106.32 Cubic feet (87.5 cubic feet of papers, 18.82 cubic feet of audio)
Type:
Collection descriptions
Archival materials
Photographs
Field recordings
Correspondence
Phonograph records
Notes
Business records
Audiocassettes
Photographic prints
Black-and-white negatives
Audiotapes
Date:
1890-2011
bulk 1950-1994
Summary:
This collection, with bulk dates from 1950-1994, documents the life of Ralph Rinzler and his professional activities as Director of Field Programs for the Newport Folk Festival, Director of the Smithsonian Folklife Festival (formerly the Festival of American Folklife) and the Office of Folklife Programs (now the Center for Folklife and Cultural Heritage), and the Smithsonian Institution's Assistant Secretary for Public Service. Includes personal papers, business records, correspondence, notes, photographs, audiotapes and field recordings.
Scope and Contents:
The Ralph Rinzler Papers and Audio Recordings encompasses a wide range of materials from Rinzler's prolific personal and professional life. Predominantly consisting of clippings, collected texts, correspondence, meeting notes, photographs, and production materials, this collection charts Rinzler's role in the mid-twentieth century emergence of community-based and institutional efforts to preserve, sustain, and amplify cultural heritage. As an assemblage of materials from all aspects of his life, the Ralph Rinzler Papers also reflect the many integral relationships he developed throughout the years with his colleagues, contemporaries, family, and friends.
Arrangement note:
The collection is currently arranged in 9 archival series as follows:
1. Biographical
2. Collected Texts
3. Correspondence
4. Events
5. Fieldwork
6. Meetings and Organizations
7. Notable Figures
8. Publishing and Production
9. Audio
The papers and photographs contained in the first 8 series are processed at an intermediate level, which means that all material was rehoused in archival folders, with folder-level arrangements and descriptions. Individual items within folders may not be fully arranged or described, due to the collection's level of complexity when it was deposited in the Archives.
When possible, folders were arranged alphabetically within series and subseries.
Biographical/Historical note:
Ralph Rinzler (1934-1994) was born in Passaic, New Jersey, and was interested in music at an early age. He was given a collection of ethnographic recordings from the Archive of Folk Song of the Library of Congress by his uncle, Harvard University ballad scholar George Lyman Kittredge, and they soon became his favorites. He became actively involved in the Folk Revival while attending Swarthmore College, organizing an annual festival on campus. He received his B.A. in 1956, and did graduate work at Middlebury College and the Sorbonne in French literature and language. Upon his return to the United States, he played mandolin for four years with the Greenbriar Boys, at times touring with singer Joan Baez. During the 1960s, he also studied, recorded, and worked with performers of traditional music, such as Doc Watson and Bill Monroe, both of whom gained international recognition in part through his efforts. In 1964, Rinzler accepted the position of Director of Field Programs at the Newport Folk Foundation, which involved the planning and programming of the Newport Folk Festival.
Rinzler came to the Smithsonian in 1967 as co-founder of the Festival of American Folklife (now the Smithsonian Folklife Festival) with James Morris in what was then the Smithsonian's Division of Performing Arts. After the 1976 Bicentennial Festival, Rinzler became the founding director of the Office of Folklife Programs (now the Center for Folklife and Cultural Heritage) to establish a center for research, publication, and presentation of programs in American culture and tradition. As Director, he initiated Smithsonian Folklife Studies, a publication series, and did research for the Celebration exhibit, which opened at the Renwick Gallery in 1982. Rinzler was appointed Assistant Secretary for Public Service in 1983 and Assistant Secretary Emeritus in 1990. Ralph Rinzler died on July 2, 1994.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Provenance:
The materials in this collection were deposited into the archives of the Center for Folklife and Cultural Heritage over a number of years by Ralph Rinzler, Kate Rinzler, and Jeff Place in honor of the aforementioned. From the 1980s until Ralph Rinzler's passing in 1994, the Center received the majority of the audio tapes and photographs in this collection directly from Rinzler. With Rinzler's death in 1994, Jeff Place reviewed and deposited the majority of Rinzler's papers at the Center.
Until her passing in 2011, Kate Rinzler donated materials to this collection, with more continuing to arrive via her estate (as of May 2021). Many of these items were rehoused in the Kate Rinzler Papers.
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.
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.
205 Alwar Song / P.R. Balasubramanyan, T.M. Krishnaswamy Iyer.
206 Kathakali.
207 Kathakali (part 2) / N Paramasiva.
208 Invitation to the Fish-Eyed Goddess.
209 Challenge by the Demon Naraka to the King of Heaven Devendra.
Local Numbers:
FW-ASCH-LP-1682
Columbia.215
Publication, Distribution, Etc. (Imprint):
New York Columbia 1960
General:
Field recordings made by Alain Danierlou, 1950-1958. Instrumental folk and classical music, and folk songs sung in Hindi, Urdu, Bengali, Gond.i.Õo, Tamil, and Malayalam. Compiled and edited by Alan Lomax.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
Sinner's friend -- Windham -- Traveling on -- Wondrous love --Sherburne -- Greenwich -- Victoria -- Amsterdam -- Loving Jesus -- The morning trumpet -- Montgomery -- Melancholy day -- We'll all sing hallelujah -- Cusseta -- David's lamentation -- Milford -- Mt. Zion -- Last words of Copernicus.
Track Information:
101 Sinner's Friend / Alabama Sacred Harp Singers, Maud Quinn.
102 Windham / Alabama Sacred Harp Singers, W.W. Kidd.
103 Traveling On / Alabama Sacred Harp Singers, Maud Quinn.
104 Wondrous Love / Alabama Sacred Harp Singers, King Roberts.
105 Sherburne / Alabama Sacred Harp Singers, Eugene Dawson.
106 Greenwich / Alabama Sacred Harp Singers, M.O. Slaughter.
107 Victoria / Alabama Sacred Harp Singers, Velma Johnson.
108 Amsterdam / Alabama Sacred Harp Singers, Virginia Dell Shrader.
109 Loving Jesus and Announcement of Recess / Alabama Sacred Harp Singers, Enis Wall.
201 The Morning Trumpet / Alabama Sacred Harp Singers, J Edge.
202 Montgomery / Alabama Sacred Harp Singers, J.H. Lambert.
203 Melancholy Day / Alabama Sacred Harp Singers, Uncle Will Laminack.
204 We'll All Sing Hallelujah / Alabama Sacred Harp Singers, Budford King.
205 Memorial Announcement and Cusseta / Alabama Sacred Harp Singers, Martin Blackman.
206 David's Lamentation / Alabama Sacred Harp Singers.
207 Milford / Alabama Sacred Harp Singers, Reba Dell Lacy.
208 Mt. Zion / Alabama Sacred Harp Singers, M.O. Kennedy.
209 Last Words of Copernicus and Closing Prayer / Alabama Sacred Harp Singers, Velma Johnson.
Local Numbers:
FP-RINZ-LP-0656
Prestige/International.25007
Publication, Distribution, Etc. (Imprint):
Bergenfield, NJ Prestige International 1961
General:
Additional imprint on container: Prestige International. Program notes by Alan Lomax on container.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
The gospel train -- Keep me as the apple of thine eye -- David was a shepherd boy -- What a time -- The Lord is my strength and song -- None but the righteous -- Come on, Israel -- Medley of spirituals. Great camp meeting in the wilderness ; Swing low, sweet chariot ; Steal away ; What kind of shoes you gonna wear ; Oh, them golden slippers ; I'm a soldier in the heavenly choir ; Down by the riverside ; Swing low, sweet chariot -- The house of the Lord -- Honor, honor -- On the battlefield for my Lord -- The creation -- Honor the Lamb.
Track Information:
101 The Gospel Train / Belleville A Cappella Choir, Caleb Garris, Rhoda Parish.
102 Keep Me as the Apple of Thine Eye / Belleville A Cappella Choir, Caleb Garris, Rhoda Parish.
103 David Was a Shepherd Boy / Belleville A Cappella Choir, Caleb Garris, Rhoda Parish.
104 What a Time / Belleville A Cappella Choir, Caleb Garris, Rhoda Parish.
105 The Lord Is My Strength and Song / Belleville A Cappella Choir, Caleb Garris, Rhoda Parish.
106 None But the Righteous / Belleville A Cappella Choir, Caleb Garris, Rhoda Parish.
201 Come On, Israel / Belleville A Cappella Choir, Caleb Garris, Rhoda Parish.
202 Medley of Spirituals / Belleville A Cappella Choir, Caleb Garris, Rhoda Parish.
203 The House of the Lord / Belleville A Cappella Choir, Caleb Garris, Rhoda Parish.
205 On the Battlefield for My Lord / Belleville A Cappella Choir, Caleb Garris, Rhoda Parish.
206 Honor the Lamb / Belleville A Cappella Choir, Caleb Garris, Rhoda Parish.
Local Numbers:
FP-RINZ-LP-0657
Prestige/International.25012
Publication, Distribution, Etc. (Imprint):
Bergenfield, NJ Prestige International 1961
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
Speeches, songs and a sermon. A documentary on the demonstrations in Albany, Georgia, 1961-62. Program notes by Howard Zinn, Lewis W. Jones and Alan Lomax on container. original idea and field work, Guy Carawan ; produced by Alan Lomax and Guy Carawan.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
Sweet Roseanne -- Mama's gonna buy -- East coast line -- Buttermilk -- Tom Devil -- Riley -- You done tol' everybody -- You got dimples in your jaws -- It just suits me -- My mother died and left me -- Moses, don't get lost -- No room at the inn ; The last month of the year -- I wisht I was in Heaven -- Very same Lord -- The prayer wheel.
104 Buttermilk / Bob Pratcher, Miles Pratcher. Guitar,Fiddle.
105 Tom Devil / Ed Lewis, James Carter, Johnny Lee Moore.
106 Riley / Joe Armstrong, John Davis.
107 You Done Tol' Everybody / Fred McDowell. Guitar.
108 You Got Dimples In Your Jaws / Joe B. Pugh, Roland Hayes, Willie Jones. Guitar,Drum,Harmonica.
201 It Just Suits Me / Bessie Jones, Hobart Smith. Guitar.
202 My Mother Died and Left Me / Fred McDowell, James Shorty. Guitar.
203 Moses, Don't Get Lost / John Davis.
204 No Room at the Inn/The Last Month of the Year / Vera Hall.
205 I Wish I Was In Heaven / Fred McDowell, Denise Gardner, Mattie Gardner. Guitar.
206 Very Same Lord / Silver Leaf Quartette of Norfolk.
207 The Prayer Wheel / Bright Light Quartet.
Local Numbers:
FP-RINZ-LP-1620
Prestige/International.25005
Publication, Distribution, Etc. (Imprint):
Bergenfield, N.J. Prestige International 1961
General:
Folk songs; sung and played by local musicians. Additional imprint on container: Prestige/International. "Southern journey: a collection of field recordings from the South." Program notes by Alan Lomax on container.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
Muin.iera de Eviz (Cuarteto de Cornin.a) --No mundo enteiro (Maria Sanchez) --Parranda de San Pedro (Maria Lago Canoza) --O nenin.o o ; Este nin.o (Manuela Lema Sanchez) -- Vienes cargado de trigo --Carballerina escura --Ribeirana (Maria Sanchez) --Medley of choral songs --Canteiros de Pontevedra --Los reis --Foliada de Marin --Ayala de Ribadavia --Vendimia --Pandeirada --Ay Rosina --Canto de espadela (Pura Carreiro) --Tronpele (Maria Ruintos) --Desafio --Alborada (Modesto Sanchez Garcia) --Jo cantar do arrierio (Antonio Dominguez) --Aqui som dos obreros --Rapaz que bonito --Debajo de tu ventana --Jota Gallega.
Local Numbers:
FP-RINZ-LP-1334
Westminster.12020
Publication, Distribution, Etc. (Imprint):
Westminster 196x
General:
Recorded in the field and edited by Alan Lomax. Program notes by Alan Lomax in English on container.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
Haul on the bowlin' ; A' roving (Stanley Slade with male chorus) --Earsdon sword dancers (Royal Earsdon Team with Jimmy McKay, fiddle) --My bonny lad (Isla Cameron) --The contented country lad / Jim and Bob Copper) --The turmont hoer's song (Fred Perrier with accordion and villagers --Up the sides and down the middle (Bert Pidgeon, melodeon and Alfie Tuck, riddle drum) --The threshing machine (Jim Copper) --Quarrymen's Chant and song (Tom Tewkesbury and quarrymen) --The four loom weaver ; Fourpence a day (Ewan MacColl) --The rigs of the time ("Charger" Salmons and friends) --The Redesdale hornpipe (Jack Armstrong, Northumbrian small-pipes) --Corn rigs (Jack Armstrong's Barnstormer's Band) --The Wassail song (Phil Tanner) -- The Symondsbury & Eype mummer's play --The Padstow May songs & hobby horse music --The seven step polka (The Haymakers Village Barn Dance Band) --Brigg Fair (Isla Cameron) --The sweet primroses (Phil Tanner) --Died for love (Isla Cameron) --Country gardens (William Kimber, Anglo concertina) --Polly Vaughan (A.L. Lloyd) --Singing games and rhymes (Group of Sidbury children) --The prickle holly bush (Walter Lucas and villagers --Richard of Taunton Dean (Mrs. Aunt Fanny Rumble) --The mallard (Bunny Palmer) --The false hearted knight (Jumbo Brightwell) --Old daddy fox (Cyrill Biddick with accordion and chorus --The Gower reel (Phil Tanner, mouth music).
Track Information:
101 Haul on the Bowlin' / Stanley Slade.
102 A'Roving / Stanley Slade.
103 Earsdon Sword Dancers / Royal Earsdon Team.
104 My Bonnie Lad / Isla Cameron.
105 The Contented Country Lad / Bob Copper, Jim Copper.
106 The Turmut-Hoer's Song / Fred Perrier.
107 Up the Sides and Down the Middle / Alfie Tuck, Bert Pidgeon.
108 The Threshing Machine / Jim Copper.
109 Quarrymen's Chant and Song / Tom Tewkesbury.
110 The Four Loom Weaver / Ewan MacColl.
111 Fourpence a Day / Ewan MacColl.
112 The Rigs of Time / Charger Salmond.
113 The Redesdale Hornpipe / Jack Armstrong.
114 Corn Riggs / Jack Armstrong.
115 The Wassail Song / Phil Tanner.
116 The Mummer's Play.
201 The Padstow May Day Song.
202 The Seven Step Polka / Haymakers Orchestra.
203 Brigg Fair / Isla Cameron.
204 The Sweet Primroses / Phil Tanner.
205 Died for Love / Isla Cameron.
206 Country Gardens / William Kimber.
207 Polly Vaughan / A. L. (Albert Lancaster) Lloyd.
208 Singing Games and Rhymes.
209 The Prickle Holly Bush / Walter Lucas.
210 Richard of Taunton Dean / Aunt Fanny Rumble.
211 The Mullard / Bunny Palmer.
212 The False Hearted Knight / Jumbo Brightwell.
213 Old Daddy Fox / Cyril Biddick.
214 The Gower Reel / Phil Tanner.
Local Numbers:
RA-RAMS-LP-0096
Columbia.206
Publication, Distribution, Etc. (Imprint):
New York Columbia
General:
Recorded at various locations in England between 1937 and 1951 by Alan Lomax, Peter Kennedy and others.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
These papers reflect the professional and personal life of Frederica de Laguna. The collection contains correspondence, field notes, writings, newspaper clippings, writings by others, subject files, sound recordings, photographs, and maps. A significant portion of the collection consists of de Laguna's correspondence with family, friends, colleagues, and students, as well as her informants from the field. Her correspondence covers a wide range of subjects such as family, health, preparations for field work, her publications and projects, the Northwest Coast, her opinions on the state of anthropology, and politics. The field notes in the collection mainly represent de Laguna and her assistants' work in the Northern Tlingit region of Alaska from 1949 to 1954. In addition, the collection contains materials related to her work in the St. Lawrence River Valley in Ontario in 1947 and Catherine McClellan's field journal for her research in Aishihik, Yukon Territory in 1968. Most of the audio reels in the collection are field recordings made by de Laguna, McClellan, and Marie-Françoise Guédon of vocabulary and songs and speeches at potlatches and other ceremonies from 1952 to 1969. Tlingit and several Athabaskan languages including Atna, Tutchone, Upper Tanana, and Tanacross are represented in the recordings. Also in the collection are copies of John R. Swanton's Tlingit recordings and Hiroko Hara Sue's recordings among the Hare Indians. Additional materials related to de Laguna's research on the Northwest Coast include her notes on clans and tribes in Series VI: Subject Files and her notes on Tlingit vocabulary and Yakutat names specimens in Series X: Card Files. Drafts and notes for Voyage to Greenland, Travels Among the Dena, and The Tlingit Indians can be found in the collection as well as her drawings for her dissertation and materials related to her work for the Handbook of North American Indians and other publications. There is little material related to Under Mount Saint Elias except for correspondence, photocopies and negatives of plates, and grant applications for the monograph. Of special interest among de Laguna's writings is a photocopy of her historical fiction novel, The Thousand March. Other materials of special interest are copies of her talks, including her AAA presidential address, and the dissertation of Regna Darnell, a former student of de Laguna's. In addition, materials on the history of anthropology are in the collection, most of which can found with her teaching materials. Although the bulk of the collection documents de Laguna's professional years, the collection also contains newspaper articles and letters regarding her exceptional performance as a student at Bryn Mawr College and her undergraduate and graduate report cards. Only a few photographs of de Laguna can be found in the collection along with photographs of her 1929 and 1979 trips to Greenland.
Scope and Contents:
These papers reflect the professional and personal life of Frederica de Laguna. The collection contains correspondence, field notes, writings, newspaper clippings, writings by others, subject files, sound recordings, photographs, and maps.
A significant portion of the collection consists of de Laguna's correspondence with family, friends, colleagues, and students, as well as her informants from the field. Her correspondence covers a wide range of subjects such as family, health, preparations for field work, her publications and projects, the Northwest Coast, her opinions on the state of anthropology, and politics. Among her notable correspondents are Kaj Birket-Smith, J. Desmond Clark, Henry Collins, George Foster, Viola Garfield, Marie-Françoise Guédon, Diamond Jenness, Michael Krauss, Therkel Mathiassen, Catharine McClellan, and Wallace Olson. She also corresponded with several eminent anthropologists including Franz Boas, William Fitzhugh, J. Louis Giddings, Emil Haury, June Helm, Melville Herskovitz, Alfred Kroeber, Helge Larsen, Alan Lomax, Margaret Mead, Froelich Rainey, Leslie Spier, Ruth Underhill, James VanStone, Annette Weiner, and Leslie White.
The field notes in the collection mainly represent de Laguna and her assistants' work in the Northern Tlingit region of Alaska from 1949 to 1954. In addition, the collection contains materials related to her work in the St. Lawrence River Valley in Ontario in 1947 and Catharine McClellan's field journal for her research in Aishihik, Yukon Territory in 1968. Most of the audio reels in the collection are field recordings made by de Laguna, McClellan, and Marie-Françoise Guédon of vocabulary and songs and speeches at potlatches and other ceremonies from 1952 to 1969. Tlingit and several Athapaskan languages including Atna, Tutochone, Upper Tanana, and Tanacross are represented in the recordings. Also in the collection are copies of John R. Swanton's Tlingit recordings and Hiroko Hara's recordings among the Hare Indians. Additional materials related to de Laguna's research on the Northwest Coast include her notes on clans and tribes in Series VI: Subject Files and her notes on Tlingit vocabulary and Yakutat names specimens in Series 10: Card Files.
Drafts and notes for Voyage to Greenland, Travels Among the Dena, and The Tlingit Indians can be found in the collection as well as her drawings for her dissertation and materials related to her work for the Handbook of North American Indians and other publications. There is little material related to Under Mount Saint Elias except for correspondence, photocopies and negatives of plates, and grant applications for the monograph. Of special interest among de Laguna's writings is a photocopy of her historical fiction novel, The Thousand March.
Other materials of special interest are copies of her talks, including her AAA presidential address, and the dissertation of Regna Darnell, a former student of de Laguna's. In addition, materials on the history of anthropology are in the collection, most of which can found with her teaching materials. The collection also contains copies of photographs from the Harriman Alaska Expedition of 1899. Although the bulk of the collection documents de Laguna's professional years, the collection also contains newspaper articles and letters regarding her exceptional performance as a student at Bryn Mawr College and her undergraduate and graduate report cards. Only a few photographs of de Laguna can be found in the collection along with photographs of her 1929 and 1979 trips to Greenland.
Frederica Annis Lopez de Leo de Laguna was a pioneering archaeologist and ethnographer of northwestern North America. Known as Freddy by her friends, she was one of the last students of Franz Boas. She served as first vice-president of the Society for American Archaeology (SAA) from 1949 to 1950 and as president of the American Anthropological Association (AAA) from 1966-1967. She also founded the anthropology department at Bryn Mawr College where she taught from 1938 to 1972. In 1975, she and Margaret Mead, a former classmate, were the first women to be elected to the National Academy of Sciences.
Born on October 3, 1906 in Ann Arbor, Michigan, de Laguna was the daughter of Theodore Lopez de Leo de Laguna and Grace Mead Andrus, both philosophy professors at Bryn Mawr College. Often sick as a child, de Laguna was home-schooled by her parents until she was 9. She excelled as a student at Bryn Mawr College, graduating summa cum laude with a degree in politics and economics in 1927. She was awarded the college's prestigious European fellowship, which upon the suggestion of her parents, she deferred for a year to study anthropology at Columbia University under Boas. Her parents had recently attended a lecture given by Boas and felt that anthropology would unite her interests in the social sciences and her love for the outdoors.
After a year studying at Columbia with Boas, Gladys Reichard, and Ruth Benedict, de Laguna was still uncertain whether anthropology was the field for her. Nevertheless, she followed Boas's advice to spend her year abroad studying the connection between Eskimo and Paleolithic art, which would later became the topic of her dissertation. In the summer of 1928, she gained fieldwork experience under George Grant MacCurdy visiting prehistoric sites in England, France, and Spain. In Paris, she attended lectures on prehistoric art by Abbe Breuil and received guidance from Paul Rivet and Marcelin Boule. Engaged to an Englishman she had met at Columbia University, de Laguna decided to also enroll at the London School of Economics in case she needed to earn her degree there. She took a seminar with Bronislaw Malinowski, an experience she found unpleasant and disappointing.
It was de Laguna's visit to the National Museum in Copenhagen to examine the archaeological collections from Central Eskimo that became the turning point in her life. During her visit, she met Therkel Mathiassen who invited her to be his assistant on what would be the first scientific archaeological excavation in Greenland. She sailed off with him in June 1929, intending to return early in August. Instead, she decided to stay until October to finish the excavation with Mathiassen, now convinced that her future lay in anthropology. When she returned from Greenland she broke off her engagement with her fiancé, deciding that she would not able to both fully pursue a career in anthropology and be the sort of wife she felt he deserved. Her experiences in Greenland became the subject of her 1977 memoir, Voyage to Greenland: A Personal Initiation into Anthropology.
The following year, Kaj Birket-Smith, whom de Laguna had also met in Copenhagen, agreed to let her accompany him as his research assistant on his summer expedition to Prince William Sound and Cook Inlet. When Birket-Smith fell ill and was unable to go, de Laguna was determined to continue on with the trip. She convinced the University of Pennsylvania Museum to fund her trip to Alaska to survey potential excavation sites and took as her assistant her 20 year old brother, Wallace, who became a geologist. A close family, de Laguna's brother and mother would later accompany her on other research trips.
In 1931, the University of Pennsylvania Museum hired de Laguna to catalogue Eskimo collections. They again financed her work in Cook Inlet that year as well as the following year. In 1933, she earned her PhD from Columbia and led an archaeological and ethnological expedition of the Prince William Sound with Birket-Smith. They coauthored "The Eyak Indians of the Copper River Delta, Alaska," published in 1938. In 1935, de Laguna led an archaeological and geological reconnaissance of middle and lower Yukon Valley, traveling down the Tanana River. Several decades later, the 1935 trip contributed to two of her books: Travels Among the Dena, published in 1994, and Tales From the Dena, published in 1997.
In 1935 and 1936, de Laguna worked briefly as an Associate Soil Conservationist, surveying economic and social conditions on the Pima Indian Reservation in Arizona. She later returned to Arizona during the summers to conduct research and in 1941, led a summer archaeological field school under the sponsorship of Bryn Mawr College and the Museum of Northern Arizona.
By this time, de Laguna had already published several academic articles and was also the author of three fiction books. Published in 1930, The Thousand March: Adventures of an American Boy with the Garibaldi was her historical fiction book for juveniles. She also wrote two detective novels: The Arrow Points to Murder (1937) and Fog on the Mountain (1938). The Arrow Points to Murder is set in a museum based on her experiences at the University of Pennsylvania Museum and the American Museum of National History. Fog on the Mountain is set in Cook Inlet and draws upon de Laguna's experiences in Alaska. Both detective novels helped to finance her research.
De Laguna began her long career at Bryn Mawr College in 1938 when she was hired as a lecturer in the sociology department to teach the first ever anthropology course at the college. By 1950, she was chairman of the joint department of Sociology and Anthropology, and in 1967, the chairman of the newly independent Anthropology Department. She was also a visiting professor at the University of Pennsylvania (1947-1949; 1972-1976) and at the University of California, Berkeley (1959-1960; 1972-1973.)
During World War II, de Laguna took a leave of absence from Bryn Mawr College to serve in the naval reserve from 1942 to 1945. As a member of WAVES (Women Accepted for Voluntary Emergency Service), she taught naval history and codes and ciphers to women midshipmen at Smith College. She took great pride in her naval service and in her later years joined the local chapter of WAVES National, an organization for former and current members of WAVES.
In 1950, de Laguna returned to Alaska to work in the Northern Tlingit region. Her ethnological and archaeological study of the Tlingit Indians brought her back several more times throughout the 1950s and led to the publication of Under Mount Saint Elias in 1972. Her comprehensive three-volume monograph is still considered the authoritative work on the Yakutat Tlingit. In 1954, de Laguna turned her focus to the Atna Indians of Copper River, returning to the area in 1958, 1960, and 1968.
De Laguna retired from Bryn Mawr College in 1972 under the college's mandatory retirement policy. Although she suffered from many ailments in her later years including macular degeneration, she remained professionally active. Five decades after her first visit to Greenland, de Laguna returned to Upernavik in 1979 to conduct ethnographic investigations. In 1985, she finished editing George Thornton Emmons' unpublished manuscript The Tlingit Indians. A project she had begun in 1955, the book was finally published in 1991. In 1986, she served as a volunteer consultant archaeologist and ethnologist for the U. S. Forest Service in Alaska. In 1994, she took part in "More than Words . . ." Laura Bliss Spann's documentary on the last Eyak speaker, Maggie Smith Jones. By 2001, de Laguna was legally blind. Nevertheless, she continued working on several projects and established the Frederica de Laguna Northern Books Press to reprint out-of-print literature and publish new scholarly works on Arctic cultures.
Over her lifetime, de Laguna received several honors including her election into the National Academy Sciences in 1976, the Distinguished Service Award from AAA in 1986, and the Lucy Wharton Drexel Medal from the University of Pennsylvania in 1999. De Laguna's work, however, was respected by not only her colleagues but also by the people she studied. In 1996, the people of Yakutat honored de Laguna with a potlatch. Her return to Yakutat was filmed by Laura Bliss Spann in her documentary Reunion at Mt St. Elias: The Return of Frederica de Laguna to Yakutat.
At the age of 98, Frederica de Laguna passed away on October 6, 2004.
Sources Consulted
Darnell, Regna. "Frederica de Laguna (1906-2004)." American Anthropologist 107.3 (2005): 554-556.
de Laguna, Frederica. Voyage to Greenland: A Personal Initiation into Anthropology. New York: W.W. Norton Co, 1977.
McClellan, Catharine. "Frederica de Laguna and the Pleasures of Anthropology." American Ethnologist 16.4 (1989): 766-785.
Olson, Wallace M. "Obituary: Frederica de Laguna (1906-2004)." Arctic 58.1 (2005): 89-90.
Related Materials:
Although this collection contains a great deal of correspondence associated with her service as president of AAA, most of her presidential records can be found in American Anthropological Association Records 1917-1972. Also at the National Anthropological Archives are her transcripts of songs sung by Yakutat Tlingit recorded in 1952 and 1954 located in MS 7056 and her notes and drawings of Dorset culture materials in the National Museum of Canada located in MS 7265. The Human Studies Film Archive has a video oral history of de Laguna conducted by Norman Markel (SC-89.10.4).
Related collections can also be found in other repositories. The University Museum of the University of Pennsylvania holds materials related to work that de Laguna carried out for the museum from the 1930s to the 1960s. Materials relating to her fieldwork in Angoon and Yakutat can be found in the Rasmuson Library of the University of Alaska, Fairbanks in the papers of Francis A. Riddell, a field assistant to de Laguna in the early 1950s. Original photographs taken in the field in Alaska were deposited in the Alaska State Library, Juneau. Both the Archive of Folk Culture at the Library of Congress and the American Philosophical Library have copies of her field recordings and notes. The American Museum of Natural History has materials related to her work editing George T. Emmons' manuscript. De Laguna's papers can also be found at the Bryn Mawr College Archives.
Provenance:
These papers were donated to the National Anthropological Archives by Frederica de Laguna.
Restrictions:
Some of the original field notes are restricted due to Frederica de Laguna's request to protect the privacy of those accused of witchcraft. The originals are restricted until 2030. Photocopies may be made with the names of the accused redacted.
Rights:
Contact repository for terms of use.
Topic:
Language and languages -- Documentation Search this
This collection is comprised of the professional papers of Gordon D. Gibson. The collection contains his correspondence, field notes, research files, museum records, writings, photographs, sound recordings, and maps.The bulk of the collection consists of Gibson's southwestern Africa research. This includes his field notes, film scripts, photographs, sound recordings, and grant proposals he wrote in support of his fieldwork in Botswana, Namibia, and Angola. In addition, the collection contains his research notes, maps, drafts, publications, and papers presented at conferences. While most of his research focused on the Herero and Himba, the collection also contains his research on the Ovambo and Okavango and other southwestern African groups. In the collection is a great deal of photocopies and microfilms of literature on southwestern African ethnic groups, many of which are in Portuguese and German and which he had translated for his files. He was also interested in African material culture, especially Central African headgear. His research on African caps is well-represented in the collection, and includes photos of caps at various museums, source materials, research notes, and textile samples of knots and loop work. Gibson's files as the curator of African ethnology at the National Museum of Natural History also make up a significant portion of the collection. Among these records are his files for the museum's Hall of African Cultures and other African exhibits; his files on the museum's African collections, early donors and collectors of the collections; his personnel files; documents relating to his committee work; department and museum memos; meeting minutes; and his records as head of the Old World Division and acting chair of the department. The collection also documents the efforts to establish the Smithsonian's National Anthropological Film Center, now the Human Studies Film Archives, as well as his work on the planning committee to establish the Museum of Man at the Smithsonian. Memos and minutes relating to the Smithsonian's Center for the Study of Man are also present in the collection. In addition to Gibson's field photos, the collection also contains African photos taken by others. Among these are Herbert Friedmann's photos of Kenya; Hausmann's Libya photos; photos by Ralph Kepler Lewis during the Morden Africa Expedition in Kenya; and photos by Lawrence Marshall, Volkmar Wentzel, Alfred Martin Duggan Cronin, and Father Carlos Estermann. There are also photos of the exhibit cases from the Hall of African Cultures; photos of Smithsonian and non-Smithsonian African artifacts; and copies of photographs he obtained from different archives, including the National Anthropological Archives. Other materials in the collection include his files as film reviews editor for the American Anthropologist during the 1960s and 70s and his activities in different organizations.
Arrangement:
Arranged into 19 series: (1) Correspondence, 1938-1998; (2) Southwestern Africa Research, 1951-2004; (3) Caps Research; (4) Nineteenth Century Collectors; (5) General Research Files; (6) Exhibits, 1959-2007; (7) Curatorial Files, 1936-1984; (8) National Anthropological Film Center, 1965-1983; (9) Museum of Man, 1952-1981 [bulk 1968-1981]; (10) Center for the Study of Man (1967-1979); (11) Writings, 1947-1981; (12) Organizations; (13) Daily Log, 1958-1983; (14) Personal Files ; (15) Card Files; (16) Photographs, circa 1904-1983 [bulk 1953-1983]; (17) Microfilm; (18) Maps; (19) Sound Recordings
Biographical Note:
Gordon D. Gibson (1915-2007) was trained at the University of Chicago (Ph.D., 1952) and joined the staff of the Smithsonian's Department of Anthropology in 1958 as its curator of African ethnology. He served in that capacity until 1983. During the 1960s, he undertook a major renovation of the National Museum of Natural History's African exhibits, which had been on display since the 1920s. He developed the Hall of African Cultures, which opened in 1969 and remained on view until 1992. He was also instrumental in establishing the National Anthropological Film Center, now the Human Studies Film Archives. During his tenure, he also served as the first chairman of the Senate of Scientists of the National Museum of Natural History (1963-1964), chairman of the museum's photographic facilities committee (1968), member of the Center for the Study of Man, and member and chairman of the Department of Anthropology collections committee and its photographs records committee (1970s-1980s). He also had special interests in the department's library and processing lab. In 1980, he was chairman of a committee which studied the feasibility of establishing a Smithsonian Institution Museum of Man. Gibson held several offices and committee memberships with the Anthropological Society of Washington during the during the 1960s and 1970s and served as film review editor of the American Anthropologist. Gibson conducted fieldwork among the Herero and Himba in Botswana (1953, 1960-61), Namibia (1960-61, 1971-73), and Angola (1971-73). Articles produced from his field research include "Bridewealth and Other Forms of Exchange Among the Herero," "Double Descent and Its Correlates among the Herero of Ngamiland," "Herero Marriage," and "Himba Epochs." While in the field, he also filmed footage of the Herero, Himba, Zimba, and Kuvale. His edited films include Herero of Ngamiland (1953), Himba Wedding (1969), and The Himba (1972). In addition to the Herero and Himba, he also conducted research on the Okavango and Ovambo people. He edited and translated Carlos Estermann's Ethnography of Southwestern Angola (published in 3 volumes in 1976-81) and edited and contributed to The Kavango Peoples (1981). Gibson's research interests also included Central African headgear, coauthoring High Status Caps of the Kongo and Mbundu (1977) with Cecilia R. McGurk.
Related Materials:
Other materials relating to Gordon Gibson at the National Anthropological Archives can be found in the Records of the Department of Anthropology, Records of the Bureau of American Ethnology, and the Records of the American Anthropological Association.
The Human Studies Film Archives holds his films on the Herero, Himba, Kuvale, and Zimba.
The Smithsonian Institution Archives has materials relating to Gibson's work as the first chairman of the Senate of Scientists.
Provenance:
The papers of Gordon D. Gibson were received in three separate accessions. The first accession (comprised of correspondence; committee files; and materials relating to the Herbert Ward collection, the National Anthropological Film Center, the Center for the Study of Man, and the Museum of Man) was transferred to the National Anthropological Archives by Gibson after his retirement. A guide to this accession was created in 2001. An accretion (consisting of correspondence, fieldwork and research files, curatorial files, writings, photographs, sound recordings, and maps) was transferred to the archives by Gibson's family in 2007. His exhibition and museum specimen files were transferred to the archives in 2008 by the Department of Anthropology.
Restrictions:
The Gordon Davis Gibson papers are open for research. Access to the computer disks in the collection are restricted due to preservation concerns. The personnel files of Smithsonian staff have also been restricted.
Access to the Gordon Davis Gibson papers requires an appointment.
This collection contains the professional papers of Conrad M. Arensberg, anthropologist, university professor, and anthropological consultant. Included are correspondence; published and unpublished writings; research materials, including notes, correspondence, diaries, charts, drafts, interviews, research plans, reports, project proposals, and bibliographic cards; speeches; pamphlets; articles from newspapers and periodicals; course materials, including bibliographies, lecture notes, reading lists, assignments, exams, project proposals, and syllabi; curriculum vitae; date books; scholarly papers and publications of other scholars; and photographs.
Scope and Contents:
This collection contains the professional papers of Conrad M. Arensberg, anthropologist, university professor, and anthropological consultant. Included are correspondence; published and unpublished writings; research materials, including notes, correspondence, diaries, charts, drafts, interviews, research plans, reports, project proposals, and bibliographic cards; speeches; pamphlets; articles from newspapers and periodicals; course materials, including bibliographies, lecture notes, reading lists, assignments, exams, project proposals, and syllabi; curriculum vitae; date books; scholarly papers and publications of other scholars; and photographs.
The materials in this collection document Arensberg's career as a university professor, his relationships with colleagues across a spectrum of disciplines, and his contributions to the field of anthropology. As a respected member of the anthropological community, Arensberg received a voluminous amount of correspondence from his peers, who often included copies of their most recent papers. He kept many of these works, which, along with his annotations, can be found throughout the collection. It appears he used these papers in a variety of ways, including as resources for his classes or as reference materials. Arensberg's own work is reflected in his writings and research files. Arensberg's Ireland research, despite its importance to his career and to the field of anthropology as a whole, has a minimal presence in the collection. Located in Series 3. Research Files, the subseries containing Arensberg's Ireland material primarily consists of photocopies of his correspondence, field notes, and diaries during this time. His role as a professor, rather than as a researcher or writer, is the most well-represented in the collection. Arensberg formed lasting relationships with many of his students, as evidenced by his continued correspondence with many of them long after their years at Columbia.
Arrangement:
The collection is organized into 8 series:
Series 1) Correspondence, 1933-1994
Series 2) Writings, 1936-1983
Series 3) Research files, 1931-1984
Series 4) Professional activities, 1933-1990
Series 5) Teaching files, 1938-1983
Series 6) Biographical files, 1946-1997
Series 7) Subject files, 1934-1979
Series 8) Photographs, undated
Biographical Note:
Conrad M. Arensberg was born on September 12, 1910 in Pittsburgh, Pennsylvania. Academically inclined from a young age, he graduated first in his class at Shadyside Academy in Pittsburgh. His early success earned him admittance to Harvard College. Arensberg studied anthropology and graduated summa cum laude in 1931.
As a graduate student at Harvard University, Arensberg was asked to join a project being conducted in Ireland by Harvard's Anthropology Department. Alongside W. Lloyd Warner and Solon T. Kimball, Arensberg spent three years studying rural Irish life in County Clare. This research resulted in his doctoral dissertation, "A Study in Rural Life in Ireland as Determined by the Functions and Morphology of the Family," which was later published as The Irish Countryman in 1937. His work was groundbreaking in the field of anthropology, and his study of County Clare "became a model for other community studies... requiring that researchers study a target culture from the inside, making meticulous notes on everything they saw, heard or experienced." Arensberg reshaped the way that anthropologists approached fieldwork and opened doors for the study of modern industrial societies.
Arensberg had a long teaching career. He first became a university professor in 1938 at the Massachusetts Institute of Technology and remained a professor for the rest of his life, teaching at MIT, Brooklyn College, Barnard College, Columbia University, the University of Florida, and the University of Virginia. At Columbia, Arensberg worked alongside such notable anthropologists as Margaret Mead, Charles Wagley, and Marvin Harris.
Arensberg officially retired in 1979, but he continued to collaborate with his colleagues, counsel past students, and participate in professional associations until his death. He passed away on February 10, 1997 in Hazlet, New Jersey.
Curriculum Vitae—Amended Posthumously. Series 6. Biographical Files. Conrad M. Arensberg papers, National Anthropological Archives, Smithsonian Institution.
Thomas, Robert McG. Jr. 1997. "Conrad Arensberg, 86, Dies; Hands-On Anthropologist." New York Times, February 16: 51.
Chronology
1910 September 12 -- Born in Pittsburgh, Pennsylvania
1931 -- B.A. from Harvard College
1932-1934 -- Traveled to Ireland to study rural life in County Clare as part of the Harvard Irish Mission
1933-1936 -- Junior Fellow, The Society of Fellows, Harvard University
1933-1994 -- Member and Fellow, American Anthropological Association
1934 -- Ph.D. in Anthropology from Harvard University
1937 -- Published The Irish Countryman, the result of his work in Ireland
1938-1940 -- Occasional consultant, U.S. Department of Agriculture, Bureau of American Ethnology
1938-1941 -- Assistant Professor, Department of Social Sciences and Economics, Massachusetts Institute of Technology
1940 -- Founded (with others) the Society for Applied Anthropology
1941-1946 -- Associate Professor and Chairman, Department of Sociology and Anthropology, Brooklyn College
1943-1946 -- Captain, Major, AUS, Military Intelligence Service
1946-1952 -- Associate Professor of Sociology, Chairman (until 1949) Department of Sociology, Barnard College, Columbia University
1951-1952 -- Research Director, UNESCO, Institute for the Social Sciences, Cologne, Germany
1951-1952 -- Editor, Point Four Manual, American Anthropological Association
1952-1953 -- Associate Professor of Anthropology, The Graduate Faculty of Political Science, Columbia University
1953-1970 -- Professor of Anthropology, Chairman (1956-1959), Department of Anthropology, Columbia University
1962-1978 -- Co-Director (with Alan Lomax) of Columbia University's Cross-Cultural Surveys of Social Structure and Expressive Behavior
1970-1979 -- Buttenwieser Professor of Human Relations, Columbia University
1979-1997 -- Buttenwieser Professor Emeritus of Human Relations, Columbia University
1980 -- President, American Anthropological Association
1991 -- First recipient, "Conrad M. Arensberg Award" of the Society for the Anthropology of Work
1997 February 10 -- Died in Hazlet, New Jersey
Related Materials:
Arensberg is listed as a correspondent in the following collections at the Smithsonian Institution's National Anthropological Archives: John Lawrence Angel papers; Papers of Carleton Stevens Coon; Ethel Cutler Freeman papers; Frederica de Laguna papers; Ruth Landes papers; William Duncan Strong papers.
For oral history interviews with Arensberg, see the following collections:
-The Smithsonian Institution's Human Studies Film Archives "Video Dialogues in Anthropology: Conrad Arensberg and Lambros Comitas, 1989." In this video oral history conducted by anthropologist Lambros Comitas, Arensberg comments on his training in anthropology, the individuals who were influential in his career, and the geographical areas where he conducted his fieldwork.
-The National Anthropological Archives Manuscript (MS) 2009-15. May Mayko Ebihara conducted this oral history interview with Arensberg on March 7, 1984 as part of a larger oral history project with anthropologists.
For more concerning Arensberg's work with interaction theory, see the Frederick L.W. Richardson papers at the National Anthropological Archives. Richardson worked closely with Eliot Chapple and Conrad Arensberg on theories concerning human interaction.
For correspondence and other information related to Arensberg's Ireland research, see:
Solon Toothaker Kimball Papers, Special Collections, Teachers College, Columbia University; and Solon Toothaker Kimball Papers, The Newberry Library, Chicago.
Additional materials concerning Arensberg's research and personal life can be found among the papers of his wife, anthropologist Vivian "Kelly" Garrison. See the Vivian E. Garrison papers at the National Anthropological Archives.
Provenance:
These papers were donated to the National Anthropological Archives by Vivian E. Garrison Arensberg in 2011.
Restrictions:
The Conrad M. Arensberg papers are open for research.
Files containing Arensberg's students' grades have been restricted, as have his students' and colleagues' grant and fellowships applications. For preservation reasons, the computer disk containing digital correspondence files from Joel Halpern is restricted.
Access to the Conrad M. Arensberg papers requires an appointment.
Conrad M. Arensberg papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The papers of Conrad M. Arensberg were processed with the assistance of a Wenner-Gren Foundation Historical Archives Program grant awarded to Vivian E. Garrison Arensberg.
Reels: Green corn (Acc. by Woody Guthrie, Cisco Houston). Yellow gal (Leadbelly and his 12 string guitar). You can't lose me Cholly. Laura (with concertina) -- Blues: Good morning blues. Leaving blues. Big fat woman (Leadbelly acc. himself at the piano).
Track Information:
101 Green Corn / Lead Belly, Cisco Houston, Woody Guthrie. Guitar.
102 Yellow Gal / Lead Belly. Guitar.
103 You Can't Lose Me, Cholly / Lead Belly. Guitar.
104 Laura / Lead Belly. Concertina.
201 Good Morning Blues / Lead Belly. Guitar.
202 Leaving Blues / Lead Belly. Guitar.
203 Big Fat Woman / Lead Belly. Guitar.
Local Numbers:
FW-ASCH-LP-0031
Folkways.804
Publication, Distribution, Etc. (Imprint):
New York : Folkways, 1950.
Participant or Performer Note:
Performed by Lead Belly on vocals and guitar, with Woody Guthrie, Cisco Houston [and others?].
Date/Time and Place of an Event Note:
Recorded in New York, New York, United States.
General:
Folkways Records: Fol. 4 (804--805). Issued also as one 10 in.(?) 33 1/3 rpm. LP record: Foll 4
The music on each side is divided into program by genres. Side one is subtitled "reels and blues" ; side two is subtitled "work songs and spirituals".
Related Materials:
Related materials may be found in the Moses and Frances Asch Collection, also held by this repository. Related materials may include correspondence between the studio, producers, and/or performers; original cover art designs; original production materials; business records; and audiotapes from studio production.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
Zumba bimba --Sulfatara --Lena and Urra --Balletto --Tarantella --Alla campagnola --Serenade --La strinna --Oue-li --Stornelli --Ninna Nanna --Olive pressing song --Tarantella di Pagani --Alla feria di Lanciana --Saltarello --Stornelli -- Plessat po' Roseachin --Villanella --Donna, donna -- Tralaleri --Ballo tondo --Ballo tondo.
Track Information:
101 Zumba Bimba.
102 Sulfatara.
103 Lena and Urra.
104 Balletto.
105 Tarantella.
106 Alla Campagnola.
107 Serenade.
108 La Strinna.
109 Oue-li.
110 Stornelli.
111 Ninna Nanna.
112 Olive Pressing Song.
113 Tarantella di Pagani.
201 Alla feria di Lanciana.
202 The Saltarello.
203 Stornelli.
204 Plessat po' Roseachin.
205 Villanella.
206 Donna Donna.
207 Tralaleri.
208 Ballo Tondo.
209 Ballo Tondo.
Local Numbers:
FW-ASCH-LP-0602
Tradition.1030
Publication, Distribution, Etc. (Imprint):
New York Tradition 1958
General:
Notes by Alan Lomax. Performer(s): Folk music sung and played by native musicians. Production notes: Recorded in the field by Alan Lomax and Diego Carpitella.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
Majorca: Folk festival in Palma: Entrance music --Ay si ay no --Bolero de las empanadas --Jota --Copeo matancer --La balanquera --El cossier --Jota --Ibiza: Ibiza dance --A canta meu axinat --Sonadas del credo y del ultimo evangelio -- Caramiles --Ses al lotes --Sa despasto --Majorca: Sa ximbomba (1st & 2nd versions) --Cantes de Labra -- Cancion de pasqua --Canciones de Cuna --Sa nin.eta te soneta --Ses nin.etas cuant des petetas --Ses corregudus -- Cancion de segar --Cante de trillar --Jota Sebastinana -- Bolero d sh.ort den boita --Olive gathering songs --San Antonio.
Local Numbers:
FW-ASCH-LP-0673
Westminster.12002
Publication, Distribution, Etc. (Imprint):
Westminster 1969
General:
Sung and played by native musicians. Descriptive notes by Lomax on container.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
Bulerias (2:32) --Alegrias (1:56) --Fandanguillo (2:16) -- Bulerias (1:05) --Bulerias (1:23) --Bulerias (2:56) --Gypsy lullabye (2:00) --Martinette (1:22) --Trillar (1:01) --Sevillanos de aceitunas (1:04) --Adormir va la rosa de rosalia (:36) -- Malaguen.a (3:21) --Gypsy dance (3:06) --Valienteme serena (3:07) --Mira si soy desgraciao (1:18) --Street cries. Buy grapes (:23) ; Old metal (:07) ; Buy tomatoes (:20) ; Ripe grapes (:59) --Music for elevation of the host (1:37) --Saeta (4:21) --Alba y camino (1:36) --Sevillanas (2:48) --Fandango de huelva (1:56).
Local Numbers:
FW-ASCH-LP-1614
Westminster.12003
Publication, Distribution, Etc. (Imprint):
Westminster 1963
General:
Flamenco music, street cries, and religious music, recorded from the streets and fiestas. Program notes by Alan Lomax on container.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
Popular dances of Majorca: Jota payessa --Parado de selva --Copeo matancer --Bolero --de.s verma --Jota de sa potada -- Ay si ay no --Bolero --Peregueres --Parado de Valdemosa -- Jota a marinera --Sa ximbomba --Tenc un gallet joy --The jota of Aragon: Es al regresso del campo --De la tierra ande se nace --A las orillas del Rio (1st version) --Quartet jota -- A las orillas del Rio (2nd version) --Quando canto a la Virgin -- Esta la ronda que ronda --Corona del Aragon --Jota magollonera --Jota pecadillo --Danza de panuelos --Patria y Virgin --Jota Zaragossa.
Local Numbers:
FW-ASCH-LP-1615
Westminster.12004
Publication, Distribution, Etc. (Imprint):
Westminster 196x
General:
Title on container: Majorca and Aragon. Sung and played by native musicians.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
An cailirn aerach (Maire O'Sullivan (Marire Nir Shurilleabharin)) -- The banks of the roses / Seamus Ennis -- An binnsirn luachra (Maire O'Sullivan (Marire Nir Shurilleabharin)) -- The brown thorn (Sean Moriarty -- Sack of potatoes & maid of Mount Kisco (Ballinakill Ceilidhe Band) -- Dance to your daddy ; Cucanandy (Elizabeth Cronin) -- An Mhaighdean Mhara (Kitty Gallagher (Citir Nir Ghallchorir)) -- The fairy lullaby (Maire O'Sullivan (Marire Nir Shurilleabharin)) -- The fox chase (Mickey Doherty) -- The rocks of Bawn (Seamus Ennis) -- Amhrarn fosuirochta (Maggie McDonagh, Maigir Nir Dhonchadha)) -- The bold tenant farmer (Mickey Cronin) -- The lark in the morning (Ballinakill Ceilidhe Band) -- Connla (Mary Joyce (Marire Seoighe)) -- Bean Pharidirn (Colm Keane (Colm Or Caoidhearn)) -- She moved through the fair (Margaret Barry) -- Morrissey and the Russian sailor (Johnny McDonagh (Searn 'ac Dhonnchadha) -- The copperplate reel (Seamus Ennis, Steven Folan (Stiofan Or Cualarin) -- Whiskey in the jar (Seamus Ennis) -- Mo ghrardh-sa an jug morr is er Larn (Kate Moynihan (Carit Nir Mhuimhneacharin)) -- The woman of the house (Seamus Ennis) -- Cois abhainn na serad (Maire Keohane (Marire Nir Cheocharin)) -- Innsin Bheril Artha 'n Ghaorthaidh (Gubnait Cronin, Gobnait Nir Chronirn)) -- Citir na gcumann (Maire O'Sullivan (Marire Nir Shurilleabharin)) -- Molly Bawn (Seamus Ennis) -- The lament for Una Bharn (Sean McDonagh (Searn. Mac Donnchadha)) -- Keen for a dead child (Kitty Gallagher (Citir Nir Ghalchorir)) -- Where you at the rock? (Seamus Ennis) -- Soldier, soldier (Colm Keane (Colm Or Caoidhearn)) -- What would you do? (Elizabeth Cronin) -- Mrs. McGrath (Seamus Ennis) -- The death of Brugh (Johnny McDonagh (Searn 'ac Dhonnchadha)) -- The Bucks of Oranmore / (Seamus Ennis).
Track Information:
101 Cailin Aerach, An (The Airy Girl) / Maire O'Sullivan. Vocals. Scottish Gaelic language.
101 The Banks of the Roses / Seamus Ennis. Vocals. English language.
101 Binnsin Luachra, An (The Little Bench of Rushes) / Maire O'Sullivan. Vocals. Scottish Gaelic language.
101 The Brown Thorn / Sean Moriarty. Fiddle. English language.
101 Sack of Potatoes / Ballinakill Ceili Band. Fiddle,Flute,Accordion. English language.
102 Dance to Your Daddy / Elizabeth Cronin. Vocals. English language.
102 Cucanandy / Elizabeth Cronin. Vocals. Scottish Gaelic language.
102 Maighdean Mhara, An (The Mermaid's Song) / Kitty Gallagher. Vocals. Scottish Gaelic language.
103 She Moved Through the Fair / Margaret Barry. Vocals,Banjo. English language.
201 Morrissey and the Russian Sailor / Johnny McDonagh. Vocals. English language.
201 The Copperplate Reel / Seamus Ennis, Steven Folan. Penny whistle. English language.
201 Whiskey in the Jar / Seamus Ennis. Vocals. English language.
201 Mo Ghradh-sa an Jug Mor is E (I Love a Big Full Jug) / Kate Moynihan. Vocals. Scottish Gaelic language.
201 The Woman of the House / Seamus Ennis.
201 Cois Abhainn na Sead (By the River of Gems) / Maire Keohane. Vocals. Scottish Gaelic language.
201 Innsin Bheil Atha'n Ghaorthaidh (The Little Inchof Ballingeary) / Gubnait Cronin. Vocals. Scottish Gaelic language.
201 Citi na gCumann (Kitty of Loves) / Maire O'Sullivan. Vocals. Scottish Gaelic language.
201 Molly Bawn / Seamus Ennis. Vocals. English language.
202 The Lament for Una Bhan / Sean McDonagh. Vocals. Scottish Gaelic language.
202 Keen for a Dead Child / Kitty Gallagher. Vocals. Scottish Gaelic language.
202 Were You at the Rock / Seamus Ennis.
202 Solider, Solider / Colm Keane. Vocals. English language.
202 What Would You Do / Elizabeth Cronin. Vocals. English language.
202 Mrs.McGrath / Seamus Ennis. Vocals. English language.
202 The Death of Brugh / Johnny McDonagh. Vocals. English language.
202 The Bucks of Oranmore / Seamus Ennis.
Local Numbers:
FW-ASCH-LP-1681
Columbia.204
Publication, Distribution, Etc. (Imprint):
New York Columbia
Date/Time and Place of an Event Note:
Recorded in: Ireland.
General:
Compiled and edited by Alan Lomax. Program notes by Alan Lomax and Seamus Ennis, with an introduction by Nicholas Carolan, and essay, "Recording in Ireland with Alan Lomax" by Robin Roberts ([38] p. : ports.) inserted in container.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
Graveyard blues -- The girl I left behind -- Old Joe Clark -- Down in Arkansas -- The fox chase -- Peg an' awl -- June apple -- Drunken hiccups --The burglar man -- Cluck old hen -- Pretty Polly -- Piney woods gal -- Three little babes -- Parson Burrs -- Fly around my blue-eyed girl.
Track Information:
101 Graveyard Blues / Hobart Smith. Guitar.
102 The Girl I Left Behind / Roy Birns, Spence Moore. Guitar,Mandolin.
103 Old Joe Clark / Wade Ward. Banjo.
104 Down In Arkansas / Almeda Riddle.
105 The Fox Chase / Wade Ward, Bob Carpenter, Charlie Higgins. Guitar,Banjo,Fiddle.
106 Peg an' Awl / Hobart Smith. Guitar.
107 June Apple / Wade Ward, Bob Carpenter, Charlie Higgins. Guitar,Banjo,Fiddle.
201 Drunken Hiccups / Hobart Smith. Guitar.
202 The Burglar Man / Bob Carpenter. Guitar.
203 The Fox Chase / Wade Ward. Banjo.
204 Pretty Polly / Ollie Gilbert.
205 Piney Woods Gal / Wade Ward, Bob Carpenter, Charlie Higgins. Guitar,Banjo,Fiddle.
206 Three Little Babes / Texas Gladden.
207 Parson Burrs / Hobart Smith. Guitar.
208 Fly Around My Blue-Eyed Girl / Hobart Smith. Piano.
Local Numbers:
FW-ASCH-LP-1687
Prestige/International.25004
Publication, Distribution, Etc. (Imprint):
Bergenfield, N.J. Prestige International 1961
General:
Program notes by Alan Lomax on container.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
Merry golden tree -- Juice of the forbidden fruit -- Buffalo gals -- Willow green -- My pretty little gal is gone -- Alan Bain -- Eighth of January -- The soldier and the lady -- Cotton Eye Joe -- Turkey in the straw -- Lonesome dove -- Turnip greens -- Nancy's got a purty dress on -- Rock all the babies to sleep.
Track Information:
101 Merry Golden Tree (Child No. 286) / Almeda Riddle.
102 Juice of the Forbidden Fruit / Neil Morris. Guitar.
103 Buffalo Gals / Carlos Shannon. Banjo.
104 Willow Green / Ollie Gilbert.
105 My Pretty Little Gal is Gone / Ashley Morrison. Fiddle.
106 Alan Bain / Almeda Riddle.
107 The Eighth of January / Carlos Shannon. Banjo.
201 Soldier and the Lady, The (Laws P14) / Neil Morris. Guitar.
202 Cotton Eyed Joe / Carlos Shannon. Banjo.
203 Turkey in the Straw / Neil Morris, Charlie Eldridge. Guitar,Mouth bow.
204 Lonesome Dove / Almeda Riddle.
205 Turnip Greens / Neil Morris. Guitar.
207 Rock All the Babies to Sleep / Neil Morris. Guitar.
206 Nancy's Got a Pretty Dress On / Ashley Morrison. Fiddle.
Local Numbers:
FW-ASCH-LP-1688
Prestige/International.25006
Publication, Distribution, Etc. (Imprint):
Bergenfield, NJ Prestige International 1961
General:
Additional imprint on container: Prestige/International. "Southern journey: a collection of field recordings from the South." Program notes by Alan Lomax on container.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
Pretty Polly (Estil C. Ball, vocal & guitar) -- Po' Laz'rus (Bright Light Quartet) -- Claude Allen (Hobart Smith, vocal & guitar) -- Hangman tree (Almeda Riddle, vocals) -- Early in the mornin' (Johnny Lee Moore, lead vocal, with prisoners from Camp B, Mississippi State Penitentiary at Lambert) -- Lawson murder (Spencer Moore, vocal & guitar; and Roy Everett Birns, mandolin) --Dangerous blues (Floyd Batts, vocals) --Railroad Bill (Hobart Smith, vocal & guitar) --Columbus stockade (Carolyn Mainer Helmes, Mary Mainer, vocals & guitars; J.E. Mainer, fiddle; Glen Mainer, banjo; Floyd Overcash, bass) -- Willie Brennan (Neil Morris, vocal & guitar) -- Hawkins County jail (Hobart Smith, vocal & 5-string banjo) -- Po' Laz'rus (James Carter, lead vocal, with prisoners from Camp B, Mississippi State Penitentiary at Lambert). Pretty Polly -- Po' Laz'rus -- Claude Allen -- Hangman tree --Early in the mornin' -- The Lawson murder -- Dangerous blues -- Railroad Bill -- Columbus Stockade -- Willie Brennan -- Hawkins County Jail -- Po' Laz'rus.
Track Information:
101 Pretty Polly / E.C. Ball. Guitar.
102 Po' Laz'Rus / Bright Light Quartet.
103 Claude Allen / Hobart Smith. Guitar.
104 Hangman Tree (Child No. 95)/ Almeda Riddle.
105 Early In the Mornin' / Johnny Lee Moore.
106 The Lawson Murder / Roy Birns, Spence Moore. Guitar,Mandolin.
201 Dangerous Blues / Floyd Batts.
202 Railroad Bill / Hobart Smith. Guitar.
203 Columbus Stockade / Carolyn Mainer Helmes, J. E. (Joseph E.) Mainer, Mary Mainer. Guitar,Fiddle,Banjo,Bass.
204 Willie Brennan / Neil Morris. Guitar.
205 Hawkins County Jail / Hobart Smith. Banjo.
206 Po' Laz'Rus / James Carter.
Local Numbers:
FW-ASCH-LP-1690
Prestige/International.25009
Publication, Distribution, Etc. (Imprint):
Bergenfield, N.J. Prestige International 1961
General:
Additional imprint on container: Prestige International. Program notes by Alan Lomax on container.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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.
