Collection documents Jonas Bernholm's interest and work promoting African American Music, specifically rhythm and blues.
Scope and Contents note:
Series 1: Correspondence, 1972-1994, undated
This series is divided into four subseries: Subseries 1.1 (Artists), Subseries 1.2 (Collaborators), Subseries 1.3 (Douglas Seroff), and Subseries 1.4 (Record Companies). Subseries 1.1 (1972-1993) consists mostly of correspondence exchanged between Bernholm and recording artists, as well as letters about the artists from their agents, family members, etc. Other types of materials included in this subseries are: copies of newspaper clippings, death certificates, contracts, and receipts. This subseries is, mostly, in alphabetical order by the artist's last name. Subseries 1.2 (1978-1985) is largely a collection of letters between Bernholm and those helping him create his albums. Topics include: photos, financial transactions and technical information about creating an album. Bills and receipts are also found in the subseries. Two folders deal specifically with correspondence Bernholm exchanged between Felix Prochaska and Lou Doggett. Subseries 1.3 (1979-1986) documents the correspondence between Bernholm and independent music scholar, music producer and businessman Douglas Seroff. It includes an exchange of letters regarding the start of a new record label for gospel music and the creation and reissue of gospel LPs. It also includes auction results, bills, postage labels, and information on a 1985 Grammy nomination. Subseries 1.4 (1977-1990) consists of correspondence between Bernholm and such recording companies as Clanka Lanka, Rounder Records, Big J Records, Blues King Records, Bogus Records, J.D. Productions, Fleetville Records, La Val Records and Relic Records. Also included are contracts/agreements, statements, artist promotion, as well as information on taping sessions and royalties.
Series 2: Promotional/Publicity Materials, 1971-1991, undated
This series is divided into two subseries: Subseries A (Promotion and Collaborator Correspondence) and Subseries 2.2 (Fan Club Materials). Subseries 2.1 (1976-1991) consists mostly of correspondence about artist or album promotion; including published articles, photographs, and information about concerts, tours, and radio stations throughout the US and Europe. Subseries B contains artist biographies, newsletters, promotional material, and information regarding contemporary artist-related events from record companies, talent agencies and official fan clubs.
Series 3: Research Materials, undated
This series is divided into four subseries: Subseries 3.1 (Artists), Subseries 3.2 (Record Company), Subseries 3.3 (Ray Funk), and Subseries 3.4 (Record Labels). Subseries A is composed of album liner notes for individual artists, as well as photocopies of magazine/newspaper articles that detail biography and album information for several artists. Other information includes correspondence about artists, and album song listings. Subseries 3.2 is an alphabetical listing, by record company name, of their discographies. Subseries C includes music related articles and correspondence from and by Alaskan writer, music aficionado and radio host Ray Funk. Copies of artist photos from Norbert Hess are also available. Subseries 3.4 contains listings of songs from specific artists and the labels they can be found on.
Series 4: Production Materials, undated
This series is composed of production notes used in the assembly of albums. This includes artist biographies and discographies, as well as song listings for specific albums. This subseries is organized alphabetically by artist.
Arrangement:
Series 1, Correspondence, 1972-1994, undated
Series 2, Promotional/Publicity Materials, 1965-1991, undated
Series 3, Research Materials, undated
Series 4, Production Materials, undated
Biographical/Historical note:
Jonas Bernholm (1946-) is a music executive, and African-American music aficionado from Sweden. He is best known for reissuing works of jazz, blues, and R&B artists on his own labels; the most well-recognized being Route 66, and Mr. R&B. His passion was ignited by the energy and charisma seen in the likes of Elvis Presley and Little Richard. He began collecting music from abroad and eventually visited the United States during the summer of 1968. During his trip Bernholm realized that many recording artists from the 40s and 50s were out of work and their music was no longer in circulation. Upon his return to Sweden he resolved to reissue the work of many artists on his own labels. His labels included: Route 66, MR R&B, Jukebox Lil, Whiskey Women, Earth Angel , Dr. Horse, Crown Prince, Gospel Jubilee, and Blues Boy.
Related Materials:
The Division of Music, Sports and Entertainment(now Division of Cultural and Community Life) holds artifacts related to this collection including: posters and sound recordings. See Accession #1996.0153.
Provenance:
Collection donated by Jonas Bernholm, 1996.
Restrictions:
Collection is open for research and access on site by appointment. Unprotected photographs must be handled with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
This collection includes an English patent paper #2126 for improved vulcanizable water-proof gum, 1873, to Benjamin Joseph Barnard Mills; a U.S. patent paper #151,109 for improvement in the art of manufacturing horseshoes, 1874; and an English patent paper #1194 for improvement in street-lighting apparatus.
Provenance:
Collection donated by James Lithgow Ewin, March 13, 1894.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The Andy Nasisse files relating to self-taught artists measure 0.8 linear feet and date from 1979 to 1986, with additional undated materials. Included are artist files on twenty-five self-taught artists. Files consist primarily of black and white photographs of artists, their artworks, and photographs of unidentified artworks. Also included is a letter discussing artist Howard Finster's first dealer, Jeffrey Camp, and in which Nasisse offers his advice to Finster to limit production of his work. An audio recording of an interview with Miles Carpenter conducted by Nasisse, and a documentary about J. B. Murray, A Video Documentary of an Artist and His Work, are also present in these files. The documentary features many of Murray's paintings and drawings, as well as his comments on his art and visions.
The artists included in the files are Eldren M. (E. M.) Bailey, Miles Carpenter, Tessie Carroll, Emanuel "Litto" Damonte, Samuel Perry (S.P.) Dinsmoor, Sam Doyle, John Ehn, Howard Finster, Laura Pope Forrester, Dilmus Hall, Irene Hall, Bessie Harvey, St. EOM (Eddie Owens Martin), Jeff McKissack, John Milkovitch, J. B. Murray, Grandma Tressa Prisbrey, Dow Pugh, W.T. Ratcliffe (or Ratliff), William Carlton Rice (Mr. Rice), Royal Robertson, James "Son Ford" Thomas, Mose Tolliver, Frank van Zant (Chief Rolling Mountain Thunder), and Brother Joseph Zoetl.
Scope and Contents:
The Andy Nasisse files relating to self-taught artists measure 0.8 linear feet and date from 1979 to 1986, with additional undated materials. Included are artist files on twenty-five self-taught artists. Files consist primarily of black and white photographs of artists, their artworks, and photographs of unidentified artworks. Also included is a letter discussing artist Howard Finster's first dealer, Jeffrey Camp, and in which Nasisse offers his advice to Finster to limit production of his work. An audio recording of an interview with Miles Carpenter conducted by Nasisse, and a documentary about J. B. Murray, A Video Documentary of an Artist and His Work, are also present in these files. The documentary features many of Murray's paintings and drawings, as well as his comments on his art and visions.
The artists included in the files are Eldren M. (E. M.) Bailey, Miles Carpenter, Tessie Carroll, Emanuel "Litto" Damonte, Samuel Perry (S.P.) Dinsmoor, Sam Doyle, John Ehn, Howard Finster, Laura Pope Forrester, Dilmus Hall, Irene Hall, Bessie Harvey, St. EOM (Eddie Owens Martin), Jeff McKissack, John Milkovitch, J. B. Murray, Grandma Tressa Prisbrey, Dow Pugh, W.T. Ratcliffe (or Ratliff), William Carlton Rice (Mr. Rice), Royal Robertson, James "Son Ford" Thomas, Mose Tolliver, Frank van Zant (Chief Rolling Mountain Thunder), and Brother Joseph Zoetl.
Biographical / Historical:
Andy Nasisse (1946-) is a ceramicist sculptor, potter, and former professor at the University of Georgia. Starting in the 1970s, he visited self-taught artists and photographed their art, environments and, in some cases, conducted interviews with them. He has had a solo exhibition at the Museum of Contemporary Art Georgia and is the recipient of the Art Regional Fellowship from the National Endowment for the Arts.
Miles Carpenter (also known as Miles Burkholder Carpenter or Miles B. Carpenter) (1889-1985) was a sculptor active in Waverly, Virginia who carved figures and animals from wood and referred to some as "advertisements."
Tessie Carroll was an Oklahoma folk artist known for her rock sculptures and carvings.
Eldren M. (E.M.) Bailey (1903-1987) was an African American sculptor and painter from Atlanta, Georgia whose sculptures were influenced from his background making grave markers.
Emanuel "Litto" Damonte (1892-1985) started collecting hubcaps in 1957 and created an art environment on his property in Napa Country, California, known as Hubcap Ranch.
Samuel Perry (S.P). Dinsmoor (1843-1932) was a Kansan sculptor who designed a sculpture garden at his home called the Garden of Eden," consisting of over 200 concrete works reflecting his religious and political beliefs.
Sam Doyle (1906-1985) was an African American artist born on St. Helena, an island off the coast of South Carolina, whose colorful paintings document the island's people and Gullah culture.
John Ehn (1887-1981) was a former trapper turned sculptor who decorated the landscape of his Californian motel, Old Trapper's Lodge, with sculptures depicting myths and the Old West.
Howard Finster (1916-2001) was a Georgian folk artist and Baptist minister known for his former home, Paradise Garden, consisting of constructions, found objects and sculptures.
Laura Pope Forrester (1873-1953) was a sculptor who created figurative works in her Georgian garden that depicted notable women and fictional characters.
Dilmus Hall (1896-1987) was an African American artist whose sculptural works are associated with religious customs that combine African traditions and Christianity.
Irene Hall was an Oklahoman artist who decorated her home with sculptural works she had made with found objects.
Bessie Harvey (1929-1994) was an African American folk artist from Tennessee who created wooden sculptures often inspired by nature.
Eddie Owens Martin "St. EOM" (1908-1986) was a Georgian artist who created a visionary art environment called Pasaquan.
Jeff McKissack (1902-1980) is the creator of The Orange Show, an art environment constructed in Houston Texas to honor his favorite fruit.
John Milkovitch (1912-1988) was a retired upholsterer who constructed the Beer Can House, by decorating his home with over 50,000 fattened beer cans.
J. B. Murry (1910-1988) (also known as J.B. Murray) was an African American painter who incorporated illegible text in his work which he interpreted with the use of a bottle of well water.
Tressa "Grandma" Prisbrey (1896-1988) constructed numerous structures out of bottles and found objects at her home creating what became known as Grandma Prisbrey's Bottle Village.
Dow Pugh (1906-1993) was an artist from Tennessee who created paintings and sculptural works.
W. T. Ratcliffe was an engineer who, in the 1930s created sculptures in Boulder Park in Jacumba, California.
William Carlton Rice (1930-2004) was a self-ordained minister who created a Cross Garden around his home in Alabama.
Royal Robertson (1936-1997) was an African American artist and self-proclaimed prophet from Louisiana whose work incorporated biblical themes, and references to "girlie magazines" and comic strips.
James "Son Ford" Thomas (1926- 1993) was an African American sculptor and blues musician from Mississippi who is known for his clay skull sculptures.
Mose Tolliver (1919-2006) was an African American folk painter from Alabama who painted with house paint on wood.
Frank van Zant "Chief Rolling Mountain Thunder" (1921-1989) was an Oklahoman artist who created a park in Nevada dedicated to the American Indian known as Thunder Mountain Monument.
Brother Joseph Zoettl (1878-1961) was a monk who constructed a miniature city of famous religious buildings at St. Bernard Abbey known as Ave Maria Grotto.
Related Materials:
Also found in the Archives of American Art are the Photographs and videos of self-taught artists; Willie Ann Wright photographs; Howard Finster papers; John F. Turner research material on Howard Finster; Howard Finster interview and recordings; Videos and slides on Dilmus Hall, Mary T. Smith, and J.B. Murry; Willem Volkersz interviews; and J. B. Murray drawings. There is also an oral history interview with Howard Finster conducted by Liza Kirwin in 1984.
The California State University, Channel Islands holds the Prisbrey bottle village collection. The University of North Carolina at Chapel Hill holds the Judith McWillie papers. The University of Georgia Special Collections Libraries holds the Howard Finster collection and the Howard Finster Tapes.
Provenance:
The Andy Nasisse files relating to self-taught artists were donated to the Archives of American Art by Andy Nasisse in 1985.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
Video on J.B. Murray: Authorization to publish, quote, or reproduce requires written permission from Andy Nasisse. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Smithsonian Institution. Program in African American Culture Search this
Extent:
1 Videocassettes (U-matic)
Container:
Box 217, Video 2
Type:
Archival materials
Moving Images
Videocassettes (u-matic)
Date:
1982-02-05
Scope and Contents:
Opening remarks by Bernice Johnson Reagon
J.C. BurrisURRIS, contemporary songwriter and harmonica player, performs:
"One of These Mornings"
"Down On the Farm"
"Born With the Highway Blues"
"There's A River That Flows Through the Life of Everyone"
"The Hand Jive"
OTC 408.14.1b, "Inflation Blues"
Remarks by Bernice Johnson Reagon
TAJ MAHAL, musicologist and blues musician, performs:
"Everybody Fightin About That........."
"Stagley Pay"
"City Blues"
"I'm Going To Chicago"
Collection Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
Smithsonian Institution. Program in African American Culture Search this
Container:
Box 126, Cassette 20
Type:
Archival materials
Audio
Date:
undated
Scope and Contents:
Concert performance on February 5, 1982.
Opening remarks by Bernice Johnson Reagon
J.C. Burris, contemporary songwriter and harmonica player, performs:
"One of These Mornings,"
"Down On the Farm,"
"Born With the Highway Blues,"
"There's A River That Flows Through the Life of Everyone,"
"The Hand Jive,"
"Inflation Blues,"
Remarks by Bernice Johnson Reagon
Taj MahalAHAL, musicologist and blues musician, performs:
"Everybody Fightin About That........."
"Stagley Pay,"
"City Blues,"
"I'm Going To Chicago."
Collection Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
Smithsonian Institution. Program in African American Culture Search this
Container:
Box 126, Cassette 22
Type:
Archival materials
Audio
Date:
undated
Scope and Contents:
OTC 408.14.2a: "I'm Going To Chicago" continued
"Statesboro Blues"
"Hold the Woodpile Down"
"Sweet Home Chicago"
("Where You Gon To Run To")
Koko Taylor, blues musician from Chicago, performs the following songs:
"Rock Me All Night Long"
OTC 408.14.2b: "Rock Me All Night Long" continued
"Let the Good Times Roll"
"I'm A Woman"
"You Can Have My Husband, But Please Don't Mess With My Outside Man"
"Walkin the Back Streets"
"Hey Bartender"
"The Blues Never Die"
Collection Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
Smithsonian Institution. Program in African American Culture Search this
Container:
Box 127, Cassette 6
Type:
Archival materials
Audio
Date:
undated
Scope and Contents:
"Saturday Night Fish Fry"
Introductory remarks by Bernice Johnson Reagon
Phil Wiggins - Folk Blues musician.
John Cephus - Folk Blues Musician
Wiggins and Cephus perform the following songs:
"Blueday Blues,"
"I Ain't Got No Lovin' Baby Now,"
"School Girl Blues,"
"You Gone Away,"
"Worried Man Blues,"
"The Richmond Blues,"
"Runnin,' Hidin,'"
"Last Fair Deal,"
Questions from the audience
"Honeybee"
Collection Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
Smithsonian Institution. Program in African American Culture Search this
Extent:
1 Videocassettes (U-matic)
Container:
Box 217, Video 3
Type:
Archival materials
Moving Images
Videocassettes (u-matic)
Date:
1982-02-05
Scope and Contents:
OTC 408.14.2a: "I'm Going To Chicago" continued
"Statesboro Blues"
"Hold the Woodpile Down"
"Sweet Home Chicago"
("Where You Gon To Run To")
KOKO TAYLOR, blues musician from Chicago, performs the following songs:
"Rock Me All Night Long"
OTC 408.14.2b: "Rock Me All Night Long" continued
"Let the Good Times Roll"
"I'm A Woman"
"You Can Have My Husband, But Please Don't Mess With My Outside Man"
"Walkin the Back Streets"
"Hey Bartender"
"The Blues Never Die"
Collection Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
Smithsonian Institution. Program in African American Culture Search this
Container:
Box 131, Cassette 7
Type:
Archival materials
Audio
Date:
1983-04-30
Scope and Contents:
Samuel Charters continued
Questions
Memphis Slim, blues musician: Memphis Blues Piano - Discussion and Demonstration
Panel II: Memphis Blues: Post World War II.
Introductory remarks by Bernice Johnson Reagon
Panelists:
Bill Barlow, a radio producer and professor, School of Communications, Howard University-Historical Overview of Post World War II Memphis Blues.
Collection Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Collection Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Program in African American Culture Collection, Archives Center, National Museum of American History.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of electronic records with no duplicate copies requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Parish Gallery records, 1940-2013. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization of this collection was provided by the Roy Lichtenstein Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of electronic records with no duplicate copies requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Parish Gallery records, 1940-2013. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization of this collection was provided by the Roy Lichtenstein Foundation.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The folk culture of Virginia is a synthesis of elements taken from the several cultures transplanted to the New World and from native American cultures. It is difficult to say with any precision just what the cultural contribution from any one group was, but it is clear, however, that there was considerable borrowing among local black, red, and white cultures. Today, Virginians may be of European descent and play in a string band that uses African (banjo) and European (fiddle, guitar, mandolin) instruments, and includes both black and white material in its repertoire. They may eat food with Indian, African, and European antecedents and live in a town with an African (Arcola) or European (Culpeper) name or by a river with an Indian (Rappahannock) name. They may even speak English with an accent that is African-influenced and use African terms (biddy, jiffy, lollygag, moolah). Whether Virginians are black, white, or Native American, their culture will be some combination of African, European, and Indian - modified by the particular Virginia variety of the American experience.
The Virginia component of the 1977 Festival could exhibit only a small portion of the range of Virginia folk cultures - primarily black and white and primarily in the area of musical performance and crafts. Presentations included banjo pickers, fiddlers, gospel and ballad singers; makers of candy, baskets, and musical instruments; and salt-and-smoke cured Virginia hams from the Anglo American and Afro American traditions of the Commonwealth of Virginia.
The program was co-organized by the Folklife Program and National Council for Traditional Arts. NCTA staff included Joseph T. Wilson, Lee Udall, Nan Goland, Nancy Dolliver, Chuck Perdue, Roddy Moore, and Cynthia Rushefsky.
Participants:
Phipps Bourne, blacksmith, Spring Valley, Virginia
Orville Bower, hardtack candy maker, Rocky Mount, Virginia
Phyllis Bower, hardtack candy maker, Rocky Mount, Virginia
Dean Carr, string band musician, Galax, Virginia
Charles Carter, Jr., Gospel Harmonizer, Front Royal, Virginia
Milton Carter III, Gospel Harmonizer, Front Royal, Virginia
Thomas Carter, Gospel Harmonizer, Front Royal, Virginia
Kyle Creed, banjo maker, Galax, Virginia
Albert Dowe, Gospel Harmonizer, Front Royal, Virginia
Wallace Edwards, ham curer, Surry, Virginia
Marvin Foddrell, 1924-1986, blues musician, Stuart, Virginia
Turner Foddrell, 1927-1995, blues musician, Stuart, Virginia
Rev. J. C. Freeman, gospel singer, Wise, Virginia
Clyd Green, Gospel Harmonizer, Front Royal, Virginia
David Green, Gospel Harmonizer, Front Royal, Virginia
Wilbert Green, Jr., Gospel Harmonizer, Front Royal, Virginia
Albert Hash, 1917-1983, fiddle maker, Mouth of Wilson, Virginia
Wayne Henderson, instrument maker, Sugar Grove, Virginia
John Jackson, 1924-2002, blues singer, Fairfax Station, Virginia
John Judkin, ham curer, Surry, Virginia
Raymond Melton, dulcimer maker and player, Woodlawn, Virginia
Raymond Spencer Moore, guitar player and ballad singer, Chilhowie, Virginia
Dale Morris, string band musician, Galax, Virginia
Tom Norman, string band musician, Galax, Virginia
Gregory Payne, Gospel Harmonizer, Front Royal, Virginia
Robert Pittman, -2000, ham curer, Surry, Virginia
Mike Sizemore, string band musician, Galax, Virginia
Whitfield Sizemore, string band musician, Galax, Virginia
Stanley Stewart, Gospel Harmonizer, Front Royal, Virginia
John Tinsley, guitar player and country blues singer, Basset Forks, Virginia
Dan Williams, string band musician, Galax, Virginia
Daniel Womack, 1904-1996, gospel jubilee singer, Roanoke, Virginia
Paul Younger, basket maker, Naruna, Virginia
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1977 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
BLACK EXPRESSIVE CULTURE NARRATIVE STG: Groove Phi Groove
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (sound tape reel, 7 inch reel, 1/4 inch tape)
Type:
Archival materials
Sound recordings
Date:
1984 July 4
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1984 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Recorded in: Washington (D.C.), United States, October 11, 1980.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Recorded in: Washington (D.C.), United States, October 13, 1980.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1983 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The African Diaspora program was developed in 1973-74 to make a comprehensive statement about the dispersal of black culture. The area paid tribute to the varied cultural contributions of black American communities and documented how black peoples and cultures flourish throughout the world. Exploring those aspects of culture that link black Americans to Africa, Latin America, and the Caribbean, presentations centered on three activities common to all : home life, worship, and trade. Each was represented on the Mall by an appropriate physical structure: a house, an altar setting, and a marketplace. In each structure, the various artistic forms - music, crafts, material culture, dance, and the spoken word - depicted black culture as a dynamic, living force. The evolution of the culture was shown as black artists of all ages carried out their skills, be they traditional, evolved, or revival.
Different countries of Africa or the New World were featured each two weeks, with U.S. participants also rotating biweekly:
Bible Way Church World Wide Congregation, gospel singers
The Brothers, gospel group
Derrick Bunch, musician
Charles Calendar, 1922-1995, storyteller
Calvary Crusaders, gospel singers
Sam Chatmon, 1899-1983, blues musician, El Cajon, California, ex-Mississippi
Church of God, choir
Althea Coakley, basket weaver
Beatrice Coakley, basket weaver
Julito Collazo y su Grupo Folklorico Cubano, religious
Emory Davis, jeweler and potter
Harold O. Davis Memorial Choir and Congregation of the Cornerstone Baptist Church
D.C. Black Repertory Vocal Workshop
Mu-tem-uwa Dejfu, herbalist
Sonny Diggs, arabber (fruit vendor)
Jason Dotson, storyteller
Thomas "Popcorn" Doyle, contemporary Black social dance
The Drake Brothers & Family, singers
James Dunn, leather craftsperson
Rockin' Dupsie, 1932-, Creole band
Frank Edwards, 1909-2002, musician
Farrow Choir
Amoyewa Ferrell, designer, seamstress
George Ferrell, Sr., woodcarver
JuJu Ferrell, metal sculptor, woodcarver
Free Evangelist Church, choir
Freelo Express, dancers
Charles Freeney, cook
French Lala (Cajun dance troupe)
Anna Fuller, hair braider
Minnie Lee Gardner, storyteller
Linda Goss, storyteller
U'gene Greene, jeweler
Grupo Folklorico y Experimental Nueva Yorquina, religious, musician
Bill Hines, musician
Holyland Gospel Singers
Young Hughley, storyteller
Hurricane Brass Band -- Hurricane Brass Band Leroy Jones, Jr.Greg DavisKevin HarrisCurtis JosephDarryl AdamsGregory StaffordRaymond Johnson, Jr.Al CarsonCharles L. Joseph
"In the Rapture" Cast, dramatic production
Jackson Singers, gospel singers
Arbrey L. Jones, storyteller
Walter Kelley, arabber (fruit vendor)
Kings Choral Ensemble
Kings of Harmony Spiritual Band of the United House of Prayer
Eddie Knight, 1909-, musician
Eugene Lee, storyteller
Henry Lenard, storyteller
Lighthouse Church, gospel choir
Little Wonders, gospel singers
Bob Lowery, 1931-, blues singer
Deloris Luster, storyteller
Martin, Bogan & the Armstrongs, string band
Henry Martin, storyteller
Fidel & Iris Martinez, dancers
Valerie Maynard, 1937-, sculptor
Barbara McCloud, gospel singer and pianist
Winifred McQueen, tie dyer
Members of the Cape Verdean Community (Florench Almeida, Joaquin Almeida, Theresa Almeida, Valentina Almeida, Joanna Andrade, Mary Andrade, Stephanie Correia, Walter Correia, Benjamin Duarte, George Duarte, John Durate, Rita Duarte, John "Joli" Gonsalves, Virginia Gonsalves, Jack Livramento, Manuel "Lela" Lopes, Corrine Monteiro, Antone Monteiro, Lillian Ramos, Dennis Silva, Shirley Silva, Sophie Silva, Yvonne Smart, Eduardo A. Sousa)
M. Cecil Mills Ensemble from Canaan Baptist Church, gospel singers
Mississippi Delta Blues Band, blues band
Rev. Flora Molton, 1908-1990, street singer
Avery "Slim" Montgomery, 1909-1996, blues singer
James Moody, Jr., storyteller
Moving Star Hall Singers, gospel singers
Lee Willie Nabors, 1916-1997, craftsperson
New Bethel Church of God in Christ, gospel choir
Kenneth Palm, herbalist
Ojeda Penn & the LifeForce, jazz musicians
James Peterson of the Baltimore Fellowship, gospel singer
Rufus Pinckney, craftsperson
Rev. Leon Pinson, 1919-1998, gospel singer, guitarist
L. C. Bunk Pippens, blues singer
Pleneros Ponceflos, Puerto Rican blues band
Shannon Powell, drummer
Lee Poydras, cook
Rising Star Fife & Drum Band -- Rising Star Fife & Drum Band Napoleon Strickland, 1919-2001, fife playerBernice Turner, drummerOtha Turner, drummerG.D. Young, drummer
The Robertson Family, basket weavers -- The Robertson Family, basket weaversThonis Robertson, 1910-1981Geraldine RobertsonFelicia RobertsonJacqueline RobertsonDaphne RobertsonPatricia Ann Robertson
Efrain Ronda, string instrument craftsperson
Caridad Salome, cook
Luis Salome and Band, jazz musicians
Charlie Sayles, 1948-, harmonica player, Washington, D.C.
Scene Boosters Marching Club 3rd Division
Shabu, hairdresser
Herman Sherman's Young Tuxedo Brass Band
Johnny Shines, 1915-1992, musician
Phillip Simmons, 1912-2009, blacksmith
Mary Carter Smith, 1919-2007, storyteller
Smith Brothers, gospel singers
Sons of Grace, gospel group
Souls of Unity, gospel group
Speight Sisters, gospel vocal group
Sweet Honey in the Rock, a cappella vocal group
Temple Choir, Bibleway Church
Mor Thiam and His Ensemble -- Mor Thiam and His EnsembleGregory GloderH. James LastarriaFrank WilliamsAnthony PruittFreddie WashingtonBruce PurseLeRoy Thigpen
Son Thomas, 1926-1993, potter, blues guitarist
Mr. & Mrs. Richard Thompson, basket makers
Natalia Tirado Jr., master drum-maker
The Trinidad Steel Band
Union Temple, choir
Union Temple Baptist Church Congregation
United House of Prayer for All People: band, junior choir, congregation
Wesley Methodist Church Congregation
W. J. Ensemble, vocal group
Wiregrass Sacred Harp Singers
Yoruba Village, priests, singers, drummers, dancers and craftspeople
Maurice Sonar Senghor, Director of the National Theater
Babacar Diom, translator
Dancers
Bouly Sonko
Malang Dabo
Cheikh Dioh
Ibranhima Faye
Ousmane Dione
Marie Basse
Sona Ndiaye
Mariama Ngom
Nabou Ciss
Awa Diallo
Drummers
Abdou Dounta
Fotiguy Toure
Moussa Camara
Sadia Badian
Bakary Goubiaby
Vieux Sing Faye
Pape Gueye
Mamadou Ndiaye
Craftspeople
El Hadji Ibou Niang, jeweler
Aminata Kebe, hairdresser
Instrumentalists:
Sanna Sissoko
Soundioulou Sissoko
Singers
Mahawa Douyate
Fatou Ihiam Samb
Senegalese from Washington, D.C.
Oumou Gueye, cook
Yama Diane, cook
Brazil
Nigeria
Puerto Rico
Surinam
Trinidad & Tobago
Zaire
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1976 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1988 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.