Search Results

Creator:

Hance, William Adams, 1916-  Search this

Extent:

2513 Slides (photographs) (color , 35mm.)

17 Maps

117 Postcards

10 Items ((guidebooks))

Container:

Item EEPA.2008-008

Type:

Collection descriptions

Archival materials

Slides (photographs)

Maps

Postcards

Guidebooks

Color slides

Place:

West Africa

Algeria

Angola

Benin

Gabon

Africa, Central

Africa

Lesotho

Kenya

Côte d'Ivoire

Ghana

Malawi

Madagascar

Libya

Liberia

Morocco

Mali

Mauritius

Africa, East

Zanzibar

Congo (Democratic Republic)

Senegal

Zambia

Sudan

South Africa

Sierra Leone

Uganda

Tunisia

Tanzania

Swaziland

Egypt

Cameroon

Rwanda

Burundi

Réunion

Nigeria

Ethiopia

Central African Republic

Date:

1949-1970

Summary:

This collection, which dates from 1949-1970, contains approximately 2513 color 35mm slides depicting the people, environment and cultures of more than 30 African countries. Images include landscapes, agriculture and marketplace scenes. Countries represented include Algeria, Angola, Benin, Burundi, Rwanda, Cameroon, the Central African Republic, Egypt, Ethiopia, Gabon, Ghana, Kenya, Lesotho, Liberia, Libya, Madagascar, Malawi, Mali, Mauritius, Morocco, Nigeria, Senegal, Sierra Leone, South Africa, Sudan, Swaziland, Tanzania, Uganda, the Democratic Republic of the Congo (Zaire), Cote d'Ivoire and Zambia. Also included in this collection are 117 postcards from West and Central Africa and approximately 17 maps of and 10 guide books for East and West Africa. A small amount of miscellaneous ephemera rounds out the collection.

Arrangement note:

Slides are arranged alphabetically by country. Arrangement reflects the original order established by the donor.

Biographical/Historical note:

William Adams Hance (1916-2008) was a professor emeritus of economic geography at Columbia University. In the early 1950s, Hance was part of a team of academicians sent by the Carnegie Corporation to Africa, with the intention that they would return and contribute to the education of Americans about the African continent. He taught courses on Africa until his retirement. In 1956, Hance was a founding member of the African Studies Association and he went on to serve on its board as Executive Secretary and President. Hance's publications include six books on Africa, as well as numerous articles. In 1967 he was named Honorary Fellow of the American Geographical Society, and was honored by the Nigerian Society of Geographers for "distinguished contributions to the science of geography in Africa."

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.

Topic:

Natural landscapes  Search this

Markets  Search this

Agriculture  Search this

Cultural landscapes  Search this

Genre/Form:

Postcards

Maps

Guidebooks

Color slides

Citation:

William Hance Collection, EEPA 2008-008, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2008-008

See more items in:

William Hance collection

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

EDAN-URL:

ead_collection:sova-eepa-2008-008

Collector:

National Museum of African Art (U.S.)  Search this

National Museum of African Art (U.S.)  Search this

Extent:

61 Volumes

Type:

Collection descriptions

Archival materials

Volumes

Postcards

Place:

Algeria

Angola

Benin

Burkina Faso

Burundi

Cameroon

Cape Verde

Central African Republic

Chad

Congo (Democratic Republic)

Côte d'Ivoire

Mozambique

Morocco

Mali

Namibia

Rwanda

Niger

Nigeria

Somalia

South Africa

Sierra Leone

Sudan

Tanzania

Togo

Tunisia

Zimbabwe

Zambia

Uganda

Senegal

Kenya

Liberia

Ghana

Guinea

Mauritania

Madagascar

Malawi

Djibouti

Ethiopia

Gabon

Egypt

Eritrea

Africa

Date:

1898-[ongoing]

Summary:

This collection includes postcards from 45 African countries. Subjects include agriculture; animals; artists; body arts; cityscapes; cultural landscapes; dance; education; expeditions; flora; industry; leaders; marketplaces; medicine; military; missionaries; music; portraits; recreation; rites and ceremonies; and transportation, among many other topics.

Arrangement note:

Arranged by country and topic

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.

Genre/Form:

Postcards

Citation:

African Postcard collection, EEPA 1985-014, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.1985-014

See more items in:

African Postcard Collection

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

EDAN-URL:

ead_collection:sova-eepa-1985-014

Photographer:

Seligman, Thomas K.  Search this

Extent:

1742 Slides (photographs) (color)

Culture:

Dogon  Search this

Type:

Collection descriptions

Archival materials

Slides (photographs)

Color slides

Place:

Ghana

Morocco

Kenya

Great Zimbabwe

Togo

Côte d'Ivoire

Swaziland

Gambia

Zambia

Botswana

Mali

Zimbabwe

Africa

Guinea-Bissau

Nigeria

Date:

1970-2004

Scope and Contents:

Photographs taken by Seligman between 1970 and 2004 primarily of West Africa, including Senegal, Gambia, Guinea Bissau, Mali, Dogon, Zimbabwe, Zambia, Botswana, Swaziland, Kenya, and Morocco. Additionally, there are some images of masquerades in Cote d'Ivoire and Togo, and scenes in Ghana and Great Zimbabwe. Images depict cultural landscapes, masquerades, masks, vernacular architecture, and the Dogon people.

Arrangement:

Images indexed by slide number.

Other Archival Materials:

ArtStor has made digital images of some of the slides from Mali (approximately 539 digital slides).

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.

Topic:

Cultural landscapes  Search this

Masks  Search this

Masquerades  Search this

Vernacular architecture  Search this

Genre/Form:

Color slides

Citation:

Thomas Seligman Collection, EEPA 2016-002, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2016-002

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

EDAN-URL:

ead_collection:sova-eepa-2016-002

Creator:

Human Studies Film Archives  Search this

Type:

YouTube Videos

Uploaded:

2007-01-25T17:02:12.000Z

YouTube Category:

Travel & Events  Search this

Topic:

Anthropology  Search this

See more by:

HSFAFilmClips

Data Source:

Human Studies Film Archives

YouTube Channel:

HSFAFilmClips

EDAN-URL:

edanmdm:yt_RDbrZaoXh4I

Creator:

Human Studies Film Archives  Search this

Type:

YouTube Videos

Uploaded:

2008-04-21T20:14:23.000Z

YouTube Category:

Travel & Events  Search this

Topic:

Anthropology  Search this

See more by:

HSFAFilmClips

Data Source:

Human Studies Film Archives

YouTube Channel:

HSFAFilmClips

EDAN-URL:

edanmdm:yt_xDvmvjoGA7s

Creator:

Smithsonian American Art Museum  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2017-01-13T00:59:04.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_fXofyq9AZmk

Creator:

Smithsonian American Art Museum  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2020-03-31T18:10:53.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_io6snM8g4yg

Creator:

National Museum of the American Indian  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2016-12-14T19:21:40.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_XOYfMoEP8Kc

Photographer:

United States. Air Force  Search this

Creator:

Zubrow, Ezra B. W.  Search this

Extent:

64 Prints (silver gelatin, 10" x 20")

Culture:

Pueblo Indians  Search this

Nambe Pueblo  Search this

Tesque  Search this

A:shiwi (Zuni)  Search this

Zia Pueblo  Search this

Santa Ana Pueblo  Search this

Taos Pueblo  Search this

Laguna Pueblo  Search this

Isleta Pueblo  Search this

Cochiti Pueblo  Search this

Acoma Pueblo  Search this

San Ildefonso Pueblo  Search this

Picuris Pueblo  Search this

Type:

Collection descriptions

Archival materials

Prints

Aerial photographs

Place:

Rio Grande Valley (Colo.-Mexico and Tex.)

San Felipe Pueblo (N.M.)

Jemez Pueblo (N.M.)

Pojoaque pueblo (N.M.)

Sandia Pueblo (N.M.)

San Juan Pueblo (N.M.)

Date:

circa 1967

Summary:

64 aerial photographs of Rio Grande Pueblos made circa 1967 from 60,000 feet by a U2 aircraft.

Scope and Contents:

Aerial photographs of Rio Grande Pueblos made circa 1967 from 60,000 feet by a U2 aircraft, commissioned by Ezra Zubrow. Pueblos photographed include Acoma, Cochiti, Ildefonso, Isleta, Jemez, Laguna, Nambe, Picuris, Pojoaque, Sandia, San Felipe, San Juan, Santa Ana, Santa Clara, Taos, Tesuque, Zia, and Zuni.

Arrangement:

The photographs are arranged alphabetically by Pueblo.

Historical Note:

Ezra Zubrow provides the following background:

"Here is a quick version of the story of the photographs. . . I was a graduate student at the University of Arizona and during the summer of 1967 or 1968. I was working at the Southwestern Archaeological Expedition run by Paul S. Martin of the Field Museum of Chicago at the Hay Hollow Valley. I was a field foreman.

One day a group of B52's came over the nearby mesas very very low. This was the time of Vietnam. The sound was deafening and it seemed as if the earth shook and that they were only a few hundred feet above us. I remember looking up and I would swear that the bomb doors were open and that I saw a light inside. It was clear that they were doing some kind of low level practice and I thought it was a practice bombing run. When my ears stopped ringing, I thought to myself those planes must have cameras to record the dropping of the bombs and if they happen to come by again maybe I could ask them to take pictures of our excavations. So I wrote a letter to the "commanding general of the air force". I did not have a name or an address so I just sent it to the Commanding General US Air Force, Pentagon, Washington DC. I explained how useful photographs from the air were for doing archaeology in my letter and drove some 20 miles to Showlow Arizona to send the letter. When I did not hear anything I promptly forgot about it realizing that it was a "silly thing to have done." Two and half months went by and just before I left Vernon I received a package from the US Air Force from a colonel who was with a "reconnaissance" wing. In it was a letter saying that my letter had been received at the pentagon and had wended its way through various offices with a request that if it was possible to help us please do and here were a set of pictures of your excavations and the nearby area. To say the least I was thunderstruck. I had no idea how they had done the photographs but there were a set of 9x18 negatives and prints.

When I returned to Tucson for the fall semester a few days later, I started to look at the photographs. I realized that I wanted to say thank you and sent a letter saying thank you to the air force. It then occurred to me that it would be a nice thing to do to call and say thank you in person. I called the Pentagon and after several calls they provided me a number to call. It had the same area code as Tucson and I realized that the colonel was probably stationed at Davis Monthan Air Force Base. So I called the base and asked if I could make an appointment to meet him and personally say thank you. I got an appointment the following week and went out to the base. At the guard house I told them I had an appointment with the colonel and they told me to wait at the gate house which I did. After about 15 minutes a soldier came out with a car and asked me to leave my car at the gatehouse and he would drive me into the base. The car actually had blacked out side and rear windows.

We went into a low lying building and there were several people there including Colonel Y and a Lieutenant X. I told them how appreciative I was and that all the other archaeologists at the Southwestern Archaeological Expedition appreciated their help as well.

I had no idea with whom I was dealing. They showed me around various rooms and laboratories for photography and finally came to a room with a large chalkboard in it. On the chalkboard was a listing of missions, plane numbers, and pilots. There were a range of missions scheduled for several weeks and when I realized that several of them were over Vietnam, Cambodia, China, and Russia I stopped in my tracks. I looked at my hosts and said what kind of planes were they flying. I still thought it was something like a B52. They said it was the U2. I was speechless and as I later learned my mouth dropped so wide that all the men in the room started laughing. They said that if I wanted to watch one land it was going to land in a few minutes and as I was leaving I could watch. Of course I wanted to.

So as I left, I said thank you again and the Colonel and the Lieutenant said if they could help more, they would be willing to do so.

It turned out that Lieutenant X and I were about the same age and that we each had just been married a short time. We both were in a "foreign town," Tucson. So the two couples began t to meet for dinner and joined some other young couples who were in Tucson for the first time. The following semester, I had the idea of photographing the Pueblos. I asked Lieutenant X and Colonel Y if it might be possible and they said yes. I went back to the base and we sat with maps and plotted out the exact flight plan.

And that's more or less how it happened. The Colonel, the Lieutenant, and I continued to be friends for many years."[1]

[1] Email from Ezra Zubrow to archivist Gina Rappaport, April 22, 2010.

Biographical Note:

Ezra Zubrow is an anthropologist who has served on the faculty of the University at Buffalo since 1977. His broad interests include archaeological and anthropological theory and method, social policy of heritage and disability, Nordic archaeology, and ecology.

Provenance:

The collection was donated by Ezra Zubrow in 2010.

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Pueblos  Search this

Genre/Form:

Aerial Photographs

Citation:

Photo Lot 2010-13, Ezra Zubrow aerial photographs of the Rio Grande Pueblos, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.PhotoLot.2010-13

See more items in:

Ezra Zubrow aerial photographs of the Rio Grande Pueblos, circa 1967

Archival Repository:

National Anthropological Archives

EDAN-URL:

ead_collection:sova-naa-photolot-2010-13

Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Names:

Smithsonian Folklife Festival  Search this

Extent:

1 Cubic foot (approximate)

Type:

Collection descriptions

Archival materials

Notes

Videotapes

Memorandums

Audiocassettes

Audiotapes

Digital images

Sound recordings

Plans (drawings)

Photographic prints

Correspondence

Contracts

Business records

Negatives

Slides (photographs)

Video recordings

Place:

Caribbean Area

Haiti

Date:

June 24-July 5, 2010

Summary:

The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.

Scope and Contents note:

This collection documents the planning, production, and execution of the 2010 Smithsonian Folklife Festival. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.

Arrangement note:

Arranged in 5 series.

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: Asian Pacific Americans: Local Lives, Global Ties

Series 3: México: From Unknown Mexico to Amazing Mexico

Series 4: Smithsonian Inside Out

Series 5: Special Events

Historical note:

The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 2010 Smithsonian Folklife Festival was produced by the Smithsonian Center for Folklife and Cultural Heritage and cosponsored by the National Park Service.

For more information, see Smithsonian Folklife Festival records.

Introduction:

As in preceding years, the 2010 Festival featured many of the finest practitioners of diverse, living traditions - both old and new. The Festival's overall goal is to strengthen and preserve these traditions by presenting them on the National Mall in a respectful way to promote mutual understanding. The 2010 Festival featured three major programs.

The Asian Pacific American program offered visitors the opportunity to meet Asian Pacific Americans from the Washington, D.C., area who speak dozens of different languages, teach classes that emphasize ethnic identity, participate in traditional practices, and contribute to the cultural landscape of our nation's capital. Mexico is home to more than sixty-two indigenous groups, making it one of the richest countries in the world in terms of ethnic diversity. Festival audiences were able to meet people from communities whose histories and cultures reach back to pre-Columbian civilizations. The third program, Smithsonian Inside Out, invited visitors to step behind the scenes of the Smithsonian Institution and meet the curators, archivists, conservators, security experts, exhibition fabricators, and many more workers who shared their research, knowledge, and passion with the public.

In planning this year's Festival, curators traveled throughout Mexico with partners from that country's National Council for Culture and the Arts (Conaculta) and the National Institute of Anthropology and History (INAH); around the Asian Pacific American communities of the Washington, D.C., area with collaborators from the University of Maryland, George Mason University, and the Smithsonian Asian Pacific American Program; and within the museums, research centers, and workshops of the Smithsonian itself, guided by colleagues who are intimately familiar with many of the Institution's hidden hallways and secluded collections seldom seen by members of the public. Through the Festival, visitors could meet, talk with, and learn from many of the most interesting people those curators and researchers have found in the course of their travels.

The 2010 Festival took place for two five-day weeks (June 24-28 & July 1-5) between Madison Drive and Jefferson Drive and between 10th Street and 14th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan). It featured three programs and the Rinzler Concert.

The 2010 Program Book included participant lists for each program; keynote essays provided background on each of the programs; a separate brochure provided a site plan and daily schedules.

The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife and Cultural Heritage.

Center for Folklife and Cultural Heritage

Daniel Sheehy, Director; Smithsonian Folklife Festival: Stephen Kidd, Acting Festival Director

Center for Folklife and Cultural Heritage Advisory Council

Kurt Dewhurst (chair), J. Scott Raecker (vice chair), Michael Asch (ex officio), Mounir Bouchenaki, G. Wayne Clough (ex officio), Anthony Gittens, Mickey Hart, John Herzog, Debora Kodish, Richard Kurin (ex officio), Ellen McCulloch-Lovell, Libby O'Connell, Robert Santelli, Cathy Sulzberger

National Park Service

Jonathan B. Jarvis, Director; Peggy O'Dell, Regional Director; John Piltzecker, Superintendent, National Mall and Memorial Parks

The Festival was supported by federally appropriated funds; Smithsonian trust funds; contributions from governments, businesses, foundations, and individuals; in-kind assistance; and food, recording, and craft sales. Support for select musical performances at the Festival came from the Music Performance Fund, with general in-kind support provided by WAMU-88.5 FM and WashingtonPost.com.

Forms Part Of:

Smithsonian Folklife Festival records: 2010 Smithsonian Folklife Festival forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]

Related Archival Materials note:

Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.

Restrictions:

Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.

Rights:

Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.

Topic:

World music  Search this

arts and crafts  Search this

Folk art  Search this

Folklore  Search this

Folk music  Search this

Food habits  Search this

Folk festivals  Search this

Genre/Form:

Notes

Videotapes

Memorandums

Audiocassettes

Audiotapes

Digital images

Sound recordings

Plans (drawings)

Photographic prints

Correspondence

Contracts

Business records

Negatives

Slides (photographs)

Video recordings

Citation:

Smithsonian Folklife Festival records: 2010 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.2010

See more items in:

Smithsonian Folklife Festival records: 2010 Smithsonian Folklife Festival

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

EDAN-URL:

ead_collection:sova-cfch-sff-2010

Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Names:

Smithsonian Folklife Festival  Search this

Extent:

1 Cubic foot (approximate)

Type:

Collection descriptions

Archival materials

Correspondence

Digital images

Business records

Contracts

Notes

Sound recordings

Plans (drawings)

Negatives

Audiotapes

Memorandums

Slides (photographs)

Audiocassettes

Photographic prints

Video recordings

Videotapes

Date:

June 25-July 5, 1992

Summary:

The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.

Scope and Contents note:

This collection documents the planning, production, and execution of the 1992 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.

Arrangement note:

Arranged in 5 series.

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: The Changing Soundscape in Indian Country

Series 3: Creativity and Resistance: Maroon Culture in the Americas

Series 4: New Mexico

Series 5: Workers at the White House

Historical note:

The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 1992 Festival of American Folklife was produced by the Smithsonian Center for Folklife Programs and Cultural Studies and cosponsored by the National Park Service.

For more information, see Smithsonian Folklife Festival records.

Introduction:

The Columbus Quincentenary that was commemorated in 1992 gave pause to reflect on the forces that over the preceding 500 years had shaped social life in the Americas. The Festival programs on New Mexico, Maroons, and American Indian musics illustrated important historical and ongoing processes through which communities establish cultural identities in complex and dynamic social circumstances.

"The Changing Soundscape in Indian Country," produced jointly with the National Museum of the American Indian, explored ways that Indian musicians and their communities creatively adapted elements from the musical traditions brought to this continent from Europe, Africa, and elsewhere. Although many of the forms of this Indian music are non-Indian in origin, the themes and performance styles clearly address Indian experience and aesthetic expectations. In their creative hands, as Festival visitors could experience first-hand, external musical influences became part of the self-definition of Indian identity and trenchant commentary on what had been happening in "Indian Country" over the past five centuries.

Nowhere is the connection between creativity and self-definition more clear than in the cultural identities of contemporary Maroon peoples, whose ancestors escaped plantation slavery in the Americas and founded independent societies. Faced with the task of constructing and defending their positions, Maroons creatively defined themselves from a variety of sources. While their political institutions, expressive arts, religions, and other social forms were predominantly African in origin, they drew from a broad range of African cultures, and from European and Native American cultures as well. Much of the aesthetic component of Maroon cultures - their vibrant traditions of verbal and visual arts, shared with Festival visitors on the National Mall - encourages the cohesiveness of their society and voices themes that embody common experience and interest.

The Spanish Conquest established the Western Hemisphere's European presence and its most widely spoken language. While the original conquerors' culture did not value the Native cultures it encountered, over the centuries segments of Hispanic and Native American and later English-speaking and other populations engaged one another, by necessity, in ways that gave rise to today's rich array of cultural identities. New Mexico's distinctive cultural landscape took shape in this way, represented by some peoples who sustain their cultural identities through centuries-old combinations of Indian and European forms of thought and action, and by others whose basis of identity lies in reaffirming the wisdom and relevance of ancestral ways. Festival visitors could witness how, in New Mexico, cultural identity reflects the changes that continue to be wrought from the varieties of these social encounters.

The 1992 Festival also marked the 200th anniversary of the White House. Not a king's palace but rather "the people's house," the White House is at once national symbol, executive office and conference center, ceremonial setting, museum, tourist attraction, and family residence. The Festival revealed the culture of White House workers, who supported this broad array of functions over a span of history shaped by remarkable events, people and social change. White House workers had made the White House work with their labor and dedication. The Festival's living exhibition presented some of the skills, experiences, and values through which they gave shape to their occupational identities, calling visitors' attention to an important human component of the 200 year institutional history.

The 1992 Festival took place during two five-day weeks (June 25-29 and July 2-5) between Madison Drive and Jefferson Drive and between 10th Street and 13th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan).

The 1992 Program Book included schedules and participant lists for each program; keynote essays provided background on the Festival and each of the four programs, with shorter essays spotlighting particular traditions and offering a forum for statements from Maroon spokespeople.

The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife Programs & Cultural Studies.

Center for Folklife Programs & Cultural Studies

Richard Kurin, Director; Diana Parker, Festival Director; Anthony Seeger, Director, Smithsonian/Folkways Recordings; Peter Seitel, Senior Folklorist; Thomas Vennum, Jr., Senior Ethnomusicologist; Olivia Cadaval, Director, Quincentenary Projects; Richard Kennedy, Program Analyst; Vivian Chen, Diana Baird N'Diaye, Folklorists; Ken Bilby, Marjorie Hunt, Curators; Carla Borden, John Franklin, Program Managers; Arlene L. Reiniger, Program Specialist; Jeffrey Place, Archivist; Betty Belanus, Frank Proschan, Nicholas Spitzer, Research Associates

Folklife Advisory Council

Roger Abrahams, Jacinto Arias, Jane Beck, Pat Jasper, Barbara Kirshenblatt-Gimblett, Bernice Reagon, John Roberts, Carol Robertson, Gilbert Sprauve, John Tchen, Ricardo Trimillos, Carlos Vélez-Ibáñez

National Park Service

James M. Ridenour, Director; Robert G. Stanton, Regional Director, National Capital Region

Forms Part Of:

Smithsonian Folklife Festival records: 1992 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]

Related Archival Materials note:

Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.

Restrictions:

Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.

Rights:

Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.

Topic:

Folklore  Search this

Food habits  Search this

Folk festivals  Search this

arts and crafts  Search this

World music  Search this

Folk music  Search this

Folk art  Search this

Genre/Form:

Correspondence

Digital images

Business records

Contracts

Notes

Sound recordings

Plans (drawings)

Negatives

Audiotapes

Memorandums

Slides (photographs)

Audiocassettes

Photographic prints

Video recordings

Videotapes

Citation:

Smithsonian Folklife Festival records: 1992 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.1992

See more items in:

Smithsonian Folklife Festival records: 1992 Festival of American Folklife

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

EDAN-URL:

ead_collection:sova-cfch-sff-1992

Creator:

Larrabee, Constance Stuart  Search this

Collection Photographer:

Larrabee, Constance Stuart  Search this

Extent:

1 Negative ((silver gelatin)., b&w, 6 x 6 cm.)

1 Photographic print ((contact print)., b&w, 6 x 6 cm.)

1 Photographic print ((dupe print)., b&w, 6 x 6 in.)

1 Photographic print ((fiber-based print)., b&w, 6 x 6 in.)

Type:

Archival materials

Negatives

Photographic prints

Place:

Africa

Date:

1949

Scope and Contents:

Homesteads and Landscape, Natal. A group of homesteads can be seen near a large tree. Mountains and forests can be seen in the background. Photograph by Constance Stuart Larrabee, Feb. 1949.

This photograph was taken when Constance Stuart was on assignment for Harper's Bazaar, an American magazine. Her task was to create a portfolio inspired by the seminal book "Cry, The Beloved Country," which had brought the conditions in South Africa to the attention of the world. The author of the book was the South African writer Alan Paton (1903-1988). It was published in the United States in 1948. Alan Paton accompanied her on the assignment. In June 1949, Harper's Bazaar published an essay by Alan Paton entitled "A Letter from South Africa in which Alan Paton Guides you to his Corner of the 'Beloved Country'." Six photographs by Constance Stuart accompany the essay.

There are two 8x10 black and white fiber-based prints of this negative in the Constance Stuart Larrabee Collection. EEPA also produced an 8x10 study print for reference purposes.

Local Note:

Original Constance Stuart Larrabee Number: 62

Contact Sheet Number: 332088-1

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Cultural landscapes  Search this

Genre/Form:

Photographic prints

Collection Citation:

Constance Stuart Larrabee Collection, EEPA 1998-006, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Sponsor:

The cataloging of the Constance Stuart Larrabee Collection was supported by a grant from The Smithsonian Women's Committee.

Identifier:

EEPA.1998-006, Item EEPA 1998-060294

See more items in:

Constance Stuart Larrabee Collection

Constance Stuart Larrabee Collection / Series 1: Photographs / Photographs / Alan Paton, Natal, South Africa

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

EDAN-URL:

ead_component:sova-eepa-1998-006-ref803

Creator:

Larrabee, Constance Stuart  Search this

Collection Photographer:

Larrabee, Constance Stuart  Search this

Extent:

1 Negative ((silver gelatin)., b&w, 6 x 6 cm.)

1 Photographic print ((contact print)., b&w, 6 x 6 cm.)

1 Photographic print ((dupe print)., b&w, 8 x 10 in.)

1 Photographic print ((fiber-based print)., b&w, 8 x 10 in.)

1 Photographic print ((vintage print)., b&w, 10 x 8 in.)

Type:

Archival materials

Negatives

Photographic prints

Place:

Africa

South Africa

Date:

1949

Scope and Contents:

Homestead in Valley, Natal. "The Umzimkulu valley opening scene of Alan Paton's "Cry, the Beloved Country." Original caption by Constance Stuart Larrabee written on the back of the 8x10 black and white vintage print of this image. The image is of a homestead in a valley. Forests and hills are in the background. Photograph by Constance Stuart Larrabee, Feb. 1949.

This photograph was taken when Constance Stuart was on assignment for Harper's Bazaar, an American magazine. Her task was to create a portfolio inspired by the seminal book "Cry, The Beloved Country," which had brought the conditions in South Africa to the attention of the world. The author of the book was the South African writer Alan Paton (1903-1988). It was published in the United States in 1948. Alan Paton accompanied her on the assignment. In June 1949, Harper's Bazaar published an essay by Alan Paton entitled "A Letter from South Africa in which Alan Paton Guides you to his Corner of the 'Beloved Country'." Six photographs by Constance Stuart accompany the essay.

There is one 8x10 black and white fiber-based print of this negative in the Constance Stuart Larrabee Collection. This print has Constance Stuart Larrabee's signature on the front. There is one vintage print of this negative. EEPA also produced an 8x10 study print for reference purposes.

Local Note:

Original Constance Stuart Larrabee Number: 71

Contact Sheet Number: 332088-1

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Cultural landscapes  Search this

Genre/Form:

Photographic prints

Collection Citation:

Constance Stuart Larrabee Collection, EEPA 1998-006, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Sponsor:

The cataloging of the Constance Stuart Larrabee Collection was supported by a grant from The Smithsonian Women's Committee.

Identifier:

EEPA.1998-006, Item EEPA 1998-060295

See more items in:

Constance Stuart Larrabee Collection

Constance Stuart Larrabee Collection / Series 1: Photographs / Photographs / Alan Paton, Natal, South Africa

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

EDAN-URL:

ead_component:sova-eepa-1998-006-ref804

Creator:

Larrabee, Constance Stuart  Search this

Collection Photographer:

Larrabee, Constance Stuart  Search this

Extent:

1 Negative ((silver gelatin)., b&w, 6 x 6 cm.)

1 Photographic print ((contact print)., b&w, 6 x 6 cm.)

1 Photographic print ((dupe print)., b&w, 8 x 10 in.)

Type:

Archival materials

Negatives

Photographic prints

Place:

Africa

Bo-Kaap (Cape Town, South Africa)

Cape Town (South Africa)

South Africa

Date:

1942-3

Scope and Contents:

Bo Kaap, Cape Town, 1942-3. Photographic image of buildings in the background. There is rocky land in the foreground. Photograph by Constance Stuart Larrabee, 1942-3.

There are no prints of this negative in the Constance Stuart Larrabee Collection. EEPA produced an 8x10 study print for reference purposes.

Local Note:

Original Constance Stuart Larrabee Number: 13-15

Contact Sheet Number: 800931-2

Collection Restrictions:

Use of original records requires an appointment. Contact Archives staff for more details.

Collection Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.

Topic:

Cultural landscapes  Search this

Muslims  Search this

Genre/Form:

Photographic prints

Collection Citation:

Constance Stuart Larrabee Collection, EEPA 1998-006, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Sponsor:

The cataloging of the Constance Stuart Larrabee Collection was supported by a grant from The Smithsonian Women's Committee.

Identifier:

EEPA.1998-006, Item EEPA 1998-062878

See more items in:

Constance Stuart Larrabee Collection

Constance Stuart Larrabee Collection / Series 1: Photographs / Photographs / Bo Kaap (Malay Quarter), Cape Town, South Africa

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

EDAN-URL:

ead_component:sova-eepa-1998-006-ref3379

Creator:

Turner, Lorenzo Dow, 1890-1972  Search this

Names:

Turner, Lorenzo Dow, 1890-1972  Search this

Collection Creator:

Turner, Lorenzo Dow, 1890-1972  Search this

Extent:

1 Item (photographic negative , b&w, 35mm.)

Type:

Archival materials

Negatives

Place:

Africa

The Canaries

Canary Islands -- Las Palmas -- Gran Canaria

Date:

1951

File Restrictions:

Fragile: Physical access restricted.

Topic:

Architecture  Search this

Cultural landscapes  Search this

Genre/Form:

Negatives

Collection Citation:

Lorenzo Dow Turner papers,Anacostia Community Museum Archives, Smithsonian Institution, gift of Lois Turner Williams.

Identifier:

ACMA.06-017, Item ACMA LDT-N-R37-1216

See more items in:

Lorenzo Dow Turner papers

Lorenzo Dow Turner papers / Series 5: Photographs, circa 1890–1974 / 5.4.1: Research: Africa / 35mm negatives / Canary Islands

Archival Repository:

Anacostia Community Museum Archives

EDAN-URL:

ead_component:sova-acma-06-017-ref1552

Creator:

Turner, Lorenzo Dow, 1890-1972  Search this

Names:

Turner, Lorenzo Dow, 1890-1972  Search this

Collection Creator:

Turner, Lorenzo Dow, 1890-1972  Search this

Extent:

1 Item (photographic negative , b&w, 35mm.)

Type:

Archival materials

Negatives

Place:

Africa

The Canaries

Canary Islands -- Las Palmas -- Gran Canaria

Date:

1951

File Restrictions:

Fragile: Physical access restricted.

Topic:

Architecture  Search this

Cultural landscapes  Search this

Religious buildings  Search this

Genre/Form:

Negatives

Collection Citation:

Lorenzo Dow Turner papers,Anacostia Community Museum Archives, Smithsonian Institution, gift of Lois Turner Williams.

Identifier:

ACMA.06-017, Item ACMA LDT-N-R37-1218

See more items in:

Lorenzo Dow Turner papers

Lorenzo Dow Turner papers / Series 5: Photographs, circa 1890–1974 / 5.4.1: Research: Africa / 35mm negatives / Canary Islands

Archival Repository:

Anacostia Community Museum Archives

EDAN-URL:

ead_component:sova-acma-06-017-ref1554

Creator:

Turner, Lorenzo Dow, 1890-1972  Search this

Names:

Turner, Lorenzo Dow, 1890-1972  Search this

Collection Creator:

Turner, Lorenzo Dow, 1890-1972  Search this

Extent:

1 Item (photographic negative , b&w, 35mm.)

Type:

Archival materials

Negatives

Place:

Africa

The Canaries

Canary Islands -- Las Palmas -- Gran Canaria

Date:

1951

File Restrictions:

Fragile: Physical access restricted.

Topic:

Architecture  Search this

Cultural landscapes  Search this

Genre/Form:

Negatives

Collection Citation:

Lorenzo Dow Turner papers,Anacostia Community Museum Archives, Smithsonian Institution, gift of Lois Turner Williams.

Identifier:

ACMA.06-017, Item ACMA LDT-N-R37-1217

See more items in:

Lorenzo Dow Turner papers

Lorenzo Dow Turner papers / Series 5: Photographs, circa 1890–1974 / 5.4.1: Research: Africa / 35mm negatives / Canary Islands

Archival Repository:

Anacostia Community Museum Archives

EDAN-URL:

ead_component:sova-acma-06-017-ref1555

Creator:

Turner, Lorenzo Dow, 1890-1972  Search this

Names:

Turner, Lorenzo Dow, 1890-1972  Search this

Collection Creator:

Turner, Lorenzo Dow, 1890-1972  Search this

Extent:

1 Item (photographic negative , b&w, 35mm.)

Type:

Archival materials

Negatives

Place:

Africa

The Canaries

Canary Islands -- Las Palmas -- Gran Canaria

Date:

1951

File Restrictions:

Fragile: Physical access restricted.

Topic:

Architecture  Search this

Cultural landscapes  Search this

Religious buildings  Search this

Genre/Form:

Negatives

Collection Citation:

Lorenzo Dow Turner papers,Anacostia Community Museum Archives, Smithsonian Institution, gift of Lois Turner Williams.

Identifier:

ACMA.06-017, Item ACMA LDT-N-R37-1219

See more items in:

Lorenzo Dow Turner papers

Lorenzo Dow Turner papers / Series 5: Photographs, circa 1890–1974 / 5.4.1: Research: Africa / 35mm negatives / Canary Islands

Archival Repository:

Anacostia Community Museum Archives

EDAN-URL:

ead_component:sova-acma-06-017-ref1556

Creator:

Turner, Lorenzo Dow, 1890-1972  Search this

Names:

Turner, Lorenzo Dow, 1890-1972  Search this

Collection Creator:

Turner, Lorenzo Dow, 1890-1972  Search this

Extent:

1 Item (photographic negative , b&w, 35mm.)

Type:

Archival materials

Negatives

Place:

Africa

The Canaries

Canary Islands -- Las Palmas -- Gran Canaria

Date:

1951

File Restrictions:

Fragile: Physical access restricted.

Topic:

Architecture  Search this

Cultural landscapes  Search this

Genre/Form:

Negatives

Collection Citation:

Lorenzo Dow Turner papers,Anacostia Community Museum Archives, Smithsonian Institution, gift of Lois Turner Williams.

Identifier:

ACMA.06-017, Item ACMA LDT-N-R37-1220

See more items in:

Lorenzo Dow Turner papers

Lorenzo Dow Turner papers / Series 5: Photographs, circa 1890–1974 / 5.4.1: Research: Africa / 35mm negatives / Canary Islands

Archival Repository:

Anacostia Community Museum Archives

EDAN-URL:

ead_component:sova-acma-06-017-ref1557

Creator:

Turner, Lorenzo Dow, 1890-1972  Search this

Names:

Turner, Lorenzo Dow, 1890-1972  Search this

Collection Creator:

Turner, Lorenzo Dow, 1890-1972  Search this

Extent:

1 Item (photographic negative , b&w, 35mm.)

Type:

Archival materials

Negatives

Place:

Africa

The Canaries

Canary Islands -- Las Palmas -- Gran Canaria

Date:

1951

File Restrictions:

Fragile: Physical access restricted.

Topic:

Architecture  Search this

Cultural landscapes  Search this

Genre/Form:

Negatives

Collection Citation:

Lorenzo Dow Turner papers,Anacostia Community Museum Archives, Smithsonian Institution, gift of Lois Turner Williams.

Identifier:

ACMA.06-017, Item ACMA LDT-N-R37-1221

See more items in:

Lorenzo Dow Turner papers

Lorenzo Dow Turner papers / Series 5: Photographs, circa 1890–1974 / 5.4.1: Research: Africa / 35mm negatives / Canary Islands

Archival Repository:

Anacostia Community Museum Archives

EDAN-URL:

ead_component:sova-acma-06-017-ref1558