This series contains 12 postcards and 10 stereographs. The images include depictions of activities such as weaving, basket making, and horse-racing. Communities represented include Diné (Navajo), Hopi Pueblo, Laguna Pueblo, and Taos Pueblo. The images also include depictions of a number of buildings and structures such as the Cliff Palace at Mesa Verde, the Lagoon Indian School in Phoenix, Arizona, and the Indian Building in Albuquerque, New Mexico. A number of the stereographs were produced by the Keystone View Company and feature educational, though not always accurate or factual, classroom information on the reverse. A number of the postcards were produced by the Fred Harvey Company which partnered with the Santa Fe Railroad in the early 20th century to generate tourism in the American Southwest.
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).
Rights:
The following images in this series are restricted due to cultural sensitivity: P33116; P33120.
Collection Citation:
Identification of specific item; Date (if known); Douglas E. Evelyn photograph and ephemera collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Indians of North America -- Southwest, New Search this
Type:
Archival materials
Field notes
Manuscripts
Vocabulary
Place:
Arizona
Date:
1913-1946
Scope and Contents:
This set of files contains Harrington's Hopi research. The materials consist of Oraibi linguistic notes, Walpi linguistic notes, notes on phonetics, writings, and miscellaneous notes.
His Oraibi notes include geographical terms provided by Bert Fredericks in slipfile format, a short etymology of the village name Awatobi, and a small rudimentary file of phonetic sounds. While at Elden Pueblo, Harrington also elicited several Oraibi terms from Otto Lomavitu, described as an educated Indian associated with the Moravian missionaries. Kuyawaima, an elderly Oraibi, provided information on basket-making during another interview in August 1926. The majority of the early records in the Oraibi dialect consist of numbered pages of Harrington's handwritten notes which emerge as a combination of vocabulary, phrases, and grammar in the early stages of development, followed by a brief text on Coyote with interlinear translation. Pages 38, 39, and 40 contain a selected number of terms in Zuni.There is one brief mention of an individual named Ignacio but it is not clear whether the vocabularies originated with him. The elicitation was based partly on a rehearing of a typed "Oraivi Vocabulary" found accompanying the handwritten notes. Harrington was in California in 1912 and early 1913 and was engaged in various projects, one of which was copying manuscripts at the Bancroft Library, a possible source of this material.
Harrington's Walpi data from the work in 1926 and 1939 are of a much less systematic nature. A pocket-sized notebook which he used while at the Grand Canyon contains notes from a brief survey of Walpi speakers, random vocabulary items from Percy Hilling, and an outline of the sequence of songs performed by kutKa, the chief of Walpi, and others. Also recorded during this period are additional lexical items, possibly obtained from a man named Sam, and five pages describing a placename trip which Harrington made from Polacca to Holbrook.
The material from 1939 consists of notes from several brief interviews with Walpi speakers encountered in the Fort Defiance area. On September 27, 1939, Harrington recorded one page of placenames from the son of Tom Polacca, an interpreter at First Mesa in the 1880s and 1890s. Additional placename data were obtained from an unidentified Hopi speaker at the home of Jack Snow. Following each of the vocabularies are copies which Harrington made of the names in 1944 in order to locate them on a map by Van Valkenburgh (1941). Three pages of miscellaneous vocabulary from an unidentified source also date from the 1939 period.
His notes on phonetics were likely made during his comparative study of Hopi and other Uto-Aztecan languages. Harrington made a number of observations on the phonetics of the language. These were recorded in the form of a "Hopi Mouthmap." Secondary sources referred to were Parsons (1936), Trubetskoi (1939), Whiting (1939), and Whorf (unspecified works). The mouthmap appeared in Hewett, Dutton, and Harrington's The Pueblo Indian World (1945).
His Hopi writings consist of preparatory notes and drafts in various stages of completion. From 1945-1946 are notes, handwritten drafts, and finished typescripts of his review of The Hopi Way by Laura Thompson and Alice Joseph, as well as the article "Note on the Names Moqui and Hopi." Both of these were published in the American Anthropologist. There is also a typed draft of an unpublished note, intended for release in Indians at Work, titled "Hopi Discovered To Be Most Nearly Akin to Northern Paiute."
Dating from both the periods around 1922 and 1939 are a number of pages of miscellaneous notations. These contain observations of an ethnographic nature, bibliographies, and brief extracts from secondary sources. One set, consisting of comments on seven "landnames," was obtained from an informant referred to as "Hopi at Jack Snow's." Also included is correspondence dated 1914 requesting information on Hopi rocks and a related photograph (originals in files of correspondence and photographs).
There are few field notes relative to the Hopi recordings Harrington made with Fewkes and Prescott and the related sound recordings have not been located.
Biographical / Historical:
John P. Harrington's field notes indicate that he worked on the Hopi language as early as 1913 and reviewed his material as late as 1944. Although he published a short article on Hopi in 1945 and a review of The Hopi Way (1944) in 1946, his notes on this language are not extensIve.
His first contact with speakers of Hopi evidently occurred in 1913, as suggested by his heading "Hopi Language. 1913." A more precise date and location are not given, but it is possible that Harrington made a side trip to the Third Mesa during February when he was working at a number of other pueblos or that he located a speaker of the Oraibi dialect at one of those locations.
From May through September of 1926, Harrington was called away from fieldwork in northern California to assist J. Walter Fewkes, head of the Bureau of American Ethnology, in archeological excavations at Elden Pueblo near Flagstaff, Arizona. According to The B.A.E. Annual Report for 1925 -1926 (p. 5), prior to the excavations, Harrington and J. O. Prescott assisted Fewkes in the recording of Hopi songs. Four of the older Hopi were brought from Walpi to the Grand Canyon, where they performed 11 katcina songs.
Harrington had a second opportunity to record several short vocabularies in the dialect of First Mesa in 1939 when he and Robert W. Young were beginning joint work on Athapascan in the Fort Defiance area of Arizona. His interest in Hopi was renewed again in March of 1944 when he made a comparative study with other Uto-Aztecan languages of the Takic subfamily.
John Peabody Harrington papers, National Anthropological Archives, Smithsonian Institution
The preferred citation for the Harrington Papers will reference the actual location within the collection, i.e. Box 172, Alaska/Northwest Coast, Papers of John Peabody Harrington, National Anthropological Archives, Smithsonian Institution.
However, as the NAA understands the need to cite phrases or vocabulary on specific pages, a citation referencing the microfilmed papers is acceptable. Please note that the page numbering of the PDF version of the Harrington microfilm does not directly correlate to the analog microfilm frame numbers. If it is necessary to cite the microfilmed papers, please refer to the specific page number of the PDF version, as in: Papers of John Peabody Harrington, Microfilm: MF 7, R34 page 42.
This subseries of the Southwest series within the John P. Harrington papers contains general and miscellaneous materials. Certain notes in this subseries encompass the Southwest as an entity; others constitute small files of miscellany which do not relate directly to the preceding sets of field notes. Few precise dates are assigned to this section of material as it is based on information accumulated over an indefinite period of time.
One section contains archaeological field notes relating to Elden Pueblo. In 1926 Harrington was called to assist J. W. Fewkes at the excavation of ruins at Elden Pueblo near Flagstaff, Arizona. This set of files comprises the journal entries which Harrington made on an almost daily basis between May 27 and August 27, 1926. There are two sets of notes--the original handwritten ones and a typed copy which was submitted to Fewkes on November 10, 1926 (former B.A.E. MS 6010). The journal contains brief notes, sketches of pits and artifacts, references to photographs, and names of associates; there are no significant linguistic or ethnographic data.
The subseries also contains a comparative list of Taos, Picuris, Isleta, Tewa (San Juan), and Tanoan numerals, based mainly on Harry S. Budd's B.A.E. MS 1028. There are also notes on pueblo basket-making from his interviews with Dr. and Mrs. Colton and Mr. Gladwin (B.A.E. MS 2291) , as well as an account of an Indian scout (Yavapai) working for the U.S. Cavalry. In addition, there is an assortment of notes on photographs, bibliography, and a large chart of pronouns.
Harrington's writings are also present. These include preliminary drafts and notes for "The Southwest Indian Languages" and "The Sounds and Structure of the Aztecan Languages." Most of the information was evidently extracted from notes on hand at the time. Harrington mentioned James Johnson and Edward Hunt, both of whom spoke Acoma-Laguna and worked with him in July and August of 1944. Tom Polacca's son gave Hopi data. There are also a partial draft, notes, and bibliography for an article titled "Indians of the Southwest" (1942). Material relating to unpublished writings includes notes for a review of Mary Roberts Coolidge's The Rain-Makers (1929). An undated draft and notes on "The Southern Athapascan" are also included.
A group of original field notes from Harrington's collaborators were left in his possession; in particular, a group of handwritten slips taken between December 10, 1912, and April 6, 1913, were found in an envelope addressed to Harrington. Barbara Freire-Marreco evidently sent them from Polacca, Arizona, to Harrington in Santa Fe, New Mexico. The content is mainly grammatical, with vocabulary items and ethnographic material interspersed. The language has not been identified. A second set of notes consists of cards and a typed list, evidently compiled by Junius Henderson. The data include animal terms in Hopi (Moki), Pima, and Walapai.
John Peabody Harrington papers, National Anthropological Archives, Smithsonian Institution
The preferred citation for the Harrington Papers will reference the actual location within the collection, i.e. Box 172, Alaska/Northwest Coast, Papers of John Peabody Harrington, National Anthropological Archives, Smithsonian Institution.
However, as the NAA understands the need to cite phrases or vocabulary on specific pages, a citation referencing the microfilmed papers is acceptable. Please note that the page numbering of the PDF version of the Harrington microfilm does not directly correlate to the analog microfilm frame numbers. If it is necessary to cite the microfilmed papers, please refer to the specific page number of the PDF version, as in: Papers of John Peabody Harrington, Microfilm: MF 7, R34 page 42.
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 1967 Festival of American Folklife. 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: Fieldwork
Series 3: Photographs
Series 4: Audio
Series 5: Video
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 1967 Festival of American Folklife was produced by the Smithsonian Division of Performing Arts.
For more information, see Smithsonian Folklife Festival records.
Introduction:
In 1966, Smithsonian Secretary S. Dillon Ripley engaged James R. Morris to serve as Director of Museum Services, soon to become a new Division of Performing Arts. Ripley charged Morris to develop a full program of performances on the National Mall - sound and light show, readings and concerts, films, live demonstrations, and special exhibitions. Morris, who had previously organized the American Folk Festival in Asheville, North Carolina, in 1963, proposed that the Smithsonian host a folk festival as the centerpiece of the outdoors activities. Through the Asheville festival, Morris had come into contact with key people involved in the Newport Folk Festival, among them Alan Lomax. It was Lomax who suggested that the Smithsonian hire Newport's then-director of field programs, Ralph C. Rinzler, to help plan a Smithsonian festival. The term "folklife", drawn from Scandinavian usage, was chosen over "folk" as the name of the new Festival.
The first Festival of American Folklife was held July 1-4, 1967 in two tents - one for crafts and one for sales - a music stage, and a performance area on the terrace of the Museum of History and Technology (later, the National Museum of American History). Fifty-eight traditional craftspeople and thirty-two musical and dance groups from throughout the United States demonstrated and performed at the first open-air event. Mountain banjo-pickers and ballad singers, Chinese lion dancers, Indian sand painters, basket and rug weavers, New Orleans jazz bands and a Bohemian hammer dulcimer band from east Texas combined with the host of participants from many rural and urban areas of the U.S. The entire event was free to the public, the expense of the production having been borne by the Smithsonian aided by numerous civic and cultural organizations, business enterprises and State Arts Councils.
The 1967 Festival drew a huge crowd - estimated at more than 400,000 - and strong interest from the press, Members of Congress, and Smithsonian leadership. In the Smithsonian's annual report for 1967, Ripley reflected on the success of the Festival:
Within - in the Museum - the tools, the products of craft work, the musical instruments hang suspended in cases, caught in beautifully petrified isolation. Without, for the space of a few hours they came alive in the hands of specialists from all over America.... It was a moving spectacle and one that underscored the principle that a museum, to be a museum in the best sense of the word, must live and breathe both within and without.
The 1967 Festival marked the inception of a fresh attempt at the evaluation, documentation and celebration of a hitherto unrecognized area of vigorous American expression. Concurrent with the first Festival, an American Folklife Conference was organized (with assistance from Henry Glassie) to address topics of American and international folklife studies, the relationship between folklife and history, applied folklife, and folklife in schools, museums, communities, and government agencies.
The Festival was organized by the Division of Performing Arts, under the direction of James R. Morris. Ralph Rinzler was the Applied Folklore Consultant and Festival Artistic Director, and Marian A. Hope was Project Assistant. No program book or schedule was published, but news articles, congressional remarks, letters from the public, and a list of participants were later compiled in lieu of a program book. That document can be viewed in Series 1.
Participants:
Crafts
Harry Belone, 1912-1986, Navajo sand painter, Arizona
Herman Benton, 1914-1994, scoop maker, New York
Mary Bowers, 1922-2002, Seminole patchwork, needlework, Florida
Marie Z. Chino, 1907-1982, Acoma pottery, New Mexico
Mildred Cleghorn, 1910-1997, Indian cloth dolls, Oklahoma
Maisy Coburn, apple face and corncob dolls, Arkansas
Margaret Coochwytewa, 1923-1995, Hopi, coil and yucca leaves basket maker, Arizona
Victor Coochwytewa, 1922-2011, Hopi silversmith, Arizona
Freedom Quilting Bee, Alabama
Taft Greer, 1908-1986, weaver, Tennessee
Joseph Grismayer, 1888-1970, willow basket maker, Pennsylvania
Dewey Harmon, 1900-1972, whittler, North Carolina
Bea Hensley, 1919-2013, blacksmith, North Carolina
Louise Jones, 1910-1973, coil basket making, South Carolina
Robert Keith, chair maker, North Carolina
Mrs. Robert Keith, chair maker, North Carolina
Norman Kennedy, 1934-, carder, spinner, weaver, Massachusetts
Clifford Lucas, Indian dolls, New Mexico
Lila Suzanne Marshall, 1908-1994, corn shuck dolls, North Carolina
Charles Mayac, 1906-1971, ivory carver, Alaska
Leo J. Meyer, scrimshaw carver, Maryland
Alice Merryman, 1906-2007, corn shuck dolls, Arkansas
Norman Miller, 1905-1972, southern pottery, Alabama
Mrs. Norman Miller, southern pottery, Alabama
Hazel Miracle, 1915-2001, apple face, corn shuck dolls, Kentucky
Homer Miracle, 1910-1980, hand-hewn bowls, carver, Kentucky
Ann Mitchell, corn shuck dolls, Maryland
Golda Porter, spinner, North Carolina
Edd Presnell, 1916-1994, dulcimer maker, North Carolina
Wade Ward (1892-1971) and the Buck Mountain Band, mountain string band, Virginia
Yomo Toro Band, Puerto Rican music, New York
Ed Young (1910-1972), G.D. Young and Lonnie Young (1903-1976), African American fife and drum group, Mississippi
Young People's Chorus from the Scripture of Church of Christ, gospel, Virginia
Dance
Blue Ridge Mountain Dancers, cloggers, North Carolina
Chinese Lion Group, Washington, D.C.
Maurice Flowers, square dance caller, Maryland
Los Gallegos d'Espana, Galician dance, New York
Glinka Dancers, Russian dance group, New Jersey
Jochim Koyuk, King Island Eskimo dancer, Alaska
Mrs. Jochim Koyuk, King Island Eskimo dancer, Alaska
McNeff Dancers, Irish dancing with Ceilidh band, New York
Henry Paterick, square dance caller, Virginia
St. Andrews Society Group, Scottish dancing, Washington, D.C.
Forms Part Of:
Smithsonian Folklife Festival records: 1967 Festival of American Folklife 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 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 rinzlerarchives@si.edu for additional information.
Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Recorded in: Washington (D.C.), United States, June 30, 1972.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Recorded in: Washington (D.C.), United States, July 5, 1991.
Restrictions:
Restrictions on access. Hopi materials are in-house research only, No duplication.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
101 River and Ocean Narratives / Juan Olivares, Laura Larco, Miguel Puwainchir.
102 Dictionary and Language Barriers / Merwyn Kooyahoema, Sandra Fox.
Local Numbers:
FP-1991-CT-0174
General:
tape /
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 5, 1991.
Restrictions:
Restrictions on access. Hopi materials are in-house research only, No duplication.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
101 Hopi Basketry / Marcus Coochwikvia, Pearl Kootswytewa.
102 Children's Toys and Games / Bertrum Tsavatawa, Patrick Joshvehma.
Local Numbers:
FP-1991-CT-0175
General:
tape /
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 5, 1991.
Restrictions:
Restrictions on access. Hopi materials are in-house research only, No duplication.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
101 Tourism and Art / Holly J. Churchill, James Garcia, Marcus Coochwikvia.
102 Stories, Legends, and Myths / Cesar Callisaya Yurijra, Juan Olivares, Tomas Huanca.
Local Numbers:
FP-1991-CT-0176
General:
tape /
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 6, 1991.
Restrictions:
Restrictions on access. Hopi materials are in-house research only, No duplication.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
102 Hopi Dictionary/Animal Imagery / Bertrum Tsavatawa, Esther Susan Shea.
Local Numbers:
FP-1991-CT-0177
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 6, 1991.
Restrictions:
Restrictions on access. Hopi materials are in-house research only, No duplication.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
101 Hopi Katsina Doll Carving / Marcus Coochwikvia, Patrick Joshvehma.
102 Basketry and Design / Holly J. Churchill, Pearl Kootswytewa.
103 Painting and Land / Bertrum Tsavatawa, Beth Curren.
Local Numbers:
FP-1991-CT-0178
General:
tape /
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 7, 1991.
Restrictions:
Restrictions on access. Hopi materials are in-house research only, No duplication.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
101 Cross Cultural Program: Comparative Basketry / Holly J. Churchill, Pearl Kootswytewa, Vincente K'in Paniagua.
Local Numbers:
FP-1991-CT-0179
General:
tape /
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 7, 1991.
Restrictions:
Restrictions on access. Hopi materials are in-house research only, No duplication.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
101 Basketry / Holly J. Churchill, Pearl Kootswytewa.
102 Tourism / Jesús Marca Quispe, Merle Calnimptewa.
Local Numbers:
FP-1991-CT-0205
General:
tape /
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 29, 1991.
Restrictions:
Restrictions on access. Hopi materials are in-house research only, No duplication.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
101 Comparative Basketry / Delores Churchill, Holly J. Churchill, Pearl Kootswytewa.
102 Katsina Doll Carving / Merwyn Kooyahoema, Patrick Joshvehma.
Local Numbers:
FP-1991-CT-0206
General:
tape /
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 30, 1991.
Restrictions:
Restrictions on access. Hopi materials are in-house research only, No duplication.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
101 Hopi Dictionary / Ken Hill, Mark Jacobs, Pearl Kootswytewa.
101 Hopi Basketmaking / Pearl Kootswytewa.
Local Numbers:
FP-1991-CT-0219
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 28, 1991.
Restrictions:
Restrictions on access. Hopi materials are in-house research only, No duplication.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The craft presentations at the 1968 Festival featured more than 60 persons demonstrating basket-making, woodworking, wood carving, pottery, blacksmithing and tinsmithing, doll-making, and foodways. A special focus was on textile traditions, with large contingents demonstrating diverse approaches to processing cotton and wool, needlework, and quilt-making.
Participants:
Maurice Alexander, Lummi, totem poles, Washington
Elizabeth Bass, 1906-1991, wool carder, Missouri
Kay Bates, cotton weaver, spinner (treadle wheel) and carder, Louisiana
Herman Benton, 1914-1994, grain scoop maker, New York
Joe Washington and family, Lummi, net making and setting, Washington
Florence Watson, Navajo, wool weaver, spinner, carder, New Mexico
Ora Watson, 1909-2004, quilter, North Carolina
Rosa Lee Watson, quilter, Deep Gap, North Carolina
Willard Watson, 1905-1994, toys, Deep Gap, North Carolina
Mrs. Hobart Whitson, quilter, Burnsville, North Carolina
Connard Wolfe, 1933-, stone and wood carvings, West Virginia
Collection Restrictions:
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 rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1968 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections , Smithsonian Institution.
Date supplied from Dr Paul Vanderbilt. See correspondence in National Anthropological Archives permanent correspondence file.
Local Numbers:
OPPS NEG.57401
Local Note:
Information supplied by J.C. Ewers. Tribe and place supplied from captions on the nitrate movie film reviewed by John C. Ewers and Margaret C. Blaker in 1966.
Nitrate film is now in the L. C. and is titled "Vanishing Indians" (PJR 1974)
Date supplied from Dr Paul Vanderbilt. See correspondence in National Anthropological Archives permanent correspondence file.
Local Numbers:
OPPS NEG.57402
Local Note:
Information supplied by J.C. Ewers. Tribe and place supplied from captions on the nitrate movie film reviewed by John C. Ewers and Margaret C. Blaker in 1966.
Nitrate film is now in the L. C. and is titled "Vanishing Indians" (PJR 1974)
Date supplied from Dr Paul Vanderbilt. See correspondence in National Anthropological Archives permanent correspondence file.
Local Numbers:
OPPS NEG.57403
Local Note:
Information supplied by J.C. Ewers. Tribe and place supplied from captions on the nitrate movie film reviewed by John C. Ewers and Margaret C. Blaker in 1966.
Nitrate film is now in the L. C. and is titled "Vanishing Indians" (PJR 1974)
Date supplied from Dr Paul Vanderbilt. See correspondence in National Anthropological Archives permanent correspondence file.
Local Numbers:
OPPS NEG.57404
Local Note:
Information supplied by J.C. Ewers. Tribe and place supplied from captions on the nitrate movie film reviewed by John C. Ewers and Margaret C. Blaker in 1966.
Nitrate film is now in the L. C. and is titled "Vanishing Indians" (PJR 1974)
