The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1974 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 9 series.
Missing Title
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: African Diaspora
Series 3: Children's Program
Series 4: Family Folklore
Series 5: Festival Stage
Series 6: Native Americans
Series 7: Old Ways in the New World
Series 8: Regional America
Series 9: Working Americans
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1974 Festival of American Folklife was produced by the Smithsonian Division of Performing Arts and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
With the 1974 Festival of American Folklife (July 3-7 and July 10-14, 1974), the seven programs that would constitute the Bicentennial Festival were all in place. As in 1973, the Festival took place in the western part of the National Mall alongside the Reflecting Pool, between 17th and 23rd Streets, and between Constitution Avenue N.W. and Independence Avenue S.W. (see site plan). It was co-organized by the Smithsonian Institution, Division of Performing Arts (James R. Morris, Director; Richard Lusher) and the National Park Service (Ronald H. Walker, Director). Ralph Rinzler was Director of the Folklife Program and the Festival.
The 1974 Festival included seven programs, with a Festival Stage bringing together performers from other programs and, in the second week, its own participants. The 1974 Program Book was supplemented by daily folios with additional information on that day's programs.
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.
Forms Part Of:
Smithsonian Folklife Festival records: 1974 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
The collection consists of photographs and personal papers documenting the career of Latin Jazz musican Tito Puente.
Scope and Contents:
The collection consists primarily of photographs. The locations and dates of most of the photographs are unknown and include Puente in concert and with Celia Cruz. Some of the photographs are portraits of Puente as a young performer. Personal papers consist of a cancelled United States passport and a radio license issued in Venezuela in 1965. There is a calendar published by Latin Percussion, Incorporated with photographs of several jazz musicians, including Puente in 1969 and 1970. The materials are arranged by type.
Arrangement:
The materials are arranged in five folders.
Biographical / Historical:
Tito Puente (1923-2000) was a New York born jazz, mambo and salsa percussionist, nicknamed "King of the Timbales." During his career, Puente recorded 120 albums, composed more than 450 songs, and has been credited with some 2,000 arrangements. His contributions to Latin jazz earned him the title "El Rey del Timbal" (The King of the Timbal) and "King of Latin Music" along with numerous honors, including five Grammy Awards, the National Medal of Arts, and the Library of Congress Living Legend award. Puente was featured in the films The Mambo Kings in 1992 and Calle 54 in 2000. He was honored with a star on the Hollywood Walk of Fame in 1990.
Related Materials:
The materials in this collection complement the Goya Foods Incorporated Collection, Paquito D'Rivera Papers, Chico O'Farrill Papers, Mongo Santamaria Papers and Latino Music Collection.
Separated Materials:
Several artifacts were donated to the Museum's Division of Culture and the Arts t including a sequined jacket worn by Puente when he won the Grammy Award for Best Tropical Latin Performance. See accession number 1996.0304.
Provenance:
Tito Puente's widow, Margaret Puente, donated this collection in 2004.
Restrictions:
The collection is open for research use.
Physical Access: Researchers must handle unprotected photographs with gloves.
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.
101. Mambo Jambo / Brute Force Steel Band. Drums-Steel.
102. Mambo No. 5 / Brute Force Steel Band. Drums-Steel.
103. Alec Besta / Brute Force Steel Band. Drums-Steel. Antigua,Caribbean.
104. Del Magreto del Bey / Brute Force Steel Band. Drums-Steel.
105. Hold 'Em Joe / Brute Force Steel Band. Drums-Steel.
106. Jingle Bells / Brute Force Steel Band. Drums-Steel.
107. Brown Skinned Gal / Brute Force Steel Band. Drums-Steel.
108. Under the Double Eagle / Brute Force Steel Band. Drums-Steel.
201. Cantata / Big Shell Band. Drums-Steel.
202. Meringue No. 2 / Big Shell Band. Drums-Steel.
203. Meringue No. 3 / Big Shell Band. Drums-Steel.
204. Leeward Islands Mambo / Big Shell Band. Drums-Steel.
205. La Paloma / Big Shell Band. Drums-Steel.
206. Saturday Night / Big Shell Band. Drums-Steel.
Local Numbers:
Cook.1042
Publication, Distribution, Etc. (Imprint):
Norwalk, CT, Cook 1955
General:
Recording location: Antigua,Caribbean
Restrictions:
Restrictions on access.
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.
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.
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.
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.
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.
Don't play the mambo is contained in two folders consisting of 1 thirty two page conductor score, 1 two page piano conductor score, 1 seven page piano conductor score and 13 parts in Db Major concert -- in ink and pencil -- in unidentified hands (Whaley, other?).
Folder B contains piano conductor scores and parts. Two page piano conductor score does not indicate instrumentation and appears incomplete. Parts for 4 reeds - alto 1, alto 3, tenor, baritone; 3 trumpets - 1, 2, 3; trombone; 1 unidentified instrument. Part for unidentified instrument appears incomplete. Seven page score does not indicate instrumentation. Parts for 2 reeds - alto 1, baritone; 2 trumpets - 1, 2. Multiple scores and parts may reflect different arrangements of the piece. -- from the Duke Ellington Library.
Biographical / Historical:
There appear to be numbers from the Duke Ellington Band Book: 53, 10.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Dr. Mark Tucker.
Condition: fair, tape.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
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.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
Music -- United States -- 20th century Search this
Genre/Form:
Manuscripts -- Music -- 20th century
Conductor scores
Copy scores
Music
Parts (musical)
Piano conductor scores
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
Mambo is contained in two folders consisting of 1 two page conductor score and 1 twenty four page conductor score in G Major concert, 1 part in Eb Major concert, 4 parts in Db Major concert, and 1 published four page piano conductor score in an unknown key -- in ink and pencil -- in unidentified hands (Whaley, Tizol?).
Folder A contains conductor scores. Two page score does not indicate instrumentation and appears incomplete. Twenty four page score indicates parts for 5 saxes - 1, 2, 3, 4, 5 (?); 3 trumpets - 1, 2, 3; 1 trombone - 1; bass; piano. Score appears incomplete.
Folder B contains piano conductor score and parts. Piano conductor score indicates part for clarinet. Score includes lyrics. Lyrics begin "Better than any samba, greater than any tango ...". Score appears incomplete. Part in Eb Major for trumpet. Parts in Db Major for 4 reeds - alto 1, tenor 1, tenor 2, baritone. -- from the Duke Ellington Library.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Dr. Mark Tucker.
Condition: fair, tape, torn, brittle.
Other Title:
Mambo jambo.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
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.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
Music -- United States -- 20th century Search this
Genre/Form:
Conductor scores
Copy scores
Manuscripts
Music
Parts (musical)
Piano conductor scores
Published sheet music
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
Quebec caranval mambo is contained in one folder consisting of 12 parts in C Major concert, and 1 part in Ab Major concert -- in ink and pencil -- in unidentified hands.
Parts in C Major for 5 reeds - alto 1, alto 3, tenor 1, tenor 2, baritone; 4 trumpets - 1, 2, 3, 4; 3 trombones - 1, 2, 3. Part for tenor 2 appears incomplete. Part in Ab Major for trombone. Part may reflect a different arrangement of the piece. -- from the Duke Ellington Library.
General:
Handwriting and other details have been reported based on the notes of David Berger, Andrew Homzy, Dr. Theodore Hudson, Walter van de Leur, and Dr. Mark Tucker.
Condition: fair, tape.
Other Title:
Allouette.
Collection Restrictions:
Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
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.
Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.
Paul Ellington, executor, is represented by:
Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.
Topic:
Music -- United States -- 20th century Search this
Genre/Form:
Copy scores
Manuscripts
Music
Parts (musical)
Collection Citation:
Duke Ellington Collection, Archives Center, National Museum of American History
Sponsor:
Processing and encoding partially funded by a grant from the Council on Library and Information Resources.
