Introduction to Delta Pieces: Northeast Louisiana Folklife
Map: Cultural Micro-Regions of the Delta, Northeast Louisiana
![A map of the cultures of Northeast Louisiana, drawn by anthropologist H. F. “Pete” Gregory, shows the Delta sub-regions of plantations, yeoman farmers, and fishing.](../../siteimages/info.png)
The Louisiana Delta: Land of Rivers
![An anthropology professor and Delta native recalls over 100 years of Louisiana history and culture recorded during a personal interview about his life and the lives of his ancestors. Having grown up in various towns along the Black River and Mississippi Delta, Pete Gregory's stories illustrate the cultural landscape. Telling tales of sharecroppers, hill folk, swamp dwellers, tent towns, fishing communities, race relations, and the perseverance of this unique way of life, Gregory's accounts represent the Delta experience, and conclude that, even today, the Delta remains a strange and wonderful place.](../../siteimages/info.png)
![In one of his 11 reflections, a native son explores the importance of the Mississippi River to the region of the Northeast Louisiana Delta from its geography to its identity. The transformations wrought by the newer levees, the leveling of the land to plant soybeans, and the new catfish farms have made the Delta a different place, yet many traditions continue such as the naming of river terms and commercial fishing.](../../siteimages/info.png)
![In one of his 11 reflections, a native son explores the historical influence of early French settlers in the Northeast Louisiana Delta in family names, foodways, and architecture.](../../siteimages/info.png)
![In one of his 11 reflections, a native son describes the small farm homesteads in the Northeast Louisiana Delta which were referred to as family 'places' in the hills and backswamps. Many of these places have been purchased by corporate farms.](../../siteimages/info.png)
![A native son reflects on the changing landscape and culture of the Delta in northeast Louisiana in one of his 11 reflections, describing the effects of the oil and later soybean and corn industries on the native forested wetland and its wildlife and people.](../../siteimages/info.png)
![In northeastern Louisiana, hunters-and-gatherers established a tradition of mound building that began five millennia ago. The earthworks they built are striking evidence of Louisiana's earliest residents and a testimony to the complexity of an ancient culture that remains largely a mystery. Mound construction was widespread by 3000 BC in northern and southern Louisiana as well as Mississippi and Florida. Research on the Watson Brake mound complexes prove these earthworks predate those at Poverty Point in West Carroll Parish, while also providing new information on the lives of Middle Archaic hunter-gatherers.](../../siteimages/info.png)
![While Native Americans and Spanish explorers preceded French settlement in Louisiana, a lasting influence of the French is demonstrated by names given to waterways and landforms still used today. Using streams and bayous as modes of transportation, early French settlers were hunters, gatherers, harvesters, and fur trappers with close ties to the land. Most of the names of waterways and geographic features in Louisiana fall under two categories: French surnames or French words used to describe natural features, and variations of these can be seen throughout the state.](../../siteimages/info.png)
![The history of the 1927 Mississippi River Flood and Great Depression shows the struggles endured by residents as a result of these events, as well as the resilience with which they responded. Preparation, rescue operations and recovery efforts toward the 1927 Flood are described. For some constructing flood protection provided escape from the Great Depression. Others coped with their circumstances through hard work and determination. These two disasters not only influenced the lives of survivors, but influenced future generations.](../../siteimages/info.png)
Ethnic Groups
![In one of his 11 reflections, a native son explores the influence of Native Americans, both past and present, in the Northeast Louisiana Delta and their folk traditions. Mounds and artifacts provide evidence of past Native Americans, while some contemporary tribes, including the Choctaw and Tunica remain in the Delta and carry on their traditions.](../../siteimages/info.png)
![In one of his 11 reflections, a native son explores the prevalence of archaic Indian mounds in the Northeast Louisiana Delta and how early settlers and present residents regarded and used (or abused) them.](../../siteimages/info.png)
![Louisiana and Mississippi Choctaw have overcome a history of relocation and population decline to emerge as a growing tribe that is thriving economically and adapting to surrounding culture, while preserving traditions of language, dance, basketry, clothing, and sports.](../../siteimages/info.png)
![Formerly considered an invisible culture, the migratory workers and permanent residents from Mexico and Central America have inspired cultural changes visible in the availability of Hispanic food, medicine, and music in Louisiana. Migratory work, such as agriculture, construction, and the oil industry are also discussed. The Hispanic population trend and accompanying cultural changes are expected to increase and continue in Louisiana.](../../siteimages/info.png)
![Interviews of second-generation Italians in Monroe, Louisiana, reveal a tight-knit community maintaining ethnic traditions despite pressures to assimilate to mainstream American culture. Attracted by the prospect of new opportunity, they began as farmers, applying their earnings and strong work ethic toward establishing businesses and formed bonds through social clubs. Second-generation storytellers recall struggling with their “Italian-ness” during their youth; however, as adults, some returned to their roots, and practiced customs such as foodways and the St. Joseph's Day altar.](../../siteimages/info.png)
![M. J. Varino, took over his father's Rainbow Grocery, one of the first Italian grocery stores in Monroe, and ran it until his retirement in 2000. In the high-ceiling, old style grocery, he made around a hundred pounds twice a week of his specialty item, Italian sausage. Made with a recipe from his friend, Father Sam Pollacia, the pork and beef link sausage containing tomato juice and spices was a community favorite for holidays.](../../siteimages/info.png)
![The history, origins, and evolution of the St. Joseph's Day altar tradition, a long-practiced Catholic event predominantly celebrated by Italians and Sicilians is presented along with detailed descriptions of the complex work involved in preparing the altar. Recipes and baking procedures for Italian foods associated with the tradition, such as spinges, biscotti, St. Joseph's bread, fish dishes, and spaghetti are featured along with photographs of these preparations performed by the Men's Club and Altar Society of St. Joseph's Church in Monroe, Louisiana.](../../siteimages/info.png)
![Of Sicilian descent, Guy Serio gives oral history about running his grocery in Ferriday, Louisiana, where he observed the hardships of Italian farmers in the Delta.](../../siteimages/info.png)
![Qin Lin, of Ferriday, Louisiana, practices Chinese paper crafts using folded paper and glue. When she finds the time during her work in the family Chinese restaurant, she makes intricate colorful animal figures and other objects from magazine pages and colored paper. Her repertoire which she displays in the restaurant, includes horses, frogs, birds, fish, pineapples, and other Chinese symbols of good luck for the New Year.](../../siteimages/info.png)
![While the practice of Judaism in America does not vary significantly, cultural variations are revealed through accounts of Jewish life in northeast Louisiana. An example is southern variations on matzoh balls, being served outside of the Passover holiday and in gravy as opposed to soup. Interviews with Jewish residents detail prejudice they experienced. Outward migration of younger Jewish generations compounds their struggle to maintain Jewish identity. This raises questions about the future of Judaism in north Louisiana and highlights the need to further document Jewish folklore within the region.](../../siteimages/info.png)
Working in the Delta
![The Mississippi's floodplain produces rich resources which residents of the rural Delta have historically used to develop river-related livelihoods and traditions. Occupations such as cotton farming, commercial fishing, crop dusting and riverboat work are described along with the folklore that accompanies these professions. The occupational folklife of Delta exhibits a complex of techniques, customs, and modes of expressive behavior. While the landscape is changing and associated occupational crafts are fading, the risks and rewards of working in the Delta remain.](../../siteimages/info.png)
![Net making, a specialized skill predominantly practiced by women and passed down through generations, both preserves the fishing traditions of Catahoula Lake and surrounding areas and provides necessary tools for the fishing industry. The struggles and rewards experienced by Louisiana fishing families are discussed with highlights of the adaptations they employ to make ends meet. Methods of net making and maintenance are presented for trammel nets, hoops nets, seine nets, and baiting nets. Special focus is placed on the Champlin Net Company in Jonesville, Louisiana.](../../siteimages/info.png)
![Despite a sometimes ambivalent public opinion toward the profession, cropdusting provides the important service of protecting farmers and their crops. Pilots teach each other how to handle dangers associated with the job, and the lifestyle surrounding cropdusting provides a wealth of occupational folklore in the form of stories, jokes, and jargon. Anecdotes of Delta dusters are presented, illustrating their role as a professional one with pressures, requiring courage, caution, and safety, but also one that provides thrills, laughs, and fulfillment to the pilots taking on these risks.](../../siteimages/info.png)
![Historical and contemporary accounts offer evidence that folk traditions inspired by life in occupations involved with the Mississippi River survive. Examples of the these traditions range from jargon inspired by barge and steamboat industries, to stories of a steamboat musician known for playing five instruments at once. The oral history of the past is as valuable as new forms of these traditions. For example, today's steamboats carry tourists up the Mississippi to view Christmas Eve bon fires along the river.](../../siteimages/info.png)
![Extensive waterways and forests support a strong tradition of boat building with boat builders specializing in small crafts suited for different environments. Examples of several types of boats used by fishermen and trappers in Catahoula Lake, ranging from the dugout canoe to houseboats, are offered along with traditional methods of construction. The advent of metal boats, a changing ecosystem, and the death of boat makers who are experts in their craft threaten the future of wooden boats and the long-standing boating tradition of Catahoula Lake in LaSalle Parish.](../../siteimages/info.png)
![In one of his 11 reflections, a native son reflects on the types of traditional boats used to deal with the vast wetlands of the Delta. With the rise of sawmills, dugouts were replaced by bateaus, which were replaced with aluminum bateaus. Skiffs and houseboats, also common on the river, evolved with technology.](../../siteimages/info.png)
![The story of Carl (C. J.) Girlinghouse and his rolling store set in mid-20th century, rural Louisiana illustrates the struggles of a small business man in changing times. His store, The Blue Goose, is recalled affectionately, having been the supplier of essentials to families of remote farming villages in the Delta. He provided vital supplies at low cost, a reality that contributed to the loss of his business along with modernizations such as highways and food commodity programs. The rolling store is now a storage shed and serves as a reminder of rural farm life.](../../siteimages/info.png)
![The life and occupational lore of Mississippi River commercial fisherman and fish market operator Whitey Shockley of Lake Providence, Louisiana show that expertise and luck are important in this traditional occupation.](../../siteimages/info.png)
Homemaking in the Delta
![Much of social life in the rural Southern Delta is centered around the home and outdoor space. Homemaking in these regions defies generational, race, and class lines, as women of all backgrounds retain similar practices, cultivating outdoor gardens as sources of food and social space. Southern cooking traditions and the function, construction, and decoration of gardens as an extension of Southern life are highlighted through historical and contemporary accounts.](../../siteimages/info.png)
![Maye Torrey of Columbia, Louisiana, recalls her family's folk tradition of making jelly from wild fruit such as mayhaws, muscadines, dewberries, and blackberries and also the apples and peaches they grew. She continues the tradition today, but uses commercial pectin.](../../siteimages/info.png)
![Hazel Dailey of Columbia, Louisiana, learned a variety of folk traditions growing up in the Delta: whittling, canning, embroidery, and lye soap making, which she demonstrated at the Martin Homeplace Folk Center and Museum in Columbia.](../../siteimages/info.png)
![A native son reflects on past family Christmas traditions in the Northeast Louisiana Delta in one of his 11 reflections. He reports decorating local pine or cedar Christmas trees with haw berries, Spanish moss, and paper chains with Delta cotton as snow, sharpening knives on Christmas day, cooking loads of traditional Southern dishes, typical gift giving, and a community dance.](../../siteimages/info.png)
Worshiping in the Delta
![An analysis of oratory, music, and ritual religious traditions, as well as sacred spaces reveals the commonalities and differences between Anglo and African American worship in the Delta region. Examples of preaching styles such as call-and-response, singing styles including gospel and spirituals, and shaped-note, and ritual practices such as river baptisms and the Easter Rock ceremony are offered along with historical explanations for their origins. These worship traditions, shaped by a collective and selective memory, relive the past while providing shared values for the future.](../../siteimages/info.png)
![A detailed account of the African American Baptist ritual of outdoor river baptism kept alive in rural Louisiana is presented. Religious traditions proceeding, during and after the three stages of baptism rites are described, including the preparation of handmade baptismal robes, reading scripture, delivering sermons, singing hymns, and symbolic immersion in the river. Baptismal locations often remain in the same spot, and the river baptism ritual has been passed down through generations, ensuring the preservation of African American heritage and Baptist religious traditions.](../../siteimages/info.png)
![Lucille Stewart of Monroe, Louisiana, who grew up in Richland Parish, learned to sew from her mother and made the traditional baptism robes worn for the outdoor baptisms which were common in rural Delta African American Baptist churches. The construction process from sizing to cutting a paper pattern, sewing, and fitting are presented.](../../siteimages/info.png)
Making Music in the Delta
![Examining the historical evolution of blues music, beginning with outsider accounts in the early 20th century and ending in contemporary times, shows the Delta region to be one of America's musical fertile crescents. Contributions of musical styles ranging from gospel to rockabilly, musicians from Memphis Slim to Aretha Franklin, musical arenas such as juke joints and casinos, recording studios such as Sun Record Company in Memphis, and social traditions of the Delta serve as a comprehensive illustration of the origins, influences, migration and evolution of blues music.](../../siteimages/info.png)
![Po' Henry and Tookie, the stage names of Henry Dorsey and Wayne 'Tookie' Collum, play older acoustic Delta blues guitar and harmonica. Their common backgrounds of working in cotton farming, their meeting and formation of their group, their repertoire, and performance styles reveal the strength of this powerful duo.](../../siteimages/info.png)
![The career of Thomas Edison 'Brownie' Ford, included death defying rodeo performer, woods cowboy, traveling circus clown, and legendary musician. Ford, of Comanche and British decent, got the name “Brownie” from white playmates when he was growing up in Oklahoma. His dual ancestry made him an outsider to both cultures. Ford traveled for 86 years across Texas, Louisiana, and Oklahoma as a showman whose talents ranged from escape artist to pitchman for medicine shows. He spent the end of his career touring as a musician, gaining recognition for his ballads and honky-tonk songs.](../../siteimages/info.png)
![Guitarist and rockabilly pianist, Kenny Bill Stinson, of West Monroe, Louisiana, plays regional music ranging from blues to rock 'n' roll to rockabilly and country. His musical roots and influences, multi-instrument expertise, songwriting, and hard driving performance make him one of the most versatile traditional performers in the Delta.](../../siteimages/info.png)
Playing in the Delta
![In one of 11 reflections, a native son reflects on the importance of the pastimes of hunting and fishing in Delta culture. Hunting traditions for Delta boys begin early, and hunting and fishing tales abound, as do today's hunting camps.](../../siteimages/info.png)
![In one of his 11 reflections, a native son explores aspects of gigging before it was outlawed in the Northeast Louisiana Delta. An efficient way of fishing, gigs (or harpoons) were adapted for various fish such as buffalo, carp, or gar, as well as frogs.](../../siteimages/info.png)
![James LeCroix of Harrisonburg in Catahoula Parish, Louisiana, discusses how he makes and uses hunting horns and the role of deer camps in hunting.](../../siteimages/info.png)
![Moses Poole of Aimwell, Louisiana, in Catahoula Parish, breeds, trains, and hunts with Walker hounds in a fox hunting tradition that differs considerably from the formal English style of hunting. The breeds, the tradition of listening to the dogs on the hunt, and the challenges of the sport explain its attraction.](../../siteimages/info.png)
![Nalda Gilmore, of West Monroe, made traditional hunting horns to use when hunting coons and rabbits with his Beagles. His techniques and the aesthetics of horn making and blowing, along with the development of other horn crafts are explored.](../../siteimages/info.png)
![Thanks to cash from the occupations of soybean farming and commercial fishing, a strong gambling tradition lasted into the 1970s in hunting camps, country stores, and package liquor stores. A collection of vibrant folk narratives told by Louisiana gamblers recounts the language, stories and customs of Delta gambling.](../../siteimages/info.png)
![In one of his 11 reflections, a native son describes nightclubs in Northeast Louisiana Delta communities from the 1930s-1940s and into the 1950s. Clustered around Mississippi River bridges, clubs featured Black bands and later the white big bands. In the Black areas of towns, Black clubs, the largest being Haney's Big House, also offered major entertainment. By the 1950s roadside bars and dance halls brought in country music and violence.](../../siteimages/info.png)
Telling Stories in the Delta
![Deer hunting, an important part of Louisiana life, involves folk traditions that are integral to the experience. An essential tradition for generations, hunters tell stories of encountering the “big one”. These fantastical accounts of big buck sightings are presented along with description of Louisiana deer hunting.](../../siteimages/info.png)
![A historical account of the Natchez Massacre and events that followed offers an alternative theory toward the Hub Lake Gold legend, disputing the location and very existence of the supposed treasure. The Natchez likely exchanged any valuables for their survival, eliminating the probability of a gold treasure. However, sacred relics deemed important to the Natchez may have been thrown into a lake to prevent desecration by enemies. This alternative theory, coupled with differing historical accounts of the treasure's location, serves as a possible explanation for this enduring legend.](../../siteimages/info.png)
![The origin of the names Colewa Creek, Big Colewa Bayou and Little Colewa Bayou in West Carroll Parish has long been a subject for speculation. A theory connecting the name Colewa with the mispronunciation of Koroa, a tribe known to have inhabited this area, is presented along with a claim that although extinct, the Koroa Indians left a permanent mark on Louisiana through the use of this name which appeared on maps as early as 1838.](../../siteimages/info.png)
Delta Archival Materials
Bibliography
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![Delta Folks](images/Delta/delfolks.jpg)
Hazel Dailey
Caldwell Parish
Hazel Dailey learned to whittle, preserve food, embroider, and make lye soap from her parents in the 1920s and 30s.
![](images/delta/aud.jpg)
![](images/delta/caldwell.jpg)
Hazel Dailey: "To Make Something Each Day That I Am Here"
By Sylvia Frantom
Born January 7, 1924, Hazel Dailey learned a number of folk traditions when she was growing up on the farm. She learned to whittle from her father and to can (preserve food), embroider, and make lye soap from her mother. Dailey's family moved to a farm in Columbia, Louisiana, in about 1930 when the young Hazel Dailey was in the first grade. Her father was known in the area for the smoked sausage that he made and sold. Many of the traditions that she learned while growing up, she continued in later years after becoming director of the Martin Homeplace Folk Center and Museum in Columbia, Louisiana. Every day at the Folk Center, Hazel Dailey helped to cook a fresh, hot meal for the elderly in the community from the produce that they grew in the garden and canned there.
Whittling
Dailey said that her father, W.H. Rankin, probably started whittling "because he was bored." She says about her father, "A lot of people can't be still and he was one of them. He had to be doing something." He usually whittled when he was "sitting around on a rainy day and didn't have anything else to do or it was too cold." In the summer he would sit under a shade tree and whittle. Neighbors would come to talk to her father, and a man might "pull his knife out and start whittling too."
Her father usually whittled little animals or flowers and trees like the ones Hazel Dailey made. When she was a child, her father made her a miniature doll house and whittled furniture to go inside it. She still had some of the furniture, she said. He also whittled utilitarian objects to use on the farm like ax handles, spokes for wagon wheels, or a dash for a wooden churn when one needed replacing.
Hazel Dailey started whittling at about the age of five or six after her uncle bought her the first knife she ever used. It was a pocket knife and her father sharpened it for her. She imitated her father after watching him. Dailey loved to do everything her father did. She said, "If he went to the field, I went to the field. If he went to get wood, I would go to get wood." She didn't like to help with housework.
They used whatever kind of wood that was available to whittle. A branch of bitter pecan, red bud, or hackberry was used to make the flowers or trees. Some wood, like cedar, isn't useful because it "crumbles" too easily, she said. She liked to get the wood in the spring when the sap is in it. If it is too "green," it won't curl and if it's too dry, the flower petals will break. She explains that you have to "catch them just right." She placed twigs in the freezer to keep them at the right stage. She said she knew a woman who bought some of her flowers and even ten years later the petals still could be "squeezed" and not break. She didn't know if red bud would last that long because she had only used it for three years, while she had used other types of wood longer.
Hazel Dailey's father would carve animals out of old sticks he found out in their yard. They didn't have any patterns to go by, but instead used their creativity to decide what to make. Dailey describes how sometimes they used old pieces of scrape wood and tells her philosophy on creating things:
See, we lived in the country and there was all kinds of woods [to use]. There was all kinds of scraps laying around, or left over from working on the barn. [I wanted to whittle because] I wanted to make things. I'd like to make something each day that I'm here. I don't feel like my day is complete, unless I make something. One thing each day! I'm satisfied with the day because I made a big pot of soup, but before the day is over I'm going to make an angel.
Hazel Dailey realizes that usually whittlers are men. She thinks that some women might be afraid they would cut themselves. Hazel said she never cuts herself, even when she draws the knife toward herself when making a petal for a flower. She said, "you'll cut yourself with a dull knife, but not with a sharp knife." In later years, she began using an Exacto Knife instead of a pocket knife because it does not have to be sharpened.
At the Martin Homeplace Gift Shop, she sold the flowers for about seventy-five cents each and the trees for about two dollars. She liked to give the whittled animals as gifts to friends and family. The Martin Homeplace Folk Center and Museum has her Noah's Ark with many of the animals that she whittled.
Canning and other Food Preservation
When Dailey's mother would can, "all of us kids had to help her and that's how we learned how to." Her mother canned "so that we could eat the following winter. That's why all the farmers canned, too. Everyone in our community canned, and lots of times they would help each other." Her mother would count the number of jars that she needed to can each summer so that her family would have enough food to last throughout the winter. Hazel Dailey started helping her mother can "just as soon as I was old enough to reach the table top probably." She said, "I imagine she had me shelling peas before then. We just grew up with it. If you were going to eat that winter, then you had to help get it ready." In 1994, when visiting the Martin Homeplace, Dailey said that everyone was invited to come to dinner there, but everyone who ate there had to help too.
Hazel Dailey's mother canned string beans and other kinds of beans, peas, tomatoes, corn, and pickles. She used glass containers referred to as fruit jars, and she cooked on a wood-burning stove. However, in the summer, her mother would can outside. They would make a wood fire under a wash pot or any other container that was large enough. Her mother used what is called "a cold water bath," a method of preserving vegetables or fruit in which the jars are placed in cold water and boiled for several hours. The vegetables or fruit can be packed cold or heated before putting them in the jars. They must be cooked about two hours to kill the bacteria in this process. Hazel also used a cold water bath method when preserving some of the food for use at the Martin Homeplace Folk Center and Museum.
Hazel Dailey reported that raising the family's food and canning as a means of preserving food were important food sources during the 1930s. She describes the bounty of food of the family farm and their methods of preserving it:
During the depression, I remember being hungry two or three times. Our family was better off because we lived on a farm. We had chickens and we had eggs. We had pork because we had raised our own. We had our own vegetables. I know a lot of people used to beg to help work in the garden so that they could have something [to eat]. People who lived in town didn't have anything. Lots of neighbors would come and help mother can so that they could have some of the [fresh vegetables or canned food], which was a big job. And they [canned] corn also. And I remember that the days they did corn we would get up extra early, and my dad and my brothers would go to the fields and bring it in. It had to be shucked and gotten ready for the jars just as soon as possible so that it wouldn't get dried up and lose its flavor. You had to cut the corn off the cob and then put it in the jars and put it in the water. They got the corn hot and then put it in the jars and sealed it. Then they put it in the water and put water over the top of it. Then when they got the pressure cookers, it was a cinch then. It was easy to do then. When they first got the pressure cookers, the government wanted to help these people so they sold or gave them a big pressure cooker. Then they sold them tin cans with a sealant that would seal the cans. Then everybody started using the cans and that was great! Because of the pressure cooker, they had canned food just like came out of the grocery store. One time they [her family] canned corn and they did something wrong, maybe they didn't get the cans sealed right or something. Maybe they didn't cook it enough. But the corn started spoiling, and it was just like an explosion! The corn popped all night long! But usually it came out great.
The main advantage of the pressure cooker was shorter canning time and higher temperatures for killing bacteria. Dailey said that string beans took about 25 minutes and corn about 55 minutes. She still used a pressure cooker to can food at the Martin Homeplace Folk Center. She said that ten pounds of pressure is usually right. She likes to use glass containers.
Dailey said that one of the most important things when canning is to make sure that all of the containers are sterilized. "Everything had to be real nice and clean because if it wasn't it would spoil." She sterilizes the same way her mother did. "Put jars in a big container, put them on the stove, and let them boil. Boil lids also."
Hazel Dailey does not can for her own family because "they don't appreciate it." However, she did can for the Folk Center. Hazel liked to can because "I like to see it in the jars after its canned. I like to look at it because it's so pretty and I like to know that it's there. I like to arrange it and rearrange it." She liked to arrange the canned goods on the shelves at the Folk Center to make attractive displays.
Dailey also would arrange the produce when she put it in a jar to make it look attractive. For instance, she placed the string beans "the long way" evenly in the jar to make it look nice. She often used a process called cold pack in which the produce is packed in the jars cold so it can be more easily arranged.
Hazel Dailey liked to have a large garden at the Folk Center so that she would have plenty to can. She said, "We can anything that can be canned." At the center, they canned soup mix with chicken, celery, and onion. She used the pressure cooker when canning chicken because it kills harmful bacteria better. She canned chow chow which is made of cucumber, cabbage, onion, celery, and hot peppers. She also canned pineapple sage honey, zucchini, blackberries, peaches with cinnamon sticks, tomatoes, hominy, pears, mayhaw jelly, pickles, ketchup, and peppers at the Folk Center.
In addition to canning, drying foods was also an important food preservation technique. Hazel Dailey's mother dried apples and peaches which were later made into fried pies. These were dried outside in the sun for about three or four days. She said that they had to be brought inside each night to keep the dew off of them. Years later, Hazel Dailey had a station wagon that she used to dry okra, tomatoes, green peas, peppers, and onions. The car had large windows and it would get so hot inside that it only took two days to dry vegetables. Thus the tradition continued, but took advantage of newer technology.
Embroidery
As she was learning to can, Hazel Dailey learned to embroider at about the age of ten or twelve from her mother, and she has taught her own daughter also. Her mother embroidered designs on dresser scarves, pillow cases, table cloths, and bed spreads. Dailey embroidered pin cushions, Christmas stockings, pillow cases, and bird pictures. She used a book about birds from her area to draw birds and then to embroider and frame. Her daughter especially likes to embroider small pictures.
Lye Soap Making
Dailey helped her mother make lye soap, and later she made it at the Folk Center. Her mother would prepare the soap in a wash pot outside, but at the center they made it inside. Her mother used hog fat and the water from ashes supplied the lye. Her mother used the lye soap to do her laundry and to scrub floors. Hazel said that people bought her soap to wash their hair and for the treatment of red bugs and poison ivy.
Epilogue
Hazel Dailey lived in Oceanside, California for twenty years. In later years, she moved back to Columbia, Louisiana to care for her parents when they were ill. It was at this time that she began to work at the Martin Homeplace. Dailey died on July 22, 1996, just two and a half years after she was interviewed. She is buried in the Welcome Home Cemetery near Columbia, Louisiana.
Hazel Dailey will be missed for her vitality and her desire to accomplish more than anyone else ever could in one day. Her parents taught her to be resourceful and to create a beautiful wooden object out of an old stick she found on the ground and how to not waste anything. Her mother gave some of her garden vegetables and canned food to hungry people in the community, and later Hazel Dailey followed this tradition by feeding the elderly who lived near the Martin Homeplace. Perhaps the Depression and the hardships she saw as a child didn't stop her or discourage her, but only made her stronger. One thing is for sure, Hazel Dailey knew how to make the most of every day.