Robinson, Franklin A., Jr., 1959- (actor) Search this
Container:
Box 39, Folder 11
Type:
Archival materials
Date:
1950
Collection Restrictions:
Collection is open for research but negatives and audiovisuial materials are stored off-site and special arrangements must be made to work with it. Some papers of living persons are restricted. Access to restricted portions may be arranged by request to the donor. Gloves required for unprotected photographs. Viewing film portions of the collection and listening to LP recording requires special appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
The Archives Center does not own exclusive rights to these materials. Copyright for all materials is retained by the donor, Franklin A. Robinson, Jr.; permission for commercial use and/or publication may be requested from the donor through the Archives Center. Military Records for Franklin A. Robinson (b. 1932) and correspondence from Richard I. Damalouji (1961-2014) are restricted; written permission is needed to research these files. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
The Robinson and Via Family Papers, Archives Center, National Museum of American History
Sponsor:
Preservation of the 8mm films in this collection was made possible, in part, by a grant from the National Film Preservation Fund.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Lee Ya-Ching Papers, NASM.2008.0009, National Air and Space Museum, Smithsonian Institution.
Talk given at Arizona State Conference on Social Work, Phoenix
Collection Restrictions:
The Ruth Landes papers are open for research. The nitrate negatives in this collection have been separated from the collection and stored offsite. Access to nitrate negatives is restricted due to preservation concerns.
Access to the Ruth Landes papers requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Ruth Landes papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The revision of this finding aid and digitization of portions of the collection were made possible through the financial support of the Ruth Landes Memorial Research Fund.
-Council of Mexican American Affairs, Program for Conference on education and the Mexican American community, Los Angeles, 1963 (mimeograph)
-Marcos de Leon, "Wanted: a new educational philosophy for the Mexican American," reprint from California journal of secondary education, v. 54, no 7 (1959 November), pp. 398-402 (printed)
-Virginia H. DuPrez, "A technique for integration of a minority bilingual group" (mimeograph)
-George I. Sanchez, "The crux of the dual language handicap," reproduced from New Mexico school review (1954 March), pp. 13-15, 38 (mimeograph)
-Silex Defense Committee (El Paso, Texas), "Facts relative to deportation proceedings brought against Humberto Silex"
- Southwest Council on the Education of the Spanish Speaking People, Proceedings, fifth annual conference, 1951 (carbon typescript)
-United States Department of Commerce, press release, "White persons of Spanish surname in the Southwest" (mimeograph)
-Joseph Wells, "Arizona population characteristics," 1958 (dittograph)
Collection Restrictions:
The Ruth Landes papers are open for research. The nitrate negatives in this collection have been separated from the collection and stored offsite. Access to nitrate negatives is restricted due to preservation concerns.
Access to the Ruth Landes papers requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Ruth Landes papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The revision of this finding aid and digitization of portions of the collection were made possible through the financial support of the Ruth Landes Memorial Research Fund.
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.
Olivia Cadaval served as Program Curator, with Peter Seitel as Research Advisor; Héctor Antonío Corporán was Program Coordinator and Betty Belanus was Presentation Coordinator.
Collaborating institutions included Centro de Información de Historia Regional, Universid Autónoma de Nuevo León; Consejo Nacional para las Culturas y las Artes – El Programa Cultural de las Fronteras; El Colegio de la Frontera Norte (COLEF); El Paso-Hispanic Chamber of Commerce; Embajada de México en Washington, D.C.; John E. Conner Museum, Texas A & I University; Institute of Texan Cultures; Instituto Cultural de México; Instituto de Bellaas Artes del Estado de Baja California; Instituto Nacional Indigenista; Instituto Mexicano de Cultura, San Antonio; Laredo State University; Mexican Cultural Institute; Museo Regional de la Universidad Autónoma de Baja California en Mexicali; National Museum of the American Indian; New Mexico State University, Las Cruces, New Mexico; Pimería Alta Historical Society, Arizona; Texas A & I University; Texas Folklife Resources; Tumacácori National Historical Park, Arizona; University of Arizona Library's Southwest Folklore Center; University of Arizona – Bureau of Applied Research in Anthropology; University of New Mexico, Albuquerque; University of Texas – Brownsville; University of Texas, Center for Mexican-American Studies; University of Texas – Pan American; and U.S. Immigration and Naturalization Service.
United States-Mexico Borderlands was made possible with the support and collaboration of the Consejo Nacional para la Cultura y las Artes - El Programa Cultural de las Fronteras, El Colegio de la Frontera Norte, Texas Commission on the Arts, Cerveza Tecate - Imported Beer, Texas Folklife Resources, University of Arizona Library's Western Folklore Center, Tumacácori National Historical Park, Universidad Autónoma de Nuevo Léon - Centro de Información de Historia Regional, Universidad Autónoma de Baja California, Gubierno de Nuevo Léon, Mexican Cultural Institute, and the recording industries Music Performance Trust Funds.
Fieldworkers:
María 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
Presenters and fieldworkers:
Enrique Avilés, Norma Cantú, Jessica Chapin, Andrew Connors, Maricela González Felix, Mary Lou Gortárez, Everardo Garduño, James S. Griffith, Celso Garza Guajardo, Ian F. Hancock, Pat Jasper, Enrique Lamadrid, Laura Larco, Francisco Javier Moreno, Daniel Sheehy, Emily Socolov, Michael C. Stone; José Manuel Valenzuela Arce, Meynardo Vásquez, Laura Velasco Ortíz, Thomas Vennum, Jr., Cynthia Vidaurri
Participants:
Tijuana, Baja California
Olga Lidia Cortés, Mixteca, hat and basket maker, Tijuana, Baja California, Mexico
José Luis Lee Sandoval, furniture maker, Tecate, Baja California, Mexico
Mexicali, Baja California
Taller Universitario de Teatro -- Taller Universitario de TeatroAngel Norzagaray Norzagaray, 1961-, Mexicali, Baja California, MexicoHeriberto B. Norzagaray Norzagaray, 1959-, Mexicali, Baja California, MexicoLoreto Ramón Tamayo Rosas, Mexicali, Baja California, MexicoAlejandra Rioseco de la Pena, Mexicali, Baja California, MexicoAndrés García Moreno, Mexicali, Baja California, MexicoPedro Gabriel González Castro, Mexicali, Baja California, Mexico
San Simon Village, Arizona
Tohono O'odham String Band -- Tohono O'odham String BandBlaine W. Juan, 1936-, violin, dancer, San Simon Village, ArizonaJoseph Alonzo García, 1924-, violin, dancer, San Simon Village, ArizonaFrank N. Pedro, 1928-, guitar, San Simon Village, ArizonaVictor Augustine García, 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
Imuris, Sonora
Anastasio Léon, birdcage and frame maker, Imuris, Sonora, Mexico
Francisco Silva, birdcage and frame maker, Imuris, Sonora, Mexico
Magdalena, Sonora
Felipe de Jesús Valenzuela, regional historian, Magdalena, Sonora, Mexico
Tumacácori, Arizona
María Rodríguez, 1912-2001, tortilla maker, flower maker, cook, Tumacácori, Arizona
Tucson, Arizona
Reynaldo B. Hernandez, INS border patrol, storyteller, Tucson, Arizona
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 Ramírez, 1944-, guitar maker, Ciudad Juárez, Chihuahua, Mexico
Los Alegres del Norte, norteño band -- Los Alegres del Norte, norteño bandJosé Flores Cordova, accordion, Ciudad Juárez, Chihuahua, MexicoDiego Hidalgo Alvarez, 1944-, bajo sexto, Ciudad Juárez, Chihuahua, MexicoEmilio Chaírez Muñoz, tololoche, Ciudad Juárez, Chihuahua, Mexico
El Paso, Texas
Agustín Castillo, 1950-, woodcarver, furniture maker, El Paso, Texas
Carlos Callejo, Chicano muralist, El Paso, Texas
Romulo Frías, lowrider, El Paso, Texas
El Divisidero, Chihuahua
Guadalupe Carrasco Leyva, 1923-, quilter, cook, El Divisidero, Chihuahua, Mexico
Ethel I. Warrior, 1919-, oral historian, cook, Del Rio, Texas
William F. Warrior, 1927-, oral historian, storyteller, Del Rio, Texas
Laredo, Texas
Armando Flores, 1953-, blacksmith, Laredo, Texas
María Paredes de Solís, 1923-, quilter, Laredo, Texas
Monterrey, Mexico
El Palomo y el Gorrión, Norteño Band -- El Palomo y el Gorrión, Norteño BandMiguel "El Gorrión" Luna Franco, 1948-, drums, composer, vocals, Monterrey, MexicoMoisés García, guitar, Monterrey, Mexico
Joe O. Mendietta, 1961-, vaquero, horsehair braider, Kingsville, Texas
San Diego, Texas
Canuto Soliz, 1924-2006, vaquero, leatherworker, storyteller, guitarist, San Diego, Texas
Elsa, Texas
Los Hermanos Layton, Conjunto Band -- Los Hermanos Layton, Conjunto BandAntonio V. Layton, 1946-, guitar, vocals, Elsa, TexasRené Layton, drums, Elsa, TexasNorfilia Layton González, vocals, Elsa, TexasGilbert González, bass guitar, Elsa, TexasBenigno Layton, 1950-, accordion, vocals, Elsa, Texas
Brownsville, Texas
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.
Recorded in: Washington (D.C.), United States, June 26, 1985.
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.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Folklore is commonly identified by many people with rural settings, and New Jersey is basically urban, suburban, and industrial. There are indeed some rural areas in New Jersey - the truck farms of "the Garden State" and the Pine Barrens of South Jersey - but the former are fast disappearing and the latter survive only because they are preserved by the state. Most New Jerseyans live and work in the densely populated corridor that cuts across the mid-section of the state. But folklorists today recognize that there is also a folklore of the factory, a folklore of the city, and a folklore of ethnicity, and New Jersey provides a rich source for their study.
The streets of New Jersey's cities abound with traditional life as practiced for generations. One need only to walk through Hoboken or Bayonne to see children playing stick ball, hop scotch, and Double Dutch jump rope. New Jersey is populated by a large number of ethnic groups, many of which have clustered in city neighborhoods. There is a Cuban community in Union City, a Portuguese community in Newark, a Hungarian community in New Brunswick, and a Japanese community in rural Seabrook Farms. For many ethnic groups folk traditions are their symbols of identity. Their ethnicity is expressed in foodways, language, music, dance, and festivals (often in ethnic costume). Music such as Ukrainian trio music, once performed informally at weddings, is now formally presented on a stage at a public festival with dancers in folk costume. Craft traditions that used to be a vital part of rural economy in the mother country are now miniaturized and made into a hobby.
The 1983 Festival program brought a panoply of presentations from New Jersey to the National Mall, ranging from ethnic celebrations of African Americans, Japanese Americans, Italian Americans and others to craft demonstrations featuring skills and techniques of silk weaving, herbalism and glassblowing, and on to the diverse occupations associated with maritime trades and the sacred songs of menhaden fishermen.
The New Jersey Program was made possible through many generous corporate and private donations to Festival New Jersey '83!, a nonprofit corporation established and chaired by Governor Thomas H. Kean to fund New Jersey's participation in the 17th Annual Festival of American Folklife.
Sue Manos-Nahwooksy served as New Jersey Program Coordinator.
Participants:
Agriculture
Joan Sorbello Adams, farm life, Mullica Hill
Anthony Catalano, produce sales, Salem
Toni Catalano, produce sales, Salem
Mary Sorbello, produce sales, Mullica Hill
Susan Sorbello, produce sales, Mullica Hill
Celebrations
Alabama Day
Thelma Britt, Afro-American cooking, Newark
Glennie Davis Franklin, 1933-2003, shape note singing, Hillside
Mabel Jackson, shape note singing, East Orange
Mary Alice Phillips, shape note singing, Elizabeth
Mabel Upshaw, shape note singing, East Orange
Bon Festival
Iddy Asada, cooking, Bridgeton
Sandy Ikeda, drums-New York, New York
Fusaye Kazaoka, 1930-2006, embroidery, Bridgeton
Shigeko Kazaoka, 1902-1992, crafts, Bridgeton
Ellen Nakamura, 1919-2000, obon dancing, kimono making, Elmer
"Doc" McKenzie and the Gospel Hi-Lites -- "Doc" McKenzie and the Gospel Hi-LitesMarvin Bradshaw, bass, PatersonDarryl Henley, guitar, PatersonGreg Herbert, organ, PatersonAbraham McKenzie, vocals, PatersonDavid McKenzie, vocals, PatersonMilbert "Doc" McKenzie, 1949-, vocals, PatersonHenry Redmond, drums, PatersonWilliam Wribbee, vocals, Paterson
Pure Water -- Pure WaterCharles Banks, Jr., vocals, NewarkJoe Briscoe, vocals, NewarkTerrance Forward, vocals, NewarkWayne Johnson, vocals, IrvingtonJohnny Shipley, group leader, Newark
Silk
Joseph Grauso, 1916-1997, weaving, Elmwood Park
Roy Harris, 1920-1990, weaving, Bensalem, Pennsylvania
Prince Hatley, 1916-1991, weaving, Philadelphia, Pennsylvania
Traditional Medicine & Pharmacology
Fred Anderson, glassblower, Sun City, Arizona
Evidio Espinosa, herbalist, West New York
Louis Molinari, 1931-2004, glassblower, Stirling
Efrain Osorio, herbalist, Newark
Alvin Segelman, pharmacognosist, Piscataway
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: 1983 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:
Mexico is a land of many musical traditions. Each of its many Indian groups has its own musical systems, occasions, and repertories. Among large-city dwellers there are many "communities of taste," ranging from preferences for Western classical music to international popular and protest music. The rural mestizos (a mixture of Spanish and Amerindian populations and cultures) also maintain a variety of musical traditions. Mestizo music, along with related traditions among Mexican Americans, was included in the 1978 Festival.
The Mexican presentation featured dancers, musicians, and singers from the Mexican states of Puebla, Michoacán, Guerrero, and Veracruz. All the groups came from the central area of Mexico where the largest concentration of colonial population settled and thus visitors could see a heavy, but not exclusive, Spanish influence in their music. Instruments derived from colonial Spanish prototypes, although the drum used by the Puebla group is a modern variant of the ancient Aztec huehuetl. Melodies derived from Spanish and other European sources, but showed the distinct Mexicanization of these musical traditions. Like so much of Mexico's traditional culture, the music presented at the Festival was the unique product of its rich historical and regional origins.
The Mexican American crafts and foodways presentations explored some traditions transplanted from Mexico and some that were developed or adapted in the United States by a richly creative culture. Both in Mexico and the United States, traditions vary widely; thus the featured crafts and household arts represent only part of the Mexican American folk culture. The crafts and household arts of Mexican American communities demonstrated how creativity and the desire for beauty pervade the everyday activities of home and work as well as the special events of holidays and celebrations.
The Mexican & Mexican American program received support from Coca-Cola de México and Aid to Artisans, Inc. The Festival presentations were part of a larger, year-long celebration and exploration of Mexican culture entitled "Mexico Today", organized in cooperation with the Government of Mexico and sponsored by the National Endowment for the Humanities, National Endowment for the Arts and Inter-American Foundation.
Participants:
Mexican
Alberto Hernández Carmona, musician, Veracruz, Mexico
Carlos Cervantes Mora, musician, Michoacán, Mexico
Julia López, 1919-, lace maker, weaver, Los Angeles, California
Efrim R. Michi, musician, Houston, Texas
Emiliano Peña, 1914-1996, saddle maker, Rosemead, California
Gerald Sánchez, musician, Houston, 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: 1978 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Santa Cruz County, Las Cienegas NCA; Population accessible from main road at south entrance intersection with Hwy 82, near Cienega Creek and on nearby flats and ridgelines. 12R 539665 3509914., Arizona, United States, North America
Santa Cruz County, Las Cienegas NCA; Population accessible from main road at south entrance intersection with Hwy 82, near Cienega Creek and on nearby flats and ridgelines. 12R 539665 3509914., Arizona, United States, North America
Cochise County, Barboot Ranch; Permission required to access site. Access gate on west side of Leslie Canyon Road takes you to population near cattle tank and bull pen. 0.25 miles from Leslie Canyon Rd. 12 R., Arizona, United States, North America
Santa Cruz County, Las Cienegas NCA; Population accessible from main road at south entrance intersection with Hwy 82, near Cienega Creek. 12R 539665 3509914., Arizona, United States, North America
Santa Cruz County. Las Cienegas NCA; Population accessible from main road at south entrance intersection with Hwy 82, near Cienega Creek and on nearby flats and ridgelines. 12R 539665 3509914., Arizona, United States, North America
Cochise County, Barboot Ranch; Permission required to access site. Access gate on west side of Leslie Canyon Road takes you to population near cattle tank and bull pen. 0.25 miles from Leslie Canyon Rd. 12 R 0644455 3506283., Arizona, United States, North America
Santa Cruz County, Las Cienegas NCA; Population accessible from main road at south entrance intersection with Hwy 82, near Cienega Creek and on nearby flats and ridgelines. 12R 539665 3509914., Arizona, United States, North America
Santa Cruz County. Las Cienegas NCA; Population accessible from main road at south entrance intersection with Hwy 82, near Cienega Creek and on nearby flats and ridgelines. 12R 539665 3509914., Arizona, United States, North America
This scrapbook includes articles, newspaper clippings, letters and photographs from various events and marches Grace participated in regarding the fight for returning surplus lands to Native peoples. These events and materials include--Fishing Rights March (1970) in Yelm, Washington with the McCloud family; Fort Lawton "Surplus" March (1970) in Seattle, Washington; Pit River versus P.G..E. (1970) in Big Bend, California; DQU, Deganawidah Quetzalcoatl University founding (1971) in Davis, California; and documentation as National Commitee Director for the "Return Surplus Lands to Indian People".
Separated Materials:
The cover and back of the scrapbook binder are in Box 12 since they are oversized.
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited users to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not changed, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian.
Collection Citation:
Identification of specific item; Date (if known); Grace F. Thorpe Collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
