This microfilm collection of the papers of African American painter, muralist, and illustrator Aaron Douglas primarily concern Douglas' years at Fisk University, the development of the art department, and the management of the Stieglitz art collection. The collection consists of biographical material; correspondence; artwork including prints, drawings, and sketchbooks; and teaching material including drafts of lectures and teaching notes. Also included are printed material such as exhibition catalogs and clippings; reports and printed material concerning the Sigma Pi Phi fraternity; and photographs of Douglas and his works of art.
Among the correspondents are Charles Alston, Claude Clark, John Cowles, William Dawson, Jeff Donaldson, Cedric Dover, David Driskell, Mary Beattie Brady of the Harmon Foundation, John Davis Hatch, William C. Haygood of the Julius Rosenwald Fund, and Walter Pach.
Arrangement:
Collection was microfilmed in the order as received from Fisk University.
Biographical / Historical:
Aaron Douglas (1899-1979) was an African American painter, muralist, and illustrator in Nashville, Tennessee. He is commonly regarded as a central figure in the Harlem Renaissance. In 1937 Charles S. Johnson, the first African American president of Fisk University, invited Douglas to develop the university's art department. He served as the department head until his retirement in 1966.
Related Materials:
Fisk University Special Collections holds the Aaron Douglas collection, 1921-1973 and the Aaron Douglas Collection Addendum, 1937-1974. The Schomburg Center for Research in Black Culture, The New York Public Library holds the Aaron Douglas papers, 1924-1939.
Provenance:
Lent for microfilming 1991 by Special Collections Department, Fisk University, Nashville, Tennessee.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents:
Materials in this category document the commercial lumber trade of both raw and finished material by producers, dealers, and wholesalers. The application of lumber in residential and commercial building is well-represented, as well as other uses such as infrastructure use in railroad ties, telephones, and marine building.
Documents include receipts and invoices, correspondence, a lumber account book, advertisements, association documents, business cards, caricature, images, import/ export documents, legal documents, patents, preservation, price lists, product samples, publications, shipping and receiving documents, and trade literature.
No extensive runs or complete records exist for any single company or brand, and there is no detailed information for any single subtopic though some publications may provide general and historical overviews of a person, company, or facet of industry.
Arrangement:
The collection is arranged into three subseries.
Series 1: Business Records and Marketing Material, 1790-1930
Thomson, L. & Co., Wholesale Lumber Dealers, Albany, NY
Timber Engineering Company
Timber Structure Inc.
Towner, B.A. & Son, Wholesale Lumber Dealers, Albany, NY
Upson Company
Towner, J.O. & Co., Wholesale Lumber Dealers, Albany, NY
Trask & Clark Wholesale Dealers, Woonsocket
Tucker & Kelly , Wholesale Lumber Dealers, Albany, NY
Turck, William Wholesale & Retail Lumber Co.
Uhler, Peter Timber Manufacturer, Easton, PA
United States Gypsum Company
United States Plywood Co.
Vandemark, S. & Sons
Vanderbilt & Hopkins, Dealers and Manufacturers of Lumber
Vanderbeek & Sons
Vandenburg, H.L. & Co.
Valley Tie & Timber Co.
Veneer Assn.
Virginia Tie & Lumber Co., Virginia
Vose, Rodney, Lumber Merchant & Forwarder
Ward, J.C. & Son
West Coast Lumberman's Assn., Seattle, Washington
Weyerhaeuser Forest Products
White, John T. & Son, Philadelphia, PA
White, Loveland, & Co.
Whitney, Baxter D. & Son, Inc., Wichendon, MA
White Pine
Whitney, C.D. Jr. & Co., Wholesale Lumber Dealers, Albany, NY
Williams, C.P. & Co., Wholesale Lumber Dealers, Albany, NY
Williams, J.J. & F.H., Lumber Merchants, Philadelphia, PA
Williams, R.D. & J.J. , Lumber Merchants, Philadelphia, PA
Williamsport & Philade Lumber Co., Philadelphia, PA
Williamstown and Redfield, Railroad & Forest Co.
Wisconsin Valley Lumbermen's Association
Wood, Joshua Lumber Co., New York
Wood Preserving Co., New York
Yellow Pine Commission Lumber De3alers, Brooklyn, NY
Yellow Pine Manufacturers' Association, St. Louis, MO
Young, A., & P.B. Wholesalers and Retail Dealers, Hiram, Maine
Young, B.E. & Co. Lumber Dealers, Annandale, NJ
Youngs & Corley Lumber Dealers & Box Makers, New York
Zellerbach Corp.
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.
Series 1: Business Ephemera
Series 2: Other Collection Divisions
Series 3: Isadore Warshaw Personal Papers
Series 4: Photographic Reference Material
Provenance:
Lumber Trade and Industry is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Warshaw Collection of Business Americana Subject Categories: Lumber Trade and Industry, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection of the Smithsonian National Museum of African American History and Culture; Gift of Dr. and Mrs. T.B. Boyd, III and R.H. Boyd Publishing Corporation
Object number:
2013.208.7
Restrictions & Rights:
Unknown – Restrictions Possible
Rights assessment and proper usage is the responsibility of the user.
Garrick Mallery (1831-1894) was an ethnologist with the Bureau of American Ethnology who focused primarily on Native American sign language and pictography. This collection reflects Mallery's research interests and methods. Much of the collection is comprised of correspondence and notes relating to sign language and pictography and is organized chiefly by either the cultural or geographic region to which the material belongs. Bound volumes of several of his publications are included, along with annotated draft copies from collaborators. In the case of Mallery's work on pictography, the collection includes several oversize items including original works and reproductions.
Scope and Contents:
This collection contains Garrick Mallery's research and writings as a BAE ethnologist and is largely comprised of correspondence and preparatory materials for publications on Native American sign language and pictography. The geographic scope of the material is chiefly the present-day United States and Canada, though other areas of the world are represented less comprehensively. Correspondence and research notes include verbal descriptions of signs, sometimes with illustrations included. Bound volumes of Mallery's publications are included, along with annotations from collaborators. In addition, this collection includes notecards, drawings, illustrations, photographs, articles, and art objects. Art objects (mostly oversize) deal chiefly with Dakota winter counts and other artifacts.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
This collection is arranged into 3 series: 1) Research Notes, undated; 2) Materials on Sign Language, 1843-1849, 1873-1894; 3) Materials on Pictographs and Petroglyphs, 1849-1902, undated
Biographical Note:
Garrick Mallery (1831-1894) was born in Wilkes-Barre, Pennsylvania and practiced law in Philadelphia from 1853 until the outbreak of the American Civil War. While serving in the army, he became interested in Native American sign language and pictography, perhaps while performing his duties in frontier areas. After retiring from the military in 1879, Mallery was appointed to the newly created Bureau of American Ethnology as one of its first ethnologists. In his work with the Bureau, Mallery pioneered the study of sign language and pictographs, examining them as a universal human phenomenon with a direct link to spoken language.
In his work, Mallery collected and examined sign language vocabulary from Native American groups throughout the U.S. and Canada and regularly solicited contributions from collaborators. He also related his findings to examples from the wider world, comparing the formation of Native American signs to those in other areas by hearing individuals and by the deaf. Mallery completed several publications on the topic throughout the 1880s, notably Introduction to the Study of Sign language Among the North American Indians (1880), A Collection of Gesture- Signs and Signals of the North American Indians (1880), and "Sign-language among North American Indians Compared with that Among other People and Deaf-mutes," which appeared in the BAE 1st Annual Report (1881).
While most widely known for his work with sign language, Mallery also undertook extensive research into Native American pictography. Like his work with sign language, he both conducted original research and solicited assistance from collaborators. He was especially interested in the representational images in Dakota winter counts and petroglyphs in the United States and throughout the world.
Sources Consulted
Fletcher, Robert. "Garrick Mallery, President of the Philosophical Society of Washington, in 1888." In Brief Memoirs of Colonel Garrick Mallery, U.S.A., Who Died October 24, 1894, 3-8. Washington: Judd & Detweiler, 1895.
1831 -- Born in Wilkes-Barre, Pennsylvania, on April 25
1850 -- Graduates Yale College
1853 -- Earns LL. B. from the University of Pennsylvania Admitted to the Pennsylvania bar
1853-1861 -- Practices law in Philadelphia
1861 -- Enters the volunteer army of the United States
1862 -- Severely wounded in the battle of Peach Orchard, Virginia Captured and held prisoner at Libby prison in Richmond, Virginia
1866 -- Completes service with volunteer army of the United States Accepts commission in regular army of the United States
1870 -- Marries Helen W. Wyckoff
1879 -- Retires from the United States army due to disability Appointed to the Bureau of American Ethnology
1880 -- Publishes Introduction to the Study of Sign-Language Among the North American Indians as Illustrating the Gesture-Speech of Mankind and A Collection of Gesture-Signs and Signals of the North American Indians With Some Comparisons
1881 -- Publishes "Sign Language Among North American Indians, Compared with that Among Other Peoples and Deaf-Mutes"
1894 -- Dies after a short illness in Washington, D.C., on October 24
Related Materials:
See MS 2322 A collection of gesture-signs and signals of the North American Indians for more of Garrick Mallery's work on sign language.
Provenance:
MS 2372 was transferred from the Bureau of Ethnology Archives to the Smithsonian Office of Anthropology Archives with the merger of the BAE and the Department of Anthropology of the National Museum of Natural History in 1965. The Smithsonian Office of Anthropology Archives was renamed the National Anthropological Archives in 1968.
Restrictions:
Manuscript 2372 is open for research.
Access to Manuscript 2372 requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Language and languages -- Documentation Search this
This collection contains sheet music themed in support of the Confederacy. Many pieces were printed within the Confederate States of America during the Civil War (1861-1865). It also contains one Confederate bond and early twentieth century facsimiles of Confederate broadsides from the Chicago Historical Society.
Scope and Contents:
Originally titled the Edward M. Cramer Confederate Sheet Music Collection in honor of Cramer, president of the music rights organization BMI from 1968-1987, this collection contains sheet music produced within the Confederate States of America, before and after the Civil War.
Series 1, Sheet Music, 1860-1868, undated, contains single sheet songs arranged alphabetically by title as well as compilations. The compilations are filed alphabetically under the song title most identified with the Confederacy. For instance, the reel "Molly Gardner" is in a collection of reels entitled Jerdon's Reels but found under the title "Molly Gardner".
Series 2, Ephemera, 1863, undated, contains one Confederate States bond and twentieth century facsimiles from the Chicago Historical Society of a variety of Confederate broadsides.
Arrangement:
The collection is arranged into two series.
Series 1, Sheet Music, 1860-1868, undated
Series 2, Ephemera, 1863, undated
Biographical / Historical:
During the American Civil War (1861-1865), the South used music as propaganda and inspiration to both the Confederate forces and the civilian population. After the war the music conjured up memories of the "Lost Cause" and those unfortunate soldiers who did not return home. Subject matter for songs was wide-ranging and drew from both domestic and military themes. Even though cut off from the music publishing houses of the northern states, the South was very active in publishing music within the boundaries of the Confederacy. Nashville and Memphis, Tennessee were reported to be the most active publishing centers, with the cities of Augusta, Georgia; Columbia, South Carolina; New Orleans, Louisiana; and Mobile, Alabama also publishing sheet music. Much of this music was published on inferior grades of paper, and even though the cover engraving tended to be excellent at the beginning of the war, by war's end the covers were fairly plain and devoid of color or elaborate decoration.
Related Materials:
Materials in the Archives Center, National Museum of American History
Sam DeVincent Collection of Illustrated American Sheet Music, 1790-1980s (AC0300)
Provenance:
This collection was donated by Broadcast Music, Incorporated (BMI), 2011.
Restrictions:
This collection is open for research use.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The papers of African American painter, muralist, and arts educator Hale Woodruff measure 0.6 linear feet and date from 1920 to 1977 with the bulk of the collection dating from the 1960s to the 1970s. The papers contain biographical material, professional files, writings, printed material, photographs, and photocopies of a scrapbook, and of artwork.
Scope and Contents:
The papers of Hale Woodruff measure 0.6 linear feet and date from 1920 to 1977, with the bulk of the collection dating from the 1960s to the 1970s. The papers contain biographical material, professional files, writings, printed material, photocopies of a scrapbook, photographs, and photocopies of artwork.
Biographical material includes a resume, awards and honorary degrees, and an interview transcript.
Professional files consist of correspondence, committee files, and materials related to exhibitions and projects.
Writings include an illustrated notebook; drafts and copies of lectures, statements, articles, book reviews, and exhibition text; and notes on note cards, as well as photocopies of notes Woodruff took in Mexico while studying with Diego Rivera.
Printed Material includes exhibition announcements, exhibition catalogs, publications in which Woodruff is featured, clippings, and other assorted printed material.
The scrapbook consists of photocopies of scrapbook pages. The originals do not appear in the collection, but mostly contained clippings and printed material, with some correspondence.
Photographs include black and white photographs with an accompanying piece of correspondence, and photocopies of photographs of artwork.
Artwork includes photocopies of sketches and drawings.
Arrangement:
This collection is arranged as seven series.
Series 1: Biographical Material, 1966-1977 (Box 1; 4 folders)
Series 2: Professional Files, 1944-1973 (Box 1; 4 folders)
Series 3; Writings, 1920-1977, undated (Box 1; 0.3 linear feet)
Series 4; Printed Material, 1920s-1970s (Box 2, 4 folders)
Series 5: Scrapbook, 1927-1928, 1940-1960 (Box 2, 1 folder)
Series 6: Photographic Material, 1926-1977 (Box 2, 2 folders)
Series 7: Artwork, 1939-1952, undated (Box 2, 1 folder)
Biographical / Historical:
Hale Aspacio Woodruff (1900-1980) was an African American painter, muralist, and arts educator. His most well-known works are the Amistad murals, painted between 1939 and 1940 for Talladega College's Savery Library.
Woodruff was born in Cairo, Illinois, and grew up in Nashville, Tennessee. He studied at the John Herron Art Institute in Indianapolis, and at the Art Institute of Chicago. After winning an award from the Harmon Foundation, he traveled to Paris and attended the Academie Moderne and the Academie Scandinave. He also spent a summer studying mural painting in Mexico with Diego Rivera.
In 1931, Woodruff established one of the earliest art departments at a Black college at Atlanta University – teaching classes at the University's Laboratory High School, Morehouse College, and Spelman College as well. He also established the Atlanta Annuals, one of the earliest national exhibition opportunities for African American artists. In 1946 he moved to New York and taught in the art department at New York University until his retirement in 1968.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Hale Woodruff conducted by Al Murray, November 18, 1968.
Separated Materials:
The Archives of American of Art also holds material lent for microfilming (reel 4222), the majority of which was included in subsequent donations. Loaned materials not donated at a later date remain with the lender and are not described in the container listing of this finding aid.
Provenance:
The Hale Woodruff papers were lent for microfilming by Woodruff in 1970. Most of the material was subsequently donated in 1978, along with additional material.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Painters -- New York (State) -- New York Search this
Muralists -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Ralph Rinzler (1934-94), founding director of the Smithsonian Folklife Festival, worked with a host of musicians, craftspeople, and folklorists, doing fieldwork, developing exhibitions, issuing recordings, and presenting concerts. The Ralph Rinzler Memorial Concert series honors Rinzler by highlighting his work and the work of his colleagues in conserving and extending traditional expressive culture. In celebration of the fiftieth anniversary of the National Endowment for the Arts (NEA), the 2016 Rinzler Concert featured extraordinary musicians from across the country who have received the NEA National Heritage Fellowship, the nation's highest award for excellence in the folk and traditional arts.
Every year since 1982, the NEA has awarded National Heritage Fellowships to a broad range of traditional artists in recognition of their artistic excellence and their contributions to our nation's diverse heritage. To date, more than 400 individuals and groups from every region of the United States have been honored by this prestigious award. These artists are not only great masters of their tradition; as teachers, innovators, and advocates, they have made significant contributions to the living cultural heritage of their communities. Together they represent a remarkable portrait of the great diversity of cultures and artistic traditions that enrich our nation.
This concert offered a preview of the 2017 Festival that will feature a full program on the NEA National Heritage Fellows. It was presented in partnership with the National Endowment for the Arts. Marjorie Hunt, Cliff Murphy, Arlene Reiniger, Cheryl Schiele, and Daniel Sheehy constituted the Rinzler Concert Curatorial Team, and Ari Pineda was Evening Concert Coordinator.
Other special events included evening concerts featuring musicians from the Basque or California programs (for which, see the corresponding series). A special concert on July 7 illustrated how young generations of musicians are harmonizing vintage Armenian melodies with contemporary sensibilities. The members of Armenian Public Radio grew up in the musically vibrant diaspora communities in Southern California and took part in the California program. For this concert, they were joined by members of TmbaTa, a youth orchestra from Yerevan, Armenia, based at the Tumo Center for Creative Technologies, an innovative after-school program serving twelve- to seventeen-year-olds. This concert was sponsored by the My Armenia program, a joint partnership between USAID, the Smithsonian, and the people of Armenia, and presented in collaboration with the Embassy of the Republic of Armenia in Washington, D.C.
A closing concert brought together the eight-piece Korrontzi folk band, led by Agus Bandadiaran, who plays the trikitixa (Basque accordion). Through its performances, the band seeks to elevate Basque traditional music and dance, adding modern instruments and rhythms to make it accessible to a larger public. Representing California was Banda Brillo de San Miguel Cuevas, a ten-piece drum and brass band that plays chilenas from the Mixteco community of Oaxaca via Fresno, California. Rounding out the evening was the Armenian youth orchestra TmbaTa (see above).
Participants:
Ralph Rinzler Memorial Concert
Rahim AlHaj with Issa Malluf -- Rahim AlHaj with Issa MallufRahim AlHaj, 1966-, Albuquerque, New MexicoIssa Malluf, 1985-, Albuquerque, New Mexico
Kevin Locke, 1954-, hoop dancer, Mobridge, South Dakota
Max Defender, Jr., 1970-, Dunseith, North Dakota
Andy Statman Trio -- Andy Statman TrioAndy Statman, 1950-, Brooklyn, New YorkLarry Eagle, 1956-, Brooklyn, New YorkJim Whitney, 1964-, Brooklyn, New York
The Chuck Brown Band -- The Chuck Brown Band"Sweet" Cherie AgursElijah BalbedWiley BrownKym ClarkeDouglas CrowleyTakesa "KK" DonelsonKenneth "Kwick" GrossMaurice "Mighty Moe" HagansFrank MarshallLeon RawlingsMarcus Young
Armenian Public Radio with TmbaTa
Armenian Public Radio -- Armenian Public RadioMher Ajamian, 1980-, guitarist, percussionist, North Hollywood, CaliforniaRyan Demirjian, 1985-, lead guitarist, Glendale, CaliforniaSaro Koujakian, 1980-, lead singer, guitarist, Los Angeles, California
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: 2016 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Some 120 of Texas's best musicians, dancers, singers, cooks, and winemakers came to Washington for the 2008 Festival's celebration of the Lone Star State.
Winemakers, sommeliers, viticulturists, and others gave visitors a look behind the scenes at the fascinating but largely unknown world of Texas wine. The vast state has been blessed with dozens of microclimates, many closely mimicking the more famous microclimates of France and Spain. While most people know that Texas is BIG, few understand the variety of climates the state has to offer. Despite visitors' disappointment that wine could not be sampled on National Park Service grounds, a sensory station was set up to educate people on what they could learn from the scents wine produces.
The food demonstration area offered visitors an illustrated symposium on the diversity of Texas cultures. Vietnamese, Polish, African American, Tex-Mex, cowboy, and Czech traditions were shared, along with barbecue, home canning, and more. But most interesting were the ways that traditions crossed cultural lines. Take chicken fried steak, for instance: early German and Austrian settlers brought recipes for Wiener schnitzel and "texafied" it as they became more Texan. There are hundreds of examples of foods in Texas born of neighbors from different cultures sharing and adapting traditions. This is still happening today and made for rich conversations in the Lone Star Kitchen.
The unique flavor of the Texas singer-songwriter tradition was also on display. Texas musical icons were in abundance, among them Joe Ely, Joel Guzman, Guy Clark, Verlon Thompson, Terri Hendrix, Lloyd Maines, CJ Chenier, Little Joe y la Familia, Marcia Ball, Los Texmaniacs, and Asleep at the Wheel. They performed, delivered workshops, and spoke about their inspirations and what makes Texas the perfect environment for music making. Songs were sung in English, Spanish, Polish, Czech, and many a combination of the above. Sacred music is also an essential part of the Texas ethos. The Original Soul Invaders and the Jones Family Singers shared this moving tradition with appreciative audiences. Dance was not forgotten; it was, after all, a program about Texas where mere listening is unacceptable. Texans get up and move when they hear music. Texas dancers gamely ignored the sweltering Washington heat to show visitors how to dance to zydeco, Cajun, mariachi, blues, western swing, conjunto, polka of all varieties, cowboy music, and more.
Pat Jasper was Curator and Dawn Orsak was Foodways and Wine Curatorial Consultant; Amanda Pike served as Program Coordinator.
The program was produced in partnership with the Texas Office of the Governor, Economic Development and Tourism. The Major Donor to the program was the Texas Commission on the Arts. Contributors to the program included the Texas Department of Agriculture, the City of El Paso, Houston Endowment Inc., the San Antonio Convention & Visitors Bureau, and the City of San Antonio Office of Cultural Affairs. Additional support was provided by the Music Performance Fund, with major in-kind support provided by Southwest Airlines.
Participants:
Music
Asleep At the Wheel -- Asleep At the WheelRay Benson, 1951-, Austin, TexasJim Finney, Austin, TexasElizabeth McQueen, Austin, TexasDavid Miller, Austin, TexasJason Roberts, Austin, Texas
The Gillette Brothers -- The Gillette BrothersGuy Gillette, 1945-, Crockett, TexasPipp Gillette, 1950-, Crockett, Texas
Mark Halata and Texavia -- Mark Halata and TexaviaMark Halata, 1967-, Webster, TexasBruce Brosch, Houston, TexasJeff Brosch, Austin, TexasMike Gest, 1958-, Houston, Texas
James Hand -- James HandJames Hand, 1952-, West, TexasWill Indian, 1953-, Dripping Springs, TexasJohn McGlothlin, 1954-, Austin, TexasSpeedy Sparks
Terri Hendrix, 1968-, San Marcos, Texas
Lloyd Maines, 1951-, Austin, Texas
The Jones Family Singers -- The Jones Family SingersFred Allen Jones, Sr., 1949-, Markham, TexasVelma Davis, 1966-, Bay City, TexasErnestine Jones, Bay City, TexasFred Allen Jones, Jr., 1949-, Bay City, TexasSarah M. Jones, 1941-, Bay City, TexasTheresa Patrelle Jones, 1974-, Bay City, TexasAlexis Jones-Roberts, 1977-, Bay City, TexasIan Wade, Markham, TexasSabrina Renee Wade, 1965-, Markham, Texas
Tutu Jones and Soul Crew -- Tutu Jones and Soul CrewTutu Jones, 1966-, Dallas, TexasTyson Grimes, 1948-, Spicewood, TexasKevin Vaughn, 1963-, Dallas, TexasWayne Ross, 1953-, Forest Hill, Texas
Les Amis Creole -- Les Amis CreoleEd Poullard, 1952-, Beaumont, TexasJames Adams, 1956-, Houston, TexasLawrence Ardoin, 1946-, Lake Charles, Louisiana
Little Joe y la Familia -- Little Joe y la FamiliaJoe Hernandez, 1940-, Temple, TexasGracie Acosta, 1986-, Big Spring, TexasFrank Cagigal, 1949-, Fort Worth, TexasManuel Castaneda, 1969-, Arlington, TexasThomas Cruz, 1956-, Temple, TexasJesus Gaitan, 1972-, Temple, TexasSam Jones, 1954-, Temple, TexasJesse Lopez, 1962-, Leander, TexasJohn Ontiveros, 1985-, Big Spring, Texas
Los Texmaniacs -- Los TexmaniacsMax Baca, 1967-, San Antonio, TexasDavid Farias, 1963-, San Antonio, TexasLorenzo Martinez, 1967-, Whittier, CaliforniaIsrael Villanueva, 1962-, San Antonio, Texas
Mariachi Los Arrieros -- Mariachi Los ArrierosManny Andrade, 1982-, Las Cruces, New MexicoJoseph Baca, 1985-, El Paso, TexasAntonio Luis Bordonada, El Paso, TexasDoug Edward Brown, 1975-, El Paso, TexasRene Eduardo Castañeda, 1980-, El Paso, TexasJuan Alberto Contreras, 1973-, El Paso, TexasLeopoldo Gomez, Las Cruces, New MexicoAngel Hernandez, 1974-, El Paso, TexasEduardo Alfonso Hernandez, El Paso, TexasOmar Daniel Lopez, El Paso, TexasAlbert Gil Martinez, Jr., El Paso, TexasJose Montes, Jr., 1976-, El Paso, TexasGabriel Prado, 1974-, El Paso, TexasManuel Talamantes, III, El Paso, TexasJavier Villarreal, Jr., 1976-, El Paso, Texas
Jody Nix and The Texas Cowboys -- Jody Nix and The Texas CowboysJody Nix, 1952-, Big Spring, TexasJohnny Cox, 1957-, Eustace, TexasDixie Hankins, 1957-, Weatherford, TexasLarry Nix, 1940-, Big Spring, TexasRobert Weeks, 1977-, Eastland, Texas
The Original Soul Invaders -- The Original Soul InvadersRoy Green, 1958-, Industry, TexasDanny Davis, 1984-, Washington, TexasDemontreal Edmond, 1985-, Chappell Hill, TexasDavid Scott, 1953-, Houston, TexasChadwick Turner, 1982-, Bellville, TexasChris Washington, 1986-, Benham, Texas
The Quebe Sisters Band -- The Quebe Sisters BandGrace Quebe, 1986-, Burleson, TexasHulda Quebe, 1990-, Burleson, TexasSophia Quebe, 1987-, Burleson, TexasJoey McKenzie, 1963-, Burleson, TexasDrew Phelps, 1956-, Burleson, Texas
Mingo Saldivar, 1936-, San Antonio, Texas
Texas Johnny Brown -- Texas Johnny BrownTexas Johnny Brown, 1928-, Houston, TexasLarry Evans, Houston, TexasGiovanni Godley, 1963-, Houston, TexasWilliam Hollis, 1942-, Houston, Texas
Charles Thibodeaux and the Austin Cajun Aces -- Charles Thibodeaux and the Austin Cajun AcesCharles Thibodeaux, 1952-, Austin, TexasSteve Doerr, 1949-, Austin, TexasPeter Schwarz, 1968-, Austin, Texas
Texas Food
Hoover Alexander, 1954-, Austin, Texas
Bill Avila, 1955-, El Paso, Texas
Gene Marie Bohuslav, 1936-, Hallettsville, Texas
Rene Matula, Komensky, Texas
Tom Nall, 1943-, Burnet, Texas
Lyly Nguyen, 1967-, Corpus Christi, Texas
Betty Orsak, Katy, Texas
Steve Orsak, 1943-, Katy, Texas
Tom Perini, 1943-, Buffalo Gap, Texas
Wendy Power, San Antonio, Texas
Texas Wine
Ed Auler, 1945-, Tow, Texas
Jason Englert, 1971-, Fredericksburg, Texas
Gary Gilstrap, 1942-, Johnson City, Texas
Kathy Gilstrap, 1950-, Johnson City, Texas
Raymond Haak, 1939-, Santa Fe, Texas
Gladys Haak, 1941-, Santa Fe, Texas
Jim Johnson, 1947-, Bend, Texas
Karen Johnson, Bend, Texas
Kim McPherson, 1953-, Lubbock, Texas
Guy Stout, 1954-, Houston, Texas
Caris Turpen, 1955-, Fort Worth, Texas
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: 2008 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
