An interview with Allan Sekula conducted 2011 August 20-2012 February 14, by Mary Panzer, for the Archives of American Art at Sekula's studio and home in Los Angeles, California and at the Museum of Modern Art in New York, New York.
Sekula speaks of his career and some of the mediums he works in; language and contemporary art; Roland Barthes; his relation to contemporary art; west coast conceptualism; genre switches; realism; documentary photography; Belgium and the industrial revolution; Meunier; minor figures; art history and marginalism; Roberto Matta; World War I; Homer Folks; Fish Story; historic cinema; economic factors of art shows and publication; galleries and the art world; growing up and his family; his father and moving; Ohio; his brothers and sisters; San Pedro; demographics of students at school; sports at school; Vietnam; protests; cross country and swimming; California; fishing; college; U.C. system; declaring a major; John Altoon; Ed Kienholz; exposure to art; visiting museums; Marcuse's classes; Baldessari's classes; course work and student life; student demonstrations; working in a library and exposure to books; father losing his job; science and working as a chemical technician; politics; his uncle committing suicide; moving away from his father; the draft; John Birch; Students for a Democratic Society; his mother; politics of his parents; Aerospace Folk Tales, autodidacts and scholarship; San Diego and Mexico; obtaining a camera and starting to use it; art school; CalArts; UCSD; Meditations on a Triptych; David Salle; Fred Lonidier; Phel Steinmetz; MFA and art training; poets; story of Allen Ginsberg and one of Sekula's sculptures; production and the audience; A Photograph is Worth a Thousand Questions, photography and the burden of tradition; pictorialism; moving to New York; Artforum; October; New York music scene; Captain Beefheart; Bo Diddley; Little Richard; Steichen and aerial photography; origins of October; New Criterion; Art Critic's Grant; teaching at Ohio State; television; technological historians; New York subway and getting a ticket for using French money; RISD lectures; Long Beach; photography; collages; Metro Pictures; New Topographics; School as a Factory; moral choice and the viewer; work method and the audience; Social Criticism and Art Practice; east and west coasts; Ed Ruscha; documentary; film, Los Angeles; cinema and social history; Ohio State Department of Photography and Cinema; Los Angeles Plays Itself; Committee in Solidarity with the People of El Salvador; Ohio State campus, anti-Semitism; Ronald Reagan and protest; influences and colleagues; intellectual genealogy; Michael Graves and Ohio State architecture; Bad Ohio; tenure; University Exposed; AIDS issue of October; The Body and the Archive; making film; Korean War; collectors and images. Sekula also recalls Eleanor Antin, Jeff Wall, Terry Fox, Lewis Hine, Walker Evans, Paul Saltman, Marcuse, Baldessari, Sacvan Bercovitch, Stanley Miller, Jef Raskin, Paul Brach, David Antin, Howard Fried, Peter Van Riper, Alison Knowles, Dick Higgins, Manny Farber, Ihab Hassan, Diane Wakoski, Jackson Mac Low, Martha Rosler, Lenny Neufeld, Joshua Neufeld, David Wing, Brian Connell, Max Kozloff, Ian Burn, Mel Ramsden, Carole Conde, Karl Beveridge, Barry Rosens, Tom Crow, John Copeland, Harry Lunn, Hilton Kramer, Grace Mayer, Carol Duncan, Eva Cockroft, Richard Pommer, Rosalind Krauss, Sally Stein, Paddy Chayefsky, John Hanhardt, Mel Ramsden, Sarah Charlesworth, Jospeh Kosuth, Baruch Kirschenbaum, Robert Heinecken, Brian O'Doherty, Howard Becker, Jay Ruby, Jerry Liebling, Anna Wilkie, Ronald Feldman, John Gibson, David Ross, Britt Salvesen, Larry Sultan, Mike Mandel, Roy Ascott, Ilene Segalove, Paul Schimmel, DeeDee Halleck, Noel Burch, Joan Braderman, Woody Hayes, Thom Andersen, John Quigley, Ron Green, Kasper Koenig, Dan Graham, Jonathan Green, Christa Wolf, Catherine Lord, Ben Lifson, and Annette Michelson.
Biographical / Historical:
Allan Sekula (1951-2013) was a photographer, filmmaker, and writer, based at the California Institute of the Arts in Valencia, California. Mary Panzer (1955- ) is a historian from New York, New York.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
The papers of King Vidor measure 2.1 linear feet and include correspondence, printed material, and a variety of materials related to the documentary Metaphor: King Vidor Meets Andrew Wyeth (1980) written and directed by Vidor, including production notes, photographs, and motion picture film.
Scope and Contents:
The papers of King Vidor measure 2.1 linear feet and include correspondence, printed material, and a variety of materials related to the documentary Metaphor: King Vidor Meets Andrew Wyeth (1980) written and directed by Vidor, including production notes, photographs, and motion picture film.
Correspondence is mainly between Vidor and multiple galleries and artists whose artworks Vidor collected, and includes single letters from artists Grant Wood, Thomas Hart Benton, and Andrew Wyeth. Lengthy correspondence with Associated American Artists is found among other correspondence with galleries. Loan requests from museums borrowing from Vidor's painting collection, and image requests for reproduction rights for paintings owned by Vidor from various publishers are also found, as well as a few sheets of notes related to valuation of paintings.
Printed material includes exhibition catalogs for Millard Sheets and Diego Rivera, clippings on a variety of subjects, including a long article about his film project Metaphor published in the Los Angeles Herald Examiner, and periodicals with articles about the artist Grant Wood.
Scattered slides are mostly of unidentified artwork.
Material related to Metaphor, Vidor's film project with Andrew Wyeth include photographs of Wyeth and Vidor in Pennsylvania, stills from Vidor's 1925 film The Big Parade, and a still from Metaphor. Production notes include detailed footage and edit notes as well as typescripts of draft narration. Some production notes are arranged as a group, and others are arranged with documentation of the original film containers in which they were found. Motion picture film found in the collection includes a print of the final version of the film, edit master film material (A and B rolls), outtakes, and trims.
Arrangement:
The collection is arranged as 4 series. Digital photographs of original film containers are filed in Series 4.
Series 1: Correspondence, 1941-1982 (Box 1, 1 folder)
Series 2: Printed Material, 1936-1980 (Box 1, 3 folders)
Series 3: Slides, 1964 (1 folder; Box 1)
Series 4: -- Metaphor: King Vidor Meets Andrew Wyeth -- (1980), 1976-1980 (1.9 linear feet; Box 1, FC 1-17)
Biographical / Historical:
King Vidor was an American film director whose prolific career began in 1913, during the silent era, and continued through 1959 when he stopped directing large scale film projects. In addition to his prolific film career, Vidor was an avid collector of American Art who owned works by Thomas Hart Benton and Grant Wood, among others.
Vidor's final film, Metaphor: King Vidor Meets Andrew Wyeth (1980), is a documentary in which he and Wyeth discuss the impact of Vidor's most celebrated film of the silent era, The Big Parade, on Wyeth's painting. The project began when Wyeth wrote a lengthy letter to Vidor crediting his film, which Wyeth claimed to have watched over a hundred times, with having had a direct impact on the compositions of his paintings, which he only noticed after the fact when his wife, Betsy, pointed it out to him.
When Wyeth contacted Vidor for permission to use clips from The Big Parade in a documentary project by the Metropolitan Museum of Art to accompany a 1976 exhibition of these works, Two Worlds of Andrew Wyeth: Kuerners and Olsons, instead of lending his film to that effort, Vidor went to Chadds Ford, Pennsylvania to film Wyeth himself. Together, the two set out to make a documentary telling the story of the aesthetic relationship between their work, with Vidor directing. The film was completed in 1980 but was never commercially released.
Vidor died in 1982.
Related Materials:
There is an oral history interview with King Vidor held by Columbia University.
Provenance:
Donated 1985 by the King Vidor Trust.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
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.
Quotes and excerpts must be cited as follows: Oral history interview with Allan Sekula, 2011 August 20-2012 February 14. Archives of American Art, Smithsonian Institution.
The Murals of Aztlán Film Production Records measures 5.1 linear feet and consists of film footage, sound recordings, and notes from the documentary produced by James Tartan during the exhibition Murals of Aztlán: the Street Painters of East Los Angeles at the Craft and Folk Art Museum, Los Angeles in 1981. Film and sound elements in the collection include original sound recordings, work print, outtakes, and trims. Also found are production notes, museum memorandums concerning the exhibition schedule, and a transcript of a recorded conversation among muralists.
Scope and Contents:
The Murals of Aztlán Film Production Records measures 5.1 linear feet and consists of film footage, sound recordings, and notes from the documentary produced by James Tartan during the exhibition Murals of Aztlán: the Street Painters of East Los Angeles at the Craft and Folk Art Museum, Los Angeles in 1981. Film and sound elements in the collection include original sound recordings, work print, outtakes, and trims. Also found are production notes, museum memorandums concerning the exhibition schedule, and a transcript of a recorded conversation among muralists.
Arrangement:
Collection arranged as 5 series.
Missing Title
Series 1: Exhibition and Production Notes, 1981 (8 folders; Box 1)
Series 2: Work Print and Soundtrack, 1981 (2.6 linear feet; Box 3, FC 1-30)
Series 3: Sound Recordings, 1981 (0.5 linear feet; Box 1-2)
Series 4: Voiceover Outtakes, 1981 (0.9 linear feet; FC 31-39)
Series 5: Trims and Outtakes, 1981 (0.9 linear feet; FC 40-48)
Biographical / Historical:
Murals of Aztlán is a documentary film produced by actor and filmmaker James Tartan during the exhibition Murals of Aztlán: the Street Painters of East Los Angeles held at the Craft and Folk Art Museum in Los Angeles, California in 1981. For the exhibition, artists Carlos Almaraz, Gronk, Judithe Hernandez, Willie Herron, Frank Romero, John Valadez and the East Los Streetscrapers (David Botello, Wayne Healy, George Yepes) painted portable murals in the gallery, which was open to the public during the installation of the work. The filmmaker and his crew interviewed the artists involved in the exhibition for the film, filmed the artists creating murals in the gallery, and also filmed the public viewing the artists working and the murals themselves.
James Tartan was born in 1931 and worked as a filmmaker, actor, and voiceover artist. In addition to Murals of Aztlán, Tartan created a documentary film about the 1974 Los Angeles County Museum of Art exhibition Los Four, and has been credited with training many Chicano filmmakers in the 1970s.
Separated Materials:
Additional production material from the documentary Murals of Aztlán, including a final print, is found in the James Tartan Film Collection, 1960-1985, held at the UCLA Chicano Research Center.
Provenance:
Donated by James Tartan, the filmmaker, in 1988.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
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.
Occupation:
Muralists -- California -- Los Angeles -- Interviews Search this
50 Film reels (50 completed films and 1 film series; 110,600 feet of original film outtakes (51 hours); 412 hours of audiotape; 31 digital books)
22 Linear feet (Papers and photographs)
Type:
Collection descriptions
Archival materials
Film reels
Place:
Patagonia (Argentina and Chile)
Argentina
Date:
1954-circa 2008
Summary:
Documentary filmmaker Jorge Prelorán was best known for his intimate approach to ethnographic film, a style known as "ethnobiography." The majority of Prelorán's films were shot in rural areas of Argentina, particularly the Andean highlands and the Pampas (plains), often in communities of mixed Indian and Spanish heritage. Prelorán documented a wide range of subjects, including art, folk crafts, agriculture, ranching, markets, religious rituals and festivals, and social and cultural change. This collection contains edited films and videos, film outtakes, audio tapes, photographic prints and transparencies, digital books, correspondence, production files, scripts, project files, and press clippings spanning 1954-2008.
Scope and Contents:
This collection contains edited films and videos, film outtakes, audio tapes, photographic prints and transparencies, digital books, correspondence, production files, scripts, project files, and press clippings spanning 1954-2008.
The majority of Prelorán's films were shot in rural areas of Argentina, particularly the Andean highlands and the Pampas (plains), often in communities of mixed Indian and Spanish heritage. Prelorán documented a wide range of subjects, including art, folk crafts, agriculture, ranching, markets, religious rituals and festivals, and social and cultural change. Several films focus on natural history and science. There are also a number of experimental and fiction films.
Prelorán formed close friendships with many of the subjects of his films and corresponded with them long after the films were completed. This is reflected in the paper records, as is Prelorán's wide circle of colleagues and collaborators, including anthropologists, musicians, animators, historians, painters, writers, photographers, current and former students at UCLA, and fellow filmmakers. The extensive collection of press clippings, screening notices, and festival catalogs documents Prelorán's influence in Argentina, Europe, and the United States.
In the series of digital books, Prelorán presents the personal stories of individuals involved in creative work. Some books feature subjects profiled in the films, updating or expanding on their stories.
Arrangement:
This collection is arranged in 11 series: (1) Completed Films and Videos, 1954-circa 2008; (2) Film Outtakes, 1960s-1980s; (3) Audio, 1969-2008; (4) Correspondence, 1954-2005 (bulk 1967-1992); (5) Production Files, 1961-1998; (6) Project Files, 1967-1995; (7) UCLA, 1968-2005 (bulk 1980s); (8) Press Clippings, 1960-2005; (9) Photographs, 1961-2000; (10) Books, 1994-1998, undated; (11) Electronic Files, circa 2000-circa 2006
Biographical Note:
Documentary filmmaker Jorge Prelorán was best known for his intimate approach to ethnographic film, a style known as "ethnobiography." In films such as Hermógenes Cayo (Imaginero) (1970), Los Hijos de Zerda (Zerda's Children) (1974), and Zulay Frente al Siglo XXI (Zulay Facing the 21st Century) (1989), Prelorán's protagonists tell their personal stories, while also revealing the stories of their communities and cultures. Prelorán worked in Latin America and the United States, but primarily in his native country of Argentina. His career spanned from 1954 to 2008, including nearly twenty years as a film professor at the University of California, Los Angeles (UCLA).
Prelorán was born May 28, 1933 in Buenos Aires, Argentina. His father, an engineer, was Argentine and had studied at the Massachusetts Institute of Technology, where he met his wife, an American. Prelorán grew up speaking both Spanish and English. Initially pursuing a career in architecture, he studied at the Universidad Nacional de Buenos Aires. He made his first film, Venganza, with neighborhood friends in Buenos Aires in 1954. The film won the Beginner's Festival of Cine Club Argentina that same year. Prelorán was accepted as an undergraduate at the University of California, Berkeley, and studied architecture there for one year. In 1956 he withdrew from UC Berkeley and was drafted into the US Army. Prelorán served in West Germany until 1958. Upon his return he changed educational plans and began formal study of filmmaking, receiving a Bachelor of Arts in Motion Pictures from UCLA in 1960.
Shortly before the end of his service in the US Army, Prelorán married Elsa Dondi, a former classmate from Buenos Aires. They lived together in Los Angeles until Elsa returned to Argentina for the birth of their daughter, Adriana, in 1961. The couple separated shortly thereafter.
Prelorán's professional career as a filmmaker began in 1961 with a commission from the Tinker Foundation of New York for a series of films on the Argentine gaucho. In the course of shooting for these films, Prelorán traveled extensively throughout Argentina, visiting many locations in Patagonia and in the northwest where he would later return to make many of his films. From 1963-1969, Prelorán was under contract at the Universidad Nacional de Tucumán to produce educational films; he also produced a series of short films on Argentine folklife with support from Fondo Nacional de las Artes and under the mentorship of folklorist Augusto Raúl Cortazar, Ph.D.
In the late 1960s, Prelorán became involved with UCLA's Ethnographic Film Program and in 1970 he returned to UCLA as a lecturer for two semesters. Later that year he was a fellow at Harvard University's Film Study Center, where he produced the English-language version of Imaginero (Hermógenes Cayo). Prelorán was the recipient of two Guggenheim Fellowships, in 1971 and 1975, and used those opportunities to produce quite a number of films, including Damacio Caitruz (Araucanians of Ruca Choroy).
Prelorán remarried in 1972. His wife, Mabel Freddi, became a collaborator on his films. She wrote the screenplay for Mi Tia Nora (My Aunt Nora) (1983) and co-directed Zulay Frente al Siglo XXI (Zulay Facing the 21st Century) (1989), among other credited and un-credited roles. After the Argentine military coup of March 1976 and the disappearances of fellow filmmaker Raymundo Gleyzer and Mabel's niece, Haydee, the Preloráns became fearful for their own safety. They fled to the United States, a move that would become permanent. Prelorán accepted a position as associate professor at UCLA's School of Theater, Film and Television. He later joined the faculty as a tenured professor.
During his time at UCLA, Prelorán was twice selected as a Fulbright Scholar, in 1987 and 1994. He continued to produce films, including the Academy Award-nominated documentary short Luther Metke at 94 (1980) and the 7-hour natural history television series Patagonia (1992). After retiring in 1994, Prelorán continued to mentor film students as Professor Emeritus; he also began work in a new medium, creating a series of digital books, "Nos = Otros" ("Sages Amongst Us") (unpublished), featuring individuals engaged in creative and educational pursuits.
Prelorán died at his home in Culver City, CA at the age of 75 on March 28, 2009.
Sources Consulted
UCLA, School of Theater, Film and Television. "Jorge Prelorán 1933 - 2009." Obituary. Last modified March 31, 2009. Accessed April 1, 2009. http://tft.ucla.edu/news/obituary
Jorge Prelorán Collection. Human Studies Film Archives, Smithsonian Institution.
Rivera, Fermín. Huellas Y Memoria de Jorge Prelorán. Documentary film. 2010.
Woo, Elaine."Jorge Prelorán dies at 75; Argentine filmmaker and former UCLA professor." Los Angeles Times, April 5, 2009. Web. 29 Apr 2009.
1933 -- Born May 28 in Buenos Aires, Argentina
1952-1954 -- Studies at the College of Architecture, Universidad Nacional de Buenos Aires, Argentina
1954 -- Completes first film, Venganza, a fictional short
1955 -- Studies at the College of Architecture, University of California at Berkeley
1956-1958 -- Drafted into United States Army, stationed in Schwetzingen, West Germany
1959-1960 -- Earns Bachelor of Arts in Motion Pictures from UCLA
1961-1963 -- Produces films on the Argentine gaucho for the Tinker Foundation, New York
1963-1969 -- Produces films at the Universidad Nacional de Tucumán, Argentina
1968 -- Attends the First International Colloquium on Ethnographic Film at UCLA
1969 -- Shoots film for The Warao People in Venezuela, under a grant from the Ford Foundation to the Ethnographic Film Program at UCLA
1970 -- Lecturer at UCLA School of Theater, Film, and Television Fellow at the Film Study Center, Harvard University
1971 -- Receives first Guggenheim Fellowship; completes several film projects in Argentina
1975 -- Receives second Guggenheim Fellowship; continues filming in Argentina
1976 -- Moves to United States Associate professor at UCLA School of Theater, Film, and Television
1978 -- Guest of Honor at the 2nd Margaret Mead Ethnographic Film Festival at the American Museum of Natural History, New York
1980 -- Academy Award nominee for Luther Metke at 94
1985 -- Guest at the White House for a State Dinner in honor of Argentine President Raul Alfonsin
1986 -- Naturalized as a United States citizen
1987 -- First selection as Fulbright Scholar; begins production of the series Patagonia, en Busca de su Remoto Pasado
1994 -- Second selection as Fulbright Scholar; completes pre-production for the narrative feature film "Vairoletto: The Last Gaucho Outlaw" Retires from UCLA as professor emeritus
2009 -- Dies on March 28 in Culver City, California
Related Materials:
The Human Studies Film Archives holds a copy of Fermín Rivera's edited biographical documentary film, Huellas y Memoria de Jorge Prelorán (HSFA 2015.1.27), as well as transcripts of interviews conducted with Jorge and Mabel Prelorán for the film (in Spanish).
The Harry Ransom Center, University of Texas at Austin, holds the original film for four titles Prelorán produced for the Tinker Foundation (New York, NY). These are: The Llanero; The Gaucho of Corrientes; The Gaucho of the Pampas; and The Gaucho of Salta. The Ransom Center has both English and Spanish versions of these titles. These four films were preserved in 2010 and 2011 with funding from the Tinker Foundation. HSFA holds high quality video masters of all four titles. A fifth film produced for the Tinker Foundation, El Gaucho Argentino, Hoy (The Argentine Gaucho, Today), is held at the HSFA in its Spanish version only.
The Arthur Hall Collection at Temple University, Phildadelphia, Pennsylvania and Ile Ife Films in Belfast, Maine hold a copy of The Unvictorious One that differs from the two versions held at the HSFA.
Provenance:
This collection was donated to the Human Studies Film Archives in two accessions. The first accession, 2007-10, contains the edited films, outtakes, audio recordings, papers, and photographs and was donated by Jorge Prelorán. Materials had been stored at Prelorán's home office and home editing suite before they were packed by the processing archivist and sent to the HSFA. The second accession, 2011-07, contains the digital books and some additional photographs. This accession was donated by Mabel Prelorán. These materials had also been stored at Prelorán's home office and were sent to the HSFA by Mabel Prelorán.
Restrictions:
The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and the digital books.
Access to the Jorge Prelorán collection requires an appointment.
Misilagi, "Freddie" Letuli Olo, 1919-2003 Search this
Extent:
1.25 Cubic feet (3 boxes)
Type:
Collection descriptions
Archival materials
Ephemera
Photographs
Scrapbooks
Date:
1920-2011, undated
Summary:
Photographs and ephemera collected by the McIntire Family of Hawaiian musicians documenting their careers throughout the United States, and those of other performers.
Scope and Contents:
This collection consists of photographs and ephemera relating to and collected by the McIntire family of Hawaiian musicians as well as materials from fellow performers. Photographs of Lani McIntire and members of his orchestra as well as those of his brothers, and niece Lani Ellen McIntire are numerous. There are programs, newspaper articles, postcards, advertisements, sheet music, and one album cover. The collection dates from the early 20th century to the late 20th century and is a comprehensive collection documenting the extensive career of the McIntire family and those that worked with them, and performers they worked with in motion pictures, night clubs, and hotels.
The collection also, "documents Lani E. McIntire's craft and career as one of the most prolific professional practitioners of Pacific Islander dances in the mid-20th century. She traveled the United States and parts of the world with Native Hawaiian and Samoan troupes, and carefully documented their travel and work." The collection critically documents, "the Hollywood Pacific Islander community that established the "Polynesian Club" scene in Hollywood [California], as well as of the Pacific Islander communities that did the same work in New York City [New York}, New Orleans [Louisiana], and other metropolitan areas in the United States."
This collection includes "candid "on the road" photographs, photographs of members of these communities socializing together during their off-time, as well as publicity photographs that together document the work as well as the cultural expressions of Hawaiian and other Pacific Islander musical entertainers. The portion of the collection that originated with Jean Alice Mayo documents the early years of filmmaking in Silent Era Hollywood. These photographs consist of "on set" candids, publicity photographs, "head-shots" of various celebrities, glamour photographs, and documentation of early stuntwomen.
Source
National Museum of American History, Acquisition Information Sheet, July 17, 2021, Archives Center Control File NMAH.AC.1511.
Arrangement:
This collection is arranged into two series.
Series 1: Photographs, 1920-1960, undated
Series 2: Scrapbook Pages, Personal Papers, and Ephemera, 1929-2011, undated
Biographical / Historical:
The McIntire family has a long history in performance of Hawaiian music, especially Hawaiian guitar, and dance. Lani McIntire (1904-1951) composer, vocalist, and guitarist, was born in Honolulu, Hawaii in 1904. Initially he entered his father's laundry business but then landed a position as ship's musician that led to a life-long career as a professional musician. Lani served in the United States Navy on the U.S.S. Birmingham as a bugler and musician in the Navy Band. After the war, Lani formed his own orchestra. In addition to leading his own orchestra, he wrote and recorded his own music the most popular song being, "The One Rose." As of 1941, he had recorded over 150 compositions and with Sam Koki recorded a version of "Sweet Leilani" that sold over two million copies. His orchestra played nationally, and it was reported that his favorite venue was the Lexington Hotel in New York City, New York.
The McIntire's, "played a critical role in creating a global Hawaiian music craze that by the 1930s had swept Japan, the Philippines, New Zealand, Austrailia, and the continental United States." Al McIntire (1906-1960) bass player and vocalist and his brothers Richard "Dick" McIntire (1902-1951) Hawaiian steel guitar player, and the aforementioned Lani McIntire became some of the best-known Hawaiian musicians in the world. They left Oahu in the 1920s and played in Polynesian-themed nightclubs while recording and working on feature films along with the extensive Pacific Islander community based in Hollywood, California. The McIntire brothers younger sister, Kahala McIntire (1925-2003) "stowed away on a ship at the age of 15 to work on the continent as a professional hula dancer." The McIntire's were well known performing in Hollywood, California, Chicago, Illinois, and at Radio City Music Hall in New York City, New York. The McIntire's recorded "hundreds of songs with fellow Hawaiian musicians and with populuar non-Hawaiian artists cush as Jimmie Rodgers and Bing Crosby."
The liner notes from Lani McIntire's "Aloha Hawaii" album read, "You'll hear Lani McIntire broadcasting twice a week, over a 190-station Mutual Broadcasting System network. You'll see him at the Hotel Lexington in New York City-or at another of American's famous night spots. (He's played at the Biltmore Bowl and the Ambassador Hotel in Los Angeles, the Book Cadillac Hotel, Detroit, the Congress Hotel, Chicago, and many others).
As you listen, you'll soon know why Lani is called, "King of Hawaiian Music". In a few minutes, the exotic, native rhythm . . . the soothing, haunting melodies . . . will create for you a vision of lush, tropical islands, of star-studded skies and warm, romantic nights.
Lani would have to be a native Hawaiian, born with that rhythm in his blood, to play the way he does-his mother was Hawaiian, his father Scotch, and he was born in Honolulu. But he didn't start his musical career until he joined the Navy, where he began playing the saxaphone. He soon switched to the guitar-which he now plays as he leads his orchestra.
'When I got my discharge from the Navy," McIntire explains, "I went to Hollywood and for eight years worked in movies. Mostly, my contributions could be heard but not seen-although finally I did appear with Bing Crosby in several pictures."
Composer, arranger, guitarist, singer-Lani McIntire has many unusual talents that stamp him as one of the most versatile of all orchestra leaders." ("Aloha Hawaii" album cover, undated)
Lani Ellen McIntire (1934-), daughter of Al McIntire and Jean Alice Mayo (1897-?) a white woman who acted in silent films and was an equestrian rider, dancer, and vocalist, continued the family performing tradition. Lani Ellen was raised in the Hawaiian community and performed hula during her family's entertainments from a young age. Lani Ellen performed dance professionally into the 1970s. She appeared on television and in Hollywood films such as, "Around the World in 80 Days" (1956). Lani Ellen was married to (1) "Freddie" Letuli Olo Misilagi (1919-2003) an American Samoan entertainer, who began dancing at the age of 15 and was described in his obituary as the "father" of the fire knife dance. Letuli later was elected village senator in 1977 and "was re-selected to the Samoan Senate in 1993."
Sources
National Museum of American History, Acquisition Information Sheet, July 17, 2021, Archives Center Control File #1511.
"Chief Letul Olo, 84, of Samoa; Father of the Fire Knife Dance", obituary, The New York Times, July 31, 2003, Section B, page 9.
Provenance:
Donated to the Archives Center, National Museum of American History, Smithsonian Institution by Lani Ellen McIntire, August 2021.
Restrictions:
The collection is open for research use. Researchers must handle unprotected photographs with gloves.
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.
Occupation:
Photographers -- California -- Hollywood Search this
Topic:
American Polynesia -- Hawaiian Islands Search this
Women in the Arts in Southern California Oral History Project Search this
Extent:
2 Sound cassettes (Sound recordings (ca. 3 hrs.))
93 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound cassettes
Pages
Sound recordings
Interviews
Date:
1989 June 15
Scope and Contents:
An interview of Josine Ianco-Starrels conducted 1989 June 15, by Ruth Gurin Bowman for the Archives of American Art, Women in the Arts in Southern California Oral History Project. Ianco-Starrels recounts her youth in Bucharest, Romania; WWII and her family's fleeing to Palestine; her father Marcel Ianco's affiliation with the Dadaists in Zurich; her first marriage that brought her to New York in 1950; studying at the Art Students League; her second marriage to Herbert Kline, a documentary filmmaker; her involvement with the Lytton Center of the Visual Arts and the beginning of her curatorial career; working at California State University, Los Angeles as gallery director; her teaching career; her interest in Los Angeles artists including Jack Zajack, Lorser Feitelson, Helen Lundeberg, Felix Landau, Joyce Treiman, Betty Saar, Joan Brown, and others; curating and programs at the Municipal Art Gallery at Barnsdall Park and later at the Long Beach Museum; her views on community and access to local galleries; and her relationship with artists and the art community.
Biographical / Historical:
osine Ianco-Starrels (1926-2019) was a curator and gallery administrator in Los Angeles, California. Born 1926 in Bucharest, Romania. Josine Ianco-Starrels was curator of the Lytton Center of the Visual Arts (1961-1969), Associate Professor, Art Gallery Division at California State University, Los Angeles (1969-1975), Director of the Los Angeles Municipal Art Gallery at Barnsdall Park (1975-1984), and Senior Curator at the Long Beach Art Museum (1987-1990). Ianco-Starrels died at the age of 92 at her home in Rogue City, Oregon.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for this interview was provided by the Margery and Harry Kahn Philanthropic Fund of the Jewish Communal Fund of New York.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection 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.
Collection Citation:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection 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.
Collection Citation:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection 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.
Collection Citation:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
Collection consists of posters featuring lowrider imagery.
Content Description:
Posters for fundraisers, social actions, and community events for the Latino community of Northern California; all prominently feature lowrider imagery.
Arrangement:
The collection is arranged into one series.
Series 1: Posters, 1975-2016
Biographical:
Rudolfo "Rudy" Ojeda Cuellar was born and raised in Roseville, California. Rudy graduated from Roseville High School where he learned about screen printing, linoleum block printing and a deeper understanding of what being an artist was about. He enrolled at Sierra College, three miles from his hometown, where he was exposed to ceramics and cultural sculptural images. A friend helped him transfer to Sacramento State University where he met professors Jose Montoya and Esteban Villa and many other members of the Royal Chicano Artist group. At Sacramento State, he learned mask making, mold making, and silversmithing. From 1971 to 1979 he worked for Centro de Artistas Chicanos teaching at risk kids from the local school district screen printing skills, art and design and how to get along with one another. While working at the Centro de Artistas he taught and helped the other Royal Chicano Art Front members with the silk-screening process, and creating prints, signs and posters for other community events.
In 1980 Cuellar started Centro Screen Print & Associates with Louie "the Foot" Gonzalez (another founding member of RCAF). Rudy taught silk screening at Folsom State Prison and Louie became a rural mail carrier. His work as printer and as artist has been in numerous exhibits and publications such as Triumph of our Communities, Posada's Mexico 1979, CARA Chicano Art: Resistance and Affirmation, 1965-1985 Wight Art Gallery – University of California, Los Angeles. Design in California and Mexico 1915 – 1985 and Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now. Cuellar was deeply influenced by his trips to Mexico and especially art teachers, counselors, and friends such as George Lem and Mr. Otis, John Adams, Juan Cervantes, and Stephan Kaltenbach that each taught him to never put boundaries on his quest to create Mexican and pre-Colombian images.
Historical:
The Rebel Chicano Art Front was created in 1969 by art professors José Montoya and Esteban Villa along with many other artists, activists, community organizers, poets, and teachers while at California State University, Sacramento. As artists and art students, they often loosely worked to support community events with creative endeavors. The group eventually came together under Joe Serna and was managed by Ricardo Favela in 1972 to form the Centro de Artistas Chicanos, an organization that provided much needed community space and support for after school arts programs, a library and bookstore, training programs, family and child programs such as Día de Los Muertos festivals, acting classes, and even an auto body repair training program. As part of the after-school arts program (and print shop), RCAF artists came together to teach community children about history and culture through art.
To supplement the meager city and private funds for the Centro, the artists organized art and gallery shows, art auctions, and sale of prints in the bookstore. As this collective of artists started having art shows, they would shorten their name to the "RCAF," often being confused with the Royal Canadian Air Force. Being a creative bunch, they changed their name from the Rebel Chicano Art Front to the Royal Chicano Air Force. They embraced this new identity/confusion, getting Army surplus clothing, and creating "ranks" of general or "creative mechanicos comsimcos" [cosmic mechanics] for everyone. They created a mythical origin story that states that they flew here from the mythical homeland of Aztlán in adobe airplanes. This playfulness broke down many social barriers in the barrio as well as within the larger Sacramento community and helped them tackle serious subjects through their programs and art.
The 1960's and 70's ushered in a wave of political and social awareness for communities of color. Community organizations around the country began advocating and organizing for more political and social empowerment as a counter to the discrimination, oppression, and neglect that many Chicanos (and other Latino communities) encountered. The GI Bill sent many Chicanos to college, opening young Chicano eyes to new ways to fight injustice. Many young social reformers started to take advantage of funds from the War on Poverty programs to establish community service organizations. Chicano and Latino artists were very aware of neglect and lack of representation in mainstream galleries and art institutions and started to rethink and reinvent cultural spaces. The RCAF was formed as a way to creatively instill pride, dignity, and respect for the Chicano community of Sacramento (Los Angeles Times, July 22, 1979 "Chicano Air Force Flies High").
In addition to the RCAF, other Latino groups and organizations formed during the late 1960's and 1970's in the Bay area such as the Mexican American Liberation Art Front, La Raza Graphics Center, and Artist Sies that cultivated artist collectives and artist support networks. Galleria de La Raza, the first Mexican American "museum" in the Bay area opened to encourage Chicano and Latino art within their own community. Throughout the country, Latinx artists and activists formed organizations and galleries such as Self-Help Graphics in Los Angeles. The East coast also saw their share of organizations develop such the Taller Puertorriqueño in Philadelphia in 1972. In New York, the Taller Boriqua and El Museo de Barrio saw the Puerto Rican activist community grow and build their own galleries, arts spaces, and educational spaces to reach Latino communities in ways that traditional art and cultural centers did not.
Art, and the inexpensive silk screen process, became one of the fronts in the fight for community self-empowerment and advocacy. The traditions of mural and poster art in California were already very strong by the time RCAF was formed. In the 1930's, 40's, and 50's, African American and labor organizations had formed art workshops developing poster woodcut technique both as an art form and a way to advance political awareness. Art schools and colleges in California (and New York) organized artistic workshops to help combine art with social movements. The RCAF members also drew artistic and activist inspiration from a long tradition of printmaking in Mexico such as political and cultural artist José Posada in the 1890's and the Taller Grafica Popular in the 1930's. The reliance on silk screen poster art created a whole new movement and vocabulary of artistic forms, colors, and representations that drew from Mexican heritage but was also quick and easy to replicate. Artists like Montoya and Favela used these posters as their canvas to create a body of work that was bought and sold like other traditional art pieces, but was inexpensive to create and could relate and engage with the community not accustomed to gallery shows.
The silk screen process was eventually replaced by the screen print process, a technologic change that cut reliance on harmful chemicals, but still retained the "look and feel" of a DIY silk screen. However, what was crucial among RCAF were all the commissioned pieces, like these lowrider posters, that showcased how the artistic forms melded with community activism and documentation. While some of the artworks were bought and sold and made for art spaces, most art was primarily displayed in storefronts, restaurants, and community centers. The community and street space became the gallery that advertised United Farm Worker events, social justice gatherings, health initiatives, etc. The Chicano Civil rights movement succeeded and was sustained in part, by posters like these. The poster "transcended" the advertisement of events into a production of art. More importantly, these posters help document the Chicano movement, bridging community activism, art, advertisement, and social formation.
Source
Historical content note courtesy, Steve Velasquez, Curator, Division of Cultural and Community Life, National Museum of American History, August 13, 2020.
Related Materials:
Materials at the Smithsonian Institution
Archives of American Art
Roberto Sifuentes papers, circa 1988-2006, bulk 1993-2000. The papers document Chicano performance artist and educator Roberto Sifuentes.
Philip Brookman Papers, 1977-1993. The collection documents Brookman's exhibition, writing, and filmmaking projects in the form of artist files, exhibition files, professional files, and subject and research files. Much of the material concerns the production and distribution of Brookman's 1988 video documentary about Chicano art in California, Mi Otro Yo (My Other Self), that grew out of the exhibition and conference "Califas: An Exhibition of Chicano Art and Culture in California," held at University of California, Santa Cruz in 1981 and 1982.
National Museum of American History
Tomas Ybarra-Frausto Calendar Collection, NMAH.AC.0660
Lowrider "Dave's Dream," 1982. See accession: 1990.0567.
Smithsonian Institution Archives
Exhibition Records, circa 1983-1994 and undated. Accession 00-002. INcludes records for the exhibition American Encounters
Exhibition Records, 1970-1995. Accession 01-097. INcludes documentation for American Encounters Lowriders, 1992.
Productions, 1991-1994, 1997-1998. Accession 02-123. Includes Smithsonian Productions video program entitled, ""Spreading Beauty Wherever I Go," on the lowrider cars of New Mexico, 1992.
Productions, 1987, 1989, 1991-1993, 1997. Accession 02-202. Includes video footage for "Spreading Beauty Wherever I Go," on the "lowrider" cars of New Mexico.
Productions, 1991-2000. Accession 05-231. Includes video footage from the exhibit American Encounters Lowrider show, 1978 from the Museum of Fine Arts.
Materials at Other Organizations
Division of Rare and Manuscript Collections, Cornell University Library
University of San Diego, San Diego Lowriders Archival Project
The San Diego Lowrider Archival Project documents the history of lowriding in San Diego and the surrounding borderlands, from the 1950s through today. The project includes photographs, car club documents and memorabilia, official records, meeting minutes, dance posters and lowrider art.
University of Southern California, Boeckmann Center for Iberian and Latin American Studies
Lowrider magazine collection 0589
A collection of 56 issues of Lowrider magazine, along with three issues of Q-VO: A National Lowrider's Magazine -- all spanning from 1977 to 2003
UC Santa Barbara, Special Research Collections
Royal Chicano Air Force Archives, CEMA 8
Extensive collection of slides and silkscreen prints, along with administrative records, news clippings, correspondence, exhibition descriptions and flyers, photographs, creative writings, and miscellaneous publications of the Sacramento-based artists collective. Founding members of the RCAF include José Montoya, Esteban Villa, Juanishi V. Orosco, Ricardo Favela, and Rudy Cuellar.
UCLA Chicano Research Center
Alturas Films Records, CSRC.2018.009
Alturas Films is a film production company based in Emeryville, Californis. Founded by Rick Tejada-Flores, it specializes in documentaries that focus on overlooked topics in Latino and Latin American culture, many of which were broadcast on public television. Among its films are Low 'n Slow, Rivera in America, and Elvia.
Provenance:
Fifteen posters were purchased from Rudy Cuellar in 2021.
Restrictions:
Collection is open for research.
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.
The papers of curator and gallery director, Josine Ianco- Starrels, measure 11.0 linear feet and date from 1930-2017. Included are biographical material; files relating to Ianco-Starrels' work at various museum and galleries; correspondence; writings about exhibitions and autobiographical writings; photographs, negatives and slides of Ianco- Starrels, others and works of art; audio visual material including video and sound recordings of conversations, events and a documentary on Marcel Janco; and scattered artwork by others including a poster made by George Herms and drawings by Raymond Saunders. Also included are the papers of Ianco-Starrels' husband, Herbert Kline, who was a filmmaker. Included in his papers are some of the items from his making of the film, Posing as an American Nazi, which was filmed in Spain.
Biographical / Historical:
Josine Ianco-Starrels (1926-2019) was a curator and gallery administrator in Los Angeles, California. Born 1926 in Bucharest, Romania. Josine Ianco-Starrels was curator of the Lytton Center of the Visual Arts (1961-1969), Associate Professor, Art Gallery Division at California State University, Los Angeles (1969-1975), Director of the Los Angeles Municipal Art Gallery at Barnsdall Park (1975-1984), and Senior Curator at the Long Beach Art Museum (1987-1990). Ianco-Starrels died at the age of 92 at her home in Rogue City, Oregon.
Provenance:
Donated 2000 by Josine Ianco-Starrels and in 2019 by Elissa Kline, Ianco-Starrels' daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Arts administrators -- California -- Los Angeles Search this
Full film record made in association with the University of California, Los Angeles, Ethnographic Film Program documenting a male initiation ceremony among the Gisu of the Mt. Elgon region of eastern Uganda. Footage explores circumcision as a central social institution which defines adult male identity and the unity of the Gisu as a people. Footage includes: discussions among kinsmen of the candidates' fitness, dancing and drumming around the initiates' compounds,ll animal sacrifce and divination by reading entrails to assess the propitiousness of the event, brewing of millet beer for the ceremony, annointing of initiates with beer yeast, and initiates' seculsion and circumcision by a ritual specialist.
Local Number:
HSFA 1985.1.1
Collection Restrictions:
The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Richard Hawkins Imbalu films, Human Studies Film Archives, Smithsonian Institution
Edited film made in association with the University of California, Los Angeles, Ethnographic Film Program documents a male initiation ceremony among the Gisu of the Mt. Elgon region of eastern Uganda. The story of Gisu circumcision emerges through the narrative of two boys who announce their intention to undergo the ordeal of circumcision together. Film provides insight into circumcision as a central social institution which defines adult male identity and the unity of the Gisu as a people. Film includes: discussions among kinsmen of the candidates' fitness, dancing and drumming around the initiates' compounds, animal sacrifice and divination by reading entrails to assess the propitiousness of the event, brewing of millet beer for the ceremony, annointing of initiates with beer yeast, and initiates' seculsion and circumcision by a ritual specialist.
Local Number:
HSFA 1985.1.2
Collection Restrictions:
The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Richard Hawkins Imbalu films, Human Studies Film Archives, Smithsonian Institution
One World, Many Voices: Endangered Languages and Cultural Heritage
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
From the rugged Oregon coast, to the Himalayan foothills, to the Bolivian Andes, languages are struggling to survive. Of the more than 7,000 languages spoken in the world today - many of them unrecorded, and with small numbers of speakers - up to half may disappear in this century.
Languages are humankind's principal way of interacting and of communicating ideas, knowledge, values, memories, and history. As primary vehicles of cultural expressions such as poetry, songs, textile weaving, basket making, and foodways, they are essential to the identity of individuals and communities. Languages also embody the accumulation of thousands of years of a people's science and art - from observations of wind and weather patterns to creation stories. Much of what humans know about the natural world is encoded in oral languages. Safeguarding endangered languages is crucial to preserving cultural and intellectual diversity worldwide.
When a language disappears, unique ways of knowing, understanding, and experiencing the world are lost forever. When a language survives, along with the stories and knowledge it contains, we all gain a deeper connection to our common cultural heritage. The 2013 Festival celebrated the survival of languages, and the wondrous art and knowledge they contain.
The world's endangered languages are speaking up, finding their global voice. No culture has a monopoly on genius, and we never know where the next great idea will come from. Languages provide different pathways of thought, leading us to different places. They are the seedbeds for new ideas. They support identity, creativity, and self-worth - all abundantly on display at the 2013 Festival.
K. David Harrison and Marjorie Hunt were Program Curators and Arlene Reiniger was Program Coordinator. Advisors included: Gregory D.S. Anderson, Betty Belanus, Joshua Bell, Jean Bergey, Olivia Cadaval, Aron Crowell, Kevin Healy, Emil Her Many Horses, Gwyneira Isaac, Henry Ke'a, Richard Kennedy, Robert Leopold, Theodore Levin, Mary Linn, Michael Mason, Fernándo Nava, Gabriela Pérez Báez, Ruth Rouvier, Theresa Secord, Daniel Sheehy, Kalena Silva, Beth Thomas, Jennifer Weston, Colin Williams, and Steve Zeitlin.
The program was produced by the Smithsonian Center for Folklife and Cultural Heritage in collaboration with UNESCO, the National Geographic Society's Enduring Voices Project, and the Smithsonian's Recovering Voices Initiative. Major support was provided by the Dr. Frederik Paulsen Foundation; Microsoft Local Language Program; the Embassy of Colombia in Washington, D.C.; the Ministry of Culture of Colombia, and the Caro y Cuervo Institute; the U.S. State Department Fund for Innovation in Public Diplomacy and the United States Embassy in Bolivia; the Inter-American Foundation; and the Hawai'i Tourism Authority, the University of Hawai'i System, and the Office of Hawaiian Affairs. Additional support was provided by the Smithsonian National Museum of the American Indian; the Smithsonian's Recovering Voices Initiative; the Latino Initiatives Pool, administered by the Smithsonian Latino Center; the Christensen Fund and the International Institute of Education; the Dirección de Salvaguarda del Patrimonio Cultural del Gobierno de Oaxaca and the Mexican Cultural Institute of Washington, D.C.; the Welsh Government/Llywodraeth Cymru; the Smithsonian Institution Consortium for World Cultures and the Consortium for Understanding the American Experience; Certified Languages International; Diplomatic Language Services; CETRA Language Solutions; Mango Languages; the Nina & Ivan Selin Family Foundation; the Linguistic Society of America; the Center for Traditional Music and Dance; the Smithsonian Latino Center; and the Comisión Nacional para el Desarrollo de los Pueblos Indígenas.
Researchers:
Gregory D.S. Anderson, Joshua Bell, Dawn Biddison, Walter Brooks, Olga Lucía Calderón, Emalani Case, Víctor Cata, Jeremy Fahringer, Michele Goldwasser, K. David Harrison, Josefa María Hernández, Carmen Beatriz Loza, Daniel Manjarrés, Linda Moriarty, Gabriela Pérez Báez, Sean Quirk, Aaron Sala, Theresa Secord, Jeff Todd Titon, Norman Valencia, Jessie Vallejo
Presenters:
Gregory D. S. Anderson, Betty Belanus, Olivia Cadaval, Víctor Cata, Adriana Cruz, James Early, Blenda Femenias, María Firmino-Castillo, Kevin Healy, Alexandro D. Hernández, Chinchi Kungaa, Carmen Beatriz Loza, Michael Mason, Gabriela Pérez Báez, Sean Quirk, Aaron Sala, Silvia Salgado, Theresa Secord, Daniel Sheehy, Jessie Vallejo, Cynthia Vidaurri, Ranald Woodaman
Ri Palenge -- Ri PalengeÉlida Cañate Díaz, 1990-, Palenque, Bolivár, ColombiaMaría del Transito Hernández Cabarcas, 1990-, San Basilio de Palenque, Bolivár, ColombiaAndris Padilla Julio, 1992-, San Basilio de Palenque, Bolivár, Colombia
Wayuunaiki -- WayuunaikiMónica López Pushaina, 1992-, Albania, La Guajira, ColombiaJoaquín Ramón Prince Bruges, 1972-, Uribia, La Guajira, ColombiaBenito Pushaina Apshana, 1982-, Uribia, La Guajira, ColombiaLuis Misael Socarrás Ipuana, 1970-, Albania, La Guajira, ColombiaMarciano Urrariyú Gouriyu, 1990-, Albania, La Guajira, Colombia
Garifuna – Los Angeles and New York City Diaspora
Libaya Baba (drumming and dance group) -- Libaya Baba (drumming and dance group)Dayton Bernardez, 1969-, Los Angeles, CaliforniaJeff Bernardez, 1965-, Inglewood, CaliforniaKelsie Bernardez, 1966-, Inglewood, CaliforniaConrad Nolberto, 1957-, Los Angeles, California
Greg Palacio, 1962-, cultural artist, Los Angeles, California
Carlos "Mingo" Alvarez, 1951-, Wanaragua dancer, drummer, drum maker, cultural historian, Los Angeles, California
Flavio "Paps" Alvarez, 1950-, Wanaragua chief, Los Angeles, California
Philip Gabriel, Wanaragua dancer, Chicago, Illinois
Carlos Gonzalez, Wanaragua dancer, Miami Garden, Florida
Georgette Lambey, 1968-, singer, dancer, Los Angeles, California
James Lovell, 1964-, musician, singer, songwriter, storyteller, educator, Brooklyn, New York
Martha Martinez, 1941-, singer, dancer, foodways, cultural leader, Los Angeles, California
Chester Nunez, drummer, singer, Bronx, New York
Delmo Nunez, drummer, singer, Bronx, New York
Julio Nunez, drummer, singer, Bronx, New York
Ruben Reyes, 1962-, language teacher, cultural historian, filmmaker, Los Angeles, California
Miriam Suazo-Moore, dancer, educator, poet
Hawaiian
Kalani Akana, 1957-, -- kumu hula -- , Honolulu, Hawaii
Kaimana Barcarse, teacher, radio DJ, voyager, Hilo, Hawaii
Chad Kālepa Baybayan, wayfinder, non-instrument navigator, Kailua, Kona, Hawaii
Kanani Beniamina, -- ni'ihau -- shell lei maker, Makaweli, Hawaii
Snowbird Puananiopaoakalani Bento, -- kumu hula -- , Honolulu, Hawaii
Pele Ka'io, hula learner
Nāoho Kanahele, hula learner
Tuhi Kanahele, hula learner
Kekuhikuhi K. Keali'ikanaka'oleohaililani, kumu hula, Hilo, Hawaii
Kalehua Krug, immersion teacher, musician
Kihapaiokalani Krug, language homeschool teacher
Kamaleikuhalia Krug, language learner
Ka'ulakauikeaokea Krug, language learner
Leleapao'o Krug, language learner
Earl Kawa'a, cultural educator, Kailua, Oahu, Hawaii
Kihei Nahale-a, -- makuakane -- , Kahuku, Hawaii
Nāhiku Nahale-a, -- kikikane -- , Kahuku, Hawaii
Wahinepō'aimoku Nahale-a, -- kikamahine -- , Kahuku, Hawaii
Lolena Nicholas, Hawaiian language and culture expert
Puakea Nogelmeier, Hawaiian language expert
Aaron Salā, musician, singer, Kane-oha, Hawaii
Makanani Salā, dancer
Noheahiwahiwa Stibbard, -- makuahine -- , Kahuku, Hawaii
Taupōuri Tangarō, -- kumu hula -- , Hilo, Hawaii
Annette Ku'uipolani Wong, Hawaiian language and culture expert, Honolulu, Hawaii
Sonya F. Moody-Jurado, 1967-, dancer, regalia maker, Salem, Oregon
Joseph C. Scott, 1966-, dancer, regalia maker, Shedd, Oregon
Andrew Viles, 1959-, basket maker, Eugene, Oregon
Carson Viles, 1990-, dancer, Eugene, Oregon
Tuvan – Russian Federation
Said Mikhailovich Chüldük, 1977-, saddle maker, leatherworker, throat singer, musician, Kyzyl, Tuva, Russia
Marat Boragaevich Damdyn, instrument maker, Kyzyl, Tuva, Russia
Ayana Samiyaevna Mongush, 1976-, musician, composer, Kyzyl, Tuva, Russia
Artysh Kherlievich Salchak, 1981-, nomad traditions, Kyzyl, Tuva, Russia
Cheynesh Ivanovna Salchak, nomad traditions
Artur Dorzhuevich Shozhunchap, stone carver
Aldar Konstantinovich Tamdyn, 1975-, instrument maker, throat singer, yurt and furniture maker, Kyzyl, Tuva, Russia
Raisa Kopeekovna Tas-ool, seamstress, Kyzyl-Dag, Tuva, Russia
Wabanaki – Maine
Cassandra Dana, Passamaquoddy student, dancer, Princeton, Maine
Stacey Dana, Passamaquoddy student, dancer, Princeton, Maine
Brenda Lozada, Passamaquoddy language teacher, dancer, Princeton, Maine
George Neptune, 1988-, Passamaquoddy basket maker, museum educator, Sullivan, Maine
Jennifer Sapiel Neptune, 1969-, Penobscot basket maker, Old Town, Maine
Wayne Newell, Passamaquoddy storyteller, singer, educator, Princeton, Maine
Molly Neptune Parker, 1939-, Passamaquoddy basket maker, language educator, Princeton, Maine
Gabriel Paul, 1985-, Penobscot-Passamaquoddy-Maliseet basket maker, language instructor, Indian Island, Maine
Theresa Secord, 1958-, Penobscot basket maker, Waterville, Maine
Blanche Sockabasin, Passamaquoddy elder, singer, teacher, Princeton, Maine
Donald Soctomah, Passamaquoddy historic preservation officer
Welsh – Wales
Gwyneth Glyn, singer-songwriter, poet, Caerdydd, De Morgannwg, Wales
Ifor ap Glyn, poet, broadcaster, Caermarfon, Gwynedd, Wales
Twm Morys, poet, musician, singer, Llanystumdwy, Gwynedd, Wales
Owen Saer, language teacher, choir director, Caerdydd, De Morgannwg, Wales
Yiddish – New York City
An-sky Yiddish Heritage Ensemble -- An-sky Yiddish Heritage EnsembleMichael Alpert, singer, violin and accordion player, poyk/drummer, dancerEthel Raim, singer, New York, New YorkPete Rushefsky, tsimbl/hammered dulcimer playerJake Shulman-Ment, violin player, Brooklyn, New York
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: 2013 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
