Inspired by a traditional mountain "Singin' Gatherin'" (wherein musicians got together to perform old songs) she had witnessed, Jean Thomas staged a small folk festival for a group of invited guests at her home in September 1930. Featured performers included Setters and Dorothy Gordon, a singer from New York. Thomas incorporated the American Folk Song Society the following year to plan for an annual festival near her hometown of
Ashland, Kentucky. The second American Folk Song Festival was held in 1932 on Four Mile Fork of Garner, just off the Mayo Trail, and featured eighteen acts, all of whom had learned by oral tradition, per Thomas' stipulation. The stage included a rented log cabin, because "It was my purpose to recreate as accurately as possible the original scene of the Singin' Gatherin'. That had been presented in front of a windowless cabin. But this rented cabin did have a glass window in front; so I covered it with an American flag" (Thomas 1940, pg. 198). With the exception of the years 1943–1947, the American Folk Song Festival was held annually until failing health forced Thomas to retire in 1972. From 1934 to 1949, thanks to a benefactor's gift of land and a windowless log cabin, the festival took place at a site eighteen miles south of Ashland. Beginning in 1950, the festival was held in Thomas' yard in Ashland, moving to a state park in Prestonsburg in 1964, and to the
Carter Caves State Park in 1966. The festival followed an unwavering script for many years, intended to show "authentic sequences in America's musical history" (Thomas 1940, pg. 262). Volna Fraley or, later, his nephew, would signal the start of the performances by blowing a fox horn that had belonged to "Devil Anse" Hatfield (patriarch of the legendary feuding family of the Kentucky-West Virginia border). Next, a man, woman, and two children would arrive at the stage by covered wagon to be greeted by a woman dressed as a
Cherokee Indian, as a representation of the Anglo-American settlement of the
Appalachian Mountains. Traditions carried over from the British Isles would then be demonstrated by a dozen children performing an old English country dance accompanied by a piper. A woman in the role of "Narrator" (often played by Thomas herself), attended by "Ladies-in-Waiting" dressed in long black Elizabethan gowns, would read a historical prologue connecting Appalachian customs and music to
Elizabethan England. The prologue would conclude with a description of the wedding of a young pioneer couple named Ephraim and Drusilla; the ensuing musical performances were set in the narrative context of their wedding reception, or "Infare". Musicians would play traditional stringed instruments such as dulcimer, fiddle, guitar, banjo, and accordion, plus recorder and mouth harp. Homemade varieties, such as fiddles constructed out of corn stalks, and banjos made from gourds, appeared alongside later models. Nostalgic for the 19th century, Thomas costumed festival performers in homespun garments evoking that era: girls wore bonnets and calico dresses; women dressed in
linsey-woolsey and wrapped shawls around their shoulders; and men and boys often wore overalls. Characters bore names of people she had met long before ("Emmaline," "Little Chad," and "Little Babe"), or were invented to sound folksy. Props such as hickory chairs and egg baskets, brooms, and drinking gourds were used in photographing performers. ==Last years==