This collection consists of 145 postcards and 11 photographs depicting Indigenous peoples of the Americas, with dates ranging 1890 – 1930s. The bulk of the collection consists of postcards of Native communities throughout the United States, and includes portrait images, dwellings, basket-making, weaving, and crafts.
Scope and Contents:
The Dale Jenkins postcard and photograph collection consists of 145 postcards and 11 photographs with dates ranging 1890 – 1930s. The images depict Indigenous peoples of the Americas, and spans a large geographical breadth extending from the Arctic in the north to Chile and Peru in South America. The bulk of the collection consists of postcards of Native communities throughout the United States, with a significant number of images depicting various Pueblo and Southwest cultural groups; many of these latter postcards were produced by the Fred Harvey Company. A number of the postcards and photographs include portrait images, dwellings, basket-making, weaving, and crafts. Also of particular note are 13 scenes of daily life at a number of different Indian Boarding Schools at the turn of the twentieth century. Finally, in addition to the postcard images are 11 photographs consisting of cabinet cards and other photographic prints.
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research.
Arrangement:
This collection is arranged into 11 series, organized thematically (Indian Boarding Schools) and then regionally by location or culture group. Series 1: Indian Boarding Schools, Series 2: Arctic/Subarctic, Series 3: Northwest Coast,
Series 4: California, Series 5: Great Basin/Plateau, Series 6: Southwest, Series 7: Plains, Series 8: Northeast/Great Lakes, Series 9: Southeast, Series 10: Mexico/Central America, Series 11: South America
Biographical / Historical:
Dale Jenkins is a retired Financial Planner living in California, having previously worked in the Aerospace industry. He has collected late-nineteenth- and early-twentieth-century American photographs and postcards for over 30 years. In addition to archival collections donated to the Smithsonian Institution's National Museum of the American Indian, Jenkins has also donated postcard and photograph collections to the California Museum of Photography, the California Historical Society, and the Museum of the City of New York.
Provenance:
This collection was donated by Dale Jenkins in 2013 and 2014.
Restrictions:
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 3:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, 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. For more information please see the Smithsonian's Terms of Use and NMAI Archives Center's Digital Image request website.
Indians of Central America -- Guatemala Search this
Citation:
Identification of specific item; Date (if known); Dale Jenkins postcard and photograph collection, NMAI.AC.069, Box and Folder Number; National Museum of the American Indian Archives Center, Smithsonian Institution.
This series contains 45 postcards and 6 photographic prints. The images include depictions of activities such as weaving, basket making, pottery making, bread-baking, and selling crafts. Communities represented include Acoma Pueblo, Akimel O'odham (Pima), A:shiwi (Zuni), Chimayo, Cochiti Pueblo, Diné (Navajo), Havasupai (Coconino), Hopi Pueblo, Hualapai (Walapai), K'apovi (Santa Clara Pueblo), Laguna Pueblo, Mojave (Mohave), Tesuque Pueblo, and Tohono O'odham (Papago). The only individual specifically identified is Elle of Ganado [Diné (Navajo)], a well-known and celebrated weaver of the time. A large number of these 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 Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 3:30 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 Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, 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. For more information please see the Smithsonian's Terms of Use and NMAI Archives Center's Digital Image request website.
Collection Citation:
Identification of specific item; Date (if known); Dale Jenkins postcard and photograph collection, NMAI.AC.069, Box and Folder Number; National Museum of the American Indian Archives Center, Smithsonian Institution.
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.
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: 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 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.
101 Basketry / Holly J. Churchill, Pearl Kootswytewa.
102 Tourism / Jesús Marca Quispe, Merle Calnimptewa.
Local Numbers:
FP-1991-CT-0205
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 29, 1991.
Restrictions:
Contains some materials that may be restricted due to cultural sensitivity.
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.
101 Comparative Basketry / Delores Churchill, Holly J. Churchill, Pearl Kootswytewa.
102 Katsina Doll Carving / Merwyn Kooyahoema, Patrick Joshvehma.
Local Numbers:
FP-1991-CT-0206
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 30, 1991.
Restrictions:
Contains some materials that may be restricted due to cultural sensitivity.
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.
101 Cross Cultural Program: Comparative Basketry / Holly J. Churchill, Pearl Kootswytewa, Vincente K'in Paniagua.
Local Numbers:
FP-1991-CT-0179
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 7, 1991.
Restrictions:
Contains some materials that may be restricted due to cultural sensitivity.
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.
101 Hopi Basketry / Marcus Coochwikvia, Pearl Kootswytewa.
102 Children's Toys and Games / Bertrum Tsavatawa, Patrick Joshvehma.
Local Numbers:
FP-1991-CT-0175
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 5, 1991.
Restrictions:
Contains some materials that may be restricted due to cultural sensitivity.
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.
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
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 6, 1991.
Restrictions:
Contains some materials that may be restricted due to cultural sensitivity.
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.
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:
Contains some materials that may be restricted due to cultural sensitivity.
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.
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
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 7, 1991.
Restrictions:
Contains some materials that may be restricted due to cultural sensitivity.
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.
Recorded in: Washington (D.C.), United States, July 5, 1991.
Restrictions:
Contains some materials that may be restricted due to cultural sensitivity.
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.
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
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 5, 1991.
Restrictions:
Contains some materials that may be restricted due to cultural sensitivity.
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.
This finding aid is intended as a historical document of the event, July 1-4, 1967 and the participants in this festival. Not all of the individuals listed below were recorded or photographed. The documentation of this festival was minimal so there is not a wealth of material still existing or accessible from this event for study. What exists is listed later in this document. Contains parts of several boxes of paper records. 7 reel to reel audiotapes, photographs.
Scope and Content note:
The collection includes the paper records that resulted from the production of the program. The collection includes audiovisual documentation during the festival itself including audio recordings and photographs. For specific information about the materials in each series, please refer to the series description. For additional information about the 1967 Festival of American Folklife, one should consult the central Smithsonian Institution Archives and the papers of the Division of Performing Arts.
Historical note:
In 1967, the Smithsonian held its first ever Festival of American Folklife. Then Smithsonian Secretary S. Dillon Ripley was interested in getting the museum out to the people. He assigned the task of creating a festival to James Morris, head of what was then the Smithsonian Division of Performing Arts. Ralph Rinzler was hired as the folklore consultant. Rinzler had been one of the chief talent scouts for the Newport Folk festival and had done extensive fieldwork on American folk traditions. Rinzler had also been involved in the creation of the "festival workshop" concept which incorporates narratives and audience interaction with musical performance. He also felt strongly that craft and food traditions were equally important and also a major part of the folklife of a traditional community.
This four day event set the pattern for what became a yearly event. It featured craft traditions as well as musical performances by some of the well known traditional musicians of the 20th century, many of whom had previously appeared at the Newport Folk Festival.
List of Festival Participants:
Crafts
Louise Jones, Coil basket making, South Carolina
Margaret Coochwytewa, Coil and Yucca leaves, Hopi basket maker, Arizona
Joseph Grismayer, Willow, basket maker, Pennsylvania
Bea Hensley, blacksmith, North Carolina
Homer Miracle, Hand-hewn bowls, carver, Kentucky
Charles Mayac, Ivory carver, Alaska
Leo J. Meyer, scrimshaw carver, Maryland
Edd Presnell, Dulcimer maker, North Carolina
Willard Watson, Toy maker, North Carolina
Dewey Harmon, Whittler, North Carolina
Herman Benton, Scoop maker, New York
Robert Keith, Chair maker, North Carolina
Mrs. Robert Keith, Chair maker, North Carolina
Clifford Lucas, Indian dolls, New Mexico
Hazel Miracle, Apple face, corn shuck dolls, Kentucky
Mildred Cleghorn, Indian cloth dolls, Oklahoma
Alice Merryman, Corn shuck dolls, Arkansas
Lila Marshall, Corn shuck dolls, North Carolina
Ann Mitchell, Corn shuck dolls, Maryland
Maisy Coburn, Apple face and Corncob dolls, Arkansas
Mary Bowers, Seminole patchwork, needlework, Florida
Wade Ward and the Buck Mountain Band, mountain sting band, Virginia
Ed Young and family, African American fife and drum group, Mississippi
Bessie Jones and the Georgia Sea Island Singers, shouts, jubilees, spirituals, and ring games, Georgia
The Moving Star Hall Singers, shouts, jubilees, spirituals, and ring games, South Carolina
Yomo Toro Band, Puerto Rican music, New York
Billie and De De Pierce and the Preservation Hall Jazz Band, New Orleans jazz, Louisiana
Jimmie Driftwood, Ozark ballad singer, Arkansas
John Papakee, Mesquakie Indian music, Iowa
Grace Papakee, Mesquakie Indian music, Iowa
Almeda Riddle, Ozark ballad singer, Arkansas
Vinice Lejeune Group, Cajun band, Louisiana
John Jackson, Songster and blues singer, Virginia
Libba Cotten, Country guitarist, North Carolina, Washington, D.C.
The Baca Family Band, Czech-American polka music, Texas
Norman Kennedy, Scots ballad singer, Massachusetts
The McGee Brothers with Sid Harkreader, String band, Tennessee
Glenn Ohrlin, Cowboy singer, Arkansas
Young People's Chorus from the Scripture of Church of Christ, gospel, Virginia
Dance
Blue Ridge Mountain Dancers, cloggers, North Carolina
St. Andrews Society Group, Scottish dancing, Washington, D.C.
Glinka Dancers, Russian dance group, New Jersey
McNeff Dancers, Irish dancing with Ceilidh band, New York
Chinese Lion Group, Washington, D.C.
Jochim Koyuk, King Island Eskimo dancer, Alaska
Mrs. Jochim Koyuk, King Island Eskimo dancer, Alaska
Los Gallegos d'Espana, Galician dance, New York
Henry Paterick, square dance caller, Virginia
Maurice Flowers, square dance caller, Maryland
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.
Related Publications:
The following publications exist in the archive library and can be studied on-site.
Eaton, Allen H., Handicrafts of the Southern Highlands, New York: Russell Sage Foundation, 1937
Jones, Bessie and Bess Lomax Hawes, Step it Down: Games, Plays, Songs, and Stories from the Afro-American Heritage, New York: Harper and Row, 1972.
Kirlin, Katherine S., and Thomas M. Kirlin, Smithsonian Folklife Cookbook, Washington, D.C.: Smithsonian Press, 1991
Kurin, Richard, Reflections of a Culture Broker: A View from the Smithsonian, Washington, D.C.: Smithsonian Press, 1997
Kurin, Richard, Smithsonian Folklife Festival: Culture Of, By, and For the People, Washington, D.C.: Smithsonian Institution. Center for Folklife Programs and Cultural Studies, 1998
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.
Citation:
Smithsonian Folklife Festival Documentation Collection, Ralph Rinzler Folklife Archive and Collection, Smithsonian Institution.
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.
1.17 Cubic feet (consisting of 1.5 boxes, 1 folder, 2 oversize folders, 1 map case folder, 1 flat box (partial).)
Type:
Collection descriptions
Archival materials
Business ephemera
Ephemera
Date:
undated
circa 1837-1964
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Indians forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents:
This material consists primarily of various types of images of Native Americans. It also includes booklets, bills/receipts, scattered correspondence on letterhead stationery, and speeches. Most of the material is by others about the Indians and not by the Indians themselves. State of New York reports and acts from the committee on Indian Affairs in 1861. Memorials from the New York State Senate, 1861. State of New York Committee on Indian Affairs minority reports in 1849 and state of New York Committee on Claims Reports in 1849.
Correspondence includes letters from the United States Indian Service between the years 1888-1892. Correspondence discusses. Also letters from the Treasury Department in 1868 and 1869. Discusses. United States Land Office correspondence discuss 1895.
There is little information on Indian organizations. There is however information on the third annual conference of the Society of American Indians.
Publications include "Indian Moccasin" published monthly at Afton, Indian Territory by Jeremiah Hubbard 1893 & 1895.
Images include photographs, miniatures, wood engravings and chromolithographs. Images depict Indian ball playing, Indian chiefs, battle of the Thames and death of Tecumseh, battle of little bighorn and death of Custer, domestic life among the Indians, smith rescued by Pocahontas, burial of a hunter, lessons in the forest, and William Penn's treaty with the Indians. Many of the photographs are copies and photographs of paintings and drawings.
Postcards include photographic images and lithographed images. There is a set of postcards made of some kind of wood product containing images of different ethnic groups of Indians depicting basket making, dancers, belt weavers, silversmith, turquoise workers, rug weavers, pottery makers, basket dancer corn dancer, drum maker and kachina maker . Various ethnic groups include Hopi, Pueblo, Apaches. A number of these cards are images of yucca wood. All postcards have brief descriptions on the reverse side.
One folder of visual references of images pulled from other subjects with pictures of Indians. Mostly consist of advertisements for various products. There are a number of products that tended to use images of Native Americans. Such products include tobacco, patent medicines, fruit labels, fertilizers, hotels, coffee, meat, cosmetics and soap. Consult subjects in vertical document boxes for other images of Native Americans. One folder of photocopies of stereographs removed from the subject to stereographs.
Materials in the Archives Center:
Archives Center Collection of Business Americana (AC0404)
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.
Missing Title
Series 1: Business Ephemera
Series 2: Other Collection Divisions
Series 3: Isadore Warshaw Personal Papers
Series 4: Photographic Reference Material
Provenance:
Indians is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
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.
Warshaw Collection of Business Americana Subject Categories: Indians, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
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:
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:
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 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: 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)
