Haul on the bowlin' ; A' roving (Stanley Slade with male chorus) --Earsdon sword dancers (Royal Earsdon Team with Jimmy McKay, fiddle) --My bonny lad (Isla Cameron) --The contented country lad / Jim and Bob Copper) --The turmont hoer's song (Fred Perrier with accordion and villagers --Up the sides and down the middle (Bert Pidgeon, melodeon and Alfie Tuck, riddle drum) --The threshing machine (Jim Copper) --Quarrymen's Chant and song (Tom Tewkesbury and quarrymen) --The four loom weaver ; Fourpence a day (Ewan MacColl) --The rigs of the time ("Charger" Salmons and friends) --The Redesdale hornpipe (Jack Armstrong, Northumbrian small-pipes) --Corn rigs (Jack Armstrong's Barnstormer's Band) --The Wassail song (Phil Tanner) -- The Symondsbury & Eype mummer's play --The Padstow May songs & hobby horse music --The seven step polka (The Haymakers Village Barn Dance Band) --Brigg Fair (Isla Cameron) --The sweet primroses (Phil Tanner) --Died for love (Isla Cameron) --Country gardens (William Kimber, Anglo concertina) --Polly Vaughan (A.L. Lloyd) --Singing games and rhymes (Group of Sidbury children) --The prickle holly bush (Walter Lucas and villagers --Richard of Taunton Dean (Mrs. Aunt Fanny Rumble) --The mallard (Bunny Palmer) --The false hearted knight (Jumbo Brightwell) --Old daddy fox (Cyrill Biddick with accordion and chorus --The Gower reel (Phil Tanner, mouth music).
Track Information:
101 Haul on the Bowlin' / Stanley Slade.
102 A'Roving / Stanley Slade.
103 Earsdon Sword Dancers / Royal Earsdon Team.
104 My Bonnie Lad / Isla Cameron.
105 The Contented Country Lad / Bob Copper, Jim Copper.
106 The Turmut-Hoer's Song / Fred Perrier.
107 Up the Sides and Down the Middle / Alfie Tuck, Bert Pidgeon.
108 The Threshing Machine / Jim Copper.
109 Quarrymen's Chant and Song / Tom Tewkesbury.
110 The Four Loom Weaver / Ewan MacColl.
111 Fourpence a Day / Ewan MacColl.
112 The Rigs of Time / Charger Salmond.
113 The Redesdale Hornpipe / Jack Armstrong.
114 Corn Riggs / Jack Armstrong.
115 The Wassail Song / Phil Tanner.
116 The Mummer's Play.
201 The Padstow May Day Song.
202 The Seven Step Polka / Haymakers Orchestra.
203 Brigg Fair / Isla Cameron.
204 The Sweet Primroses / Phil Tanner.
205 Died for Love / Isla Cameron.
206 Country Gardens / William Kimber.
207 Polly Vaughan / A. L. (Albert Lancaster) Lloyd.
208 Singing Games and Rhymes.
209 The Prickle Holly Bush / Walter Lucas.
210 Richard of Taunton Dean / Aunt Fanny Rumble.
211 The Mullard / Bunny Palmer.
212 The False Hearted Knight / Jumbo Brightwell.
213 Old Daddy Fox / Cyril Biddick.
214 The Gower Reel / Phil Tanner.
Local Numbers:
RA-RAMS-LP-0096
Columbia.206
Publication, Distribution, Etc. (Imprint):
New York Columbia
General:
Recorded at various locations in England between 1937 and 1951 by Alan Lomax, Peter Kennedy and others.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
Descriptive Summary: 1480f., b&w, An Ernie Smith compilation reel highlighting one or more World War II GI variety shows.
Song Title(s):
1. "Just a Plain American Boy"
2. "Harlem Sandman", Count Basie Orchestra and unidentified female vocalist
3. Unidentified dance number
4. Winnie Clark jitterbugging
5. "Where Are the Good Old Days . . . My Wife's A WAC", Ukelele Ike
6. Community Sing, excerpt
Copyright:
Corporate Creator: Columbia Pictures
Producer: B.K. Blake
Director:
Performer(s): Don Baker, The Song Spinners
Song Title(s): a. "If I Could Only Play a Concertina" b. "Dear Mom" c. "Daisy Bell . . . A Bicycle Built for Two" d. "How Do I Know It's Real" e. "Deep in the Heart of Texas"
7. Winnie Clark and the Step Forward Co. with the Hal McIntyre Orchestra a. Unidentified instrumental b. "Streamlined Sheik", vocals by Winnie Clark, dance by the Harem Girls
8. "So What Serenade", unidentified male quartet
9. "There Goes Taps", Winnie Clark and an unidentified male vocalist
10. "Take a Chance", song and dance routine
11. "Great American Home", vocals by an unidentified male quartet
Video reference copy
Collection Restrictions:
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection 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.
Collection Citation:
Ernie Smith Jazz Film Collection, Archives Center, National Museum of American History.
Sponsor:
America's Jazz Heritage: A Partnership of the The Lila Wallace-Reader's Digest Fund and the Smithsonian Institution provided the funding to produce many of the video master and reference copies.
Title imprinted under image. Subject plays a concertina while sitting on a totally wrecked and dismantled automobile, as a seated dog observes.
Local Numbers:
AC1150-0000002.tif (AC Scan No.)
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Emile Waagenaar retains copyright. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Emile Waagenaar Photoprints of Cajun Musicians, Archives Center, National Museum of American History. Gift of the artist. Copyright held by the artist.
Title imprinted under image. Subject plays a concertina in a room with two mounted animal heads on the wall and a small stuffed animal.
Local Numbers:
AC1150-0000007.tif (AC Scan No.)
Exhibitions Note:
Displayed in Archives Center exhibition, "Gift of the Artist: Photographers as Donors," November 11, 2011-Feb. 29, 2012. David Haberstich, curator.
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Emile Waagenaar retains copyright. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Emile Waagenaar Photoprints of Cajun Musicians, Archives Center, National Museum of American History. Gift of the artist. Copyright held by the artist.
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:
Tom Wisner collection, Ralph Rinzler Folklikfe Archives and Collections, Smithsonian Institution.
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.
Collection Citation:
Peter Marks Minstrelsy Collection, 1800-1915, Archives Center, National Museum of American History.
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:
Dwan Gallery records, 1959-circa 1982, bulk 1959-1971. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art
Sam DeVincent loved music and art and began collecting sheet music with lithographs at an early age.
Series 20, Newspapers contains approximately 4,900 pieces of sheet music and other materials documenting the development of and popular attitudes towards the playing of music in the United States.
An overview to the entire DeVincent collection is available here: Sam DeVincent Collection of Illustrated American Sheet Music.
Scope and Contents note:
Series 21, Musical Instruments, 1824-1981, undated, contains approximately 4,900 pieces of sheet music and other materials documenting the development of and popular attitudes towards the playing of music in the United States. Numerous teaching manuals are included. The dates always refer to copyright of the music and not to the subject on the cover, musician's life, or other events. There are three boxes of Ephemera, described following the container list. The Musical Instruments series is arranged by type of instrument and is divided into twenty-five subseries, 21.1-21.25. Piano will be done in a separate series.
Subseries 1, Accordion, 1902-1964, undated, contains arrangements for solo accordion and accordion bands. Also included are two folders of French, German, and Swiss songs and folios.
Subseries 2, Banjo, 1853-1975, undated, includes music with "banjo" in the title and other items with images of racial stereotypes. Also included are general songs and folios. Also see subseries 11, Guitar, and subseries 15, Mandolin. Subseries 3, Cello, 1891-1935, undated, contains one folder of music with "cello" in the title or pictured on the cover, three folders with compositions for the cello, and several folders of folios.
Subseries 4, Clarinet, 1905-1958, undated, includes a few compositions and several folios.
Subseries 5, Concertina, 1905-1941, undated, contains one folder with "concertina" titles and one folio.
Subseries 6, Cornet, 1848-1924, undated, contains music specifically for, or referring to, the cornet. Also see subseries 21, Trumpet.
Subseries 7, Double Bass, 1939-1955, contains one folder with a few items with images of a double bass (bass fiddle) on the cover.
Subseries 8, Drums, 1867-1971, undated, includes Gene Krupa covers, general songs about drums, and method books.
Subseries 9, Fiddle, 1893-1981, undated, contains music and folios with "fiddle" in the title. Also see subseries 23, Violin.
Subseries 10, Flute, 1847-1936, undated, contains a few compositions for flute and several folios.
Subseries 11, Guitar, 1824-1977, undated, contains arrangements for Hawaiian String Guitar and early and late Spanish Guitar. Also see subseries 2, Banjo and subseries 15, Mandolin.
Subseries 12, Harmonica, 1904-1974, undated, contains songs with "harmonica" in the title and/or images of the harmonica on the cover, and folios.
Subseries 13, Harp, 1866-1976, undated, contains songs with "harp" in the title and/or images of the harp on the cover.
Subseries 14, Hurdy Gurdy, 1899-1969, contains songs with "hurdy gurdy" in the title.
Subseries 15, Mandolin, 1843-1954, undated, contains songs with "mandolin" in the title and/or pictured on the cover, arrangements for mandolin orchestra, and folios and method books.
Subseries 16, Music Boxes, 1848-1979, undated, contains songs with "music box" in the title and/or pictured on the cover.
Subseries 17, Organ, 1856-1973, undated, contains songs with "organ," "hand organ," or "organ grinder" in the title and/or pictured on the cover; arrangements for cabinet, pipe, and theater organs; numerous compositions with organists on the covers; and folios and method books.
Subseries 18, Saxophone, 1907-1953, contains songs with "saxophone" in the title and/or pictured on the cover, arrangements for saxophone, and folios and method books.
Subseries 19, Tambourine, 1854-1960, contains songs with "tambourine" in the title and/or pictured on the cover.
Subseries 20, Trombone, 1906-1957, contains songs with "trombone" in the title and/or pictured on the cover, arrangements for trombone and baritone, and folios.
Subseries 21, Trumpet, 1904-1945, undated, contains songs with "trumpet" in the title and/or pictured on the cover, and a method book for cornet and trumpet.
Subseries 22, Ukulele, 1915-1964, undated, contains songs with banjoist Cliff Edwards on the cover, general songs with "ukulele" in the title and/or pictured on the cover, and folios.
Subseries 23, Violin, 1843-1957, undated, contains songs with "violin" in the title and/or pictured on the cover, arrangements for violin, and folios and method books.
Subseries 24, Zither, 1970-1951, undated, contains songs with "zither" in the title and/or pictured on the cover and folios and method books.
Subseries 25, Various Instruments, 1835-1968, undated, contains two folders with songs and folios for various wind instruments not included in the previous subseries, and one folder of miscellaneous instruments.
Ephemera, The ephemera materials comprise several folders in Ephemera Box 67, which include souvenir programs, and articles about musicians and instruments.
Arrangement:
Arranged in 26 subseries.
21.1: Accordion
21.2: Banjo
21.3: Cello
21.4: Clarinet
21.5: Concertina
21.6: Cornet
21.7: Double Bass
21.8: Drums
21.9: Fiddle
21.10: Flute
21.11: Guitar
21.12: Harmonica
21.13: Harp
21.14: Hurdy Gurdy
21.15: Mandolin
21.16: Music Boxes
21.17: Organ
21.18: Saxophone
21.19: Tambourine
21.20: Trombone
21.21: Trumpet
21.22: Ukulele
21.23: Violin
21.24: Zither
21.25: Various Instruments
21.26: Ephemera
Materials in Other Organizations:
Sam DeVincent Collection of American Sheet Music, Lilly Library, Indiana University, Bloomington, Indiana
This collection contains duplicates of materials in the Smithsonian collection, as well as materials acquired by Mr. DeVincent after the donation to the Smithsonian. The phonograph records described above were transferred to the University of Missouri at Kansas City.
Materials in the Archives Center, National Museum of American History:
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Sheet Music and Reference Material, 1843-2010 (AC1211)
Forms Part Of:
Series 21: Musical Instruments forms part of the
Sam DeVincent Collection of Illustrated American Sheet Music
.
An ongoing, updated list of DeVincent topical series is available via the Smithsonian finding aid portal.
Provenance:
This collection was purchased by the Smithsonian Institution in 1988 from Sam and Nancy Lee DeVincent.
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.
Citation:
The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution
Includes: "Wilhelmina's Concertina" from The Never Homes, and a folio.
Series Restrictions:
Collection is open for research.
Series 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.
Series Citation:
The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution
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:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
The collection is open for research use. Only reference copies of audiovisual materials may be used for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The donor has imposed restrictions on reproduction, broadcast or use of the collection for commercial purposes of any kind by third parties. Reproduction, broadcast or other use of the collection for commercial purposes of any kind by third parties is subject to prior written consent. These permissions will be required until July 2047. Please see the repository for further details.
Collection Citation:
Maidenform Collection, Archives Center, National Museum of American History, Smithsonian Institution
The collection is open for research use. Only reference copies of audiovisual materials may be used for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The donor has imposed restrictions on reproduction, broadcast or use of the collection for commercial purposes of any kind by third parties. Reproduction, broadcast or other use of the collection for commercial purposes of any kind by third parties is subject to prior written consent. These permissions will be required until July 2047. Please see the repository for further details.
Collection Citation:
Maidenform Collection, Archives Center, National Museum of American History, Smithsonian Institution
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
In its third year, the Working Americans program in 1975 presented the skills and lore found within the work days and nights of transportation workers. The goal of the program was to put names and faces in place of services and machinery, to approximate as closely as possible the actual work place, the human feelings and the tone of the occupation. By focusing on the skills, styles, stories, jokes, beliefs and customs of contemporary workers, the Festival sought to reveal the similarities and differences of occupational backgrounds. Programs focused on air traffic controllers, commercial aircraft machinists and maintenance workers, railroad workers, workers in trucking, and deep sea and inland boatmen.
Visitors to the Working Americans section of the Festival had three areas in which to share the occupational folklore and skills of workers in transportation. The first presented simulated work sites, including areas for bulk freight trucking, maritime skills, airline maintenance, and railroad maintenance of way. The second was devoted to the performance of stories, jokes, personal experiences and other narrative expressions of transportation workers. The Working Americans stage also featured the performance of songs and music growing out of the work experience. The third area was the Learning Center, where photographs of skills in the work environments, videotapes and sound recordings taken on-the-job could be experienced by the Festival visitor. Regular workshops and scheduled discussions dealt with such topics as the safety considerations in these occupations, the 24-hour work rhythm of transportation workers, and the similarities and differences found in the movement of people and goods by various transportation occupations.
This presentation was the result of extensive planning and cooperation among the AFL-CIO, the U.S. Department of Labor, the Smithsonian Institution and its folklife scholars, the National Park Service, and transportation workers throughout the country.
Shirley Askew served as Program Coordinator, with Robert McCarl as Field Research Coordinator and Susan Donahue as Assistant Program Coordinator. Sponsors included the AFL-CIO, U.S. Department of Labor, and U.S. Department of Transportation.
Presenters:
Kenneth S. Goldstein, Archie Green, Teresa Pyott, Andy Wallace
Participants:
Air Traffic Control Association
Joseph P. O'Brien, President
Brotherhood of Locomotive Engineers
Burrell N. Whitmire, President
Brotherhood of Maintenance of Way Employees
Harold C. Crotty, President
Brotherhood of Railroad Signalmen of America
Charles J. Chamberlain, 1921-, President
International Association of Machinists and Aerospace Workers
Floyd E. Smith, President
International Brotherhood of Teamsters, Chauffeurs, Warehousemen and Helpers of America
Frank E. Fitzsimmons, President
Seafarers International Union of North America
Paul Hall, President
United Transportation Union
Al H. Chesser, President
District of Columbia Truck Roadeo
Gerald F. McCully, Chairman
American Federation of Musicians
Hal C. Davis, President
in cooperation with
The Music Performance Trust Funds
Kenneth E. Raine, Trustee
The music for this occasion is provided by a grant from the Music Performance Trust Funds, a public service organization created and financed by the Recording Industries under agreements with the American Federation of Musicians.
John Benson, singer, fiddler
Saul Broudy, singer, guitarist, harmonica player
Mickey Clark, singer, guitarist
Elizabeth Cotten, 1893-1987, singer, guitarist
John Jackson, 1924-2002, singer, guitarist
Louis Killen, 1934-2003, singer, concertina player
Lewis London, singer, dobroist
Bruce Phillips, 1935-2008, singer, guitarist
Jim Ringer, 1936-1992, singer, guitarist
Bodie Wagner, singer, guitarist
Gerret Warner, singer, guitarist, banjo player
Jeff Warner, singer, guitarist, banjo player
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: 1975 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Masters of Traditional Arts: The National Endowment for the Arts National Heritage Fellows
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The Folk and Traditional Arts Program of the National Endowment for the Arts (NEA) joined with the Smithsonian to present the 1994 program on "Masters of Traditional Arts". The Festival program offered an opportunity for retrospection - a look at many of the artists and traditions recognized over the years through the National Heritage Fellowships, a grant program of the National Endowment for the Arts. At the same time, it was an occasion for introspection - a close-up, reflexive view of the National Heritage Fellowships, re-examining their purpose, listening to the insights of the Fellows themselves, and talking with those who conceive and plan such awards.
Each year a small number of artists - a dozen or so - are selected by the NEA to receive a fellowship (amounting to $10,000 in 1994) in recognition of their artistic excellence and their contributions to our nation's cultural life. The National Heritage Fellowships try to strike a balance between recognizing outstanding individuals and ensembles and celebrating the collective achievements of their traditions and cultural groups. These awards are announced each spring through a national press release that is disseminated widely, with particular attention given to the artists' home communities and cultural networks. In the fall, Fellows come to Washington for several days of celebratory and honoring events. They receive award certificates in a lively, congressionally-sponsored presentation on Capitol Hill. They perform at a free concert hosted by a national celebrity known for the breadth of his or her work with American cultures.
Joy and excitement run high during this time, but in more private and informal moments, these representatives of our nation's diverse cultural heritage inevitably turn their thoughts toward more serious matters. This is an all-too-rare occasion for the culturally and geographically distant tradition bearers to exchange views and encourage one another. Their eloquent, insightful, personal statements transcend cultural boundaries and map common cultural concerns. Some are striking tributes to the courage and individual determination it often takes to continue local traditions in a world increasingly driven by consumerism and pop culture. Others are testimonies to the vital role of traditional arts in cultural survival and self-determination. Together the National Heritage Fellows reveal the special beauty and deep meaning that the traditional arts hold for those who understand them, as well as the importance of multiculturalism to the nation.
The 1994 Festival program offered Festival visitors the opportunity to eavesdrop on - and participate in - such conversations, as Fellows from the program's first 13 years held a reunion on the National Mall. In workshops and discussion sessions, they spoke of their experiences maintaining their traditions within their communities, and the encouragement that was manifested in the Heritage Fellowship. And they demonstrated their crafts and performed their music and dance for the delight of Festival audiences.
Marjorie Hunt was Curator and Arlene Reiniger was Program Coordinator; Bess Lomax Hawes served as Consultant. Collaborators from the National Endowment for the Arts Folk & Traditional Arts Program were Daniel Sheehy (Director), Barry Bergey, Norma Cantú, Terry Liu, Pat Makell, Rose Morgan, Pat Sanders.
Masters of Traditional Arts was made possible with the collaboration of the National Endowment for the Arts Folk & Traditional Arts Program, with support from The Recording Industries Music Performance Trust Funds.
Presenters:
JoAllyn Archambault, Betty Belanus, Barry Bergey, Paddy Bowman, Norma Cantú, Anna Chairetakis, Walter Murray Chiesa, Amy Chin, Andrew Connors, Gladys-Marie Fry, Bess Lomax Hawes, Marjorie Hunt, Rita Moonsammy, Ann Rynearson, Howard Sacks, Daniel Sheehy, Amy Skillman, Nick Spitzer, Craig Stinson, Joe Wilson
Participants:
CRAFTS
Juan Alindato, 1925-, Puerto Rican mask maker, Ponce, Puerto Rico
Natividad Cano y Los Camperos, -- Mexican American mariachi music -- Natividad Cano y Los Camperos, Mexican American mariachi musicJose Arellano, guitarron, Los Angeles, CaliforniaNatividad Cano, 1933-, director, guitar, vihuela (five-string guitar), Los Angeles, CaliforniaLuis Fuentes Damian, vihuela, Pica Rivera, CaliforniaJesus Guzman, trumpet, Los Angeles, CaliforniaIsmael Hernandez, violin, Los Angeles, CaliforniaSalvador Hernandez, trumpet, Los Angeles, CaliforniaJuan Morales, harp, Phoenix, ArizonaJuan Rodriguez, violin, Los Angeles, California
Chinese Music
Liang-xing Tang, 1948-, pipa (lute), Bayside, New York
Jennifer Tang, pipa (lute), Bayside, New York
Jessica Tang, pipa (lute) Bayside, New York
Jack Coen & Friends, -- Irish traditional music -- Jack Coen & Friends, Irish traditional musicCharles Coen, 1934-, concertina, Red Hook, New YorkJack Coen, flute, Bronx, New YorkJames Coen, guitar, Bronx, New YorkWillie Kelly, fiddle, Parsippany, New JerseyRegan Wick, step dancer, Washington, D.C.Jesse Winch, bodhran (Irish drum), Silver Spring, Maryland
The DeFranco Family with Frank Cofone, -- Southern Italian music & dance -- The DeFranco Family with Frank Cofone, Southern Italian music & danceFrank Cofone, tambourine, vocals, Belleville, New JerseyFaust DeFranco, triccaballacca (clappers), Belleville, New JerseyGiuseppe DeFranco, 1933-, organetto (button accordion), ciaramella (wood oboe), zampogna (bagpipes), Belleville, New JerseyRaffaela DeFranco, 1935-, vocals, dance, Belleville, New Jersey
Fairfield Four, -- a cappella gospel music -- Fairfield Four, a cappella gospel musicIsaac Freeman, Nashville, TennesseeRobert Hamlett, Nashville, TennesseeJames Hill, 1915-2000, Nashville, TennesseeWalter Settles, 1928-1999, Nashville, TennesseeWilson Waters, 1931-2005, Nashville, Tennessee
Richard Hagopian & Ensemble, -- Armenian music -- Richard Hagopian & Ensemble, Armenian musicHarold Hagopian, kanun (zither), Brooklyn, New YorkRichard Avedis Hagopian, 1937-, oud (lute), Visalia, CaliforniaHagop Jack Zarzatian, Jr., dumbeg (Armenian drum), Hudson, New Hampshire
Valerio Longoria y su Conjunto, -- Mexican-American conjunto music -- Valerio Longoria y su Conjunto, Mexican-American conjunto musicKent Bearry, drums, San Antonio, TexasFlavio Guillen, bass guitar, San Antonio, TexasValerio Longoria, 1924-, accordion, San Antonio, TexasValerio Longoria, III, guitar, San Antonio, Texas
Piedmont blues
John Cephas, guitar, vocals, Woodford, Virginia
Phil Wiggins, harmonica, Washington, D.C.
James Jackson, guitar, Fairfax Station, Virginia
John Jackson, 1924-2002-, guitar, vocals, Fairfax Station, Virginia
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: 1994 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
101 Island Songs and Stories / Exuma (Musical group), Tony Mackey. Guitar.
102 Goombay Rake and Scrape / Thomas Cartwright. Musical saw,Concertina.
Local Numbers:
FP-1994-CT-0015
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 1, 1994.
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.
102 Real Life in the Bahamas / Almeda Campbell, Avis Armbrister, Nattie Saunders.
101 Island Songs and Stories / Herbert Turnquest, Thomas Cartwright, Tony Mackey, Orlando Turnquest. Musical saw,Concertina.
Local Numbers:
FP-1994-CT-0019
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 2, 1994.
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.
101 Island Songs and Stories / Tony Mackey. Guitar.
102 Saw Music / Thomas Cartwright and the Boys, Thomas Cartwright. Musical saw,Concertina.
103 Calypso and Goombay Songs / Cebric Seabreeze Bethel.
Local Numbers:
FP-1994-CT-0021-7
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 2, 1994.
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.
