The papers of Cuban born cartoonist, caricaturist, graphic designer, illustrator, and art director Abril Lamarque papers date from 1883-2001, with the bulk of the material ranging from 1904-1999, and measure 6.8 linear feet. His papers contain biographical material; correspondence; writings; files on the many seminars and workshop he taught; scattered financial records; files concerning his business Abril Lamarque Creations; subject files; clippings; printed illustrations of his comics, designs, illustrations, and other work; seven scrapbooks; two sketchbooks, sketches and drawings by him, and artwork by others, including his sister, his brother, Paul Hoffmaster, Enrique Riverón, and H. Portell Vilá; and photographs and negatives depicting Lamarque, Lamarque at work, Lamarque's magic shows, examples of advertising, and friends and colleagues.
Scope and Content Note:
The papers of Cuban born cartoonist, caricaturist, graphic designer, illustrator, and art director Abril Lamarque papers date from 1883-2001, with the bulk of the material ranging from 1904-1999, and measure 6.8 linear feet. His papers contain biographical material; correspondence; writings; files on the many seminars and workshops he taught; scattered financial records; files concerning his business Abril Lamarque Creations; subject files; clippings; printed illustrations of his comics, designs, illustrations, and other work; seven scrapbooks; two sketchbooks, sketches and drawings by him, and others, including his sister, his brother, Paul Hoffmaster, Enrique Riverón, and H. Portell Vilá; and photographs and negatives depicting Lamarque, Lamarque at work, Lamarque's magic shows, examples of advertising, and friends and colleagues.
Biographical materials include of materials related to Abril Lamarque's many professional and personal associations, including the Art Directors Club, the International Brotherhood of Magicians, the National Press Club, the New York University Club, the Society of American Magicians, and the Society of Illustrators. Material types include membership cards, documents, event posters, and yearbooks. Also included are some personal documents, information on Abril Lamarque and his family, Lamarque's collection of humorous business cards, and eulogies written about Lamarque.
Correspondence is generally scattered, but includes letters to and from illustrators and artists including Ernesto Garcia Cabral, Paul Hoffmaster, Conrado Massaguer, and Lamarque's brother, Juan Abril Lamarque. Some letters are illustrated. Also included is business correspondence, subjects and correspondents including the Dell Publishing Company, the New York Times, and correspondence related to workshops and lectures, including his work at Iowa State University and Oklahoma State University.
Writings chiefly document Lamarque's career in graphic and publication design, and consist of articles, an unpublished draft on publication design, manuals, and book reviews. Also included are scripts for magic shows performed by Lamarque. Writings by others are present, and include limericks written about Lamarque by friends and an autobiography of Lamarque's wife, Milagros Abril Lamarque.
The Workshops series consists of advertisements, press releases, handbooks, publication design layout examples, and other materials related to Lamarque's career in teaching publication design workshops and seminars. Also present within the collection are various financial materials. Abril Lamarque Creations materials document Lamarque's design firm, active 1940-1941, which focused on the design and manufacture of modern decorative accessories for the home, such as serving trays, cigarette holders and jewelry. Photographs, drawings, and advertisements in this series document the product design and sales.
The collection includes several subject files concerning the Bacardi Company, the Dell Publishing Company, and Cuban caricaturist and publisher Conrado Massaguer. Files on Massaguer include illustrations, posters, magazines, clippings, and articles. The Subject Files also include materials collected about Mexican caricaturist Ernesto García, self-taught Polish painter Karol Kozlowski, and several other illustrators and political figures of interest to Lamarque.
Printed materials make up the bulk of the collection. Found are numerous examples of his design work for the New York World-Telegram and Evening Mail, the New York Daily News, the New York Times, US News-World Report, Dell Publishing Company, and others; as well as cartoons, caricatures, and illustrations by Lamarque. Clippings of the comic strip Monguito and editions of the Havana newspaper Lunes de Diario de Cuba are present. Printed material also includes posters, including Lamarque's designs for the "Aluminum for Britain" project, which he was asked to discontinue by the U.S. State Department. Also found in this collection are graphic design and illustration clippings collected by Lamarque.
Also found within the collection are seven scrapbooks containing clippings and articles, illustrations, scattered letters, photographs, invitations, artwork, and other materials detailing Lamarque's extensive artistic career and his amateur magic performances.
Original artwork includes drawings, sketches, prints, and design by-products by Abril Lamarque. Artwork by Lamarque includes silkscreens of dictators; drawings and printing plates for Monguito comics; page banners for Film Fun and other publications; and design paste-ups. Artwork created by others found within the series includes caricatures of Lamarque, sketches by Juan Abril Lamarque, and prints by Paul Hoffmaster.
Photographs included in the collection document Abril Lamarque's life and career, and show Lamarque with friends and colleagues, and performing as an amateur magician for both children and adult audiences.
Arrangement:
The collection is arranged as eleven series.
Missing Title
Series 1: Biographical Material, 1917-2001 (0.5 linear feet; Box 1, OV 12)
Series 2: Correspondence, 1922-1990 (0.5 linear feet; Box 1, OV 12)
Series 3: Writings, 1925-1981 (0.3 linear feet; Box 2, OV 13)
Series 4: Workshops, circa 1940-circa 1985 (0.4 linear feet; Box 2, OV 13)
Series 5: Financial Records, 1924-1989 (4 folders; Box 2)
Series 6: Abril Lamarque Creations, circa 1940-circa 1945 (6 folders; Box 2, OV 13)
Series 7: Subject Files, 1905-1996 (0.5 linear feet; Box 4, OV 14)
Series 8: Printed Material, 1883-1989 (1.5 linear feet; Box 3, 4, 6, and 11, OV 15-17)
Series 9: Scrapbooks, 1920-1959 (1 linear foot; Boxes 7-9, OV 10)
Series 10: Original Artwork, circa 1914-1988 (0.5 linear feet; Box 4, OV 18)
Series 11: Photographic Material, circa 1920-circa 1985 (0.5 linear feet; Box 5, OV 19)
Biographical Note:
Eduardo Abril Lamarque (1904-1999) was a Cuban born cartoonist, caricaturist, graphic designer, illustrator, and art director who worked primarily in New York City.
Eduardo Abril Lamarque was born in Cuba on August 28, 1904. His parents sent him to the United States in 1916 when he was twelve to study English and business administration. He lived with an American family in Brooklyn. At age 15, Lamarque's first cartoon was published in the Boy Scout section of the New York World-Telegram and Evening Mail. Four years later he created Bla-Bla, a comic strip that appeared regularly in the New York Daily News. He is credited with creating, in the early 1920s, the first Spanish language comic strip that was not translated from English. The title cartoon character, Monguito, was a hapless soul, fully dressed in business suit and hat, who kept getting into sticky situations. Lamarque produced hundreds of these strips which were picked up by the New York based United Feature Syndicate and published daily in Spanish language newspapers throughout Latin America and the United States.
When he was twenty, Lamarque returned to Cuba to work as the artistic director for the Havana newspaper Lunes de Diario de Cuba. He also published a booklet designed to teach the elements of caricature drawing. Lamarque returned to New York and was hired by the New York World Telegram and Evening Mail as a caricaturist. He produced political cartoons and caricatures for the paper, introducing his "radiocatures", which involved providing instructions on the radio for filling in a grid in the newspaper to produce a caricature of well-known figure in the news.
In 1927, at the age of 23, he became the first art director of Dell Publishing Company - a magazine empire that included Film Fun, I Confess, War Stories, Modern Screen, Popular Song, Spotlight, Radio Stars, Theatrical Page, Ballyhoo, and Modern Romances. He continued working there for 14 years.
In 1940-1941, Lamarque established Abril Lamarque Creations, a design firm that specialized in elegant and functional household objects and jewelry in a modernist tradition. His signature piece was the Pallettray, a serving tray modeled after an artist's palette and hand-finished in exotic woods.
Between 1941 and 1946, Lamarque became the first art director for the Sunday edition of the New York Times and redesigned the New York Times Magazine and the New York Times Book Review. Throughout his career, Lamarque designed and redesigned countless magazines and journals, including American Weekly, New York News, Metropolitan Life, Popular Science, This Week, US News-World Report, and others.
In 1948, Lamarque established a successful graphic design studio in New York that provided a full spectrum of design services, including annual reports, posters, product labeling, corporate publications, advertising, logos, package designs, and brochures. His clients included Barcardi Company, Con Edison, Ericcson Telephone, General Cable, Berlitz School, Lipton, Monsanto, and numerous magazines. In 1958, he was given the National Award for Graphic Design in packaging. His design for the annual American Red Cross poster was selected for the 1948 national Red Cross campaign.
His success and high demand as a publication art director, consultant, and designer was attributed to innovative design principles he based on the German Bauhaus School and its philosophy that promoted functional design principles. Lamarque reduced these principles to a set of guidelines suitable for page design and applied them successfully to a wide variety of publication and print layouts.
Lamarque's teaching experience began in the early 1940s with seminars and workshops he conducted for the publishing industry. He joined the faculty of New York University School of Continuing Education in 1958, where he taught until 1963, and later joined the Crowell Collier Institute and taught publication design workshops across the United States and Canada. He also gave workshops and courses at Oklahoma State School of Journalism.
Lamarque was a long-time member of the Society of Illustrators, Society of Art Directors, the Dutch Treat Club, National Press Club, and New York University Club. He was also an amateur magician and member of the Society of American Magicians. He performed magic acts for the annual Christmas party of the Society of Illustrators. Abril Lamarque died in 1999 at the age of 94.
Provenance:
Martha Lamarque Sarno and Lita M. Elvers assembled and donated their father's papers to the Archives of American Art, Smithsonian Institution, in 2001.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Song of earth magician when disappearing in the ground. Song of brown buzzard after killing elder brother. Song before emerging from Ashes Hill. Song to put the eagle to sleep. Song of the old woman who attended elder brother. Four fires on the ground. Girls are approaching. Song to make the boy invisible. Dwelling place of the sun. Each singer wears a white feather. Song of the watchers. Song during rain divination. Blue wind. Wind blows from the sea. Sandy loam fields. Out of the mountains. Song to a little yellow wasp. Song of the dawn. White mountain birds were singing. Song concerning a wounded Apache. Little captive children. We must run. I met a Mexican. Black crow. Eagle is talking.
Track Information:
101 Songs of the Earth Magician when Disappearing in the Ground / Jose Hendricks. Vocals.
102 Song of Brown Buzzard after Killing Elder Brother / Mattias Hendricks.
103 Song Before Emerging from Ashes Hill / Mattias Hendricks.
104 Song to Put Eagle to Sleep / Sivariano Garcia.
105 Song of the Old Woman who Attended her Elder Brother / Sivariano Garcia.
106 Four Fires on the Ground / Sivariano Garcia.
107 Girls are Approaching / Sivariano Garcia.
108 Song to Make the Boy Invisible / Sivariano Garcia.
109 Dwelling Place of the Sun / Leonardo Rios.
110 Each Singer Wears a White Feather / Jose Manuel.
111 Song of the Watchers / Jose Hendricks.
112 Song During Rain Divination / Jose Hendricks.
113 A Blue Wind / Rafael Méndez.
114 Wind Blows from the Sea / Jose Hendricks.
201 Sandy Loam Fields / Jose Panco.
202 Out of the Mountain / Jose Panco.
203 Song to a Little Yellow Wasp / Rafael Méndez.
204 Song of the Dawn / Rafael Méndez.
205 White Mountain Birds Were Singing / Victoria.
206 A Black Crow / Victoria.
207 Song Concerning a Wounded Apache / Rafael Méndez.
208 Little Captive Children / Victoria.
209 The Eagle is Talking / Sivariano Garcia.
210 We Must Run / Mattias Hendricks.
211 I Met a Mexican / Juana Maria.
Local Numbers:
FW-ASCH-LP-3021
Library of Congress.AAFS L31
Publication, Distribution, Etc. (Imprint):
Washington, D.C. Library of Congress 1952
General:
Songs connected with legends: Song of earth magician when disappearing in the ground ; Song of brown buzzard after killing elder brother ; Song before emerging from Ashes Hill ; Song to put the eagle to sleep ; Song of the old woman who attended elder brother ; Four fires on the ground ; The girls are approaching ; Song to make the boy invisible -- Songs connected with ceremonies: The dwelling place of the sun ; Each singer wears a white feather ; Song of the watchers ; Song during rain divination ; A blue wind -- Songs connected with expeditions to obtain salt: The wind blows from the sea --Songs connected with treatment of the sick: Sandy loam fields ; Out of the mountains ; Song to a little yellow wasp ; Song of the dawn -- Dream songs: White mountain birds were singing ; A black crow -- War songs: Song concerning a wounded Apache ; The little captive children ; The eagle is talking -- Song of the kicking-ball race: We must run -- Miscellaneous: I met a Mexican. Copied from cylinders, recorded 1920 by the editor, in the Smithsonian-Densmore Collection of the Archive of American Folk Song.
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.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
On June 22, 1991, the Anacostia Museum and Center for African American History and Culture's Juneteenth Celebration was held at the Anacostia Museum. Mayor Sharon Pratt Dixon and Congresswoman Eleanor Holmes Norton greeted guests with remarks. Musical and dance performances included West African dance troupe Kan Kouran; bell ringers The Templeton Chimers; a capella group In Process; go-go band Junkyard Band; blues band Sonny Forriest; doo-wop singers The Orioles; Afro-pop group Liziba; St. Teresa of Avila Young Adult Choir; and jazz duo Yvonne and Phyllis. Arts and crafts demonstrations included hair braiding, kente weaving, wood carving, cartooning, wool spinning by Mirma Jones, and quilting by Daughter of Dorcas. The day also included games for children, Myklar the Magician, the 54th Massachusetts Infantry Reenactment Group, and screenings of 'Roots of Resistance: A Story of the Underground Railroad' and 'Gift of the Black Folk.' The theme for the Juneteenth Celebration 1991 was Freedom Revisited.
Celebration - festival. Part of Juneteenth Programs. Dated 1991.
Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Festival Recordings: Performance Stage: Acrobats continued: Magician; Nasib Shah: Qawwali Music
Creator:
Smithsonian Institution. Festival of American Folklife. India Program 1985 Washington, D.C. Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
sound tape reel (7 inch reel, 1/4 inch tape)
1 Item (sound-tape reel, analog, 7 in.)
Type:
Archival materials
Place:
United States
Washington (D.C.)
India
Date:
1985 July 6
Local Numbers:
FP-1985-7RR-0277
Publication, Distribution, Etc. (Imprint):
United States India Program 1985
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 6, 1985.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
The Silk Road: Connecting Cultures, Creating Trust
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The Silk Road defines an exchange of products, both material and intellectual, across Eurasia from China to the Mediterranean, traditionally from the 2nd century B.C.E. through the first twelve centuries of the Common Era. People who know something of the Silk Road think first of the transport of silk to Rome or the expansion of Buddhism from India to China, although certainly it is much more. But why silk, and why a road to describe this exchange? Silk provides the example of a mysterious luxury product for which people throughout the region were willing to pay high prices and even jeopardize lives. And the "road" refers to the exchange of those material products that traveled by land, although this literal meaning must be extended to include cultural and spiritual exchanges that would be part of a metaphorical Silk Road. Beyond these definitions the idea of the Silk Road is still available for new interpretations. And in the political environment prevailing in 2002, the idea was particularly evocative.
Visitors to the Festival were greeted by five "sentinels of arrival," landmarks along the ancient Silk Road: St. Mark's Square in Venice, Hagia Sophia (Ayasofya) mosque/church/museum in Istanbul, Registan Square in Samarkand, the Xi'an bell tower, and the great gate to Todaiji Temple in Nara. Each housed a stage that reflected a different performance tradition. The performing arts selected for the Festival were grouped into spiritual activities, courtly entertainment, local celebrations and entertainments, nomadic presentations, and new musics that draw from tradition. Spiritual music, for example, provided the program an opportunity to present the stories of the expansion of religion - Buddhism, Islam, and Christianity - along the Silk Road. Buddhist monks from Tibet and Sufi Muslim devotees from Turkey and Bangladesh highlighted the central role that religion played in Silk Road trade.
Existing examples of ancient silk, pottery, carpets, and glass all tell very specific stories of travel and exchange and remind us of the extent to which people across the region have been connected throughout history. What may be surprising to some, however, is how many such objects are still made today. The curatorial staff chose to feature ceramics, silk and cotton textiles, carpets, paper, and stone and metal products, including glass. Each was in a different compound - the Paper Garden, the Ceramics Courtyard, the Silk Grove, the Family Oasis, and the Jewel Garden - and told a story from a different period along the Silk Road, including, in some cases, a chapter from life in the United States. Paper, for example, was invented in China and remained a secret of the region for centuries; along with written language, writing materials were thought to possess magical qualities. Religious texts as well as commercial bills were written out and transported along a route that, through such communication, could more easily function. Each region added its own distinctive features of paper art including Turkish marbling and Italian watermarks. Similar elaborations have been made in the art of calligraphy, which, particularly in Islamic and Chinese cultures, has become highly refined and stylistically differentiated as to school and usage. Representatives of these schools still train new generations of artists along the Silk Road and in the United States.
The movement of religious traditions around the world has arguably been one of the most important forces throughout world history. Both Islam and Buddhism were introduced to millions of new adherents along the Silk Road, and these conversions continue to alter the face of our world. These religions, along with all of the above exchange goods, have also altered the face of the United States. Many Americans drink tea in fine china, buy "Oriental" carpets, and certainly wear garments of cotton, wool, and silk. They are likely familiar with Asian martial arts and may attend an Islamic mosque. The Silk Road has extended to the United States and, since the tragic events of September 11, 2001, understanding that connection clearly has become more important. The 2002 Festival offered its million visitors the opportunity to learn more about the roots of this vital connection and to celebrate the long-standing relationships that have existed between East and West and North and South. The Festival provided a rare opportunity to connect with other cultures as well as with one's own and in doing so, in a small way, to build trust between and within cultures of the global Silk Road.
Richard Kennedy and Theodore Levin were Co-Curators, assisted by a Curatorial Committee whose members included Milo Beach, Jean During, Henry Glassie, Tom Kessinger, Alma Kunanbay, and Yo-Yo Ma. Cristin Bagnall, Jean Davidson, Catherine Gevers, Richard Kennedy, Richard Kurin, Theodore Levin, Diana Parker, and Esther Won made up the Production Committee. Rajeev Sethi was Festival Scenographer, and James Deutsch, Stephen Kidd, Arlene Reiniger, and Shayna Silverstein were Program Coordinators. Betty Belanus was Family Activities Coordinator; Jane Farmer was Paper Garden Coordinator; Marjorie Hunt was Silk Grove Coordinator; and Diana Baird N'Diaye was Fashion Court Coordinator.
Researchers and local coordinators:
Abduvali Abdurashidov, Mila Ahmedova, Omer Akakça, Bassam AI-Kahouaji, Dinara Amirova, Nahomi Aso, Najmieh Batmanglij, Betty Belanus, Laura Beldiman, Susan Blader, Guanghui Chen, Rta Kapur Chishti, Shafique Rahman Choudhury, Jerome Cler, Ardasher Dekhoti, James Deutsch, Hermine Dreyfuss, Cloe Drieu, Jean During, Jane Farmer, Sasan Fatemi, Walter Feldman, Henry Glassie, Chen Guanghui, Harold Hagopian, Elias Hanna, Rachel Harris, K. David Harrison, Bhagwati Prasad Hatwal, Martha Huang, George Jevremovic, Neslihan Jevremovic, Stephen Jones, Richard Kennedy, Jonathan Mark Kenoyer, Stephen Kidd, Doug Kim, Peg Koetsch, Alma Kunanbay, Gavyn Lavergne, Theodore Levin, Firoz Mahmud, Elshan Mansurov, Peter Marsh, Andranik Michaelian, Nataliya Mussina, Afanassij Myldyk, Olima Nabiva, Eden Naby, Mohammed Nasseripour, Liesbet Nyssen, Susan Pertel-Jain, Aziz Rahman, Marjorie Ransom, Arlene Reiniger, Rajeev Sethi, Pravina Shukla, Razia Sirdibaeva, Atesh Sonneborn, Youssef Summad, Nancy Sweezy, Takashi Takahara, D. Tserenpil, Shu-ni Tsou, Oguzhan Tugral, Mark van Tongeren, Seric Walley, Philippa Watkins, Chris Walter, Toshio Watanabe
Presenters:
Sibel Akad, Omer Akakça, Bassam AI-Kahouaji, Dina Amirova, William Belcher, Susan Blader, Camilla Bryce-Laporte, Sertac Çakim, Charles Camp, Guanghui Chen, Rta Kapur Chishti, Dinara Chochunbaeva, Shafique Rahman Choudhury, Jerome Cler, David d'Heilly, Tenzin Dickyi, Hermine Dreyfuss, Jean During, Jane Farmer, Walter Feldman, Alysia Fischer, Gail Forman, Helen Frederick, Ganbold, Henry Glassie, Harold Hagopian, Rachel Harris, K. David Harrison, Bhagawati Prasad Hatwal, Catherine Hiebert Kerst, Neslihan Jevremovic, Alison Allen Jia, Mark Kenoyer, Dipti Khera, Doug Kim, Benjamin David Koen, Peg Koetsch, Alma Kunanbay, Gavyn Lavergne, Tom Leech, Theodore Levin, Yo-Yo Ma, LaVerne Magarian, Firoz Mahmud, Peter Marsh, Nataliya Mussina, Eden Naby, Joan Nathan, Liesbet Nyssen, Nilgun Peksalli, Susan Pertei-Jain, Steven Prieto, Frank Proschan, Marjorie Ransom, Philip Schuyler, Shubha Sankaran, Pravina Shukla, Robin Ami Silverberg, Madan Gopal Singh, Nancy Sweezy, Takashi Takahara, Geshe Lobsang Tenzin, Oguzhan Tugral, Michael Twitty, Kojiro Umezaki, Mark van Tongeren, Yuriko Yamaguchi, Wang Yousheng, Chris Walter, Philippa Watkins, Jeffrey Werbock
TIBETAN MONKS FROM THE DREPUNG MONASTERY (INDIA, UNITED STATES)
Geshe Lobsang Chogyal
Lobsang Chophel
Lobsang Dhargye
Wangchen Dorjee
Thupten Kungkhen
Dhakpa Norbu
Tsering Phuntsok
Dondup Tenzin
URHOY CHOIR (SYRIA)
Sandy Amsih
Adnan Aziz
Edwar Danho
Ilona Danho
Fadi Karat
Izla Karat
Jean Karat
George Kentar
Maya Stifo
Samira Steifo
SPORTS AND MARTIAL ARTS TRADITIONS
ASIAN MARTIAL ARTS (UNITED STATES)
Steve Brown
Sifu Tony Chen
Christopher Cheung
Patrick Chew
Laura Copenhaver
Janet Gee
Bernard Beno Hwang
Kaela Kang
Jia Tao Zhang
BUKH: LEGENDARY WRESTLING TRADITION (MONGOLIA)
THANG-TA (INDIA)
Khilton Nongmaithem
POTOMAC POLO CLUB
Greg Ford
Mara Hagan
Charlie Muldoon
Joe Muldoon, Jr.
Joe Muldoon III
Martine Maldanado
Dave Polan
ZURKHANE (IRAN)
Morshed Mehregan, -- morshed
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: 2002 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
The collection is open for research but is stored offsite. Arrangements must be made with the Archives Center staff two weeks prior to a scheduled research visit.
Collection 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.
Reproduction restricted due to copyright or trademark.
Collection Citation:
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Music and Ephemera, 1866-2009, Archives Center, National Museum of American History, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings and born-digital records with no duplicate access copies requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jeff Donaldson papers, 1918-2005, bulk 1960s-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of the Jeff Donaldson papers was provided by the Walton Family Foundation.
