Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Musical performances can be a part of social movements in a number of different ways. From marked silence through the revival of old musical forms to the composition of new genres, musical performances have both expressed and created feelings of community, have defined central concerns and aspirations, knit small communities together and projected messages to large international audiences. Music can be an effective resource for social movements because of the variety of ways it can be used - with subtlety or bluntness - and its ability to be heard in spite of censorship. Forged, transformed, and even abandoned in the crucible of struggle, music is part of the complex web of sounds and signs with which we experience and make history.
In the Musics of Struggle program, Fesival visitors could learn how different communities, in the United States and abroad, used traditional music, song, chant, and movement to make their voices heard. Recent years had seen profound changes in the social order resulting from mobilizations of popular support. Traditional music had taken on a dramatic, culturally dynamic role in some of these mobilizations. Old songs and tunes newly recontextualized or revalorized provided a link between the continuity of the past and the challenge of the present. Sometimes forgotton was how powerful could be music that articulates a sense of moral purpose and moves a community, a people, or a nation to transform itself. The 1990 program demonstrated just that power to transform, with performances ranging from the songs of the Freedom Singers to the chants, in sign language, of students in Gallaudet's 1988 "Deaf President Now" Movement.
Jacquelin Peters was Curator and Anthony Seeger was Program Consultant; Arlene L. Reiniger served as Program Assistant and Lori Taylor as Song Collection Coordinator.
Musics of Struggle was made possible, in part, by the Music Performance Trust Funds, the Inter-American Foundation, and the Arab American Cultural Foundation.
Presenters:
Barry Bergey, Nahida Dajani, Amy Horowitz, Merhdad Izady, Worth Long, Mick Moloney, Menzi Plaatje, Maria Isabel Prieto
Participants:
Participants
Agustin Lira & "Alma", Chicano Music
David Gomez, percussion, Fresno, California
Agustin Lira, rhythm guitar, lead vocals, Fresno, California
Mike Madrigal, upright bass, Redwood City, California
Harold Muñiz, congas, timbales, Sacramento, California
Ismael Rodriguez, percussion, vocals, Oakland, California
Patricia Wells Solórzano, guitar, vocals, Fresno, California
"Deaf President Now", Movement Music of the Hearing Impaired
Mary Malzkuhn, storytelling, New Carrollton, Maryland
Barbara Riggs, storytelling, Greenbelt, Maryland
Steve Ryan, storytelling, College Park, Maryland
Feria Educativa, Quichua Music
Carlos Ajitimbay Cruz, 1961-, cuerdas, percussion, Riobamba, Ecuador
María Natividad Ajitimbay Cruz, guitar, vocals, Riobamba, Ecuador
Juan Pablo Aucancela, cuerdas, percussion, Riobamba, Ecuador
José Manuel León Bastidas, percussion, guitar, charango, Riobamba, Ecuador
Victor Manuel León Bastidas, cuerdas, percussion, Riobamba, Ecuador
Manuel Morochco Gualán, cuerdas, viento, percussion, Riobamba, Ecuador
Pedro Pablo Cayambe Morocho, viento, cuerdas, percussion, Riobamba, Ecuador
Paula Paca Simbaña, percussion, vocals, Riobamba, Ecuador
Freedom Singers, Music of the U.S. Civil Rights Movement
Bettie Mae Fikes, vocals, tambourine, Carson, California
Rutha Harris, vocals, tambourine, Albany, Georgia
Charles Neblett, vocals, tambourine, Russellville, Kentucky
Cordell Hull Reagon, 1943-1996, vocals, tambourine, Berkeley, California
Hazel Dickens & Friends, U.S. Coal Miners' Music
Tom Adams, banjo, Westminster, Maryland
Dudley Connell, guitar, Germantown, Maryland
Hazel Dickens, guitar, vocals, Washington, D.C.
Tad Marks, fiddle, Ellicott City, Maryland
Dave McLaughlin, 1958-, mandolin, Winchester, Virginia
Barry Mitterhoff, mandolin, Paterson, New Jersey
Richard Underwood, 1956-, banjo, Rockville, Maryland
Marshall Wilborn, bass, Winchester, Virginia
Earl Yager, bass, Codorus, Pennsylvania
Irish Music
Frank Harte, vocals, Chapelizod, Dublin
Mick Moloney, guitar, Philadelphia, Pennsylvania
Israeli Music
Sarah Alexander, 1942-, accordion, guitar, vocals, Paris, France
Kurdish Music
Temo Ezzadin, tambour, vocals, Paris, France
Sabreen, Palestinian Music
Yacoub Abou Arafeh, percussion, Jerusalem, Israel
Issa Freij, guitar, Jerusalem, Israel
Kamilya Jubran, vocals, zither, Jerusalem, Israel
Said Murad, composer, lute, Jerusalem, Israel
Raed Saadeh, manager, Jerusalem, Israel
Odeh Turjman, bouzouki, Jerusalem, Israel
South African Double Quartet Music
Sipho Bavuma, idiophone, vocals, Jersey City, New Jersey
Linda Bukhosini, idiophone, vocals, New York, New York
Jerry Mofokeng, idiophone, vocals, New York, New York
Tsepo Mokane, idiophone, vocals, New York, New York
Thandi Pase, idiophone, vocals, New York, New York
Sizakele Mtimkulu Seheri, idiophone, vocals, New York, New York
Silindile Sokutu, idiophone, vocals, New York, New York
Mbongiseni "Champ" Tshabalala, idiophone, vocals, Jersey City, New Jersey
Carolanne Carawan, workshops, New Market, Tennessee
Guy Carawan, workshops, New Market, Tennessee
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: 1990 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Recorded in: Washington (D.C.), United States, June 26, 1981.
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 27, 1981.
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 28, 1981.
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 28, 1981.
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, July 1, 1981.
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, July 2, 1981.
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, July 3, 1981.
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.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The 1981 Festival celebrated the skills and traditions of a cultural minority who, despite their large numbers, frequently pass unnoticed: deaf and hearing-impaired Americans. Recent surveys showed that nearly 14 million Americans had significant hearing loss. But it was not hearing impairment itself that made the deaf a cultural group in their own right: it was language and social interaction - the heart of any community. In recognition of the International Year of Disabled Persons, the 1981 Festival of American Folklife featured a program presenting the folklore and folklife of the deaf.
To be sure, some deaf people chose not to participate in Deaf Culture. These individuals never took up sign communication and mingled very little with deaf social groups, preferring to identify themselves more closely with hearing society. But the great majority of the profoundly deaf - at least 1.5 million people in 1981 - used sign language with one another and cherished it, accepted Deaf Culture and society as a positive value, and shared with their fellows the stories, customs, and pastimes that proclaimed that their way of life is something to be proud of.
No matter where they live or what jobs they hold, no matter what their race, religion, age, or gender, deaf people share similar outlooks and problems living in a hearing world whose messages are garbled and invisible, trying to speak a language never heard, contending daily with stereotypes of the deaf as irrational simpletons to be avoided or, worse yet, to be paternalistically protected. Tales passed from hand to hand in the community powerfully contradict the outside stereotypes. In such stories - and there is a vast repertoire of them - the deaf assert to each other their own strength and resourcefulness and achievements, laugh at situations in which the hearing turn out to be dependent, misunderstanding bumblers, and share rueful chuckles at the "hazards of deafness." Other stories insist that Deaf Culture be recognized and respected.
During the Festival, deaf participants performed their signlore, told stories and jokes emerging from Deaf Culture, and discussed their experiences growing up deaf. American Sign Language was taught in workshops to Festival visitors. Working models of the homemade devices that deaf people have invented to substitute for alarm clocks and doorbells were demonstrated, along with the special technology of deaf culture such as a TTY, a machine that allows deaf people to make phone calls.
A special area for collecting deaf folklore on videotape was available to all deaf visitors to the Festival, and they were invited to come to the Deaf Folklore area and share any jokes, riddles, stories, or puns with Smithsonian researchers.
Participants:
William Ennis, signlore and storytelling, Greenbelt, Maryland
Tom Fields, demonstration of deaf technology, storytelling, Rockville, Maryland
Jack R. Gannon, signlore and storytelling, Silver Spring, Maryland
Barbara Kannapell, signlore and storytelling, Washington, D.C.
Ella Mae Lentz, signlore poetry, lecturer, Landover Hills, Maryland
Don Pettingill, signlore and storytelling, Seabrook, Maryland
Jan de Lap and Studio 101, traditional folk theater, Washington, D.C.
John Mark Ennis, interpreter, Cheverly, Maryland
Charles M. Dietz, interpreter, Alexandria, Virginia
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: 1981 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
These records are the official minutes of the Board. They are compiled at the direction of the Secretary of the Smithsonian, who is also secretary to the Board, after
approval by the Regents' Executive Committee and by the Regents themselves. The minutes are edited, not a verbatim account of proceedings. For reasons unknown, there are no
manuscript minutes for the period from 1857 through 1890; and researchers must rely on printed minutes published in the Annual Report of the Smithsonian Institution instead.
Minutes are transferred regularly from the Secretary's Office to the Archives. Minutes less than 15 years old are closed to researchers. Indexes exist for the period from
1907 to 1946 and can be useful.
Historical Note:
The Smithsonian Institution was created by authority of an Act of Congress approved August 10, 1846. The Act entrusted direction of the Smithsonian to a body called
the Establishment, composed of the President; the Vice President; the Chief Justice of the United States; the secretaries of State, War, Navy, Interior, and Agriculture; the
Attorney General; and the Postmaster General. In fact, however, the Establishment last met in 1877, and control of the Smithsonian has always been exercised by its Board of
Regents. The membership of the Regents consists of the Vice President and the Chief Justice of the United States; three members each of the Senate and House of Representatives;
two citizens of the District of Columbia; and seven citizens of the several states, no two from the same state. (Prior to 1970 the category of Citizen Regents not residents
of Washington consisted of four members). By custom the Chief Justice is Chancellor. The office was at first held by the Vice President. However, when Millard Fillmore succeeded
to the presidency on the death of Zachary Taylor in 1851, Chief Justice Roger Brooke Taney was chosen in his stead. The office has always been filled by the Chief Justice
since that time.
The Regents of the Smithsonian have included distinguished Americans from many walks of life. Ex officio members (Vice President) have been: Spiro T. Agnew, Chester A.
Arthur, Allen W. Barkley, John C. Breckenridge, George Bush, Schuyler Colfax, Calvin Coolidge, Charles Curtis, George M. Dallas, Charles G. Dawes, Charles W. Fairbanks, Millard
Fillmore, Gerald R. Ford, John N. Garner, Hannibal Hamlin, Thomas A. Hendricks, Garret A. Hobart, Hubert H. Humphrey, Andrew Johnson, Lyndon B. Johnson, William R. King, Thomas
R. Marshall, Walter F. Mondale, Levi P. Morton, Richard M. Nixon, Nelson A. Rockefeller, Theodore Roosevelt, James S. Sherman, Adlai E. Stevenson, Harry S. Truman, Henry A.
Wallace, William A. Wheeler, Henry Wilson.
Ex officio members (Chief Justice) have been: Roger B. Taney, Salmon P. Chase, Nathan Clifford, Morrison R. Waite, Samuel F. Miller, Melville W. Fuller, Edward D. White,
William Howard Taft, Charles Evans Hughes, Harlan F. Stone, Fred M. Vinson, Earl Warren, Warren E. Burger.
Regents on the part of the Senate have been: Clinton P. Anderson, Newton Booth, Sidney Breese, Lewis Cass, Robert Milledge Charlton, Bennet Champ Clark, Francis M. Cockrell,
Shelby Moore Cullom, Garrett Davis, Jefferson Davis, George Franklin Edmunds, George Evans, Edwin J. Garn, Walter F. George, Barry Goldwater, George Gray, Hannibal Hamlin,
Nathaniel Peter Hill, George Frisbie Hoar, Henry French Hollis, Henry M. Jackson, William Lindsay, Henry Cabot Lodge, Medill McCormick, James Murray Mason, Samuel Bell Maxey,
Robert B. Morgan, Frank E. Moss, Claiborne Pell, George Wharton Pepper, David A. Reed, Leverett Saltonstall, Hugh Scott, Alexander H. Smith, Robert A. Taft, Lyman Trumbull,
Wallace H. White, Jr., Robert Enoch Withers.
Regents on the part of the House of Representatives have included: Edward P. Boland, Frank T. Bow, William Campbell Breckenridge, Overton Brooks, Benjamin Butterworth,
Clarence Cannon, Lucius Cartrell, Hiester Clymer, William Colcock, William P. Cole, Jr., Maurice Connolly, Silvio O. Conte, Edward E. Cox, Edward H. Crump, John Dalzell, Nathaniel
Deering, Hugh A. Dinsmore, William English, John Farnsworth, Scott Ferris, Graham Fitch, James Garfield, Charles L. Gifford, T. Alan Goldsborough, Frank L. Greene, Gerry Hazleton,
Benjamin Hill, Henry Hilliard, Ebenezer Hoar, William Hough, William M. Howard, Albert Johnson, Leroy Johnson, Joseph Johnston, Michael Kirwan, James T. Lloyd, Robert Luce,
Robert McClelland, Samuel K. McConnell, Jr., George H. Mahon, George McCrary, Edward McPherson, James R. Mann, George Perkins Marsh, Norman Y. Mineta, A. J. Monteague, R.
Walton Moore, Walter H. Newton, Robert Dale Owen, James Patterson, William Phelps, Luke Poland, John Van Schaick Lansing Pruyn, B. Carroll Reece, Ernest W. Roberts, Otho Robards
Singleton, Frank Thompson, Jr., John M. Vorys, Hiram Warner, Joseph Wheeler.
Citizen Regents have been: David C. Acheson, Louis Agassiz, James B. Angell, Anne L. Armstrong, William Backhouse Astor, J. Paul Austin, Alexander Dallas Bache, George
Edmund Badger, George Bancroft, Alexander Graham Bell, James Gabriel Berrett, John McPherson Berrien, Robert W. Bingham, Sayles Jenks Bowen, William G. Bowen, Robert S. Brookings,
John Nicholas Brown, William A. M. Burden, Vannevar Bush, Charles F. Choate, Jr., Rufus Choate, Arthur H. Compton, Henry David Cooke, Henry Coppee, Samuel Sullivan Cox, Edward
H. Crump, James Dwight Dana, Harvey N. Davis, William Lewis Dayton, Everette Lee Degolyer, Richard Delafield, Frederic A. Delano, Charles Devens, Matthew Gault Emery, Cornelius
Conway Felton, Robert V. Fleming, Murray Gell-Mann, Robert F. Goheen, Asa Gray, George Gray, Crawford Hallock Greenwalt, Nancy Hanks, Caryl Parker Haskins, Gideon Hawley,
John B. Henderson, John B. Henderson, Jr., A. Leon Higginbotham, Jr., Gardner Greene Hubbard, Charles Evans Hughes, Carlisle H. Humelsine, Jerome C. Hunsaker, William Preston
Johnston, Irwin B. Laughlin, Walter Lenox, Augustus P. Loring, John Maclean, William Beans Magruder, John Walker Maury, Montgomery Cunningham Meigs, John C. Merriam, R. Walton
Moore, Roland S. Morris, Dwight W. Morrow, Richard Olney, Peter Parker, Noah Porter, William Campbell Preston, Owen Josephus Roberts, Richard Rush, William Winston Seaton,
Alexander Roby Shepherd, William Tecumseh Sherman, Otho Robards Singleton, Joseph Gilbert Totten, John Thomas Towers, Frederic C. Walcott, Richard Wallach, Thomas J. Watson,
Jr., James E. Webb, James Clarke Welling, Andrew Dickson White, Henry White, Theodore Dwight Woolsey.
Quotes and excerpts must be cited as follows: Oral history interview with Joan Ankrum, 1997 November 5-1998 February 4. Archives of American Art, Smithsonian Institution.
An interview of Joan Ankrum conducted 1997 November 5-1998 February 4, by Paul Karlstrom, for the Archives of American Art, in Pasadena, California.
Ankrum discusses her status as a role model for women due to her independence in leaving a difficult marriage and establishing a new career; her theater and film career and association with the Pasadena Playhouse; her discovery of Morris Broderson, the hearing-impaired nephew of her husband Morris Ankrum; encouraging Broderson's artistic talent and efforts to help him learn to speak and interact socially; her career as director of the Ankrum Gallery in Los Angeles and the artists, collectors and dealers she became involved with, among them Lorser Feitelson and Helen Lundeberg, Joseph Hirshhorn, Martha Jackson and Jake Zeitlin.
Biographical / Historical:
Joan Ankrum (1913-2001) was a gallery owner from Los Angeles, California.
General:
Originally recorded on 6 sound cassettes. Reformatted in 2010 as 24 digital wav files. Duration is 5 hrs., 50 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Art dealers -- California -- Los Angeles Search this
Quotes and excerpts must be cited as follows: Oral history interview with Morris Broderson, 1998 March 11 and 13. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Study and teaching -- California Search this
An interview of Morris Broderson conducted 1998 March 11 and 13, by Paul J. Karlstrom, for the Archives of American Art, at Broderson's home, in Los Angeles, California.
Broderson discusses his childhood and family background and the way in which he saw the world as a congenitally hearing impaired person; his first meeting with Joan Ankrum, who was married at the time to Broderson's uncle, Morris Ankrum; Ankrum's special interest in him, recognizing a talent for drawing, encouraging his learning to speak, and arranging art lessons at an early age; his recognition of Ankrum's marital unhappiness and encouragement for her to leave her husband; his art education through private lessons with Francis De Erdely; enrollment at the University of Southern California, Los Angeles; his perspective on events in his relationship with Ankrum that led her to abandon her career as an actress and become an art dealer in order to show Broderson's work; exhibitions at the Ankrum Gallery; his favorite themes and subjects in his work and why he used them; his homosexuality and its possible reflection in his art; credit to Ankrum for her key role in his development as an artist; the role of his deafness in his interaction with the world and to a lesser extent, his artistic expression, but rejecting the idea that it was a determining factor; and his current series of paintings and hopes for the future.
Biographical / Historical:
Morris Gaylord Broderson (1928-2011) was a painter from Los Angeles, California.
General:
Originally recorded on 3 sound tape cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 8 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics, and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Art -- Study and teaching -- California Search this
Exhibits, NASM, General, A/V Scripts for Hearing Impaired (1981) [Documents]
Collection Creator:
National Air and Space Museum. Archives Division. Search this
Type:
Archival materials
Collection Restrictions:
The majority of the Archives Department's public reference requests can be answered using material in these files, which may be accessed through the Reading Room at the Steven F. Udvar-Hazy Center in Chantilly, Virginia. More specific information can be requested by contacting the Archives Research Request.
Exhibits, NASM, General, A/V Scripts for Hearing Impaired (1981) [Documents]
Collection Creator:
National Air and Space Museum. Archives Division. Search this
Type:
Archival materials
Collection Restrictions:
The majority of the Archives Department's public reference requests can be answered using material in these files, which may be accessed through the Reading Room at the Steven F. Udvar-Hazy Center in Chantilly, Virginia. More specific information can be requested by contacting the Archives Research Request.
Exhibits, NASM, General, A/V Scripts for Hearing Impaired (1981) [Documents]
Collection Creator:
National Air and Space Museum. Archives Division. Search this
Type:
Archival materials
Collection Restrictions:
The majority of the Archives Department's public reference requests can be answered using material in these files, which may be accessed through the Reading Room at the Steven F. Udvar-Hazy Center in Chantilly, Virginia. More specific information can be requested by contacting the Archives Research Request.
Exhibits, NASM, General, A/V Scripts for Hearing Impaired (1981) [Photos]
Collection Creator:
National Air and Space Museum. Archives Division. Search this
Type:
Archival materials
Collection Restrictions:
The majority of the Archives Department's public reference requests can be answered using material in these files, which may be accessed through the Reading Room at the Steven F. Udvar-Hazy Center in Chantilly, Virginia. More specific information can be requested by contacting the Archives Research Request.
