Frazier Moss String Band: J. Frazier Moss, Red Rector, Jack D. Sallee; Reece Shipley; The Fieldstones: Lois Brown, Otto "Bobby" Carnes, Joe Hicks, Wordie Perkins, Willie Sanders R 2 Of 8
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 3, 1986.
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.
FRAZIER MOSS BAND: J. FRAZIER MOSS, RED RECTOR, JACK D. SALLEE, REECE SHIPLEY; JESSIE MAE HEMPHILL R 1 OF 7
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 25, 1986.
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.
Restrictions on access. Listening only. No Duplication Allowed.
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.
Smoke Behind the Clouds/Sambo/Apple Blossoms/Christmas Eve/Eighth of January/Sage Field
Local Numbers:
FW-ASCH-7RR-4657
General:
CDR copy
Both of these tapes feature an African American stringband (fiddle, banjo and guitar), consisting of Murph Gribble, John Lusk and Albert York of Campaign, Tennessee, who were recorded from 1946 to 1949. The tapes are apparently dubs of original records (not tapes) located in the Library of Congress. For an additional dub of the same stringband, see FW-ASCH-7RR-4916. Some of the selections on FW-ASCH-7RR-4657 also appear on two commercial recordings: Altamont - Black Stringband Music, on Rounder Records and Black Appalachia - Deep River of Song, also on Rounder Records. FW-ASCH-7RR-4658 contains only two tracks, neither of which are on commercial recordings.
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.
File was not housed in a binder like other document groups.
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:
UNESCO Collection of Traditional Music of the World records, Ralph Rinzler Folklikfe Archives and Collections, Smithsonian Institution.
File was not housed in a binder like other document groups.
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:
UNESCO Collection of Traditional Music of the World records, Ralph Rinzler Folklikfe Archives and Collections, Smithsonian Institution.
File was originally housed in a binder for files 045-062 with the following heading: "Contracts Pipelines + Few Unpublished C-07"
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:
UNESCO Collection of Traditional Music of the World records, Ralph Rinzler Folklikfe Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Ralph Rinzler (1934-1994), founding director of the Festival of American Folklife, worked over the years with a host of gifted musicians and folklorists, doing fieldwork, issuing recordings, and presenting concerts. These people collectively advocated and participated in numerous revivals. The Ralph Rinzler Memorial Concert Series pays tribute to Ralph and his work by honoring long-time colleagues and like-minded advocates, and the traditions that they have touched.
The third annual memorial concert in 1997 highlighted the revival of Southern old-time and string band music. It traced the development of the revival, the new life, of Southern traditional music over the preceding four decades and of the community of musicians and dancers that developed with it. Among the string bands at the 1969 Festival were the brothers J.E. and Wade Mainer from North Carolina, playing with Steve Ledford. The 1997 Rinzler concert offered special recognition to Wade Mainer and his wife Julia on the occasion of Wade's ninetieth birthday.
Mike Seeger was Curator, and Kate Rinzler was Program Coordinator. The Ralph Rinzler Memoral Concert was made possible with support from the Friends of the Festival, the Ruth Mott Fund, Bob Dylan, the Recording Industries Music Performance Trust Funds, Homespun Tapes, County Records, the Woody Guthrie Foundation, Sugar Hill Records, Kate Rinzler, and Smithsonian Folkways Recordings.
Participants:
The Ralph Rinzler Memorial Concert
Paul Brown, Pilot Mountain, North Carolina
Robert Dotson, Sugar Grove, North Carolina
Alan Jabbour, Washington, D.C.
Robert "Stu" Jamieson, Longwood, Florida
Abby Ladin, Bloomington, Indiana
Julia Mainer, Burton, Michigan
Wade Mainer, Burton, Michigan
Bruce Molsky, Arlington, Virginia
THE HORSE FLIES, Trumansburg, New York -- THE HORSE FLIES, Trumansburg, New YorkJeff Claus, Trumansburg, New YorkJune Drucker, Trumansburg, New YorkJudy Hyman, Trumansburg, New YorkRich Stearns, Trumansburg, New York
THE NEW LOST CITY RAMBLERS -- THE NEW LOST CITY RAMBLERSJohn Cohen, Putnam Valley, New YorkTracy Schwarz, Cox's Mill, West VirginiaMike Seeger, Lexington, Virginia
ORIGINAL FAT CITY STRING BAND, Trumansburg, New York -- ORIGINAL FAT CITY STRING BAND, Trumansburg, New YorkMac Benford, Trumansburg, New YorkWalt Koken, Trumansburg, New YorkBob Potts, Trumansburg, New York
THE RED MULES -- THE RED MULESBeth Braden, Ravenna, OhioLynn Frederick, Ravenna, OhioJeff Goehring, Zoar, OhioRick Goehring, Zoar, OhioSusie Goehring, Zoar, OhioRodney Sutton, Marshall, North Carolina
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: 1997 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Based on research in the rich and dynamic living culture of the border, the Borderlands Festival program of 1993 was designed to provide a glimpse of the border - its histories, its diverse communities, local and regional identities, and its music, arts, crafts, healing practices, foodways, and narrative. The program was about community-based culture. It presented cultural practices found on the border and cultural expressions about the border, and it explored cultural patterns that were created by the border. It also addressed the cultural heritage, adaptability, and creativity of Native Americans and of the Mexican, Hispanic American, Anglo, and other immigrant communities that have played a part in creating the life that surrounds the Mexico-U.S. border - those who maintain it, those who cross it, those who are left behind, and those who dwell in the border region. The program explored the processes through which such groups create, adapt, and preserve culture to meet the challenges of life on the border. It sought to present and understand community codes of behavior that evolved on the border including confrontation, evasion, violence, and romance, especially as these have been transformed into narrative and other forms of artistic expression.
Music performances at the Festival included emergent forms such as the conjunto, which grew out of the interaction between different cultural communities; older forms, such as the corrido, which has been used to preserve a historical vision in the defense of disputed territory; and adapted forms such as the string band music now incorporated into the traditional repertoire of the Tohono O'odham Native American communities. Also featured in the program were five muralists, whose work reflects the traditions of Mexican cholo and United States Chicano muralism. Murals continue to be touchstones of common historical experiences, archaeologies of sociocultural movements, and powerful statements of identity, ethical principles, and community aspirations. The unique fusion of border aesthetics and handcrafted technology was embodied for Festival visitors in lowriders - distinctively customized automobiles. These lowslung, hopping cars complemented the iconography of murals as statements of cultural identity.
Vaqueros of south Texas demonstrated their skills, crafts, and foodways associated with their cowboy tradition, which dates back to the Spanish colonial era. A fisherman from the port of Brownsville demonstrated shrimping techniques. A Laredo blacksmith forged stirrups, belt buckles, and other implements of vaquero life, along with a number of traditional and contemporary decorative objects. A ropemaker demonstrated the use of the local fiber called lechuguilla (a fibrous plant of the agave family). While fine craft traditions like guitar- and furniture-making are not specific to the border, craftspeople have incorporated motifs and instruments native to the region, like the bajo sexto guitar. Other occupational groups characteristic of the border environment included federal Immigration and Naturalization Service (INS) agents who regulate movement across the border; coyotes and polleros, who help migrants evade immigration regulations; and workers in maquiladora assembly line industried. Narrative sessions focused on the culture of craft and occupation in the context of the border.
Artisans also demonstrated crafts used in the home and for special celebrations, including quilt-making, flower- and piñata-making, candlemaking, and reverse-painted glass. Participants prepared regional specialties, traditional foods served for fiestas, and offered a sampling of typical vaquero outdoor cooking. Finally, the Festival presented members of the Mixteco Indian community in Tijuana, a recent migrant group, which preserves its cultural identity and contributes to the economy at the border by maintaining ties with other Mixteco communities in Oaxaca and California.
The United States-Mexico border has had a profound effect on the lives of millions of people. The then-pending NAFTA free trade agreement was only the latest in a long line of international socioeconomic arrangements with wide ranging local impacts. Critical attention in Mexico and the U.S. had increasingly focused on the historical consciousness created in this borderland and on its expression in traditional and other forms of art. Recognition of the vitality and value of borderland culture was growing in 1993 at the margins, among borderland populations, as well as in the centers of power and opinion in both countries. Scholars and political leaders increasingly realized that the cultural encounters, syntheses, and resistances characteristic of border life signaled similar cultural developments in the larger societies. This intensifying concern and scrutiny centered on the margin, but could it reduce the marginality in human rights, social dignity, and economic opportunity at the border? Festival organizers hoped that listening to community voices of the border from the Mexican and United States sides could better inform our thinking and decision-making.
MarÃa Eugenia de la O, Enrique Madrid, Angel Norzagaray Norzagaray, Manuel Peña, Kathy Raglan, Michael James Ritchie, Suzie Reyes, Irene Vásquez Valle, Kathy Vargas, Felipe de Jesús Valenzuela
Tohono O'odham String Band -- Tohono O'odham String BandBlaine W. Juan, 1936-, violin, dancer, San Simon Village, ArizonaJoseph Alonzo GarcÃa, 1924-, violin, dancer, San Simon Village, ArizonaFrank N. Pedro, 1928-, guitar, San Simon Village, ArizonaVictor Augustine GarcÃa, 1922-, violin, San Simon Village, ArizonaNacho J. Feleys, 1909-1994, snare drum, San Simon Village, ArizonaMike L. Francisco, 1926-, bass drum, dancer, San Simon Village, Arizona
Lupe Lopez, 1927-, Tohono O'odham basket maker, San Simon Village, Arizona
Marie Leon, 1930-, Tohono O'odham basket maker, San Simon Village, Arizona
Nogales, Sonora
Maria Gloria Moroyoqui de Roques, 1930-, Yaqui cook, piñata and flower maker, herbalist, Nogales, Sonora, Mexico
Los Hermanos Cuatro, Yaqui Norteño Band -- Los Hermanos Cuatro, Yaqui Norteño BandJesús Juan Yucupicio, 1965-, electric bass, Tucson, ArizonaAlbert M. Yucupicio, 1954-, accordion, Tucson, ArizonaAngel M. Yucupicio, 1966-, drums, Tucson, ArizonaPeter S. Yucupicio, 1957-, bajo sexto, Tucson, Arizona
Ciudad Juárez, Chihuahua
Brigada por La Paz -- Brigada por La PazAlonso Encina Herrera, 1968-, muralist, Ciudad Juárez, Chihuahua, MexicoJesús Alberto "Pee Wee" Rodriguez Medina, muralist, Ciudad Juárez, Chihuahua, MexicoGustavo "Sleepy" Grado Tiscareño, 1973-, muralist, Ciudad Juárez, Chihuahua, MexicoMiguel Angel "El Tandy" Sandoval Lira, 1971-, muralist, Ciudad Juárez, Chihuahua, Mexico
Oscar RamÃrez, 1944-, guitar maker, Ciudad Juárez, Chihuahua, Mexico
Julius Collins, 1928-, shrimper, net maker, cook, Brownsville, Texas
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: 1993 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
102 Music from the Keweenaw / Art Moilanen, Bill Stimac, Mark Stimac. Fiddle,Accordion.
Local Numbers:
FP-1987-CT-0222
General:
Old-Time String Band; Music From Keweenaw (Croatian-American); Michigan Blues 3 Of 5
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 26, 1987.
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.
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