Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Collection open for research on site by appointment. Unprotected lantern slides and stereographs must be handled with gloves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Reproduction permission from Archives Center: reproduction fees may apply.
Collection Citation:
Division of Cultural History Lantern Slides and Stereographs, dates, Archives Center, National Museum of American History
7 [i.e. Sete] Brasileiros e seu universo : artes, ofícios, origens, permanencias / realizaçao do Programa de Açao Cultural do Departamento de Assuntos Culturais do Ministério da Educaçao e Cultura ; projeto e execuçao, Equipe Artesanato e Artes Populares do Programa de Açao Cultural ; organizaçao da exposiçao e coordenaçao do catálogo, Gisela Magalhaes e Irma Arestizábal
"In the village's wards, each clan and lineage has a central house, usually a very old structure, called gina [ginna (gin'na)], like the word for clan. On the cliffside they are usually simple; on the plateau they are decorated with rows of small holes. Inside this building, some altars and a small shrine form the focus of the clan cult. In most Dogon villages, the head of a clan lives in the gina until his death." [Hollyman S. and Van Beek W., 2001: Dogon, Africa's People of the Cliffs. Harry N Abrams, Inc.]. The photograph depicts Dolo, the blacksmith and wood carver of Ogol du Haut village, in front of the central house of his clan and lineage. During his trip to Mali, Elisofon visited the Dogon people in the Sanga region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
EENG-IV-21, 30.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "T 1 Dgn. Dogon. Mali, Ogol du Haut. Ginna house of the lineage head, and a granary. 6/1970. EE. neg.no. IV-21, 30." The card was written in 1977-79 by Archives staff using source provided by photographer.
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. The collection is subject to all copyright laws.
"In the village's wards, each clan and lineage has a central house, usually a very old structure, called gina [ginna (gin'na)], like the word for clan. On the cliffside they are usually simple; on the plateau they are decorated with rows of small holes. Inside this building, some altars and a small shrine form the focus of the clan cult. In most Dogon villages, the head of a clan lives in the gina until his death." [Hollyman S. and Van Beek W., 2001: Dogon, Africa's People of the Cliffs. Harry N Abrams, Inc.]. The photograph depicts Dolo, the blacksmith and wood carver of Ogol du Haut village, in front of the central house of his clan and lineage. During his trip to Mali, Elisofon visited the Dogon people in the Sanga region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
EENG-IV-21, 31.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "T 1 Dgn. Dogon. Mali, Ogol du Haut. Ginna house of the lineage head, and a granary. 6/1970. EE. neg.no. IV-21, 31." The card was written in 1977-79 by Archives staff using source provided by photographer.
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. The collection is subject to all copyright laws.
"In the village's wards, each clan and lineage has a central house, usually a very old structure, called gina [ginna (gin'na)], like the word for clan. On the cliffside they are usually simple; on the plateau they are decorated with rows of small holes. Inside this building, some altars and a small shrine form the focus of the clan cult. In most Dogon villages, the head of a clan lives in the gina until his death." [Hollyman S. and Van Beek W., 2001: Dogon, Africa's People of the Cliffs. Harry N Abrams, Inc.]. The photograph depicts Dolo, the blacksmith and wood carver of Ogol du Haut village, in front of the central house of his clan and lineage. During his trip to Mali, Elisofon visited the Dogon people in the Sanga region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
EENG-IV-21, 33.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "T 1 Dgn. Dogon. Mali, Ogol du Haut. Ginna house of the lineage head, and a granary. 6/1970. EE. neg.no. IV-21, 33." The card was written in 1977-79 by Archives staff using source provided by photographer.
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. The collection is subject to all copyright laws.
A generation gap : differentiating an early twentieth century traditional Yoruba woodcarver from a later twentieth century traditional Yoruba carver-- Bamgboye of Odo Owa stylistically compared to Lamidi Fakeye
A report: master carvers of the Lummi and their apprentices Master carvers: Morrie Alexander and Al Charles. Apprentices: Dale James, Israel James, Al Noland [and] Floyd Noland. Photographer: Mary Randlett
1 Negatives (photographic) (black and white, 35 mm)
Type:
Archival materials
Negatives (photographic)
Place:
Nigeria
Date:
1972
General:
Original Negative Number/Roll/Frame/Negative Book Page/Fieldnote Reference: 72.17.2 / 72.17 / 0 / BK2:21 / Book6:45-46
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. The collection is subject to all copyright laws.
Collection contains images of art and museum objects and exhibitions with copyright restrictions.
Collection Citation:
Jean Borgatti Collection, EEPA 2016-007, Eliot Elisofon Photographic Archives, National Museum of African, Smithsonian Institution.
1 Negatives (photographic) (black and white, 35 mm)
Type:
Archival materials
Negatives (photographic)
Place:
Nigeria
Date:
1972
General:
Original Negative Number/Roll/Frame/Negative Book Page/Fieldnote Reference: 72.17.3 / 72.17 / 1 / BK2:21 / Book6:45-46
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. The collection is subject to all copyright laws.
Collection contains images of art and museum objects and exhibitions with copyright restrictions.
Collection Citation:
Jean Borgatti Collection, EEPA 2016-007, Eliot Elisofon Photographic Archives, National Museum of African, Smithsonian Institution.
1 Negatives (photographic) (black and white, 35 mm)
Type:
Archival materials
Negatives (photographic)
Place:
Nigeria
Date:
1972
General:
Original Negative Number/Roll/Frame/Negative Book Page/Fieldnote Reference: 72.17.4 / 72.17 / 2 / BK2:21 / Book6:45-46
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. The collection is subject to all copyright laws.
Collection contains images of art and museum objects and exhibitions with copyright restrictions.
Collection Citation:
Jean Borgatti Collection, EEPA 2016-007, Eliot Elisofon Photographic Archives, National Museum of African, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The Spanish colonials and the Indians of the Southwest shared an affinity for building with adobe. The basic materials used to make it were common to both continents. In addition, it had unique qualities that made it an ideal building material for arid climates. During the day, adobe absorbed the heat of the sun, leaving the house interior much cooler than the outside. As the outside air cooled in the evening, the walls reflected the stored heat into the houses, taking the chill off the night air. Adobe was also an infinitely adaptable construction medium: it could be shaped in many forms to meet a wide range of social, cultural, and physical housing needs.
Most Pueblos were attracted to certain features of the Spanish tradition. They began to mold their own bricks, using the Spanish wooden form. An exception were the Hopi, who until this century held onto their stone and mud-masonry tradition. Nearly all the Pueblo peoples adopted the Spanish fireplace and chimney. Before this, Indian homes had been heated by central fire hearths; smoke exited from the ladder hatch where one entered through the roof. The Indians placed the Spanish-style fireplace in the middle of a wall or at corners where it seemed to blister out above the floor. They also adopted the beehive-shaped outdoor ovens to let their own unleavened corn bread, formerly peeled from a heated stone into parchment-like rolls, rise into baked loaves; these ovens became fixtures of the Pueblo village.
But adobe gave way before the demand for lighter, synthetic building materials. Today's adobe makers are small-scale home builders with a passion for the aesthetics and history of the material as well as its ancient virtues of providing coolness and warmth in their arid land. They have innovated new techniques of brick making and its use, even building solar adobes. Pueblo architectural traditions are very much alive today. When plastering takes place at Hopi villages, it occurs in the old way, especially for the ritual upkeep of their underground kivas.
The 1981 Festival program, supported by funding from the U.S. Department of Energy, included demonstrations of building an adobe house and oven, making adobe bricks, cooking Southwestern Native American foods, and narrative sessions.
Participants:
Joe Paul Concha, 1932-, adobe oven maker and adobe brick maker, Taos Pueblo, New Mexico
Rose Concha, 1932-, adobe oven maker and bread baker, Taos Pueblo, New Mexico
Fedelina Cruz, 1915-2003, adobe plasterer, Taos, New Mexico
David Gutierrez, 1927-, adobe builder, Albuquerque, New Mexico
Eloy Gutierrez, 1928-2007, adobe builder and viga peeler, Albuquerque, New Mexico
Michael Gutierrez, adobe builder and wood carver, Albuquerque, New Mexico
Lawrence Lujan, 1963-, adobe oven maker and adobe brick maker, Taos Pueblo New Mexico
Lorencita Lujan, 1934-, adobe oven maker and bread baker, Taos Pueblo, New Mexico
Crucita Mondragon, 1932-, adobe oven maker and bread baker, Taos Pueblo, New Mexico
Albert D. Parra, 1954-, adobe builder, Albuquerque, New Mexico
Albert R. Perez, 1946-, adobe builder, Albuquerque, New Mexico
Hilario Roybal, Jr., 1940-, adobe builder, Silver City, New Mexico
Felipe A. Valdez, 1934-, adobe builder, Fairview, New Mexico
Carmen Romero Velarde, 1928-, adobe fireplace builder, Ranchos de Taos, New Mexico
José Ramon Sanchez, 1943-, adobe maker, Belen, New Mexico
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: 1981 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
This photograph was taken by Dr. Simon Ottenberg while conducting field research in northern Sierra Leone within Bafodea Town, the capital of Wara Wara Bafodea Chiefdom, while on an Art Historical and Anthropological Field Research from October of 1978 through July of 1980.
Original title reads, "At Bafodea Town. Mohamed Bangura caving a pig. Mohamed Bangura's adze, much used in carving." [Ottenberg field research notes, Limba Slides and Photographs, October 1978-July 1980].
Local Numbers:
1436/1978-1980
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
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. The collection is subject to all copyright laws.
Photographs by Pa Huff, Hamaidu Mansaray, and Labelle Prussin are restricted. In these cases, the photographer's permission is required for access and publication of images.
This photograph was taken by Dr. Simon Ottenberg while conducting field research in northern Sierra Leone within Bafodea Town, the capital of Wara Wara Bafodea Chiefdom, while on an Art Historical and Anthropological Field Research from October of 1978 through July of 1980.
Original title reads, "At Bafodea Town. Sodi, a wood carver's adze." [Ottenberg field research notes, Limba Slides and Photographs, October 1978-July 1980].
Local Numbers:
2918/1978-1980
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
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. The collection is subject to all copyright laws.
Photographs by Pa Huff, Hamaidu Mansaray, and Labelle Prussin are restricted. In these cases, the photographer's permission is required for access and publication of images.
This photograph was taken by Dr. Simon Ottenberg while conducting field research in northern Sierra Leone within Bafodea Town, the capital of Wara Wara Bafodea Chiefdom, while on an Art Historical and Anthropological Field Research from October of 1978 through July of 1980.
Original title reads, "At Bafodea Town. Sodi adze-like tool, curved upward at one corned, used by Mohamed Bangura, the carver." [Ottenberg field research notes, Limba Slides and Photographs, October 1978-July 1980].
Local Numbers:
1746/1978-1980
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
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. The collection is subject to all copyright laws.
Photographs by Pa Huff, Hamaidu Mansaray, and Labelle Prussin are restricted. In these cases, the photographer's permission is required for access and publication of images.
African masters : art from the Ivory Coast / Eberhard Fischer, Lorenz Homberger ; with contributions by Monica Blackmun Visonà, Daniela Bognolo, Bernard de Grunne ; translation from German into English, Lynne Kolar-Thompson