Search Results

Photographer:

Hubbard, Chris  Search this

Names:

Mabiinc maMbeky, Mbop, 1939-1969  Search this

Extent:

47 Slides (photographs) (color, 35 mm )

Culture:

Kuba (African people)  Search this

Type:

Collection descriptions

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Congo (Democratic Republic)

Kasai River Valley (Angola and Congo)

Date:

1969-1970

Scope and Contents:

Photographs taken by Chris Hubbard in the Kasai region of the Democratic Republic of Congo from 1969-1970, which primarily depict the funeral of Kuba Nyim Mbopey Mabiintsh ma-Kyeen.

Arrangement:

Images indexed by slide number.

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

Funeral rites and ceremonies -- Africa  Search this

Shrines  Search this

Genre/Form:

Color slides

Citation:

Chris Hubbard Collection, EEPA 2012-007, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2012-007

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7dda377f8-ddaf-4ca2-b602-9a0e56d4a134

EDAN-URL:

ead_collection:sova-eepa-2012-007

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:

National Museum of the American Indian  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2013-11-19T18:32:11.000Z

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_bxEy8EyU3cU

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2019-01-31T17:42:55.000Z

YouTube Category:

Education  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_hZTrSyaBnSk

Photographer:

Alonge, Solomon Osagie, 1911-1994  Search this

Names:

Alexandra, Princess, 1936- (granddaughter of George V, King of Great Britain)  Search this

Elizabeth, Queen of Great Britain, II, 1926-  Search this

Philip, Prince, consort of Elizabeth II, Queen of Great Britain, 1921-  Search this

Extent:

100 Photographic prints (black and white, hand-colored.)

4 Photograph albums

1800 Negatives (photographic) (120 mm.)

150 Negatives (photographic) (glass plate)

Container:

Item EEPA.2009-007

Culture:

Bini (African people)  Search this

Type:

Collection descriptions

Archival materials

Photographic prints

Photograph albums

Negatives (photographic)

Black-and-white photographs

Albums

Negatives

Portraits

Hand coloring

Place:

Benin (Kingdom)

Africa

Nigeria

Date:

1926-1989

Summary:

The collection consists of approximately 1,950 glass plate and large format film negatives,100 hand-tinted and black-and-white prints and four photographic albums containing prints of various sizes, taken by Chief Solomon Osagie Alonge, the royal photographer to the Oba of Benin, Akenzua II (1933-1978). These images span six decades (1926 - 1989) and represent a dynamic, continuous record of the Benin Royal Court in Nigeria. Alonge documented the pageantry, ritual and regalia of the Obas, their wives and retainers for over a half-century, including the coronation of the King and the Iyoba, or queen mother. The collection also documents historic visits to Benin by Queen Elizabeth and Prince Philip (1956), Princess Alexandra (1960), foreign dignitaries, traditional rulers, political leaders and celebrities. The collection preserves an important historical record of Benin art and culture during the periods of British colonial rule and Nigerian independence in the 20th century. The rarity and historical value of the collection are enhanced by Alonge's privileged access to the Palace as a chief in the Iwebo Palace Society, a position which presents a unique insider's view of Benin royalty. The quality of the collection is testament to Alonge's technological skills in photography and his professionalism in keeping the collection ordered and well-preserved despite the heat, humidity and tropical climate of Nigeria.

Arrangement note:

Arrangement of negatives reflects the original order established by the photographer.

Biographical/Historical note:

Chief Solomon Osagie Alonge (1911-1994) was the first indigenous photographer of the Royal Court of Benin and one of the premier photographers of Nigeria. His significance as one of the earliest indigenous photographers in West Africa has been documented in detail by anthropologist Flora Kaplan. Alonge learned the craft of photography as a youth in Lagos during the 1920s and saw his profession as an honorable and distinguished calling. He clearly demonstrated an inclusive documentary perspective in his efforts to photograph many aspects of the world around him. In 1942, Alonge established the Ideal Photography Studio in Benin City and documented colonial society, the establishment of churches and businesses, and the formation of new civic organizations and social groups like the Benin Social Club (1940s). As a commercial photographer, Alonge photographed individual and group portraits, preserving a visual record of the everyday lives and peoples of Benin City. Alonge's studio portraits illustrate how local Africans presented themselves to the camera and engaged with the practice of photography during the early to mid-twentieth century.

General note:

Title provided by EEPA staff.

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:

Diplomats  Search this

Kings and rulers  Search this

Coronations  Search this

Cultural landscapes  Search this

Royal households  Search this

Rites and ceremonies  Search this

Genre/Form:

Photographic prints

Black-and-white photographs

Albums

Negatives

Portraits

Hand coloring

Citation:

Chief S.O. Alonge Photographic Collection, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2009-007

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo73069d306-4e02-4ce9-b9ac-089366cb9a57

EDAN-URL:

ead_collection:sova-eepa-2009-007

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:

Smithsonian American Art Museum  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2017-10-20T16:44:48.000Z

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_viK0iB9B3Kw

Creator:

Ybarra-Frausto, Tomás, 1938-  Search this

Names:

Mexican Museum  Search this

Royal Chicano Air Force  Search this

Studio 24 (San Francisco, Calif.)  Search this

Garza, Carmen Lomas  Search this

Goldman, Shifra M., 1926-2011  Search this

Mesa-Bains, Amalia  Search this

Extent:

33.1 Linear feet

1.27 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Slides (photographs)

Interviews

Place:

Mexico -- Religious life and customs

Date:

1965-2004

Summary:

The research material of Tomás Ybarra-Frausto, measures 33.1 linear feet and 1.27 GB and dates from 1965-2004. The collection, amassed throughout Ybarra-Frausto's long and distinguished career as a scholar of the arts and humanities, documents the development of Chicano art in the United States and chronicles Ybarra-Frausto's role as a community leader and scholar in the political and artistic Chicano movement from its inception in the 1960s to the present day.

Scope and Content Note:

The research material of Tomás Ybarra-Frausto, amassed throughout his long and distinguished career as a scholar of the arts and humanities, documents the development of Chicano art in the United States. As community leader and scholar, Ybarra-Frausto played dual roles of active participant and historian in the Chicano movement, chronicling this unique political and artistic movement from its inception in the 1960s to the present day.

Deeply rooted in American history, "El Movimiento," the Chicano movement, evolved from Mexican-Americans' struggle for self-determination during the civil rights era of the 1960s. It began as a grassroots community effort that enlisted the arts in the creation of a united political and cultural constituency. Chicano artists, intellectuals, and political activists were instrumental in mobilizing the Mexican-American community for the cause of social justice, and the movement was shaped by the affirmation of a cultural identity that embraced a shared heritage with Mexico and the United States.

Just as "El Movimiento" aimed to instruct and inspire through the recollection and conservation of culture, Ybarra-Frausto's own career as scholar and historian helped to shape the intellectual discourse of the Chicano art. As a leading historian and theoretician in the field of Chicano Studies, he has written extensively on the subject, and has been instrumental in defining the canons of Chicano art. His papers are accordingly rich and varied, and they will be of great use to future scholars.

His research material, dating from 1965 to 1996, are arranged in subject files containing original writings, notes, bibliographies compiled by Ybarra-Frausto and others, exhibition catalogues, announcements, newspaper clippings and other printed material, as well as slides and photographs. Many of these files also include interview transcripts and correspondence with prominent figures in the movement. While this research collection contextualizes Chicano art within the larger framework of Latino and Latin-American culture, the bulk of the files relates specifically to Chicano visual culture. The collection also contains pertinent documentation of the Chicano civil rights movement, material on Chicano poets and writers, and research files on the wider Hispanic community, but these also appear within the context of Chicano culture in general.

Prominent among the bibliographies are the many notes and drafts related to the publication of A Comprehensive Annotated Bibliography of Chicano Art, 1965-1981 (University of California, Berkeley, 1985), which Ybarra-Frausto co-authored with Shifra Goldman. Ybarra-Frausto's files on Goldman, like other files in the collection, document his close associations and collaborations with scholars.

Art historians have traditionally found the categorization of Chicano art a difficult task. Unsure whether to classify the work as "American" or "Latin American," critics often ignored the work altogether. An outgrowth of this dilemma was the proliferation of artists, curators, and critics within the Chicano community, and the papers contain many original writings by Chicano artists about Chicano art, found in extensive files on artists that will be of particular significance to researchers. These often contain exhibition essays, dissertation proposals, and course outlines authored by the artists, along with the standard biographies, exhibition records, and reviews. Some of the files contain rare interviews conducted and transcribed by Ybarra-Frausto. Highlights include conversations with Carmen Lomas Garza, Amalia Mesa-Bains, and members of the Royal Chicano Air Force artist cooperative.

As a member of several Chicano art organizations and institutions, Ybarra-Frausto kept active records of their operation. The extensive files on the Mexican Museum and Galerie de la Raza/Studio 24, both in San Francisco, not only chronicle the history of Chicano art through the records of exhibitions and programming, but also offer case studies on the development of non-profit art institutions. The files on artist cooperatives, organizations, and exhibition spaces cover several regions of the United States, but focus on California, Texas and New York.

Two notable events in the development of Chicano art were the 1982 Califas: Chicano Art and Culture in California seminar at the University of California at Santa Cruz, and the 1990 traveling exhibition Chicano Art: Resistance and Affirmation, 1965-1985 (CARA), of which Ybarra-Frausto served as organizer and catalogue essayist. His records document the planning and development of these seminal events. Ybarra-Frausto's files on folk art, altars, posters, murals, performance art, border art, Chicana feminist art, and Southwestern and Mexican imagery (both urban and rural expressions) mirror the diverse forms and subject matter of Chicano art.

Spanning almost four decades of American culture from a Chicano perspective, these files have a unique historical value. The legacy of Chicano art and its contribution to the cultural landscape of this country, kept alive in Ybarra-Frausto's files, attests to the richness and diversity of American art.

Henry C. Estrada

Research Fellow, 1997.

Arrangement:

The collection is arranged as a single series of subject files. The general contents of each folder have been listed. The subject files are arranged in alphabetical order. While no two files are alike, they may contain résumés, printed and digital material, letters, draft writings, and photographs. Unless otherwise noted, each listing represents one file folder. The abbreviation TYF was used to refer to the name Tomá Ybarra-Frausto throughtout the Series Description.

Autobiographical Note:

Papelitos (little bits of paper), whether rent receipts, paid bills, or piles of personal letters, can become layered bundles of personal history. I have always been a pepenador (a scavenger) and saver of paper scraps. Diary notes, scribbled annotations, and first drafts are often useful indicators of ideas and gestation. Papelitos are the fragments of every-day life that gain expanded meaning integrated into the larger historical events of a period.

In the decade of the 1960s, I started saving ephemeral material--exhibition announcements, clippings of individual artists and of organizations fomenting a Chicano art movement. The social scenarios of the period such as marches, strikes, sit-ins, and mobilizations for social justice all spawned manifestos, posters, leaflets, and other forms of printed material. I somehow managed to assemble and protect the evanescent printed information that recorded the birth and development of Chicano art.

As I started to research and write about Chicano art and artists of the period, I continued to clip, photocopy, and preserve material given me by Mexican-American artists from throughout the nation. My idea was to form an archive that would be comprehensive rather than selective. I knew that it was the offbeat, singular piece of paper with a missing link of information that would attract the scholar.

Today, several decades after the flowering of Chicano art, there is still a lamentable paucity of research and information about this significant component of American art.

It is my fervent hope that this compendium of information will function as a resonant print and image bank for investigators of Chicano culture. Perhaps contained within the archive are the facts that will inspire new visions or revisions of Chicano art and culture--this is my fondest dream.

Dr. Tomás Ybarra-Frausto

New York City, 1998

Related Materials:

Tomás Ybarra-Frausto Papers are located at University of Texas Libraries, The University of Texas at Austin.

Provenance:

The collection was donated to the Archives of American Art by Tomás Ybarra-Frausto in 1997, and in 2004.

Restrictions:

The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Santos (Art)  Search this

Household shrines -- Mexico  Search this

Chicano art  Search this

Chicano artists  Search this

Mexican American art  Search this

Mexican American artists  Search this

Latino and Latin American artists  Search this

Genre/Form:

Photographs

Slides (photographs)

Interviews

Citation:

Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.ybartoma

See more items in:

Tomás Ybarra-Frausto research material on Chicano art

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e4916919-f4aa-4cd9-bf03-0335539ae06d

EDAN-URL:

ead_collection:sova-aaa-ybartoma

Artist:

Doris Ulmann, 29 May 1882 - 28 Aug 1934  Search this

Sitter:

Robert Lee Frost, 26 Mar 1874 - 29 Jan 1963  Search this

Medium:

Platinum print

Dimensions:

Image/Sheet: 20.8 × 15.7 cm (8 3/16 × 6 3/16")

Mount: 35.5 × 28.2 cm (14 × 11 1/8")

Mat (Verified): 45.7 × 35.6 cm (18 × 14")

Type:

Photograph

Date:

1929

Topic:

Interior  Search this

Costume\Dress Accessory\Neckwear\Tie\Necktie  Search this

Robert Lee Frost: Male  Search this

Robert Lee Frost: Education and Scholarship\Educator\Lecturer  Search this

Robert Lee Frost: Education and Scholarship\Educator\Professor\University  Search this

Robert Lee Frost: Literature\Writer\Poet  Search this

Robert Lee Frost: Education and Scholarship\Educator\Teacher  Search this

Robert Lee Frost: Pulitzer Prize  Search this

Robert Lee Frost: Congressional Gold Medal  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.97.112

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Exhibition:

20th Century Americans: 1900-1930 (re-installation 2012)

On View:

NPG, South Gallery 322

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm41f4b2b8c-c90c-421c-b78b-288b430933a0

EDAN-URL:

edanmdm:npg_NPG.97.112

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.

Missing Title

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

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.

Forms Part Of:

Smithsonian Folklife Festival records: 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 to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

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

GUID:

https://n2t.net/ark:/65665/bk5f73b77d3-05ca-40f8-be62-39e38b1d04cd

EDAN-URL:

ead_collection:sova-cfch-sff-1992

Photographer:

Drewal, Henry John  Search this

Item Photographer:

Drewal, Henry John  Search this

Extent:

1 Slides (photographs) (col.)

Container:

Volume 1

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

South Africa

Item Restrictions:

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

Item Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Permission to publish images from this collection must be given by Henry John Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.

Topic:

Cultural landscapes  Search this

Genre/Form:

Color slides

Item Citation:

Henry John Drewal Collection, EEPA 2010-010, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2010-010, Item EEPA 2010-010-1016

See more items in:

Henry John Drewal Collection

Henry John Drewal Collection / Series 2: South Africa / Cape Town

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo716cf5956-8b1f-4c1f-869a-c8562f44e111

EDAN-URL:

ead_component:sova-eepa-2010-010-ref1036

Photographer:

Drewal, Henry John  Search this

Item Photographer:

Drewal, Henry John  Search this

Extent:

1 Slides (photographs) (col.)

Container:

Volume 1

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Morocco

Date:

1997

Item Restrictions:

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

Item Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Permission to publish images from this collection must be given by Henry John Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.

Topic:

Cultural landscapes  Search this

Genre/Form:

Color slides

Item Citation:

Henry John Drewal Collection, EEPA 2010-010, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2010-010, Item EEPA 2010-010-0092

See more items in:

Henry John Drewal Collection

Henry John Drewal Collection / Series 1: Morocco / Salé

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7fe1fb059-3da7-402a-9c6f-a050017a73e7

EDAN-URL:

ead_component:sova-eepa-2010-010-ref112

Photographer:

Drewal, Henry John  Search this

Item Photographer:

Drewal, Henry John  Search this

Extent:

1 Slides (photographs) (col.)

Container:

Volume 1

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Morocco

Date:

1997

Item Restrictions:

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

Item Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Permission to publish images from this collection must be given by Henry John Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.

Topic:

Cultural landscapes  Search this

Genre/Form:

Color slides

Item Citation:

Henry John Drewal Collection, EEPA 2010-010, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2010-010, Item EEPA 2010-010-0093

See more items in:

Henry John Drewal Collection

Henry John Drewal Collection / Series 1: Morocco / Salé

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo75877bb8a-b692-4ac2-8589-cf625353b29e

EDAN-URL:

ead_component:sova-eepa-2010-010-ref113

Photographer:

Drewal, Henry John  Search this

Item Photographer:

Drewal, Henry John  Search this

Extent:

1 Slides (photographs) (col.)

Container:

Volume 1

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Morocco

Date:

1997

Item Restrictions:

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

Item Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Permission to publish images from this collection must be given by Henry John Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.

Topic:

Cultural landscapes  Search this

Genre/Form:

Color slides

Item Citation:

Henry John Drewal Collection, EEPA 2010-010, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2010-010, Item EEPA 2010-010-0120

See more items in:

Henry John Drewal Collection

Henry John Drewal Collection / Series 1: Morocco / Salé

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo713a09f16-eac9-49fc-bbd3-22979484bd67

EDAN-URL:

ead_component:sova-eepa-2010-010-ref140

Photographer:

Drewal, Henry John  Search this

Item Photographer:

Drewal, Henry John  Search this

Extent:

1 Slides (photographs) (col.)

Container:

Volume 1

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Morocco

Date:

1997

Item Restrictions:

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

Item Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Permission to publish images from this collection must be given by Henry John Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.

Topic:

Cultural landscapes  Search this

Genre/Form:

Color slides

Item Citation:

Henry John Drewal Collection, EEPA 2010-010, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2010-010, Item EEPA 2010-010-0121

See more items in:

Henry John Drewal Collection

Henry John Drewal Collection / Series 1: Morocco / Salé

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7544a9a1c-0fb0-4a33-bbf1-1316b2eaf0b5

EDAN-URL:

ead_component:sova-eepa-2010-010-ref141

Photographer:

Drewal, Henry John  Search this

Item Photographer:

Drewal, Henry John  Search this

Extent:

1 Slides (photographs) (col.)

Container:

Volume 1

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Morocco

Date:

1997

Item Restrictions:

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

Item Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Permission to publish images from this collection must be given by Henry John Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.

Topic:

Cultural landscapes  Search this

Genre/Form:

Color slides

Item Citation:

Henry John Drewal Collection, EEPA 2010-010, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2010-010, Item EEPA 2010-010-0131

See more items in:

Henry John Drewal Collection

Henry John Drewal Collection / Series 1: Morocco / Rabat

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7b37f345a-80b8-4148-b126-16daea372dd9

EDAN-URL:

ead_component:sova-eepa-2010-010-ref151

Photographer:

Drewal, Henry John  Search this

Item Photographer:

Drewal, Henry John  Search this

Extent:

1 Slides (photographs) (col.)

Container:

Volume 1

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Morocco

Date:

1997

Item Restrictions:

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

Item Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Permission to publish images from this collection must be given by Henry John Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.

Topic:

Cultural landscapes  Search this

Genre/Form:

Color slides

Item Citation:

Henry John Drewal Collection, EEPA 2010-010, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2010-010, Item EEPA 2010-010-0132

See more items in:

Henry John Drewal Collection

Henry John Drewal Collection / Series 1: Morocco / Rabat

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7ea53a1d5-bd6e-4cc2-8898-44bba992d131

EDAN-URL:

ead_component:sova-eepa-2010-010-ref152

Photographer:

Drewal, Henry John  Search this

Item Photographer:

Drewal, Henry John  Search this

Extent:

1 Slides (photographs) (col.)

Container:

Volume 1

Type:

Archival materials

Slides (photographs)

Color slides

Place:

Africa

Morocco

Date:

1997

Item Restrictions:

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

Item Rights:

Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. Permission to publish images from this collection must be given by Henry John Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.

Topic:

Architecture -- Africa  Search this

Cultural landscapes  Search this

Genre/Form:

Color slides

Item Citation:

Henry John Drewal Collection, EEPA 2010-010, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.

Identifier:

EEPA.2010-010, Item EEPA 2010-010-0202

See more items in:

Henry John Drewal Collection

Henry John Drewal Collection / Series 1: Morocco / Fes al Bali

Archival Repository:

Eliot Elisofon Photographic Archives, National Museum of African Art

GUID:

https://n2t.net/ark:/65665/xo7d6fc6624-21c6-4f02-a9a6-7db344852a5d

EDAN-URL:

ead_component:sova-eepa-2010-010-ref222