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Smithsonian Folklife Festival records: 2009 Smithsonian Folklife Festival

Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Names:
Smithsonian Folklife Festival  Search this
Extent:
1 Cubic foot (approximate)
Type:
Collection descriptions
Archival materials
Memorandums
Contracts
Sound recordings
Audiocassettes
Video recordings
Audiotapes
Notes
Photographic prints
Plans (drawings)
Correspondence
Digital images
Slides (photographs)
Business records
Videotapes
Negatives
Place:
Caribbean Area
Latin America
Puerto Rico
Chile
Colombia
Cuba
Dominican Republic
El Salvador
Guatemala
Paraguay
Venezuela
Date:
June 24-July 5, 2009
Summary:
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 2009 Smithsonian Folklife Festival. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 5 series.

Missing Title

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: Las Américas: Un mundo musical/The Americas: A Musical World

Series 3: Giving Voice: The Power of Words in African American Culture

Series 4: Special Events

Series 5: Wales Smithsonian Cymru
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 2009 Smithsonian Folklife Festival was produced by the Smithsonian Center for Folklife and Cultural Heritage and cosponsored by the National Park Service.

For more information, see Smithsonian Folklife Festival records.
Introduction:
The twentieth century saw an unprecedented, worldwide acceleration of social change. Often, such rapid evolution outpaced time-honored values and practices, eroding their currency, overwhelming cultural self-determination and displacing the local with the foreign. In a time-span as short as a single generation, entire languages, musical traditions, and other expressive cultural systems were abandoned in favor of cultural trappings invented by others. The 43rd annual Smithsonian Folklife Festival in 2009 told another version of this story, inviting visitors to explore the process of cultural evolution from the other side of the equation. Festival audiences were able to experience the creativity, resilience, and fortitude of people, institutions, and cultures that follow their own path amid a torrent of contrarian voices.

Wales Smithsonian Cymru provided a forum for discovering how the Welsh people successfully integrate both the tradition and the change that are part of their cultural heritage. On the one hand, about one-fifth of the country's three million inhabitants speak Welsh (Cymru is the Welsh word for Wales). And the people of Wales still work to preserve the rustic rural landscapes that have long informed their sense of self. On the other hand, the Welsh can lay claim to the nineteenth-century mantle of being "the first industrialized nation," and they take pride in their ongoing innovative spirit. How have the Welsh managed to navigate the turbulent waters of continuity and change to shepherd an economically and culturally sustainable society into the future? The Festival offered visitors the chance to find out firsthand from this "living exhibition" of Welsh heritage.

Giving Voice: The Power of Words in African American Culture presented living testimony to the resilience and imagination of a people. Out of three centuries of subjugation came a distinctive and separate black world, a source of refuge and endurance in the face of cruel and wrenching societal decimation. Tapping the power and the play of African American oral traditions and verbal arts, the program "gave voice" to this poignant, powerful, and quintessentially American story of cultural transcendence. Organized in partnership with the National Museum of African American History and Culture, Giving Voice explored the realm of African American cultural creation via verbal expression, considering it as both a means of social resistance and a major contributor to contemporary American life. Festival visitors could listen and be moved by compelling stories about the history, struggles, and creativity of African Americans, told through six tracks of programming: storytelling, oral poetry, interpretive drama, children's and youth culture, humor, and radio.

Las Américas: Un mundo musical/The Americas: A Musical World showed how the seemingly monolithic term música latina refers in reality to an inviting rainbow of musical sounds, styles, and traditions. The program also supplied vivid proof that music can amount to much more than just music. Each tradition represented in Las Américas is a musical flag of identity, a beacon that unites cultural communities, and a means of cultural self-actualization. This Festival program, the result of eight years of research and documentation, was the fourth and final in a series dedicated to exploring Latino music as a window into the cultures that give it meaning. The overarching project, entitled Nuestra Música: Music in Latino Culture, began with the Smithsonian Folkways Recordings series Tradiciones/Traditions. The series produced thirty recordings that had, as of the 2009 Festival, earned eight GRAMMY nominations, one GRAMMY, and one Latin GRAMMY. Additionally, the project included Música del Pueblo: A Smithsonian Virtual Exhibition ( musicadelpueblo.org), that featured dozens of video mini-documentaries of grassroots Latino musicians from the United States, Puerto Rico, and several Latin American countries.

The 2009 Festival took place for two five-day weeks (June 24-28 and July 1-5) between Madison Drive and Jefferson Drive and between 9th Street and 14th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan). It featured three programs and the Rinzler Concert.

The 2009 Program Book included schedules and participant lists for each program; keynote essays (or, for Wales, a set of short essays) provided background on each of the programs.

The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife and Cultural Heritage.

Center for Folklife and Cultural Heritage

Daniel Sheehy, Acting Director; Smithsonian Folklife Festival: Diana Parker, Festival Director; Stephen Kidd, Production Manager; Charlie Weber, Media Specialist; Smithsonian Folkways Recordings: Daniel Sheehy, Curator and Director; Anthony Seeger, Curator and Director (emeritus); D.A. Sonneborn, Assistant Director; Ralph Rinzler Folklife Archives and Collections: Jeffrey Place, Archivist; Stephanie Smith, Assistant Archivist; Cultural Heritage Policy: James Counts Early, Director; Sita Reddy, Fellow; Cultural Research and Education: Olivia Cadaval, Chair; Thomas Vennum, Jr., Senior Ethnomusicologist (emeritus); Betty J. Belanus, James Deutsch, Marjorie Hunt, Richard Kennedy (emeritus), Diana Baird N'Diaye, Peter Seitel (emeritus), Curators, Folklorists, Education and Cultural Specialists; Robert Albro, Geri Benoit, Carla Borden, Irene Chagall, Patrick Delatour, Roland Freeman, Nancy Groce, Frank Proschan, Sita Reddy, Jesús "Chucho" Valdés, Patrick Vilaire, Research Associates

Center for Folklife and Cultural Heritage Advisory Council

Kurt Dewhurst (chair), J. Scott Raecker (vice chair), Michael Asch (ex officio), Mounir Bouchenaki, G. Wayne Clough (ex officio), Anthony Gittens, Mickey Hart, John Herzog, Debora Kodish, Richard Kurin (ex officio), Ellen McCulloch-Lovell, Libby O'Connell, Robert Santelli, Cathy Sulzberger

Smithsonian Folkways Advisory Council

Michael Asch (chair), Patricia Campbell, Hal Cannon, Don De Vito, Sandra Gibson, Suni Paz, Anthony Seeger, Fred Silber

National Park Service

Daniel N. Wenk, Acting Director; Peggy O'Dell, Regional Director; Lis Mendelson-Ielmini, Acting Superintendent, National Mall and Memorial Parks

The Festival was supported by federally appropriated funds; Smithsonian trust funds; contributions from governments, businesses, foundations, and individuals; in-kind assistance; and food, recording, and craft sales. General support for this year's Festival came from the Music Performance Fund, with in-kind support provided by WAMU-88.5 FM and WashingtonPost.com.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Forms Part Of:
Smithsonian Folklife Festival records: 2009 Smithsonian Folklife Festival forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
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.
Topic:
arts and crafts  Search this
World music  Search this
Food habits  Search this
Folk music  Search this
Folklore  Search this
Folk art  Search this
Folk festivals  Search this
Genre/Form:
Memorandums
Contracts
Sound recordings
Audiocassettes
Video recordings
Audiotapes
Notes
Photographic prints
Plans (drawings)
Correspondence
Digital images
Slides (photographs)
Business records
Videotapes
Negatives
Citation:
Smithsonian Folklife Festival records: 2009 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.2009
See more items in:
Smithsonian Folklife Festival records: 2009 Smithsonian Folklife Festival
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5e247a1d1-1f20-4bde-834d-e14879bbfd12
EDAN-URL:
ead_collection:sova-cfch-sff-2009

Frank Espada Photographs

Creator:
Espada, Jason  Search this
Photographer:
Espada, Frank, 1930-  Search this
Extent:
22 Cubic feet (59 boxes)
Type:
Collection descriptions
Archival materials
Posters
Newsletters
Awards
Catalogs
Digital images
Contact sheets
Interviews
Notebooks
Negatives
Photographs
Audio cassettes
Slides (photographs)
Date:
1962-2008, undated
Summary:
Collection consists of photographic materials taken by Frank Espada, mostly images from the Puerto Rican Diaspora Documentary Project, which documents these communities across the Unites States. In addition, there are materials relating to his earlier work documenting civil rights activities and HIV/AIDS awareness, also in the United States during the 1960s, 1970s, and 1980s.
Scope and Contents:
Photographs and negatives taken by Frank Espada, mostly images from his most well-known body of work, The Puerto Rican Diaspora Documentary Project, which consists of several hundred prints and thousands of negatives of Puerto Rican communities across the Unites States. The purpose the project was to establish the national presence of Puerto Ricans in the United States, to celebrate Puerto Rican culture and Latinidad, and to make a political statement.
Arrangement:
Collection is arranged into five series.

Series 1: Puerto Rican Diaspora Documentary Project, 1962-2008, undated

Sub-Series 1.1: Photographic and Digital Prints, 1962-1986, undated

Sub-Series 1.2: Proofs, 1979-1986, undated

Sub-Series 1.3: Contact Sheets and Negatives, 1964-1987, undated

Sub-Series 1.4: Interviews, 1980-1982, undated

Sub-Series 1.5: Site Notebooks, 1981-1985, undated

Sub-Series 1.6: Exhibition Materials, 1967-2008, undated

Sub-Series 1.7: Newspaper Clippings, 1983-2007

Series 2: Civil Rights Era Materials, 1963-1974, undated

Sub-Series 2.1: Black and White Prints, 1963-1974, undated

Sub-Series 2.2: Proofs, Negatives, and Contact Sheets, 1963-1968

Sub-Series 2.3: Slides, 1969

Series 3: Personal Papers, 1966-2007, undated

Series 4: Out of School Youth (OSY) Project, 1989

Series 5: Youth Environment Study (YES) Project, 1989-1991
Biographical / Historical:
Francisco Luis Espada Roig, later known as Frank Espada, was born in Utuado, Puerto Rico in December 1930. He and his family migrated to New York City in 1939. He attended public school and after high school, briefly attended City College of New York. In 1949, he joined the Air Force.

In 1952 he married his wife, Marilyn. They had three children, Lisa, Jason, and Martin. Espada began working for an electrical contractor to provide for his family, a job he would hold for ten years.

There followed a second stint in the Air Force, during the Korean War, and then, in 1954, Espada began attending the New York Institute of Photography on the GI Bill. In the late 50s and early 1960s, influenced by mentors such as important New York-based photographers Dave Heath and the legendary W. Eugene Smith, Espada became intent on pursuing what he called his "first love," documentary photography, but this dream had to be delayed.

From the early 60s on, he became heavily involved in the New York community and the Civil Rights Movement, organizing voter registration drives, rent strikes, and marches for civil rights. He photographed many subjects in New York throughout the 1950s and 1960s, including the civil rights era. Because he was close to Puerto Rican activists and communities, he photographed these as well.

In the 1970s, he was a Ford Foundation Fellow working with the Drug Abuse Council. In 1979, with a grant from the National Endowment for the Humanities, he was finally able to receive income from photography. This fellowship allowed him to pursue his "life-long dream of shooting a major documentary" on the Puerto Rican diaspora. He documented Puerto Rican communities and the Puerto Rican experience around the United States, including Hawaii and Guam.

In 1985, Espada moved to San Francisco and was given the opportunity to teach at the UC Berkeley Extension Program. He discovered that he loved to teach, which resulted in what he referred to as "eighteen of the best years of my life," and he was revered by his students.

In 1989 he joined forces with the Youth Environment Studies (YES), documenting the growing HIV/AIDS epidemic. In 2005 he retired from teaching and continued working on his book, encompassing his documentation of Puerto Rican communities. The Puerto Rican Diaspora: Themes in the Survival of a People, reproducing many of his photographs with his incisive, poignant text was published in 2007, twenty-eight years after the Diaspora project had begun.

Frank Espada was an activist for justice and an important documentary photographer in the "socially conscious" tradition, who wrote: 'The purpose of showing my work is to get young people thinking, to stimulate their minds and hearts, to make conditions known, and to attack injustices wherever they exist." In his later years, he turned to color photography and landscapes for personal artistic expression. He passed away in February of 2014 from a heart problem.
Materials at Other Organizations:
Duke University Libraries

Frank Espada papers and photographs, 1946-2010 and undated, bulk 1975-2010

The Frank Espada Papers and Photographs collection consists largely of photographic prints, contact sheets, proofs, and negatives, chiefly dating from the mid-1970s through 2010, relating to Espada's Puerto Rican Diaspora Documentary Project, his project work on indigenous Chamorro communities in Micronesia, primarily in Guam, Tinian, and Saipan, and his work documenting HIV/AIDS outreach and education in San Francisco. The largest body of materials, which includes photographs as well as manuscripts and recorded interviews, derives from Espada's work with the Puerto Rican communities which spanned several decades. A smaller group of materials, nineteen prints, associated contacts and negatives and several folders of documents, were created through Espada's activism in the Civil Rights Movement for voter registration and school desegregation in New York City from 1962-1970.

Other materials include research files on documentary topics he was currently investigating; materials used in preparation for his many photography project exhibits, large and small; teaching syllabi and notes from his photography courses; awards and memorabilia; and other manuscript and printed materials from his career in photography.

Library of Congress, Prints & Photographs

The Puerto Rican diaspora, between 1979 and 1981

83 photographic prints

Detroit Institute of Arts Research Library and Archives

[Frank Espada: artist file]

1 folder. Folder may contain clippings, press releases, brochures, reviews, small exhibition catalogs, resumés, other ephemera.
Related Materials:
Archives Center, National Museum of American History

Quince Años Documentation, NMAH.AC1163

López Negrete Communications Advertising Collection, NMAH.AC1413

Exiles in America: Cuban Pedro Pans and Balseros, NMAH.AC1377

Division of Science, Medicine, and Society HIV/AIDS Reference Collection, NMAH.AC1134

Manuel Quiles Films, NMAH.AC0765

Puerto Rico Division of Community Education Poster Collection, NMAH.AC0615

Spanish Language Broadcasting Collection, NMAH.AC1404

Goya Foods, Incorporated Collection, NMAH.AC.0694

John-Manuel Andriote Victory Deferred Collection, NMAH.AC1128
Provenance:
Collection was purchased from Frank Espada's son Jason Espada with funds from the Latino Initiatives Pool.
Restrictions:
Collection is open for research. Some ethnographic materials in this collection are restricted because participants did not sign release forms. Restricted materials are part of series 4 and housed in boxes 57 and 59. Material may not be accessed or used until 2064.
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.
Topic:
Photography of immigrants  Search this
Documentary photography  Search this
Immigrant communities  Search this
Photographers  Search this
Immigrants -- Puerto Rican -- 20th century  Search this
HIV/AIDS awareness  Search this
African American youth  Search this
Latinos in American society and culture  Search this
Hispanic American youth  Search this
Genre/Form:
Posters -- 20th century
Newsletters -- 20th century
Awards
Catalogs -- 20th century
Digital images -- 20th century
Contact sheets -- 20th cenury
Interviews -- 20th century
Notebooks -- 20th century
Negatives -- 20th century
Photographs -- 20th century
Audio cassettes -- 20th century
Slides (photographs) -- 20th century
Citation:
Frank Espada Photographs, circa 1962-2008, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1395
See more items in:
Frank Espada Photographs
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8316a9dc4-bc9e-4a46-8917-993791e347b4
EDAN-URL:
ead_collection:sova-nmah-ac-1395
Online Media:

Bulletins

Collection Creator:
Cancel, Luis R.  Search this
Container:
Box 5, Folder 22
Type:
Archival materials
Date:
1982-1990
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Collection Citation:
Luis Cancel papers, circa 1900-1998, bulk 1970-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Luis Cancel papers
Luis Cancel papers / Series 3: Arts Administration Records / 3.1: Bronx Museum of the Arts
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw941c0df3e-877d-461b-8955-4f200df44d2f
EDAN-URL:
ead_component:sova-aaa-cancluis-ref112

Fundraising

Collection Creator:
Cancel, Luis R.  Search this
Container:
Box 6, Folder 22-23
Type:
Archival materials
Date:
1988-1991
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Collection Citation:
Luis Cancel papers, circa 1900-1998, bulk 1970-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Luis Cancel papers
Luis Cancel papers / Series 3: Arts Administration Records / 3.1: Bronx Museum of the Arts
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95928ff9a-bbb2-4f7e-b826-a673777da3bc
EDAN-URL:
ead_component:sova-aaa-cancluis-ref140

Renovation Project

Collection Creator:
Cancel, Luis R.  Search this
Container:
Box 7, Folder 22
Type:
Archival materials
Date:
1984-1991
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Collection Citation:
Luis Cancel papers, circa 1900-1998, bulk 1970-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Luis Cancel papers
Luis Cancel papers / Series 3: Arts Administration Records / 3.1: Bronx Museum of the Arts
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw960f3c45f-6dfb-4642-9c2e-40019251a98f
EDAN-URL:
ead_component:sova-aaa-cancluis-ref166

Anthony Moreno Papers

Creator:
Moreno, Anthony M.  Search this
Extent:
1 Cubic foot (2 boxes)
Culture:
Latinos -- California  Search this
Type:
Collection descriptions
Archival materials
Advertisements
Annual reports
Magazines (periodicals)
Date:
1946-1975, undated
Summary:
Collection primarily documents the career of Latino graphic artist and designer Anthony Moreno.
Scope and Contents:
Collection primarily documents commercial artwork created by Latino graphic artist and designer Anthony Moreno for United States companies. It consists of client files including original artwork, purchase orders, annual reports, product packaging, magazines, and some promotional materials. In addition, a United States Marine Corps discharge certificate, unemployment documents, a resume, photographs, business cards, and a customized desk notepad are also found among the materials. Information relating to Moreno's personal life is not included in the collection. Most of the materials are undated and are arranged in alphabetical order either by the name of a company or type of materials.
Arrangement:
Collection is arranged into one series.
Biographical / Historical:
Anthony Moreno was born to Francisco Moreno and Lusinda Moreno on January 30, 1923 in Los Angeles County, California. He attended Theodore Roosevelt High School where he graduated in 1941. Moreno served in the United States Marines from 1943-1946. On October 22, 1949 he married Margaret Carrera and to this union eight children were born. He attended the Art Center College, graduated in 1950 and subsequently embarked on a career as an Art Director. As an Art Director, he worked for numerous United States companies including Global Marketing, Incorporated; Dozier Eastman Company; Weider Health and Fitness, Incorporated; and Ralph M. Parsons. Moreno died on February 8, 1982 at the age of fifty-nine at the Veteran's Hospital in Long Beach, Los Angeles County, California.

Source: Information obtained from Moreno's son William Moreno, January 2021.
Provenance:
Collection donated by Margaret Moreno to the Archives Center in 2019.
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.
Topic:
Advertising art -- 20th century  Search this
Graphic artists  Search this
Packaging -- 20th century  Search this
Genre/Form:
Advertisements -- 20th century
Annual reports -- 20th century
Magazines (periodicals) -- 20th century
Citation:
Anthony Moreno Papers, 1946-1975, undated, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1478
See more items in:
Anthony Moreno Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8c241de29-96e6-486e-b95b-1f21aeb5589f
EDAN-URL:
ead_collection:sova-nmah-ac-1478

DC Cowboys Dance Company Records

Creator:
DC Cowboys Dance Company  Search this
Extent:
7.5 Cubic feet (22 boxes, 3 oversize folders)
Type:
Collection descriptions
Archival materials
Articles
Photographs
Correspondence
Press releases
Business records
Dvds
Financial records
Compact discs
Date:
undated
1994-2012
Summary:
The records of the DC Cowboys Dance Company, an all-male, gay, non-profit dance company based in Washington, DC. that was active from 1994-2012. They peformed nationally and internationally live and on television, "celebrating diversity through dance."
Scope and Contents:
The DC Cowboys Dance Company Records contain the business and financial papers of the company, such as memoranda and correspondence; choreography routines; printed materials such as press releases and articles; fundraising materials; photographs; audiovisual materials; and the pre-recorded music used for their various dance routines. The records are arranged chronologically in three series.

Series 1: Company Files, 1994-2013, undated, is arranged chronologically by year and maintains the original order received from the donor. The files cover the entire life of the company and its peformances within the United States as well as internationally. The files contain correspondence, contracts, dance routines, fundraising initiatives, event information and advertising materials, travel and lodging arrangements, tourist information, and photographs.

Series 2: Financial, 1996-2011, undated, is arranged chronologically. The files contain receipts, money receipt books, financial statements, balance sheets and those materials related to the financial aspect of running the company.

Series 3: Audiovisual, 1994-2012, undated, contains compact discs (189) of pre-recorded music used for the company's various dance routines. The music was prepared for each booking and most often identified with the title of the booking and the date. Much of the music on these discs is under copyright since they are recordings done by original artists or professional covers of songs that were contemporary with the company's performance during any given year. There are also DVDs (five) detailing the production of varous fund raising DC Cowboys calendars and one audio cassette tape.
Arrangement:
This collection is divided into three series.

Series 1: Company Files, 1994-2013, undated

Series 2: Financial, 1996-2011, undated

Series 3: Audiovisual, 1994-2012, undated
Biographical / Historical:
"History of the DC Cowboys Dance Company - Celebrating diversity through dance"

The DC Cowboys Dance Company, an all-male, gay dance company, entertained audiences around the world from 1994 to 2012. Internationally acclaimed, the DC Cowboys specialized in providing exciting, high-energy, jazz-style, dance entertainment which spanned all musical genres, from contemporary country to club dance party, pop, to classic Broadway numbers for all types of occasions. Shows were customized to the venue—both gay-specific and mainstream events—and featured anywhere from one song to multiple sets of three to four songs each. Combining a little traditional country-western with jazz, musical theater and a masculine sex appeal, the DC Cowboys' high-energy choreography made the company one of the most-sought after gay dance groups in the world.

Founder and Artistic Director Kevin Platte started the dance company in August 1994 after seeing a similar gay, country-western dance group in California. Platte recruited 11 dancers—mostly friends—from a Washington, D.C., gay, country-western bar named Remington's. He approached the best dancers based on watching them two-step and line-dance at the bar. The dancers formed the troupe for the sole purpose of performing at the Atlantic States Gay Rodeo Association's (ASGRA) annual rodeo in Washington, D.C., in September 1994.

Platte thought the performance would be a one-time event. But based on an overwhelming reception, the dancers decided to continue the group. This required weekly rehearsals, the creation of a dance "repertoire" and a larger commitment from the dancers. Of the original 12 members, only six were up to the task. These six original members then had to find more dancers and identify other performance venues. Mainstay venues soon included the Capital Pride Festival every June and the Atlantic Stampede Gay Rodeo event every September.

In September 1995, Metro Weekly placed them on the cover of their magazine, giving them greater exposure and more clout. The Cowboys used this coverage as a catalyst to build the brand and identity. All the while, the DC Cowboys remained volunteers and amateurs, performing solely for the love of it. Each dancer maintained a "day job," and the group only rehearsed in the evenings once or twice a week. As the warmer months seemed to be their busiest, the dancers would use the colder months to build up the repertoire and practice. Every year, rehearsals would cease for the months of November and December for the existing dancers. However new recruits that were successful in the annual auditions attended "bootcamp" rehearsals during those months to learn some of the existing repertoire. In January, the existing and new members started rehearsing together as the new season began.

During the early years, the dancers paid for all expenses out of their own pockets, and monthly dues were collected to pay for group expenses. The group would often pay for the opportunity to perform. To supplement these expenses, the group began fundraising through a monthly bar night at different gay nightclubs. Once their reputation grew, venues and events began to pay for the company's entertainment services and patron club members donated funds to support the organization and their mission. These funds allowed the organization to pay for all of their expenses including dancer costuming. In addition, the group sold merchandise which included T-shirts, performance DVDs as well as their sexy DC Cowboys calendars. Three of the more popular calendars featured the dancers without clothes in artistic poses and included the "making of the calendar" DVD.

In 1996, Platte added a charitable element to the organization. He created a mission statement which said the company would provide free entertainment to any HIV/AIDS charitable organization. Over the years, the company also directly raised funds for HIV/AIDS organizations by sharing the profits of their calendar sales. The DC Cowboys raised millions of dollars through performances for national and local non-profit organizations such as: Washington, D.C. AIDS Ride; Washington, D.C. AIDS Walk; Chase Brexton Clinic of Baltimore, Maryland; Northern Virginia AIDS Ministry; Human Rights Campaign; Whitman Walker Clinic of Washington, D.C.; Food and Friends of Washington, D.C.; Mautner Project; Gay Latino Benefits in Metro D.C.; Harford County AIDS/Cancer Benefit, Maryland; NYFD Benefit for the New York City Fire Department.

In 1996, the company received a grant from the D.C. Commission on the Arts and Humanities and the National Endowment for the Arts, honoring the company for its valued contribution to the Washington, D.C. arts community. The company always maintained a tax-deductible status as a 501c3 non-profit organization with a small board of directors.

During their 18-year tenure, the DC Cowboys provided an outlet for gay artists and performers in the Washington, D.C., metropolitan area. The company included 85 dancers, eight choreographers and three stage-managers. The company performed at 458 events in five countries. The DC Cowboys' crowd-pleasing, sexy dance style had been described as "Will Rogers Follies meets Bob Fosse." The group famously described themselves on America's Got Talent in 2008 as "Think Brokeback meets Broadway," which became a popular line echoed around the world. Their growth and popularity were attributed to their unique and high quality entertainment which was often copied in other cities but never equalled. In addition the dancers were talented, good-looking men who were friendly and approachable to their many fans. Their farewell season tour in 2012 visited all of their favorite performance venues and locations around the world and was dedicated to their fans who were instrumental to their success.

Typical performance venues included Pride Festivals in New York City, Washington, D.C., Baltimore, and Charlotte, North Carolina; Headliners on the Gay Rodeo circuit in Washington, D.C., Las Vegas, San Diego, Atlanta, Chicago, Calgary, and Texas; Halloween in New Orleans; Mr. Gay All-American Finals; Gay Men's Chorus of Washington, Washington, D.C., concerts and events; Whitman Walker Volunteer Appreciation at Constitution Hall, Washington, D.C.; PFLAG's Gala Dinner, Washington, D.C.; HRC (Human Rights Campaign) Leadership Dinner cruise aboard the Spirit of Washington, Washington, D.C.; Human Rights Campaign National Dinner, Washington, D.C. - special reception for major donors; Annual Chef's Best Dinner & Auction for Food and Friends, Washington, D.C..

Performance highlights included America's Got Talent television show, season 3, NBC, semifinalists (2008); Closing Ceremonies of the Gay Games VII at Wrigley Field in Chicago (2006); RSVP's Caribbean Fantasy gay cruise (2005); Arts grant recipient from the DC Commission on the Arts and Humanities and the National Endowment for the Arts (1996);The Sziget Festival in Budapest, Hungary (2009--012); Dales' Great Getaway television show, ITV London, England (2012); The Podge and Rodge television show, RTE, Dublin, Ireland (2010)."

Source

This history of the DC Cowboys Dance Company was supplied by its founder, Kevin Platte.
Provenance:
The collection was donated by Kevin P. Platte, founder and Artistic and Executive Director of DC Cowboys Dance Company in 2013.
Restrictions:
This collection is open for research use. Gloves must be worn when handling unprotected photographs, negatives, and slides.
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. Fees for commercial reproduction.
Topic:
Gays  Search this
Gay business enterprises  Search this
Homosexuality  Search this
Cowboys  Search this
Dance companies  Search this
Dance  Search this
Genre/Form:
Articles -- 1990-2000
Photographs -- 21st century
Correspondence -- 1990-2000
Press releases -- 1990-2000
Business records -- 1990-2000
Articles -- 21st century
DVDs
Photographs -- 1990-2000
Financial records -- 21st century
Financial records -- 1990-2000
Correspondence -- 21st century
Compact discs
Press releases -- 21st century
Business records -- 21st century
Citation:
DC Cowboys Dance Company Records, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1312
See more items in:
DC Cowboys Dance Company Records
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8fcfb748b-0411-4008-8f12-3a8587b6f82d
EDAN-URL:
ead_collection:sova-nmah-ac-1312
Online Media:

"Physical Place, Virtual Space," Exhibition for Longwood Arts Project

Collection Creator:
Ros, Moses, 1958-  Search this
Container:
Box 1, Folder 21
Type:
Archival materials
Date:
1998-2002
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Moses Ros papers, 1978-2012. Archives of American Art, Smithsonian Institution.
See more items in:
Moses Ros papers
Moses Ros papers / Series 1: Commission and Project Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw995c655b7-7881-474e-822b-08a63a6faa40
EDAN-URL:
ead_component:sova-aaa-rosmose-ref23

Susana Gomez

Collection Interviewer:
Velasquez, Steve  Search this
Container:
Item AC1377-BDA0004
Type:
Archival materials
Audio
Date:
2014 December 15
Scope and Contents:
Susana Gómez was born on June 22, 1947 in Havana, Cuba. She was sent to Florida with her brother Joe on March 15, 1965. The siblings were sent to Kendall Camp and later to live with family members in New Jersey, before they got reunited with their parents. Years later, Susana settled in Washington, DC where she had a very successful career at the White House.
Collection Restrictions:
Collection is open for research. Interviews and supporting documentation available only in the Smithsonian Institution Digital Asset Management System (DAMS). Correspondence is available for access (physically and digitally).
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:
Exiles in America: Cuban Pedro Pans and Balseros, Archives Center, National Museum of American History, Smithsonian Institution.
See more items in:
Exiles in America: Cuban Pedro Pans and Balseros
Exiles in America: Cuban Pedro Pans and Balseros / Series 1: Oral History Interviews
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8a1db3d9a-5de0-4a4f-8ee0-b3c06f8c3eeb
EDAN-URL:
ead_component:sova-nmah-ac-1377-ref16

Cesar Ramirez

Collection Interviewer:
Velasquez, Steve  Search this
Container:
Item AC1377-BDA0010
Type:
Archival materials
Audio
Date:
2014 August 22
Scope and Contents:
Cesar Ramírez was born on July 14, 1962 in Santiago de Cuba, Cuba. In 1994, at the age of 32, Cesar along with 5 other fellow balseros left the island. Four days later, they were rescued by the US National Coast Guard and were taken to Campamento La India Camp in Guantánamo Bay Base. After a month living at the camp, he was taken to Howard Base in Panama. Cesar stayed in the base for three months and dedicated his time to organizing artistic activities for refugees. In 1994 he was issued a humanitarian visa that allowed him to travel to Florida, where he received urgent medical care. On January 1995, Cesar moved to Las Vegas. Eventually Cesar moved back to Florida, where he still resides.
Collection Restrictions:
Collection is open for research. Interviews and supporting documentation available only in the Smithsonian Institution Digital Asset Management System (DAMS). Correspondence is available for access (physically and digitally).
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:
Exiles in America: Cuban Pedro Pans and Balseros, Archives Center, National Museum of American History, Smithsonian Institution.
See more items in:
Exiles in America: Cuban Pedro Pans and Balseros
Exiles in America: Cuban Pedro Pans and Balseros / Series 1: Oral History Interviews
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep85532aa01-38d9-4dfe-b843-89597072b269
EDAN-URL:
ead_component:sova-nmah-ac-1377-ref22

Carlos Saladrigas

Collection Interviewer:
Velasquez, Steve  Search this
Container:
Item AC1377-BDA0011
Type:
Archival materials
Audio
Date:
2014 September 22
Scope and Contents:
Carlos Saladrigas was born on August 31, 1948. He was 12 years old when he was sent to Florida in 1961. Carlos lived with family members and friends, before he reunited with his parents a year later. He lived a normal life until his mother was diagnosed with a rare type of cancer. He dropped out of school and held different jobs. Years later, he became a very successful entrepreneur. He currently lives in Miami with his wife Olga.
Collection Restrictions:
Collection is open for research. Interviews and supporting documentation available only in the Smithsonian Institution Digital Asset Management System (DAMS). Correspondence is available for access (physically and digitally).
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:
Exiles in America: Cuban Pedro Pans and Balseros, Archives Center, National Museum of American History, Smithsonian Institution.
See more items in:
Exiles in America: Cuban Pedro Pans and Balseros
Exiles in America: Cuban Pedro Pans and Balseros / Series 1: Oral History Interviews
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep879baf371-4f24-401a-b950-4199c761eda8
EDAN-URL:
ead_component:sova-nmah-ac-1377-ref23

Correspondence

Collection Interviewer:
Velasquez, Steve  Search this
Container:
Box 1, Folder 22
Type:
Archival materials
Date:
1963
Collection Restrictions:
Collection is open for research. Interviews and supporting documentation available only in the Smithsonian Institution Digital Asset Management System (DAMS). Correspondence is available for access (physically and digitally).
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:
Exiles in America: Cuban Pedro Pans and Balseros, Archives Center, National Museum of American History, Smithsonian Institution.
See more items in:
Exiles in America: Cuban Pedro Pans and Balseros
Exiles in America: Cuban Pedro Pans and Balseros / Series 3: Correspondence / 3.3: Margarita and Lola
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8c0681f02-0e63-4143-89da-275ed3971ff5
EDAN-URL:
ead_component:sova-nmah-ac-1377-ref561

General Correspondence

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box 1, Folder 7
Type:
Archival materials
Date:
1988
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
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:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96f33bf53-c00c-4d14-83db-48a66e1c8534
EDAN-URL:
ead_component:sova-aaa-casamel-ref11
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  • View General Correspondence digital asset number 1

Exhibition Announcements and Catalogs

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box OV 3, Folder 4
Type:
Archival materials
Date:
1979
1993
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
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:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 4: Printed Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b4370ed3-e374-4b48-9d44-21ddb42524fa
EDAN-URL:
ead_component:sova-aaa-casamel-ref28
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  • View Exhibition Announcements and Catalogs digital asset number 1

Printed Materials

Collection Creator:
Casas, Mel, 1929-2014  Search this
Extent:
0.6 Linear feet (Boxes 1-2, OVs 3-4)
Type:
Archival materials
Date:
1963-1998
Scope and Contents:
Printed material includes brochures, newspaper and magazine clippings, event programs, exhibition announcements and catalogs, invitations, and posters relating to Casas, his artwork, and exhibitions.

Clippings provide coverage of some of the main highlights of Casas's career from the 1960s to the 1990s. The history of Con Safo is also documented in clippings, announcements, and catalogs including a 1972 brochure for a group exhibition at the Mexican American Cultural Center in San Antonio, Texas, which includes the first appearance of Con Safo (C/S) Artists: A Contingency Factor.

There are posters for exhibitions including Humanscapes (1979) at San Antonio College Department of Art; Mel Casas: 22 Paintings at Texas Lutheran College, circa 1967; and a solo exhibition at Boehm Gallery, Palomar College (1973).

Also found is a press kit for the influential exhibition The Latin American Spirit: Art and Artists in the United States, 1920-1970; Casas was invited to lecture as part of a special program developed to accompany this exhibition at the El Paso Museum of Art.
Arrangement:
Records are arranged by material type and chronologially thereafter.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
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:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.casamel, Series 4
See more items in:
Mel Casas papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f1098566-4081-465f-9a92-4ae7a6071a82
EDAN-URL:
ead_component:sova-aaa-casamel-ref4

Clippings

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box 2, Folder 2
Type:
Archival materials
Date:
1990-1996
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
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:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 4: Printed Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d13a5e6b-3421-439c-b57f-3da7d4dc0707
EDAN-URL:
ead_component:sova-aaa-casamel-ref41
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  • View Clippings digital asset number 1

Curriculum Vitae and Resumés

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box 1, Folder 4
Type:
Archival materials
Date:
circa 1968-1996
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
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:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 1: Biographical Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9984b112d-6e3c-48a1-aa9d-0d62a7686bd1
EDAN-URL:
ead_component:sova-aaa-casamel-ref8
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  • View Curriculum Vitae and Resumés digital asset number 1

New York, brochure, The Puerto Rican Diaspora Documentary Project

Collection Creator:
Espada, Jason  Search this
Collection Photographer:
Espada, Frank, 1930-  Search this
Container:
Box 3, Folder 22
Type:
Archival materials
Date:
undated
Collection Restrictions:
Collection is open for research. Some ethnographic materials in this collection are restricted because participants did not sign release forms. Restricted materials are part of series 4 and housed in boxes 57 and 59. Material may not be accessed or used until 2064.
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:
Frank Espada Photographs, circa 1962-2008, Archives Center, National Museum of American History.
See more items in:
Frank Espada Photographs
Frank Espada Photographs / Series 1: Puerto Rican Diaspora Documentary Project / 1.6: Exhibition Materials
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8fe9a7041-86e3-4abe-827a-fb484fa3cd1c
EDAN-URL:
ead_component:sova-nmah-ac-1395-ref125

Puerto Rico, Barrio Tokio

Collection Creator:
Espada, Jason  Search this
Collection Photographer:
Espada, Frank, 1930-  Search this
Container:
Box 22, Folder 2
Type:
Archival materials
Date:
1985
Collection Restrictions:
Collection is open for research. Some ethnographic materials in this collection are restricted because participants did not sign release forms. Restricted materials are part of series 4 and housed in boxes 57 and 59. Material may not be accessed or used until 2064.
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:
Frank Espada Photographs, circa 1962-2008, Archives Center, National Museum of American History.
See more items in:
Frank Espada Photographs
Frank Espada Photographs / Series 1: Puerto Rican Diaspora Documentary Project / 1.3: Contact Sheets and Negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8977e1554-ff68-4253-9e46-bf0a4a092c74
EDAN-URL:
ead_component:sova-nmah-ac-1395-ref185

Puerto Rico, Barrio Tokio, Luis Hernandez

Collection Creator:
Espada, Jason  Search this
Collection Photographer:
Espada, Frank, 1930-  Search this
Container:
Box 22, Folder 1
Type:
Archival materials
Date:
1984
Collection Restrictions:
Collection is open for research. Some ethnographic materials in this collection are restricted because participants did not sign release forms. Restricted materials are part of series 4 and housed in boxes 57 and 59. Material may not be accessed or used until 2064.
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:
Frank Espada Photographs, circa 1962-2008, Archives Center, National Museum of American History.
See more items in:
Frank Espada Photographs
Frank Espada Photographs / Series 1: Puerto Rican Diaspora Documentary Project / 1.3: Contact Sheets and Negatives
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8139c6b82-fe06-421c-aa9f-a52535d7d7c0
EDAN-URL:
ead_component:sova-nmah-ac-1395-ref186

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