2 Linear feet (150 Prints: album (black and white)
1 writing tablet: catalog Dimensions 39 x 27 cm.)
Box 5, Folder 5
Scope and Contents:
One album, measuring 39 x 31 cm., of approximately 150 black and white photographs of the Chinese art collection of Seaouke Yue [You Xiaoqi], which included paintings, porcelain and works in bronze. The prints are pasted into the album and identified by typed identification slips, also pasted into the album. A paper label on the front cover reads "Photos of Chinese Arts Seaouke Yue Collection". A one-volume descriptive catalog accompanies the photo album. The catalog (39 x 27 cm.) consists of 50 tipped-in leaves, with typescript descriptions of each art work pasted onto the leaves. The descriptions have been annotated in pencil. A paper label has been pasted to the front cover and bears the typed title "Description of antique Chinese paintings and brass wares as well as of porcelains of different ages", with the author's name and "Photo list #298" printed underneath in black ink.
Collection is open for research.
Permission to publish, quote, or reproduce must be secured from the repository.
Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
In the 1970s, more than 90 percent of all Americans recognized themselves as heirs to cultural traditions brought to this country from other parts of the world. The 1975 Old Ways program featured six of the many ethnic groups that have enriched the American mosaic of culture. In the Bicentennial celebration in 1976, more than 30 were expected to participate.
The central theme of the 1975 presentations was celebration. Individuals and groups who serve their communities through singing, dancing, playing music, telling stories, or preparing food for these gatherings were brought to the Festival from ethnic communities in the United States and from their parent nations overseas. The 1975 presentations featured German and Lebanese traditions (June 25-29), and Japanese, Mexican, and Italian traditions (July 2-6).
The German presentation focused on the music, dance and foodways associated with weddings - a celebration that involves whole communities in customs that have been practiced for hundreds of years. German American musicians played traditional wedding music on a combination of instruments: a hammered dulcimer, accordion, trombone, and bass guitar. Other wedding music was performed by a German American brass band from Wisconsin and another from Texas. From Schleswig-Holstein a six-piece band performed wedding dance music, and Bavarian wedding music was played by three musicians from Munich. A brass band and dancers from Baden-Wurtemburg performed wedding music from their region, and wedding foods were demonstrated.
The Lebanese program reflected the diversity of traditional music and dance, urban and village, sacred and secular. An urban cabaret orchestra from Beirut was joined by another from the United States. Each day's activities portrayed a haflah, or Lebanese party with music, song, food, and dance. Dancers from Marjayoun and Mtein, Lebanon, and Springfield, Massachusetts taught Festival visitors the dabke and other village group dances, and the sacred dimension of Lebanese music was shown by vocalists singing choral songs sacred to Lebanese Christians.
A Natsu Matsuri, or summer festival, provided the frame within which Japanese music, dance, crafts and foods were presented. Japanese Americans from communities in Seabrook, New Jersey, New York, Philadelphia, Chicago, and Washington, D.C., together with folk artists from Tokyo and Mihara, a small seacoast city in Hiroshima Prefecture, created festive celebrations daily, culminating in a major Bon Odori in the Plaza on July 5. Crafts related to festivities such as flower arranging and origami were demonstrated, as were calligraphy, kimono-making, cushion-making and kite-making.
In the Italian area, Italian Americans from neighborhoods in the New York metropolitan area joined counterpart participants from Italy in activities traditionally associated with saint's day celebrations, scampagnate, carnivale and other special occasions. Music was of special importance in these presentations, as it has been in the immigration experience. Visitors also heard the cries of street vendors and the sounds of tambourines, bagpipes, scrapers and accordions, instruments native to many regions of Italy. They enjoyed a Sicilian American marionette show and watched and played Italian games.
Mexicans and Mexican Americans shared the stage the second week of the Festival in a program that attempted to trace the roots of those music traditions most popular among Mexican Americans in the United States. Visitors could compare the styles of the mariachi music that now thrives in Mexico and in the United States. The norteño style, a lively, rustic sound that flourished in Texas and spread through parts of the Southwest, was performed by Mexican American musicians and dancers. An ensemble of five performers from southern Veracruz played the harp-dominated jarocho music and executed the complex footwork of the dances.
Program Coordinator for the Old Ways in the New World was Shirley Cherkasky, assisted by Sandra Tussing and Suzanne Cox. Thomas Vennum was ethnomusicologist. An advisory group included Conrad Arensberg, Svatava Pirkova Jakobson, Alan Lomax, and David McAIIester.
The 1975 program was made possible by the American Revolution Bicentennial Administration, Government of Germany, Government of Japan, Japan Foundation, Government of Lebanon, and Government of Mexico.
Anna Lomax, Anthony Shay, Miiko Toelken, Roger Welsch, Ernestine Perrie, Elizabeth Mathias, Ronald Smith, Philip Sonnichsen
Gretel Gross Trio:
Hans Eibl, 1941-, zither player
Margarete Gross, 1932-, hackbrett player
Gottfried Keck, 1929-, guitar player
Die Holsteiner -- Die HolsteinerGregor Otto, 1928-, leaderKarl-Heinz Kler, 1937-, musicianHans-Joachim Knoof, 1957-, musicianRüdiger König, 1943-, musicianWalter Siwek, 1919-, musicianPaul Gottfried Zulauf, 1943-, musician
Bob Schmer's Polka Play Boys -- Bob Schmer's Polka Play BoysAlbert Fahlbusch, 1925-2005, hammered dulcimer playerRoger Fahlbusch, 1958-, bass guitar playerAndrew M. Gentry, trombone playerRobert H. Schmer, accordion player
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or firstname.lastname@example.org for additional information.
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Smithsonian Folklife Festival records: 1975 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
File consists of press materials including photographs, performance fliers in which Margaret is playing a zither banjo.
Large portions of this collection are digitized, and while these materials are being prepared for public access through this finding aid, researchers can request digital copies by contacting the Rinzler Archives at email@example.com or (202) 633-7322.
Copyright restrictions apply. Contact archives staff for information.
Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.