance of local resi-dents in print. The way that fieldworkersexpress their gratitude will likely influencethe level of cooperat'on a-.corded anyfuture researchers.

It is always a sound practice to keep peo-ple in the study. area informed about theproject. In particular, those from whominformation has been collected should bekept abreast of plans for the use of thematerials. If some product will resultarti-cle, book, or exhibitfind ways to share itwith them.

EthicsEthics play a critical role in field research.

Researchers must be truth ful abciut the pur-pose of their inquiries and should ensurethat infimmation elicited from people doesnot cause them harm. Commitments gisen,ibotit maintaining the anonymity of infor-mants or the confidentiality of informationshould always be honored. Researchersshould be sensitive to the fact that manyissues can be divisive within a communityand that revealing certain kinds of informa-tion may have serious implications. Forexample. divulging information about aman's fishing territories or about the code

564 1

words he uses over the CB radio to let akinsman know he has located a school offish could interfere with his ability to earnan income. Although informants oftenreveal a great deal of private knowledge tothe researcher, the researd.er should notatiSlil»t' that this information is for publicdissemination. Occasionally, the researcherwill face the dilemma of choosing betweenaccuratel, communicating the informationthat he or ,he has collected and the respon-sibility to the people from whom informa-tion has been acquired. Since there are nogeneral guidelines that will resolve thisdilemma in all cases, the researcher willhave to rely on his or her sense of justiceand honesty.it'

......____1 good min edural for ptinci I planning

an he Iiiiiiiij 111 AMR DU( us a al.. Iiiiideltnes tor LoadS111;'0.0. A loath' tar Pviervation Plantain:. National Reg-Nei }inflow 24. res. ed. 111.astilligtoll. Na11011,11 Regis-

Historit Places. Interagenis Resouicesl'.S, Dupai uncut of the Interior, 191/5). 9-27.

' See, for exatryle. The Foundation Center, 'I'hetolluthalon threelor:s, I:ith ed. INC% 1Ork. The Founda-non Center, 19911; and David G. Bauer, 1.lip "Hine iln"

.SLirressful (iraniterking Technalurs lasObtaining l'sblii and Privatp (New York: Arnel iran Count il (In Education: Nlacmillan, 19814).

' National Trust for Histotic Pt esersation, IhrotorslIrritage Iesotitiei %%.sshingtiav National

ust tot Histoi 1 Preset Nation, 1914.1): Peter fiat les and\fat s 111111(11d, lionane talkhlr //et, PIV(TS I 0110 (01A as,/

t, Pullin anon% of the Amen( an Folklite1Vashington (Anat.\ if ( 11)80).

Firlthri), 1,1.1s Ilit. ithcldnotes that telat, highls sensitne 111h.1111,10,11

It% alid [lutes II t ti111,1111 111c

kcl s t ,111Itit1 ahi III! 111(11s Idllals Ill

iht '.1 iii IT c-a I hit. 11111111(111c is 11. rt1

Malin!' III a HI,: stpaI all' 11 t111 11I4 . III,IlIl 110(1

1140/,I (1%,..11(1 1) lit s. 10,1;1..7 I r, ,PAr io,i; Iii

42

(Knomille: I.Miversits of I tIIIIICSWI! Ptt'SS, 91401: Ruuotla( kson, Fieldwork Of Omuta ,tild ( hicago.. University ofIllinois Piess, 1987): Kenneth S. ('.oldstein, A (iurde fitunail Workers in I-Si/kali \limi)Ig)), l'a.: Folklote ASM)t I.Mt's, 191141.

Northeast Archives of Folklore arid Or.d Histors,An Oral htirrk. lath Ethaard Ives. 311-minuterolot videotape (Orono, 11e... Northeast .Archises ofFolkiole and ()rat flistous, 19871.

(.arl Heist hhatter, "Sound Rec ording and StillPhotographs ill the Field," in Handbook ritFolklmr, edited hs Rut hard NI. I)orsori (IlloorningtomIndiana Unisersits Pt uss, 19861, 354-90.

()1 rourse, in order to at Mese Ili... goals ot someprole( ts. it min he desirable to tape record the soundsot engines. der Is inachincts, Marine radios. %vases, andtither ambient noise.

Robert H. 11%111100n, "Strategies ha Cmllectmg(lit u)ational Foliar. in Contemprirais t I hall 111this.

111,11 tValking A Mert «1 It ). (.0PaettlpIrars:111iniathes to ()i-rupatirmal Risheri II Byington.vit.. Smithsonian Folklife Studies, no. 3; los .Angeles:California Folklore Soviets, 19781, 51.

1" lohn Cidlier. fr.. and Malcolm Collie!, Ariut,/A1 uhl"p'il"g1 it, a lool. It's. andexpanded rd. tAlhiolueripie. 01 NtIn %A-r( l) PI css. r. Jar kson, heldwork, P0 )-270S.

" However. it it is desirable to horlow photographstor I)ther artifac(s) from private r ollections, the use ofan artifact loan form. stir li as the one ito hided asAppendix A.7, is ecommended.

'2 KertillIVt., International Maritime Itirtionars: Eni-vrlipedn. /Wittman 0/ I 'stint Maritime Irrins

1..quivalents in t rem h and (erman, 2nd res. vit. (NeinYolk: Van Nostrand Reinhold, 1983).

" John l.;ardiivi, "Taking lanes ()ft Riggei Boats,".\ational Ftshrrman 67. no. I (11,i5 19$10. 704, "lakingOti lanes Allows Inipliration of Existing Boats,"

Fishertrain OS, iv,. 12 19Sh) 14.-4). and"1 t imigulation Method, is \Sell Suited to lilting lanes."National Ftshei man 67, no. .1 (August 19861\Valle!" Simmons, tisi'1, II/11111: 121111 (hit-

1)iis knap 11oodssotking, 19911. andtimid lasloi. aking the lam,: tivailennviii 19 ( \as.-Ilci 1977) .\ Ilt1.111(,1 WI 14 simulants to, the

umentation sessels, !got II.

/,,,,h,(L, Hobo, (UI it Ii in ii n kll 11,1111

111)1.1s1111s (.1/Iiii/H, I /i,/ .Sni),s

.111111.11 SCI1111', I S

\ T11(111.4

5 7

1988). Several techniques for uking the lines of smallboats are presented in Paul [alike, ed., Boats: A FieldManual fOr the Doeumentation of Small Craft (Nashville:American Association for State and Local History',forthcoming).

14 Allan H. Vaitses. Lofting (Camden, Me.: Interna-tional Marine Publishing Co., 1980).

1" Harley J. McKee. Recording Historic Buildings: The

.1a111'lish trig tor salmon

at Celan Falls.

Orivint. In SiremI. Photo in

hossrli Lee. Owr .r 111)its

hint,ot,raphs DiriLitwin ot

rnwrcssiiiii4.1)

Historic American Buildings Survey (Washington: U. S.Department of the Interior, National Park Service,1970), 24-25.

16 For a detailed statement on professional ethics,see: American Anthropological Association, ProfessionalEthics; Statements and Procedures of the American Anthrope.logiralAssoaaiion (Washington: American Anthropolog-ical Association, 1983).

Ninrodow., facer,Vyi . "..1074-1.Ke"' "--""

, 4.

W.

is*

014.

53

0. 0..

4.

t

4;ZsIr4cam

'41te%111P

11/

43

ApPendixes

Appendix : A. 1

Fieldworker:

Date:

INFORMANT

'IP

INFORMANT INFORMATION

Project:

Name: ;1.asti (First) (Middle)

Address

City State:

Phone: (

Zip:

Birth Date:

Occupation:

Special knowledge or skill:

Comments:

Jeff Brouwird (bitand Ihll Hollandworking on a tradi-tional Biloxi luggerhull nt Holland'shaatxard in Battu.Ilicsixattpt. Photo/Iv lmn Bantan

Place:

Ethnicity:

61 47

Appendix: A.2

INFORMANT CONSENT FORM

Thank you for participating in the Project. By signing the

form below, you give your permission to include any tapes and/or photographs

made during the Project in a public archive, where they will be

available to researchers and the public for scholarly and educational purposes. By

giving your permission, you do not give up any copyright or performance rights

you may hold.

I agree to the uses of these materials described above, except for any

restrictions listed below.

Restrictions:

48

(signature)

(date)

(researcher signature)

62

Appendix: A.3

AUDIO TAPE LOG

rrEM NUMBER: PROJECT:

FIELDWORKER(S):

INFORMANT(S):

DATE & PLACE OF RECORDING:

RECORDING EQUIPMENT USED:

TAPE FORMAT: REEL-TO-REEL CASSETTE

TAPE SIZE (e.g., 7 in. reel, 60 cassette, etc.):

RECORDING CONFIGURATION: stereo machine, recorded in stereo

stereo machine, recorded in mono

mono tnachine

Counter No. Tape ( (tntents

6349

Appendix:

4

-

440

1140104.- 4,06ezi..-- -41*4

4 11111itid

:4' ellhAts

50 64

Contact sheet withimages depictingactivities of oyster-men Ken Folsomand CletusAnderson describedin fieldnotes. Photosby David A. TaylorIFM1386-8DT626)

JEST rnpv avAILABLF

Appendix: A.4

ITEM NUMBER

FIELDWORKER(S):

SUBJECT(S) /EVENT(S):

DATE(S) & PL-10E(S) OF PHOTOS:

FILM TWE:

PHOTOGRAPH LOG

PROJECT:

CAMERk:

Neg. or Slide No. 1 Description

Appendix: A.8

BOAT DOCUMENTATION FORM

Fieldworker:

Project:

Date:

1. Name of vessel:

2. Basic vessel type and local name of type:

3. Vessel registration number:

4. Location of vessel:

5. Name and address of present owner:

6. Name and address of present user:

7. Present use of vessel:

8. Significance of vessel (rare vessel type, outstanding example of type, work of important designer or

builder, significance to comrmmitv, connection to important people or events):

PI IN'SICAL 1 IISTORY

9. Date and place oC onstruction:_

526

Appendix: A.5

10. Names and addresses of designer and builder:

11. Names of previous owners and dates of ownership:

12. Previous uses of vessel:

13. Description (with dates) of known alterations and additions:

PHYSIC.X1. DESCRIPTION

Principal Dimensions

Length overall (LOA):

15. 1Vaterline length (1W1 .

16. Maximum breadth ( bean

17. Depth:

IS. Draft

67 53

Appendix: A.S

HULL DESCRIPTION

19. Hull tvpe (round-bottom, flat-1)4ittoin, chine, etc.):

20. Hull construction (lapstrake, smooth-planked, riveted steel, etc.):

21. Stein (material, construction method, fastenings, dimensions, finish, condition):

22. Keel (material, construction method, fastenings, dimensions, finish, co:idition):

23. Stern Assembly (material, construction method, fastenings. dimensions, finish. condition):

24. Transom (material, construcnon metho(l, fastenings, dimensions, finish, condition):

25. Planking (material, thickness. method of construction, fastenings, planks per side. caulking material,

finish. condition):

54

Appendix: A.S

2t). h futtocks, and floc tunbers ( material. construction method. fastenings. dimensions. spacing.

finish. condition I:

27. Deck and deck beams (material, construction method, fastenings, dimensions, finish, condition):

28. Rudder, centerboard, daggerboard (material, construction method, fastenings, dimensions, finish, condition):

29. Gunwale, including breast hook, varterknees, nib rails, iowlock Pads and sockets, inwales and outwales

( material, «instruction method. fastenings, dimensions, finish, condition):

PERSTRI(:11

'W ldlicliSt's, if ((cps, hall Iles, el( . (material, ( mistruc tittn meth( fa.stcnings, diuncip,ilons, finish, )11(litil )11 )

SS

Appendix: A.S

UN DERDECK LAYOUT

31. Holds, cabins, galkys, heads, lockers, etc. (number and type, area, furnishings, hold capacity):

PROPULSION

32. Engine and engine gear, including shaft, propeller, reduction gear, stuffing box, and fuel tanks

(manufacturer, date of manufacture, model, horsepower, fuel type, reduction gear ratio, shaft material

and diameter, propeller material, propeller diameter, number of propeller blades, fuel tank material, fuel

tank capacity):

33. Sails (number and type, material, dimensions, condition):

3.1. Masts and spars (number and type, materials, construction method, dimensions, finish, condition):_ _

-- - _----_ _._-----.----_3). Rigging, including chainplates (material, construction method, fastenings, dimensions, c(Uidition):

56 70

Appendix: A.5

36. Oars (number and type, material, construction method, dimensions, condition):

COMMUNICATION AND NAVIGATION

37. Radio, radar, depth recorder, LORAN, radio direction Finder (RDF), compass. automatic pilot, etc.

(number and type, manufacturer, date of manufacture, model):

MAO IINERY

38. Winches, pi ',locks, donkey engines, pot haulers, net rollers. etc. (manufacturer, date of manufacture,model, dimensk.ns, condition):

FISIHNG GLAR -- _ . . . --39. Nets, trawls. dredges, pots, traps, etc. (number and type, manufacturer, date of manufacture, dimensions,

condition):

OTIIER ULS

C, 71 87

Appendix: A.8

ILLUSTRATIVE MATERIALS

41. Measured drawings executed by fieldworker(s)? YES NO. If YES, indicate number and type of

drawings (lines plan, construction plan, outboard profile, section plan, deck plan, sail and rigging plans,

mechanical propulsion plan, plans of details):

12. Photographs taken by fieldworkers? YES NO. If YES, attach completed PHOTOGRAPH INFORMA-

TION FORMS.

13. Other available materials, including original plans, builder's half models, moulds. templates, photographs

(number, type, location):

BIBLIOGRAPHY

44. Sources of information supplied above:

58 72

Appendix: A.6

BUILDING DOCUMENTATION FORM*

Fieldworker:

Project:

Date:

1. Name of structure:

2. Location/address of structure:

3. Name and address of present owner:

4. Name of present occupant/user:

5. Present use of structure:

6. Significance of structure (significance to community, architectural significance, connection to important

people or events):

PHYSIC:U. HISTORY

7. Date of construction:

S. Names and addresws of architect, designer, builder, supplier:

*MS 1(4111 L. ML11/1111 hi ITIT III tH itil Olt !hot umenutitin it huiliting.(1)111,011rIt ii !Mgt.. 17-1 l Miii /{emnigng //won( linadinglk iuk Mi Ke.e

7359

Appendix: A.6

9. Names of previous owners and dates of ownership:

10. Previous uses of structure (include dates):

11. Description of original structure (basic dimensions, manner of construction, materials used, furnishings,

equipment):

12. Description (with dates) of known alterations and additions:

ARCHITECTURAL DESCRIPTION

13. Summary (number of stories, overall dimensions, basic layout, architectural stvle):

60

1_,

JEST COPY AVAILABLE

,

74

,..

Appendix: A.6

H. Exterior (testi iption:

a. foundations (height, thickness, materials, condition):

h. walls (materials, color, texture, ornamentol features, condition):

c. structural system (wall tvpe, floor systems, roof framing, joinery, details, condition):

d. porches. stoops, terraces, bulkheads (location, kind, form, details, condition):

e. chimneys (number, location, size, materials, condition):

I. windows (fenestration, type, glazing, trim. shutters, condition):

g. roofs (shape, covering, features, condition):

15. Interim description:

.1. flooi pins.

b. stait wass floc ,ttion, number, individual des( t iption, nitlitilin I:_ .

81

75

Appendix: A.6

C. flooting tN pc. tiiitii, ( ()minion

d. doors inni door%,,n, (number, tnatcrials. coloi. finish, location. dimensions, condition):.

C. trim iwoodNvork. cahincts. nainctital teatui cs. tiitji.0 Ircittinenti:

f. liatcl\care (hinges, knobs, locks. and latches).

_

rm.( han1( :11 and cit.( ti u ti cquipinclit i1t.itIIlt4. Ii11ting, and plumbing sNsti..ins nd 1.1..latt..d In:nut's. an(i

Ina( hitters.):

- .

SITI. ANI) SURROUNDINCS

( )t icntation and settlwg Ic(Imp,iss (hi ct tiutts. immudiatc (.115Itt)!tnicnt. Inpmo.,11)115. appro,tullesr.

17. 1 ,itylm apt (1(slgli:

62

)1111 11.4 s .1 c I I, II,. 1('II c. I it

I.

1

'

Appendix: A.6

O HIER DET 1LS

19.

.4v-g, *,

ILLUSTRATIVE MATERIALS

20. Measured drawings executed by fieldworker(s)? YES NO. If YES, indicate number and type of

drawings (location plan, plot plan, floor plans, exterior elevations, general sections, decorative details,

structural details):

21. Photographs taken by fieklworkers'f YES NO.11 YES, attach completed PHOTOGRiTH INFORMA-

TION FORMS.

BIBLIOGRAPHY

22. Sources of information supplied above:

77 63

Appendix: A.7

ARTIFACT LOAN FORM

I hereby give permission to the Project to borrow the

following artifact(s) belonging to me:

I understand that the Project is borrowing my artifact(s) for the purpose of:

(owner signature)

(date)

, acknowledge receipt of the artifact(s) listed above

on behalf of the Project. The Project agrees to return the

loaned artifact(s) in the same condition it was received, on or before

(date).

(Project representative)

(date)

64

t.

7aBEST COPY AVAILAEL E

, .:;4 4 , ro

,;

."..A.1";`Vq1 ,',V;;+:1...V...

Appendix: B.1

SAMPLE FIELDNOTES

Fieldworker: David TaylorProject: Maritime Heritage SurveyDate: November 6, 1986Place: Apalachicola, Florida

Nancy Nusz and I left our rented cottage at 6:45 a.m. to meet with Apalachicola oys-terman Ken Folsom and spend the day with him aboard his oyster skiff. We haci breakfast at

a local diner, and arrived at Ken's boat house On Water Street at about 7:45 a.m. We waited

around until Ken showed up at a little before 8:00.

Ken was born in 1955 and is originally from Ft. Walton Beach, Florida. He worked inradio broadcasting for several years and decided he preferred the slower pace of fishing. Hehas been oystering for six years.

We boarded his boat and headed west in the bav, arriving at the intended oysteringspot, called "North Spur," within about twenty minutes. Along the way we passed by a leased

oyster bed marked hv pilings driven into the bay floor. Ken had marked out the area he

wanted to oyster in previously by putting out buoys (one-gallon-size plastic jugs). For find-ing a more specific location, he used "the ranges." That is, he lined up landmarks, in thiscase a clump of trees above a small building on the shore. lie records this information in a"range book"a notebook that he keeps on board. Ken dropped anchor (an auto ('rankshaft) and began using his tongs to bring up oysters which he deposited On the "cullingboard"a piece of plywood, with two-by-four rails, set athwartships.

Within a few minutes, another oysterman came 1w and dropped anchor a short dis-tance away. Ken told us that he is Cletus Anderson, the oysterman from whom Ken learned.

79

After 20 minutes or so, Cletus, curious about Nancy and me, Ken speculated, came closer

and introduced himself. He oystered close to us for the rest of the day and presented us

with a good opportunity to speak to another oysterman, and gave us a chance to photo-

graph activity on another boat. Clews's boat was built by Sonny Polous of Apalachicola.

Ken cheerfully explained his tonging activities including: developing the ability to

learn what's on the bottom by listening to the sound made by the tongs, and by feeling vi-

brations of the tongs with hands and feet; devel( ping balance, and using leverage to reduce

effort and strain when tonging; noticing change in shell color in relationship to shell loca-

tion (e.g., on edge of bar).

Ken's tongs are 12 ft. long and made by Corky Richards of Apalachicola. Cletus's are

14 footers and also made by Corky. (Cletus's tongs have 18 teeth.) Ken also uses his tongs to

change the position of 11.s boat on the bed (i.e., he uses them like a pole).

Ken explained that some oystermen carry poles or a chain which they use to deter-

mine the location of oyster beds. Cletus uses a chain. Later in the day, we observed a man

pass by who was using a pole in this manner while his boat was underway.

State regulations say that oysters must Ix: at least three inches long. Ken has a notch

in the rail of his culling boardslightly longer than three incheswhich he uses as a

gauge.

Oystering by Ken and Cletus continued throughout the Nancy and I took photos

and recorded observations. Ken and Cletus seemed happy to answer our questions. When

speaking about weatherlore, Cletus said of the local winds and their correlation to fishing

success:

"East is the least;the West is the best."

66

obliiikVai i;111 ".:.

.1 1 _ at, "1

rOPY AVAILABLE

*44's .. . .

.4,1

Appendix: B.1

Around 1:30 p.m., Nancy and I gave Ken a hand lw culling the oysters which had ac-

cumulated on the culling board. Ken had culled a large batch by himself earlier. This not

only helped us pass the time, but also helped us better understand how to cull, and how to

recognize certain types of oysters. Local names for oysters included:

"burr" a cluster of oysters

"coon"oyster which grows close to shoreclose enough for racoons to harvest them

"scissor"long, narrow oyster

Another term"hogging"means to harvest while standing directly on the bed rather than

in a boat. "Lick" means a pass over the bed with the tongs ("my last lick was a good one").

Ken prefers to sell "select" oysters. That is, single oysters that he has separated from

others, if necessary, with his culling iron. lie receives a higher price for selects than for oys-

ters less thoroughly culled. He takes great pride in this, and remarked on the difficulty inher-

ent in changing this preference in order to sell larger quantities of oysters of an inferior

grade.

There was much discussion during the day by Ken and Cletus about the "freedom" of

oystering, and being one's own boss. Ken hurried to finish his culling in order to leave the

beds by 4 p.m. We then went to the Department of Natural Resources checkpoint by the

Lighthouse Restaurant (on Rt. 98). Alter that we went up the river to Ke,Cs buyer's place

(Seasweet SeafOod on (:otinnerc(' Street, run fw Roger Newton, mayor ot Apalachicola).

There, oysters are weighed, washed graded as we watched. We returnf.d to the dock at

about 5:15 p.m.

81 67

;:

Appendix: B.2

6

68

4.

11

FieldworkOrmond tomni,tahing the lines Mtwefrejimt fishing

z. boat ozowd fn.Frank -Sonny Bin".tiorve of Eastpoini.Florida. Ile is usint!an adjustablesquare to measurethe distancebetween the baselinemul the bottom Mthe bow atStation 2. Photo blDavid :1. TaylorVAIPM-BOTOS/S)

82

Appendiz: B.2

TAKING THE LINES OF A SMALL BOAT

The methods used to take the lines of a boat vary according to its size, shape, weight,and location. Take, for example, the case of a small fishing boat used by a fisherman inEastpoint, Florida. The boat selected for documentation was built in 1981 by Frank "Sonny

Boy" Segree for his own use floundering and gill netting in the waters of Apalachicola Bay.

The twelve-foot craft is constructed entirely of cypress and is held together with galvanizedfastenings. Segree calls the boat a "dinky," and because it is small, light, and quite simple in

form, it is an easy craft to document.

The first step in taking the lines of the dinky is to lift it off the ground and place it,bottom-side up, on top of a pair of benches. This is done to make it easier to make the nec-essary measurements. The boat is then leveled with the use of a carpenter's level. Following

this, a plumb bob is used to establish perpendicular lines. One line touches the center of

the after-most part of the transom, and the other touches the center of the forward-most

part of the stem. Thin stakes are driven securely into the ground to mark the forward pen.pendi(ular (FP), and the after perpendicular (AP). Next, a baseline is established by

stretching a stout string between the stakes. The string is positioned so that it runs horizon-

tally, directly above the centerline of the boat. Then, a carpenter's square and a line level

ie used to verify that a right angtc has been fOrmed at the point where the string is tied to

the stakes. At this stage, the basic reference points for the first series of measurements have

twen established.

Next, various measuring devices, including a carpenter's square, a six-foot folding

rule, and a sixteen-foot tape measure, are used for a series of measurements. All measure-

nwnts are checked, and then immediately recorded in a notebook. The first measurement

83w.

89

Appendix: B.2

Table of Offsets for twelve-tO, "dinky" i.v Frank "Sonny Boy" Segree, Eastpoint,Florida. Lines taken off at Eastpoint, Florida, by Ormond Loomis and DavidTaylor, November 14,1986. (Measurement.s given in feet, inches. and eighths.)

Stem Station 1 Station 2 Station 3 Transom1. Sheer 1-7-6 1-4-0 1-2-6 1-3-1 1-4-4

Bottom 0-6-0 0-3-3 0-1-6 0-2-2 0-4-4

2, Sheer 0-0-4 1-6-0 1-11-4 1-11-4 1-9-3Bottom 0-0-4 1-2-7 1-9-5 1-9-2 1-7-2Skeg 0-0-0 0-0-0 0-0-0 0-0-6 0-0-6

(I) height from base line. (2) half breadths from center line.

I......

- -._ _____.------.---Y.

----,...---i

---.. --

',...,0 3 i

Table of offsets fortweh,efoot fishingboat.

Lines plan oftwelvefoot boat,including prle(top), body plan(top-center), andhaylbreadth(bottom). Drawingby David A. Taylor

is of the overall length of the boat. Then, the maximum breadth of the bottom of the boat ismeasured. This point of maximum breadth is designated ts Station 2. Two other stations, Sta-tion 1 and Station 3, are then established at points halfway between Station 2 and the FP, andhalfway between Station 2 and the AP. respectively. The breadths of the bottom at Stations 1and 3, and the transom are then measured. Full breadths at each of the three stations andthe transom are divided in half' and recorded in the table of' offsets under "half breadths."

70

BEST COPY AVAILABLE

84

tr.

8,41,,

Appendix: B.2

The next nwasurements correspond to the distance between the center line of the

boat and the string, or baseline, at all three stations, the bottom of the stem, and the bot-

tom of the transom. These measurements are taken off and recorded in the table of offsets

under "heights above base."

Following these measurements, the "profile" (that is, the view from the side) of the

stem and stern are recorded. These measurements illustrate the shapes of the stem and

stern with reference to FP and baseline, and AP and baseline, respectively, Since the stem

and stern of this craft are both straight, these measuremenis are taken off very easily,

The next measurements record the "sheer heights," the distances between the base-

line and the top edge of the hull at each station. Taking these measurements require s some

degree of concentration, since it is necessary to ensure that imaginary horizontal lines run-

ning outboard from the base above the stations are perpendicular to vertical lines at the

sheer. These measurements are recorded in the table of offsets under "sheer heights."

The next measurements are the dimensions of other features of the boat: the out-

board face of the transom, the skeg, and the rub rail. The thickness of the planki.ag is mea-

sured as well.

At this point, all critical outboard measurements have been taken. and the boat is

turned over so that interior measurements can be recorded. Important interior features to

measure include: the stem head. i. . hiding cross-section, and height above the sheer;

thwarts; thwart risers; keelson; and chine battens. Finally, photographs, both black and

white and color, are taken of the craft from a variety of angles. Close-i.p shots are taken of

important or unique construction details. Later, using all measurements collected, a lines

drawing of the dinky is produced. This drawing graphically represents the essential

contours of' the hull. IN

8571

.116

.616.

74,

96

7-)

_

V.

ficet Irt Phuspru,!.; ell !II10111014

(11(AW:Itl.MMUIMI. Phirtuuurtell ,)1 thr',mum, Orpar r

P?It'ttl luideisin

Bibliography

ARCHITECTUREBlumenson,john. Identifying American Archi-

tecture: A Pictorial Guide to Styles and Thrms,1600-1945.2d res.. ed. New York: W.W.Norton, 1981.

Classic, Henry. Folk Housing in Middle Vir-ginia: A Structural Analysis of Historic Arti-facts. Knoxville: University of TennesseePress, 1975.

Howe, Barbara J., Dolores A. Fleming,Emory L. Kemp, and Ruth Ann Over-beck. Houses anc: Homes: Exploring TheirHistory, Nashville: American Associationfor State and Local History, 1987.

McAlester, Virginia, and Lee McAlester.held Glide to American I louws, New Y(nk:Alfred A. Knopf, 1984.

McKee. Harley J. Recording Historic Buildings:The Hrstorit American Buildings Survey,Washington: l'.S. Department of the inte-rior, National Park Service, 1970.

Peatross, C. Ford, Ih.stone 1 meni II: Budd,ings, Structures, and Sites. Washington:Library of Congress, 1983.

Renk, Thontas B. "A Cuide to Recot dingStructural Details of' HistoritHistorical A rrhaeolog; 3 ( 1(.169 ) 31-48,

BIBLIOGRAPHIE.S AND DIRECTORIESAcheson, .jiones NI. "Anthropology of Fish-

ing." Annuat ReHrie :IninrofwIno 1(1(1981), 275-316.

67

Albion, Robert Greenhalgh. Naval and Mar-itime History: An Annotated Bibliography.Mystic, Ct.: The Marine Historical Associ-ation, Inc., 1972.

Bartis, Peter, and Mary Hufford, comps.Maritime Folklife Resources: A Directory andIndex. Publications of the American Folk-life Center, no. 5. Washington: Library ofCongress, 1980.

Landberg. Leif, comp. A Bibliography for theAnthropological Study of Fishing Industriesand Maritime Communities and Supplement,1973-1977. Kingston. R.L: University ofRhode Island, International Center forMarine Resources Development, 1973and 1979, respectively.

Marshall. Howard W. American Folk Architec-ture. A Selected Bibliography. Publications ofthe American Folklife Center, no. 8.Washington: Library of Congress, 1981,

National Trust for Historic Preservation.Directory of Maritime Heritage RrsoWashington: National Trust for HistoricPreset vati(nl, 1981.

BOATS AND BOATBUILDINGAnders( in, Richard K. Guidelines for Rewra

tog Historic Ship. Washingurn: NationalPark Service, U.S. Department of theInterior, I listm lc American EngineeringRecord, 1988.

73

Brewington. Marion V. Chesapeake Bay LogCanoes and Bugeyes. Cambridge, Md.: Cor-nell Maritime Press, 1963.

Chapelle, Howard I. American Small .SathngCraft: Their Design Development and Con-itruthon. New York: W.W. Norton, 1951.

Boattruqding: .A Complete Handbook (1Wooden Boat Construction. Ness York: W.W.Norton, 1941.

. The National Watercraft Collethon. 2ded. Washington: Smithsonian InstitutionPress; Camden. Me.: InternationalN1arine Publishing Co., 1976.

Comeaux, Malcolm L. "Origin and Evolu-tion of Mississippi River Fishing Craft."Pioneer America 10 (1978): 73-97.

DavArno. The I,ines Plan. 3 Pts, Sea-IA':New Haven, Ct., 1990. Two thirty-minutevideotapes, and (me sixty-minute video-.tape.

Delgado, James P. comp. Prehminary Inven-tory of Historic Large Ves.sels Preserved in the

,States. Washington: U.S. Depart-ment of the Interior, National Park Ser-vice, The National N1aritime Initiative,1987.

. Preliminary In rientory of Historic SmallCraft Collections. Washington: U.S. Depart-nwnt of the Interior National Park Ser-vice, The National Maritime Initiative.1987.

Gardner, John. "Taking Lines Off Bigger

1986): 58.

"Taking Off Lines Allows Duplica-Mni of Existing Boats." National Fisherman00, no. 12 (April 1986): 44-45.

Tlu, Dory Book. Camden, Me.: Inter-national Nlarine Publishing Co., 1978.

:Triangulation Method is Well Suitedto I.iiting Lines." National hshennu 71 67,

no. 4 (August 1986): 65-67.

74

Gillmer. Thomas C. Making tiatercraft: .4,Survey of Surviving Local Boats of Americaarid Europe. Camden, Me.: InternationalMarine Publishing Co., 1978.

Greenhill, Basil. Archaeolop of the Boat: ANew Introductory .Study. Middletown, Ct.:Wesleyan University Press, 1976.

Guthorn, Peter J. The Seabright Skiff andOther Jersey Shore Boats. Brunswick, NJ.:Rutgers University Press, 1971.

Holmes, Tommy. The Hawaiian Canoe.Kauai, Editions Limited, 1981.

Hornell, James. Miter Transport: Origin andEarly Dez wlop men t. Cambridge: CambridgeUniversity Press, 1946.

Johnson, Paula J., and David A. Taylor."Beyond the Boat: Documenting the Cul-tural Cont..-At." In Boats: A Field Manualfin- the Documentation of Small Craft, ed.Paul Lipke. Nashville: American Associa-tion for State and Local History, forth-coming.

Knipmeyer, William P. "Folk Boats of East-ern French Louisiana." Edited by HenryGlassie. In American Folklife, ed. DonYoder, 105-49. Austin and I.ondon: Uni-versity of Texas Press, 1976.

Lipke, Paul, ed. Boats: A Field Manual for theDocu-dentation of Small Craft. Nashville:American Association for State and LocalHistory, forthcoming.

. Plank on Frame: The Who, 1t'hat andWhere of 150 Boatbuilders. Camden. Me.:International Marine Publishing0).3981.

Innt, C. Richard K. "Lobsterboat Buildingon the Eastern Coast of Maine: A Com-parative Study." Ph.D. diss., Indiana Uni-versity., 1976.

. "The St. Lawi elite Skill and the)11.1( )re of Boats.- Nrw Yoth 101klore (Inar

ter]) 29 1973): 151-268.

Bibliography

McKee, Eric, Clenched Lap or Clinker: AnAppreciation if Boatbudding Technique. ! on-don: National Maritime Museum. 1972.

. Working Boats of Britain: Their Shapeand Purpose. Greenwich: Conway Mar-itime Press,1983.

Moonsammv, Rita. "Smart Boats. Able Cap-tains: The Schooner as Metaphor." NewJersey helkke 1'2 (1987): 38-44.

Phi llips-Birt, Douglas. The Naval Architectureof Small Craft. London: Hutchinson andCo., 1957.

Salaman, R. A. "Tools of the Shipwright,1650-1925." Folk-Life 5 (1967): 19-51.

Shock, Edison Irwin. "How I Took Pin-kletink's Lines." In The Catboat Book, ed.John M. Leayenf, 38-41. Camden, Me.:International Marine Publishing Co. forthe Catboat Association, 1973.

Simmons, Walter J. Lapstrake Boathuilding.Camden. Me.: International Marine Pub-lishing Co., 1978.

. Lapstrake Boatbuddinglidume 2. Cam-den, Me.: International Marine Publish-ing Co., 1980.

. Lines, l.ofting and Half Models. Lin-colnville. Me. Ducktrap Woodworking.1991.

Taylor. David A. Boat Building in Winterton.NeufOundland. Canadian Cen-

tre for Folk ( ulture Studies, Paper 110.41. Ottawa: National Museum nf Man,1982.

"Taking.. the I.ines," Woodenboot 19(Noy.-Dec. 7): 42-45.

Time-Life Books. Flu' Classic Boat. Akxan-dria, Va.: Time-Life Books, 1977.

N'intses, Allan II. Loping. (;amden,International Marine Publishing Cfl.,1980,

S 89

CULTURAL CONSERVATION ANDHISTORIC PRESERVATION

Delgado. James P. "Grim Realities, HighHopes, Moderate Gains: The State of His-toric Ship Preservation." CulturalResources Management Bulletin 12, no. 4(1989): 1,3-4.

Delgado, James P., and a National Park Ser-vice Maritime Task Force. Nominating His-toric tessels and Shipwrecks to the NationalRegister of Historic Places. National RegisterBulletin 20. Washington: U.S. Depart-ment of the Interior, National Park Ser-vice, Interagency Resources Division, n.d.

DerryAnne, H. Ward Jandl, Carol D. Shull,and Jan Thorman. Guidelines for Local Sur-veys: A Guide for Preservation Planning.National Register Bulletin 24. Rev. ed.Washington: National Registe: of HistoricPlaces, Interagency Resources Divi:,ion,U.S. Department of the Interior, 1985.

Hufford, Marv. One Space, Many Places: Folk-life and Land l'se in New Jersey's Pit,elandsNational Reierve. Publications of theAmerican Folklife center. no. 15. Wash-ington: Library of Congress, 1986,

King, Thomas F., Patricia Parker, and GaryBerg. Anthropology in Historic Pre.servaiion:carin(4.pr Culture's Clutter. New York: As a-dennc Press. 1977.

Loomis, Ormond, coot& Cultiztal Conyeri,alion: Die Protection of Cultural Heritage' inthe l'oited States. Publications of the Amer-ican Folklife Center, no. 10. Washingum:Library of Congress. 1983.

ETHICSAmerican Anthropological Association, Pro-

jr.ssiona! Ethics: Statements and Noreduresthe American Anthropological Association.Washington: American AnthropologicalAssociation, 1983.

78

EXHIBITSWitteborg. Lothar P. Good Show: A Practical

Guide for Temporary Exhibitions. Washing-ton: Smithsonian Institution TravelingExhibition Service, 1981.

FIELDWORK GUIDESAllen, Barbara, and Lynwood Montell. From

Memory to History: Using Oral Sources inLocal Historical R;search. Nashville: Ameri-can Association for State and Local His-tory. 1981.

Bartis, Peter. Fo AO' 6,4 heldwork: A Layman'sIntroduction to Field Thchniques. Rev, andexpanded ed. Publications of the Ameri-can Folk life Center, no. 3. Washington:Library of Congress, 1990.

Baum, Willa K. Oral History and the LocalHistorical Society. 3rd rev. ed. Naliville:American Association fOr State and LocalHistory, 1987.

Burgess, Robert G. held Research: A Source-book and held Alanual. ContemporarySocial Research Series: 1. London:George Allen and Unwin, 1982.

Danze7. Gerald A. Public Places: ExploringTheir History. Nashville: American Associa-tion for State and Local History, 1987.

Georges, Robert A., and NIichael OwenJones. People Studying People: The HumanElement in Fieldwork. Berkeley and LosAngeles: University o California Press.1980.

Goldstin. Kenneth S. A Cuide bur Field Work-

ers in Folklore. Hatboro. Pa.: Folklore Asso-cimes, 1964.

Gorden. Raymond L. haerviewing: Strategv.li.t/iniques and Thous. Homewood, Ill.:The Diirsey Press, 1969.

Res. Edward D. Thu Mpe-lirmodfal Inirryietc..1 .1Ianual lor Field Workers in Folklore' and

76

Oro/ History. Knoxyille: University of Ten-nessee Press. 1980.

Jackson, Bruce. Fieldwork. Urb:ma andChicago: University of Illinois Pre,s, 1987.

Kammen, Carol. On Doing Local History:Reflections on What Local Historians Do,11,71y, and What it Afeans. Nashville: Ameri-can Xssociation for State and I.ocal His-tory, 1986.

Kvvig. David E.. and Myron A. Marty. Nearbylkstory: Exploring the Past Around You.Nashville: American Association for Stateand Local History, 1982,

Northeast Archives of Folklore and OralHistory. Au Oral Hist, ,ian'S 11brk, with DrEdward Ives, Orono, Me.: NortheastArchives of Folkloie and Oral History,1987. Thirty-min. videotape.

Roberts, Warren E. "Fieldwork: RecordingMaterial Culture." In Folklore and Folklife:An Introduction, ed. Richard NI. Dorson,131-44. Chicago: Uyiversity of ChicagoPress. 1972.

Spradley, James P. Participant Observation.New York: Holt, Rinehart and Winston,1980.

. The Ethnographic Interview. New York:Holt, Rinehart and Winston, 1979.

Spradlev, James P., and David W. McCurdy,me Cultural Experience: Ethnography inComplex Society. Chicago: ScienceResearch Association. 1972.

Thompson. Paul. Tlw Voice of the Past: OralHistory. Oxtiird: Oxford University Press,1978..

FOLKLIFE STUDIES, INTRODUCTIONSBrown. I.inda Keller. and Kay Nlussell, eds.

Ethno and Regional Foodwass in the l'HitedVales: The Performance 6roupKmaxville: UniyersiR 1 1 ennessee Press,1981.

ao

a

.a

Bibliography

Brunyandlan II. The Study of American Folk- Acheson.lames NI. ".l'erritories of thelore: Introduction. New NOrk: W.W. Nor- Maine Lobstermen." Natural History SIton, 1968. (1972): 60-69.

Byington, Robert IL, ed. WOrking Americans: . Tim Lobs I el' Gangs of Maine. Hanover,Centemporary Approaches to Occupational N.H.: University Press of New England,

Smithsont.m Folklile Studies, no. 1988.3. Los Angeles: California Folklore Soci-ety, 1978.

Dorson, Richard. Buying the Wind. Chicago:University of Chicago Press, 1964.

Dorson, Richard M., ed. Folkiore and Folklife:An Introduction. Chicago: University ofChicago Press, 1972.

. Handbook of American Faklore. Bloom-ington: Indiana University Press, 1986

Glassie. Henry. Pattern in the Material FolkCulture of the Eastern United States.Philadelphia: University of PennsylvaniaPress, 1968.

Oring, Elliott, ed. Folk Groups and FolkloreGenres: An Introduction. Logan, Ut.: UtahState University Press, 1986.

Toelken, Bane. The Dynamo of Folklore.Boston: I hiughton Mifflin Co., 1979.

Yoder, Don, ed. A meriatn Folklife. Austin:University of Texas Press, 1976.

Zeitlin, Steven J., Amv J. Kotkin, and Holly(:utting Bakes. .1 Celehration 01 AmericanFamily Folklore: lales and Daditions from theSmithsontan Collection New York: Panthem, 1982.

FOLKLIFE STUDIES. MARITIMEAbrahams, Roger D., Kenneth S. Goldstein,

and Wayland D. Hand, eds., with theassistance ol Maggie Craig. bind andBy Sea: Studies in the Folklore ol Work andLeisure Honoring Horace P Beck on his Sixty-Fifth BirthdaN. Hatboro, Pa.: LegacyBooks, 1985.

91

Andersen, Raoul, ed. North Atlantic MaritimeCultures: Anthropological Essays on ChangingAdaptationv. he Hague: Mouton Publish-ers, 1979.

. 'Those Fishermen Lies: Custom andCompetition in North Atlantic FisherInanCommunication." Ethnos 38 (1973):153-64.

Andersen, Raoul, and Cato Wadel, eds.North Atlantic Fishermen: AnthropologicalEssays on Modern Fishing. NewfoundlandSocial and Economic Papers, no. 5. St.John's: Memorial University of New-foundland. Institute of Social and Eco-nomic Research, 1972.

Anson, Peter F. British Sea Fishermen. Lon-don: William Collins, 1944.

------. Fisher Folk-lure: Old Thhoos and Super.stitions among the Fisher Folk. London:Faith Press, 1965.

. Fishermen and hshing Ways. London:George Harrup and Co., Ltd., 1932.

. Fishing Boats and Fisher Folk on theEast Coast of Scotland. I smtbas: j. M. Dentanti Sons IA& 1930,

. Scots Fisher-Mk, Banff: BanffshireJournal Ltd., 1950.

Beck, Horace I'. Folklore and the Sea. MysticSeaport Marine Historical AssociationAmetis an Maritime Library, vol. 6. Mid-dletinsit, Ct.: Wesleyan Univelsity ess,1973.

Beck. Jane C. The Legacy ol the Lake: A StudyGuide to the Folklife ol the take ChamplainRegion. Montpelier, Vt,: The VermontFaklile Center, 1985.

77

Documenting Maritime Fo

Brandt, Andres von. Fish Cti:chtng .11ethod.sthe Worid. 3rd rev. and enlarged ed. Farn-ham. England: Fishing News Books Ltd.,1984.

Browning, Robert J. Fisheries of the NorthPacific: History, Species, Gear ce Processes.Rev. ed. Anchorage, Ak.: Alaska North-west Publishing Co., 1980.

Butler, Gary R. "Culture, Cognition, andCommunication: Fishermen's LocationFinding in L'Anse-a-Canards, Newfound-land." Canadian Folklore Canadien 5, nos.1-2 (1983): 7-21.

Calander. Harriet Bell. History of Fish andFishing in the Upper Mis.sissippi River. Dav-enport, la.: Upper Mississippi River Con-servation Commission, 1954.

Carey, George. A Faraway Time and Place:Lore of the Eastern Shore. Washington andNew York: Robert B. Luce, Inc., 1971.

Conleaux, Malcolm L. Atchafalaya SwampLife: Settlement and FA Occupations. BatonRouge: Louisiana State University Press,1972.

Curry, Jane. The River's in My Blood: RiverboatPilots MI Their Stories. Lincoln and Lon-don: University of Nebraska Press, 1983.

Eunson, Jerry. 'The Fair-Isle Fishing-Marks."Scottish Studies 5 (1961): 181-98.

Feinberg, Richard. Polyne.sian Seafaring andNavigation: Ocean Travel in Anutan Cultureand Society. Kent, Ohio, ano London: TheKent State University Press, 1988.

Florida Department of State. Fishing All MyDays. White Springs, Fl.: Florida Depart-ment of State, Bureau of Florida FolklifePrograms. 1986. Videotape.

Forman. Shepard. "Cognition and theCatch: Tlw lAwation of Fishing Spots in aBraiilian Coastal Village. Ethnology 6, no.1 (1967): .117-26

78

e.

Fricke, Peter H., ed. Seafarer y:;-' Community:Thwards a Social Understanding of Seafaring.London: Groom Helm, 1973.

Frye, John. The Men Singing: The Story ofMenhaden Fishing. Norfolk. Va.: Dunning,1978.

Gersunv, Carl. and John J. Poggie, Jr. "Dan-ger and Fishermen's Taboos." Maritimes16. no. 1 (1972): 3-4.

Gilmore, Janet C. The World of the OregonFishboat: A Study in Maritime Faye. AnnArbor, Mi.: UM1 Research Press. 1986.

Gladwin, Thomas. East is a Big Bird: .Vaviga-lion and Logic on Puluwat Ate. Cam-bridge: Harvard University Press. 1970.

Goode, George Brown, ed. 71u, hsherie.s andFiihery Industries of the United States. 7 vols.Washington: Government PrintingOffice, 1884-87.

Green. Ben. Finest Kind: A Celebration of aFlorida Fishing Village. Macon. Ga.: MercerUniversitv Press, 1985.

Griffin, Carl, III, and Alaric Faulkner. andincluding the reminiscences of AlbertaPoole Rowe. Coming of Age on DamariscoveIsland, Maine. Northea.st Folklore 21 (1980).

Gunda, Bela, ed. The Fishing Culture of theWorld: Studies in Ethnology, Cultural Ecologyand Folklore. 2 vols. Budapest: AkademiaiKiado, 1984.

Hall, C. Eleanor. "Ice Fishing on Lake(Thamplain." New York Folklow Quarterly 21,no. 1 (1965): 19-25.

Olof. "Sources of Maritime IL .!oryand Methods of Research." .11anner'.sror 52 (1966): 127-44.

Hassl6f, Olof. Henning Ilenningsen. andArne Emil Christenwn,IL, eds. Ships andShipyard.s, Sailors and Fishermen: Introdur-twit to Maritime Ethnology. Copcnkagen:RUM'fikilde and Bagger, 1972.

92

Bibliography

lenningsen, II. Taboo Words Among Sea-men and Fishermen." Manners .11/rror 43(1957): 336-37.

Hornell, James. Fishing in Many tt'aters,Cambridge: The University Press, 1950.

Huntington, Gale, ed. Thm Tilton: Coasterand Fisherman. Northeast Folklore 23 (1982).

Jenkins," Geraint. Nets and Coracles. New-ton Abbot, England. and North Pomfret,Vt.: David & Charles, 1974.

Johnson, Paula", ed. B'orking the Water: TheCommercial Fisheries of Maryland's PatuxentRiver. Charlottesville, Va.: University Pres.of Virginia, 1988.

Kennedy, Don H. s!!ip Names: Origins andUsages During 45 Centuries. Chariot-desville, Va.: University Press of Virginiafor The Mariners Museum, 1974.

Kochiss, John M. (Altering from New Fork toBoston. Middletown, Ct.: Wesleyan Univer-sity Press for Mystic Seaport, 1974.

Kuzma, LaAnne Gavkowski, ed. Living at aLighthouse: Oral Histories from the GreatLakes. Allen Park. Mi.: Great Lakes Light-house Keepers Association, 1987.

Lewis, David. 1Ve. the Navigators. Honolulu:The U n.versity Press of Hawaii, 1972.

1.loyd, Timothy C., and Patrick B. Mullen.Lake Erif. Fishermen: Mrk, Tradition, andIdentity. Urbana and Chicago: Universitsof Illinois Press, 1990.

1 und. Jens. "Danger and Delight: Envit on-mental-Experience Narratives in Southern New .Iersev." .Vew ferseY Eaktr/c 12(1987): 21)-3I

. "Fishing as a F()Ik h upatilin in OwLowe! Ohio Valles Ph.D. diss., IndianaUniversity, 1982.

N1aril. Robert Lee. b'xas Shrimpers: COMIPIII

nits, Capdalom. and Mr Sea, Cidlow. St,m-non: rexas .1 Ns. M l'uiversity Press, 1983.

vs* - 93

Martin. Kenneth R.. and Nathan R. Liplert.Lobstenng and the Maine Coast. Bath, Me.:Maine Maritime Museum. 1985.

Matthiessen, Peter. Men's Lives: The Surtmenand &viten of Me South Fork. New Thrk:Random House. 1986.

Miller. Jennifer, ed. Coastal Affair. Specialissue of Southern Exposure 10, no. 3(May./June 1982).

Moonsammy, Rita. "Smart Boats, Able Cap-tains: The Schooner as Metaphor." NewJersey Fo!klife 12 (1987): 38-44

Moonsammv, Rita Zorn, David StevenCohen, and Lorraine E. Williams, eds.Pinelands Fo!klife. New Brunswick, NJ_and London: Rutgers University Press,1987.

Mullen, Patrick B. I Heard the Old FishermenSay: Folklore of the Texas Gulf Coast. Austin:University of Texas Press, 1978.

Orbach, Michael K. Hunters, Seamen andEntrepreneurs The Tuna Fishermen 4. SanDiego. Berkeley: University of CaliforniaPress, 1977.

Pearm,n, John C., ed. The Fish and hshenes ofColonial .Vorth Documentais His-tory of the Fishery Resources of the I'nitedStates a Put Canada. 9 vols. Rockville. Md.:National Marine Fisheries Service, 1972.

Pilch.% William W. The Portland Longs/ono-men: Dispersed Community. New Thrk:Holt, Rinehart. and Winston, 1972.

Poggielohn Ir., and Carl Gersimy. Fisher-men (1 Gabler: 'The Human Ecolo* of a NEngland COntat Community. University ofRhode Island Marine Bulletin Series, no.17. Kingston. R.I.: l'nivetsitv of RhodeIsland. 1974.

. "Risk and Ritnal: All Interpretationof Fishermen's Folklore in a New Eng-land (ommunity." journal ol AmericanFolklore 87) 1972): 66-72.

79

Poscn. I. Sheldon. Fon Hear du' lii laliang:The tial's id People and Ire on Lake Champlain. Published in conjunction with theLake Champlain Ire Exhibition, ClintonCounts' Historical Nhiseum, Plattsburgh,N.Y., ,Januars-April 1987. Plattsburgh,N.Y.: The Clinton-Essex-Franklin LibrarySystem, 1986.

SailisburY,.John C. Commercial Fishing Methods: An Introduction to VesseLs and (;ear.I.ondon: Fishing News (Rooks) 1.td..1971.

Smith. I. Estelle, ed. Those Who Live Fromthe Sea: .4 Study tn Maritime Anthropolors.St. Paul, Mil.: West Publishing Co., 1977.

Stiles, R. Geoffrey. "hshermen, Wises andRadios: Aspects of Communications in aNewfoundland Fishing Cotrummitv." InNorth Atlantic Fishermen: ..ktithropologicalEssays on Modern Fishing, yds, RaoulAndersen and Cato Wadel, 35-60. New-foundland Social and Economic Papers.no. 5. St. John's: Memorial 1:111Vell Ot

Newfoundland. Institute of Social andE«inomic Research, 1972.

Tasloi. David A. -Songs .1hon7 Fishing:Examples of Contrinpocai MaritimeSongs." Canadian Folklore Cmuldren 12, no.2 (1(.010: 85-99.

Taylor, Lawrem e Dutchmen cco the nov: 1'hrLthnohistorN 01 a Contrac!ual CommunitvPhiladelphia: 1 'insersus Primsslvania

ess, 1983.Thimipson, Paul, with 'Ions Wailes arid

'hew! laimmis. Irving the Fislang.don: Routledge kegan Paul, 1983.

unstalljereniv. The Fishermen. I cwibm:Mac Gibluni and Kee, 1969.

Pamela, ed. Po, Nair book:.101 Moss Pudding, Von,. t%alls, Bum RicoIII IN.!. M(4ple S'srup, .Stimpshm s, and ()Ito)einkrr DoingN. (,ildcrs \ .\11(11,)1

I'r>'S Donbledas, 1977.

80

cd. Salt 2: lioah*.uilding, Sailmaking,Island People, Buyer Driving, Beall IloleBeans, 1Vooden Paddles, and More arilterDoings. Garden Cits, N.V: Ant horPress Doubledas, I 9$0

FUND-RAISINGBauer, David G. The "lime ii (rants Man-

na!: Sucresqul Granlseeking Techniques for(Mtaining Publu and Private Grants. N

Ameriran Council on Education,Macmillan, 1988.

Grastv, William K. Success/it/ Fundraising.New Ycirk: Scribner, 1982.

Flanagan, .foall. The Grass Roots FundraisingBook, Chicago: Contempoiais. Rooks,1982.

The Foundation Centel, The FaindationDirectoiN. 13th cd. New k: The h mild&non C('ntrr, 1991.

LAN I)SCAPE

I rwis. Pier«. "Learning from Looking:Geographic and ()lier \Vriting about the..\rnerican Cultural Landscape." AmericanQuarterh 35, no. 3 (1983): 212-61.

Meinig, ed. The Interpretation 01 (htlinar) Landscapes: Geographical FssaNs.Oxf()Id: Oxfind l'niversitv Press, 1979

Poc Ms, ( &raid L. A Place to Belong: Commit-nit Mier and 1.7'elylaN .1pate ( 3111411.

Nenioundland. Athens, Lniseisity ofGem gia Pt ess, 1991.

nan. Spocr and Place: liii his/H.110,4,o/txperientr. Nlinneapolis: Vnisei sits. od\Inincsina Piess. 1977.

. hi/mph/tor. .1 Viols 01 nimmimmtalIttitsiclys, nel IIi41c-

wlml helm«. I WI, 1971.

9 4

Bibliography

PHOTOGP 4PHYBrown. Bruce C. Ifatershots: How to hike Bet-

ter Photo.s On and Around du' tVatet. Cam-den, Me.: International MarinePublishing (:o., 1988.

Collier, John, Jr., and Malcolm Collie!.Visual A nthropoloks: Photographs. as aResearch Aletlwd. Rev. and expanded ed.Alhuquer9ue: University of New MexicoPress. 1986.

Dean. Jeff. Architectural PhotogTaphy 'Prh-nique.s for Architects. Preservationists, Histori-ans, Photographers, and l'rban Planners.Nashville: American Association for Stateand Local History. 1982.

Fleischhauer, Carl. "Sound Recording andStill Photographs in the Field.- In Hand-book t)f American Folklore. ed. Richard M.Dorson, 384-90. Bloomington: IndianaUniversity Press,1986.

lIedecoe..john. The Photographer's Handbook.Westminster, Md.: Allred A. Knopf, Inc..1977.

liorenstein. Hem s. Blaek aml While Photogra-ph.N. Boston: Little, Brown, 1983.

lolls, Brad. VideolapIlig 13440Nashville: American Association for Stateand Lot al History. 1982.

SOUND RECORDINGBurstein, Herman. Question.% and Answers

About Thpe Recording. Blue Ridge Summitt.Pa.: TAB Book,. 1974.

Clifford, Martin. AlicrophonesIlow ThesMrk & How to 1 'se Them. Blue Ridge Sum-mit, Pa.: TAB Books, 1977.

Fleischhauer, Carl. "Sound Recording andStill Photographs in the Field.- In Hand-book of American Folklore. ed. Richard M.Dorson, 384-90. Bloomington: IndianaUnisersitY Press. 1986.

Westcott, Charles G.. and Richard F. Duhbe.Thpe Recorder,: How Du's Wimk. New Thrk:Bobbs Merrill, 1974.

TERMINOLOGYKerchove, Rene de. International Maritime Do-

tionary: An Enesclopedic Ihrtionar,Maritime Tel MS and Phrases. Thgether withEquivalents in French anti German. 2d rev. ed.New York: Van Nostrand Reinhold, 1983.

958 1

96

a

iEST OCPY AVAII ABLE.