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Sissy Goodhouse Performance [Live at Smithsonian Folklife Festival 1998]

Creator:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Type:
YouTube Videos
Uploaded:
2010-02-04T16:05:36.000Z
YouTube Category:
Music  Search this
Topic:
Cultural property  Search this
See more by:
smithsonianfolkways
Data Source:
Smithsonian Center for Folklife and Cultural Heritage
YouTube Channel:
smithsonianfolkways
EDAN-URL:
edanmdm:yt_08tRvCobe54

Mary Youngblood - "Tears for Kientepoos" [Live at Smithsonian Folklife Festival 1998]

Creator:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Type:
YouTube Videos
Uploaded:
2010-02-04T16:44:34.000Z
YouTube Category:
Music  Search this
Topic:
Cultural property  Search this
See more by:
smithsonianfolkways
Data Source:
Smithsonian Center for Folklife and Cultural Heritage
YouTube Channel:
smithsonianfolkways
EDAN-URL:
edanmdm:yt_38ek4RFSUr0

Tzo'kam - "The Bone Game Song" [Live at Smithsonian Folklife Festival 1998]

Creator:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Type:
YouTube Videos
Uploaded:
2009-07-30T13:22:55.000Z
YouTube Category:
Music  Search this
Topic:
Cultural property  Search this
See more by:
smithsonianfolkways
Data Source:
Smithsonian Center for Folklife and Cultural Heritage
YouTube Channel:
smithsonianfolkways
EDAN-URL:
edanmdm:yt_av7gUZoBW1k

Ceremonial Dance from the Amazonian Rainforest

Creator:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Type:
YouTube Videos
Uploaded:
2011-07-11T18:49:11.000Z
YouTube Category:
Education  Search this
Topic:
Cultural property  Search this
See more by:
smithsonianfolklife
Data Source:
Smithsonian Center for Folklife and Cultural Heritage
YouTube Channel:
smithsonianfolklife
EDAN-URL:
edanmdm:yt_XP301Ta9fBU

Cahuilla sound recording

Collector:
Castillo, Adam  Search this
Seeley, Blanche  Search this
Informant:
Segundo, Perfecto  Search this
Collection Creator:
Harrington, John Peabody, 1884-1961  Search this
Extent:
1 Disc (16in)
Culture:
Cahuilla  Search this
Indians of North America -- California  Search this
Type:
Archival materials
Discs
Sound recordings
Date:
11 OCT 1937
Local Numbers:
NAA INV.00000631
Local Note:
Disc Note:JPH Ls 27 May 1937:Ac List
SEE CAH 0019, 0020 CAH CT11, 31 MINS, 7.50IPS, NARS
Aluminum disc
Other Title:
99a Ceremonial Dance Song (Sajovit), No 1
Place:
California
Topic:
Cahuilla -- Music, Songs -- Dance -- Rituals -- Formulas -- Ceremonies  Search this
Genre/Form:
Sound recordings
Collection Citation:
John Peabody Harrington papers, National Anthropological Archives, Smithsonian Institution
The preferred citation for the Harrington Papers will reference the actual location within the collection, i.e. Box 172, Alaska/Northwest Coast, Papers of John Peabody Harrington, National Anthropological Archives, Smithsonian Institution.

However, as the NAA understands the need to cite phrases or vocabulary on specific pages, a citation referencing the microfilmed papers is acceptable. Please note that the page numbering of the PDF version of the Harrington microfilm does not directly correlate to the analog microfilm frame numbers. If it is necessary to cite the microfilmed papers, please refer to the specific page number of the PDF version, as in: Papers of John Peabody Harrington, Microfilm: MF 7, R34 page 42.
See more items in:
John Peabody Harrington Papers
John Peabody Harrington Papers / John Peabody Harrington Sound Recordings
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-1976-95-ref16191

Cahuilla sound recording

Collector:
Castillo, Adam  Search this
Seeley, Blanche  Search this
Informant:
Segundo, Perfecto  Search this
Collection Creator:
Harrington, John Peabody, 1884-1961  Search this
Extent:
1 Disc (16in)
Culture:
Cahuilla  Search this
Indians of North America -- California  Search this
Type:
Archival materials
Discs
Sound recordings
Date:
11 OCT 1937
Local Numbers:
NAA INV.00000632
Local Note:
Disc Note:JPH Ls 27 May 1937:Ac List
SEE CAH 0018, 0020 CAH CT11, 31 MINS, 7.50IPS, NARS
Aluminum disc
Other Title:
100b Continuation Ceremonial Dance Song (Sajovit), No 2
Place:
California
Topic:
Cahuilla -- Music, Songs -- Dance -- Rituals -- Formulas -- Ceremonies  Search this
Genre/Form:
Sound recordings
Collection Citation:
John Peabody Harrington papers, National Anthropological Archives, Smithsonian Institution
The preferred citation for the Harrington Papers will reference the actual location within the collection, i.e. Box 172, Alaska/Northwest Coast, Papers of John Peabody Harrington, National Anthropological Archives, Smithsonian Institution.

However, as the NAA understands the need to cite phrases or vocabulary on specific pages, a citation referencing the microfilmed papers is acceptable. Please note that the page numbering of the PDF version of the Harrington microfilm does not directly correlate to the analog microfilm frame numbers. If it is necessary to cite the microfilmed papers, please refer to the specific page number of the PDF version, as in: Papers of John Peabody Harrington, Microfilm: MF 7, R34 page 42.
See more items in:
John Peabody Harrington Papers
John Peabody Harrington Papers / John Peabody Harrington Sound Recordings
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-1976-95-ref16192

Cahuilla sound recording

Collector:
Castillo, Adam  Search this
Seeley, Blanche  Search this
Informant:
Segundo, Perfecto  Search this
Collection Creator:
Harrington, John Peabody, 1884-1961  Search this
Extent:
1 Disc (16in)
Culture:
Cahuilla  Search this
Indians of North America -- California  Search this
Type:
Archival materials
Discs
Sound recordings
Date:
11 OCT 1937
Local Numbers:
NAA INV.00000633
Local Note:
Disc Note:JPH Ls 27 May 1937:Ac List
SEE CAH 0018, 0019 CAH CT12, 16 MINS, 7.50IPS, NARS
Aluminum disc
Other Title:
101c Continuation Ceremonial Dance Song (Sajovit), No 3
Place:
California
Topic:
Cahuilla -- Music, Songs -- Dance -- Rituals -- Formulas -- Ceremonies  Search this
Language and languages -- Documentation  Search this
Genre/Form:
Sound recordings
Collection Citation:
John Peabody Harrington papers, National Anthropological Archives, Smithsonian Institution
The preferred citation for the Harrington Papers will reference the actual location within the collection, i.e. Box 172, Alaska/Northwest Coast, Papers of John Peabody Harrington, National Anthropological Archives, Smithsonian Institution.

However, as the NAA understands the need to cite phrases or vocabulary on specific pages, a citation referencing the microfilmed papers is acceptable. Please note that the page numbering of the PDF version of the Harrington microfilm does not directly correlate to the analog microfilm frame numbers. If it is necessary to cite the microfilmed papers, please refer to the specific page number of the PDF version, as in: Papers of John Peabody Harrington, Microfilm: MF 7, R34 page 42.
See more items in:
John Peabody Harrington Papers
John Peabody Harrington Papers / John Peabody Harrington Sound Recordings
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-1976-95-ref16193

Miwok Sound Recording

Collector:
Marr, John Paul  Search this
Informant:
Knight, Henry  Search this
Collection Creator:
Harrington, John Peabody, 1884-1961  Search this
Extent:
1 Disc (18in)
Culture:
Mewuk (Miwok)  Search this
Indians of North America -- California  Search this
Type:
Archival materials
Discs
Sound recordings
Date:
DEC 1940
Local Numbers:
NAA INV.00001164
Local Note:
Disc Note:Jpm List:JPH Lr 09 Jan 1941
Aluminum disc
Other Title:
C Continuation Wek-Wek and Olanawah Story
D-1 Same
D-2 Summer Weather Story and Dance Held When It Comes
Place:
California -- Middleton
Topic:
Miwok -- Literature, Stories -- Rituals -- Formulas -- Ceremonies -- Dance  Search this
Language and languages -- Documentation  Search this
Genre/Form:
Sound recordings
Collection Citation:
John Peabody Harrington papers, National Anthropological Archives, Smithsonian Institution
The preferred citation for the Harrington Papers will reference the actual location within the collection, i.e. Box 172, Alaska/Northwest Coast, Papers of John Peabody Harrington, National Anthropological Archives, Smithsonian Institution.

However, as the NAA understands the need to cite phrases or vocabulary on specific pages, a citation referencing the microfilmed papers is acceptable. Please note that the page numbering of the PDF version of the Harrington microfilm does not directly correlate to the analog microfilm frame numbers. If it is necessary to cite the microfilmed papers, please refer to the specific page number of the PDF version, as in: Papers of John Peabody Harrington, Microfilm: MF 7, R34 page 42.
See more items in:
John Peabody Harrington Papers
John Peabody Harrington Papers / John Peabody Harrington Sound Recordings
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-1976-95-ref16724

Karok/Shasta/Konomihu

Creator:
Harrington, John Peabody, 1884-1961  Search this
Maddux, Phoebe  Search this
Roberts, Helen H. (Helen Heffron), 1888-1985  Search this
Collection Creator:
Harrington, John Peabody, 1884-1961  Search this
Extent:
49 Boxes
Culture:
Indians of North America -- California  Search this
Karuk (Karok)  Search this
Shasta  Search this
Type:
Archival materials
Manuscripts
Field notes
Vocabulary
Songs
Narratives
Date:
circa 1925-1933
Scope and Contents:
This subseries of the Northern and Central California series contains Harrington's research on Karok, Shasta, and Konomihu. Materials include notes on vocabulary, grammar, placenames, and basketry; biographical data on various Karok people; texts consisting of stories, myths, formulas, songs, and ethnographic accounts; notes from rehearings of secondary sources; and notes and drafts of Harrington's writings. There are also notes from his interviews with Sandybar Jim, Francisco Capitan, Fritz Hanson, Mrs. Grant, and Fannie Orcutt.

The section of Karok vocabulary is extensive and includes terms for cosmography/minerals, plants, animals, kinship, geography, material culture, and tribenames. The list of plant names also include information on botanical specimens that Harrington collected in the field. A mixture of Shasta and Karok vocabulary can be found elsewhere in the subseries, covering natural history, material culture, kinship and rank, tribenames, and placenames. Etymologies and ethnographic data can be found in both sections for some of the vocabulary.

The section on Karok grammar is also fairly large. The notes include observations he made on the language while working with Fritz Hanson and Sylvester Donohue in 1926. Most of the notes were rechecked with Phoebe Maddus in 1928-1929. There are also miscellaneous vocabulary and short sentences with glosses and translations, elicited to illustrate a variety of phonetic and grammatical principles.

Harrington's notes on placenames include a set of diaries of trips he made throughout Karok territory. He also conducted a detailed study of the Konomihu region of Salmon River. Information that he gathered include etymologies, physical descriptions, locations, and related ethnographic data.

The scope of subjects covered in Harrington's ethnographic notes is broad and mostly reflect his work with Maddux. There are descriptions of life in the living house and sweat house, dress, and food preparation. Various ceremonies, dances, doctoring songs, and formulas are discussed. A wide variety of customs, practices, and beliefs, are mentioned as well as biographical information and anecdotes relating to Maddux and fellow members of her tribe.

Maddux also dictated in Karok stories, myths, formulas, and ethnographic accounts. Some include English translations or summaries. The stories include numerous tales about Coyote and other mythical figures. The formulas include prayers and recitatives, as well as chants used as medicine. The ethnographic texts concern such topics as gathering sugarpine nuts, bear hunting, and marriage customs. Partial transcriptions of Karok and Konomihu songs also form a substantial part of the textual material.
Biographical / Historical:
Much of John P. Harrington's major work of recording Karok vocabulary and ethnographic notes was undertaken during an uninterrupted period of six and one-half weeks from late March to early May 1926. Part of the work was conducted in cooperation with Helen H. Roberts, the ethnomusicologist. The principal Karok speaker that Harrington worked with at the time was Fritz Hanson, a speaker of the Katimin dialect, who was considered to be especially knowledgeable regarding material culture and tribenames. Sylvester Donohue acted as interpreter. Lesser amounts of data were given by Donohue's younger brother, Ben, and a number of other speakers.

Harrington first officially requested permission to work on the ethnology of the Karok in May 1928. In August of that year he returned to the Klamath and Salmon River area. It was at this time that he began working extensively with Phoebe Maddux. Maddux, whose mother was a native doctor, had been raised at Ishipishrihak (Ishi Pishi), a village on the northwest bank of the Klamath River opposite Katimin. While in the region, Harrington obtained sizable vocabularies of the Shasta and Konomihu languages from a Mrs. Grant (further unidentified) and her older sister, Susan Brizelle, both of whom worked with Roland B. Dixon, Jaime de Angulo, and Helen H. Roberts. Daughters of a Konomihu mother and a French father, the women apparently had also learned some Shasta from their maternal grandmother, a Cherokee, who, after her capture, had adopted the "Etna language" (Scotts Valley Shasta).

In October 1928 Harrington brought Phoebe Maddux back with him to Washington, D.C., where she remained until July of the following year when they began the return trip to the west coast via Chaco Canyon, New Mexico. During this lengthy period, Maddux reheard the Karok notes obtained from Hanson, furnished much grammatical information, dictated numerous texts, and examined many artifacts and specimens in the collections of the U. S. National Museum. In addition, she commented upon the Shasta and Konomihu notes, particularly the placename data. In April, Harrington and Maddux were authorized to meet with Franz Boas in New York City for the purpose of making several wax cylinder recordings of the Karok language. En route to Maddux's home in late July 1929, Harrington and Maddux stopped at Eureka, California, to work briefly with Fannie Orcutt, an Orleans Karok woman.

Harrington returned briefly to his study of the Shasta and Konomihu languages in October 1933 when his presence in Takelma territory facilitated a second visit with Brizelle. At that time he "touched up" his earlier notes by adding language identifications and once again rechecked the material. Brizelle's brother, Henry, and her son, Johnny, were also present at these sessions.

Nonlinguistic information was provided by Carl Langford, Harrington's host in the area, and F. B. McCann, as well as by a variety of specialists in the natural sciences. He was assisted in much of the work by George W. Bayley of Santa Barbara, a friend who had helped in the excavation of the Burton Mound some years earlier.
Local Numbers:
Accession #1976-95
Restrictions:
No restrictions on access.
Rights:
Contact the repository for terms of use.
Topic:
Karok language  Search this
Shasta language  Search this
Konomihu language  Search this
Language and languages -- Documentation  Search this
Linguistics  Search this
Names, Geographical  Search this
Names, Ethnological  Search this
Ethnobotany  Search this
Ethnology  Search this
Ethnomusicology  Search this
Basket making  Search this
Karuk  Search this
Genre/Form:
Manuscripts
Field notes
Vocabulary
Songs
Narratives
Collection Citation:
John Peabody Harrington papers, National Anthropological Archives, Smithsonian Institution
The preferred citation for the Harrington Papers will reference the actual location within the collection, i.e. Box 172, Alaska/Northwest Coast, Papers of John Peabody Harrington, National Anthropological Archives, Smithsonian Institution.

However, as the NAA understands the need to cite phrases or vocabulary on specific pages, a citation referencing the microfilmed papers is acceptable. Please note that the page numbering of the PDF version of the Harrington microfilm does not directly correlate to the analog microfilm frame numbers. If it is necessary to cite the microfilmed papers, please refer to the specific page number of the PDF version, as in: Papers of John Peabody Harrington, Microfilm: MF 7, R34 page 42.
Identifier:
NAA.1976-95, Subseries 2.9
See more items in:
John Peabody Harrington Papers
John Peabody Harrington Papers / Series 2: Papers Relating to the Native American history, language and culture of northern and central California
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-1976-95-ref13272
Online Media:

Henry John Drewal and Margaret Thompson Drewal Collection

Creator:
Drewal, Henry John  Search this
Drewal, Margaret Thompson  Search this
Extent:
10,000 Slides (color)
10,617 Copy slides
Container:
Item 10000
Volume 1
Volume 2
Volume 3
Volume 4
Volume 5
Volume 6
Volume 7
Volume 8
Volume 9
Volume 10
Volume 11
Volume 12
Volume 13
Volume 14
Volume 15
Volume 16
Volume 17
Culture:
Ewe (African people)  Search this
Yoruba (African people)  Search this
Igbo (African people)  Search this
Type:
Collection descriptions
Archival materials
Photographs
Slides
Copy slides
Color slides
Place:
Togo
Africa
Nigeria
Ghana
Sierra Leone
Date:
1970-1989
Summary:
Both Henry John Drewal and Margaret Drewal traveled to Nigeria, Ghana and Togo (West Africa) for extended periods from 1967-1986. During their trips to Nigeria they conducted research into the ritual performance, masking traditions, and traditional sacred rites of the Yoruba people as well as Mami Wata devotes of Togo, Ghana, and Nigeria. They are the co-authors of Gelede: Art and Female Power among the Yoruba (1993).Both Henry John Drewal and Margaret Drewal traveled to Nigeria, Ghana and Togo (West Africa) for extended periods from 1967-1986. During their trips to Nigeria they conducted research into the ritual performance, masking traditions, and traditional sacred rites of the Yoruba people as well as Mami Wata devotes of Togo, Ghana, and Nigeria. They are the co-authors of Gelede: Art and Female Power among the Yoruba (1993).

Photographs taken by Henry John and Margaret Thompson Drewal during the 1970s and 1980s of Yoruba and Ewe art and culture.
Scope and Contents:
The Drewal collection is a photographic documentation of several trips made to the West African countries of Ghana, Nigeria, and Togo to conduct field research. This collection, which consists of over 10,000 color slides (35mm), represents a major portion of the photographs taken by the Drewals during their visits to West Africa from 1967-1986 to conduct field work.

There are several subjects present in this collection. The most prominent being the Egúngún and Gelede rituals and festivals of the Yoruba people of Nigeria. Other subjects found in the collection are Ifá initiation, Òrìsà and Mami Wata festivals, Òrìsà shrines, sacred arts, beading techniques, and traditional and modern architecture. There is a large selection of images specifically of shrines and festivals for Òrìsà such as Sango, Ògún, Agemo, Eyinle and others. Details of implements like the ose Sango, opa Osanyin, and opa Osun can also be seen in the collection.

The Drewals also photographed and documented Yoruba sacred art (i.e. shrine objects; masks) in a number of international museums in Africa, Europe and the United States. Their collection contains images of Yoruba art in the British Museum, London; Nigeria National Museum, Lagos; National Museum of African Art, Washington, D.C.; Everton Museum, New York; and Field Museum of Natural History, Chicago. For a complete listing of slides depicting museum collections see pages 28-33. These images are restricted and can not be reproduced without permission of the copyright holder.
Organization of the Finding Aid:
Drewal, Margaret Thompson. "Symbols of Possession: A Study of Movement and Regalia in an Anago-Yoruba Ceremony." -- Dance Research Journal -- 7, no. 2 (1975).

Drewal, Margaret Thompson and Henry John Drewal. "Gelede: Dance of the Western Yoruba," -- African Arts -- 8, no. 2 (Winter 1975).

Drewal, Henry John. "Efe: Voiced Power and Pagenatry." -- African Arts -- 7, no. 1 (Autumn 1973).

Drewal, Margaret Thompson and Henry John Drewal. "More Powerful than Each Other: An Egbado Classification of Egungun." -- African Arts -- 11, no. 3 (April 1978).

Drewal, Margaret Thompson. "Projections from the Top in Yoruba Art." -- African Arts -- 11, no. 1 (October 1977).

Drewal, Henry John. "Gelede Masquerade: Imagery and Motif." -- African Arts -- 7, no. 4 (Summer 1974).

Drewal, Henry John. "Pageantry and Power in Yoruba Costuming." Justine M. Cordwell and Ronald M. Schwarz, ed. -- The Fabrics of Culture -- . Hauge: Mouton, 1979.

Drewal, Margaret Thompson. "Art and Trance Among Yoruba Sango Devotees." -- African Arts -- 20, no. 1 (November 1986).

Drewal, Henry John. "Flaming Crowns, Cooling Waters: Masquerades of the Ijebu Yoruba" -- African Arts -- 20, no. 1 (November 1986).

Drewal, Henry John. "Mermaids, Mirrors, and Snake Charmers: Igbo Mami Wata Shrines" -- African Arts -- 21, no. 2 (February 1988).

Drewal, Henry John. "Performing the Other: Mami Wata Worship in Africa" -- TDR -- 32, no. 2 (Summer 1988).

Drewal, Henry John. "Beauty and Being: Aesthetics and Ontology in Yoruba Body Art." Arnold Rubin, ed. -- Marks of Civilization: Artistic Transformation of the Human Body -- . Los Angeles, CA, 1988.

Drewal, Henry John, John Pemberton III, Rowland Abiodun. -- Yoruba: Nine Centuries of African Art and Thought -- . NY: Center for African Art in Association with H.N. Abrams, 1989.

Homberger, Lorenz ed. -- Yoruba Art and Aesthetics -- . Zurich: Museum Rietberg; New York: Center for African Art, 1991.

Drewal, Margaret Thompson. -- Yoruba Ritual: Performers, Play, Agency -- . Bloomington and Indianapolis, IN: Indiana University Press, 1992.

Drewal, Henry John and Margaret Thompson Drewal. -- Gelede: Art and Female Power among the Yoruba -- . Bloomington: Indiana University Press, 1993.

Abiodun, Rowland, Henry J. Drewal, and John Pemberton III, editors. -- The Yoruba Artist: New Theoretical Perspectives on African Arts -- . Washington DC: Smithsonian Institution Press, 1994.

Drewal, Henry John. "Yoruba Beadwork Beauty Brightness." -- Faces -- 12, no. 1 (September 1995).

This finding aid was organized according to the inherent value of the Drewal collection to art historians, ethnographers, anthropologists, and cultural historians. It has been kept simple but made as detailed as possible while still providing the researcher with references to the images and other valuable research information. The finding aid has been organized into three principal sections:

A. Bibliography of Drewal publications with image numbers; B. Primary keyword subjects: Field images; C. Primary keyword subjects: Art images; and D. Restricted images: B/W copy slides and non-Drewal color slides

A. Bibliography of Drewal publications: The first section contains a bibliography of primary Drewal publications and lists the image numbers for reproductions that appear in either black-and-white or color. These publications are listed chronologically with a corresponding list of image numbers. For the researcher's convenience, all images from the Drewal collection that have been published are listed in a separate column beside the publication in which the picture appears. Due to space restrictions, only the last five digits of the accession numbers are listed in the Image # column.

**Please note that some of the color slides in the collection have been reproduced as black-and-white images in several Drewal publications. A separate column in the bibliographic section indicates whether the image was reproduced in black-and-white or color in the publication. The Elisofon Archives does not currently possess any of the Drewal's black-and-white negatives. For additional information on these images, please contact Drs. Henry John Drewal and Margaret Thompson Drewal.

Example:

Publication Title Image # Gelede: Art and Female Power among the Yoruba, 1993

To further assist researchers, two additional columns have been created to indicate if the image is published in color or black/white.

Example: Publication Title Image # Color Gelede: Art and Female Power among the Yoruba, 1993 • 00000 

B & C. Primary keyword: Field and Art images The second section contains a complete list of images available in the collection, subdivided by field and art images. Field images refer to cultural or natural landscapes shot in Africa and Art images refer to images of objects in museums (or photographed in the field as an object by itself). These images have been categorized by primary keywords (i.e. artisan; leadership; masquerade) and subdivided into subcategories or type within these general keyword subjects (i.e. carvers; chiefs; Egungun).

Example:

Primary Keyword Subcategory Image # Architecture • Modern • 00000

D. Restricted images: The final section lists restricted images in the collection: b/w copy slides from publications and color slides not produced by the Drewals. These images are for study purposes only and not for reproduction.
Arrangement note:
The slides were sent to the Elisofon Archives in several batches. They were arranged according to the Drewals' own system of classification and field notes (see below). This arrangement is roughly by subject and further subdivided by subcategory or type. Slides of museum objects are grouped with field images of similar subject matter. For instance, museum object related to Sango worship can be found with the field images of Sango devotees and shrines.

The Drewals donated copies of their field notes (Red and Blue Books) which correspond to most of the slides found in the collection. The Red and Blue books are arranged in reverse chronological order starting with Blue Book 1977-78.1. Reference numbers to these books appear on the upper left hand corner of the slide (e.g. 78.34.6; 28-11). The majority of the field notes give the date and place where the photos were taken as well as a brief descriptive of the subject of the image related to the note. In some cases, the Òrìsà of a particular town was recorded in addition to how many Òrìsà are worshipped. The Drewals attended several private ceremonies and there are some descriptions of their experiences, however, in most cases not in extensive detail.

There is an additional notebook containing more field notes for years prior to 1975. This notebook has information about the images of museum objects and is a collection of Xeroxed copies of notes on index cards. There are no dates on the copies, but there are reference numbers as with the Red and Blue Books.

Images indexed by negative number.
Biographical / Historical:
Art historian Henry John Drewal received his BA from Hamilton College and two Masters' degrees and a PhD from Columbia University (1973). In between college and graduate school, Drewal served in the Peace Corps, where he taught French and English, organized arts camps in Nigeria, and apprenticed himself to a Yoruba sculptor.

He taught at Cleveland State University (Chair of the Art Department), and was a Visiting Professor at UC-Santa Barbara and SUNY-Purchase. Since 1991 he has been the Evjue-Bascom Professor of Art History and Afro-American Studies at UW-Madison. He has published several books, edited volumes, exhibition catalogues, and many articles and produced a number of films documenting African and African Diaspora arts, and lectured widely on these topics. He has received several NEH and NEA grants, three Fulbright Research Awards (Brazil, Benin, Morocco), a Metropolitan Museum of Art Fellowship, and a Guggenheim Fellowship.

Dr. Margaret Thompson Drewal is an ethnographer, performance theorist, and dance historian. She has conducted extensive research on Yoruba and Afro-Brazilian ritual dance with a special interest in the poetics and politics of performance discourse. She is the author of Performers, Play, and Agency: Yoruba Ritual Process (1989). She has also authored numerous articles that have appeared in such journals as TDR: A Journal of Performance Studies, African Arts, and The Journal Ritual Studies. She is also a trained dancer and choreographer. At present, Dr. Drewal is the Chair of the Department of Performance Studies at North Western University.

There are also video productions by Henry John Drewal and Margaret Thompson Drewal available in the Warren M. Robbins Library. The videos available are "Ẹfẹ/Gẹlẹdẹ Ceremonies among the Western Yoruba," by Henry John Drewal; "Yoruba Performance," by Henry John Drewal; and "Yoruba Ritual: A Companion Video," by Margaret Thompson Drewal.
Cultural Information and Background:
The information found here goes slightly beyond the notes of the Red/Blue Books and index card that accompany the images. Because the Drewal Collection primarily centers on the Yoruba and Mami Wata spiritual traditions and material cultures, the focus of images are of specific implements of the deities and priests, such as staffs, pots, stools, thrones, statues, and bells. Also included in the collection are images of divination, sacrifice, and other important rituals, festivals and ceremonies. What is given here is pertinent background information on the cosmology of the Yoruba and Mami Wata spiritual traditions as it relates to the iconographical focus of the slides.

In Yoruba cosmology, there is a supreme being commonly referred to as Ọlọdumare. Ọlọdumare is essentially understood as being genderless or androgynous. There are no shrines or spiritual implements dedicated to Ọlọdumare. The Yoruba believe that Ọlọdumare is too vast and its power too strong to be channeled into one building or space. Everything is a part of or expresses an aspect of Ọlọdumare. Through the appeasement of the Òrìsà Ọlọdumare is served. The Òrìsà are the emissaries of Ọlọdumare sent to the world to assist their devotees in every day life. There are hundreds of Òrìsà within the Yoruba pantheon. Deities such as Ọbatala, Ifá, Èshù, Ọshún, Shango, Ọsanyin, Yemọja and Oya are worshipped throughout Yorubaland; there are also deities that are specific to particular locations and are not as popular as the aforementioned eight.

Implements of the priests are classified as sacred art. These spiritual tools are not only instruments of the priests, but ultimately, they are tools for the Òrìsà. It is important to understand that the shrines are not the Òrìsà. This very prominent misconception has plagued traditional practitioners both in and out of Yorubaland for centuries. The emphasis of reverence is placed on the spirit associated with the materials used to construct a shrine or ceremonial item and not the item itself. The shrine and other sacred tools serve as vortices to channel the ashe or power of the Òrìsà into the physical world.

Ifá is a term that has been used to refer to the Yoruba traditional spiritual system. However, Ifá also refers to the Òrìsà of divination, Ọrunmila, as well as the system of divination used by the priests of Ọrunmila. Ifá's role as a diviner is so important in Yoruba cosmology that he is referred to as Ẹlẹri ipin, ibikéjì Ọlọdumare (witness to all destinies, second only to Ọlọdumare). The Drewals were allowed to follow the process of three initiations and other sacred rituals performed by priests. Certain rituals cannot be witnessed by non-initiates; however the Drewals were able to photograph many of the sacred rites of the initiation process. The roles of the Ifá priest vary. Divining is a very important role of the Ifá priest, and the tools used to divine are also sacred. There is a section of the collection dedicated to images of divination tools and the Ifá shrine.

Èshù is another one of the most important deities within Yoruba cosmology. Èshù is the keeper of ashe and the inspector of all sacrifices. His image is carved into the top of the Ifá divination tray (ọpọn Ifá) because he is a witness to all actions, thoughts, and events. According to Yoruba cosmology, he is an unbiased observer who will convey only the truth of any subject. Both Ifá and Èshù assist devotees in overcoming unsavory circumstances and bad luck, according to the Yoruba. There are many roads (aspects) of Èshù, each performing a specific duty in a devotee's life. Shigidi is one of the more powerful aspects of Èshù. One can see the noticeable differences between the Shigidi and the yangi (laterite or sculpted clay used to create an Èshù shrine).

The implements that are found on traditional Òrìsà shrines are based on Yoruba mythology. For instance, the odo Shango, ritual mortar, is found on almost all shrines dedicated to this particular Òrìsà. The legend goes that he used an inverted mortar to kill a leopard that was terrorizing the people of Enpe. The odo Shango is sometimes used to support the container that holds the "thunderstones" (lightning struck stones) of Shango's shrine. The inverted mortar is also used as a stool for priests or initiates to sit. Shango's priests usually keep their hair braided, even if the priest is male. Equestrian figures are utilized in both Shango and Oya sacred art. Oya is the only female deity in the Yoruba pantheon that has ever been depicted riding a horse. Yoruba mythology states that Oya is a warrior goddess who accompanies her husband, Shango into battle and fights by his side. Together the husband and wife team is associated with thunderstorms. Oya is mythically related to the winds that precede the thunder and lightning that are both said to be associated with Shango.

There are several types of staffs or dance wands seen in the Drewal collection. In the case of dance wands, they are often times utilized during spirit possession. In some instances, the shrine of the Òrìsà is only the staff of that particular deity. Such is the case with the ọpa Osun, a deity associated with Ifá and his devotees and the ọpa Òrìsà Oko, the deity of agriculture.

The Ogboni society (also known as Osugbo) possesses a mixture of spiritual and governmental power within the traditional Yoruba community. It was the foundation of order in traditional Yoruba society. The focus of worship and veneration amongst Ogboni members is Onilẹh, the Owner of the land or Earth. Sometimes one may hear the term Onileh, Owner of the house, instead. Both pronunciations can be used and carry significant meaning in either case. However, the consensus of scholarly research associates Ogboni with the Earth. In that case the term Onilẹh is more suitable.

Egúngún and Gelede festivals are of significant importance amongst the Yoruba. The Egúngún society is dedicated to the veneration and appeasement of honorable ancestors. This can take place in private or public. Families celebrate their deceased relatives' lives and accomplishments privately through sacrifice, prayer and celebration. In a public arena ancestors from the community are given recognition. The Yoruba have long believed that community solidarity and welfare begins with the family. In honoring one's personal ancestors as well as benevolent community ancestors, the family receives the blessings of those that reside in the spiritual realm—those who have become ara ọrun, or the people of heaven. Because the Yoruba believe in reincarnation, it is thought that the ancestors will one day return to the material world in a future lifetime. If proper rituals and prayers are performed, the spirits returning will have a better chance of being assets to society by hopefully making positive contributions to the elevation of the Yoruba people.

Gelede is always a public event. The time of year which the festival will take place is dependent on the locality in which the festival is being held. Gelede focuses mainly on the feminine and the role of women in society. Female deities such as Yemọja, Olókun, and Ilẹh are associated with Gelede. Another aspect of major importance to Gelede is the inclusion of Ìyánla, the Great Mother, which is a reference to Onilè. This reference is but one facet that connects Gelede to the Ogboni society. It is also during the Gelede festival that Awọn Ìyá Wa, Our Mothers or the Mothers, are petitioned and appeased so that they may not interfere with the positive efforts of the community.

Both the Egúngún and Gelede festivals help to ensure prosperity, abundance, and fertility of the people. It is through these festivals that indecent conduct is addressed in hopes of exorcising the root of such behavior. It is believed that bringing any disgraceful and inhumane acts to the forefront encourages individuals to act responsibly in all matters.

The final subject presented in the Drewal Collection is of the Mami Wata traditions in West Africa. Representations of Mami Wata often include foreign images, usually of Indian gods, to describe the attributes of Mami Wata as a deity. The term Mami Wata refers to a water spirit or a collective of water spirits. The names associated with the original African water spirit(s) have long been forgotten in some regions of West Africa where Mami Wata is worshipped. However, in other areas, the term Mami Wata is interchangeable with the indigenous name used to identify the water spirit(s). There are variations to the worship of Mami Wata throughout West Africa, yet similarities prevail. Togo is most popularly associated with the Mami Wata tradition. Most of the slides featuring Mami Wata devotees in the Drewal Collection were taken in Togo.
Related Materials:
Additional photographs by Henry John Drewal held at the EEPA are located within the collection: Henry John Drewal Collection, EEPA 2010-010.
Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Copyright held by John and Margaret Drewal. To publish images from this collection, permission must be given by Henry and Margaret Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.
Genre/Form:
Color slides
Citation:
Henry and Margaret Drewal Photographs, EEPA 1992-028, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Identifier:
EEPA.1992-028
See more items in:
Henry John Drewal and Margaret Thompson Drewal Collection
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_collection:sova-eepa-1992-028

Rites and Ceremonies

Collection Creator:
Drewal, Henry John  Search this
Drewal, Margaret Thompson  Search this
Extent:
1 Slide (col.)
Culture:
Yoruba (African people)  Search this
Type:
Archival materials
Slides
Place:
Africa
Nigeria
Date:
1975
Scope and Contents:
Odua ceremony dances, Itolu. [no numbers to correspond to field notes]. The date on the slide is NOV 75.
Local Numbers:
G 2 YRB 75
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Copyright held by John and Margaret Drewal. To publish images from this collection, permission must be given by Henry and Margaret Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.
Topic:
Ritual and celebration -- Photographs  Search this
Rites and ceremonies -- Africa  Search this
Collection Citation:
Henry and Margaret Drewal Photographs, EEPA 1992-028, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Identifier:
EEPA.1992-028, Item EEPA 1992-028-05290
See more items in:
Henry John Drewal and Margaret Thompson Drewal Collection
Henry John Drewal and Margaret Thompson Drewal Collection / Nigeria / 1975
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_component:sova-eepa-1992-028-ref2415

Ceremony, Dance

Collection Creator:
Smithsonian Institution. United States National Museum. Department of Anthropology. Division of Ethnology  Search this
Extent:
1 Photographic print (010 in x 008 in mounted on 010 in x 008 in)
Culture:
Guamanian  Search this
Type:
Archival materials
Photographic prints
Photographs
Date:
undated
Scope and Contents:
Man and Woman Dancing Outside Pole and Thatch House; Spectators Nearby
Local Numbers:
NAA INV.05053500

OPPS NEG.80-9499
Local Note:
Black and white photoprint on paper mount
Place:
Micronesia -- Mariana Island/Ladrones Islands -- Guam Island/Agana
Genre/Form:
Photographs
Citation:
Photo Lot 97 DOE Oceania: Micronesia: Guam 05053500, National Anthropological Archives, Smithsonian Institution
See more items in:
Division of Ethnology photograph collection
Division of Ethnology photograph collection / Oceania / Micronesia / Guam
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-photolot-97-ref11420

Non-Native Woman Admonishes Man (Her Cook) in Ceremonial Dance Costume Who Is Wearing Ornaments and Holding Drum

Creator:
Crowley, Harold G.  Search this
Collection Creator:
Smithsonian Institution. United States National Museum. Department of Anthropology. Division of Ethnology  Search this
Extent:
1 Photographic print (009 in x 007 in)
Culture:
Australians ?  Search this
Australians ?  Search this
Type:
Archival materials
Photographic prints
Photographs
Date:
1938
Local Numbers:
NAA INV.05087000
Local Note:
Black and white photoprint
Place:
Melanesia -- New Guinea Islands -- New Guinea Island/Port Moresby
British New Guinea -- New Guinea Islands -- New Guinea Island/Port Moresby
Australia -- New Guinea Islands -- New Guinea Island/Port Moresby
Papua New Guinea -- New Guinea Islands -- New Guinea Island/Port Moresby
Genre/Form:
Photographs
Citation:
Photo Lot 97 DOE Oceania:Melanesia:New Guinea:Papua: NM 288290 05087000, National Anthropological Archives, Smithsonian Institution
See more items in:
Division of Ethnology photograph collection
Division of Ethnology photograph collection / Oceania / Melanesia / New Guinea
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-photolot-97-ref11759
Online Media:

Ceremony, Dance

Creator:
Janse, Olov Robert Thure  Search this
Collection Creator:
Smithsonian Institution. United States National Museum. Department of Anthropology. Division of Ethnology  Search this
Extent:
1 Photographic print (005 in x 003 in)
Culture:
Philippines  Search this
Type:
Archival materials
Photographic prints
Photographs
Date:
MAR 1940
Scope and Contents:
Group in Costume with Ornaments and Spears, Dancing in Circle Near Thatch Houses
Local Numbers:
NAA INV.05141000
Local Note:
Black and white photoprint
Place:
Philippines -- Luzon Island/Baguio
Genre/Form:
Photographs
Citation:
Photo Lot 97 DOE Oceania: Philippines: Gen: Janse Colln 05141000, National Anthropological Archives, Smithsonian Institution
See more items in:
Division of Ethnology photograph collection
Division of Ethnology photograph collection / Oceania / Philippines / Gen
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-photolot-97-ref12325
Online Media:

Ceremony, Dance

Collection Creator:
Smithsonian Institution. United States National Museum. Department of Anthropology. Division of Ethnology  Search this
Extent:
1 Photographic print (008 in x 006 in)
Culture:
Fiji  Search this
Type:
Archival materials
Photographic prints
Photographs
Date:
undated
Scope and Contents:
Man Performing on Woven Mat with Large Group of Spectators; All in Costume Inside Pole and Thatch House
Local Numbers:
NAA INV.05272400

OPPS NEG.064543 ?
Local Note:
Additional information supplied by John C. Wright.
Black and white photoprint
Place:
Western Polynesia -- Fiji
Genre/Form:
Photographs
Citation:
Photo Lot 97 DOE Oceania: West Polynesia: Samoa 05272400, National Anthropological Archives, Smithsonian Institution
See more items in:
Division of Ethnology photograph collection
Division of Ethnology photograph collection / Oceania / W Polynesia / Samoa
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-photolot-97-ref13679

Ceremony, Dance

Collection Creator:
Smithsonian Institution. United States National Museum. Department of Anthropology. Division of Ethnology  Search this
Extent:
1 Photomechanical print (006 in x 004 in mounted on 006 in x 004 in)
Culture:
Uruguay  Search this
Type:
Archival materials
Photomechanical prints
Photographs
Date:
1959
Scope and Contents:
Men and Women in Costume, Dancing Thru Passage Made by Two Lines of Dancers Holding Scarves; Men on Horseback Nearby
Local Numbers:
NAA INV.04357400
Local Note:
Note: Donated Object Collection Given to by Capt Washington Marroche, NM Cat Nos: 394973-975
Color photomechanical print on postcard
Place:
Uruguay -- Canelones -- Montevideo
Genre/Form:
Photographs
Citation:
Photo Lot 97 DOE So Amer: Uruguay: NM 221649 04357400, National Anthropological Archives, Smithsonian Institution
See more items in:
Division of Ethnology photograph collection
Division of Ethnology photograph collection / South America / Uruguay / Unspecified
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-photolot-97-ref4155
Online Media:

Ceremony, Dance Of The Moors

Creator:
McBath, Walker E. Rev  Search this
Collection Creator:
Smithsonian Institution. United States National Museum. Department of Anthropology. Division of Ethnology  Search this
Extent:
1 Photographic print (003 in x 004 in)
Culture:
Quiché Maya (Quiche)  Search this
Type:
Archival materials
Photographic prints
Photographs
Date:
1909
Scope and Contents:
Group of Masked Men in Dance Costume with Gourd Rattles, Dancing in Plaza; Spectators In Costume
Local Numbers:
NAA INV.04386400
Local Note:
Black and white photoprint on stereograph
Place:
Guatemala -- Quezaltenango -- Quezaltenango
Genre/Form:
Photographs
Citation:
Photo Lot 97 DOE North America: Guatemala: Quiche: NM 50557 04386400, National Anthropological Archives, Smithsonian Institution
See more items in:
Division of Ethnology photograph collection
Division of Ethnology photograph collection / Central America / Guatemala / Quiche
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-photolot-97-ref4329
Online Media:

Ceremony, Dance Of The Moors

Creator:
McBath, Walker E. Rev  Search this
Collection Creator:
Smithsonian Institution. United States National Museum. Department of Anthropology. Division of Ethnology  Search this
Extent:
1 Photographic print (003 in x 004 in)
Culture:
Quiché Maya (Quiche)  Search this
Type:
Archival materials
Photographic prints
Photographs
Date:
1909
Scope and Contents:
Group of Masked Men in Dance Costume with Gourd Rattles, Dancing in Plaza; Spectators In Costume
Local Numbers:
NAA INV.04386500
Local Note:
Black and white photoprint on stereograph
Place:
Guatemala -- Quezaltenango -- Quezaltenango
Genre/Form:
Photographs
Citation:
Photo Lot 97 DOE North America: Guatemala: Quiche: NM 50557 04386500, National Anthropological Archives, Smithsonian Institution
See more items in:
Division of Ethnology photograph collection
Division of Ethnology photograph collection / Central America / Guatemala / Quiche
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-photolot-97-ref4330
Online Media:

Ceremony, Dance Of The Moors

Creator:
McBath, Walker E. Rev  Search this
Collection Creator:
Smithsonian Institution. United States National Museum. Department of Anthropology. Division of Ethnology  Search this
Extent:
1 Photographic print (003 in x 004 in)
Culture:
Quiché Maya (Quiche)  Search this
Type:
Archival materials
Photographic prints
Photographs
Date:
1909
Scope and Contents:
Group of Masked Men in Dance Costume with Gourd Rattles, Dancing in Plaza; Spectators In Costume
Local Numbers:
NAA INV.04386600
Local Note:
Black and white photoprint on stereograph
Place:
Guatemala -- Quezaltenango -- Quezaltenango
Genre/Form:
Photographs
Citation:
Photo Lot 97 DOE North America: Guatemala: Quiche: NM 50557 04386600, National Anthropological Archives, Smithsonian Institution
See more items in:
Division of Ethnology photograph collection
Division of Ethnology photograph collection / Central America / Guatemala / Quiche
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-photolot-97-ref4331
Online Media:

Ceremony, Dance Of The Moors

Creator:
McBath, Walker E. Rev  Search this
Collection Creator:
Smithsonian Institution. United States National Museum. Department of Anthropology. Division of Ethnology  Search this
Extent:
1 Photographic print (003 in x 004 in)
Culture:
Quiché Maya (Quiche)  Search this
Type:
Archival materials
Photographic prints
Photographs
Date:
1909
Scope and Contents:
Group of Masked Men in Dance Costume with Gourd Rattles, Dancing in Plaza; Spectators In Costume
Local Numbers:
NAA INV.04386700
Local Note:
Black and white photoprint on stereograph
Place:
Guatemala -- Quezaltenango -- Quezaltenango
Genre/Form:
Photographs
Citation:
Photo Lot 97 DOE North America: Guatemala: Quiche: NM 50557 04386700, National Anthropological Archives, Smithsonian Institution
See more items in:
Division of Ethnology photograph collection
Division of Ethnology photograph collection / Central America / Guatemala / Quiche
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_component:sova-naa-photolot-97-ref4332
Online Media:

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