Collection includes music manuscripts, articles and clippings, concert programs, passports, and photographs.
Scope and Contents:
This collection documents, mostly in photographs, the musical career of Mongo Santamaria. Other materials include music manuscripts, magazine and newspaper articles, flyers, posters, and passports.
Series 1, Photographs, circa 1950s–1990s, includes primarily black and white and some color images of Mongo Santamaria. There is a photograph of Santamaria with the first Congo he brought from Cuba to the United States. Of particular interest is Santamaria performing with Tito Puente and Cal Tjada's bands. Some of the earlier photographs document performances at the Palladium Nightclub and Apollo Theatre. There are publicity photographs of Santamaria and his band created by the recording studios. The photographs also include award ceremonies, bar scenes and concert appearances. The materials are arranged in chronological order.
Series 2, Music Manuscripts, 1958-1985; undated, includes music created by Santamaria and music performed by him but written by other composers. Escena Afro-Cubanas composed and arranged by Valerie Capers (1985), Just Say Good-by by Rodgers Grant, Mambo Olga Pachanga by Nicolas Martinez (1961) and Peace by Horace Silver are included among these materials. The materials are arranged in alphabetical order by title.
Series 3, Personal and Background Information, 1945-1996; undated, include a profile of Santamaria and other musicians written in Japanese. There are also magazine articles documenting the development of Santamaria's career and his public appearances. Articles from the Miami Herald and the Chicago Tribune are also included among the materials. Personal items consist of Santamaria's Cuban and American passports. The materials are arranged in alphabetical order by type.
Series 4, Performance Materials, 1977-1996; undated, includes the National Academy of Recording Arts and Sciences Certificate to Mongo Santamaria and his Latin-Jazz Orchestra in recognition of nomination for the Best Tropical Latin Performance for Free Spirit, Espirito Libre, 1985. There are also flyers and an entertainment guide, some in Spanish, advertising public appearances for concert performances. A program in French for a jazz festival in Vienna includes profiles of the performers. There are posters including a black and white drawing of jazz musicians by Robert Leonard (1985) and appearances at the Miami Jazz and Heritage Festival, Apollo Theatre, Oberlin College and the Blue Note. Materials are arranged in alphabetical order by type.
Arrangement:
The collection is divided into 4 series.
Series 1: Photographs, circa 1950s-1990
Series 2, Music Manuscripts, 1958-1985 and undated
Series 3, Personal and Background Information, 1945-1996 and undated
Series 4, Performance Materials, 1977-1996 and undated
Biographical / Historical:
Cuban-born percussionist, composer, arranger, and bandleader.
Related Materials:
The materials in this collection complement the Latino Music Collection, Tito Puente Papers, Chico O'Farrill Papers, Dizzy Gillespie Collection and Paquito d'Rivera Music Manuscripts and Photograph.
Provenance:
Donated to the Archives Center by Mongo Santamaria's daughter, Nancy Anderson.
Restrictions:
Collection is open for research.
Rights:
Fees for commercial reproduction. Reproduction restricted due to copyright or trademark.
The collection documents George Eaton Simpson's fieldwork in Haiti, Jamaica, Trinidad, and Nigeria from 1936-1964. There are 704 images in several formats including negatives, prints, and slides. The photographs were primarily made by Simpson, but a few were made by Frederic Ramsey, Jr. Ramsey's prints are stamped on verso with his name. Many prints and slides are annotated by Simpson.
The collection also includes a few reprints of articles based on Simpson's field work and words and musical transcription from Savalou Ricourt, a musician of Port au Prince in 1937.
Arrangement:
The collection is arranged into six series:
1. Haiti, 1936-1937
2. Jamaica, 1953, 1957
3. Trinidad, 1960
4. Nigeria, 1964
5. Lantern slides, undated
6. Publications, 1940-1987
Biographical/Historical note:
George Eaton Simpson (1904-1998) was an anthropologist whose focus was the various social aspects of Caribbean religions. He wrote over 60 articles and books, and taught sociology and anthropology at Oberlin College from 1947-1971.
Born in Knoxville, Iowa, Simpson received his B.S. from Coe College in 1926, his M.A. from the University of Missouri in 1927, and his Ph.D. from the University of Pennsylvania in 1934. In 1947 he began teaching at Oberlin College in the Department of Sociology and Anthropology. In addition to teaching classes, Simpson served on numerous committees and as department chair.
Simpson conducted fieldwork in the Caribbean, specifically Haiti, Jamaica and Trinidad, and Nigeria. He focused primarily on Caribbean religions such as Vodun in Haiti, Rastafarianism in Jamaica, and the Spiritual Baptists in Trinidad. His fieldwork has been documented in numerous articles and books, including "The Vodun Service in Northern Haiti", "The Shango Cult in Nigeria and Trinidad", and Black Religions in the New World. He occasionally collaborated on articles with fellow anthropologists Joseph G. Moore and J. Milton Yinger. He also served as a visiting professor at several leading universities.
He was the recipient of numerous honors and awards including the Wellcome Medal for Anthropological Research, the Anisfield-Wolf Award in Race Relations (with J. Milton Yinger), Doctor of Humane Letters – Oberlin College, and Doctor of Humane Letters – Coe College.
Local Call Number(s):
NAA Photo Lot 93-14
Related Materials:
Additional photographs from Simpson are held in National Anthropological Archives Photo Lot 2001-24.
The George Eaton Simpson Film Study of Plaisance, Haiti, 1937, accession No. 92.12.1 in the Smithsonian Institution Human Film Studies Archives contains silent black and white film footage of Plaisance, Haiti shot by Simpson and his colleagues. The footage contains events also depicted in the photograph collection including work coumbites, marketplace scenes, a wedding ceremony, a funeral, drumming and dancing at a social gathering, and a dancing demonstration. Included in this accession are 21 audiotapes recorded by Simpson and Joseph G. Moore during their fieldwork in Jamaica and Trinidad.
The Joseph G. Moore Collection: Jamaican Revival and Kumina, 1957-1958, accession No. 92.1.1 in the Smithsonian Institution Human Film Studies Archives contains related material to Simpson's study of Jamaican Revival Zion and Kumina. The collection contains film footage of Morant Bay and West Kingston, Jamaica shot in 1957. The footage was originally intended for the "Odyssey" program or possibly a short feature. Some of the it ended up being featured on the CBS program "Lamp Unto My Feet" which also includes interviews with Joseph G. Moore and George Eaton Simpson. There is over 10 hours of footage, and in 1992 Simpson, Smithsonian Institution Human Film Studies Archives Director John Homiak, and research associate Ken Bilby recorded approximately 10 hours of commentary about the footage. This collection also contains audio recordings made in 1993 of a discussion between Simpson, Homiak, and Bilby concerning the relation of Jamaican Revival with Rastafari.
Sound recordings by Simpson held in the Ralph Rinzler Folklife Archives and Collections in the Folkways Records Collection and the Moses and Frances Asch Collection.
Oberlin College has a manuscript collection of George Eaton Simpson's papers (RG 30/64) that document Simpson's research and academic work.
Provenance:
The collection was donated to the National Anthropoligical Archives by George E. Simpson in 1992.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
The negatives are in cold storage and require advanced notice to access.
Roach is shown playing the drums in a recording studio. Title, signature, date in lower margin.
Arrangement:
Box No. 1.
Local Numbers:
AC0445-0000009.tif (AC Scan No.)
Collection Restrictions:
Collection is open for research.
Collection Rights:
The Archives Center does not own the rights to the Leonard photographs. All requests for permission to use these photographs for non‑museum purposes must be addressed to: Herman Leonard Photography, LLC, 530 South Lake Avenue #503, Pasadena, CA 91101 (818) 509-8987.
Translated postcard caption reads: "Dance for a chief."
Manuscript message and address on verso. Postmarked postage stamp on verso.
Printed text on recto reads: "Missiën van Scheut: Kong. Dans bij een opperhoofd." Printed text on verso reads: "Drukkerij 'De Beurs' Antwerpen / Missiën van Scheut - Postcheck. 1269.90"
Local Numbers:
EEPA CG-08-24
General:
Title source: Postcard caption.
Citation source: Archives staff.
Provenance:
Alvin Pettit Productions (Kevin Jackson), 34 Astor Place, Jersey City, NJ 07304-2943; Purchase: PO-570-0000178360; 20090630 EEPA 2009-010
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.
Photographer stamp: The Teal Studio, Houston, Texas, undated.
Local Numbers:
AC1218-0000001.tif (AC Scan No.)
General:
Archive Center's Women in Jazz
Exhibitions Note:
Displayed in Archives Center exhibition, "Women and Jazz: The International Sweethearts fo Rhythm, 1937-1949," March 25-May 31, 2011. Craig Orr, Curator.
Restrictions:
Unrestricted research access on site by appointment. Gloves required with unprotected photographs.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Drummers perform at Black Lives Matter event in front of George Floyd memorial art.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Crisscrossed with paths connecting communities across geography and history, Peru boasts a stunning vertical landscape that integrates a diversity of ecosystems and cultures. Peru is one of the world's most biodiverse nations, containing ninety microclimates across extreme variances of altitude. The coastal, rain-forested, and mountainous environments provide abundant resources, including major exports such as fish, copper, and asparagus. Many culturally and historically significant areas are popular tourist destinations that encompass complex layered histories.
The uniqueness of Peru's diversity lies in the connectedness of its landscape in the form of rivers, roads, and pathways that existed long before the Inka Empire (fifteenth–sixteenth centuries) and Spanish colonization (sixteenth–nineteenth centuries). Across its different altitudes and climates, communities exchange commodities and practices, shaping deeply rooted but constantly changing daily customs and celebrations. The influx and movement of people between and beyond borders also influence and transform these exchanges.
The 2015 Peru program featured projects, organizations, and groups whose cultural expressions highlight these social, cultural, and economic exchanges. It demonstrated how the networks of celebration and community, crops and markets, textile and craft production, foodways and technology, and music and dance forge the diverse cultural heritage of the country.
Visitors to the Peru Festival program could experience these unique connections through cooking and craft demonstrations, music and dance performances, moderated discussions, ritual and celebratory processions, and other participatory activities. In addition, there was a robust involvement with Peruvian American and diaspora communities. The public had the opportunity to learn, to eat, to dance, to shop, to witness these vibrantly connected cultures, and to create their own connections with Peruvian artists and specialists on the National Mall and beyond.
Olivia Cadaval and Cristina Díaz-Carrera were Curators for the Smithsonian; Rafael Varón Gabai was Curator and Consultant to MINCETUR. Valentina Pilonieta-Vera was Program Coordinator; Alexia Fawcett was Community Engagement Manager, and Betty Belanus was Family Activities Curator. A Curatorial Advisory Committee included: Madeleine Burns, Marjorie Hunt, Mary Linn, Luis Guillermo Lumbreras, Giancarlo Marcone, Soledad Mujica, Diana N'Diaye, Luis Repetto, Marcela Ríos, Daniel Sheehy, Jorge Ortiz Sotelo, Milagritos Saldarriaga, Francisco Tumi, and Madeleine Zúñiga. A Community Advisory Group included: Catherine Cabel Chicas, Nelly Carrión, Billy Castillo, Kristy Chavez-Fernandez, Fabiana Chiu-Rinaldi, María del Carmen Cossu, Miguel García, Elmer Huerta, Vicky Leyva, Doris Loayza, Ana Noriega, Elena Tscherny, and Ricardo Villanueva.
The program was co-presented and co-sponsored by the Republic of Peru Ministry of Foreign Trade and Tourism (MINCETUR). Additional support was provided by the staff of the Smithsonian's National Museum of the American Indian, directed by Kevin Gover (Pawnee), coordinated by Amy Van Allen; Washington Dulles international Airport and the Smithsonian's National Museum of African American History and Culture. The program received federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Special media support is provided by Telemundo Washington DC, BrightYoungThings.com, Latin Opinion Baltimore Newspaper, Orange Barrel Media, WAMU 88.5, El Tiempo Latino, Washington Hispanic, Washington Blade, El Tiempo Hìspano (MD-DE-PA), CTM Media Group, El Zol 107.9, Digital Conventions, and Greater Washington Hispanic Chamber of Commerce. Support for the Smithsonian Center for Folklife and Cultural Heritage's welcoming ceremony was provided, in part, by Avocados From Peru and Pisco Portón (in-kind).
Researchers, coordinators, and presenters:
Michelle Banks, Victor Boluarte, Nilda Callañaupa, Nadia Calmet, Violet Cavicchi, Xóchitl Chávez, Rodrigo Chocano Paredes, Fabiana Chiu-Rinaldi, Eduardo Díaz, Alfredo DiNatale, James Early, Mariá Regina Firmino-Castillo, Alexandro Hernández, Ingrid Huamaní, Rosa María La Madrid, Javier León, Doris Loayza, Raúl Mancilla Mantilla, Ana Noriega, Federico Serapio Ollero Delgado, Renzo Ortega, Víctor Piminchumo, Marco Arturo Ramírez Colombier, Ana Maria Reyes Albarracin, Deisi Rivadeneira, María Angélica Rodríguez Ibañez, Silvia Salgado, Emily Socolov, Naomi Sturm, Leonardo Tello, Jaime Urrutia, Roger Valencia, Cynthia Vidaurri, Fredi Villagarcia Aquise, Alfredo Villar, Holly Wissler, Ranald Woodaman
Participants:
URBAN MUSIC AND DANCE
Pedro Tolomeo "MONKY" Rojas Meza, 1961-, artist, painter, Lima, Peru
Elliot "Túpac" Urcuhuaranga Cárdenas, 1978-, artist, muralist, Lima, Peru
Brus Mauricio Rubio Churay, 1983-, artist, Loreto, Peru
John Sayas Coras, 1983-, farmer, artisan, Ayacucho, Peru
WACHIPERI COMMUNITIES
Victorio Dariquebe Gerewa, 1962-, community leader, Pilcopata, Cusco, Peru
Odette Marlid Ramos Dumas, 1991-, artisan, cook, Pilcopata, Cusco, Peru
Nely Margot Ninantay Yonaje, 1986-, scholar, Pilcopata, Cusco, Peru
Marisabel Dumas Ramos, 1984-, trilingual interpreter, healer, Pilcopata, Cusco, Peru
Sofía Solisonquehua Untamay, 1980-, healer, Pilcopata, Cusco, Peru
Sergio Pacheco Hambeo, 1967-, healer, Pilcopata, Cusco, Peru
COMMUNITY DAY PARTICIPANTS & GROUPS
Marianella Dayan Villavicencio (Dayan Aldana), Centreville, Virginia
María Luisa Alvarado
Billy Castillo, Rockville, Maryland
Aymar Ccopacatty, 1979-, recycled art, West Kingston, Rhode Island
Kristy Chavez-Fernandez, 1980-, DJ, McLean, Virginia
Celia Coleto
Martin Correa
Miguel García, foodways, Woodbridge, Virginia
Elmer Huerta, foodways
Adela Hinostroza, 1974-, Reisterstown, Maryland
Vicky Leyva
Milagros López Loli
Wilde Moran, 1958-, Centreville, Virginia
Leandro Reyes
Brenda Salas
Víctor Ruíz, dancer
Arturo Uchima, foodways, Washington, D.C.
José Victorio, foodways, Baltimore, Maryland
Martín Zuñiga
100 Cajoneros
Abya Yala Arte y Cultura -- Abya Yala Arte y CulturaMilagros AlbrechtCarlos AnayaPatricia AranibarMillery BeltranSteve CotaquispeRosa Manozzi-BustamanteTracy MerinoElva NavarroBen Rosen, 1968-, New York, New YorkLuis Vargas
Grupo Etnia -- Grupo EtniaFernando Cabrejo, 1961-, Germantown, MarylandCarlos HurtadoLuis Enrique LevanoMariela MarineroOscar QuispeWalter Suarez
Inkarayku -- InkaraykuElva Ambia Rebatta, Brooklyn, New YorkCarlose Moises AmbiaElva Ambia Jimenez, Brooklyn, New YorkErico Benavente, 1973-, Pelham, New YorkAndres Jimenez, Rego Park, New YorkAdam Negrin, 1983-, Dix Hills, New YorkBen Rosen, 1968-, New York, New York
New Inca Son -- New Inca SonOmar ClavijoRene QuisbertWalter RojasMarianne Ruggiero
Cabanaconde City Colca – USA
Centro Cultural Peru
Papalca
Rancho San Miguel de Aquia
Sentimiento Peruano
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2015 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
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. Copyright held by John and Margaret Drewal. To publish images from this collection, permission must be given by Henry and Margaret Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.
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. Copyright held by John and Margaret Drewal. To publish images from this collection, permission must be given by Henry and Margaret Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.
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. Copyright held by John and Margaret Drewal. To publish images from this collection, permission must be given by Henry and Margaret Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.
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. Copyright held by John and Margaret Drewal. To publish images from this collection, permission must be given by Henry and Margaret Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.
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. Copyright held by John and Margaret Drewal. To publish images from this collection, permission must be given by Henry and Margaret Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.
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. Copyright held by John and Margaret Drewal. To publish images from this collection, permission must be given by Henry and Margaret Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.
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. Copyright held by John and Margaret Drewal. To publish images from this collection, permission must be given by Henry and Margaret Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.
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. Copyright held by John and Margaret Drewal. To publish images from this collection, permission must be given by Henry and Margaret Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.
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. Copyright held by John and Margaret Drewal. To publish images from this collection, permission must be given by Henry and Margaret Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.
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. Copyright held by John and Margaret Drewal. To publish images from this collection, permission must be given by Henry and Margaret Drewal. Contact Archives staff for further information. The collection is subject to all copyright laws.
