The videorecording "Togu na and Check: Change and Continuity in the Art of Mali", which documents two forms of art of the Dogon and Bamana peoples in Mali, West Africa, in 1989.
Scope and Contents:
The videorecording "Togu na and Check: Change and Continuity in the Art of Mali", which documents two forms of art of the Dogon and Bamana peoples in Mali, West Africa, in 1989. Accompanying text describes that the film "explores two forms of art in present-day Mali, West Africa. For the Dogon peoples, the meeting house, or toguna, is the centerpiece of each village. Men gather to discuss matters involving the entire community. Its massive millet-stalk roof is supported by columns masterfully sculpted with figures in high relief. The Bamana peoples have developed a unique form of communal theater, called cheko. The principal actors in cheko performances are colorful, animated puppets. Some of these puppets are small enough to be manipulated by hand. Others tower above the rooftops of the village and require two or more people to move them. These fascinating Dogon and Bamana works of art depict both traditional and contemporary themes. They vividly show how art continues to evolve in Africa today."
Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Videorecording of two forms of art of Dogon and Bamana peoples in Mali, West Africa, in 1989. Text accompanying video for sale reads, "Togu na and Cheko: Change and Continuity in the Art of Mali explore two forms of art in present-day Mali, West Africa. For the Dogon peoples, the meetinghouse, or toguna, is the centerpiece of each village. Men gather to discuss matters involving the entire community. Its massive millet-stalk roof is supported by columns masterfully sculpted with figures in high relief. The Bamana peoples have developed a unique form of communal theater, called cheko. The principal actors in cheko performances are colorful, animated puppets. Some of these puppets are small enough o be manipulated by hand. Others tower above the rooftops of the village and require tow or more people to move them. These fascinating Dogon and Banana works of art depict both traditional and contemporary themees. They vividly show how art continues to evolve in Africa today."
General:
Video indexed by video number.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
All Rights Reserved: Smithsonian Insitution, 1989.
Short version of a videorecording of West African textile making produced by Staniski Media Resources for the National Museum of African Art in 1989. Text accompanying videos for sale reads, "Togu na and Cheko: Change and Continuity in the Art of Mali explores two dynamic forms of art in present-day Mali, WestAfrica. For the Dogon peoples, the meetinghouse, or togu na, is the centerpiece of each village. Men gather there to discuss matters involving the entire community. It massive millet-stalk roof is supported by columns masterfully sculpted with figures in high relief. The Bamana peoples have developed a unique form of communal theater, called cheko. The principle actors in cheko performances are colorful, animated pupets. Some of these puppets are small enough to be manipulated by hand. Others tower above the rooftops of the village and require two or more people to move them. These fascinating Dogon and Bamana works of art depict both traditional and contemporary themes. They vividly show how art continues to evolve in Africa today.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
All Rights Reserved: Smithsonian Insitution, 1989.
Short version videorecording of West African textile making produced by Staniski Media Resources for the National Museum of African Art in 1989. Text accompanying videos for sale reads, "Togu na and Cheko: Change and Continuity in the Art of Mali explores two dynamic forms of art in present-day Mali, WestAfrica. For the Dogon peoples, the meetinghouse, or togu na, is the centerpiece of each village. Men gather there to discuss matters involving the entire community. It massive millet-stalk roof is supported by columns masterfully sculpted with figures in high relief. The Bamana peoples have developed a unique form of communal theater, called cheko. The principle actors in cheko performances are colorful, animated pupets. Some of these puppets are small enough to be manipulated by hand. Others tower above the rooftops of the village and require two or more people to move them. These fascinating Dogon and Bamana works of art depict both traditional and contemporary themes. They vividly show how art continues to evolve in Africa today.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
All Rights Reserved: Smithsonian Insitution, 1989.
Short versin of a videorecording of West African textile making produced by Staniski Media Resources for the National Museum of African Art in 1989. Text accompanying videos for sale reads, "Togu na and Cheko: Change and Continuity in the Art of Mali explores two dynamic forms of art in present-day Mali, WestAfrica. For the Dogon peoples, the meetinghouse, or togu na, is the centerpiece of each village. Men gather there to discuss matters involving the entire community. It massive millet-stalk roof is supported by columns masterfully sculpted with figures in high relief. The Bamana peoples have developed a unique form of communal theater, called cheko. The principle actors in cheko performances are colorful, animated pupets. Some of these puppets are small enough to be manipulated by hand. Others tower above the rooftops of the village and require two or more people to move them. These fascinating Dogon and Bamana works of art depict both traditional and contemporary themes. They vividly show how art continues to evolve in Africa today.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
All Rights Reserved: Smithsonian Insitution, 1989.
Videorecording of West African textile making produced by Staniski Media Resources for the National Museum of African Art in 1989. Text accompanying videos for sale reads, "Togu na and Cheko: Change and Continuity in the Art of Mali explores two dynamic forms of art in present-day Mali, WestAfrica. For the Dogon peoples, the meetinghouse, or togu na, is the centerpiece of each village. Men gather there to discuss matters involving the entire community. It massive millet-stalk roof is supported by columns masterfully sculpted with figures in high relief. The Bamana peoples have developed a unique form of communal theater, called cheko. The principle actors in cheko performances are colorful, animated pupets. Some of these puppets are small enough to be manipulated by hand. Others tower above the rooftops of the village and require two or more people to move them. These fascinating Dogon and Bamana works of art depict both traditional and contemporary themes. They vividly show how art continues to evolve in Africa today.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
All Rights Reserved: Smithsonian Insitution, 1989.
Videorecording of West African textile making produced by Staniski Media Resources for the National Museum of African Art in 1989. Text accompanying videos for sale reads, "Togu na and Cheko: Change and Continuity in the Art of Mali explores two dynamic forms of art in present-day Mali, WestAfrica. For the Dogon peoples, the meetinghouse, or togu na, is the centerpiece of each village. Men gather there to discuss matters involving the entire community. It massive millet-stalk roof is supported by columns masterfully sculpted with figures in high relief. The Bamana peoples have developed a unique form of communal theater, called cheko. The principle actors in cheko performances are colorful, animated pupets. Some of these puppets are small enough to be manipulated by hand. Others tower above the rooftops of the village and require two or more people to move them. These fascinating Dogon and Bamana works of art depict both traditional and contemporary themes. They vividly show how art continues to evolve in Africa today.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
All Rights Reserved: Smithsonian Insitution, 1989.
Videorecording of West African textile making produced by Staniski Media Resources for the National Museum of African Art in 1989. Text accompanying videos for sale reads, "Togu na and Cheko: Change and Continuity in the Art of Mali explores two dynamic forms of art in present-day Mali, WestAfrica. For the Dogon peoples, the meetinghouse, or togu na, is the centerpiece of each village. Men gather there to discuss matters involving the entire community. It massive millet-stalk roof is supported by columns masterfully sculpted with figures in high relief. The Bamana peoples have developed a unique form of communal theater, called cheko. The principle actors in cheko performances are colorful, animated pupets. Some of these puppets are small enough to be manipulated by hand. Others tower above the rooftops of the village and require two or more people to move them. These fascinating Dogon and Bamana works of art depict both traditional and contemporary themes. They vividly show how art continues to evolve in Africa today.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
All Rights Reserved: Smithsonian Insitution, 1989.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
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: 1981 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
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: 1981 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
The Joy McLean Bosfield papers, which dates from 1923 to 1995 and measures 3.41 linear feet, documents the professional life of Joy McLean Bosfield. The papers are comprised of personal and professional correspondence, concert programs, contracts, newspaper clippings, photographs, radio scripts, and record albums.
Scope and Contents note:
The collection which dates from 1923 to 1995, bulk dates 1945-1985, documents the professional career of Joy McLean Bosfield. The papers document Ms. McLean's professional career as a singer and vocal teacher through photographs and recital programs. In particular, there are two scrapbooks which focus on Ms. McLean's employment with a traveling theater production of Porgy and Bess. There are also radio scripts from Ms. McLean's stint with the British Broadcasting Corporation and phonograph records that captured her vocal talent.
Arrangement note:
The papers are arranged into five series. Folders are arranged alphabetically within series, while documents are organized chronologically. Undated material appears in the front of folders. Oversized material appears in the Career Series.
Series 1: Biographical Files
Series 2: Career
Series 3: Correspondence
Series 4: Music Collection
Series 5: Photographs
Biographical/Historical note:
Joy McLean Bosfield was born on January 27, 1924 to John and Florence Mearimore. Her mother, an immigrant from Demerara, Guiana, married McLean's father, a prominent New York businessman, in March of 1923 in New Jersey. She lived with her family in Paramus, New Jersey until 1940, when she graduated from Ridgewood High School. During that same year McLean was accepted to the prestigious Hunter College, in New York. Her mother moved with her to New York City where they lived with Mrs. Mearimore's older brother. During her time in New York, McLean developed important relationships that helped shape her professionalism and creativeness.
On February 26, 1945, McLean performed in her first recital at St. Martin's Little Theatre. It was the beginning of a long and distinguished career as a soprano opera singer. Three years after graduating and making her debut, she went on to perform at Carnegie Hall. In June of 1948, McLean married Charles McLean and moved to England. Mr. McLean, originally from British Guiana, wished to study law at London University, while Ms. McLean continued to develop her career by working for the BBC (British Broadcasting Corporation) as a solo soprano for several of their programs.
In 1952 Ms. McLean toured with an American company of Porgy and Bess. Through the production she travelled all over the world including eastern and western Europe and the Middle East. When she returned to the United States, McLean joined several musicals and continued to give recitals and public appearances. At some point, McLean married Samuel Bosfield and began being known as McLean Bosfield. She claimed the name change reflected her many years as a public figure and the importance of the associated reputation it generated.
Later in life, McLean moved to Washington D.C. with her husband where she continued to work on her career by giving recitals and performing as a piano accompanist. She also began working for the Frederick Wilkerson Studio of Voice as a vocal coach. After the death of Wilkerson, McLean took over the studio in the 1980s. She called it the McLean Bosfield Vocal Studio. Besides vocal training she also produced public recitals for her students. The final student concert of the studio was held on March 17, 1985. It was not only the final concert for the studio (Ms. McLean retired and closed the studio in 1985) but it would also be Ms. McLean's final public performance. With the death of her husband, Samuel Bosfield, and her mother in 1983 and 1984 McLean found no reason to stay in D.C.
She moved to Chapala, Mexico in 1985 after reconnecting with an old family friend she knew when she lived in New York City while attending college. Upon moving to Mexico, McLean married her long time friend, Bill Jackson who was several years her senior and had moved to Chapala years earlier with his deceased first wife. Jackson and McLean spent several fruitful years together, participating in community theater productions and other community functions until his death in 1991 at the age of 91. On April 4, 1999, Joy McLean Bosfield died.
Provenance:
The Joy McLean papers were donated to the Anacostia Community Museum in September 1985.
Restrictions:
The collection is open for unrestricted research. Use requires an appointment.
Rights:
The Joy McLean papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
The collection is open for unrestricted research. Use requires an appointment.
Collection Rights:
The Joy McLean papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Collection Citation:
The Joy McLean Bosfield papers, Anacostia Community Museum, Smithsonian Institution, gift of Joy McLean Bosfield.
