Skip to main content Smithsonian Institution

Search Results

Collections Search Center
321 documents - page 1 of 17

Pearl Bowser Audiovisual Collection

Names:
Andrade-Watkins, Claire  Search this
Bambara, Toni Cade  Search this
Dash, Julie  Search this
Gerima, Haile  Search this
Greaves, William, 1953-2005  Search this
Gunn, Bill, 1934-1989  Search this
Jafa, Arthur  Search this
Jones, Robert Earl, 1904-2006  Search this
Massiah, Louis  Search this
Micheaux, Oscar, 1884-1951  Search this
Moses, Ethel  Search this
Robeson, Paul, 1898-1976  Search this
Sanchez, Sonia, 1934- (poet, reader)  Search this
Snead, James A., 1953-1989  Search this
Spence, Louise, 1945-  Search this
Tucker, Lorenzo  Search this
Donor:
Bowser, Pearl, 1931-  Search this
Extent:
approximately 100 Motion picture films
213 Sound cassettes (7 boxes)
Type:
Collection descriptions
Archival materials
Motion picture films
Sound cassettes
Sound cassette
Oral histories (document genres)
16mm motion picture film
Vhs (videotape format)
Place:
England
Harlem (New York, N.Y.)
Roanoke (Va.)
Memphis (Tenn.)
Date:
bulk 1920-2001
Biographical / Historical:
Pearl Bowser is a filmmaker, producer, author, lecturer, and highly acclaimed scholar of African American film who is recognized as an authority on the works of Oscar Micheaux, a noted writer, director, and producer of race films from 1919 to 1948.

Born Pearl Johnson on June 25, 1931, in Sugar Hill, Harlem, New York, she was named after her mother (also Pearl Johnson), a domestic worker who had been raised in a Catholic nunnery. On occasional Saturdays, the younger Pearl would accompany her mother to work in apartments in lower Manhattan, where she would assist her by folding handkerchiefs for a small allowance. After moving to a lower part of Harlem when she was about four years old, she met Harlem entrepreneur "Bumpy" Johnson, for whom she and other children in the neighborhood did odd jobs such as counting coins or attending to his ice-cream stand. Johnson, who would sometimes give the children joy rides in his Cadillac, occasionally allowed Pearl and the other children to borrow books from his extensive library, provided that they read them and submitted to a quiz.

As a child, Bowser had several racist encounters. For example, one of her white kindergarten teachers at her elementary school wore gloves in the classroom as to not touch Black pupils. She was also occasionally teased for having a gap between her teeth but felt insulated from sustained bullying because she had several older brothers who sometimes protected her. On a separate occasion, when she was about nine years old, her mother sent her on a trip from New York to the South to visit relatives. Although her mother had purchased tickets for her to be in a Pullman car, when she changed trains in Washington, DC., she was forced to ride in the car behind the engine, which left her covered in soot.

An avid reader, Pearl excelled in elementary and high school and received a scholarship to attend Brooklyn College, where she majored in biology. She supplemented her income by recording the numbers in one of Bumpy Johnson's shops. Disappointed with the quality of the education she was receiving, Bowser withdrew from Brooklyn College, eventually landing a job at CBS where she worked on a team that analyzed Nielsen ratings.

In 1955, Pearl married fellow New Yorker LeRoy Bowser. By the mid-1960s, although Pearl and LeRoy Bowser had separate interests, they both were working simultaneously in the civil rights movement. While LeRoy was active in Brooklyn CORE (Congress of Racial Equality) and went to the South in the summer to teach for what was the beginning of HeadStart, Pearl, along with other production activists, took to the streets documenting African American culture and issues—working to bring these films to schools. Additionally, Bowser wanted to write a cookbook to earn funds for Brooklyn's CORE organization. She was approached by David Davis, the editor of Tuesday Magazine. Tuesday had distribution in the Herald Tribune across the country as a Sunday supplement. As the urban-world magazine exploded in Black communities, "Joan" Bowser's two-page pictorials on Southern cooking with a set of recipes became very popular in the five years she wrote them. Bowser retained copyrights to the articles, and easily completed her cookbook a short time later.

Bowser's colleague at ABC, Charles Hobson, found a used book written by Peter Noble about Black films and Oscar Micheaux. The volume was slim and contained what little information contained in the Museum of Modern Art (MoMA) files. Hobson and his colleagues wanted to write a book about the topic, and they assigned Bowser to begin the research. As part of the project, Bowser went to California to interview actors who may have been in early Black films or may have worked with Micheaux. What she learned began her intensive scholarship into Micheaux and his fellow filmmakers.

In 1971, she organized her first film festival, the Black Film History Series. In 1979, she organized the nation's first American women's film festival in New York City. She also presented a major retrospective, Independent Black American Cinema 1920-1980, which toured the country during 1981 and 1982. She also directed the Journey Across Three Continents film and lecture series, which toured the country from 1983-1985. Bowser also served as president of the prestigious Flaherty Film Seminar in 1987. In 1989, she, alongside Grant Munro, programmed the 35th Flaherty Film Seminar, which featured films such as Finzan, Zajota and the Boogie Spirit, Daughters of the Dust, and many more. She has also been a judge at the world-renown Pan-African Film and Television Festival of Ouagadougou (FESCPACO) in Burkina Faso (formerly known as Upper Volta).

In the 1980s Bowser was awarded an independent artists grant by the Ford Foundation to travel west and collect oral histories from individuals in Oscar Micheaux's orbit, loosely following the route he would have travelled decades earlier. Stopping in cities such as Roanoke, Virginia; Memphis, Tennessee; and Jackson, Mississippi, she collected dozens of oral histories from actors, actresses etc. that knew Oscar Micheaux. Through this research she became an eminent figure in the Black independent film industry. Working as a programmer, she travelled around the United States and the world showing films by domestic and Black filmmakers within the Diaspora.

Despite her wealth of experience working as a programmer, it wasn't until the 1990s that Bowser made her directorial debut with the documentary film Midnight Ramble. Funded by American Experience, the film looks at African Americans and Hollywood movies from 1910 through the 1950s. In 2000, she, along with Louise Spence, co-authored Writing Himself into History: Oscar Micheaux, His Silent Films and His Audiences, a book about the pioneering filmmaker. Additionally, she is founder and director of Chamba Educational Film Services, a film distribution company that specialized in distributing films by African American filmmakers. In the early 1980s, she renamed her company/collection as African Diaspora Images, a collection of historical and contemporary films documenting Black film history. She subsequently joined Third World Newsreel, where she was director of their theater department.

In 2012, Pearl Bowser donated her extensive collection of books, sound cassettes, films, film memorabilia, and papers to the Smithsonian National Museum of African American History and Culture.

Sources:

1940 United States Federal Census; New York, New York, New York, population schedule, p. 61B, house number 1486, family 195, Pearl Bowser; Ancestry.com. 1940 United States Federal Census [database on-line]. Provo, UT, USA: Ancestry.com Operations, Inc., 2012 accessed: 10 Sept 2022); citing National Archives and Records Administration microfilm: m-t0627-02665

Bowser, Pearl. Pearl Bowser Oral History. Interview by Tuliza Fleming and Jennifer Lyon, July 21, 2011.
Provenance:
Acquired as a donation from Pearl Bowser in 2012.
Restrictions:
Collection is open for research. Access to collection materials requires an appointment.
Occupation:
Filmmakers  Search this
Actors -- Interviews  Search this
Topic:
Documentary films  Search this
Film festivals  Search this
African American actors  Search this
African American actresses  Search this
African diaspora  Search this
Race films  Search this
African American motion picture producers and directors  Search this
African American women authors  Search this
Meetings  Search this
Conferences  Search this
Lectures and lecturing  Search this
Amateur films  Search this
Motion picture soundtracks  Search this
Oral history  Search this
Radio broadcasts  Search this
Genre/Form:
Sound cassette
Oral histories (document genres)
16mm motion picture film
VHS (videotape format)
Citation:
Pearl Bowser Collection, National Museum of African American History and Culture
Identifier:
NMAAHC.A2012.79.AV
See more items in:
Pearl Bowser Audiovisual Collection
Archival Repository:
National Museum of African American History and Culture
GUID:
https://n2t.net/ark:/65665/io3209e9c6d-3045-4a0a-941e-6519385b18d5
EDAN-URL:
ead_collection:sova-nmaahc-a2012-79-av

Ernie Smith Jazz Film Collection

Performer:
Basie, Count, 1904-  Search this
Webster, Ben  Search this
Armstrong, Louis, 1901-1971  Search this
Ellington, Duke, 1899-1974  Search this
Fitzgerald, Ella, 1917-1996  Search this
Goodman, Benny (Benjamin David), 1909-1986  Search this
Jamal, Ahmad, 1930-  Search this
Robinson, Bill, 1878-1949  Search this
Davis, Miles  Search this
Collector:
Smith, Ernie  Search this
Names:
Apollo Theatre (New York, N.Y.)  Search this
Extent:
30 Cubic feet (352 film reels , 16 mm)
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Place:
Harlem (New York, N.Y.) -- 20th century
Date:
1894-1979
Summary:
More than 300 reels of 16mm black and white and color film, silent and sound, fiction and documentary motion picture film documenting jazz and related musical performances, social and popular dance styles and performances, jazz musicians, performance locales, and documentation of African-American popular culture. A list of featured performers in the collection is shown below. The films are frequently compilations produced by Smith for lectures.
Scope and Contents:
The collection consists of 352 reels of 16mm motion picture film. Most of the film is 16mm black and white and sound (composite optical track print), although a few titles are silent or in color. The collection is comprised of compilation reels created by Ernie Smith to accompany his lectures, topical compilation reels created by Ernie Smith, compilation reels created by the Archives Center, and single title reels. The Archives Center produced master and reference video copies using a wet-gate telecine film-to-tape transfer system. Titles were often combined to allow for increased ease of handling, storage, and duplication.

The collection is strongest in the areas of jazz dance styles including Lindy Hop and tap, overviews of jazz musical performers and styles; specific jazz musicians and performers including Duke Ellington, Louis Armstrong, Cab Calloway, Woody Herman, Artie Shaw, Bob Crosby, Lionel Hampton, Count Basie, Jack Teagarden as well as a wide range of female vocalists; and documentation of the New York jazz and club scene. The collection includes feature films and excerpts from feature films, Soundies and other film shorts, television kinescopes, and documentary films.
Arrangement:
The collection is arranged into one series and is not arranged in accordance with standard archival procedures. The breadth of the collection and the existence of so many multiple topic and/or performer compilation reels made it impossible to impose traditional archival series order. Therefore, each reel is described at the item level in the container list.
Biographical:
Ernest (Ernie) Smith began collecting jazz and jazz dance films during the mid-1950s. An Art Director for a New York advertising agency, Smith had a long-standing interest in jazz and jazz dance that began during his youth in Pittsburgh, Pa. Early on, Smith discovered that jazz music was best appreciated while dancing. He became an accomplished Lindy Hopper, frequenting both white and African American ballrooms.

His job at the advertising agency supported Smith's two passions - painting and jazz dance and music. Smith was also a film enthusiast so, in 1954, after taking a jazz class at the New School taught by Marshall Stearns, a leading jazz scholar, he began collecting examples of jazz and jazz dance on film. In the process of creating his film collection, Smith became one of the leading authorities on jazz and jazz dance films. He collaborated with Stearns on the 1964 book Jazz Dance, compiling the book's jazz dance film listing. He also wrote the extensive entry on jazz film for the 1988 edition of New Grove Dictionary of Jazz .

Smith built his film collection by identifying films of potential interest and acquiring them through trade and purchase. He created lecture reels on specific topics -- the history of jazz, social dance, tap dance, Duke Ellington, Lindy Hop -- and presented lecture/screenings nationally and internationally. He also provided footage for numerous documentaries and maintained active relationships with filmmakers, other film collectors, jazz scholars, the swing dance community, and musicians.

Ernie Smith donated his film collection to the Archives Center in 1993. He continues to lecture and participate in swing dance activities, but he devotes the majority of his time to painting and related artistic pursuits.
Provenance:
The Archives Center acquired the collection from Ernie Smith in 1993.
Restrictions:
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.
Topic:
Tap dancing -- 1930-1970  Search this
Motion pictures and music -- 1930-1970  Search this
Dancing in motion pictures, television, etc. -- 1930-1970  Search this
Television and music -- 1930-1970  Search this
Jazz -- 20th century -- United States  Search this
Jazz musicians -- 1930-1970  Search this
Jazz dance -- 1930-1970  Search this
African Americans in the performing arts -- 1930-1970  Search this
Genre/Form:
Motion pictures (visual works) -- 20th century
Citation:
Ernie Smith Jazz Film Collection, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0491
See more items in:
Ernie Smith Jazz Film Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep85baeb0e0-8e94-4ce0-8c80-7f25800ee24a
EDAN-URL:
ead_collection:sova-nmah-ac-0491

Harlem

Artist:
Morris Huberland, born Warsaw, Poland 1909-died New York City 2003  Search this
Medium:
gelatin silver print
Dimensions:
6 1/4 x 8 3/8 in.
Type:
Photography
Date:
n.d.
Topic:
Cityscape\New York\New York  Search this
Figure group\male  Search this
Children  Search this
Cityscape\New York\Harlem  Search this
Architecture Exterior\ruins  Search this
Credit Line:
Smithsonian American Art Museum, Gift of Howard Greenberg
Object number:
2020.67.27
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Graphic Arts
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk7ed82632e-bd72-4f8d-b1e9-0f50ad350cf8
EDAN-URL:
edanmdm:saam_2020.67.27

Duke Ellington Collection

Creator:
Ellington, Duke, 1899-1974  Search this
Names:
Duke Ellington Orchestra  Search this
Washingtonians, The.  Search this
Ellington, Mercer Kennedy, 1919-1996 (musician)  Search this
Strayhorn, Billy (William Thomas), 1915-1967  Search this
Collector:
National Museum of American History (U.S.). Division of Musical History  Search this
Extent:
400 Cubic feet
Type:
Collection descriptions
Archival materials
Phonograph records
Papers
Photographic prints
Posters
Sound recordings
Scrapbooks
Music
Clippings
Awards
Audiotapes
Place:
New York (N.Y.) -- 20th century
Harlem (New York, N.Y.) -- 20th century
Washington (D.C.) -- 20th century
Date:
1903 - 1989
Summary:
The collection documents Duke Ellington's career primarily through orchestrations (scores and parts), music manuscripts, lead sheets, transcriptions, and sheet music. It also includes concert posters, concert programs, television, radio, motion picture and musical theater scripts, business records, correspondence, awards, as well as audiotapes, audiodiscs, photographs, tour itineraries, newspaper clippings, magazines, caricatures, paintings, and scrapbooks.
Scope and Contents:
Dating approximately from the time Duke Ellington permanently moved to New York City in 1923 to the time the material was transferred to the Smithsonian Institution in 1988, the bulk of the material in the Duke Ellington Collection is dated from 1934-1974 and comprises sound recordings, original music manuscripts and published sheet music, hand-written notes, correspondence, business records, photographs, scrapbooks, news clippings, concert programs, posters, pamphlets, books and other ephemera. These materials document Ellington's contributions as composer, musician, orchestra leader, and an ambassador of American music and culture abroad. In addition, the materials paint a picture of the life of a big band maintained for fifty years and open a unique window through which to view an evolving American society.

The approximate four hundred cubic feet of archival materials have been processed and organized into sixteen series arranged by type of material. Several of the series have been divided into subseries allowing additional organization to describe the content of the material. For example, Series 6, Sound Recordings, is divided into four subseries: Radio and Television Interviews, Concert Performances, Studio Dates and Non-Ellington Recordings. Each series has its own scope and content note describing the material and arrangement (for example; Series 10, Magazines and Newspaper Articles, is organized into two groups, foreign and domestic, and arranged chronologically within each group). A container list provides folder titles and box numbers.

The bulk of the material is located in Series 1, Music Manuscripts, and consists of compositions and arrangements by Duke Ellington, Billy Strayhorn and other composers. Series 6, Sound Recordings also provides a record of the performance of many of these compositions. The materials in Series 2, Performances and Programs, Series 3, Business Records, Series 8, Scrapbooks, Series 9, Newspaper Clippings, Series 11, Publicity and Series 12, Posters provide documentation of specific performances by Duke Ellington and His Orchestra. Ellington was a spontaneous and prolific composer as evidenced by music, lyrical thoughts, and themes for extended works and plays captured on letterhead stationery in Series 3, Business Records, in the margin notes of individual books and pamphlets in Series 14, Religious Materials and Series 15, Books, and in the hand-written notes in Series 5, Personal Correspondence and Notes.

During its fifty-year lifespan, Duke Ellington and His Orchestra were billed under various names including The Washingtonians, The Harlem Footwarmers and The Jungle Band. The soloists were informally called "the band", and Series 3 includes salary statements, IOU's, receipts and ephemera relating to individual band members. Series 1, Music Manuscripts contains the soloists' parts and includes "band books" of several soloists (for example; Harry Carney and Johnny Hodges) and numerous music manuscripts of Billy Strayhorn. The changing role of Strayhorn from arranger hired in 1938 to Ellington's main collaborator and composer of many well-known titles for Duke Ellington and His Orchestra including "Take The A' Train" and "Satin Doll" can be traced in these music manuscripts. Series 7, Photographs and Series 2, Performances and Programs contain many images of the band members and Strayhorn. This Collection also documents the business history of Duke Ellington and His Orchestra. Series 3, Business Records contains correspondence on letterhead stationery and Series 11, Publicity contains promotional material from the various booking agencies, professional companies, and public relations firms that managed the Orchestra.

The materials in the Duke Ellington Collection provide insight into public and institutional attitudes towards African Americans in mid-twentieth-century America. The business records in Series 3 beginning in 1938 and published sheet music in Series 1 depict Duke Ellington's progression from an African-American musician who needed "legitimization" by a white publisher, Irving Mills, to a businessmen who established his own companies including Tempo Music and Duke Ellington, Incorporated to control his copyright and financial affairs. Programs from the segregated Cotton Club in Series 2, Performances And Programs and contracts with no-segregation clauses in Series 3: Business Records further illustrate racial policies and practices in this time period. The public shift in perception of Duke Ellington from a leader of an exotic "Jungle Band" in the 1930s to a recipient of the Congressional Medal Of Freedom in 1970 is evidenced in Series 2, Performances And Programs, Series 12, Posters, Series 7, Photographs and Series 13, Awards. Reviews and articles reflecting Ellington's evolving status are also documented in Series 8, Newspaper Clippings, Series 9, Scrapbooks, Series 10, Newspaper and Magazine Articles.

The materials in the Duke Ellington Collection reflect rapid technological changes in American society from 1923-1982. Sound recordings in Series 6 range from 78 phonograph records of three minutes duration manufactured for play on Victrolas in monaural sound to long-playing (LP) phonograph records produced for stereo record players. Television scripts in Series 4, programs in Series 2 and music manuscripts (for example, Drum Is A Woman) in Series 1 demonstrate how the development of television as a means of mass communication spread the Orchestra's sound to a wider audience. The availability of commercial air travel enabled the Ellington Orchestra to extend their international performances from Europe to other continents including tours to Asia, Africa, South America and Australia and archival material from these tours is included in every series.

Series 4, Scripts and Transcripts and Series 6, Audio Recordings contain scripts and radio performances promoting the sale of United States War bonds during World War II, and Series 7, Photographs includes many images of Duke Ellington and His Orchestra's performances for military personnel revealing the impact of historic events on Duke Ellington and His Orchestra. Series 2: Programs and Performances, Series 9, Newspaper clippings and Series 8, Scrapbooks document the 1963 Far East tour aborted as a result of President John F. Kennedy's assassination.

The Duke Ellington Collection contains works by numerous twentieth-century music, literature, and art luminaries. Series 1, Music Manuscripts contains original music manuscripts of William Grant Still, Eubie Blake, Mary Lou Williams, and others. Series 4, Scripts and Transcripts contains a play by Langston Hughes, and Series 12, Posters contains many original artworks.
Arrangement:
Series 1: Music Manuscripts, circa 1930-1981, undated

Series 2: Performances and Programs, 1933-1973, undated

Series 3: Business Records, 1938-1988

Series 4: Scripts and Transcripts, 1937-1970

Series 5: Personal Correspondence and Notes, 1941-1974, undated

Series 6: Sound Recordings, 1927-1974

Series 7: Photographs, 1924-1972, undated

Series 8: Scrapbooks, 1931-1973

Series 9: Newspaper Clippings, 1939-1973, undated

Series 10: Magazine Articles and Newspaper Clippings, 1940-1974

Series 11: Publicity, 1935-1988

Series 12: Posters and Oversize Graphics, 1933-1989, undated

Series 13: Awards, 1939-1982

Series 14: Religious Material, 1928-1974

Series 15: Books, 1903-1980

Series 16: Miscellaneous, 1940-1974
Biographical / Historical:
A native of Washington, DC, Edward Kennedy Ellington was born on April 29, 1899. Edward was raised in a middle-class home in the Northwest section of Washington described by his sister Ruth--younger by sixteen years--as a "house full of love." Ellington himself wrote that his father J.E. (James Edward) raised his family "as though he were a millionaire" but Edward was especially devoted to his mother, Daisy Kennedy Ellington. In 1969, thirty-four years after his mother's death, Ellington accepted the Presidential Medal of Freedom with these words, "There is nowhere else I would rather be tonight but in my mother's arms." Both his parents played the piano and Ellington began piano lessons at the age of seven, but like many boys he was easily distracted by baseball.

In his early teens, Ellington sneaked into Washington clubs and performance halls where he was exposed to ragtime musicians, including James P. Johnson, and where he met people from all walks of life. He returned in earnest to his piano studies, and at age fourteen wrote his first composition, "Soda Fountain Rag" also known as "Poodle Dog Rag." Ellington was earning income from playing music at seventeen years of age, and around this time he earned the sobriquet "Duke" for his sartorial splendor and regal air. On July 2, 1918, he married a high school sweetheart, Edna Thompson; their only child, Mercer Kennedy Ellington, was born on March 11, 1919. Duke Ellington spent the first twenty-four years of his life in Washington's culturally thriving Negro community. In this vibrant atmosphere he was inspired to be a composer and learned to take pride in his African-American heritage.

Ellington moved to New York City in 1923 to join and eventually lead a small group of transplanted Washington musicians called "The Washingtonians," which included future Ellington band members, Sonny Greer, Otto Hardwicke and "Bubber" Miley. Between 1923 and 1927, the group played at the Club Kentucky on Broadway and the ensemble increased from a quintet to a ten-piece orchestra. With stride pianist Willie "The Lion" Smith as his unofficial guide, Ellington soon became part of New York's music scene; Smith proved to be a long-lasting influence on Duke's composing and arranging direction. At the Club Kentucky, Ellington came under the tutelage of another legendary stride pianist, "Fats" Waller. Waller, a protege of Johnson and Smith, played solos during the band's breaks and also tutored Ellington who began to show progress in his compositions. In November 1924, Duke made his publishing and recording debut with "Choo Choo (I Got To Hurry Home)" released on the Blu-Disc label. In 1925, he contributed two songs to Chocolate Kiddies, an all-black revue which introduced European audiences to black American styles and performers. By this time Ellington's family, Edna and Mercer, had joined him in New York City. The couple separated in the late 1920's, but they never divorced or reconciled.

Ellington's achievements as a composer and bandleader began to attract national attention while he worked at the Cotton Club in Harlem, New York City, from 1927 to 1932. The orchestra developed a distinctive sound that displayed the non-traditional voicings of Ellington's arrangements and featured the unique talents of the individual soloists. Ellington integrated his soloists' exotic-sounding trombone growls and wah-wahs, their high-squealed trumpets, their sultry saxophone blues licks and Harlem's street rhythms into his arrangements. In the promotional material of the Cotton Club, the band was often billed as "Duke Ellington and His Jungle Band." With the success of compositions like "Mood Indigo," and an increasing number of recordings and national radio broadcasts from the Cotton Club, the band's reputation soared.

The ten years from 1932 to 1942 are considered by some major critics to represent the "golden age" for the Ellington Orchestra, but it represents just one of their creative peaks. These years did bring an influx of extraordinary new talent to the band including Jimmy Blanton on double bass, Ben Webster on tenor saxophone, and Ray Nance on trumpet, violin and vocals. During this ten year span Ellington composed several of his best known short works, including "Concerto For Cootie," "Ko-Ko," "Cotton Tail," "In A Sentimental Mood," and Jump For Joy, his first full-length musical stage revue.

Most notably, 1938 marked the arrival of Billy Strayhorn. While a teenager in Pittsburgh, Pennsylvania, Strayhorn had already written "Lush Life," "Something To Live For" and a musical, Fantastic Rhythm. Ellington was initially impressed with Strayhorn's lyrics but realized long before Billy's composition "Take the A' Train" became the band's theme song in 1942 that Strayhorn's talents were not limited to penning clever lyrics. By 1942, "Swee' Pea" had become arranger, composer, second pianist, collaborator, and as Duke described him, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine." Many Ellington/Strayhorn songs have entered the jazz canon, and their extended works are still being discovered and studied today. Strayhorn remained with the Ellington Organization until his death on May 30, 1967.

Ellington had often hinted of a work in progress depicting the struggle of blacks in America. The original script, Boola, debuted in Carnegie Hall in November of 1943, retitled Black, Brown and Beige. The performance met with mixed reviews, and although Ellington often returned to Carnegie Hall the piece was never recorded in a studio, and after 1944 was never performed in entirety again by the Ellington Orchestra. Nonetheless, it is now considered a milestone in jazz composition.

After World War II the mood and musical tastes of the country shifted and hard times befell big bands, but Ellington kept his band together. The band was not always financially self-sufficient and during the lean times Ellington used his songwriting royalties to meet the soloists' salaries. One could assign to Ellington the altruistic motive of loyalty to his sidemen, but another motivation may have been his compositional style which was rooted in hearing his music in the formative stage come alive in rehearsal. "The band was his instrument," Billy Strayhorn said, and no Ellington composition was complete until he heard the orchestra play it. Then he could fine tune his compositions, omit and augment passages, or weave a soloist's contribution into the structure of the tune.

In 1956, the American public rediscovered Duke and the band at the Newport Jazz Festival in Rhode Island. The searing performances of tenor saxophonist Paul Gonsalves on "Diminuendo and Crescendo In Blue," his premiere soloist, alto saxophonist Johnny Hodges on "Jeep's Blues", and the crowd's ecstatic reaction have become jazz legend. Later that year Duke landed on the cover of Time magazine. Although Ellington had previously written music for film and television (including the short film, Black and Tan Fantasy in 1929) it wasn't until 1959 that Otto Preminger asked him to score music for his mainstream film, Anatomy of a Murder, starring Jimmy Stewart. Paris Blues in 1961, featuring box-office stars Paul Newman and Sidney Poitier in roles as American jazz musicians in Paris, followed.

Ellington's first performance overseas was in England in 1933, but the 1960s brought extensive overseas tours including diplomatic tours sponsored by the State Department. Ellington and Strayhorn composed exquisite extended works reflecting the sights and sounds of their travels, including the Far East Suite, 1966. They wrote homages to their classical influences; in 1963, they adapted Tchaikovsky's Nutcracker Suite and celebrated Shakespeare's works with the suite Such Sweet Thunder in 1957. With Ella Fitzgerald, they continued the Norman Granz Songbook Series. Ellington also began to flex his considerable pianist skills and recorded albums with John Coltrane (1963), Coleman Hawkins (1963), Frank Sinatra, and Money Jungle (1963) with Charles Mingus and Max Roach. The First Sacred Concert debuted in San Francisco's Grace Cathedral in 1965. In his final years, Ellington's thoughts turned to spiritual themes and he added a Second (1968) and Third (1973) Concert of Sacred Music to his compositions.

In his lifetime, Duke received numerous awards and honors including the highest honor bestowed on an American civilian, the Congressional Medal Of Freedom. In 1965, Ellington was recommended for a Pulitzer Prize to honor his forty years of contribution to music but the recommendation was rejected by the board. Most likely he was disappointed, but his response at the age of sixty-six was, "Fate is being kind to me. Fate doesn't want me to be famous too young."

Ellington never rested on his laurels or stopped composing. Whenever he was asked to name his favorite compositions his characteristic reply was "the next five coming up," but to please his loyal fans Ellington always featured some of his standards in every performance. Even on his deathbed, he was composing the opera buffo called Queenie Pie.

Duke Ellington died on May 24, 1974 at seventy-five years of age. His funeral was held in New York's Cathedral of St. John The Divine; he was buried in Woodlawn Cemetery. His long-time companion Beatrice "Evie" Ellis was buried beside him after her death in 1976. He was survived by his only child, Mercer Kennedy Ellington, who not only took up the baton to lead the Duke Ellington Orchestra but assumed the task of caring for his father's papers and his legacy to the nation. Mercer Ellington died in Copenhagan, Denmark on February 8, 1996, at the age of seventy-six. Ruth Ellington Boatwright died in New York on March 6, 2004, at the age of eighty-eight. Both Mercer and Ruth were responsible for shepherding the documents and artifacts that celebrate Duke Ellington's genius and creative life to their current home in the Smithsonian Institution's National Museum of American History.
Related Materials:
Materials in the Archives Center

William H. Quealy Collection of Duke Ellington Recordings (AC0296)

Rutgers University Collection of Radio Interviews about Duke Ellington (AC0328)

Duke Ellington Oral History Project (AC0368)

Duke Ellington Collection of Ephemera and realated Audiovisual Materials (AC0386)

Annual International Conference of the Duke Ellington Study Group Proceedings (AC0385)

Robert Udkoff Collection of Duke Ellington Ephemera (AC0388)

Frank Driggs Collection of Duke Ellington Photographic Prints (AC0389)

New York Chapter of the Duke Ellington Society Collection (AC390)

Earl Okin Collection of Duke Ellington Ephemera (AC0391)

William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music (AC0406)

Ruth Ellington Collection of Duke Ellington Materials (AC0415)

Music manuscripts in the Ruth Ellington Collection complement the music manuscripts found in the Duke Ellington Collection.

Carter Harman Collection of Interviews with Duke Ellington (AC0422)

Betty McGettigan Collection of Duke Ellington Memorabilia (AC0494)

Dr. Theodore Shell Collection of Duke Ellington Ephemera (AC0502)

Edward and Gaye Ellington Collection of Duke Ellington Materials (AC0704)

Andrew Homzy Collection of Duke Ellington Stock Music Arrangements (AC0740)

John Gensel Collection of Duke Ellington Materials (AC0763)

Al Celley Collection of Duke Ellington Materials (AC1240)

Materials at Other Organizations

Institute of Jazz Studies
Separated Materials:
Artifacts related to this collection are in the Division of Culture and the Arts (now Division of Cultural and Community Life) and include trophies, plaques, and medals. See accessions: 1989.0369; 1991.0808; 1993.0032; and 1999.0148.

"
Provenance:
The collection was purchased through an appropriation of Congress in 1988.
Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Occupation:
Composers -- 20th century  Search this
Topic:
Big bands  Search this
Pianists  Search this
Bandsmen -- 20th century  Search this
Jazz -- 20th century -- United States  Search this
Musicians -- 20th century  Search this
Music -- Performance  Search this
African American entertainers -- 20th century  Search this
African Americans -- History  Search this
Popular music -- 20th century -- United States  Search this
Music -- 20th century -- United States  Search this
African American musicians  Search this
Genre/Form:
Phonograph records
Papers
Photographic prints
Posters
Sound recordings
Scrapbooks -- 20th century
Music -- Manuscripts
Clippings
Awards
Audiotapes
Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0301
See more items in:
Duke Ellington Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep850a376a1-6b6d-48bc-9076-cffef76fea2c
EDAN-URL:
ead_collection:sova-nmah-ac-0301
Online Media:

Street Life - Harlem, (painting)

Painter:
Johnson, William H. 1901-1970  Search this
Medium:
Oil on wood
Culture:
African American  Search this
Type:
Paintings
Owner/Location:
Smithsonian American Art Museum 8th & G Streets, N.W Washington District of Columbia 20560 Accession Number: 1967.59.674
Date:
Ca. 1939-1940
Topic:
Cityscape--New York--Harlem  Search this
Cityscape--New York--New York City  Search this
Cityscape--Street  Search this
Cityscape--Time--Evening  Search this
Cityscape--Celestial--Moon  Search this
Figure group  Search this
Recreation--Courting  Search this
Ethnic  Search this
Architecture exterior--Commercial--Restaurant  Search this
Architecture exterior--Commercial--Hotel  Search this
Control number:
IAP 8G270053
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_479922

Moon over Harlem, (painting)

Painter:
Johnson, William H. 1901-1970  Search this
Medium:
Oil on wood
Culture:
African American  Search this
Type:
Paintings
Owner/Location:
Smithsonian American Art Museum 8th & G Streets, N.W Washington District of Columbia 20560 Accession Number: 1967.59.577
Date:
Ca. 1943-1944
Topic:
Cityscape--New York--Harlem  Search this
Cityscape--Celestial--Moon  Search this
Figure group  Search this
Ethnic  Search this
Occupation--Service--Policeman  Search this
Control number:
IAP 8G270085
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_479955

The Renaissance: Black arts of the Twenties exhibition records

Creator:
Smithsonian Institution. Anacostia Community Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Extent:
10.55 Linear feet (16 boxes)
Type:
Collection descriptions
Archival materials
Photographic prints
Exhibition records
Catalogs
Exhibit scripts
Correspondence
Place:
Harlem (New York, N.Y.)
Date:
1985-09 - 1986-12
Summary:
An exhibition on the history and art of the Harlem Renaissance. The exhibition, held at the Anacostia Neighborhood Museum, ran from September 1985-December 1986. These records document the planning, organizing, execution, and promotion of the exhibition. Materials include correspondence, research files, exhibit scripts, administrative records, brochures, press coverage, education packets, loan agreements, floor plans, and catalogues.
Related Archival Materials note:
Audiovisual materials related to this exhibition located in Anacostia Community Museum Archives.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Topic:
Harlem Renaissance  Search this
Museum exhibits  Search this
Genre/Form:
Photographic prints
Exhibition records -- 1967-1989
Catalogs
Exhibit scripts
Correspondence
Citation:
The Renaissance: Black arts of the Twenties exhibition records, Anacostia Community Museum Archives, Smithsonian Institution
Identifier:
ACMA.03-024
See more items in:
The Renaissance: Black arts of the Twenties exhibition records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7cec4e4c6-749d-420c-86a3-25fd0b74ec03
EDAN-URL:
ead_collection:sova-acma-03-024

The Renaissance: Black arts of the Twenties audiovisual records

Creator:
Anacostia Community Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Harlem Renaissance (Exhibition) (1986: Washington, D.C.)  Search this
Collection Creator:
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
15 Video recordings (2 VHS 1/2" video recordings ; 1 U-matic video recordings ; 1 open reel 1" video recordings ; 10 35mm filmstrips ; 1 16mm film reel)
31 Sound recordings (10 vinyl sound recordings ; 16 audio cassette sound recordings ; 5 open reel 1/4" audio recordings)
1.25 Linear feet
Type:
Archival materials
Video recordings
Sound recordings
Filmstrips
Place:
Harlem (New York, N.Y.)
Date:
1973-1986
Scope and Contents note:
Audiovisual materials created for an exhibition on the history and art of the Harlem Renaissance. The exhibition, held at the Anacostia Neighborhood Museum, ran from September 1985–December 1986. This collection contains the audiovisual output of the exhibit, including video and audio created for display within the exhibit along with outtakes and raw footage, as well as recordings of talks on the Harlem Renaissance and commercially released materials related to the topic.
Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Topic:
Harlem Renaissance  Search this
Museum exhibits  Search this
African Americans  Search this
Genre/Form:
Filmstrips
Video recordings
Sound recordings
Citation:
The Renaissance: Black arts of the Twenties exhibition records, Anacostia Community Museum Archives, Smithsonian Institution
Identifier:
ACMA.03-024, Series ACMA AV03-024
See more items in:
The Renaissance: Black arts of the Twenties exhibition records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7470e8afb-f49d-4751-b9cc-58aaaa1735ea
EDAN-URL:
ead_component:sova-acma-03-024-ref501

The Renaissance: Black Arts of the South Exhibit Tape

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Black Swan (Sound recording label)  Search this
Connie's Inn (New York, N.Y.)  Search this
Cotton Club  Search this
National Association for the Advancement of Colored People  Search this
National Urban League  Search this
Savoy Ballroom (Harlem, New York, N.Y.)  Search this
Small's Paradise (Nightclub : Harlem, New York, N.Y.)  Search this
Universal Negro Improvement Association  Search this
Barthé, Richmond, 1901-1989  Search this
Bledsoe, Jules, 1898-1943  Search this
Burleigh, H. T. (Harry Thacker), 1866-1949  Search this
Cullen, Countee, 1903-1946  Search this
Douglas, Aaron  Search this
Du Bois, W. E. B. (William Edward Burghardt), 1868-1963  Search this
Ellington, Duke, 1899-1974  Search this
Fauset, Jessie Redmon  Search this
Fuller, Meta Warrick, 1877-1968  Search this
Garvey, Marcus, 1887-1940  Search this
Gilpin, Charles S. (Charles Sidney), 1878-1930  Search this
Hayes, Roland, 1887-1977  Search this
Henderson, Fletcher, 1897-1952  Search this
Hughes, Langston, 1902-1967  Search this
Johnson, Charles Spurgeon, 1893-1956  Search this
Johnson, Georgia Douglas, 1886-1966  Search this
Johnson, James Weldon, 1871-1938  Search this
Johnson, Sargent, 1888-1967  Search this
Johnson, William H., 1901-1970  Search this
Jones, Lois Mailou, 1905-1998  Search this
Larsen, Nella  Search this
Locke, Alain, 1885-1954  Search this
McKay, Claude, 1890-1948  Search this
Motley, Archibald John, 1891-1981  Search this
Randolph, A. Philip (Asa Philip), 1889-1979  Search this
Richardson, Willis, 1889-1977  Search this
Robeson, Paul, 1898-1976  Search this
Smith, Bessie, 1894-1937  Search this
Smith, Mamie  Search this
Still, William Grant, 1895-1978  Search this
Thurman, Wallace, 1902-1934  Search this
Toomer, Jean, 1894-1967  Search this
Van Vechten, Carl, 1880-1964  Search this
Walker, C. J., Madam, 1867-1919  Search this
White, Walter, 1893-1955 (President, N.A.A.C.P)  Search this
Collection Creator:
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
1 Sound recording (open reel, 1/4 inch)
1 Sound recording (audio cassette)
Type:
Archival materials
Sound recordings
Narration
Place:
Harlem (New York, N.Y.)
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
circa 1985
Scope and Contents:
During the audio tour of exhibition, The Renaissance: Black Arts of the Twenties, narrator Robert Hall presents the evolution and achievements of black creative expression beginning in Harlem and spreading across the United States during th 1920s. Literary, visual, performance, and cinematic achievements are profiled. Including brief biographical histories and achievements by Marcus Garvey, James Weldon Johnson, Jessie Fauset, A. Philip Randolph, Claude McKay, Nella Larson, Carl Van Vechten, Countee Cullen, Alain Locke, Harry T. Burleigh, Paul Robeson, Roland Hayes, Lois Mailou Jones, Jules Bledsoe, Fletcher Henderson, Bessie Smith, and Mamie Smith.
Self guided audio tour narration. Part of The Renaissance: Black Arts of the Twenties Audiovisual Records. AV001362: master. Undated.
Biographical / Historical:
The exhibition - The Renaissance: Black Arts of the Twenties - showcased the evolution and achievements of the Renaissance, which was the explosion of literary, visual, performance, and cinematic creativity generated by black artists between the end of World War I and the early days of the Great Depression. Represented is the creativity of Marian Anderson, Richard Barthe, Countee Cullen, Aaron Douglas, Duke Ellington, Meta Warrick Fuller, Roland Hayes, Zora Neale Hurston, Malvin Gray Johnson, Alain Locke, "Jelly Roll" Morton, Paul Robeson, George Schuyler, and Wallace Thurman, among others. The exhibition, held at the Anacostia Neighborhood Museum, ran from September 1985 - December 1986.
Local Numbers:
ACMA AV001362
General:
Title transcribed from physical asset.
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Occupation:
Artists  Search this
Dramatists  Search this
Topic:
African Americans  Search this
African American women  Search this
Harlem Renaissance  Search this
African American authors  Search this
African American women authors  Search this
Authors  Search this
African American poets  Search this
Poets  Search this
African American artists  Search this
Sculpture  Search this
Painting  Search this
African Americans in the performing arts  Search this
Musical theater  Search this
African American musicians  Search this
Musicians  Search this
Spirituals (Songs)  Search this
Jazz  Search this
Blues (Music)  Search this
Museum exhibits  Search this
Genre/Form:
Sound recordings
Narration
Citation:
The Renaissance: Black Arts of the South Exhibit Tape, Exhibition Records AV03-024, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.03-024, Item ACMA AV002682
See more items in:
The Renaissance: Black arts of the Twenties exhibition records
The Renaissance: Black arts of the Twenties exhibition records / Series ACMA AV03-024: The Renaissance: Black arts of the Twenties audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa746520b90-c038-45f4-9af3-a5d974c2cec2
EDAN-URL:
ead_component:sova-acma-03-024-ref503

Harlem Renaissance Exhibit Tape

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Cotton Club  Search this
National Association for the Advancement of Colored People  Search this
Roseland Ballroom (New York, N.Y.)  Search this
Savoy Ballroom (Harlem, New York, N.Y.)  Search this
Small's Paradise (Nightclub : Harlem, New York, N.Y.)  Search this
United States.. Army. Infantry Regiment, 369th  Search this
Barthé, Richmond, 1901-1989  Search this
Blake, Eubie (James Herbert), 1883-1983  Search this
Cullen, Countee, 1903-1946  Search this
Douglas, Aaron  Search this
Du Bois, W. E. B. (William Edward Burghardt), 1868-1963  Search this
Ellington, Duke, 1899-1974  Search this
Fauset, Jessie Redmon  Search this
Garvey, Marcus, 1887-1940  Search this
Henderson, Fletcher, 1897-1952  Search this
Hughes, Langston, 1902-1967  Search this
Johnson, Charlie, 1891-1959  Search this
Johnson, James Weldon, 1871-1938  Search this
Johnson, Malvin Gray, 1896-1934  Search this
Johnson, William H., 1901-1970  Search this
Locke, Alain, 1885-1954  Search this
McKay, Claude, 1890-1948  Search this
Randolph, A. Philip (Asa Philip), 1889-1979  Search this
Robeson, Paul, 1898-1976  Search this
Sissle, Noble, 1889-1975  Search this
Smith, Bessie, 1894-1937  Search this
Toomer, Jean, 1894-1967  Search this
Collection Creator:
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
1 Video recording (open reel, 1 inch)
3 Sound recordings (open reel, 1/4 inch)
Type:
Archival materials
Video recordings
Sound recordings
Documentary films
Narration
Place:
Harlem (New York, N.Y.)
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
circa 1985
Scope and Contents:
Harlem Renaissance Exhibit Tape provides a brief overview of the exhibition, The Renaissance: Black Arts of the Twenties, which presents the evolution and achievements of black creative expression beginning in Harlem and spreading across the United States during th 1920s. Literary, visual, performance, and cinematic achievements are highlighted. Including Marcus Garvey, James Weldon Johnson, Jessie Fauset, A. Philip Randolph, Claude McKay, Langston Hughes, Countee Cullen, Alain Locke, Paul Robeson, Fletcher Henderson, Bessie Smith, and Duke Ellington. Exhibit Tape also provides historical context of Harlem and the Renaissance, and highlights educational offerings provided by the Anacostia Neighborhood Museum, including artifacts, film footage, and programs.
Short exhibition film. Part of The Renaissance: Black Arts of the Twenties Audiovisual Records. AV003431: outtakes. AV003439: narration. AV003430: narration outtakes. AV003325 and AV003431: undated. AV003439 and AV003430: dated 19861110.
Biographical / Historical:
The exhibition - The Renaissance: Black Arts of the Twenties - showcased the evolution and achievements of the Renaissance, which was the explosion of literary, visual, performance, and cinematic creativity generated by black artists between the end of World War I and the early days of the Great Depression. Represented is the creativity of Marian Anderson, Richard Barthe, Countee Cullen, Aaron Douglas, Duke Ellington, Meta Warrick Fuller, Roland Hayes, Zora Neale Hurston, Malvin Gray Johnson, Alain Locke, "Jelly Roll" Morton, Paul Robeson, George Schuyler, and Wallace Thurman, among others. The exhibition, held at the Anacostia Neighborhood Museum, ran from September 1985 - December 1986.
Local Numbers:
ACMA AV003431

ACMA AV003439

ACMA AV003430
General:
Title transcribed from physical asset.
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Occupation:
Artists  Search this
Topic:
African Americans  Search this
African American women  Search this
Harlem Renaissance  Search this
African American authors  Search this
African American women authors  Search this
Authors  Search this
African American artists  Search this
Sculpture  Search this
Painting  Search this
African Americans in the performing arts  Search this
Musical theater  Search this
African American musicians  Search this
Musicians  Search this
Jazz  Search this
Museum exhibits  Search this
Genre/Form:
Video recordings
Sound recordings
Documentary films
Narration
Citation:
Harlem Renaissance Exhibit Tape, Exhibition Records AV03-024, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.03-024, Item ACMA AV003325
See more items in:
The Renaissance: Black arts of the Twenties exhibition records
The Renaissance: Black arts of the Twenties exhibition records / Series ACMA AV03-024: The Renaissance: Black arts of the Twenties audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7898671df-3cfc-40e1-a81c-8520921174e6
EDAN-URL:
ead_component:sova-acma-03-024-ref504

Race Movies: The Popular Art of the Black Renaissance

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Ellington, Duke, 1899-1974  Search this
Foster, William D., 1884-  Search this
Johnson, James Weldon, 1871-1938  Search this
Micheaux, Oscar, 1884-1951  Search this
Smith, Bessie, 1894-1937  Search this
Collection Creator:
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
1 Sound recording (open reel, 1/2 inch)
1 Sound recording (open reel, 1/4 inch)
2 Video recordings (VHS)
1 Video recording (MiniDV)
Type:
Archival materials
Sound recordings
Video recordings
Place:
Harlem (New York, N.Y.)
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
1985
Scope and Contents:
Short film in which narrator provided the history of African American contributions to the film industry and portrayal of African Americans in film from the silent film era through the Harlem Renaissance. Includes images and clips from The Birth of a Nation, The Birth of a Race, By Right of Birth, The Homesteader, and The Scar of Shame. Includes work and contributions of Bessie Smith, Duke Ellington, James Weldon Johnson, Oscar Micheaux, and Bill Foster, also known as William D. Foster, to the film industry.
Short film. Part of The Renaissance: Black Arts of the Twenties Audiovisual Records. AV003253-1 and AV003253-2: music only, no sound and/or very low volume sound between songs. AV003253-3: narraton only. AV003253-4: repetitious sound. AV003253-5: narration and music. Dated 19850906. AV003452: narration only, undated. AV002130 and AV002141: image and sound (narration and music) including movie clips, undated. AV005152: image and sound, original Dub from 3/4" [U-Matic] tape - remastered version, dated 19850905.
Biographical / Historical:
The exhibition - The Renaissance: Black Arts of the Twenties - showcased the evolution and achievements of the Renaissance, which was the explosion of literary, visual, performance, and cinematic creativity generated by black artists between the end of World War I and the early days of the Great Depression. Represented is the creativity of Marian Anderson, Richard Barthe, Countee Cullen, Aaron Douglas, Duke Ellington, Meta Warrick Fuller, Roland Hayes, Zora Neale Hurston, Malvin Gray Johnson, Alain Locke, "Jelly Roll" Morton, Paul Robeson, George Schuyler, and Wallace Thurman, among others. The exhibition, held at the Anacostia Neighborhood Museum, ran from September 1985 - December 1986.
Local Numbers:
ACMA AV003253-2

ACMA AV003253-3

ACMA AV003253-4

ACMA AV003253-5

ACMA AV003452

ACMA AV002130

ACMA AV005152

ACMA AV002141
General:
Title transcribed from contents of recording.
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Topic:
African Americans  Search this
Harlem Renaissance  Search this
African Americans in the performing arts  Search this
Motion picture producers and directors  Search this
African American motion picture producers and directors  Search this
African American musicians  Search this
Musicians  Search this
Race films  Search this
Museum exhibits  Search this
Genre/Form:
Sound recordings
Video recordings
Citation:
Race Movies: The Popular Art of the Black Renaissance, Exhibition Records AV03-024, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.03-024, Item ACMA AV003253-1
See more items in:
The Renaissance: Black arts of the Twenties exhibition records
The Renaissance: Black arts of the Twenties exhibition records / Series ACMA AV03-024: The Renaissance: Black arts of the Twenties audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa71b1b718f-fa04-4b60-8420-4d7bb50a977b
EDAN-URL:
ead_component:sova-acma-03-024-ref505

Black Musical Revues of the Twenties

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Collection Creator:
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
2 Sound recordings (open reel, 1/4 inch)
Type:
Archival materials
Sound recordings
Narration
Place:
Harlem (New York, N.Y.)
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
1985
Scope and Contents:
Narrator speaks of the Black Musical Revues of the 1920s and the Golden Era of Broadway Musicals. He describes the music and dance of the black musical, including Shuffle-Along, Running Wild, Chocolate Dandies, Black Birds, Hot Chocolates. Individual singers, dancers, musicians, composers, playwrights, and lyrists are profiled.
Narration. AV003306 and AV003374-2: same content. AV003374-1: same content as other two assets but consistent beeping throughout recording. Part of The Renaissance: Black Arts of the Twenties Audiovisual Records. AV003306: undated. AV003374: dated 19850823.
Biographical / Historical:
The exhibition - The Renaissance: Black Arts of the Twenties - showcased the evolution and achievements of the Renaissance, which was the explosion of literary, visual, performance, and cinematic creativity generated by black artists between the end of World War I and the early days of the Great Depression. Represented is the creativity of Marian Anderson, Richard Barthe, Countee Cullen, Aaron Douglas, Duke Ellington, Meta Warrick Fuller, Roland Hayes, Zora Neale Hurston, Malvin Gray Johnson, Alain Locke, "Jelly Roll" Morton, Paul Robeson, George Schuyler, and Wallace Thurman, among others. The exhibition, held at the Anacostia Neighborhood Museum, ran from September 1985-December 1986.
Local Numbers:
ACMA AV003374-1

ACMA AV003374-2
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Topic:
African Americans  Search this
Harlem Renaissance  Search this
African Americans in the performing arts  Search this
Musicals  Search this
Museum exhibits  Search this
Genre/Form:
Sound recordings
Narration
Citation:
Black Musical Revues of the Twenties, Exhibition Records AV03-024, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.03-024, Item ACMA AV003306
See more items in:
The Renaissance: Black arts of the Twenties exhibition records
The Renaissance: Black arts of the Twenties exhibition records / Series ACMA AV03-024: The Renaissance: Black arts of the Twenties audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa79d38a50a-63e7-4609-96e7-901c0f05ec21
EDAN-URL:
ead_component:sova-acma-03-024-ref506

Morgan and Marvin Smith Audiovisual Collection

Creator:
Smith, Morgan and Marvin, b. 1910  Search this
Names:
Anacostia Community Museum  Search this
Center for African American History & Culture (U.S.)  Search this
Smith, Marvin, 1910-2003  Search this
Extent:
481 Sound recordings (203 audio cassette sound recordings ; 6 vinyl sound recordings ; 272 open reel 1/4" sound recordings)
1 Floppy disc
209 Video recordings (21 16mm film prints ; 188 video recordings)
23 Linear feet (27 boxes)
Type:
Collection descriptions
Archival materials
Sound recordings
Floppy discs
Video recordings
Place:
Harlem (New York, N.Y.)
Date:
circa 1954-1990
bulk 1970-1980
Scope and Contents note:
Morgan and Marvin Smith, twin brothers who lived and worked in Harlem, NY, are regarded as the premiere photographers of the area from the 1930s-1950s. The two brothers pursued many creative outlets outside of photography, including painting, film, and
Related Archival Materials note:
Morgan and Marvin Smith's photograph collection is housed at the New York Public Library's Schomburg Center for Research in Black Culture in New York City.
Provenance:
This collection was donated to the Center for African American History and Culture, a Smithsonian Initiative which operated in the 1990s before merging with the Anacostia Museum.
Restrictions:
Use of the materials requires an appointment. Many materials in the collection are inaccessible due to their obsolete formats and fragile state. Please contact the archivist at ACMarchives@si.edu.
Occupation:
Artists  Search this
Topic:
African Americans  Search this
African American photographers  Search this
Music  Search this
Genre/Form:
Video recordings
Sound recordings
Citation:
Morgan and Marvin Smith Audiovisual Collection, Anacostia Community Museum Archives, Smithsonian Institution
Identifier:
ACMA.09-012
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa717481d36-0c02-418d-9a67-b523b149f9cf
EDAN-URL:
ead_collection:sova-acma-09-012

Church Songs of Black Americans 1740 - 1877

Creator:
Smithsonian Institution  Search this
Smith, Edward D.  Search this
Boyer, Horace Clarence, 1935-  Search this
Anacostia Museum  Search this
The Media Exchange, Inc.  Search this
Names:
African Harmonic Society (New York, N.Y.)  Search this
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Fifteenth Street Presbyterian Church (Washington, D.C.)  Search this
First African Presbyterian Church (New York, N.Y.)  Search this
First African Presbyterian Church (Philadelphia, Pa.)  Search this
Jubilee Singers  Search this
Mother African Methodist Episcopal Zion Church (New York, N.Y.)  Search this
Mother Bethel African Methodist Episcopal Church (Philadelphia, Pa.)  Search this
Shiloh Baptist Church (Washington, D.C.)  Search this
Society of Negroes  Search this
St. George's United Methodist Church (Philadelphia, Pa.)  Search this
St. Philip's Church (Harlem, New York, N.Y.)  Search this
St. Thomas' Church (Philadelphia, Pa.)  Search this
Allen, Richard, 1760-1831  Search this
Allen, William Francis, 1830-1889  Search this
Bliss, P. P. (Philip Paul), 1838-1876  Search this
Bradbury, William B. (William Batchelder), 1816-1868  Search this
Garnet, Henry Highland, 1815-1882  Search this
Garrison, Lucy McKim, 1842-1877  Search this
Hosier, Harry, approximately 1750-1806  Search this
Jones, Absalom, 1746-1818  Search this
Liele, George, approximately 1750-approximately 1825  Search this
Mather, Cotton, 1663-1728  Search this
Rush, Christopher, 1777-1873  Search this
Sankey, Ira David, 1840-1908  Search this
Spencer, Peter, 1782-1843  Search this
Turner, Henry McNeal, 1834-1915  Search this
Ware, Charles Pickard, 1840-1921  Search this
Watts, Isaac, 1674-1748  Search this
Wesley, John, 1703-1791  Search this
Collection Creator:
Smithsonian Institution. Anacostia Community Museum  Search this
Extent:
2 Video recordings (AV000962, AV003327, open reel, 1 inch)
1 Video recording (AV002642, VHS)
3 Sound recordings (AV002679, AV003345, AV003421, open reel, 1/4 inch)
1 Sound recording (AV003336, cartridge, 1/4 inch)
Type:
Archival materials
Video recordings
Sound recordings
Documentary films
Place:
United States
Date:
1994, c1987
Scope and Contents:
This short documentary provides an overview of the development of church music alongside the growth of African American churches in the eastern United States from the arrival of black Africans in Jamestown in 1619 through 1877 and the Reconstruction era. The evolution of church music within African American churches included the formation of music programs and performances, hymnals, choirs, negro spirituals, and music education as well as the addition of organs to accompany the singing of psalms, hymns, and anthems. During the Great Awakening of the 1730s and 1740s, the Christianization of slaves and Africanization of Protestant hymns swept through the American colonies. European Christianity and the emotionalism of the African homeland were combined during the Second Awakening, which began in the late eighteenth century and lasted until the middle of the nineteenth century. The history of church music created by urban and rural congregations within New England and Southern states is explored.
Short documentary. Part of Climbing Jacob's Ladder Audiovisual Records. Complete production: AV000962, AV003327. Production elements: AV002679 [narration], AV003345 [outtakes - sound], AV003421 [music], AV003336 [music]. AV003421: 6 songs including We Are Climbing Jacob's Ladder [also known as Jacob's Ladder] and Battle Hymn of the Republic [also known as Glory! Glory! Hallelujah!]. AV003336: 2 recordings of We Are Climbing Jacob's Ladder. Dated 19940923 [AV000962]. Undated [all other recordings].
Biographical / Historical:
Church Songs of Black Americans 1740 - 1877 was created alongside the Climbing Jacob's Ladder: The Rise of Black Churches in Eastern American Cities, 1740 - 1877 exhibition which explored the growth and central role of African American churches during the 18th- and 19th-centuries in the eastern United States: Boston, Savannah, New York, Philadelphia, Baltimore, Washington, and Richmond. The exhibition was organized by the Anacostia Museum and held there from October 1987 to October 1988.
Local Numbers:
ACMA AV003327

ACMA AV002679

ACMA AV003345

ACMA AV003421

ACMA AV003336

ACMA AV002642
General:
Title transcribed from opening credits of video recording.
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at ACMarchives@si.edu.
Topic:
African Americans  Search this
African American churches  Search this
Churches  Search this
Church history  Search this
Religion  Search this
Church music  Search this
Music  Search this
African American choirs  Search this
Choirs (Music)  Search this
Spirituals (Songs)  Search this
Shape-note singing  Search this
Music -- Instruction and study  Search this
Slavery  Search this
Slaves  Search this
Jacob's ladder (Biblical dream)  Search this
Genre/Form:
Video recordings
Sound recordings
Documentary films
Citation:
Church Songs of Black Americans 1740 - 1877, Exhibition Records AV03-036, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.03-036, Item ACMA AV000962
See more items in:
Climbing Jacob's Ladder: the Rise of Black Churches in Eastern American cities, 1740 - 1877 Exhibition Records
Climbing Jacob's Ladder: the Rise of Black Churches in Eastern American cities, 1740 - 1877 Exhibition Records / Series 3: Audiovisual records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa758197b71-2e48-44df-a550-1ddb005d8c1c
EDAN-URL:
ead_component:sova-acma-03-036-ref885

Community Forum: Living the Legacy: Revitalizing Upper Manhattan's Cultural Economy

Creator:
Anacostia Community Museum  Search this
Names:
Anacostia Community Museum  Search this
Collection Creator:
Anacostia Community Museum  Search this
Extent:
2 Sound recordings (audio cassette)
1 Sound recording (DAT)
Type:
Archival materials
Sound recordings
Interviews
Place:
Harlem (New York, N.Y.)
New York (N.Y.)
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
2008
Scope and Contents:
Maurine D. Knighton spoke on successes as well as challenges in economic revitalization of the communities in Upper Manhattan in New York City. She discussed her work in supporting and sustaining cultural organizations in Central and West Harlem, East Harlem, Washington Heights, and Inwood. Maurine D. Knight was the Senior Vice President for Programs and Nonprofits at The Upper Manhattan Empowerment Zone and Development Corporation. The event was held on April 28, 2008 at the Anacostia Community Museum.
Lecture. Sound only. Part of the ACM Community Issues Series, which is part of the 40th Anniversary Exhibition titled 'East of the River: Continuity and Change.' Dated 20080428.
Local Numbers:
ACMA AV005082_B

ACMA AV005083

ACMA AV005079
General:
Title transcribed from event flyer.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Topic:
African Americans  Search this
Communities  Search this
Neighborhoods  Search this
African American neighborhoods  Search this
Community development, Urban  Search this
Economic development  Search this
Nonprofit organizations  Search this
Genre/Form:
Sound recordings
Interviews
Citation:
Living the Legacy: Revitalizing Upper Manhattan's Cultural Economy, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.03-052, Item ACMA AV005082_A
See more items in:
East of the River: Continuity and Change Exhibition Records
East of the River: Continuity and Change Exhibition Records / Series 3: Interviews
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa78426ce5f-d5c0-48d4-996c-84c016277902
EDAN-URL:
ead_component:sova-acma-03-052-ref544

[Early automobiles in New York City. Active no. 10082 : photonegative.]

Publisher:
Underwood & Underwood  Search this
Collection Creator:
Underwood & Underwood  Search this
Extent:
1 Item (4" x 5".)
Type:
Archival materials
Photographs
Place:
Harlem (New York, N.Y.) -- 20th century
New York (N.Y.)
Local Numbers:
RSN 18711
General:
Company catalog card included.
Currently stored in box 3.1.72 [220A].
Orig. no. A-1.
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Automobiles -- New York -- 1890-1920.  Search this
Streets -- New York (N.Y.)  Search this
Genre/Form:
Photographs -- 1900-1910 -- Black-and-white negatives -- Glass
Collection Citation:
Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.
See more items in:
Underwood & Underwood Glass Stereograph Collection
Underwood & Underwood Glass Stereograph Collection / Series 3: Underwood & Underwood glass plates / 3.1: Underwood and Underwood Negatives / RSN Numbers 18640, 18647-18767
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep83dc5d5ec-66ca-4fa1-9e92-a912b2d25cfd
EDAN-URL:
ead_component:sova-nmah-ac-0143-ref15128

[Early automobiles in New York City. Active no. 10085 : photonegative.]

Publisher:
Underwood & Underwood  Search this
Collection Creator:
Underwood & Underwood  Search this
Extent:
1 Item (4" x 5".)
Type:
Archival materials
Photographs
Place:
Harlem (New York, N.Y.) -- 20th century
New York (N.Y.)
Local Numbers:
RSN 18720
General:
Company catalog card included.
Currently stored in box 3.1.72 [220A].
Orig. no. A-1.
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Automobiles -- New York -- 1890-1920.  Search this
Streets -- New York (N.Y.)  Search this
Genre/Form:
Photographs -- 1900-1910 -- Black-and-white negatives -- Glass
Collection Citation:
Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.
See more items in:
Underwood & Underwood Glass Stereograph Collection
Underwood & Underwood Glass Stereograph Collection / Series 3: Underwood & Underwood glass plates / 3.1: Underwood and Underwood Negatives / RSN Numbers 18640, 18647-18767
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8cbee5b19-e678-49fe-b53d-3454b9244c1c
EDAN-URL:
ead_component:sova-nmah-ac-0143-ref15137

Harlem

Artist:
Morris Huberland, born Warsaw, Poland 1909-died New York City 2003  Search this
Medium:
gelatin silver print
Dimensions:
image: 9 3/8 × 7 3/8 in. (23.8 × 18.7 cm) sheet: 10 × 8 in. (25.4 × 20.3 cm)
Type:
Photography
Date:
1950s
Topic:
Figure male\child  Search this
Cityscape\New York\Harlem  Search this
Architecture Exterior  Search this
Credit Line:
Smithsonian American Art Museum, Gift of Howard Greenberg
Object number:
2020.67.28
Restrictions & Rights:
Usage conditions apply
See more items in:
Smithsonian American Art Museum Collection
Department:
Graphic Arts
Data Source:
Smithsonian American Art Museum
GUID:
http://n2t.net/ark:/65665/vk71bdc8fd2-5418-4a18-9e9a-871b9cd08576
EDAN-URL:
edanmdm:saam_2020.67.28

Wifredo Lam and His Contemporaries (1992), Studio Museum in Harlem, New York, N.Y.

Collection Creator:
Blanc, Giulio V.  Search this
Container:
Box 8, Folder 83-90
Type:
Archival materials
Date:
1989-1994, undated
Scope and Contents note:
(letters from Studio Museum in Harlem outlining terms of agreement for Blanc and co-curator, Julia Herzberg, letters from Blanc to The Americas Society, Galerie Albert Loeb and others, letters to Blanc and the Studio Museum from Wifredo Lams' widow, Lou Larin-Lam, NEA planning proposal, exhibition checklist, exhibition announcements, press releases, newspaper clippings and other material)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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:
Giulio V. Blanc papers, 1920-1995. Smithsonian Institution. Archives of American Art.
See more items in:
Giulio V. Blanc papers
Giulio V. Blanc papers / Series 4: Exhibition Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d7516c14-c6e7-4d48-8530-2d9c523f0c2f
EDAN-URL:
ead_component:sova-aaa-blangiul-ref1102

Dawoud Bey seeing deeply

Title:
Seeing deeply
Photographer:
Bey, Dawoud 1953-  Search this
Physical description:
394 pages illustrations (some color) 32 cm
Type:
Books
Pictorial works
Illustrated books
Illustrated works
History
Ouvrages illustrés
Place:
United States
États-Unis
Harlem (New York, N.Y.)
New York (State)
New York
Harlem
Date:
2018
Topic:
Photography, Artistic  Search this
Photography--Social aspects--History  Search this
Portrait photography  Search this
African American photographers  Search this
Photographie artistique  Search this
Photographie--Aspect social--Histoire  Search this
Portraits (Photographie)  Search this
Photographes noirs américains  Search this
art photography  Search this
21.42 history of photographic art  Search this
Photography--Social aspects  Search this
Person of Color  Search this
Porträtfotografie  Search this
Sofortbildfotografie  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1154725

Modify Your Search







or


Narrow By