This collection, which dates from 1926-1986, documents the output of Moses Asch through the various record labels he founded and co-founded, and includes some of his personal papers. The Asch collection includes published recordings, master tapes, outtakes, business records, correspondence, photographs, and film.
Scope and Contents:
The Moses and Frances Asch Collection measures 841 cubic feet and dates from 1926-1987, with some contemporary, relevant correspondence, clippings, and ephemera added after 1987.
Most of the collection consists of audio recordings (commercial 78 rpm and long-playing records, open reel tapes, acetate discs, and test pressings), correspondence with recording artists and producers, artwork, photographs, ephemera, clippings, record production materials, writings, and business papers relating to Folkways Records. Materials relating to Folkways Records can be found primarily in the Correspondence, Folkways Production, Business Records, Photographs, Artwork, Sound Recordings, and Film series.
The collection also contains some biographical materials and personal correspondence, including materials related to Asch's first business, Radio Laboratories, located in the Biographical Materials series. Correspondence, ephemera, photographs, record production materials, business papers, and recordings relating to Asch's record labels before Folkways Records (Asch Recordings, Disc Company of America, Cub Records) are located in the Early Label Materials series as well as the Audio Recordings and Photographs series.
The collection is arranged in 10 series:
Series 1: Correspondence, 1942-1987
Series 2: Folkways Production, 1946-1987
Series 3: Business Records, 1940-1987
Series 4: Woody Guthrie papers, 1927-1985
Series 5: Early Label Materials, 1940-1949
Series 6: Biographical Materials, 1926-1987
Series 7: Photographs
Series 8: Artwork
Series 9: Audio Recordings
Series 10: Film
At this time, the collection is partially processed. Please contact email@example.com for more information.
The son of Yiddish writer Sholem Asch, Moses Asch was born in Poland in 1905. His childhood was spent in Poland, France, Germany, and New York. While young, Asch developed an interest in radio electronics, which ultimately lead him to his life's work, recording the music and sounds of the world. He established several record labels in succession, sometimes partnering with other record companies. Two of his fist record companies, Asch Recordings and DISC Co. of America, went bankrupt. They were followed by his best-known label, Folkways Records, which was founded in 1948 with Marian Distler (1919-1964). He was still working on Folkways recordings when he died in 1986.
Folkways Records sought to document the entire world of sound. The 2,168 titles Asch released on Folkways include traditional and contemporary music from around the world, spoken word in many languages, and documentary recordings of individuals, communities, and current events. Asch's business practices revolved around the commitment to keep every recording issued by Folkways in print, despite low sales. Asch stayed afloat by cutting costs where he could (such as color printing) and offering a high-quality product, meticulously recorded and accompanied by extensive liner notes. In doing this, he could charge a slightly higher price than other commercial outfits. Despite a tenuous relationship with financial solvency, Folkways grew to be not only one of the most important independent record companies in the United States in the 20th century, but also one of the largest and most influential record companies in the world.
Moses Asch's record labels featured famous and lesser known American writers, poets, documentarians, ethnographers, and grass roots musicians on commercial recordings. American folk icon Woody Guthrie recorded on the Asch, Disc, and Folkways labels, and the Asch Collection includes some of his correspondence, lyrics, drawings, and writings. The collection also includes correspondence with other notable musicians and artists such as John Cage, Langston Hughes, Margaret Walker, Huddie "Lead Belly" Ledbetter, Pete Seeger, Peggy Seeger, Ewan MacColl, Alan Lomax, Henry Cowell, and Kenneth Patchen. Also in the collection are ethnographic field notes and photographs by as well as correspondence with Béla Barók, Sidney Robertson Cowell, Harold Courlander, Helen Creighton, Laura Boulton, and Samuel Charters. Asch hired various prominent artists and graphic designers including David Stone Martin, Ben Shahn, John Carlis, and Ronald Clyne to create album cover art for his recordings. Much of the original art and designs for these covers can be found in the Asch Collection.
Asch's output of recordings on various labels, including published recordings, open reel master tapes, outtakes, and acetate disks, in addition to his business papers, correspondence, photographs, and other files were acquired by the Smithsonian Institution in 1987. The collection came to the Smithsonian with the understanding that all 2168 titles under the Folkways label would be kept available in perpetuity.
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://folklife.si.edu/archives#shared-stewardship.
Ralph Rinzler arranged the Smithsonian's acquisition of the Moses and Frances Asch Collection in 1987, beginning with Asch before his death in 1986 and continuing with extensive discussions between Rinzler and the Asch family. Since its acquisition, archivist Jeff Place and others have added contemporary, relevant correspondence with Folkways artists and related individuals.
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.
Taped by James C. Jones—San Ignacio de Moxos, 1978-1979
Notes provided by James C. Jones.
2. Macheteros play in house of Ignacito Rivero on August 6, 1978 (Independence Day in Bolivia). Instruments: 1 side flute (Cirilo Yaca playing); 2 drums; and ankle rattles (made of nuts) on each of the dancers. Cirilo tells me that the tune they here play is Taquirari de los Macheteros, that it has no other name. San Ignacio de Moxos.
3. Same as #1 (August 6, 1978).
4. Jerure does a turn of the plaza in San Ignacio at 10:00 of the evening, announcing the Fiesta del Nino. December 23 1978 [see field-note card 53(43) for details]
5. Toque al Nino, as Abelino Masapaija describes this number (the title seems to be Picaflor) December 24, 1978. In choir loft of church in San Ignacio de Moxos. 5—Toque al Niho. December 24, 1978 (Noche Buena). Choir plays in church in San Ignacio de Moxos.
6. Toque al Niho (?), alternating with rezos. Choir in church in San Ignacio. December 24, 1978.
7. Second repique for Mass on morning of Reyes, January 6, 1979. Instruments: 3 campanas, 3 cajeros (drummers), 4 Macheteros (1 flautero, 3 drummers, with each drum a different size). San Ignacio de Moxos.
8. Procesion de los Curas, at noon on Reyes (January 6, 1979). In the procession: Cirilo Yaca plays the flute; two Macheteros with their ankle rattles (very audible); Cajeros of the church, and Musicos of Coro. San Ignacio de Moxos.
9. Section of the Coro plays a tune in the Belen (where the Indian Cabildo meets, part of the church complex) for bailadores of entourages of the Three Kings January 6, 1979. Bailadores perform before the altar in the Belen. Instruments of the several musicians: 1 side flute (which carries the melody), 2 bajones largos, 1 violin, and 2 drums (a large one and a small one)
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: firstname.lastname@example.org).
Identification of specific item; Date (if known); James Jones collection from Bolivia, Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution
Second and Third Ecuador Expeditions photograph collection
Museum of the American Indian, Heye Foundation Search this
Pepper, George H. (George Hubbard), 1873-1924 Search this
Saville, Foster H. (Foster Harmon), 1874-1942 Search this
Saville, Marshall H. (Marshall Howard), 1867-1935 Search this
398 Negatives (photographic)
Photographic negatives made by George Pepper, Marshall Saville and Foster Saville during the second and third Ecuador expeditions in 1907 and 1908. The expeditions were sponsored by George Gustav Heye and included archaeological work in the Manabi and Esmereldas provinces in Ecuador.
Scope and Contents:
This collection includes negatives made in the Manabi and Esmereldas provinces of Ecuador during the second and third Ecuador Expeditions sponsored by George Gustav Heye. The photographs were shot by George Hubbard Pepper, Foster H. Saville and Marshall H. Saville. The majority of the photographs are from the Manabi Province and include images from Cerro Jaboncillo, Cerro de Hojas, Manta, La Secita and Monte Christi. The photographs from Esmereldas includes images from Isla de la Tola, La Tolita and Tonsupa. Many of the photographs document the excavation work that was conducted. This includes images of excavation sites and archaeological objects, local workers hired for the expedition as well as landscape views and street scenes in the various expedition locations in Ecuador. Additionally, many of Foster Savilles's photographs in Monte Christi and Manta show local happenings such as the procession of Fiesta de San Pablo, fishermen drawing nets and women bathing on the beach. There are several photographs that feature George Pepper and Marshall Saville in the field. The negatives were likely shot on both glass plate and nitrate. There are 75 glass plate negatives, made by George Pepper, that are still in the collection. The remainder of the negatives which were likely shot on nitrate are now on acetate film, copied during the 1960s photograph conservation project at the Museum of the American Indian, Heye Foundation.
This collection includes negatives with the following catalog numbers: N00001-N00074, N00170-N00171, N00178, N00221, N00798-N01112, N01453-N01457
N00170 - N00171 ; N00178 ; N00221 are the only photographs from the Third Ecuador Expedition, the rest are from the Second.
Arranged by catalog number.
Biographical / Historical:
The Second and Third Ecuador expeditions were sponsored by George Gustav Heye and conducted during the summers of 1907 and 1908. These followed an initial archaeological investigation on the coast of Ecuador in 1906, later called the First Ecuador Expedition. Marshall H. Saville, George Hubbard Pepper and Foster H. Saville arrived in Manabi, Ecuador in the middle of June, 1907 and the expedition remained there until October. The work centered mainly around the Cerro Jaboncillo and Cerro de Hojas hills where excavations of house-sites and mounds were conducted. Following this work in Manabi, George Pepper and Foster Saville traveled to the hills south of Mone Cristi and Marshall Saville proceeded to the Esmeraldas coast with Louis W. Niendorff conducting excavations through the first of November. In 1908 Marshall Saville returned to Ecuador with George D. Hedian, revisiting sites in Manabi and making several trips into the mountainous region south of Manta as well as Bahia de Caraques. Over the course of these two trips more than 3000 archaeological items were collected and brought back to New York as part of the Heye collection, eventually becoming part of the Museum of the American Indian, Heye Foundation. For more information see "The Antiquities of Manabi, Ecuador; Final Report" by Marshall H. Saville in Contributions to South American Archaeology, Volume 2, 1910.
A small amount of field notes from George Pepper can be found in the Museum of the American Indian, Heye Foundation records, NMAI.AC.001, (Box 189, Folder 3). Additional Pepper field notes can be found in his collection at Tulane University.
Sent to the Heye Museum, later the Museum of the American Indian, Heye Foundation, by George Pepper, Marshall Savillle and Foster Saville, along with other excavation materials in 1907 and 1908.
Access to NMAI Archive Center collections is by appointment only, Monday - Thursday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: email@example.com). Photographs with burials, human remains or any other cultural sensitivity are restricted.
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to firstname.lastname@example.org. For personal or classroom use, users are invited users to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not changed, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian.
Identification of specific item; Date (if known); Second and Third Ecuador Expeditions photograph collection, Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
This collection comprises professional papers of anthropologist Molly Schuchat and documents her dissertation development and field work regarding the experiences of Hungarians who came to America after the failed revolution in 1956, as well as her teaching activities at Rust College in Holly Springs, MS. The collection contains articles, correspondence, clippings, course catalogs, dissertations, manuscripts, newsletters, field notes, and photographs.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Biographical / Historical:
Molly Schuchat (1928-2020) was a cultural anthropologist who taught at Howard University and Rust College.
Donated by Molly G. Schuchat in 2002.
Access to the Molly Schuchat papers requires an appointment.
Timothy Asch was an anthropologist and ethnographic film maker who devoted his professional life to using film as a recording and teaching medium. His papers cover the period from 1966 until his premature death in 1994 and reflect his active career in the field. A large portion of the files relates to his work among the Yanomami people of Venezuela and to his concern with bias in film making.
Scope and Contents:
The papers of Timothy Asch document his career as an anthropologist, educator,
photographer and filmmaker through correspondence, photographs, research files
(articles and notes), and teaching materials (course information and lecture notes). The
files relating to Asch's film projects include articles, field notes, and reviews. The major
correspondents in this collection are Patsy Asch, Tom Beidelman, Napoleon Chagnon,
James Fox, Robert Gardner, Douglas Lewis, Peter Loizos, David & Olga Sapir, and
The collection is arranged into the following 13 series:
Series 1) Correspondence (1953-1994)
Series 2) College and graduate School (1955-1965)
Series 3) Teaching materials (1964-1993)
Series 4) Film projects (1964-1991)
Series 5) Articles and reviews (1972-1994)
Series 6) Alpha-Subject (1955-1989)
Series 7) Conferences, film festivals, and film organizations (1963-1993)
Series 8) Grants (1962-1993)
Series 9) Other people's work (1952-1995)
Series 10) Personal and family (1951-1994)
Series 11) Photographs (1947-1991)
Series 12) Sound recordings (bulk 1960s-1970s)
Series 13) Note slips, rolodexes, and business cards (1987, undated)
Asch studied photography at the California School of Fine Arts in San Francisco. While serving in the United States Army in Japan from 1951-55 he spent his off-duty hours photographing rice production and household activities in remote Japanese villages. After his military service, he enrolled in Columbia University graduating in 1959 with an undergraduate degree in Anthropology. After graduation, he went to work at the Peabody Museum at Harvard as an assistant editor to John Marshall on the Kung Bushmen film project. In 1964, he received a Masters Degree in Anthropology from Boston University where he studied in the African Studies Progam and read Anthropology with T.O. Beidelman at Harvard. In 1968, Asch and Marshall founded Documentary Educational Resources, a film distribution company. Anthropologist Napoleon Chagnon approached Asch in 1968 to film among the Yanomammmi people of Venezuela. This collaboration led to a major project resulting in over thirty films.
1950-1951 -- California School of Fine Arts and Apprenticeships with photographers Minor White, Edward Weston and Ansel Adams
1953-1954 -- Military Service in Korea
1959 -- B.S. in Anthropology Columbia University
1959-1962 -- Ethnographic film consultant, Harvard University's Peabody Museum
1964 -- M.A. in Anthropology Harvard University
1965-1966 -- Curriculum Consultant, Ethnographic studies and the Bushmen Social Studies Curriculum Project (initially Educational Services, Inc., later called Educational Development Center)
1966-1968 -- Lecturer in Anthropology and Theater Arts, Brandeis University
1966-1968 -- Anthropology Curriculum and Media Consultant to the Newton Public Schools
1967-1994 -- Co-Founder and Director of Documentary Educational Resources, Watertown, Massachusetts, a non-profit curriculum development corporation distributing educational media
1968-1970 -- Visiting Assistant Professor, Anthropology Department, New York University
1969-1973 -- Lecturer, Department of Anthropology, Brandeis University
1973-1979 -- Research Fellow in Ethnographic film, Peabody Museum of Archaeology and Ethnology, Harvard University
1974-1976 -- Lecturer, Department of Anthropology, Harvard University
1975 -- Research Cinematographer, National Anthropological Film Center, Smithsonian Institution, Washington, D.C.
1976-1981 -- Senior Research Fellow, Department of Anthropology, Institute of Advanced Studies, the Australian National University, Canberra, Australia
1982 -- Visiting Research Scholar, Department of Anthropology at Macquarie University, Sydney, Australia
1983-1994 -- Director, Center for Visual Anthropology, Department of Anthropology, University of Southern California
The Human Studies Film Archives holds 93,000 feet (43 hours) of original film footage and the accompanying sound as well as the edited films from the 1968 and 1971 film projects by Timothy Asch and Napoleon Chagnon documenting the Yanomamo Indians of southern Venezuela and northern Brazil (between the Negro and Upper Orinoco rivers).
Donated to the National Anthropological Archives by Patsy Asch in 1996.
Photographs made by Robert E. Kuntz documenting people and the natural and built environments that he encountered during his world travels. Locations depicted include Asia (Taiwan, India, Korea, Thailand, Hong Kong, Vietnam, and Japan), the Middle East (Pakistan, Turkey, Lebanon, Syria, Egypt, and Yemen), Africa (Sudan, Libya, Kenya, and Nigeria), and Oceania (Borneo and the Philippines). Images of Taiwan include street scenes of Taipei, festivals and ceremonies (including celebrations of 10-10 Day, Buddha's birthday, and Lantern Festival), temples, villages and agriculture, boats and harbors, artwork and shrines, carving, construction, markets, bridges, and a cemetery. The collection also includes images of the Acropolis of Athens, the Taj Mahal and other structures in India, historical structures and the harbor in Istanbul, markets and vendors in west Pakistan, and Wat Benchamabophit and Wat Arun in Thailand, ancient structures in Baʻlabakk (Lebanon), St. Catherine's Monastery (Sinai) and a parade and ceremonies in Egypt.
Dr. Robert E. Kuntz (1916-2003) was a parasitologist for the U.S. Navy and the Southwest Research Foundation. After earning his MS in zoology from Oklahoma University and Ph.D. in parasitology from the University of Michigan, he joined the United States Navy in 1943. He was a parasitologist and medical entomologist with the Naval Medical Research Institute and then Chairman of the department of parasitology at the Southwest Foundation for Research and Education, a position that brought him into contact with groups in the Middle East, Africa, and Asia. In 1964, Kuntz retired from the Navy as a captain. He wrote hundreds of publications and his photographs have been reproduced in textbooks, National Geographic Magazine, and other publications.
Local Call Number(s):
NAA Photo Lot 2003-25
Modern prints made from original negatives by Smithsonian Institution, 1987.
Location of Other Archival Materials:
Kuntz's field notes are held in the Smithsonian Institutuion Archives in the Field Book Project, SIA Acc. 12-254.
Taiwanese fish skins collected by Kuntz held in the anthropology collections of the NAtional Museum of Natural History, accession 231999.
The collection consists primarily of photographic slides taken by McCloskey while aboard commerical fishing vessels. The photographs were taken in bodies of water spanning the globe, including those off the coasts of Japan, New Zealand, Alaska, New England, Canada, Norway, Taiwan, Indonesia, Vietnam, Malaysia, Singapore, India, Burma, Chile, Peru, the Caribbean, Portugal and numerous other places. In addition, there are photographs taken aboard fishing boats on rivers, including those in China and in Brazil. Also included in the collection are field notebooks kept by McCloskey, articles and other printed materials, and papers relating to two of McCloskey's books on fishing.
The collection is divided into three series.
Series 1: Photographs
Series 2: Field notebooks
Series 3: Printed materials
Biographical / Historical:
Author, photographer, and authority on commerical fishing, fisheries and fishing boats.
Donated to the Archives Center by William B. McCloskey in 2010.
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
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.