Smith, Mary T. (Mary Tillman), 1904-1995 Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Slides (photographs)
Video recordings
Date:
circa 1984-1986
Summary:
The videos and slides on African American folk artists Dilmus Hall, Mary T. Smith, and J.B. Murry measure 0.4 linear feet and date from circa 1984 to 1986. The collection includes recorded interviews conducted by art historian Judith McWillie with the artists about their lives and work, and color slides of Dilmus Hall and Mary T. Smith with their work.
Scope and Contents:
The videos and slides on African American folk artists Dilmus Hall, Mary T. Smith, and J.B. Murry measure 0.4 linear feet and date from circa 1984 to 1986. The collection includes recorded interviews conducted by art historian Judith McWillie with the artists about their lives and work, and color slides of Dilmus Hall and Mary T. Smith with their work.
The materials related to Dilmus Hall include a 1984 interview (dubbed in 1986) in which Hall covers many topics ranging from his childhood to religious influences in his work, as well as 41 color slides of Hall, his home, and his work.
Materials related to Mary T. Smith and J.B. Murry include an interview with Mary T. Smith in December 1986 and one with J.B. Murry in May 1986, both dubbed onto the same tape. Also included are 10 color slides of Mary T. Smith and her artwork.
Arrangement:
The collection is arranged in two series.
Series 1: Material Related to Dilmus Hall, circa 1984-1986 (Box 1; 0.2 linear feet)
Series 2: Material Related to Mary T. Smith and J.B. Murry, 1986 (Box 1; 0.2 linear feet)
Biographical / Historical:
Judith McWillie is an artist, art historian, and professor emeritus of drawing and painting at the Lamar Dodd School of Art of the University of Georgia. Much of her work focuses on African American artists.
Dilmus Hall (1900-1987) was a self-taught African American artist. Born in Georgia in 1900, he joined the United States Army Medical Corps in 1917 and served in Europe as a stretcher-bearer during World War I. After he returned to Georgia, he worked as a waiter and a fabricator of concrete blocks, retiring in 1961 to devote himself to art. Hall decorated his house and yard in Athens, Georgia with sculpted animals, devils, and humans, often based on biblical themes. He has also produced hundreds of drawings in a cartoon-like style.
Mary Tillman Smith (1904-1995) was an African American self-taught painter in Mississippi. Her work was often created on readily-available materials such as plywood and corrugated tin. Her work is included in collections at the Metropolitan Museum of Art and the Smithsonian American Art Museum.
J.B. (John Bunion) Murry (also Murray) (1908-1988) was a self-taught African American artist in Georgia. He worked as a sharecropper for the majority of his life. At the age of 70 he experienced a religious vision and began painting, producing an extensive body of work in ten years. Murry was illiterate, but developed his own script, which he incorporated into his paintings. His work is included in collections at the American Folk Art Museum and the Smithsonian American Art Museum.
Related Materials:
Also found in the Archives of American Art are J.B. Murray drawings, 1985 on microfilm reel 3667.
Provenance:
Videos and slides on Dilmus Hall, Mary T. Smith, and J.B. Murry were donated to the Archives of American Art by Judith McWillie in 1986 and 1987.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of audiovisual recordings with no duplicate copies requires advance notice.
Rights:
Authorization to publish, quote, or reproduce requires written permission from Judith McWillie. Contact Reference Services for more information.
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.
An interview of Walter Clemmons conducted 1990 July 26, by Jack Lindsey for the Archives of American Art Philadelphia Project.
Clemmons speaks about the development of his wire art beginning with his work as a child; individual pieces created throughout his career including subjects and their sources; technical issues such as materials and methods; and his exhibition history.
Biographical / Historical:
Walter Clemmons (1956- ) is a sculptor from Philadelphia, Pennsylvania.
General:
Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 27 min.
Provenance:
This interview is part of the Archives' 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 others.
Restrictions:
Transcript: Patrons must use microfilm copy.
Occupation:
Sculptors -- Pennsylvania -- Philadelphia Search this
Folk artists -- Pennsylvania -- Philadelphia Search this
An interview of William Dawson conducted 1990 April 11-23, by Betty Blum, for the Archives of American Art.
Dawson speaks of his childhood in Alabama; coming to Chicago in 1923; working as a porter and janitor; the beginnings of his art career after retiring in 1965; making carvings from found objects; the process of discovering and creating forms; his first exhibition at the Lincoln Park Public Library; his first sales to collectors, including Phyllis Kind and Roger Brown; gaining exposure through collectors and eventually getting discovered; the beginning of his work in painting; his exhibition at the Corcoran in 1982; work methods; and inspirations and ideas.
Biographical / Historical:
William Dawson (1901-1990) was a self-taught painter and sculptor from Chicago, Illinois. Dawson was born in 1901 in Huntsville, Alabama, came to Chicago in 1923, and after retiring from a career as a janitor and porter, he began sculpting and painting. He died July 1, 1990.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 6 digital wav files. Duration is 3 hr., 58 min.
Provenance:
These interviews are part of the Archives' 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 others.
Occupation:
Painters -- Illinois -- Chicago -- Interviews Search this
Folk artists -- Illinois -- Chicago -- Interviews Search this
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1994 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 5 series.
Missing Title
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: The Commonwealth of The Bahamas
Series 3: Culture and Development in Latin America and the Caribbean
Series 4: Masters of Traditional Arts: The National Endowment for the Arts National Heritage Fellows
Series 5: Thailand: Household, Temple Fair & Court
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1994 Festival of American Folklife was produced by the Smithsonian Center for Folklife Programs and Cultural Studies and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
The 1994 Festival featured four programs. In The Bahamas program, Americans could find intriguing connections to a shared history embodied in the traditions of the descendants of Africans, free and enslaved, British Loyalists, Seminoles, and many other immigrants. More than just beautiful sun, sea, and sand, The Bahamas, and especially its Family Islands, are home to a rich diversity of cultural communities and practices. Also on the Mall, yet half a world away, was Thailand, a nation that never acceded to colonial rule and whose ancient traditions are very much alive in contemporary households, temples, and the royal court. Given the growing economic and political importance of Asia and the Pacific Rim, visitors had the opportunity to better understand Thailand's cultural traditions. The program on Culture and Development, a collaborative effort with the Inter-American Foundation, recognized the value of local cultural resources and practitioners and their role in development efforts. A strategy of appropriately utilizing a community's cultural resources often succeeds not only in stimulating economic growth, but also in promoting self-worth and popular participation in civic life. The program on Masters of Traditional Arts paid tribute to National Heritage Fellowship awardees from 17 states representing a broad range of American traditions. The awards, made annually by the National Endowment for the Arts, honor our human national treasures, those exemplary folk artists whose work expresses the history, identity, beliefs, and values of their communities.
These programs were seen by Smithsonian organizers as more than just separate living exhibits. As a whole, they demonstrated convincingly that across the United States and around the world, traditional culture was with us, not just as atomistic survivals, but as part of social fabrics woven by individuals, communities, and nations. The folks at the Festival live contemporary lives. They are just as contemporary as the genetic engineer, cable television network shopper, or government bureaucrat. The traditions they carry are embedded in modern life. Yes, sometimes we find these traditions are on the margins, but most often they are in an ongoing, creative tension with new innovations and technical and social changes. These traditional ways of doing, making, and being are continually, sometimes even daily, reinvented and applied to the circumstances of individual and institutional life. Innovation and tradition are not opposites, but are processually related to how we use our cultural inheritance - whether that be in music or the museum, handicraft or statecraft - to define and shape the future. The dialogue created at the Festival, in which cultural traditions were respectfully presented, discussed, and even passed along, was therefore considered to be vital to our continued civic health.
On the second day of the 1994 Festival, its founder Ralph Rinzler passed away after a long illness. On July 7, 1994, a memorial service was organized by Ralph's friends and associates (see the recordings in the Masters of Traditional Arts program). Clydia and Reeves Nahwooksy provided a Comanche Baptist invocation. Mile Seeger, Guy Carawan, and Bill Monroe played and sang. Bernice Reagon sang, as did the Bahamians. Bess Hawes, Jeffrey LaRiche, Ann Romano, and James Early spoke of his legacy. Memorial messages were read from Pete Seeger, Alan Lomax, Henry Glassie, Roger Abrahams, Rajeev Sethi, and others. Lucille Dawson spoke about the profound effects the Festival's Native American programs had had on Indian education and civil rights, and Mike Thomas spoke for the Smithsonian custodians who always found in Ralph a friend and supporter. Other impromptu memorials were conducted by the Bahamian and Thai participants.
The 1994 Festival took place during two four-day weeks (July 1-4 and July 7-10) between Madison Drive and Jefferson Drive and between 12th Street and 14th Street, south of the National Museum of American History (see site plan).
The 1994 Program Book included schedules and participant lists for each program; essays provided background on the Festival and each of the four programs.
The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife Programs & Cultural Studies.
Center for Folklife Programs & Cultural Studies
Richard Kurin, Director; Diana Parker, Festival Director; Anthony Seeger, Director, Smithsonian/Folkways Recordngs; Peter Seitel, Senior Folklorist; Thomas Vennum, Jr., Senior Ethnomusicologist; Richard Kennedy, Program Analyst; Carla Borden, John Franklin, Program Managers; Olivia Cadaval, Amy Horowitz, Marjorie Hunt, Diana Baird N'Diaye, Folklorists/Curators; Betty Belanus, Education Specialist; Arlene L. Reiniger, Program Specialist; Jeffrey Place, Archivist; Kenneth M. Bilby, Roland Freeman, Ivan Karp, Alan Lomax, Worth Long, Research Collaborators
Roger Kennedy, Director; Robert G. Stanton, Regional Director, National Capital Region
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.
Forms Part Of:
Smithsonian Folklife Festival records: 1994 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Jean Ritchie--Shady grive; Cisco Houston--900 miles--Andrew Rowan Summers--Shenandoah--Lead Belly-Meeting at the building; Richard Dyer-Bennet--I go no more a-roving; Jean Ritchie--Pretty Polly; Wagoner's lad; Karen James--Molly Malone; Pete Seeger--Wayfaring stranger; Peggy Seeger-When I first came to town; Frank Warner--Haul away Joe; Doc Watson--Wabash cannonball--unk--Roll in my sweet baby's arms; Peggy Seeger--unk; Cisco Houston--Drill, you tarriers drill; Richard dyer-Bennet--Four Marys; Jean Ritchie--Barbara Allen; Elizabeth Cotten--Babe it ain't no lie
Track Information:
101 Shady Grove / Jean Ritchie. Appalachian dulcimer.
106 Pretty Polly / Jean Ritchie. Appalachian dulcimer.
119 Barbara Allen (Child No. 84)/ Jean Ritchie. Appalachian dulcimer.
102 900 Miles / Cisco Houston. Guitar.
117 Drill, Ye Tarriers Drill / Cisco Houston. Guitar.
103 Shenandoah / Andrew Rowan Summers. Guitar.
105 I Go No More A-Roving / Richard Dyer-Bennet. Guitar.
118 The Four Marys / Richard Dyer-Bennet. Guitar.
104 Meeting at the Building / Lead Belly. Guitar.
107 Wagoner's Lad / Guitar.
108 Molly Malone / Karen James. Guitar.
110 The Wayfaring Stranger / Pete Seeger. Banjo.
111 When I First Came to Town / Peggy Seeger. Banjo.
112 Haul Away Joe / Frank Warner. Guitar.
113 Wabash Cannonball / Doc Watson. Guitar.
114 Unknown / Doc Watson. Guitar.
115 Roll in My Sweet Baby's Arms / Doc Watson. Guitar.
116 Unknown / Peggy Seeger. Banjo.
120 Babe It Ain't No Lie / Elizabeth Cotten. Guitar.
Local Numbers:
FW-ASCH-10RR-0153
Date/Time and Place of an Event Note:
Recorded in: New York, United States.
General:
CDR copy
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
The Willem Voklersz interviews measure 2.6 linear feet and date from 1975-1985. The collection consists of twenty-nine sound cassettes containing thirty-one interviews of folk artists conducted by Volkersz for a personal research project, a monologue, and readings by Volkersz of notes on individual artists. Subjects include folk artists such as Howard Finster, Jesse Howard, and St. EOM (Eddie Owens Martin). Also found are thirty-seven transcripts of the recordings.
Scope and Contents:
The Willem Voklersz interviews measure 2.6 linear feet and date from 1975-1985. The collection consists of twenty-nine sound cassettes containing thirty-one interviews of folk artists conducted by Volkersz for a personal research project, a monologue, and readings by Volkersz of notes on individual artists. Subjects include folk artists such as Howard Finster, Jesse Howard, and St. EOM (Eddie Owens Martin). Also found are thirty-seven transcripts of the recordings.
Arrangement:
The collection is arranged as one series.
Biographical / Historical:
Willem Volkersz is a teacher, collector, and sculptor of Bozeman, Montana, who was born in Holland and came to the United States following World War II. He completed his education at the University of Washington in 1965, and completed a Masters of Fine Art at Mills College in 1967.
Volkersz began researching and collecting work by visionary and naive artists while a professor at the Kansas City Art Institute. His collection is now at the John Michael Kohler Arts Center in Sheboygan, Wisconsin, and the Missoula Art Museum, in Missoula, Montana.
Provenance:
Sound recordings of the Willem Volkersz interviews were donated to the Archives of American Art in 1986 by Willem Volkersz, who made them primarily for his own use as a researcher, collector and teacher of folk art. They were transcribed in 1989 for the Archives of American Art by Toni Reineke.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References 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.
Willem Volkersz interviews, 1975-1985. Archives of American Art, Smithsonian Institute.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The Philippine folk artists who participated in the 1998 Festival shared a common involvement in elaborate systems of exchange, reciprocity, and gift-giving that characterize Filipino society - a theme that was chosen to structure the Festival program. Their lives could be read as essays on gift-giving: mentors of younger generations, diplomatic representatives to worlds outside their communities, custodians of artistic creation, performers and makers of the implements of celebrations. They represented the spirit of pahiyas, a word that collects notions of gem-like treasures and blessings. Pahiyas is a shower of gifts and blessings in the celebratory abundance of a harvest. Through these artists, the Philippines celebrated the centennial of its declaration of independence by asserting its freedom to construct the future with the culture of gift-giving.
At the start of work on the Philippine Festival program, the first order of business was to define an approach that engaged not only how intricately Filipinos articulate identity and reweave tradition with 20th-century passions, but also how they do so while simultaneously expressing delight and dignity, vivacity and solemnity. The demand for accuracy of representation was extraordinarily high. The project was negotiated by the Philippine Centennial Commission with the Smithsonian in the context of the Philippine Centennial celebrations in the Philippines and of the associated events planned in many cities in the United States.
It was clear to the project team from the outset that during these celebrations, Filipinos wished to signal their arrival at a juncture in history where they could enjoy a complex understanding of the deepest sources of cultural pride. The project's goal was to express a sophisticated sense of the dynamics of folklife in a national formation. Thus, the Cultural Center of the Philippines (CCP), the implementing agency for the project on the Philippine side, assembled a project team of independent cultural workers and worked with the Smithsonian to create a Festival concept - pahiyas - and corresponding presentation to communicate that sense of arrival and to register that refined understanding.
The 80 Philippine master artists honored by the Smithsonian Institution and their nation have in common - aside from their levels of achievement - a strength of character that has enabled them to meet the challenge of modernity by accepting and reworking certain aspects of it. Many of the artists were savvy about recordings and other forms of documentation, marketing techniques, alliances with other communities and countries, public presentations, discussions, and political action. Individually and as a group they laid to rest the weary stereotypes of the primitive or the abject rural peasant. Although many of them were poor by the standards of urban society, they all projected to Festival visitors a grace, a pride, and a sense of assurance that seemed to issue from the aesthetic pleasure and wisdom inherent in their chosen art forms.
Richard Kennedy and Marian Pastor Roces were Curators, with Ramon Obusan as Program Director and Eva Mari G. Salvador and Andrea Yangas as Program Coordinators. Flora Elena R. Mirano was Research Director and Ricardo Trimillos was Research Associate.
The Philippines program was produced in collaboration with the Cultural Center of the Philippines and the Philippine Centennial Commission and was supported by the American International Group, Inc., The Starr Foundation, Bell Atlantic, the Asian Cultural Council, and the Philippine Centennial Foundation/USA.
Researchers:
Marialita Yraola (supervising researcher), Edna Marcil M. Martinez (senior researcher), Eduardo Borbon, Ricardo Cruz, Leonido Gines, Jr., Maria Patricia B. Silvestre, Dennis Julio Y. Tan
Presenters:
Paulo Alcazaren, Carmencita J. Bernardo, Eduardo Borbon, Joseph Cristobal, Ricardo Cruz, Frank I. Depakakibo, Leonido Gines, Jr., Pacita O. Ignacio, Amelio B. Manzano, Edna Marcil M. Martinez, Jojo Mata, Flora Elena Mirano, Oliver Patino, Maria Patricia B. Silvestre, Dennis Julio Y. Tan, Marialita Yraola, Consuelo Zapata
PASIKING (KALINGA ENSEMBLE), KALINGA-APAYAO PROVINCE -- PASIKING (KALINGA ENSEMBLE), KALINGA-APAYAO PROVINCEBenicio D. Sokkong, leader, Kalinga-Apayao Province, PhilippinesDamaso L. Balway, Kalinga-Apayao Province, PhilippinesCalixto B. Cabannag, Kalinga-Apayao Province, PhilippinesInocencio L. Damagon, Kalinga-Apayao Province, PhilippinesJose Marie K. Felipe, Jr., Kalinga-Apayao Province, PhilippinesImelda S. Polittude, Kalinga-Apayao Province, PhilippinesBenedicto L. Damagon, dancer, Kalinga-Apayao Province, PhilippinesFidel P. Tayawa, dancer, Kalinga-Apayao Province, Philippines
TALAANDIG ENSEMBLE, BUKIDNON PROVINCE -- TALAANDIG ENSEMBLE, BUKIDNON PROVINCEVictorino Saway, leader, Bukidnon Province, PhilippinesJean S. Gangga, Bukidnon Province, PhilippinesMarlon P. Necosia, Bukidnon Province, PhilippinesAdolino L. Saway, Bukidnon Province, PhilippinesRodelio L. Saway, Bukidnon Province, PhilippinesLiza L. Saway, Bukidnon Province, PhilippinesOrlanda P. Saway, Bukidnon Province, PhilippinesNarita T. Sihagan, Bukidnon Province, Philippines
Chapel
CHORAL ENSEMBLE, BACONG, NEGROS ORIENTAL PROVINCE -- CHORAL ENSEMBLE, BACONG, NEGROS ORIENTAL PROVINCEExuferio V. Tinguha, choirmaster & parol maker, Bacong, Negros Oriental Province, PhilippinesGlenn S. Aurea, parol-makingassistant, Bacong, Negros Oriental Province, PhilippinesLeona R. Aurea, cantora, soprano, Bacong, Negros Oriental Province, PhilippinesSimplicia V. Baro, cantora, soprano, Bacong, Negros Oriental Province, PhilippinesCatalina T. Gajilomo, cantora, soprano, Bacong, Negros Oriental Province, PhilippinesAngel M. Honculada, parol-making assistant, Bacong, Negros Oriental Province, PhilippinesGenoveva T. Sagarino, cantora, alto, Bacong, Negros Oriental Province, PhilippinesSylvia T. Vendiola, cantora, soprano, Bacong, Negros Oriental Province, Philippines
MUSICONG BUMBONG, -- BULACAN PROVINCE -- MUSICONG BUMBONG, BULACAN PROVINCEAlfredo C. Anastacio, snare drum, Bulacan Province, PhilippinesAntonio A. Anastacio, harmonica, Bulacan Province, PhilippinesRodrigo C. Anastacio, bass drum, Bulacan Province, PhilippinesAntonio D. Bautista, trombone, Bulacan Province, PhilippinesRoberto C. Capiral, trumpet, Bulacan Province, PhilippinesEmesto B. de Dios, trombone, Bulacan Province, PhilippinesRoderic C. Garcia, cymbals, Bulacan Province, PhilippinesMelchor F. Gimenez, clarinet, Bulacan Province, PhilippinesBernabe A. Ignacio, bamboo bass, Bulacan Province, PhilippinesZosimo B. Miday, trumpet, Bulacan Province, PhilippinesRizalino A. Remigio, saxophone, Bulacan Province, PhilippinesDomingo M. Rosco, saxophone, Bulacan Province, PhilippinesRoman A. Santa Ana, bamboo bass, Bulacan Province, PhilippinesMaximo C. Santiago, harmonica, Bulacan Province, Philippines
RONDALLA MARIKINA, MARIKINA CITY, MANILA -- RONDALLA MARIKINA, MARIKINA CITY, MANILAMarcial R. de Jesus, Marikina City, Manila, PhilippinesArcadio R. dela Cruz, Marikina City, Manila, PhilippinesEdgardo G. Labrado, Marikina City, Manila, PhilippinesRodolfo T. Poblea, Marikina City, Manila, PhilippinesMontano M. Santos, Marikina City, Manila, PhilippinesTeofilo M. Santos, Marikina City, Manila, Philippines
SUBLI -- ENSEMBLE, BATANGAS PROVINCE -- SUBLI ENSEMBLE, BATANGAS PROVINCEAbdon O. Cruzat, leader, Batangas Province, PhilippinesRufina V. Boongaling, dancer, Batangas Province, PhilippinesBeda M. Dimayuga, dancer, Batangas Province, PhilippinesBibiana C. Escalona, dancer, Batangas Province, PhilippinesMiguela C. Maquimot, dancer, Batangas Province, PhilippinesSimeon C. Maquimot, dancer, Batangas Province, PhilippinesLeonardo E. Valdez, dancer, Batangas Province, PhilippinesFelix C. Cruzat, drummer, Batangas Province, PhilippinesSeverino D. Cruzat, drummer, Batangas Province, PhilippinesJose E. Manalo, drummer, Batangas Province, Philippines
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: 1998 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Recorded in: Washington (D.C.), United States, June 23, 1988.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.
Recorded in: Washington (D.C.), United States, June 25, 1988.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.
Crossing The Line: Folk Artist-Folklorist; Stephen Wade, Clifford Hardesty, Howard Sacks, Tim Lloyd Reel 7 0f 8
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 26, 1988.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.
101 Personal Politics: Folk Community Members and Folklorists / Lynn J. Martin, Norma Elia Cantú, Rayna Green.
102 Crossing the Line: Folk Artist-Folklorist / Barry Lee Pearson, Joseph Charles Hickerson, Pua Kanaka'ole Kanahele.
Local Numbers:
FP-1988-7RR-0130
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 30, 1988.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
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.
