The material of the collection relates to a large collection of archeological specimens which Harris began in 1924 and developed into a 100,000-piece amassment. The collection, ranging in time from the paleo-American to the historic, in part represents Harris's own field work but also incorporates material of other workers. It includes material from Texas, Oklahoma, Louisiana, Mississippi, Arkansas, Alabama, New York, Pennsylvania, Ohio, Colorado, and Montana. It also includes pieces from Bolivia, Central America, Mexico, and Korea. The material is now among the holdings of the Department of Anthropology of Natural History and is managed by the department's processing lab. ; Correspondents include Robert Eugene Bell, Jay C. Blaine, Katy Caver, Claire C. Davison, Robert O. Fay, Dan L. Flores, Jon L. Gibson, Vance Haynes, Lawrence H. Head, Robert Fleming Heizer, Thomas R. Hester, Marsha F. Jackson, Jerome Jacobson, Dan Jank, William K. Jones, Morton B. King, Alex Dony Krieger, Truett Latimer, Robert K. Liu, John Ludwickson, William S. Marmaduke, Roger McVay, K. R. Morgan, Dan F. Morse, Hermes Nye, Dorris L. Olds, Gregory Perino, Stephen Schmidt, Dan Scurlock, S. Alan Skinner, Len Slesick, Robert Lloyd Stephenson, Byron Sudbury, Helen Hornbeck Tanner, Lonn W. Taylor, Ted Thygesen, Marvin E. Tong, Jr., Clarence H. Webb, Mildred Mott Wedel, Frank A. Weir, Fred Wendorf, James H. Word, and Don G. Wyckoff. The collection includes some material about the family of Inus Marie Harris and their early days in Texas.
Please note that the collection contains images of human remains.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Collection is arranged into 13 series: (1) Biographical material, papers about the Harris collection, and personal material; (2) correspondence, ca. 1964 1979; (3) alphabetical subject file; (4) manuscripts (by Harris and other authors); (5) Texas archeological survey sheets in notebooks; (6) loose survey sheets; (7) miscellaneous notes; (8) sound recordings; (9) printed and processed material; (10) Clem family papers (concerning its early days in Texas); (11) railroad material; (12) cartographic material (archeological, historical, modern maps of Texas, maps of Texas counties (many annotated to show archeological sites), Texas geological maps, miscellaneous maps outside Texas, United States Geological Survey maps, United States Geological Survey and United States Army Corps of Engineer maps annotated to show archeological sites, maps of dams and reservoirs, aerial photographs of a section of Red River; (13) photographs and illustrations.
By vocation, Robert (R.) King Harris was a locomotive engineer who worked for the Texas Pacific Railroad Company. By avocation, he was an archeologist, an amateur, in the finest sense of the word, with a long-time scientific interest in the work. Harris first developed an interest in archeology as a young boy scout in his native Dallas, Texas. During the 1930s, he became a member of the Texas Archaeological and Paleontological Society and also began to meet informally with other amateur archeologists in Dallas. In 1940, he was one of the founders of the Dallas Archaeological Society and served that organization for many years as the editor of its publication The Record. In 1939-1941, he was a curator at the Hall of State Museum of the Dallas Historical Society; and in 1966, after his retirement, he assumed duties as the curator of collections of the Department of Anthropology at Southern Methodist University. For many years, he was also an active participant with the series of Caddoan Conferences. In these activities and his archeological work, Harris worked closely with his wife, Inus Marie Harris. ; As an archeologist, Harris carried out many archeological surveys in Texas and nearby Oklahoma, Arkansas, and Louisiana. In 1941, under the sponsorship of the Dallas Archaeological Society, he was field foreman of an excavation of burial sites below White Rock Spillway in Dallas County and an excavation of another burial site at the Ragland site on the East Fork of the Trinity River. Again, in 1946, he was field foreman for the excavation of a house site at Bulter Hole site in Collin County, Texas. In 1948-1949, he assisted with the Smithsonian Institution River Basin Survey's work in Whitney, Lavon, and Garza-Little Elm reservoirs. In 1954, he joined Wilson W. Crook in test excavations at the Louis Obschner site near Seagoville and, in 1956, at the well-known Lewisville site in Denton County. He also participated in 1959 in excavations at the Branch site in Lavon Reservoir and, in 1960, directed excavations of a shelter at the Kyle site and the Pearson site in the Iron Bridge Reservoir. In 1962, he worked at the Gilbert site in Rains County, and in 1963, led a survey of Forney Reservoir. In 1965, he was involved in excavations at Glenn Hill site in the same reservoir. In the 1960s and 1970s, Harris also carried out studies of artifacts relating to French trade with Caddoan Indians. Harris was also interested in the travels of early explorers in northeastern Texas including Francisco de Soto and Benard de la Harpe.
The National Anthropological Archives holds MS 1998-28 Catalog of artifact photographs and descriptions from the R.K. Harris collections.
The Human Studies Film Archives holds the Robert King Harris films (HSFA.1992.07).
Received from Mrs. Inus Marie Harris in 1983.
Access to the Robert King Harris papers requires an appointment.
This collection include souvenir photographs shot by producer Frank E. Moore of his 1906 outdoor stage production of "Hiawatha: The Indian Passion Play" based on Longfellow's epic poem The Song of Hiawatha. This production of Hiawatha was performed near the Cattaraugus Reservation, New York, and included Seneca [Cattaraugus] performers, possibly with Jesse Cornplanter in the role of Hiawatha.
Scope and Contents:
This collection includes 98 photographic prints from a souvenir book of a 1906 performance of "The Song of Hiawatha" produced by Frank E. Moore. The performance was held on the shore of Lake Chautauqua near the Cattaraugus Reservation. It is very likely that several of the performers photographed in this collection were also a part of the 1913 film production of Hiawatha, also produced by Frank E. Moore. This includes Jesse Cornplanter, in the role of Hiawatha, and his father Edward Cornplanter. The photographs show scenes from the theatrical production featuring characters such as Hiawatha, Minnehaha, Nokomis, and Pau-Puk-keewis. 18 copy negatives were later made from the photographic prints.
Henry Wadsworth Longfellow first published the epic poem, Song of Hiawatha, in 1855. By 1900, the poem had been translated into 20 different European languages as well as back into the Ojibwe language at the turn of the century ushering in a "Hiawatha Revival" that captured American Imaginations. In 1901, Louis Oliver Armstrong, an amateur ethnologist and land agent for the Canadian Pacific Railroad, wrote a new libretto from the Longfellow poem in English and Ojibwe which was first prepared with Garden River Anishinaabeg community members as actors. His performances, or "Pageants," became regular events which led to additional versions and tours around the United States. Not long after Armstrong discontinued his show in 1905, Frank E. Moore created his own version. Originally from Middletown, Ohio, Moore gathered a large cast of Native performers from various tribal communities including many actors from the Seneca Nation on the Cattaraugus Reservation. Moore continued the tradition of large outdoor pageant performances of "Hiawatha" which were performed along a body of water and featured Native actors performing traditional dances and wearing "Native" costumes alongside narration of Longfellow's poem.
In 1913 Frank E. Moore produced the stage version of Hiawatha into a film, hiring Jesse Cornplanter (Seneca) to play Hiawatha. Jesse Cornplanter had previously accompanied his father, Edward Cornplanter, acting and singing in the Hiawatha pageant on tour through the United States and Europe. "Hiawatha" was shot in upstate New York and northern Michigan by Moore and was the first feature film to use an all-Native cast, with reportedly 150 actors from the Cattaraugus Reservation. A twenty-eight-minute cut is housed in the American Film Institute's collection in the Library of Congress.
McNally, Michael D. "The Indian Passion Play: Contesting the Real Indian in "Song of Hiawatha" Pageants, 1901-1965," American Quarterly Vol. 58, No. 1 (March 2006), pp. 105-136.
Evans, Katy Young. "The People's Pageant: The Stage as Native Space in Anishinaabe Dramatic Interpretations of "Hiawatha"," Melus Vol. 41, No. 2 (Summer 2016), pp. 124-146.
Library of Congress, Lot 8218, "Scenes from theatrical production of Hiawatha, Lake Chautauqua, New York."
Gift of Reginald P. Bolton, 1918.
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: email@example.com).
Identification of specific item; Date (if known); "Hiawatha: the Indian Passion Play" performance photographs, image #, NMAI.AC.162; National Museum of the American Indian Archives Center, Smithsonian Institution.
Scrapbook entitled "Our Wild Indians in Peace and War: Surveys, Expeditions, Mining and Scenery of the Great West," compiled by James E. Taylor, possibly as a source for his own illustrations.
Scope and Contents:
Scrapbook entitled "Our Wild Indians in Peace and War: Surveys, Expeditions, Mining and Scenery of the Great West," compiled by James E. Taylor, possibly as a source for his own illustrations. The album includes photographs (mostly albumen with three tintypes), newsclippings, wood engravings, and lithographs, some of which are reproductions of Taylor's own illustrations and paintings. Photographs depict American Indians, US Army soldiers and scouts, historical sites, forts, and scenery. Some were made on expeditions, including the Hayden and Powell surveys, and created from published stereographs. Many of Taylor's illustrations are signed, and some are inscribed with dates and "N. Y." The scrapbook also includes clippings from newspapers and other written sources relating to illustrations and photographs in the album.
James E. Taylor (1839-1901) was an artist-correspondent for Leslie's Illustrated Weekly Newspaper from 1863-1883. Born in Cincinatti, Ohio, he graduated from Notre Dame University by the age of sixteen. Taylor enlisted in the 10th New York Infantry in 1861 and the next year was hired by Leslie's Illustrated newspaper as a "Special Artist" and war correspondent. In 1864 he covered the Shenandoah Valley campaign, and was later one of the illustrator-correspondents at the 1867 treaty negotiations at Medicine Lodge, Kansas. He soon earned the moniker "Indian Artist" because of his vast number of drawings of American Indians. In 1883 Taylor retired from Leslie's to work as a freelance illustrator. Colonel Richard Irving Dodge used Taylor's drawings to illustrate his memoir, "Our Wild Indians: Thirty-three Years' Personal Experience among the Red Men of the Great West" (1882).
Local Call Number(s):
NAA Photo Lot 4605
The National Anthropolgical Archives holds additional photographs by photographers represented in this collection (including original negatives for some of these prints), particularly in Photo Lot 24, Photo Lot 37, Photo Lot 60, Photo Lot 87.
Additional photographs by Whitney, Gardner, and Barry held in National Anthropological Archives Photo Lot 80-18.
Julian Vannerson and James E. McClees photographs held in National Anthropological Archives Photo Lot 4286.
Pywell photographs held in National Anthropological Archives Photo Lot 4498.
O'Sullivan photographs held in National Anthropological Archives Photo lot 4501.
Additional Hillers photographs held in National Anthropological Archives Photo Lot 83-18 and Photo Lot 87-2N.
Donated or transferred by John Witthoft from the Pennsylvania Historical and Museum Commission, April 14, 1961.