The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material, including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.
Scope and Contents:
The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.
Biographical material includes documentation of awards received by White, biographical notes, resumes, White's high school report cards, interview transcripts and a sound recording of an interview, and records related to Elizabeth Catlett from the 1940s.
Correspondence includes scattered letters from family and friends but is primarily professional. White's correspondence was often conducted by Benjamin Horowitz and, occasionally, by Frances White, although some scattered original drafts of letters by White can also be found in this series. The series documents many aspects of White's career including: his relationship with Horowitz and Heritage Gallery as his representative; sales, loans, and exhibitions of White's artwork at many museums, galleries, and art institutions; the publication of his work in journals, magazines, and books, and it's use in the film and music industries; and his relationships with others in the arts and the entertainment industry including Richmond Barthé, Margaret Burroughs, Bing Davis, David Driskell, Lorraine Hansberry, and Harry Belafonte's company, Belafonte Enterprises.
Writings by White include two addresses made to the Annual Conference of Negro Artists, statements on his philosophy of art, and an autobiographical essay. Writings by others include drafts of Benjamin Horowitz's book Images of Dignity:The Drawings of Charles White.
White's professional activities are further documented through records related to the many boards, committees, and exhibition and art contest juries he served on, as well as lectures he delivered, and panels and symposiums he participated in. White's professional files also contain records relating to fellowships he received and document projects such as designs for books, films, and magazines.
White's teaching files primarily relate to Otis Art Institute and contain some records related directly to his work there as well as general faculty and board material. The records document, to some extent, White's role as spokesperson for the faculty and students during the transfer of the Otis charter to Parsons School of Design in 1979. Documentation of White's association with Howard University is minimal and includes letters related to his appointment and resignation in 1978-1979.
Gallery and exhibition files document specific solo and group exhibitions and include records on two visits White made to Germany in 1974 and 1978.
Printed material includes announcements, exhibition catalogs, articles in journals, magazines, and news clippings, and publications with artwork by White that provide extensive coverage of White's career from the 1930s to his death. Also found is printed material collected by White on other artists, and on subjects of interest to him.
Three disbound scrapbooks provide compilations of printed material and occasional letters further documenting White's career. A small series of photographs includes holiday card photos of White, Frances White, and their two children, and photos of White and others taken at a workshop in 1969.
Throughout the collection there are folders containing notes written by Frances White, circa 1980-1981, which provide important contextual information about people, organizations and subjects in the collection, and sometimes highlight the racism White encountered, particularly during his early career. The dates of these notes are not included in folder dates.
Arrangement:
The collection is arranged as nine series.
Series 1: Biographical Material, circa 1934-1979 (Box 1; 0.2 linear feet)
Series 2: Correspondence, 1937-1984 (Boxes 1-4, 13; 3.64 linear feet)
Series 3: Writings, 1936-circa 1981 (Boxes 4-5; 0.45 linear feet)
Series 4: Professional Activities, circa 1942-1982 (Boxes 5-6, 13, OV 15; 1.81 linear feet)
Series 5: Teaching Files, 1950-1979 (Boxes 6, 13; 0.72 linear feet)
Series 6: Gallery and Exhibition Files, 1946-1980 (Box 7, Box 14; 0.98 linear feet)
Series 7: Printed Material, 1933-1987 (Boxes 8-14, OVs 15-17; 4.8 linear feet)
Series 8: Scrapbooks, 1936-1970s (Box 12; 0.15 linear feet)
Series 9: Photographic Material, 1940-1976 (Box 12; 0.15 linear feet)
Biographical / Historical:
Painter, printmaker, and educator, Charles W. White (1918-1979), was a prominent figure in the Chicago Black Renaissance and became one of the most celebrated and influential African American artists of the twentieth century. Born and raised in Chicago, Illinois, White lived and worked in California beginning in 1956, and taught at the Otis Art Institute from 1965 until his death.
White began painting at a young age, earning first prize in a nationwide high school art contest. He studied at the School of the Art Institute of Chicago, where he was awarded a full scholarship, from 1937-1938. After graduating from the school, White worked as a muralist for the Illinois Federal Arts Project sponsored by the Works Progress Administration from 1939 to 1940. He then received two fellowships from the Julius Rosenwald Foundation in 1942 and 1943 and created the mural The Contribution of the Negro to American Democracy at the Hampton Institute. From 1943-1945 he taught at the George Washington Carver School in New York City, and was artist-in-residence at Howard University in Washington, D.C., in 1945.
White's first marriage to Elizabeth Catlett ended in divorce and he married Frances Barrett in 1950. The couple relocated to Los Angeles where White was represented by Benjamin Horowitz's Heritage Gallery. White was widely exhibited in Los Angeles, and at the Art Institute of Chicago, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Newark Museum, the Santa Barbara Museum of Art, and elsewhere. Working primarily in black and white or sepia and white drawings, paintings, and lithographs, White's artwork was primarily figurative and depicted African American history, socio-economic struggles, and human relationships.
Charles White received a number of awards and honors and in 1972 he was the third African American artist to be elected a full member of the National Academy of Design.
Related Materials:
The Archives of American Art also holds the Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson, the Lucinda H. Gedeon research material on Charles W. White, and an oral history interview with Charles W. White conducted by Betty Hoag, March 9, 1965.
Separated Materials:
The Archives of American Art also holds microfilm of loaned materials (reels LA7 and 3099). Reel LA7 includes photographs of White, his work, and a career resume. Reel 3099 contains 31 items consisting of three travel diaries kept by Frances White, photographs and a recording of their trip to Russia in 1950, and 11 record album covers designed by Charles White. Loaned materials were returned to the lenders after microfilming and are not described in the collection container inventory.
Charles White's "Black Experience Archive," originally received with the papers, was donated to Howard University's Moorland-Springarn Research Center in 1985 at the request of Frances White.
Provenance:
Photographs on reel LA7 and material on reel 3099 were lent to the Archives of American Art for microfilming in 1965 and 1982, by Benjamin Horowitz, White's dealer, and by Frances White. Material on reel 2041 was donated by the George Arents Research Library, Syracuse University, 1976, who had originally received it from Horowitz. The remainder of the papers were donated by Charles White, 1975-1978, and after his death by Frances White and Benjamin Horowitz, 1981-1989.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The Sultanate of Oman lies on the east coast of the Arabian Peninsula, facing the Arabian Sea. Living at this crossroads between Asia, Africa, and the Mediterranean, Omanis have developed a complex culture that draws on the country's Arab roots as well as its long-standing contacts with India, East Africa, and the Middle East. For millennia, Oman has traded throughout the region. Its ships have sailed to Asia and Africa, and its caravans have traveled overland to the shores of the Mediterranean, contributing to the country's surprisingly cosmopolitan history.
In recent decades, Oman has undertaken numerous cultural preservation projects that recognize the fragility of local traditions in the face of globalization - even if global exchange was familiar throughout Oman's history. Oman knows that its place in world history has created a unique culture that deserves support. Encouragement of traditional music and crafts coupled with laws to preserve local architecture and historic sites have been the hallmark of policies that value the past and also anticipate the future. The reign of Sultan Qaboos bin Said and the Omani people's firm belief in Islam have united a people with broadly different experiences and histories. This cultural diversity is reflected in Oman's three vastly different environments - the desert, the oasis, and the sea. The Festival program used these three themes to illustrate how the country's complex culture reflects its people's responses to each environment.
Music in Omani society plays a role at every stage of a person's life. From birth, to coming of age and marriage, during professional life, and finally in death, an Omani is accompanied by traditional arts that express joy or pain or simply help with everyday work. Oman's traditional music is sustained by oral transmission between generations, and each region has its own unique forms. Songs and dances are performed during festivals and ceremonies throughout the country. Songs vary from region to region, north to south, from one environment to another. As Festival visitors could experience first-hand, songs of desert, oasis, and sea differ in purpose, content, and instrumentation.
Although the old is making way for the new in present-day Oman, progress is still a mantle worn lightly by a society that retains a strong commitment to tradition, culture, and heritage. The extent to which Omani craft products continue to have utility in daily life is quite remarkable, as is the extent to which craft producers continue to equate challenge with opportunity in the practice of their craft. Craft skills continue to be passed down from mother to daughter, father to son, and Oman remains among the few nations in the Middle East with a living heritage that remains relevant to both local populations and visitors. Festival visitors had the chance to observe craftspeople at work and to interact directly with them, breaking through barriers of language and distance.
In Oman, a Curatorial Committee included Hassan Mohammed Ali Al-Lawati (Chair), Riyadh Yousef Al Raisi, Majid Said Hilal Al Mahroqi, Khalfan Ahmed Al Barwani, Salim Adil Al Mamary, Abeer Abdullah Al Farsi, Abdullah Hilkal Al Dawodi, Adil Humaid Al Mur Al Alawi, and Saeed Sultan Al Busaidy. Richard Kennedy was Curator, and Saeed Sultan Al Busaidy and Mary N. Sebold were Program Coordinators. Marcia Dorr was Crafts Program Advisor; Khalfan Al-Barwani was Music Program Advisor; and Diana N'Diaye was Adornment Pavilion Program Advisor.
The program was produced in partnership with the Ministries of Heritage and Culture, Tourism, Information, and Foreign Affairs, and the Public Authority for Crafts Industries of the government of the Sultanate of Oman, and with the cooperation of the Middle East Institute (Washington, D.C.), and the Oman Heritage Gallery.
Presenters:
Jamal Ahmed Ghulam Al Balushi, Khalfan Ahmed Al Barwani, Asyah Al Buali, Mubarak Al Dawodi, Majid Al Harthy, Murtatha Abdul Khaliq Al Lawattia, Hamood Abdullah Al Waheibi, Enrico Derrico, Adam Dorr, Marcia Dorr, Neil Richardson, Muna Ritchie
Participants:
Craft Traditions
Aromatics and Pottery
Mahfoodha Hamed Said Al-Amri, 1962-, incense, Salalah, Oman
Muna Mohammed Mahad Al-Amri, 1960-, incense burners, Salalah, Oman
Ghaliya Ali Mohammed Al-Bas, 1945-, incense, Salalah, Oman
Maryam Ahmad Balhaj, perfume, Salalah, Oman
Calligraphy
Saleh Juma Muslem Al-Shukairi, 1977-, calligraphy, Muscat, Oman
Mohammed Kasim Nasser Al-Sayegh, 1971-, calligraphy, Muscat, Oman
Desert Camp
Nasra Nasser Saad Al-Batahari, 1976-, camel milking baskets, Shleem, Oman
Jawhara Said Ali Al-Duwaiki, 1966-, camel trappings, Ibra, Oman
Haniya Sultan Al-Waheibi, 1952-, camel trappings, Ibra, Oman
Najud Hamoud Al-Wahibi, Bedouin cosmetics, Ibra, Oman
Embroidery
Khalsa Mohammed Abdullah Al-Jabri, 1965-, Cap embroidery, Samail, Oman
Najla Juma Said Al-Sinani, 1978-, Suri embroidery, Sur, Oman
Masar Jamaan Saad Bait-Saad, 1959-, Salalah embroidery, Salalah, Oman
Maryam Ali Rashid Al-Shehhi, 1967-, date palm baskets, Kasab, Oman
Indigo
Amur Saleem Salim Al-Shamakhi, 1940-, indigo-dyed cloth, Bahla, Oman
Metalwork
Mubarak Abdullah Ismail Al-Farsi, 1952-, copperwork, Sur, Oman
Musabah Jaarof Khamis Al-Hadad, 1945-, metalwork, Manah, Oman
Ibrahim Hamood Al-Isma'ili, 1978-, silver jewelry, Nizwa, Oman
Omar Abdullah Khalifin Al-Rashidi, 1944-, silver -- khanjar -- work, Sinaw, Oman
Khalid Naseer Saif Al-Taiwani, -- khanjar -- adornment, Nizwa, Oman
Weaving
Sulaiman Abdullah Basan Al-Khatri, 1961-, wool weaving, Al-Hamra, Oman
Khalfan Amur Khalfan Al-Badowi, 1941-, silk weaving, Al-Mudaibi, Oman
Occupational Traditions
Oasis Kitchen
Samira Bakhit Abdulla Al-Badri, 1964-, Omani cooking, Muscat, Oman
Zahir Hamed Mohammed Al-Dhahli, 1978-, halwa making, Muscat, Oman
Said Abdullah Said Al-Harthy, 1972-, Omani cooking, Muscat, Oman
Ahmed Rashid Abdullah Al-Masroori, 1974-, halwa making, Muscat, Oman
Traditional Building
Khalid Juma Hassoun Al-Araimi, 1974-, boats, Sur, Oman
Ahmed Mubarak Sabeit Al-Oraimi, 1979-, boats, Sur, Oman
Ali Said Khamis Al-Yahyaai, 1946-, traditional structures, Bahla, Oman
Saleh Khalaf Saif Al-Yahyaai, traditional structures, Bahla, Oman
Music and Dance Traditions
Al Majd, Salalah (South Oman traditions) -- Al Majd, Salalah (South Oman traditions)Said Awadh Salim Al-Hadhrami, 1966-Jalal Awadh Said Alloun, 1979-Abdul Sharif Bakhit Ba-Maalaq, 1971-Dhiyab Nasser Arfah Bait Al-Rabash, 1982-Nassr Bashir Ashoor Bait-Ardhain, 1979-Samid Nasib Farhan Bait-Bu Salasel, 1976-Wafa Said Mohammed Bait-Dashisha, 1982-Appian Said Jamaan Bait-Farhan, 1980-Abdul Hadi Fael Bait-Maaleq, 1983-Abir Gharib Bakhit Bait-Mabrook, 1990Khaloud Gharib Bakhit Bait-Mabrook, 1992-Ataf Saleh Faraj Bait-Mustahil, 1982-Said Aman Allah Said Bait-Naghathit, 1979-Naji Awadh Rajab Bait-Rabia, 1985-Rajab Khamis Saad Bait-Saleem, 1969-Amna Riyadh Rabia Bait-Taroom, 1953-Abdallah Masib Faraj Al-Amri, 1967-Rasam Rabia Nasib Maad, 1977-Anwar Nasib Saad Qafqaf, 1974-Arafat Matar Rajab, 1978-
Suhar Ensemble (North Coast traditions) -- Suhar Ensemble (North Coast traditions)Abdullah Saleh Al-Balushi, 1935-Ibrahim Mubarak Hamed Al-Balushi, 1952-Juma Khamis Juma Al-Balushi, 1980-Sinan Ibrahim Ali Al-Balushi, 1946-Ali Suhail Salim Al-Dhahri, 1981-Obaid Mohammed Obaid Al-Farisi, 1959-Khamis Ali Mohammed Al-Hamdani, 1954-Mohammed Abdullah Al-Hamdani, 1941-Said Nasib Kharabash Al-Hamdani, 1977-Abdallah Saleh Ali Al-Jabri, 1958-Abdullah Khadeem Dhiwai Al-Kahali, 1952-Abdullah Ali Shinain Al-Maqbali, 1943-Abdullah Salmeen Al-Maqbali, 1977-Khalfan Saleh Abdullah Al-Nofli, 1956-Younis Juma Kharnis Al-Nofli, 1978-Ibrahim Mohammed Al-Qasmi, 1954-Saad Said Nasib Al-Qasmi, 1977-A'saim Ali Mohammed Al-Shafei, 1981-Mohammed Ali Ibrahim Al-Shezawi, 1949-Darwish Saleh Salim Al-Shibli, 1932-Dhahi Ghasab Dhahi Al-Shibli, 1939-Salim Mohammed Abdulla Al-Shibli, 1955-Mohammed Hassan Said Al-Shidi, 1930-Khamis Ali Khaif Al-Hamdani, 1940-
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: 2005 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Authorization to quote or reproduce for purposes of publication requires written permission from Bridget R. Sutton via Bridget's son, Tim Sutton. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Anton Refregier papers, circa 1900-circa 1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
