2. Sunset over Laguna Isidere. San Ignacio de Moxos. 1977 September 24.
3. Cirilo Yaca trimming a felled tree in his garden near San Ignacio de Moxos. 1977 September 30.
4. Garden of Cirilo Yaca during the felling process, near completion. Near San Ignacio de Moxos. 1977 September 30.
5. Oxen grazing in the indigenous sector of the cemetery, crosses of wood mark the graves. San Ignacio de Moxos. 1977 October 3.
6. Charqui (Ch'arki) hung to dry. When dried for three days it can last from 20-30 days. Chaco of Marcelino Coseruna near San Ignacio de Moxos. 1977 October 8.
7. Settlement clearing of Marcelino Coseruna. Sleeping quarters on the right, cooking house on the left. Chaco of Marcelino Coseruna near San Ignacio de Moxos. 1977 October 8.
8. Sugar cane field of Marcelino Coseruna six weeks after the planting. Chaco of Marcelino Coseruna near San Ignacio de Moxos. 1977 October 9
9. Young son of Marcelino Coseruna planting cane stocks "puntas" in shallow, wedge-shaped holes. Chaco of Marcelino Coseruna near San Ignacio de Moxos. 1977 October 9.
10. The "sepe," a termite that damages such cultigens as orange and mango trees by eating the leaves. Chaco of Marcelino Coseruna near San Ignacio de Moxos. 1977 October 10.
11. Garden of Marcelino Coseruna planted with yuca two month previously. Seared palms and trunks strewn about the garden from the field being fired before the debris dried. Near San Ignacio de Moxos. 1977 October 10.
12. Cut debris set afire at margin of the chaco of Felipe Apace. The green growth behind is Monte Alto. Near San Ignacio de Moxos. 1977 October 25.
13. Debris gathered for a second burn. The garden was burned five days before, but since leaves were few and cut debris did not dry sufficiently, the burn was incomplete and remains were gathered for a second burn. Chaco of Felipe Apace near San Ignacio de Moxos. 1977 October 25.
14. Cut debris piled around the base of a large tree. The debris is fired in the order to weaken further the tree so that it will topple over. Chaco of Felipe Apace near San Ignacio de Moxos. 1977 October 25.
15. "Hurina" a small deer of the pampa shot on the margin of pampa in chaparral. The meat is eaten and the hide also has value. Shot by Juan Muñuni, son-in-law to Felipe Apace. Chaco of Felipe Apace near San Ignacio de Moxos. 1977 October 25.
16. The "hurina" being skinned. Chaco of Felipe Apace near San Ignacio de Moxos. 1977 October 25.
17. Juan Muñuni punching holes in soft earth in which 15-20 rice grains will be dropped. Holes are 2-3 cm deep and about a radius of 1 to 1.5 feet from each other. Garden of Felipe Apace near San Ignacio de Moxos. 1977 October 26.
18. Men sowing rice. Each carries seeds grown in a tutuma, a kind of gourd. 10-15 grains tossed in a hole 2-3cm deep and quickly covered. Chaco of Felipe Apace near San Ignacio de Moxos. 1977 October 26.
19. The Monte. On trail near chaco site of Felipe Apace near San Ignacio de Moxos. 1977 October 26.
20. A cañada with lightly flowing water used for bathing and washing clothes. A felled tree bridges the cañada and the pole platform to the right is used for bathing and washing. Near the chaco of Felipe Apace near San Ignacio de Moxos. 1977 October 26.
21. "Manechi", a kind of monkey. Shot by Juan Muñuni, his son is holding it. When the monkey fell from the tree (three shots to fell her) a baby was clutching the loose skin of her belly. Chaco of Juan Muñuni near San Ignacio de Moxos. 1977 October 27.
22. Large Ochoo tree in a patch of virgin forest. Chaco of stepson of Felipe Apace near San Ignacio de Moxos. 1977 October 27.
23. House of stepson of Felipe Apace. He cleared his chaco alone in Monte Virgen. Note the "lomita" on which the house was built. In front is "bajura" which floods when rains come, rice will be planted there. Near san Ignacio de Moxos. 1977 October 27.
24. Juan Muñuni, son-in-law of Felipe Apace, builds a house on a rise in middle of his chaco that was just burned. The branches for roof are from the Motacu. Near San Ignacio de Moxos. 1977 October 27.
25. Inocencio, young son of Juan Muñuni, in a wide "curiche" between the chacos of Felipe Apace and Juan Muñuni. Water comes to the waist in places. Near San Ignacio de Moxos. 1977 October 27.
26. Young granddaughter of Felipe Apace with the "matico" a bird commonly kept as a pet. Chaco of Felipe Apace near San Ignacio de Moxos. 1977 October 27.
27. RESTRICTED. Grandchildren of Felipe Apace seated on a pelt at house site and garden. Near San Ignacio de Moxos. 1977 October 27.
28. Two manechis perched on a tree limb in the canopy. The howling sound of the creatures can be heard at a great distance. Chaco of Felipe Apace near San Ignacio de Moxos. 1977 October 29.
29. An hormiguero in section of matorral on the pampa. Felipe Apace, his wife and daughter pause to rest on a trip from Chaco to San Ignacio de Moxos. 1977 October 30.
30. An oxcart crossing the marshy pampa near San Ignacio de Moxos. 1977 October 30.
31. The Manguarí, a bird. On the journey to San Ignacio de Moxos from the chaco of Felipe Apace. 1977 October 30.
32. Dona Incarnacion (Dona Inca) grinding toasted coffee in the tacu. She is an old Indigenous woman with no family who goes from house to house, person to person, working and begging in order to live in San Ignacio de Moxos. 1977 November 4.
33. Lucho Rivero's pet macaws (parabas) in San Ignacio de Moxos. 1977 November 4.
34. The barbed spine of a ray in San Ignacio de Moxos. 1977 November 7.
35. One of the two macaws (parabas) of Lucho Rivero in San Ignacio de Moxos. 1977 November 7.
36. A small marimono brought to Lucho Rivero by an Indian. The monkeys are very shrewd and the meat is considered the best of monkey meat. San Ignacio de Moxos. 1977 November 7.
37. A common domestic duck in San Ignacio de Moxos. 1977 November 7.
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 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 Archive Center's Digital Image request website.
Collection Citation:
Identification of specific item; Date (if known); James Jones collection from Bolivia, Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution
Indians of North America -- Great Plains Search this
Indians of North America -- Southwest, New Search this
Type:
Collection descriptions
Archival materials
Sound recordings
Cylinders (sound recordings)
Field recordings
Date:
undated
Scope and Contents:
This collection is comprised of thirteen (13) original recordings of American Indian songs and dances, recorded on two-minute Edison Blanks wax cylinders. Eight of the cylinders are in pristine condition. Two are cracked and cannot be played. Contents are marked on individual cylinders in pencil or black ink: 1) The last Owl Dance; 2) Two flute songs; 3) Sioux flute 2 loves; 4) Sioux love song; 5) Kiowa love songs; 6) Sirecha Dance; 7) Flute love lullaby; 8) Flute on the bridge; 9) War dance; 10) Buffalo dance; 11) Song before fight; 12) Indian flute. a love song, played by Turkey Leggs. (Cheyene); 13) Owl Dance song.
Local Numbers:
NAA MS 2008-14
Topic:
Indians of North America -- Songs and music Search this
Genre/Form:
Cylinders (sound recordings)
Field recordings
Citation:
MS 2008-14, National Anthropological Archives, Smithsonian Institution
Lejeune group--Love Bridge waltz; Badlands Singers--Intertribal--Explanation--Traditional Dance--Slide Song--talk--Sneak up dance--Round dance--Intertribal (2x); Cephas and Wiggins--Dog days of August--Sweet bitter blues (frag)
Track Information:
101 Cajun Music / Eddie LeJeune. Accordion,Fiddle,Guitar. French language.
102 American Indian Performance / Badland Singers. Drum.
103 Piedmont Blues / John Cephas, Phil Wiggins. Guitar,Harmonica.
Local Numbers:
FP-1988-7RR-0069
General:
"Bowling Green" John Cephas, "Harmonica" Phil Wiggins; Eddie Lejeune Group, Lionel Leleux, Ray Junior Thibodeaux, Barry Jean Ancelet; Badlands Singers, Ben Gray Hawk, Ray Azure, Butch Brown, Earl Jones, Adrian C. Spotted Bird, Harry Three Stars Reel 3 Of 6
CDR copy
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 3, 1988.
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.
Edited film used by an amateur travel-lecturer documents travel in western and southwestern United States beginning at a rodeo in Phillipsburg, Kansas (trick riding, lassoing jack rabbits, roping calfs, wrestling steers, horse races, bucking broncos and bucking steers as well as scenes of an airplane flyover and of an airplane crashing which possibly was a stunt) and continuing to Black Hills, South Dakota (forest scenery and ca. 1927 construction of Mount Rushmore--blasting off cliff face, scaffolding, men working and completed monument). Shown are roadside scenery, railroad tracks, men cleaning railroad tracks with hose and tank on small train car on the way to an unidentified mountain fishing camp possibly in Colorado (canoeing, fishing in stream, and a smokehouse) and a mountain farm where colts are branded. Cog railway is taken up to Pike's Peak. Travels continue to to the Southwest (unidentified southwestern town possibly Santa Fe with adobe buildings and men and children in Mexican dress singing and playing guitar, American Indian dance performance indoors possibly Zuni, parade of American Indians in unidentified city perhaps Gallup and Navajo band. Scenes of the southwest continue with Navajo in Canyon de Chelly (hogans and herding sheep), prehistoric archaeological sites (Mesa Verde, Chaco Canyon another unidentified cliff dwelling possibly Montezuma's castle) and Taos Pueblo. Film records American Indian dances at a gathering of Indian tribes possibly at Gallup, intertribal horse races and women's tug-of-war. Hopi are shown dancing at Hopi. Also shown are Indian women (possibly Apache or Navajo) and children together and children in cradleboard and the Navajo reservation (hogans, women spinning and weaving under a ramada, herds of sheep and goats and "dipping sheep"). Natural wonders of Grand Canyon, Monument Valley and Rainbow Bridge National Monument are featured. ; Travel continues to Yellowstone National Park, California (scenery, black bears, hot springs and geysers) and onto the California coast possibly Monterey (seals on rocks). Also shown are an unidentified town with oil pumps and derricks and people waterskiing.
Local Numbers:
HSFA 1995.11.1
Collection Restrictions:
The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
R.Bryson Jones travel films, Human Studies Film Archives, Smithsonian Institution
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Crisscrossed with paths connecting communities across geography and history, Peru boasts a stunning vertical landscape that integrates a diversity of ecosystems and cultures. Peru is one of the world's most biodiverse nations, containing ninety microclimates across extreme variances of altitude. The coastal, rain-forested, and mountainous environments provide abundant resources, including major exports such as fish, copper, and asparagus. Many culturally and historically significant areas are popular tourist destinations that encompass complex layered histories.
The uniqueness of Peru's diversity lies in the connectedness of its landscape in the form of rivers, roads, and pathways that existed long before the Inka Empire (fifteenth–sixteenth centuries) and Spanish colonization (sixteenth–nineteenth centuries). Across its different altitudes and climates, communities exchange commodities and practices, shaping deeply rooted but constantly changing daily customs and celebrations. The influx and movement of people between and beyond borders also influence and transform these exchanges.
The 2015 Peru program featured projects, organizations, and groups whose cultural expressions highlight these social, cultural, and economic exchanges. It demonstrated how the networks of celebration and community, crops and markets, textile and craft production, foodways and technology, and music and dance forge the diverse cultural heritage of the country.
Visitors to the Peru Festival program could experience these unique connections through cooking and craft demonstrations, music and dance performances, moderated discussions, ritual and celebratory processions, and other participatory activities. In addition, there was a robust involvement with Peruvian American and diaspora communities. The public had the opportunity to learn, to eat, to dance, to shop, to witness these vibrantly connected cultures, and to create their own connections with Peruvian artists and specialists on the National Mall and beyond.
Olivia Cadaval and Cristina Díaz-Carrera were Curators for the Smithsonian; Rafael Varón Gabai was Curator and Consultant to MINCETUR. Valentina Pilonieta-Vera was Program Coordinator; Alexia Fawcett was Community Engagement Manager, and Betty Belanus was Family Activities Curator. A Curatorial Advisory Committee included: Madeleine Burns, Marjorie Hunt, Mary Linn, Luis Guillermo Lumbreras, Giancarlo Marcone, Soledad Mujica, Diana N'Diaye, Luis Repetto, Marcela Ríos, Daniel Sheehy, Jorge Ortiz Sotelo, Milagritos Saldarriaga, Francisco Tumi, and Madeleine Zúñiga. A Community Advisory Group included: Catherine Cabel Chicas, Nelly Carrión, Billy Castillo, Kristy Chavez-Fernandez, Fabiana Chiu-Rinaldi, María del Carmen Cossu, Miguel García, Elmer Huerta, Vicky Leyva, Doris Loayza, Ana Noriega, Elena Tscherny, and Ricardo Villanueva.
The program was co-presented and co-sponsored by the Republic of Peru Ministry of Foreign Trade and Tourism (MINCETUR). Additional support was provided by the staff of the Smithsonian's National Museum of the American Indian, directed by Kevin Gover (Pawnee), coordinated by Amy Van Allen; Washington Dulles international Airport and the Smithsonian's National Museum of African American History and Culture. The program received federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Special media support is provided by Telemundo Washington DC, BrightYoungThings.com, Latin Opinion Baltimore Newspaper, Orange Barrel Media, WAMU 88.5, El Tiempo Latino, Washington Hispanic, Washington Blade, El Tiempo Hìspano (MD-DE-PA), CTM Media Group, El Zol 107.9, Digital Conventions, and Greater Washington Hispanic Chamber of Commerce. Support for the Smithsonian Center for Folklife and Cultural Heritage's welcoming ceremony was provided, in part, by Avocados From Peru and Pisco Portón (in-kind).
Researchers, coordinators, and presenters:
Michelle Banks, Victor Boluarte, Nilda Callañaupa, Nadia Calmet, Violet Cavicchi, Xóchitl Chávez, Rodrigo Chocano Paredes, Fabiana Chiu-Rinaldi, Eduardo Díaz, Alfredo DiNatale, James Early, Mariá Regina Firmino-Castillo, Alexandro Hernández, Ingrid Huamaní, Rosa María La Madrid, Javier León, Doris Loayza, Raúl Mancilla Mantilla, Ana Noriega, Federico Serapio Ollero Delgado, Renzo Ortega, Víctor Piminchumo, Marco Arturo Ramírez Colombier, Ana Maria Reyes Albarracin, Deisi Rivadeneira, María Angélica Rodríguez Ibañez, Silvia Salgado, Emily Socolov, Naomi Sturm, Leonardo Tello, Jaime Urrutia, Roger Valencia, Cynthia Vidaurri, Fredi Villagarcia Aquise, Alfredo Villar, Holly Wissler, Ranald Woodaman
Participants:
URBAN MUSIC AND DANCE
Pedro Tolomeo "MONKY" Rojas Meza, 1961-, artist, painter, Lima, Peru
Elliot "Túpac" Urcuhuaranga Cárdenas, 1978-, artist, muralist, Lima, Peru
Brus Mauricio Rubio Churay, 1983-, artist, Loreto, Peru
John Sayas Coras, 1983-, farmer, artisan, Ayacucho, Peru
WACHIPERI COMMUNITIES
Victorio Dariquebe Gerewa, 1962-, community leader, Pilcopata, Cusco, Peru
Odette Marlid Ramos Dumas, 1991-, artisan, cook, Pilcopata, Cusco, Peru
Nely Margot Ninantay Yonaje, 1986-, scholar, Pilcopata, Cusco, Peru
Marisabel Dumas Ramos, 1984-, trilingual interpreter, healer, Pilcopata, Cusco, Peru
Sofía Solisonquehua Untamay, 1980-, healer, Pilcopata, Cusco, Peru
Sergio Pacheco Hambeo, 1967-, healer, Pilcopata, Cusco, Peru
COMMUNITY DAY PARTICIPANTS & GROUPS
Marianella Dayan Villavicencio (Dayan Aldana), Centreville, Virginia
María Luisa Alvarado
Billy Castillo, Rockville, Maryland
Aymar Ccopacatty, 1979-, recycled art, West Kingston, Rhode Island
Kristy Chavez-Fernandez, 1980-, DJ, McLean, Virginia
Celia Coleto
Martin Correa
Miguel García, foodways, Woodbridge, Virginia
Elmer Huerta, foodways
Adela Hinostroza, 1974-, Reisterstown, Maryland
Vicky Leyva
Milagros López Loli
Wilde Moran, 1958-, Centreville, Virginia
Leandro Reyes
Brenda Salas
Víctor Ruíz, dancer
Arturo Uchima, foodways, Washington, D.C.
José Victorio, foodways, Baltimore, Maryland
Martín Zuñiga
100 Cajoneros
Abya Yala Arte y Cultura -- Abya Yala Arte y CulturaMilagros AlbrechtCarlos AnayaPatricia AranibarMillery BeltranSteve CotaquispeRosa Manozzi-BustamanteTracy MerinoElva NavarroBen Rosen, 1968-, New York, New YorkLuis Vargas
Grupo Etnia -- Grupo EtniaFernando Cabrejo, 1961-, Germantown, MarylandCarlos HurtadoLuis Enrique LevanoMariela MarineroOscar QuispeWalter Suarez
Inkarayku -- InkaraykuElva Ambia Rebatta, Brooklyn, New YorkCarlose Moises AmbiaElva Ambia Jimenez, Brooklyn, New YorkErico Benavente, 1973-, Pelham, New YorkAndres Jimenez, Rego Park, New YorkAdam Negrin, 1983-, Dix Hills, New YorkBen Rosen, 1968-, New York, New York
New Inca Son -- New Inca SonOmar ClavijoRene QuisbertWalter RojasMarianne Ruggiero
Cabanaconde City Colca – USA
Centro Cultural Peru
Papalca
Rancho San Miguel de Aquia
Sentimiento Peruano
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: 2015 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Iowa is an icon of American heartland values. Its main-street towns and farmlands evoke a peaceful vision of America, where the drama of deep personal relationships quietly unfolds. But Iowa is also home to agribusiness, high-tech, and high-skill industries that manufacture computerized combines and fiber optics, and to high-quality service industries from education to insurance. Not without dynamic tensions and social, demographic, and occupational changes, Iowa in its sesquicentennial year of 1996 fostered and nurtured a quiet but steadfast civic pride that turned out whole towns for girls' basketball games, propelled youth into 4-H clubs and adults into volunteer fire companies and social clubs, and joined residents around a morning coffee table, on a Saturday night dance floor, or in a Sunday school.
Anyone who witnessed the great floods of 1993, who saw exhausted neighbor helping neighbor, cannot be unmoved by the prevailing sense of community held by the people of Iowa. This sense of community was celebrated by the Festival program on the Mall in the Nation's Capital, and was also evident back in Iowa for the first Festival of Iowa Folklife held on the grounds of the State Capitol Building in Des Moines in August, and in a Smithsonian Folkways recording, Iowa Public Television documentary, and educational materials growing from the Festival and distributed to Iowans in the months following the Festival.
The Sesquicentennial year offered a chance to recognize the value of an Iowa that nurtures neighborliness in groups of people - no matter how diverse - who share common concerns and hopes; an Iowa that supports the vital social fabric of relationships on the local level; and an Iowa that validates an underlying belief in the viability of democratic community - all of which have provided such a prominent legacy for the state.
The Festival program highlighted the vibrant and diverse cultures of Iowa through the excellence, knowledge, and artistry of its people and offered an opportunity to observe the dynamism of community in the truest sense of the word. The Festival program also recalled the responsibility all Americans have to believe that our public culture and its active celebration through community are valuable and must be supported, if we are to have a future worth living for.
Catherine Hiebert Kerst was Program Curator for the Smithsonian Institution and Rachelle H. Saltzman was Program Curator for the Iowa Arts Council; Arlene Reiniger served as Program Coordinator.
Iowa - Community Style was made possible by and was produced in cooperation with the Iowa Sesquicentennial Commission and the Iowa Arts Council on the occasion of Iowa's 150th anniversary of statehood. Iowa corporate partners included the HON INDUSTRIES Charitable Foundation; John Deere; The Principal Financial Group Foundation, Inc.; and Barr-Nunn Transportation, Inc.
Fieldworkers:
Becky Allgood, American Indian Center - Sioux City, John Berquist, Jay Black, Phyllis Carlin, Cathy Carlyle, Casa Latina - Sioux City, Patricia Civitate, Rex Coble, Ginger Cunningham, Karen Downing, Kristin Elmquist, Tom Evans, Sheri Flanigan, April Frantz, Janet Gilmore, Twila Glenn, Gregory Hansen, Loren Horton, Rich Horwitz, Iowa Academy of Family Physicians, Iowa Commission on the Status of African Americans, Iowa Nurses' Association, Italian American Cultural Center - Des Moines, Donald Jonjack, Cornelia Kennedy, Lee Kline, Mark Knudsen, Mike Koppert, Labor Institute for Workforce Development, Catherine Lewis, Jack Libbey, Jean Lowder, Nancy Michael, Dave Moore, Jerri Morgan and John DeWall, Arnold T. Nielsen, Jane Nielsen, Carla Offenburger, Harry Oster, Janet Parrish, Paula Plasencia, Max Quaas, Harley Refsal, Stephen D. Richards, Maria Alícia Rodríguez, Janice Rosenberg, Erin Roth, Beth Hoven Ratto, Tomasa Salas, Earl Sampson, Cynthia Schmidt, Jim Skurdal, Kumsan Ryu Song, Barb Trish, Caroline Trumpold, Rose Marie Vasquez, Sarah Walker, Theresa Walker, Priscilla L. Wanatee, Cliff Weston, Mike Wiseman, Larry Wood, Michael Zahs
Presenters:
Howard Bass, Phyllis Carlin, Harold Closter, Loren Horton, Richard Horwitz, Rich Kennedy, Catherine Hiebert Kerst, Lee Kline, Jack Libbey, Dave Moore, Leroy Morton, Carla Offenburger, Chuck Offenburger, Deb Ohrn, Steven Ohrn, Beth Ratto, Rachelle H. Saltzman, Cynthia Schmidt, Cliff Weston, Michael Zahs
EVERETT KAPAYOU AND THE MESKWAKI SINGERS -- Everett Kapayou, vocals, hand drum, Tama, IowaDennis Keahna, Jr., vocals, Tama, IowaRick Keahna, Sr., vocals, Tama, IowaVerlyn Keahna, vocals, Tama, Iowa
THE KARL L. KING MUNICIPAL BAND, Fort Dodge -- Keith Altemier, Fort Dodge, IowaAlan Bridge, Fort Dodge, IowaDan Cassady, Fort Dodge, IowaMartin Crandell, Fort Dodge, IowaHarold Dean, Fort Dodge, IowaMerry Dick, Fort Dodge, IowaJohn Erickson, Fort Dodge, IowaGary Evans, Fort Dodge, IowaDianna Hanna, Fort Dodge, IowaLee Hood, Fort Dodge, IowaMary Jane Johnson, Fort Dodge, IowaInga Lang, Fort Dodge, IowaMonte Leichsenring, Fort Dodge, IowaValerie Mohring, Fort Dodge, IowaStacie Nichols, Fort Dodge, IowaDuane Olson, 1932-, Fort Dodge, IowaNancy Olson, Fort Dodge, IowaLynn Ringnalda, Fort Dodge, IowaRandy Ringnalda, Fort Dodge, IowaRoger Ringnalda, Fort Dodge, IowaRyan Ringnalda, Fort Dodge, IowaDonna Schive, Fort Dodge, IowaAdam Schroeder, Fort Dodge, IowaJoe Seykora, Fort Dodge, IowaDavid Swaroff, Fort Dodge, IowaHarlan Van de Berg, Fort Dodge, Iowa
LOUIS AND THE BLUES REVIEW -- Louis McTizic, 1936-, blues harmonica, vocals, Waterloo, IowaSam Cockhern, bass, Waterloo, IowaToby Cole, keyboards, Waterloo, IowaMichael Flack, drums, Cedar Falls, IowaFrank Howard, keyboards, Iowa City, IowaBarry Schneiderman, lead guitar, Cedar Falls, IowaEtheleen Wright, rhythm guitar, vocals, Waterloo, Iowa
THE MATNEY SISTERS -- Shelley Matney Bell, 1959-, guitar, vocals, Dakota City, NebraskaJaimee Haugen, guitar, autoharp, vocals, Gilmore City, IowaHarley Matney, guitar, Dakota City, NebraskaPam Ostapoff, vocals, Sioux City, IowaChris Ramsey, guitar, vocals, Sioux City, Iowa
ERNIE PENISTON BAND -- Ernie Peniston, vocals, Muscatine, IowaJoe Collins, guitar, West Chicago, Illinois
PSALMS -- Ronald Teague, director, keyboards, Coralville, IowaMarcus Beets, drums, Cedar Rapids, IowaAllen Bell, vocals, Cedar Rapids, IowaSharilyn Bell, 1951-, vocals, Cedar Rapids, IowaMike Cole, vocals, Cedar Rapids, IowaSandy Reed, 1949-, vocals, Cedar Rapids, IowaPaul Tillman, vocals, Cedar Rapids, Iowa
SOLIS AND SOLIS, West Liberty -- Adalberto Solis, 1963-, guitar, vocals, West Liberty, IowaEugenio Solis, 1946-, guitar, vocals, West Liberty, Iowa
Christi Williams, 1980-, basketball player, Storm Lake, Iowa
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: 1996 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:
The 1989 Festival celebrated the bicentennial of the French Revolution by examining contemporary folk traditions of France and of French-speaking peoples of North America. The people of Britanny, Normandy, Poitou, Quebec, and the French-speaking communities of New England and Louisiana, North Dakota and Missouri share a common origin and linguistic affinity. Each of these communities had selectively preserved and modified this French cultural heritage in a specific historical and geographical setting despite pressures toward cultural homogenization and political attempts to restrict cultural continuity. Common and transformed elements of expressive culture continued to serve each group's own internally defined needs, including that of self-identification within a larger society.
Today's varied mosaic of French-derived or influenced oral traditions in North America resulted from various migrations: French who came to Quebec or Acadia, others who settled in Louisiana, Acadians who returned to France and then migrated again to Louisiana, French Canadians who came down the Mississippi and settled in Illinois and Missouri, French coureurs de bois (woodsmen) who intermarried with American Indians, slaves brought to French colonies to help meet agrarian needs, and Quebecois who immigrated to New England. In some communities a large number of active bearers of these traditions maintain them proudly; in other communities French-derived traditions are scarce, and the number of active bearers very small. In yet others, such as the Metis in North Dakota, French traditions have become part of a new cultural complex through the conscious creation of a new cultural lifestyle.
What all the communities presented at the Festival shared was a renewed interest in traditional repertoires. In some instances, younger performers and craftspeople were direct heirs to an unbroken tradition. Raised in a particular region and conscious of the importance and beauty of the traditions borne by their families, they acquired the skills of their forefathers. Others, having become conscious of the importance of their region's heritage, deliberately decided to carry on the tradition even though it may not have been present in their family or had been interrupted briefly. Other performers and craftspeople were more clearly "revivalists"; attracted by older traditions from their area or from other areas, they consciously decided to recreate these traditions whether or not their own ancestors subscribed to those traditions. What animates both the perpetuation of traditional forms and their revival is the desire of tradition bearers, individuals or communities, to assert their distinct identity, to fight against homogenization, to maintain the right vested in all human beings to express themselves in the manner that their ancestors bequeathed to them.
Winnie Lambrecht was Curator of the program, with Francesca McLean as Program Coordinator and Linda Breitag as Assistant Program Coordinator.
Les Fêtes Chez Nous: France and North America, a program on the occasion of the Bicentennial of the French Revolution and the Declaration of the Rights of Man and of the Citizen, was made possible by the American Committee on the French Revolution with the generous support of the following corporations and foundations: Archer-Daniels-Midland Foundation, Arthur Andersen & Co., General Electric Foundation, Gulf + Western Foundation, ITI Corporation, KPMG Peat Marwick, Lazard Freres, Warner-Lambert Company and the assistance of the government of the Republic of France and the province of Quebec.
Fieldworkers and consultants:
Fieldworkers
Barry-Jean Ancelet, Robert Bouthillier, Ray Brassieur, Steven Green, Nick Hawes, Sheila Hogg, Lisa Ornstein, Catherine Perrier, Nicolas Vrooman, John Wright
Consultants
Barry Bergey, Guy Bouchard, Michel Colleu, Bernard Genest, Gilbert Guerin, Norman Legault, Nick Spitzer
Presenters:
Ray Brassieur, Bruce Duthu, Andre Gladu, Veronique Perennou, Catherine Perrier, Nick Spitzer, John Wright
Participants:
Brittany, France
Gilbert Bourdin, singer, accordionist, Rennes, France
Christian Dautel, singer, Point Aven, France
Jean Gauçon, 1921-, hurdy-gurdy player, Langueux, France
Jeanne Trepanier, 1941-, step-dancer, singer, Rochester, New Hampshire
Errol Verret, accordion maker and player, Catahou, Louisiana
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: 1989 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:
Events in the Louisiana program at the Festival spoke to the context created by the unique history and geography of that part of the continent, where rich forms of creolization, or cultural mixture, have flourished. Creative blending of cultural aesthetics and repertoires has also occurred in other places in our country, but in few places to as great an extent and with the public vitality of the traditional cultures of Louisiana. To hear the diversity of musical styles, to see the varied dance and craft traditions, and to taste the renowned foods of the region should all lead one to reflect on the social and environmental conditions that brought Africans, American Indians, Anglo Americans, French, Spanish and other groups together in ways that led to the rich mixtures of language and culture distinctive of "The Creole State."
The Louisiana program at the Festival of American Folklife presented the best of traditional life to show how folk cultural resources can help sustain the State in the future if properly encouraged. Previous festivals showed Louisiana folk culture primarily in terms of Cajun and New Orleans musical traditions. The 1985 Festival attempted to correct this imbalance by presenting the traditions of the entire State: south Louisiana, north Louisiana, the Florida Parishes and New Orleans
Perhaps because Louisiana as a whole still speaks with diverse and contrasting voices of tradition, the State was just beginning to recognize and support programs that conserve and promote its folk cultures at the time of the Festival. In 1985 the legislature in Baton Rouge was considering first-time funding for the Louisiana Folklife Program. The efforts of the Smithsonian Institution and other groups over the preceding 20 years through fieldwork, sound recordings and festival presentation had done much to assist the conservation and renaissance of Cajun culture. Those presenting New Orleans culture had long emphasized tourist promotion but with less attention to the conservation of what some have called "the cultural wetlands" of the city, that is, its root traditions and communities. But the cultures of the Florida Parishes and north Louisiana had remained virtually ignored until quite recently. Festival planners hoped that the celebratory mingling of all the regions and cultures of Louisiana at the 1985 Festival would bring them their due applause that could be heard back home.
Susan Levitas and Larry Deemer served as Louisiana Program Coordinators, with Kate Porterfield as Assistant Coordinator, and Nicholas Spitzer as Consultant.
The Louisiana program was made possible by the Louisiana Department of Culture, Recreation, and Tourism through the Louisiana Office of Tourism and private donations through the Louisiana Heritage Foundation.
Fieldworkers:
Barry Ancelet, Ray Brassieur, Joel Gardner, H.F. Gregory, Joyce Jackson, Allison Kaslow, Ulysses Ricard, Jr., Susan Roach-Lankford, Nicholas Spitzer
Foodways fieldworkers
Ulysses S. Ricard, Jr., Susan Roach-Lankford, Nicholas Spitzer
Presenters:
Barry Ancelet, Ifama Arsan, Maida Bergeron, Ray Brassieur, Joel Gardner, Joyce Jackson, Allison Kaslow, Sue Manos Nahwooksy, Ulysses Ricard, Susan Roach-Lankford, Kalamu ya Salaam, Nicholas Spitzer
Foodways presenters
Ulysses S. Ricard, Jr., Susan Roach-Lankford
Participants:
Crafts
Bel Abbey, blowgun, toy maker, Elton
David Allen, 1925-, walking stick maker, Homer
Rosie Lee Allen, 1929-, quilter, Homer
Barry Barth, float builder, New Orleans
Joseph Barth, III, 1951-, float builder, New Orleans
Tana Barth, float builder, New Orleans
Marjorie Wilma Battise, 1942-, pine straw basket maker, Elton
Hezekiah and the Houserockers, -- river blues -- Hezekiah and the Houserockers, river bluesJames Baker, guitar player, St. JosephHezekiah Early, 1934-, drums, harmonica player, vocalist, Natchez, MississippiPee Wee Whittaker, trombone player, Ferriday
The Ott Family, -- urban gospel -- The Ott Family, urban gospelE. L. Ott, 1936-, second lead, AvondaleElijah Ott, 1963-, tenor, AvondaleJerry Ott, Sr., 1943-, alto, MetairiePatricia Ann Roberts Ott, 1964-, tenor, soprano, AvondalePurvis Lorenzo Ott, 1961-, alto, AvondaleSolomon Ott, 1957-, bass, Avondale
St. Landry Playboys, -- zydeco music -- St. Landry Playboys, zydeco musicCalvin Carrière, fiddle player, OpelousasPhillip Carrière, drummer, OpelousasJ.C. Gallow, 1944-, frottoir player, MamouR.L. Joubert, 1935-, guitar player, OpelousasNolton Semien, 1939-, accordion player, Church Point
White Cloud Hunters, -- Mardi Gras Indians -- White Cloud Hunters, Mardi Gras IndiansCharles Taylor, 1954-, "Chief", New OrleansKeith Barnes, 1956-, "Spyboy", New OrleansTony Guy, 1969-, "Lil' Chief", New OrleansGeorge Harden, 1955-, "Flagboy", New Orleans Lionel Oubichon, "Uncle Bird", 1925-1995, New OrleansAlbert Richardson, "Al", 1913-, New Orleans
Young Tuxedo Brass, -- New Orleans jazz -- Young Tuxedo Brass, New Orleans jazzCharles Barbarin, bass drum player, New OrleansLucien Barbarin, 1956-, tuba player, New OrleansDavid Grillier, tenor saxophone player, New OrleansScotty Hill, trombone player, New OrleansAwood Johnson, trombone player, New OrleansGreg Stafford, coronet player, New OrleansJoseph Torregano, clarinet player, New OrleansMichael White, clarinet player, New Orleans
Zion Travelers, -- old-time gospel -- Zion Travelers, old-time gospelAdo Dyson, 1926-2005, first tenor, Baton RougeJames Harvey, 1937-, baritone, Baton RougeJoel Harvey, 1913-1991, bass, Baton RougeRobert McKinnis, 1953-, first tenor, Baton RougeBurnell James Offlee, second tenor, lead, Baton Rouge
Oliver Anderson, 1926-1986, tap dancer, parade marshal, New Orleans
Curt Blackwell, old-time fiddler, Covington
Clifford Blake, cotton press caller, Natchitoches
Thomas Edison "Brownie" Ford, cowboy skills, ballads singer, Hebert
Pleasant "Cousin" Joseph, old-time blues piano player, New Orleans
Issac Mason, tap dancer, New Orleans
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: 1985 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
This album contains 177 photographic prints taken by Frank Churchill between 1899 and 1900 and later compiled by Clara Churchill. Most of the photographs were taken in Indian Territory (present day Oklahoma) with many shot in Tahlequah, capital of the Cherokee Nation, and in and around Muskogee where Churchill was living during his time as a revenue collector to the Cherokee Nation. There are also images from Texas, Kansas and Arkansas. The photographs are not arranged in chronological order (see the chronology for a timeline). Locations (Indian Territory unless otherwise indicated) represented in this album include—Tahlequah, Muskogee, Dawson, Verdigris, Gans, Campbell (TX), Fort Smith (AR), Parsons (KS), South McAlester and Denison (TX).
All the photographs in Tahlequah were taken in 1899 and include—Cherokee Children, Cherokee council and Capital buildings, Cherokee Council members Clem V. Rogers, Bluford W. Starr, J.S. Davenport, Daniel Te-hee, Scott, Lynch, Hildebrand, and Fawling; former Principal Cherokee Chief C.J. Harris and William H. Mayes; Josh Shepard and Miss Archer; Dr. Leoser and family; Mrs. Eliza Alberty, Callie McNair (Cherokee) and Miss Morgan; J.C. Dannenburg house; The National Hotel, US Courthouse, jail, advocate office, wagon yard and seminaries. Photographs taken in and around Muskogee include—Big Pond, Standwaty and Tody Standwaty (Muskogee Creek); US Judge J.R. Thomas at a ball game; a baptism in March 1900; US Indian Inspector offices with Frank Churchill and Guy Cobb; Muskogee city elections (Dew M. Wisdom for mayor); D.W. Tuttle; Miss Roberts; Still, Oppenheimer, Dunlap and Basler; street scenes, the cemetery and a masonic building. Additional views include—Grand River, Arkansas River, Brushy Mountain, railroad construction and the Red River Bridge in Texas.
Collection Restrictions:
Access to NMAI Archives 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:
Single photocopies may be made for research purposes. Permission to publish or broadbast materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiarchives@si.edu.
Collection Citation:
Identification of specific item; Date (if known); Frank C. and Clara G. Churchill collection, NMAI.AC.058, National Museum of the American Indian Archives Center, Smithsonian Institution.
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.
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.
