50 Stereographs (circa 50 printed stereographs, halftone and color halftone)
1,000 Stereographs (circa, albumen and silver gelatin (some tinted))
239 Prints (circa 239 mounted and unmounted prints, albumen (including cartes de visite, imperial cards, cabinet cards, and one tinted print) and silver gelatin (some modern copies))
96 Prints (Album :, silver gelatin)
21 Postcards (silver gelatin, collotype, color halftone, and halftone)
Photographs relating to Native Americans or frontier themes, including portraits, expedition photographs, landscapes, and other images of dwellings, transportation, totem poles, ceremonies, infants and children in cradleboards, camps and towns, hunting and fishing, wild west shows, food preparation, funeral customs, the US Army and army posts, cliff dwellings, and grave mounds and excavations. The collection also includes images of prisoners at Fort Marion in 1875, Sioux Indians involved in the Great Sioux Uprising in Minnesota, the Fort Laramie Peace Commission of 1868, Sitting Bull and his followers after the Battle of the Little Bighorn, and the aftermath of the Wounded Knee Massacre in 1890.
There are studio portraits of well-known Native Americans, including American Horse, Big Bow, Four Bears, Iron Bull, Ouray, Red Cloud, Red Dog, Red Shirt, Sitting Bull, Spotted Tail, Three Bears, and Two Guns White Calf. Depicted delegations include a Sauk and Fox meeting in Washington, DC, with Lewis V. Bogy and Charles E. Mix in 1867; Kiowas and Cheyennes at the White House in 1863; and Dakotas and Crows who visited President Warren G. Harding in 1921. Images of schools show Worcester Academy in Vinita, Oklahoma; Chilocco Indian School; Carlisle Indian Industrial School; Haskell Instittue, and Albuquerque Indian School.
Some photographs relate to the Centennial Exposition in Philadelphia, 1876; World's Columbian Exposition in Chicago, 1893; Louisiana Purchase Exposition in St. Louis, 1903; and Centennial Exposition of the Baltimore and Ohio Railraod, 1876. Expedition photographs show the Crook expedition of 1876, the Sanderson expedition to the Custer Battlefield in 1877, the Wheeler Survey of the 1870s, Powell's surveys of the Rocky Mountain region during the 1860s and 1870s, and the Hayden Surveys.
Outstanding single views include the party of Zuni group led to the sea by Frank Hamilton Cushing; Episcopal Church Rectory and School Building, Yankton Agency; Matilda Coxe Stevenson and a companion taking a photographs of a Zuni ceremony; John Moran sketching at Acoma; Ben H. Gurnsey's studio with Indian patrons; Quapaw Mission; baptism of a group of Paiutes at Coeur d'Alene Mission; court-martial commission involved in the trial of Colonel Joseph J. Reynolds, 1877; President Harding at Sitka, Alaska; Walter Hough at Hopi in 1902; and Mrs. Jesse Walter Fewkes at Hopi in 1897.
Biographical/Historical note:
George V. Allen was an attorney in Lawrence, Kansas and an early member of the National Stereoscope Association. Between the 1950s and 1980s, Allen made an extensive collection of photographs of the American West, mostly in stereographs, but also including cartes-de-visite and other styles of mounted prints, photogravures, lantern slides, autochromes, and glass negatives.
Photo Lot 90-1, George V. Allen collection of photographs of Native Americans and the American frontier, National Anthropological Archives, Smithsonian Institution
Sun dance (1:32) -- Love song (0:57) -- Crazy Dog song (1:41) -- Buffalo dance song (1:03) -- Man's love song (0:54) -- Hand game song (1:42) -- Prisoner's song (2:20) -- World War II song (1:36) -- Warrior death song for Sitting Bull (2:00) -- Canvas dance song (1:40) -- Funeral song (1:37) -- Suguaro song (1:58) -- Peyote song : first song cycle (1:26) -- Moonlight song (2:09) -- Eagle dance (2:59) -- Butterfly dance (1:41) -- Lullaby (0:58) -- Rain dance (1:47) -- Night chant (1:43) -- Song of happiness (1:09) -- Silversmith's song (1:09) -- Corn grinding song (0:59) -- Children's songs (1:47) -- Church song (1:03) -- Devil dance, crown dance (2:57). Wolf song (2:05) -- Potlatch song (1:38) -- Hamatsa song (1:12) -- War song for marriage (1:50) -- Rabbit dance song (2:03) -- Cree dance song (2:24) -- Fiddle dance song (1:00) -- Bear hunting song (1:44) -- Inviting-in dance song (0:47) -- His first hunt (2:06) -- Hunting for musk ox (3:33) -- Corn dance (2:08) -- Stomp dance (1:57) -- Song of welcome (1:19) -- Buffalo feast song (1:06) -- Morning song (1:12) -- Song of the unfaithful woman (0:59) -- Hoot owl song (1:09) -- Oh Mary (1:01) -- Catholic hymn (0:42) -- Calusa corn dance song (1:32) -- Song of removal (1:41) -- Fortynine dance (2:00) -- Unidentified track (1:03) -- As long as the grass shall grow (6:03).
Track Information:
101 Sun Dance / Drum,Whistle.
102 Love Song.
103 Crazy Dog Song / Jack Low Horn, Jim Low Horn, Emil, Mrs. Wings. Drum,Rattle (Musical instrument).
106 Hand Game Song / William Peaychew. Sticks (Musical instrument).
104 Buffalo Dance Song / Jack V. Anquoe, Kenneth Anquoe, Nick Webster. Drum.
105 Man's Love Song / Mark Evarts.
107 Prisoner's Song / William Burn Stick. Drum.
108 World War II Song / George Nicotine. Drum. English language.
109 Warrior Death Song for Sitting Bull / Bass drum,Bells.
207 Song of Happiness / Fort Wingate (N.M.) Indian School. Drum,Harmonica. Navajo language.
208 Silversmith's Song / Ambrose Roanhorse. Anvils. Navajo language.
209 Corn Grinding Song / Basket drum. Navajo language.
110 Canvas Dance Song / Baptiste Pichette, Eneas Conko. Drum.
111 Funeral Song.
112 Suguaro Song.
113 Peyote Song: First Song Cycle / Burton John, Roy James. Drum,Rattle (Musical instrument).
201 Moonlight Song.
202 Eagle Dance / Drum.
203 Butterfly Dance / Drum.
204 Lullaby.
205 Rain Dance.
206 Night Chant / Rattle (Musical instrument). Navajo language.
210 Children's Song: Wolf Song / Irene Chalepah Poolaw. Kiowa Apache.
303 Hamatsa Song, Cedar Bark Dance / Mungo Martin.
304 War Song for Marriage / Billy Assu.
305 Rabbit Dance Song.
306 Cree Dance Song.
307 Fiddle Dance Song / Fiddle.
308 Bear Hunting Song / Sebastian McKenzie.
309 Inviting in Dance Song / Otis Ahkivigak.
310 His First Hunt / Kemukserar, Pangatkar.
311 Hunting for Musk Ox / Kemukserar, Pangatkar. Drum.
401 Corn Dance / Thomas Lewis.
402 Stomp Dance / Huron Miller.
403 Song of Welcome / Albert Yellow Thunder, Blow Snake, Winslow White Eagle.
404 Buffalo Feast Song / Albert Yellow Thunder, Blow Snake, Winslow White Eagle.
405 Morning Song / Albert Yellow Thunder, Blow Snake, Winslow White Eagle. Rattle (Musical instrument).
406 Song of the Unfaithful Woman / Albert Yellow Thunder, Blow Snake, Winslow White Eagle. Flute.
407 Hoot Owl Song / David, Oshawenimiki Kenosha.
408 Oh Mary / Fred Lacasse.
409 Catholic Hymn / Thomas Shalifoe.
410 Calusa Corn Dance Song / Billy, Gatcayehola Stewart.
411 Song of Removal / Billie Stewart, Susie Tiger.
412 Fortynine Dance / Fred Lacasse. English language.
413 The Seneca: As Long As the Grass Shall Grow / Peter La Farge.
Local Numbers:
FW-COMM-LP-04541
Folkways.4541
Publication, Distribution, Etc. (Imprint):
New York Folkways 1973
Date/Time and Place of an Event Note:
Recorded in: Florida, Michigan, Wisconsin, Onondaga Indian Reservation (N.Y.), Chesterfield (Alaska), Barrow, Point (Alaska), Alaska, Schefferville (Québec), Québec (Province), Montana, Fort Wingate (N.M.), New Mexico, Fort Qu'appelle (Sask.), Canada, Saskatchewan, New York (N.Y.), United States, New York.
General:
Commercial
Songs and dance music from many tribes including Sioux, Cree, Hopi, Zuni, Navajo, Apache, Kwakiutl-Nootka, Slavey, Iroquoian, Winnebago, Ojibwa, Seminole, and others. Compiled and edited by Michael I. Asch. Originally compiled principally from material previously released on several Folkways and Asch recordings. Program notes in English by Michael I. Asch and others, and Native American vocal texts with English translations and English vocal texts (10 p.)
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Copyright restrictions apply. Contact archives staff for additional information.
Vol. 1: His work: Hunting calls and animal cries (The Congo, Brazil, Hudson Bay); Cattle calls (the Philippines, Norway) -- Brush and timber clearing (Liberia, the Philippines); Lumbering (southern United States); Housebuilding (the Cameroons); Stonecutting (Japan) --Celebrating the new house (Honduras); Silversmithing (the Navajo); Spinning (Japan); Cloth-shrinking (the Hebrides) --Roadbuilding (Haiti); River transport (Equatorial Africa); Corn-grinding (Haiti) --
Local Numbers:
FW-ASCH-LP-0379
FLP.40636
FLP.40636 ;.Folkways.731
Publication, Distribution, Etc. (Imprint):
New York Folkways 195x
General:
Narrated by the author with dubbings of recorded folk music.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Copyright restrictions apply. Contact archives staff for additional information.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1988 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
This subseries of the Southwest series contains Harrington's research on Keresan, focusing on Acoma, Laguna, and Santo Domingo dialects. The materials consist of vocabulary, notes, and drafts.
Harrington's field notes include data from an individual identified only as "L. A. Alb," copies of Acoma slips lent to Harrington by Father Jerome in 1913, and a Keresan vocabulary copied by Carobeth Harrington Laird. He also assembled a small group of miscellaneous lexical items relative to the Keresan migration story from Edward Hunt, probably recorded at Chaco Canyon in June 1929. The most substantive body of material from a linguistic point of view is a comparative vocabulary, for which the principal source was James Johnson.
Harrington extracted tribenames and placenames from a number of sources to provide bases for the various rehearings. Because of the comparative nature of the material, a number of the works dealt with languages other than the Keresan dialects. Among the principal sources consulted were Keresan Texts (1925, 1928) by Franz Boas, and Part I of Frederick W. Hodge's "Handbook of American Indians North of Mexico" (1907). For Navajo he relied on his own notes and those accumulated with the collaboration of Robert W. Young. He compared some Southern Paiute terms collected by Edward Sapir and turned again to Benjamin Whorf's additions to Elsie Clews Parsons' Hopi Journal (1936).
This material is arranged semantically and each page represents two or more rehearings recorded at different intervals. The basic Laguna and Acoma terms are compared with Santo Domingo and Zia, and with such non-Keresan languages as Hopi, Navaho, and Kiowa. There are a few words from the Hano, Queres, Luisenio, Teton, Tewa, and Zuni languages.
Among his notes and drafts is a questionnaire, based on information provided by Hunt, that he used in his work with Johnson. There are also notes without linguistic annotations which relate to Boas' Keresan publications. Included among the papers is an early draft of Harrington's published work on the origin of the name "Acoma." The sixteenth-century sources mentioned in the draft notes are taken directly from Hodge's "Handbook." Johnson, Solimon, and the Navajo speaker Sam Acquilla provided further linguistic information. A typed draft on Acoma phonetics and the meaning of the name "Queres" was evidently prepared in 1947. Another manuscript with accompanying notes and bibliography was titled ''Quirix Equals Kastica." It is undated. Neither paper was published.
Also in this subseries are some of the correspondence, phonetic notes, and word lists that Bertha P. Dutton sent Harrington. There are also handwritten condensations by Harrington (not annotated) of George H. Pradt (1902) and excerpts of miscellaneous ethnographic information from Matilda Coxe Stevenson (1894).
Biographical / Historical:
John P. Harrington's interest in Keresan is documented as early as 1909, when he worked with Mrs. L. S. Gallup on a Cochiti census (see Cochiti subseries). In 1919, and again in 1929, he sought to establish a relationship among Keresan, Kiowa, and Zuni. He was among those who lectured on Acoma at the Chaco Canyon Field School of the School of American Research in July 1929. From July to October of 1939, Harrington was detailed to assist the Office of Indian Affairs at Fort Wingate, where he may have met James Johnson, an Acoma Indian who provided a great deal of material. Between February 1944 and August 1945, Harrington and Bertha P. Dutton exchanged Laguna information in the course of their collaboration with Edgar L. Hewett on the 1945 publication entitled The Pueblo Indian World, for which Harrington wrote the two appendices. Dutton supplied Harrington with the names of several Keresan speakers who were in military service in the Washington, D.C. area. Among these speakers were Calvin Solimon, a Laguna Indian who spoke both Laguna and Acoma dialects; Joe A. Mina and Santiago Pacheco, Santo Domingo men; and Perry A. Keahtigh, who worked at The United Nations Service Center in Washington and was frequently consulted for Kiowa comparisons. Harrington's last Keresan monograph, "Haa'k'o, Original Form of the Name of Acoma," was published in 1949.
John Peabody Harrington papers, National Anthropological Archives, Smithsonian Institution
The preferred citation for the Harrington Papers will reference the actual location within the collection, i.e. Box 172, Alaska/Northwest Coast, Papers of John Peabody Harrington, National Anthropological Archives, Smithsonian Institution.
However, as the NAA understands the need to cite phrases or vocabulary on specific pages, a citation referencing the microfilmed papers is acceptable. Please note that the page numbering of the PDF version of the Harrington microfilm does not directly correlate to the analog microfilm frame numbers. If it is necessary to cite the microfilmed papers, please refer to the specific page number of the PDF version, as in: Papers of John Peabody Harrington, Microfilm: MF 7, R34 page 42.
Indians of North America -- Great Plains Search this
Type:
Archival materials
Field notes
Dictionaries
Manuscripts
Narratives
Place:
Devils Tower National Monument (Wyo.)
Date:
1916-1948
Scope and Contents:
This subseries of the Plains series contains Harrington's Kiowa research, primarily consisting of vocabulary, comparative vocabulary, a dictionary, linguistic notes, grammar, and texts.
Some of the vocabulary gathered between 1918 and 1920 remains in slipfile form, arranged semantically (former B.A.E. mss. 2289pt. and 2297pt.). Subjects include animals, material culture, plants, and personal categories. During 1945 and 1946, Harrington reorganized his Kiowa notes based on a continuing enlargement of the earlier semantically arranged vocabulary, adding such categories as astronomy, geography, minerals, months, placenames, rank, relationship terms, songs, and tribenames (former B.A.E. ms. 4622pt.). The etymology of some personal names and a partial draft and notes for a proposed paper on "Human Terms" form part of the vocabulary material. The geographic terms were provided by Parker McKenzie and, according to correspondence, most of the relationship terms may also be McKenzie's work. Some of the latter's letters are cut and mounted on separate sheets of paper, others were copied by Harrington, and many are identified with the symbol "<U+2642>." Miscellaneous material includes photocopies of fragments from Robert M. Lowie's "A Note on Kiowa Kinship Terms and Usages," mounted, annotated, and reheard with Keahtigh. A few tribenames elicited from Guy Quoetone (data from him are labeled "Guy Kiowa") and Kiowa Charlie in March and April of 1946 add randomly to the earlier lists.
The comparative vocabulary section contains Tewa comparisons based on Harrington's 1927 accumulation of information from Tewa speaker Eduardo Cata (former B.A.E. ms. 4705pt.). Harrington also used Tewa terms from his "Ethnogeography of the Tewa Indians" (1916), as well as Kiowa terms from James Mooney's "Calendar History of the Kiowa Indians" (1918). In addition, there are a few brief comparisons of Kiowa with Navajo, Paiute (eight pages), and Siouan (two pages).
His dictionary files consist of a manuscript and related notes. The manuscript contains most but not all of the lexical portion of "Vocabulary of the Kiowa Language" with an addition of further entries which were apparently written at a later date.
Among his linguistic notes is a partial draft written in 1916 titled ''The Language of the Kaekua or Kiowa Indians." From 1918 to 1920 while in Anadarko and in Washington, Harrington accumulated extensive information (about 700 pages) on Kiowa vocabulary, grammar, and texts. In 1922 he began a paper on "Notes on the Kiowa Language." He later collated this material in Washington, and in 1928 published a synthesis titled "Vocabulary of the Kiowa Language." The publication encompassed grammatical information with Tewa comparisons, a glossary of lexical terms , and a Kiowa text, (former B.A.E. mss. 4705pt., 2289pt., and 2297pt.).
Documented among the grammar files is Harrington's interest in Kiowa intonation, a title he gave to an unpublished manuscript for which Perry Keahtigh provided information. Their work on this aspect of Kiowa grammar proceeded from September to November 1944, and included recording sessions at the Library of Congress.
There is another unpublished manuscript titled "Kiowa, Pueblo Language of the Plains." This is probably the manuscript that underwent many revisions and rehearings before being published in 1948 as "Popular Account of the Kiowa Indian Language." It encompassed only a minute portion of the ambitious and comprehensive grammar which Harrington had originally envisioned. Because of the diligent reworking of the information, it is rather difficult to determine in what sequence the drafts were created. In order to eliminate as much confusion as possible, all the grammatical drafts of the 1940s are placed together, followed by notes that most nearly reflect the outline of the 1948 publication. Phonetics and morphology are dealt with in detail. Included is brief information on syntax, Indian native language, Spanish and English loanwords, foreign words, slang, and polysynthetic words based on Robert W. Young's "Language: Interesting Side-views of Its Study." (April 1937).
The text section contains over twenty brief stories of Seindei, the culture hero, provided by Delos K. Lonewolf and George Hunt in 1924. Some are in Kiowa and English, some in English only. One myth was given in English by a Comanche Indian named Albert Attock. This textual material was formerly cataloged as part of B.A.E. ms. 4705. There are various versions of Lonewolf's "The Udder-angry Travelers-off" text which appeared in "Vocabulary of the Kiowa Language," "Three Kiowa Texts," and "Popular Account of the Kiowa Indian Language." Frequent rehearings with Keahtigh in November 1945 preceded the last-named publication. Additional material for "Three Kiowa Texts" contains extensive annotations by McKenzie and a few further rehearings from Keahtigh. Laura D. Pedrick translated the Lord's Prayer; a "Church Song" in Kiowa (former B.A.E. ms. 4705pt.) came from Mr. Light (not further identified). There are several texts edited by McKenzie for collaboration with Harrington. They include Enoch Smoky's "Bear Girl Story," recorded March 26,1946, and Hunting Horse's "Mad Girl Story," heard on February 24, 1946 (former B.A.E. ms. 4622pt.). On March 31, 1940, Kiowa Charlie, with the help of Guy Quoetone and Lonewolf, dictated still another Devils Tower myth.
Harrington's Kiowa files also contain other notes and information about Devils Tower in the Black Hills of Wyoming. This evolved into his 1939 publication, "Kiowa Memories of the Northland." The bulk of the Devils Tower material was originally listed as B.A.E. ms. 6070.
Biographical / Historical:
John P. Harrington's search for a relationship between Kiowa and the Tanoan languages led to a substantial accumulation of and career-long interest in Kiowa grammatical, linguistic, and textual material. His study resulted in eight publications on Kiowa, the first appearing in 1910 and the last in 1948.
Early in 1918 Harrington worked in Washington, D.C., with Delos and Ida Lonewolf, (the latter abbreviated "Mrs. L."), who were accompanied by their youngest son, Theodore. In June 1918, Harrington conducted fieldwork at the Kiowa Agency in Anadarko, Oklahoma. Interviews were held with James Waldo (W.): Enoch Smoky, head of the peyote cult among the Kiowa; Parker McKenzie (McK): Laura D. Pedrick (also referred to as "Mrs. P" and"L. Pro "); and several others. The primary focus of his work at that time was to collect linguistic data needed for comparative studies, especially with the Tanoan languages. From mid-1919 through 1920 Harrington remained at Bureau of American Ethnology headquarters, during which time he sorted and reorganized the Kiowa notes. While in Washington, D.C., in 1924, he elicited Kiowa texts from the Lonewolfs and from George Hunt, who was regarded as a superb tribal historian.
"Vocabulary of the Kiowa Language," published in 1928, unfortunately reflects only a small portion of the information he had amassed during his early work. In his notes, Harrington referred to this publication as the "Dictionary," "Dict.," or "Bulletin." He was evidently not pleased with the work. As he wrote to Parker McKenzie in later years: "It has a lot of idiosyncracies in it which are absolutely incorrect. They [the B.A.E.] forced me to publish, and so I did-to my chagrin now."
In the summer of 1939, Harrington and Parker McKenzie renewed their acquaintance during a visit which Harrington made to Anadarko. They reminisced just a few hours on that occasion. Shortly afterwards they began an exchange of letters which lasted almost into 1950. McKenzie's exposure to linguistic method in their early work together had awakened an abiding interest in the preservation of Kiowa. Thus, he was willing to impart what he had discovered in his efforts to analyze the language. This exchange allowed Harrington to collect updated material for the paper which he eventually published on January 1, 1948, titled "Popular Account of the Kiowa Indian Language."
From September 1944 to early 1947, Harrington elicited additional grammatical information and reheard his earlier notes in work sessions with Perry A. Keahtigh (also referred to as "Keah."). Keahtigh married a daughter of Enoch Smoky around 1930. Knowing that his father-in-law had worked with Harrington in 1918, Keahtigh sought out the linguist when he returned to the East Coast in the 1940s. They worked evenings and weekends while Harrington was detailed to the Office of Censorship as part of a volunteer war effort by members of the Smithsonian staff. Keahtigh provided a wealth of linguistic information during 1945 and most of 1946, his work dwindling off in 1947 as Harrington's manuscript neared completion.
Language and languages -- Documentation Search this
Genre/Form:
Field notes
Dictionaries
Manuscripts
Narratives
Collection Citation:
John Peabody Harrington papers, National Anthropological Archives, Smithsonian Institution
The preferred citation for the Harrington Papers will reference the actual location within the collection, i.e. Box 172, Alaska/Northwest Coast, Papers of John Peabody Harrington, National Anthropological Archives, Smithsonian Institution.
However, as the NAA understands the need to cite phrases or vocabulary on specific pages, a citation referencing the microfilmed papers is acceptable. Please note that the page numbering of the PDF version of the Harrington microfilm does not directly correlate to the analog microfilm frame numbers. If it is necessary to cite the microfilmed papers, please refer to the specific page number of the PDF version, as in: Papers of John Peabody Harrington, Microfilm: MF 7, R34 page 42.
Harrington was a Bureau of American Ethnology ethnologist involved in the study of over one hundred American tribes. His speciality was linguistics. Most of the material concerns California, southwestern, northwestern tribes and includes ethnological, archeological, historical notes; writings, correspondence, photographs, sound recordings, biological specimens, and other types of documents. Also of concern are general linguistics, sign language, writing systems, writing machines, and sound recordings machines. There is also some material on New World Spanish, Old World languages. In addition, there are many manuscripts of writings that Harrington sketched, partially completed, or even completed but never published. The latter group includes not only writings about anthropological subjects but also histories, ranging from a biography of Geronimo to material on the history of the typewriter. The collection incorporates material of Richard Lynch Garner, Matilda Coxe Stevenson, and others. In his field work, Harrington seems sometimes to have worked within fairly firm formats, this especially being true when he was "rehearing" material, that is in using an informant to verify and correct the work of other researchers. Often, however, the interviews with informants (and this seems to have been the case even with some "rehearings") seem to have been rather free form, for there is a considerable intertwining of subjects. Nevertheless, certain themes frequently appear in his work, including annotated vocabularies concerning flora and fauna and their use, topography, history and biography, kinship, cosmology (including tribal astronomy), religion and philosophy, names and observations concerning neighboring tribes, sex and age division, material culture, legends, and songs. The fullness of such materials seems to have been limited only by the time Harrington had to spend with a goup and the knowledge of his informants.
Arrangement:
(Some of the titles are tentative). Papers relating to Alaska/Northwest Coast, including (1) Aleut; (2) Tlingit/Eyak; (3) Northern Athapascan (Beaver, Carrier, Chipewyan, Sarsi, Sekani, Cree); (4) Nicola/Thompson; (5) Lummi/Nespelem; (6) Duwamish; (7) Chimakum/Clallam; (8) Makah/Quileute; (9) Quinault/Chehalis/Cowlit; (10) Chinook/Chinook Jargon; (11) "Kwalhioqua-Tlatskanai"; (12) Tillamook, (13) Alsea/Siuslaw/Coos; (14) Southwest Oregon Athapascan (Chasta Costa, Chetco, Upper Coquille, "Gold Beach", Smith River, Tolowa, Tutini, Upper Umpqua), (14) Galice/Applegate; (15) Takelma, general and miscellaneous;
(16) Klamath; (17) Wiyot/Yurok/Mattole; (18) Coast Yuki/Northern and Central Pomo/Kato; (19) Coast Miwok; (20) Lake and Coast Miwok/Southeastern Pomo/Wappo; (21) Nisenan/Northern Sierra Miwok; (22) Southern Pomo/Central Sierra Miwok; (23) Karok/Shasta/Konomihu; (24) Chimariko/Hupo; (25) Achomawi/Atsugewi/Wintu/Yana; (26) Chamariko/Achomawi/Atsugewi/Wintu/Yana; (27) Costanoan (Chocheno, Mutsun, Tumsen); (28) Salinan (Antoinano, Migueleno); (29) Yokuts (Chunut, Tachi, Wikchamni, Yawdanchi, Yawelmani, Koyeti); (30) general and miscellaneous; papers relating to southern California and the Basin area,
including (31) Chumash (Barbareno, Cruzeno, Ineseno, Obispeno, Purisimeno, Ventureno); (32) Chauilla; (33) Chemehuevi; (34) Gabrielino; (35) Juaneno; (36) Kitanemuk; (37) Luiseno; (38) Serrano; (39) Tubatulabal; (40) Diegueno; (41) Mohave/Yuma; (42) general and miscellaneous; papers relating to the Southwest, including (43) Apache; (44) Hopi; (45) Jemez; (46) Acoma/Laguna; (47) Cochiti; (48) Navaho; (49) Pima/Papago; (50) Illeta; (51) Taos; (52) Picuris; (53) Tewa; (54) Zuni; (55) general and miscellaneous; papers relating to the Plains, including (56) Comanche; (57) Caddo/Pawnee/Wichita; (58) Dakota/Lakota; (59) Hidatso/Mandan/Crow;
(92) general and miscellaneous; notes and writings on special linguistic studies, including (93) correspondence; (94) financial records; (95) personal records; (96) poetry; (97) newspaper clippings; (98) printed material/reprints/photostats/microfilm; (99) maps; (100) photographs (101) sound recordings; (102) botanical specimens
Joseph S. Danner, Edward S. Davis, Ella C. Deloria, Frances Densmore, Paul Desiardins, Lydia Dornherr, Harry W. Dorsey, Frederick Huntington Douglas, David C. Dozi, Edward P. Dozi, Robert Drak Aitken), Rose S. Gaffney, David E. Gales, S. H. Gapp, Clark M. Garber, Lucrlson Fenton, Jesse Walter Fewkes, Reginald G. Fisher, Barbara Freire-Marreco (see also Barbara Aitken), Rose S. Gaffney, David E. Gales, S. H. Gapp, Clark M. Garber, Lucretia Garcia, Maria Garcia, Paul Garcia, Walter C. Garwick, William Gates, Ja Gapp, Clark M. Garber, Lucretia Garcia, Maria Garcia, Paul Garcia, Walter C. Garwick, William Gates, James A Geary, Otto William Geist,
Richard H. Geoghegan, Harold S. Gladwin, Pliny Earle Goddard, T. R. Goodwin, Howard W. Gorman, Blanche C. Grant, George Grasty, Louis H. Gray, Alexander Grigolia, Alexandra Gromoff, F. A. Gross, Ruther Gruber, Erwin G. Gudde, Grace Guest, Ralph Gustafson, Berard Haile, Alfred Irving Hallowell, Howard M. Hamblin, Lucile Hamner, Adelaide Harrington, Arthur Harrington, Awona Harrington, Edmund Ross Harrington, Elliot Harrington, Mark Raymond Harrington, Robert Fleming Heizer, Marta Herrera (Orozoco), Melville Jean Herskovits, Edgar Lee Hewett, George Gustave Heye,
Thomas Willing Hicks, Willard Williams Hill, William B. Hill, Philip K. Hitti, Hulda R. Hobbs (Heidel), Frederick Webb Hodge, Robert Hofsinde, W. C. Holden, Nils Homer, R. B. Horsefield, James Hovey, Grace Hudson, John W. Hudson, William Hughes, Edward P. Hunt, George Hunt, Wayne Henry (Wolf Robe) Hunt, Arnold J. Jacobins, Jean Allard Jge, George M. Lamsa, William T. Linkins, Ralph Linton, Alan Lomax, Theodore R. Lonewolf, uis Kroeber, Benjamin T. Kurtz, Walter and Hilda Kurze, Oliver LaFarge, George M. Lamsa, William T. Linkins, Ralph Linton, Alan Lomax, Theodore R. Lonewolf,
Boas Long, Ivan Alexis Lopatin, Robert Harry Lowie, Charles F. Lummis, Phoebe Maddux, Frank Marashulo, Frank Marr, John Marr, Edna P. Marsh, Gordon H. Marsh, William B. Marye, Elizabeth Mason, John Alden Mason, Anna P. Mattinger, Wayne L. Mauzy, William Ralph Maxon, Parker McKenzie, F. Romero Mendez, Clinton Hart Merriam, E. Vigo Mestres, Truman Michelson, Harry E. Miller, Ralph L. Milliken, William S. Mills, Willie Miranda, Albert Mohr, Dionisia Mondragon, Manuel Mondragon, Lucy Montgomery, Harriet Moore, Mildred C. Moore, R. E. Moore, Rosalind Moore, Carlos Morales, Marion Moreno, Sylvanus Griswold Morley, Philip A. Munz, O. J. Murie,
Roy Nash, Mrs. W. J. Nichols, Eugene A. Nida, Frans M. Olbrechts, Cornelius Osgood, Asbjorn P. Ousdal, Charles F. Outland, Henry E. Parmenter, Elsie Clews Parsons, A. W. Payne, Ellen Peace, Elizabeth Wells Pearce, Arthur B. Perkins, Mrs. Rodolphe Petter, Kenneth L. Pike, Arnold R. Pilling, Nellie B. Pipes, I. J. Pitman, J. O. Prescott, Erik Kellerman Reed, Nathaniel Julius Reich, Jane Richardson, Arthur Stanley Riggs, Frank Harold Hanna Roberts, Jr., Helen H. Roberts, Clarence M. Ruth, Everett Sanders, Edward Sapir, Charles F. Saunders, F. H. Saville, Paul Schumacher, Donald Scott, Blanche Seeley, Ettie Seeley, Elizabeth Shepley Sergeant,
A. W. Setychell, Jessie Shaw, Anna O. Shepard, Frank T. Siebert, Rita Siedenberg, Albion M. Sitton, Nich Sivonen, H. D. Skinner, Mrs. N. P. Sloan, Clement Smith, Stella Smith, Jack Snow, Maria Soto, Frank Gouldsmith Speck, Robert F. Spencer, Marjorie Spinks, Waldo C. Spraque, Winifred Stamm, Moses Steinberg Marian Stirling, Matthew Williams Stirling, William Duncan Strong, Edgar Howard Sturtevant, Georgianna Barbara Such, John R. Swanton, Turkey Tayac, Douglass Taylor, Lincoln Thompson, Morjorie L. Tichy, Janet Tietjins, Bennie Tilden, J. R. R. Tolkien, W. Cameron Townsend, George L. Trager, Lovell B. Triggs, Edwin H. Tuttle,
Ruth Underhill, Richard Fowler Van Valkenburgh, Rosendo Vargas, Charles Frederick Voegelin, Paul Vogenitz, James W. Waldo, Paul A. F. Walter, Althea Warren, Fred Washington, Thomas Talbot Waterman, Edith White, Joseph J. White, Leslie A. White, Grace T. Whiting, Robert B. Whitsett, Benjamin Lee Whorf, H. E. Williams, William L. Wonderly, Arthur Woodward, Robert W. Young, and Father Zephyrin of the Santa Barbara Mission.
Restrictions:
The John Peabody Harrington papers are open for research
Access to the John Peabody Harrington papers requires an appointment.
Language and languages -- Documentation Search this
Genre/Form:
Sound recordings
Maps
Stats (copies)
Newspaper clippings
Printed material
Photographs
Botanical specimens
Field notes
Correspondence -- 1930-1950
Financial records
Personal records
Poetry
Writings
Citation:
John Peabody Harrington papers, National Anthropological Archives, Smithsonian Institution
The preferred citation for the Harrington Papers will reference the actual location within the collection, i.e. Box 172, Alaska/Northwest Coast, Papers of John Peabody Harrington, National Anthropological Archives, Smithsonian Institution.
However, as the NAA understands the need to cite phrases or vocabulary on specific pages, a citation referencing the microfilmed papers is acceptable. Please note that the page numbering of the PDF version of the Harrington microfilm does not directly correlate to the analog microfilm frame numbers. If it is necessary to cite the microfilmed papers, please refer to the specific page number of the PDF version, as in: Papers of John Peabody Harrington, Microfilm: MF 7, R34 page 42.
Carriers of Culture: Living Native Basket Traditions
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Across North America and throughout the Hawaiian Islands, Native people are engaged in artistic activities deeply rooted in the everyday and ceremonial traditions of their communities. In the face of dwindling or inaccessible natural resources, loss of elders and their specialized knowledge, the profusion of cheap mass-produced goods, and the use-it-and-throw-away attitude of so many, Native artists are nevertheless gathering natural materials and weaving them into objects of beauty and profound meaning. The 2006 Festival program examined the contemporary state of Native weaving in the United States and the ways in which Native baskets - and their makers - are "carriers of culture."
One of the most important developments in indigenous basket weaving was the formation of Native weaving organizations over the previous fifteen years, bringing together weavers from diverse places to identify and examine problems, build a sense of shared experiences, foster communication and networking, share knowledge and skills, and begin to develop strategies to address some of the most critical issues they face. At local and regional gatherings held by these organizations and at workshops or symposia hosted by other supportive agencies, basket weavers began to find common voice as they articulated their concerns and experiences. At the Festival, visitors could listen to those voices while admiring the work of skilled eyes and hands.
The 2006 Festival program reflected the long-term involvement of numerous Native people and provided an unprecedented opportunity to examine contemporary issues across tribal and geographical lines. It also presented a timely opportunity to reflect on recent efforts by Native basket weavers and others to address these issues; the ways in which weaving traditions continue to be passed on; and the meaning weaving has for artists as people and as members of distinct tribal or Native communities. Most importantly, through demonstrations and discussions at the Festival and in the artists' own words, weavers themselves shared these perspectives first hand with Festival visitors.
For Native baskets to continue to be "carriers of culture" for Native traditions, there are still many challenges to overcome - challenges that were identified and discussed by the weavers themselves. The ever-changing natural and built landscape in the United States is leading to loss of plants essential to weaving. As more land moves into private ownership, weavers encounter increasingly limited access to traditional gathering sites. Non-native land management practices continue to affect the health of plant materials and of weavers themselves. Undoubtedly, other challenges to the continuity of the traditions of living Native basketry in the United States will also emerge. While much progress is being made to revitalize the basket traditions in many Native communities, there are other Native communities where basketry is in rapid decline. This means not just fewer baskets, but the irreplaceable loss of an array of indigenous knowledge linked to the art and a diminution of the diversity and richness of our American experience.
As Festival visitors learned, Native baskets were not antiquated containers or artifacts of a past life; they are very much a part of contemporary Native life and identity. Native baskets truly are "carriers of culture": they embody the knowledge of those who have gone before, those who have respect and reverence for the natural world and the plants that form their baskets, and those who have shared their knowledge with others to keep the chain of indigenous knowledge unbroken.
C. Kurt Dewhurst, Marjorie Hunt, and Marsha MacDowell were Curators, with Arlene Reiniger as Program Coordinator, Betty Belanus as Family Activities Area Coordinator, and Mary Monseur as Marketplace Native Basketry Consultant. Curatorial Advisors were: Jennifer Bates, Salli Benedict, Sally Black, Sheree Bonaparte, Peggy Sanders Brennan, Sue Coleman, Sue Ellen Herne, Sara Greensfelder, Elaine Grinnell, Terrol Dew Johnson, Sabra Kauka, Gloria Lomehaftewa, Fred Nahwooksy, Jennifer Neptune, Theresa Parker, Bernadine Phillips, Teri Rofkar, Robin McBride Scott, Theresa Secord, Tatiana Lomehaftewa Slock, and Laura Wong-Whitebear.
The program was produced in collaboration with the National Museum of the American Indian and Michigan State University Museum. Major support came from the National Museum of the American Indian, the W.K. Kellogg Foundation, the Institute of Museum and Library Services, the National Endowment for the Arts, and the Smithsonian Women's Committee on the occasion of its 40th anniversary. Additional Funding came from Alaska State Council on the Arts, the Mississippi Band of Choctaw Indians, Michigan State University All-University Research Initiation Grant, Michigan Council for the Arts and Cultural Affairs, Onaway Trust, Hawai'i State Foundation on Culture and the Arts, Fund for Folk Culture, Lila Wallace-Reader's Digest Fund, and the Cherokee Nation.
Researchers:
Researchers and consultants
Brian Bibby, Dawn Biddison, Deborah Boykin, Peggy Sanders Brennan, Tina Bucavalas, Vernon Chimegalrea, Sue Coleman, Marit Dewhurst, Betty DuPree, Carol Edison, Lynn Martin Graton, Sara Greensfelder, Theresa Harlan, Suzi Jones, Amy Kitchener, Jim Leary, Dayna Bowker Lee, Elizabeth Lee, Molly Lee, Richard March, Kathleen Mundell, Jennifer Neptune, Laura Quackenbush, Karen Reed, Teri Rofkar, Elaine Thatcher, Theresa Secord, Malia Villegas, Lois Whitney, Robin K. Wright
Research Assistants
Beth Donaldson, Marie Gile, Je'Keia Murphy
Presenters:
Howard Bass, Betty Belanus, Salli Benedict, Barry Bergey, Peggy Brennan, Schroeder Cherry, C. Kurt Dewhurst, Amy Echo-Hawk, Carol Edison, Rayna Green, Elaine Grinnell, Emil Her Many Horses, Marjorie Hunt, Sabra Kauka, Jared King, Keevin Lewis, Marsha MacDowell, Diana N'Diaye, Helen Maynor Scheirbeck, Pamela Woodis, Laura Wong-Whitebear
Ganessa Bryant, 1982-, Penobscot, Princeton, Maine
Jeremy Frey, 1978-, Passamaquoddy, Princeton, Maine
George Neptune, 1988-, Passamaquoddy, Princeton, Maine
Molly Neptune Parker, 1939-, Passamaquoddy, Indian Township, Maine
Northeast - Mohawk
Linda Cecilia Jackson, 1954-, St. Regis Mohawk, Akwesasne, New York
Sheila Ransom, 1954-, St. Regis Mohawk, Akwesasne, New York
Great Lakes
Kelly Church, 1967-, Grand Traverse Band of Chippewa and Ottawa, Hopkins, Michigan
Jacob Keshick, 1987-, Little Traverse Bay Bands of Odawa, Pellston, Michigan
Yvonne Walker Keshick, Little Traverse Bay Bands of Odawa, Pellston, Michigan
Cherish Nebeshanze Parrish, 1989-, Gun Lake Band of Potawatomi, Hopkins, Michigan
John Pigeon, 1957-, Pokagon Band of Potawatomi Indians, Dorr, Michigan
Johnny Pigeon, Pokagon Band of Potawatomi Indians, Dorr, Michigan
Kellogg Cultural Heritage Fellows
Kellogg Cultural Heritage Fellows are young Native people participating "behind-the-scenes" at the 2006 Smithsonian Folklife Festival and at the National Museum of the American Indian, made possible by a generous grant from the W.K. Kellogg Foundation to the Michigan State University Museum.
Samantha Jacobs, 1983-, Seneca Nation of Indians, Collins, New York
Crystal Marie Keta Mann, 1987-, Tsimshian and Tlingit, Ketchikan, Alaska
Vanessa Manuel, 1985-, Onk Akimel O'odham, Scottsdale, Arizona
Mary Mokihana Martin, 1985-, Native Hawaiian, Honolulu, Hawai'i
Elizabeth Ann Parker, 1988-, Makah, Neah Bay, Washington
Gabe Paul, 1985-, Penobscot, Indian Island, Maine
Laura Sanders, 1980-, Karuk and Yurok, Orleans, California
Ahtkwiroton Skidders, 1982-, Mohawk, Rooseveltown, New York
Lynda Squally, 1981-, Chinook and Puyallup, Milton, Washington
Tony Stevens, 1985-, Wasco, Confederated Tribes of Warm Springs, Warm Springs, Oregon
Carly Tex, 1984-, Western Mono, Rohnert Park, California
Kellogg Next Generation Weavers
Kellogg Next Generation Weavers are young Native people who have demonstrated a strong interest in basketry and will be weaving at the 2006 Smithsonian Folklife Festival alongside older mentor culture-bearers. Their participation in the Festival is made possible by a generous grant from the W.K. Kellogg Foundation to the Michigan State University Museum.
Kayla Black, 1992-, Navajo, Mexican Hat, New Mexico
Ganessa Bryant, 1982-, Penobscot, Princeton, Maine
Jeremy Frey, 1982-, Passamaquoddy, Princeton, Maine
Khia Grinnell, 1985-, Jamestown S'Klallam and Lummi, Sequim, Washington
Ursula Jones, 1972-, Yosemite Miwok, Mono Lake Paiute, Kashaya Pomo, and Coast Miwok, Mammoth Lakes, California
Jacob Keshick, 1987-, Little Traverse Bay Bands of Odawa, Pellston, Michigan
Joseph Lopez, 1978-, Tohono O'odham, Tucson, Arizona
Theresa Mendoza, 1985-, Makah, Neah Bay, Washington
George Neptune, 1988-, Passamaquoddy, Princeton, Maine
Cherish Nebeshanze Parrish, 1989-, Gun Lake Band of Potawatomi, Hopkins, Michigan
Craig Phillips, 1989-, Colville, Omak, Washington
Johnny Pigeon, Pokagon Band of Potawatomi Indians, Dorr, Michigan
Harold "Jimmi" Plaster, 1988-, Lummi, Bellingham, Washington
Lynda Squally, 1981-, Chinook and Puyallup, Milton, Washington
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2006 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Main Image: Two Indians on horseback hunting antelope
Local numbers:
Princeton Poster# 3604
General:
Issued by: Golden Gate International Building
Issued for: Indian Court
Artist(s): Anon
Locale:
San Francisco
Note:
The design was executed by the Federal Art Project W.P.A.
Collection Restrictions:
Collection is open for research but is 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.
Collection Rights:
Copyright status of items varies. 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.
Princeton University Posters Collection, Archives Center, National Museum of American History.
Sponsor:
Digitization of the Princeton University Poster Collection was a collaboration of Google Arts and Culture and the Smithsonian Institution's Digitization Program Office. Catalog records were transcribed by digital volunteers through the Smithsonian Institution Transcription Center.
Robinson, Franklin A., Jr., 1959- (actor) Search this
Container:
Box 10, Folder 4
Type:
Archival materials
Date:
1944
Collection Restrictions:
Collection is open for research but negatives and audiovisuial materials are stored off-site and special arrangements must be made to work with it. Some papers of living persons are restricted. Access to restricted portions may be arranged by request to the donor. Gloves required for unprotected photographs. Viewing film portions of the collection and listening to LP recording requires special appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
The Archives Center does not own exclusive rights to these materials. Copyright for all materials is retained by the donor, Franklin A. Robinson, Jr.; permission for commercial use and/or publication may be requested from the donor through the Archives Center. Military Records for Franklin A. Robinson (b. 1932) and correspondence from Richard I. Damalouji (1961-2014) are restricted; written permission is needed to research these files. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
The Robinson and Via Family Papers, Archives Center, National Museum of American History
Sponsor:
Preservation of the 8mm films in this collection was made possible, in part, by a grant from the National Film Preservation Fund.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Ralph Rinzler Memorial Concert
Each year the Smithsonian Folklife Festival presents a special evening concert to honor both its co-founder Ralph Rinzler (1934–1994) and a key person with whom he collaborated. In 2014 the Festival and Smithsonian Folkways Recordings celebrated the life and work of Pete Seeger (1919–2014). Kindred spirits, Ralph Rinzler and Pete Seeger influenced the way that the public thought about the social power of music and the continued relevance of traditional culture in contemporary society. In their hands, the making of music was nothing short of a call to action. Moreover, the sharing of music was transformed into a summons for a kind of public engagement that would challenge our notions of what was "mainstream" and what lived on "the margins." Their contributions to the Folklife Festival, and to the Center that produces it, are without measure. It seemed fitting that the Rinzler Concert artists lifted their voices in appreciation of these two visionaries.
Xóchitl Chávez was Rinzler Concert Coordinator.
Ralph Rinzler Folklife Archives Narrative Stage
The vision behind the 2014 Archives Narrative Stage sessions began with staff and interns in the Ralph Rinzler Folklife Archives and Collections who noted that 2014 not only marked the twentieth anniversary of Ralph's passing, but also the milestone of the first formal archival arrangement for all of his papers - over one hundred cubic feet of content. In honor of Ralph's legacy with the Festival, these narrative stage sessions brought together key individuals from the Festival's past and present as well as looking toward the future.
History in the Present: From the Field to the Festival, June 28
Ralph Rinzler and Pete Seeger were practitioners and supporters of traditional music making, art, and artisanship. Like many of their contemporaries, Rinzler and Seeger actively documented traditions "in the field," capturing essential sounds, images, footage, and text. They were also intimately involved with festival production, providing access to the complexities of an individual or group's cultural identity in a public forum. Many of these materials collected from the field are now part of the archival record, made available through publications and recordings, repurposed for performances, and presented at festivals. Within this complex network of field documentation, interpretation, and public presentation, ethical and cultural lines can become blurred through the ongoing actions of the documenter and those who are documented.
Fieldwork and festival production also shape discourse covering cultural advocacy and cultural sustainability by incorporating content related to social, ethnic, racial, and gender issues, as well as holding an event on a site accessible for those with disabilities. This panel both explored the historical efforts of people like Ralph Rinzler and Pete Seeger and discussed the legacy and relevance of those efforts today.
Culture, Activism, and Community, June 28
Both Ralph Rinzler and Pete Seeger cared about and advocated for key cultural elements that are common threads in the human experience. Rinzler wove these threads through his fieldwork and engagement as a folklorist, musician, and cultural advocate, and Seeger embodied these elements through an advocacy in which music and public engagement function as core elements of humanity. In this light, culture, activism, and community have the power to represent the importance of people's voices, the need for agency and empowerment, and the fight for justice. The Folklife Festival demonstrates powerfully how these themes - these human elements - exist on a global scale, and how people who may not know the names "Rinzler" or "Seeger" fully embody and demonstrate what these individuals believed in and helped shape as the heart and focus of the Center for Folklife and Cultural Heritage and the Smithsonian Folklife Festival.
Diana Parker, former Smithsonian Folklife Festival director
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2014 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Final Report for Archaeological Clearance Survey of Route N106 Kayenta Right-of-Way U.S. Highway 163 to the Kayenta Mutual Help Housing Project Boundary
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
A woman hums songs to a child. Three old ladies sing as they pick choke-cherries or cactus buds, husk corn, or dig camas root. A woman's high-pitched lu-lu-lu-lu rises over the men's voices at the end of an honoring song for returned veterans. "Chorus girls" back up the men's lead song at the drum during a war dance. The pulsating, driving hand-drum beats and magic-making songs women sing at a stick game. The woman whose songs make the Sun Dance circle right. These are the voices of Native women. Like the drum whose heartbeat is that of a woman, these women and their songs are at the heart of Indian Country. But unlike the drum, their songs and voices are rarely heard beyond their communities.
Along with the first of two recordings made available on Smithsonian/Folkways (Heartbeat: Voices of First Nations Women, SF 40415) the two-week presentation at the 1995 Festival and its accompanying program book essay were part of an effort to present an overview of music by Native women - traditional, new, innovative, and little known. Included were traditional women's songs from tribes in the United States and Canada as well as material usually sung by men and recently taken up by women. The recording, essay, and festival program also emphasized fresh material, Native women's music that merged traditional music with many styles of popular American music.
Very little women's music is known and appreciated, even by those who value and know Native American music. People may see Native women dancing when public performances take place, whether they are on stage or in a community setting. Still, men's dancing dominates the public arena. Because much of Native women's traditional singing occurs in a private setting associated with family, clan, ceremonial, or work activities, those who are unfamiliar with these traditions rarely see or hear women sing. Thus the common perception is that women have little presence or significance in the performance and preservation of Native musical traditions. A few tribal or regional collections have included women's singing and instrumental music. Recordings by contemporary Indian women musicians like Buffy Sainte-Marie first received favorable attention in the late 1960s. Since then, the ranks of such women have grown.
In recent years, particularly in the Northern Plains, changes are also underway with respect to the place of women at the drum, previously seen by most as an exclusively male domain. Increasingly, women describe being called to the drum, to sit at the drum, to be the drumkeeper in the way that men have talked about it. Increasingly, powwow singing in the Northern Plains has brought the advent of mixed drum groups and - as demonstrated at the Festival - all-female groups.
All these ways of singing and music-making exist among Native women. Much of the old music exists today, joined by newer ways. As Festival audiences could experience at the 1995 Festival, Native women's music is vital and dynamic, very much a part of the process through which Native peoples are preserving and revitalizing Native life and culture.
Rayna Green and Howard Bass were Curators, and Arlene Reiniger was Program Coordinator.
Heartbeat: The Voices of First Nations Women was produced in collaboration with the Division of Cultural History at the National Museum of American History, with support from The Recording Industries Music Performance Trust Funds, the Smithsonian Educational Outreach Fund, the American Encounters Project, the National Museum of the American Indian, the National Museum of American History, the John Hammond Fund for the Performance of American Music, and the Smithsonian Institution Special Exhibition Fund.
Presenters:
Barry Bergey, Olivia Cadaval, Harold Closter, Judith Gray, Orin Hatton, Charlotte Heth, Marjorie Hunt, Phil Minthorn, Betsy Peterson, Alice Sadongei, Gwen Shunatona, Tom Vennum, Jr.
Participants:
ASSINIBOINE-NAKOTA SINGER-SONGWRITER
Georgia Wettlin-Larsen, vocals, hand drum, rattles, River Falls, Wisconsin
IROQUOIS WOMEN'S SOCIAL DANCE
SIX NATIONS WOMEN SINGERS -- SIX NATIONS WOMEN SINGERSSadie Buck, vocals, water drum, Six Nations Reserve, Ontario, CanadaCharlene Bomberry, vocals, rattles, Six Nations Reserve, Ontario, CanadaBetsy Buck, vocals, rattles, Six Nations Reserve, Ontario, CanadaPat Hess, vocals, rattles, Six Nations Reserve, Ontario, CanadaJanice Martin, vocals, rattles, Six Nations Reserve, Ontario, CanadaMary Monture, vocals, rattles, Six Nations Reserve, Ontario, Canada
KIOWA SINGERS
Mary Ann Anquoe, 1931-2002, vocals, Tulsa, Oklahoma
Dorothy Whitehorse DeLaune, vocals, hand drum, Anadarko, Oklahoma
Anita Anquoe George, vocals, hand drum, Sapulpa, Oklahoma
Gigi Horse, vocals, Washington, D. C.
MAKAH SONGS & DANCE
Melissa Peterson, vocals, hand drum, rattles, Makah Reservation, Neah Bay, Washington
Samantha Della, vocals, dance, Makah Reservation, Neah Bay, Washington
MALISEET-PASSAMAQUODDY DRUM
THE WABUNOAG SINGERS -- THE WABUNOAG SINGERSMargaret Paul, Fredericton, New Brunswick, CanadaAlma Brooks, Fredericton, New Brunswick, CanadaConnie LaPorte, Fredericton, New Brunswick, CanadaJoan Milliea-Caravantes, Fredericton, New Brunswick, CanadaAlice Claire Tomah, Fredericton, New Brunswick, Canada
MOHAWK SINGER-SONGWRITER
ElizaBeth Hill, vocals, guitar, Ohsweken, Canada
NAVAJO SINGER-SONGWRITERS
Geraldine Barney, vocals, flute, guitar, Tohatchi, New Mexico
Sharon Burch, vocals, guitar, Fairfield, California
CRYING WOMAN SINGERS -- CRYING WOMAN SINGERSCelina Jones, Fort Belknap Reservation, MontanaJackie Blackbird, Fort Belknap Reservation, MontanaToni Blue Shield, Fort Belknap Reservation, MontanaCora Chandler, Fort Belknap Reservation, MontanaChristina Jones, Fort Belknap Reservation, MontanaRamona Smith, Fort Belknap Reservation, MontanaGarrett Snell, Fort Belknap Reservation, MontanaRochelle Strike, Fort Belknap Reservation, MontanaSandra Wuttunee, Fort Belknap Reservation, Montana
RED EAGLE SINGERS, WIND RIVER RESERVATION, WYOMING -- RED EAGLE SINGERS, WIND RIVER RESERVATION, WYOMINGColleen Shoyo, Wind River Reservation, WyomingClaudenise Hurtado, Wind River Reservation, WyomingChardell Shoyo, Wind River Reservation, WyomingEvalita Shoyo, Wind River Reservation, WyomingLaMelia Shoyo, Wind River Reservation, WyomingBernadine Stacey, Wind River Reservation, Wyoming
PLAINS BIG DRUM
LITTLE RIVER SINGERS -- LITTLE RIVER SINGERSJohn Fitzpatrick, Washington, D.C.Bernard Covers Up, Washington, D.C.Gene Elm, Washington, D.C.Jerry Gipp, Washington, D.C.Roger Iron Cloud, Washington, D.C.
POMO SONG TRADITIONS
Bernice Torres, vocals, hand drum, rattles, Sebastopol, California
SEMINOLE SINGER AND STORYTELLER
Betty Mae Jumper, 1923-, vocals, Hollywood, Florida
SOUTHERN PLAINS SONGS
Gwen Shunatona, Pawnee-Otoe, vocals, Washington, D. C.
TRADITION-BASED CONTEMPORARY SONGS
ULALI -- ULALIPura Fe, Cherokee-Tuscarora, vocals, rattles, hand drum, Philadelphia, PennsylvaniaJennifer Kreisberg, Cherokee-Tuscarora, vocals, rattles, hand drum, Hartford, ConnecticutSoni Moreno-Primeau, Aztec-Maya, vocals, rattles, hand drum, Staten Island, New York
WARM SPRINGS AND WASCO SONG TRADITIONS
Mary Ann Meanus, vocals, hand drum, Warm Springs, Oregon
YUPIK SONG TRADITIONS
Elena Charles, 1918-, vocals, hand drum, Bethel, Alaska
Mary Stachelrodt, vocals, hand drum, Bethel, Alaska
ZUNI CEREMONIAL DANCE AND SONG
OLLA MAIDENS -- OLLA MAIDENSCornelia Bowannie, vocals, hand drum, frog box, Zuni Reserve, Zuni, New MexicoLoretta Beyuka, dance, Zuni Reserve, Zuni, New MexicoJoy Edaakie, dance, Zuni Reserve, Zuni, New MexicoArliss Luna, vocals, hand drum, frog box, Zuni Reserve, Zuni, New Mexico
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1995 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
