Folklife of Wiregrass Georgia
High Hill Missionary Baptist Church in northern Turner Co., organized 1915, built 1916. Photo by Howard Marshall, 1977.
Traditions of Turpentining
Fats Baker (Gum Hauler) Wagon Driver, Greenwood Turpentine Camp, Stockton, GA, circa late 1940s.
Okefenokee Folklife
The Chesser family of Okefenokee doing laundry. (Georgia Southern)
South Georgia Folk Music
Two unidentified bluesmen perform together on a porch. Photograph by Dennis Coelho, Library of Congress, 1977.
Collection Highlights
A virtual tour of selected materials from the South Georgia Folklife Collection
Let Us Sing: Southeast Georgia Sacred Harp
Let Us Sing: Southeast Georgia Sacred Harp is a web version of an exhibit currently on permanent exhibition at the Okefenokee Heritage Center in Waycross. It was co-curated by Laurie Kay Sommers and fifth generation Sacred Harp singer, David I. Lee, of Hoboken. The original 2001 exhibition was supported in part by the Georgia Council for the Arts (GCA) through the appropriations of the Georgia General Assembly. GCA also receives support from its partner agency, the National Endowment for the Arts.
Collection Highlights
Collection Highlights provides a virtual tour of selected materials from the South Georgia Folklife Collection, housed at the Valdosta State University Archives and Special Collections
Folklife of Wiregrass Georgia
Folklife of Wiregrass Georgia is a web version of an exhibit by the same name now on permanent display in Odum Library at Valdosta State University. It is built upon an earlier exhibition curated in the late 1980s by folklorist Tom Rankin for the Arts Experiment Station at Abraham Baldwin Agricultural College in Tifton. This earlier exhibit featured photographs from the 1977 South Central Georgia Folklife Survey conducted by a team of folklorists working for the American Folklife Center of the Library of Congress. The present exhibit includes additional images and text by Laurie Kay Sommers. It toured South Georgia from 2000 to 2003 in two versions, the first funded by the Georgia Humanities Council, and the second funded by an Access grant from the National Endowment for the Arts.
