Photograph depicting artist Seferina Ortiz (Cochiti Pueblo) holding a clay figure while standing next to an adobe building on the Cochiti Pueblo Reservation in New Mexico. Her son Virgil Ortiz stands on her left and her husband Guadalupe Ortiz stands on her right while holding a drum and a wooden drum beater. Photograph by Susan Makov in 1993.
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:
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 Archive Center's Digital Image request website.
Collection Citation:
Identification of specific item; Date (if known); Susan Makov and Patrick Eddington photographs of Southwest artists, image #, NMAI.AC.335; National Museum of the American Indian Archives Center, Smithsonian Institution.
Album and Loose Photographs (includes Franz Boas, his wife, Robert Lowie, Gladys Reichard, Erna Gunther, E. P. Goddard, Ruth Benedict, Alfred Kroeber, Edward Sapir, Melville Herskovits, and Laguna and Cochiti pueblos)
Collection Restrictions:
The Esther Schiff Goldfrank papers are open for research.
Collection Rights:
Restrictions on the use of the material specify that living informants are not to be mentioned in publications; no material is to be used to defame any individual; and, transparencies of the Isleta Paintings and copies of Joe B. Lente's letters cannot be reproduced (copies should be obtained from the American Philosophical Society in Philadelphia).
Collection Citation:
Esther Schiff Goldfrank papers, National Anthropological Archives, Smithsonian Institution
Indians of North America -- Southern States Search this
Type:
Archival materials
Letters
Notes
Drawings
Maps
Photographs
Printed materials
Processed materials
Paper specimens
Reports
Manuscripts
Catalogs
Motion pictures (visual works)
Bibliographies
Place:
British Columbia
District of Columbia
Europe
Hawaii
India
Iran
Ireland
Japan
Korea
Madagascar
Madeira Islands
Micronesia
Mongolia
Morocco
New Guinea
Papua New Guinea
Peru
Nubia
Puerto Rico
Spain
Tahiti
Philippines
Thailand
Texas
Utah
Virginia
Date:
1840s
1860-1962
1972
1997
Scope and Contents:
For those who are searching for anthropologically substantive materials, special note should be made of the Manuscript and Pamphlet File. A potpourri of documents, the file includes correspondence, notes, drawings, maps, photographs, printed and processed materials, paper specimens, reports, writings, catalogs, motion picture film (now in the Smithsonian's Human Studies Film Archives), bibliographies, and other types of documents. Of concern is a wide variety of subjects such as anthropological specimens, museology and museums, Smithsonian history, archaeological and ethnological methods, exhibits, expeditions, history of anthropology, and so forth.
The file seems to have been maintained in the Division of Ethnology — in one document it was referred to as Herbert W. Krieger's morgue — and the subject matter is largely ethnological. Nevertheless, some documents relate to archeology and physical anthropology. The file also contains administrative materials, such as records relating to the Department of Anthropology's use of Work Projects Administration workers during the 1930s. In addition, the file is the main location of materials not generally accepted as being strictly anthropological in the modern sense. It includes, for example, material on period costumes, fish and fisheries, whaling, religions, armor, biblical studies, modern appliances, the seal industry, European music and musical instruments, lace, aeronautics, and other similar subjects. In addition, the file includes sets of papers of Edwin H. Hawley ,Walter Hough, Otis T. Mason, Talcott Williams and Thomas Wilson.
Some documents, both primary and secondary research materials, concern the following cultural groups and geographic areas: Arabs, Bannock, Baubi, Blackfoot, British Columbia, Caddo, Carib, Chinook, Cochiti, Comanche, Cossacks, Cuna, Delaware, Diegueño, District of Columbia, Dyak, Eskimo, Europe, Fox, Goajira, Haida, Hawaii, Hittites, Hupa, India, Innuit, Iran, Ireland, Jamomadi, Japan, Jivaro, Kabyles, Kiowa, Kirghese, Klamath, Korea, Luiseño, Madagascar, Madiera, Maidu, Makah, Maori, Mataco, Maya, Micmac, Micronesia, Mission, Modoc, Mohave, Mongolia, Moro, Morocco, Naltunnetunne, Nanticoke, Narragansett, Navaho, New Guinea, Nez Perce, Nubia, Omaha, Onandaga, Osage, Oto, Papua, Parsee, Pawnee, Peru, Philippines, Pomo, Pueblo, Puerto Rico, Pygmies, Quichua, Quinaielt, Samoa, Sauk, Seminole, Seri, Shoshoni, Spain, Tahiti, Tesuque, Thailand, Texas, Tolowa, Tonga, Tulalip, Utah, Virginia, Washo, Wichita, Wintun, Yavapai, and Zuni.
The manuscript and pamphlet file is virtually a potpourri of documents, including correspondence, notes, drawings, maps, photographs, printed and processed materials, paper specimens, reports, writings, catalogs, motion picture film, bibliographies, and other types of documents. Of concern is a wide variety of subjects such as anthropological specimens, museology and museums, Smithsonian history, archeological and ethnological methods, exhibits, expeditions, history of anthropology, and so forth. The file seems to have been maintained in the Division of Ethnology--in one document it was referred to as being Herbert W. Krieger's morgue--and the subject matter is largely ethnological.
Some documents, however, concern archeology and physical anthropology. The file also contains some administrative materials--records relating to the Department of Anthropology's use of Work Projects Administration workers, for example. In addition, it is the main location of materials not generally accepted as being strictly anthropological in the modern sense. It includes, for example, material on the First Ladies' Gown exhibit now in the National Museum of American History, fish and fisheries, whaling, religions, armour, biblical studies, modern appliances, the seal industry, European music and musical instruments, lace, aeronautics, and other similar subjects.
The file includes the papers of many different persons. The file also includes sets of papers of Otis Tufton Mason, Walter Hough, Talcott Williams, Edwin H. Hawley, and Thomas Wilson. It includes documents, sometimes of a secondary nature, about the following cultural groups and geographic areas; Arabs, Bannock, Baubi, Blackfoot, British Columbia, Caddo, Chinook, Cochiti, Comanche, Cossacks, Cuna, Delaware, Diegueno, District of Columbia, Dyak, Eskimo, Europe, Fox, Goajira, Haida, Hawaii, Hittites, Hupa, India, Innuit, Iran, Ireland, Jamomadi, Japan, Jivaro, Kabyles, Kiowa, Kirghese, Klamath, Korea, Luiseno, Madagascar, Madeira, Maidu, Makah, Maori, Mataco, Maya, Micmac, Micronesia, Mission, Modoc, Mohave, Mongolia, Moro, Morocco, Naltunnetunne, Nanticoke, Narragansett, Navaho,
Indians of North America -- Southwest, New Search this
Type:
Archival materials
Field notes
Vocabulary
Works of art
Sketches
Place:
Santa Fe (N.M.)
Date:
1909
Scope and Contents:
This subseries of the Southwest series contains John P. Harrington's Cochiti research. His notes on Cochiti are scanty, and they appear to have been collected during the latter half of 1909 when he was working out of Santa Fe, New Mexico, on a fellowship for the School of American Archaeology. The materials consist of vocabulary, ethnographic notes, notes and drafts, and sketches. John Dixon (Juan de Jesus Pancho) provided short general vocabulary and geographic terms. There are also terms for the numbers one to ten in the Santo Domingo dialect. There is also a sizable amount of ethnographic material, principally from his work with Mrs. L. S. Gallup and Marcial Quintana. Mrs. Gallup and Harrington compiled a Cochiti census from an unidentified source dated July 1, 1909. The subseries also contains notes apparently intended for future publication. "The Stone Idols of Cochiti" is in both manuscript and typescript forms and was written at the request of Edgar L. Hewett. A second brief manuscript touches on Cochiti history and language. The few sketches, two in water color and two consisting of rough pencil outlines, include masks and regalia. The artists are not identified.
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.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Before the people there was the land. High mountains in northern New Mexico fork southward, forming arms. One curls westward to embrace the high mesa and plateau land, while the other thrusts directly south to separate the dry grasslands of the east from the fertile valley carved by the Rio Grande. Stories tell that the First People found this land when they emerged onto its surface, born from the womb of Mother Earth.
The Spanish and later the Mexicans also found this land, as they wound their way north on horseback or in carretas, following the course of the long, wild river, and establishing a permanent connection - the Camino Real - between northern New Mexico and Mexico. Then, from Texas, California, Oklahoma, came still others, determined to transform the land and tame the river. And today people still come, on family odysseys that began in Italy, Lebanon, Iran, Czechoslovakia, India, Poland, Japan, or Germany. In one short stretch, the Rio Grande recounts this history as it passes near old communities like San Juan Pueblo and Embudo, then the new atomic city, Los Alamos, and then Albuquerque, a city of a half-million people.
Five hundred years after Columbus, the complex engagement between Europe and America, which his voyage has come to symbolize, continued to produce patterns of accommodation and resistance that were presented in the 1992 Festival program. Conflicting uses and meanings for the same land seem inevitable in New Mexico, where more than 70% of the land is managed by the state or federal government, and where a significant percentage of local income is derived from tourism. Cultural traditions of New Mexico's diverse communities were not seen, at the Festival, as immutable heirlooms passed down from one generation to the next. Rather, visitors could see how today's New Mexicans shape traditions by the conflicted choices they make today, weaving a design that can never be wholly foreseen.
José Griego and Andrew Wiget were Curators, with Philippa Jackson as Research & Program Coordinator and Francesca McLean as Program Assistant.
The New Mexico program was made possible with the support of the State of New Mexico, Bruce King, Governor; with the collaboration of the Department of Tourism, the Office of Cultural Affairs, the New Mexico Arts Division, and the Museum of International Folk Art; and with the assistance of the Tourism Association of New Mexico.
Fieldworkers and consultants:
Fieldworkers
Tomás Atencio, Charles Carillo, Beaumont Chrisner, Patricia D'Andrea, Tobias Duran, Judith Goldberg, José Griego, Jim Harris, Stanley Hordes, Theodore Jojola, Kenneth Keppeler, Gina L'Acqua; Enrique Lamadrid, Katherine Liden, Jack Loeffler, Felix Lopez, Helen Lucero, Gwendolyn Mintz, Lynn Moncus, Stephan Moore, Pat Music, A. Rudy Padilla, Patricia Ruiz, Marilee Schmit, Glenda Sours, Elizabeth Taliman, Soge Track, Sandra Turner, Maria Varela, Marta Wiegle, Peter White
Consultants
Olivia Cadaval, Richard Kennedy
Presenters:
Charles Carrillo, Andrew Connors, José Griego, Kenneth Keppeler, Enrique Lamadrid, Felix Lopez, Tessie Naranjo, Gilbert Sanchez, Maria Varela, Andrew Wiget
Participants:
New Mexico Crafts
Charles Carrillo, santero, Santa Fe, New Mexico
Cordelia Coronado, 1933-, weaver, Medanales, New Mexico
Frances Naranjo Dennis, 1949-, potter, Santa Clara Pueblo, New Mexico
Austin "Slim" Green, saddle maker, Tesuque, New Mexico
Sam Leyba, 1950-, muralist, Santa Fe, New Mexico
Felix Lopez, 1942-, santero, Santa Fe, New Mexico
Irene E. Lopez, 1949-, weaver, Española, New Mexico
José Benjamin Lopez, 1947-, santero, Española, New Mexico
Jerome Lujan, santero, Santa Fe, New Mexico
Deana McGuffin, 1950-, bootmaker, Clovis, New Mexico
Wilberto Miera, adobe worker, furniture maker, Santa Fe, New Mexico
Patricio Mora, 1937-, -- paño -- artist, Albuquerque, New Mexico
Madelyn Naranjo, 1915-, potter, Santa Clara Pueblo, New Mexico
Felipe Ortega, potter, cook, La Madera, New Mexico
Alberto Parra, 1954-, adobe worker, Albuquerque, New Mexico
Carolina Paz, potter, -- quiote -- maker, Tortugas, New Mexico
Lydia Pesata, 1942-, basket maker, storyteller, Dulce, New Mexico
Eliseo Rodriguez, 1915-, straw applique, Santa Fe, New Mexico
Paula Rodriguez, 1915-, straw applique, Santa Fe, New Mexico
Timothy P. Roybal, 1947-, furniture maker, Española, New Mexico
Bonifacio Sandoval, 1922-, tin worker, Santa Fe, New Mexico
Thelma Sheche, 1928-, fetish carver, Zuni Pueblo, New Mexico
Ada Suina, potter, Cochiti Pueblo, New Mexico
Elizabeth Taliman, 1953-, bead worker, cook, Santa Fe, New Mexico
Carmen Romero Velarde, 1928-, adobe worker, cook, Ranchos de Taos, New Mexico
Priscilla Vigil, 1919-2001, potter, cook, storyteller, Tesuque, New Mexico
Maria Vergara Wilson, -- colcha -- embroiderer, La Madera, New Mexico
Home and Garden
Paulette Atencio, 1947-, storyteller, Chama, New Mexico
Alice Hoppes, 1939-2003, cook, Albuquerque, New Mexico
Edward Kretek, 1927-1997, cook, Deming, New Mexico
Geraldine Kretek, 1929-, cook, Deming, New Mexico
Gertrude Kretek, cook, Deming, New Mexico
Consuela Martinez, 1948-, curandera, Mora, New Mexico
Elizabeth Taliman, cook, bead worker, Santa Fe, New Mexico
Maclovia Zamora, 1931-, cook, Albuquerque, New Mexico
Range
Ganados del Valle -- Ganados del ValleEstafanita Martinez, 1968-, weaver, Tiera Amarilla, New MexicoNorma Martinez, 1963-, weaver, Chama, New MexicoSophie Martinez, 1959-, weaver, Tierra Amarilla, New MexicoNena Russan, 1964-, weaver, Chama, New Mexico
Ramah Navajo Sheep Camp -- Ramah Navajo Sheep CampKatie C. Henio, Ramah, New MexicoSamuel Henio, 1952-, Pine Hill, New MexicoAnnie L. Pino, 1925-2006, Ramah, New MexicoLorraine Wayne, Ramah, New Mexico
Mountain Spirit Dancers -- Mountain Spirit DancersFreddy Apache, 1963-, dancer, Mescalero, New MexicoAbraham Chee, 1959-, dancer, drum maker, Mescalero, New MexicoNathaniel Chee, Sr., 1936-2004, drummer, singer, Mescalero, New MexicoNathaniel Chee, Jr., dancer, Mescalero, New MexicoSamuel Chee, 1970-, dancer, drum maker, Mescalero, New MexicoJoseph Geronimo, 1949-, drummer, singer, drum maker, Mescalero, New Mexico
Philip Pike, dancer, Mescalero, New Mexico
Jose Castro, charro, La Mesa, New Mexico
Thelma Castro, charro, La Mesa, New Mexico
Banjo Garcia, camp cook, Continental Divide, , New Mexico
Cindy Jo Gainer Graham, 1959-, ranch skills, Tatum, New Mexico
R.W. Hampton, 1957-, ranch skills, guitarist, vocalist, Sedan, New Mexico
James Keith, farrier, blacksmith, Tucumcari, New Mexico
Pete Lewis, 1938-, ranch skills, fiddler, Dell City, New Mexico
Musicians
Antonia Apodaca, 1923-, accordion, vocals, Rociada, New Mexico
Fernando Cellicion, flute, Zuni Pueblo, New Mexico
Vodra Dorn, 1957-, vocals, Albuquerque, New Mexico
William Dorn, 1952-, vocals, sermon traditions, Albuquerque, New Mexico
Juan Manuel Flores, guitar, Las Cruces, New Mexico
J.P. Lewis, 1950-, guitar, Dell City, New Mexico
Charla Nettleton, 1955-, bass, Mesilla Park, New Mexico
Cleofes Ortiz, fiddle, Albuquerque, New Mexico
Buster Payne, 1915-, fiddle, Eunice, New Mexico
Floyd Trujillo, 1934-, vocals, bone carver, Abiquiu, New Mexico
Gretchen Van Houton, 1963-, fiddle, Albuquerque, New Mexico
Cipriano Vigil, 1941-, guitar, fiddle, vocals, Tesuque Pueblo, New Mexico
Johnny Whelan, 1946-, guitar, poetry, Las Cruces, New Mexico
Luther Whelan, 1975-, harmonica, bass, poetry, Las Cruces, New Mexico
Los Alegres -- Los AlegresFrank Jaramillo, 1950-, bass, Ranchos de Taos, New MexicoJulia Jaramillo, 1922-, mandolin, Ranchos de Taos, New MexicoPablo Trujillo, 1916-, bass, Ranchos de Taos, New Mexico
Los Reyes de Albuquerque -- Los Reyes de AlbuquerqueMiguel Archibeque, 1938-, guitar, vocals, Albuquerque, New MexicoIsidro Chavez, 1921-, guitar, Albuquerque, New MexicoRay Flores, trumpet, Albuquerque, New MexicoLorenzo Martinez, violin, Albuquerque, New MexicoRoberto Martinez, 1929-, vihuela, guitar, vocals, Albuquerque, New MexicoAngela Perez, 1970-, violin, Albuquerque, New Mexico
Plaza Dancers
Los Bernalillo Matachines -- Los Bernalillo MatachinesTheresa Acosta, 1952-, dancer, Bernalillo, New MexicoCharles J. Aguilar, 1946-, violin, Bernalillo, New MexicoRalph Chavez, dancer, Bernalillo, New MexicoJohn Crespin, 1952-, dancer, Bernalillo, New MexicoJocelyn Duran, dancer, Bernalillo, New MexicoJoseph R. Garcia, 1950-, dancer, Bernalillo, New MexicoEddie D. Gutierrez, dancer, Bernalillo, New MexicoLeroy J. Lovato, 1955-, dancer, Bernalillo, New MexicoLaurence Lucero, 1966-, dancer, Bernalillo, New MexicoPhillip Montano, 1961-, dancer, Albuquerque, New MexicoLeonard Prairie, dancer, Bernalillo, New MexicoMelanie Wiggins, dancer, Bernalillo, New Mexico
Los Comanches de la Serna -- Los Comanches de la SernaDavid Antonio Gonzales, 1965-, dancer, Ranchos de Taos, New MexicoFrancisco Gonzales, 1941-, singer, dancer, Ranchos de Taos, New MexicoMoises Romero, dancer, Ranchos de Taos, New MexicoJulian Struck, dancer, Ranchos de Taos, New Mexico
Concha Dancers -- Concha DancersAdeline Concha, 1973-, dancer, bead worker, Taos Pueblo, New MexicoBenito Concha, 1965-, drummer, flautist, dancer, Taos Pueblo, New MexicoCelestina Concha, 1937-, dancer, bead worker, Taos Pueblo, New MexicoJodie Concha, dancer, bead worker, Taos Pueblo, New MexicoMichelle Concha, dancer, bead worker, Taos Pueblo, New MexicoMike Concha, 1932-, vocals, drummer, dancer, Taos Pueblo, New MexicoNicolas Concha, dancer, Taos Pueblo, New MexicoDonna Sandoval, 1964-, dancer, bead worker, Taos Pueblo, New MexicoSonny Spruce, dancer, Taos Pueblo, New MexicoBransen Velarde, dancer, Taos Pueblo, New Mexico
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1992 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 1998 Festival program formed part of a larger, multi-year Río Grande/Río Bravo Basin project that included:
Folklife Field Research Schools held in Texas, New Mexico, and Colorado to train local academic and community scholars and to direct local research for the Folklife Festival and other public programs;
Production of local public programs in collaboration with local organizations to present research carried out in the region (sponsored by Texas Folklife Resources and the Texas Council for the Humanities);
Smithsonian Folklife Festival programs for 1998 and 2000;
Production of a traveling exhibition, educational materials, and a film documentary.
This collaborative training and research approach built upon several years of work with binational institutions, researchers, and community members, some of whom had participated in earlier Smithsonian projects in the U.S.-Mexico borderlands region. The particular challenge was to research, plan, and produce a program on how local cultures contribute to a sustainable river-basin environment. The Smithsonian's approach was to engage scholars, educators, and individuals - whether formally or nonformally trained - who are involved in community cultural work. We sought to understand relationships between culture and environment and to see how contemporary traditions can be relevant to balancing human prosperity with environmental sustainability. Three questions guided the project: 1) What kinds of communities live in the region today? 2) What is their traditional knowledge for managing the environment? 3) Can local culture provide a foundation for sustainable development projects?
These questions led to in-depth explorations of the many meanings of the Río Grande/Río Bravo. The 1998 Festival offered initial answers through a small Festival program that previewed cultural regions, expressive traditions, and issues that were featured in subtantially greater depth at the 2000 Festival program, El Río.
Olivia Cadaval and Cynthia L. Vidaurri were Curators, and Heidi McKinnon was Program Coordinator; Patricia Fernandez de Castro was Research Advisor.
This project was cosponsored by El Consejo Nacional para la Cultura y las Artes with support from the U.S.-Mexico Fund for Culture (The Rockefeller Foundation, Fundación Cultural Bancomer, the Fondo Nacional para la Cultura y las Artes), SBC Foundation, Texas Folklife Resources, and the Texas Council for the Humanities. Folklife Fieldwork Research Schools were supported by Colorado College, Tierra Wools, the University of New Mexico, University of Texas-Pan American, and a grant from Smithsonian Outreach Funds.
Armando Acosta, Estevan Arellano, Alejandro Arrecillas, Angelica Bautista, Mike Blakeman, Norma Cantú, Imelda Castro Santillán, David Champion, Jerry Chapman, Karen Chapman, Cynthia L. Chávez, Cynthia Cortez, Peter J. García, Gregorio Garza, Bárbara Gonzales, Steve Harris, Victor Manuel Hernández, Alma Jiménez, Ramón de León, Heidi H. McKinnon, Genevieve Mooser, Marisa Oliva, Francis Ortega, Beverly Ann Ortiz, Gustavo Palacio Flores, Marcos Rodríguez, Rose Rodríguez-Rabin, Erin Ross, Ken Rubin, Joanna Stewart, John Stockley, Bob Tenequer, Elaine Thatcher, Molly Timko, Curtis Tunnell, Ethel Warrior, William Warrior
Presenters:
David Champion, Juanita Elizondo Garza, Enrique Lamadrid, Ramón de León, Mario Montaño, Genevieve Mooser, Daniel Sheehy
Participants:
Charles Aguilar, musician, farmer, fiesta organizer, Bernalillo, New Mexico
Estevan Arellano, centenary rancher, historian, sculptor, writer, Embudo, New Mexico
Michael Blakeman, San Juan, Rio Grande National Forest, Del Norte, Colorado
José Guadalupe Alejandro Bautista, Ramámuri woodcarver, bilingual teacher, runner, Ciudad Juárez, Chihuahua, Mexico
David Champion, -- conjunto -- musician, Mercedes, Texas
José Cisneros, Big Bend National Park, Big Bend, Texas
Marta Cruz Moreno, Ramámuri basket weaver, seamstress, Ciudad Juárez, Chihuahua, Mexico
Luis Román, retablo painter, muralist, sign painter, Ojinaga, Chihuahua, Mexico
María Elena Russom, Tierra Wools weaver, Los Ojos, New Mexico
Juan Antonio Tapia, -- conjunto -- musician, Brownsville, Texas
Dolores Venegas, paper crafts, Río Bravo, Tamaulipas, Mexico
Clemente Zamarripa, vaquero, horsehair braider, Santa Elena, Texas
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1998 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:
Building upon a multi-year engagement with communities along the U.S.-Mexico border, the El Río program at the 2000 Festival was one of several important outcomes - including a traveling exhibition, education materials, and documentary video - of the project. The geographic expanse of the basin and its cultural diversity posed a challenge for the project that was met with the help of colleagues and institutions in the region. Smithsonian curators posed several broad questions to their regional collaborators about the dynamic interplay between culture and environment in the Río Grande/Río Bravo Basin. First, how does traditional knowledge developed over generations contribute to managing land and water resources? Second, in what ways does the environment shape a community's cultural identity? And third, how can local knowledge and cultural practices contribute to sustainable development and provide the basis for successful economic enterprise? The Festival presentations were structured around these three domains.
Traditional knowledge and management of the environment. Shrimpers, ranchers, vaqueros, blacksmiths, barbacoa (barbecue) cooks, and artisans who use desert fibers all have different work, but all rely on traditional local knowledge and on their own experience with the fragile natural resources of this desert environment. Centenary ranchers in New Mexico maintain the ancient acequia (irrigation ditch) system to sustain their ethical values and natural ecosystem with community participation. As new people move into the area, conflicts arise over different values placed on cost-efficient technologies. Festival participants addressed how they combine knowledge and technology from many sources and, as importantly, how they establish dialogue with newcomers about tradition and the quality of life.
Landscape and cultural identity. For the Pueblo, water rights govern ritual practices as much as irrigation. When new residents move into an area, different forms of land ownership and use may challenge existing arrangements. Long ago, Spanish settlers in New Mexico caused great conflict and change, but Pueblo traditions have persisted, and in some cases, Pueblo and Hispano communities have developed shared cultural forms, such as matachín dancing. Some of the Rarámuri, a Native American community indigenous to Chihuahua and known by outsiders as Tarahumara, have recently migrated from their rural environment to Ciudad Juárez. Their dance, craft, and foodways traditions help them sustain their cultural identity in an urban environment. Other such expressions featured in this program are Chicano murals, which illustrate the interconnectedness of belief, history, and cultural identity; and South Texas conjunto, northern Mexico norteño, and New Mexico ranchera music, which illustrate the same thematic connections in their music and words.
Local culture and sustainable development. Guided by the values shared in local cultures, successful, sustainable, producer-owned businesses combine both traditional and new skills and technology. These enterprises develop collaborative networks through participation in formal and informal economies, selling their products in community markets, flea markets, tourist shops, through craft catalogs and Internet Web sites, and in other domestic and international markets. Craft enterprises featured at the Festival included a weaving cooperative, cottage-industry piñata making, glass etching, furniture caning, and retablo (sacred image) painting. Building arts included building with adobe, ornamental stone carving, brick making, and self-help home building. All illustrated the creative use of traditional knowledge, available resources, and innovative exchange strategies.
Olivia Cadaval and Cynthia L. Vidaurri were Curators, and Arlene Reiniger was Program Coordinator, with Soledad Campos as Evening Concert Collaborator.
The program was produced in collaboration with the Smithsonian Center for Latino Initiatives. Major support was provided by the State of New Mexico, Smithsonian Latino Initiatives Fund, U.S. Department of Agriculture, and the Housing Assistance Council. Additional support was provided by El Consejo Nacional para la Cultura y las Artes, Texas Commission on the Arts, El Consejo para la Cultura de Nuevo León, Instituto Tamaulipeco para la Cultura y las Artes, Dirección General de Ecología del Estado de Coahuila, Desarrollo Integral de la Familia del Municipio de Saltillo, Coahuila; Programa de Museos Comunitarios en el Estado de Chihuahua, and National Museum of American History's ENCUENTROS: Latino America at the Smithsonian.
Researchers:
Armando Acosta, Charles Aguilar, Estevan Arellano, Gastón Armendáriz López, Alejandro Arrecillas, Angélica Bautista, Mike Blakeman, Norma Cantú, Imelda Castro Santillán, David Champion, Jerry Chapman, Cynthia L. Chávez, Cynthia Cortez, Juanita Elizondo Garza, Patricia Fernández de Castro, Peter J. García, Gregorio Garza, Rodolfo Garza Gutiérrez, Bárbara Gonzales, Trinidad Gonzales, Héctor Guillermo Guerrero Mata, Steve Harris, Victor Manuel Hernández, Arnold Herrera, Jorge Ignacio Ibarra Ibarra, Alma Jiménez, Enrique Lamadrid, Ramón de León, José Oscar Leyva Flores, Norma Magallanes Barrera, Irma Delia Máynes Hernández, Heidi H. McKinnon, Gildardo Montaño Chávez, Mario Montaño, Genevieve Mooser, Jaime Morales Gutiérrez, Marisa Oliva, Francis Ortega, Beverly Ann Ortiz, Cirila Quintero, Marcos Rodríguez, Rose Rodríguez-Rabin, Héctor Romero Lecanda, Erin Ross, Ken Rubin, Joanna Stewart, John Stockley, Socorro Tabuenca, Bob Tenequer, Elaine Thatcher, Molly Timko, Curtis Tunnell, Ethel Warrior, William Warrior
Presenters:
Charles Aguilar, Norma Cantú, Imelda Castro Santillán, David Champion, James Early, Nancy Groce, Miguel Gandert, Juanita Elizondo Garza, Trinidad Gonzales, Héctor Guillermo Guerrero Mata, Victor Manuel Hernández, Arnold Herrera, Jorge Ignacio Ibarra Ibarra, Enrique Lamadrid, Benigno Layton, Ramón de León, Mario Montaño, Genevieve Mooser, Erin Ross, Daniel Sheehy, Socorro Tabuenca, Tom Vennum
Participants:
TRADITIONAL KNOWLEDGE AND MANAGEMENT OF THE ENVIRONMENT
Edcouch-Elsa High School Conjunto, Texas -- Edcouch-Elsa High School Conjunto, TexasJavier del Toro, bajo sexto player, Elsa, TexasJavier González, accordion player, Elsa, TexasSelvín Guevara, bass guitar player, Elsa, TexasPaul Anthony Layton, drummer, Elsa, Texas
Los Fantasmas del Valle -- Los Fantasmas del ValleHector Barron, bass guitar player, Mercedes, TexasJulio Figueroa, bajo sexto player, Mercedes, TexasCruz Gonzalez, drummer, Mercedes, TexasRodney Rodriguez, accordion player, Rio Grande City, Texas
Los Canarios -- Los CanariosCirilo Gauna Saucedo, accordion player, string instrument maker, Santa Catarina, Nuevo León, MexicoRamón González Mandujano, accordion and bajo sexto player, Santa Catarina, Nuevo León, Mexico
Trio Tamaulipeco, Ciudad Victoria, Tamaulipas, Mexico -- Trio Tamaulipeco, Ciudad Victoria, Tamaulipas, MexicoAlvaro Cardona Pérez, accordion player, Ciudad Victoria, Tamaulipas, MexicoPedro Rodríguez Torres, tololoche player, Ciudad Victoria, Tamaulipas, MexicoConstancio Ruíz Cardona, bajo sexto player, Ciudad Victoria, Tamaulipas, Mexico
Los Folklóristas de Nuevo Mexico -- Los Folklóristas de Nuevo MexicoLorenzo González, guitar and requinto player, Abiquiu, New MexicoCipriano F. Vigil, violin player, composer, El Rito, New MexicoCipriano P. Vigil, Jr., guitar and requinto player, El Rito, New MexicoFelicita Vigil, guitar and requinto player, El Rito, New Mexico
LOCAL CULTURE AND SUSTAINABLE DEVELOPMENT
Tierra Wools, Los Ojos, New Mexico
Helen Manzanares, weaver, Los Ojos, New Mexico
Lara Manzanares, weaver, Los Ojos, New Mexico
Molly Manzanares, weaver, Los Ojos, New Mexico
Cambridge -- Maquiladora
Juan Diego Domínguez, -- maquiladora -- worker, Matamoros, Tamaulipas, Mexico
María Jésus Jiménez, adobe builder, Presidio, Texas
Alejandro Jiménez, adobe builder, Presidio, Texas
Gerardo Luis Caballero Realivásquez, brick maker, Ciudad Juárez, Chihuahua, Mexico
Enrique Chávez Ramírez, brick maker, Ciudad Juárez, Chihuahua, Mexico
Raul Ramírez-Sandoval, brick maker, Ciudad Juárez, Chihuahua, Mexico
Martín Villa Guevara, stonecutter, Ojinaga, Chihuahua, Mexico
Francisco Javier Villa Reyes, stonecutter, Ojinaga, Chihuahua, Mexico
Proyecto Azteca, United Farm Workers
Maricela Castillo, house builder, San Juan, Texas
María Gómez, United Farm Workers, house builder, San Juan, Texas
Jaime Morales, house builder, San Juan, Texas
Aristeo Orta, house builder, San Juan, Texas
Juan Salinas, construction supervisor, San Juan, Texas
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2000 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Festival Recordings: Cochiti Pueblo, New Mexico: Land, Faith and Water (Arnold Herrera, Carlos Herrera, Samuel Suina) (Miguel Gandert), Raramuri Matachin Dance (Jose Guadalup) (Genevieve Mooser), Conchiti: Buffalo Pueblo Corn Dance (Arnold Suina), El R...
Creator:
Smithsonian Institution, Smithsonian Folklife Festival, El Rio Program 2000 Washington, D.C. Search this
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (compact audio cassette)
1 Sound cassette (analog.)
Type:
Archival materials
Sound recordings
Sound cassettes
Place:
Washington (D.C.)
Date:
2000 June 24
Local Numbers:
FP-2000-CT-0120-7
Date/Time and Place of an Event Note:
Recorded in: Washington, D.C, United States, June 24, 2000.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2000 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Festival Recordings: El Rio: Los Matachines de San Lorenzo (M Gandert), Los Canarios (Cirilo Garona, Ramon Gonzales), Matachina Raramori: Danza Matachina Raramori (Jose Guadalupe, Marcenia Raya, Lorenzo Cant, Jose Castillo, Raul Cornelio, Marta Moreno)...
Creator:
Smithsonian Institution, Smithsonian Folklife Festival, El Rio Program 2000 Washington, D.C. Search this
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (compact audio cassette)
1 Sound cassette (analog.)
Type:
Archival materials
Sound recordings
Sound cassettes
Place:
Washington (D.C.)
Date:
2000 June 24
Local Numbers:
FP-2000-CT-0121-7
Date/Time and Place of an Event Note:
Recorded in: Washington, D.C, United States, June 24, 2000.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2000 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Festival Recordings: Cochiti Pueblo New Mexico: Corn Dance (Arnold Herrera), El Rio: Los Matachines de San Lorenzo (M Gandent), Rio Conversations (Mr Mooser)
Creator:
Smithsonian Institution, Smithsonian Folklife Festival, El Rio Program 2000 Washington, D.C. Search this
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (compact audio cassette)
1 Sound cassette (analog.)
Type:
Archival materials
Sound recordings
Sound cassettes
Place:
Washington (D.C.)
Date:
2000 June 24
Local Numbers:
FP-2000-CT-0122-7
Date/Time and Place of an Event Note:
Recorded in: Washington, D.C, United States, June 24, 2000.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2000 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (compact audio cassette)
1 Sound cassette (analog.)
Type:
Archival materials
Sound recordings
Sound cassettes
Place:
Washington (D.C.)
Date:
2000 July 1
Local Numbers:
FP-2000-CT-0139-7
Date/Time and Place of an Event Note:
Recorded in: Washington, D.C, United States, July 1, 2000.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2000 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Festival Recordings: New Mexico: Cochiti Pueblo (Tom Vennum), Los Matchines de San Lorenzo (Aquilar, Miguel Gandert), Los Canarios (Cirilo Saucedo, Ramon Gonzalez) (Guillermo Guerrero)
Creator:
Smithsonian Institution, Smithsonian Folklife Festival, El Rio Program 2000 Washington, D.C. Search this
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (compact audio cassette)
1 Sound cassette (analog.)
Type:
Archival materials
Sound recordings
Sound cassettes
Place:
Washington (D.C.)
Date:
2000 July 1
Local Numbers:
FP-2000-CT-0141-7
Date/Time and Place of an Event Note:
Recorded in: Washington, D.C, United States, July 1, 2000.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2000 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Festival Recordings: Los Canarios (Cirilo Saucedo, Ramon Gonzalez) (Hector), Cochiti Pueblo Eagle Dance (Trinidad Gonzalez), Los Matachines de San Lorenzo (Miguel Gandert)
Creator:
Smithsonian Institution, Smithsonian Folklife Festival, El Rio Program 2000 Washington, D.C. Search this
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (compact audio cassette)
1 Sound cassette (analog.)
Type:
Archival materials
Sound recordings
Sound cassettes
Place:
Washington (D.C.)
Date:
2000 July 4
Local Numbers:
FP-2000-CT-0151-7
Date/Time and Place of an Event Note:
Recorded in: Washington, D.C, United States, July 4, 2000.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2000 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
50 Stereographs (circa 50 printed stereographs, halftone and color halftone)
1,000 Stereographs (circa, albumen and silver gelatin (some tinted))
239 Prints (circa 239 mounted and unmounted prints, albumen (including cartes de visite, imperial cards, cabinet cards, and one tinted print) and silver gelatin (some modern copies))
96 Prints (Album :, silver gelatin)
21 Postcards (silver gelatin, collotype, color halftone, and halftone)
Photographs relating to Native Americans or frontier themes, including portraits, expedition photographs, landscapes, and other images of dwellings, transportation, totem poles, ceremonies, infants and children in cradleboards, camps and towns, hunting and fishing, wild west shows, food preparation, funeral customs, the US Army and army posts, cliff dwellings, and grave mounds and excavations. The collection also includes images of prisoners at Fort Marion in 1875, Sioux Indians involved in the Great Sioux Uprising in Minnesota, the Fort Laramie Peace Commission of 1868, Sitting Bull and his followers after the Battle of the Little Bighorn, and the aftermath of the Wounded Knee Massacre in 1890.
There are studio portraits of well-known Native Americans, including American Horse, Big Bow, Four Bears, Iron Bull, Ouray, Red Cloud, Red Dog, Red Shirt, Sitting Bull, Spotted Tail, Three Bears, and Two Guns White Calf. Depicted delegations include a Sauk and Fox meeting in Washington, DC, with Lewis V. Bogy and Charles E. Mix in 1867; Kiowas and Cheyennes at the White House in 1863; and Dakotas and Crows who visited President Warren G. Harding in 1921. Images of schools show Worcester Academy in Vinita, Oklahoma; Chilocco Indian School; Carlisle Indian Industrial School; Haskell Instittue, and Albuquerque Indian School.
Some photographs relate to the Centennial Exposition in Philadelphia, 1876; World's Columbian Exposition in Chicago, 1893; Louisiana Purchase Exposition in St. Louis, 1903; and Centennial Exposition of the Baltimore and Ohio Railraod, 1876. Expedition photographs show the Crook expedition of 1876, the Sanderson expedition to the Custer Battlefield in 1877, the Wheeler Survey of the 1870s, Powell's surveys of the Rocky Mountain region during the 1860s and 1870s, and the Hayden Surveys.
Outstanding single views include the party of Zuni group led to the sea by Frank Hamilton Cushing; Episcopal Church Rectory and School Building, Yankton Agency; Matilda Coxe Stevenson and a companion taking a photographs of a Zuni ceremony; John Moran sketching at Acoma; Ben H. Gurnsey's studio with Indian patrons; Quapaw Mission; baptism of a group of Paiutes at Coeur d'Alene Mission; court-martial commission involved in the trial of Colonel Joseph J. Reynolds, 1877; President Harding at Sitka, Alaska; Walter Hough at Hopi in 1902; and Mrs. Jesse Walter Fewkes at Hopi in 1897.
Biographical/Historical note:
George V. Allen was an attorney in Lawrence, Kansas and an early member of the National Stereoscope Association. Between the 1950s and 1980s, Allen made an extensive collection of photographs of the American West, mostly in stereographs, but also including cartes-de-visite and other styles of mounted prints, photogravures, lantern slides, autochromes, and glass negatives.
Photo Lot 90-1, George V. Allen collection of photographs of Native Americans and the American frontier, National Anthropological Archives, Smithsonian Institution
Indians of North America -- Great Basin Search this
Type:
Collection descriptions
Archival materials
Albums
Photographs
Date:
circa 1877
Scope and Contents note:
Albums probably assembled by William Henry Jackson, mostly containing portraits of Native American delegates in Washington, D.C. and photographs made on US Geological Surveys (including the Hayden and Powell surveys). Photographs from the field include John K. Hillers' photographs of the Southwest, photographs of Fort Laramie (possibly by Alexander Gardner), Orloff R. Westmann's photographs of Taos Pueblo, and Jackson's photographs of Crow, Shoshoni, Pawnee, and Nez Perce Tribes and related sites. Most of the photographs were made circa 1860s-1870s.
The albums were probably by Jackson while working under Ferdinand V. Hayden for the United States Geological Survey of the Territories. The reason for their creation is uncertain, though it may have been a project set up by Hayden or a continuation of William Henry Blackmore's tradition of publishing albums. Some of the albums include captions pasted from Jackson's Descriptive Catalogue of Photographs of North American Indians (1877) while others have handwritten captions.
Biographical/Historical note:
William Henry Jackson (1843-1942) was an American painter, photographer and explorer. Born in New York, he sold drawings and retouched photographs from an early age. After serving in the Civil War, he opened a photography studio in Omaha, Nebraska, with his brother Edward. As photographer for the US Geological and Geographical Surveys (1870-1878), he documented the American west and published the first photographs of Yellowstone. When the surveys lost funding in 1879, Jackson opened a studio in Denver, Colorado, and also worked for various railroad companies. Many of Jackson's photographs were displayed at the World's Columbian Exhibition in Chicago (1893), for which he was the official photographer.
Local Call Number(s):
NAA Photo Lot 4420
Location of Other Archival Materials:
Original negatives for many of the photographs in this collection can be found in the National Anthropological Archives in the BAE historical negatives.
The National Museum of the American Indian Archives holds William Henry Jackson photographs and negatives.
Additional Jackson photographs held in National Anthropological Archives Photo Lot 4605, MS 4801, Photo Lot 14, Photo Lot 24, Photo Lot 29, Photo Lot 37, Photo Lot 40, Photo Lot 60, Photo Lot 93, Photo lot 143, Photo Lot 87-2P, Photo Lot 87-20, and Photo Lot 90-1.
Correspondence from Jackson held in the National Anthropological Archives in MS 4517, MS 4881, MS 4821, and collections of personal papers.
Photo Lot 4420, William Henry Jackson photograph albums based on his Descriptive Catalogue of Photographs of North American Indians, National Anthropological Archives, Smithsonian Institution
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