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Regional America

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Type:
Archival materials
Introduction:
The first week of the 1975 Regional America program focused on the people of the Northern Plains (North Dakota, South Dakota, Nebraska and Kansas), particularly on the occupational life-styles related to agriculture and livestock. This is the region that is called the "breadbasket" and the economy of the area is based on grain crops, feed crops, and livestock production. The Smithsonian represented the agriculture of the area by growing on the Festival site wheat (the principal grain crop), alfalfa (a principal feed crop), and some typical plains grasses as well as sorghum and sunflowers. Livestock grazed on the National Mall and were used in demonstrations of herding techniques. Visitors saw varieties of threshing from individual manual techniques to modern mechanical combines. A daily tractor pull contest demonstrated not only the skills of the farmers in operating equipment, but also the pride they take in the power of their own carefully maintained machinery.

Craft presentations included associated occupational and domestic crafts. For example, livestock-related crafts such as those involved with maintenance, auctioneering, leatherworking, blacksmithing, wagon making and repair, and metal working were highlighted, as well as key occupational skills related to livestock include horse handling, sheep shearing, and ropework. Functional but decorative domestic crafts were also demonstrated: piece quilts, braided and rag rugs, corn husk and rag dolls, toys carved from chips, noisemakers, whimmy diddles.

Festival visitors could see and participate in a variety of folk dancing by different ethnic groups who settled in the Plains: Germans, Scandinavians, Ukrainians and Czechs. Northern Plains music is characteristically performed on instruments practiced in isolation such as the fiddle.These are usually played solo, but at the Festival they were also performed in combination.

The character of the California Heartland region (second week of the Festival) is expressed by its flamboyant image, diverse landscape, and - of utmost importance - a 'Mediterranean' climate that makes outdoor living possible. It is also an area rich in ethnic communities, and many of these were featured at the 1975 Festival.

Mexican American muralists from East Los Angeles completed a mural depicting their contribution to the Festival. Paper flower making and piñata making were demonstrated and taught to visitors, as were masa grinding and tortilla and tamale making. Chinese Americans from the San Francisco area performed a shadow puppet play twice daily. Various crafts including kite-making and the construction of paper ribbon fish welcomed audience participation. Three traditional games (an early form of yoyo, shuttlecock and cat's cradle) were demonstrated and taught.

Portuguese American fisherfolk demonstrated boat building as well as net and lure making accompanied by traditional sea chanteys. A highlight of the Portuguese community is the "Festa da Espiritu Santu", a celebration involving a parade of decorated cows, ceremonial milking, a milk and bread feast and a traditional contest between solo singers who improvise verses, enacted on the Festival site from July 2 to 4.

Unique to San Francisco is the tradition of cable car bell ringing. Cable car gripmen announced each session at the main California stage and dance floor, and competed for the bell ringing championship. A Greek father and son demonstrated traditional woven straw beehive construction and discussed bee-keeping and the agricultural use of bees. California Armenians wove rugs and spun wool.

The joys of sociable dancing were shared by square dances, Portuguese chamaritas, Phillippine tinakling and an evening of waltzes. There were also examples of solo singing by Portuguese, Anglo, French, and black singers and group singing by Molokans, Anglos, Chicanos and blacks.

Administrator for the Regional America program was William K. McNeil, with Charles Camp as Research Coordinator; Rayna Green served as Consultant.
Fieldworkers:
Northern Plains Researchers

Metha Bercier, John Carter, Carey Cook, Larry Danielson, Sister Stephanie Dolyniuk, Karen Heinzman, Lynn Ireland, Constance Kane, Jens Lund, Janet McDonnell, Gina Newbold, Douglas Parks, Marjorie Sackett, Earl Sampson, Darrel Sawyer, Dorothy Shonsey, Scott Sorensen, Kenneth Stewart, Sherry Stoskopf, Robert Thompson, Robert Webb

California Research Staff

Coordinator: Bess Lomax Hawes; Assistant Coordinator: Barbara LaPan Rahm; Researchers: Justin Bishop, Joyce P. Bynum, Nicola Marguerite Deval, Nicholas Hawes, Michael Korn, Marilyn Salvador, Daniel Sheehy; Advisors: Stephen P. and Ethel Dunn (Molokan presentation), Elaine Miller (Mexican American presentation), Joanne B. Purcell (Portuguese presentation)
Participants:
Northern Plains

Margaret Anderson, 1900-2002, singer, cook, Scandia, Kansas

August Anheluk, 1917-2001, musician

Leslie Anheluk, dancer

James Baker, dancer

Emerson Baker, singer

Norman Baker, singer

Wade Baker, dancer

Donna Baranko, dancer

Ann Basaraba, singer

Roy Basaraba, singer

Lydia Bears Tail, bead worker, cook & dancer

Saunders Bears Tail, 1934-1998, dancer

Linnea B. Briggs, 1893-1990, bobbin lace maker, Windom, Kansas

Connie Burian, dancer

Laudie Burian, 1915-2001, musician

Lewis Calwell, 1895-1978, horse trainer, Belle Fourche, South Dakota

Alvin Campbell, 1921-, fiddler, Omaha, Nebraska

Marlys Ciscar, singer

George Crow Flies High, agricultural implement maker, dancer

Dan Dasovich, musician, Omaha, Nebraska

Danny Dasovich, musician, Omaha, Nebraska

George Dasovich, 1942-, musician, Omaha, Nebraska

Peter Drakulich, 1926-1998, musician

Frances Driver, Jr., dancer

Harold C. Edwards, 1927-1992, sheep shearer, Edgemont, South Dakota

Jeanette Evoniuk, 1923-2005, dancer

Johnnie Evoniuk, dancer

Laurence Evoniuk, singer

Matt Evoniuk, dancer

Matt Evoniuk, Jr., dancer

Pearl Evoniuk, dancer

Celia Fliginger, 1907-2003, cook, Freeman, South Dakota

Jarle Foss, 1894-1992, fiddler, Scotland, South Dakota

Dean Fox, dancer

George B. German, 1902-1991, singer

Hilda Goering, 1916-, quilter, Moundridge, Kansas

Aaron Goertzen, 1921-1987, mandolin player, Aurora, Nebraska

Dick Goertzen, mandolin player, Henderson, Nebraska

Jacob C. Goertzen, 1919-1992, mandolin player, Henderson, Nebraska

Delwayne Good Iron, 1943-2014, singer, war bonnet maker

Velda Graber, 1912-1984, soap, sauerkraut maker, Marion, South Dakota

Darrell Griffith, 1930-, horse handler, Faith, South Dakota

Rose Hand, cook, quilter

John Hanzek, 1919-1997, musician

Elmus Henderson, 1908-1979, saddle, harness maker, Kearney, Nebraska

Lyle Henderson, 1947-, saddle, harness maker, Kearney, Nebraska

Mabel Howling Wolf, 1907-1989, cook, quitter

Leslie Jeffery, cattle crew, Sturgis, South Dakota

Margie Jeffery, ranch cook, Sturgis, South Dakota

Mitchel Jeffery, 1951-, cattle crew, Sturgis, South Dakota

William Jeffery, Jr., cattle crew foreman, Sturgis, South Dakota

Betty Johnson, 1927-, rosemaler, Sioux Falls, South Dakota

Edward Johnson, singer, musician

Esther Jorgensen, 1908-1998, cook, Viborg, South Dakota

ArvelIa Kenaston, 1934-, musician, Springview, Nebraska

Robert Kenaston, 1928-2013, musician, Springview, Nebraska

Roger Kenaston, 1954-, musician, Springview, Nebraska

Donna Kordon, dancer

Mary Ann Krush, singer

Kathleen Laible, 1929-1996, canner, Howard, South Dakota

Ann Larson, 1914-2003, cook, Aberdeen, South Dakota

Bill Larson, 1896-1990, fiddler, Sioux Falls, South Dakota

Luella Loganbill, 1928-, quilter, Moundridge, Kansas

Glenn Lornev, tractor pull

Eugene Mack, dancer

George Mack, dancer

Joyce Mack, dancer

Verna Mack, dancer

Don Malnourie, 1939-2005, singer

Ben Makaruk, 1924-1999, singer

Marie Makaruk, singer

Bill Mastel, musician

Mack Medakovich, musician

Merle Messing, 1941-2007, tractor pull, Groton, South Dakota

Alex Morin, dancer, singer

Bill Nameniuk, musician

Debbie Painte, bead worker, shawl maker, dancer

Agnes Palaniuk, singer

Billy Palaniuk, dancer

Fred Penner, 1940-, musical saw player, Tyndall, South Dakota

D. Peter Plechas, musician, Omaha, Nebraska

Agnes Poitra, 1924-1999, dancer, Belcourt, North Dakota

Leon Poitra, 1922-2003, dancer, Belcourt, North Dakota

Harry Porter, 1902-1995, sheep shearer, Edgemont, South Dakota

Ken Putnam, 1955-, fiddler, Rapid City, South Dakota

Jean Roberts, 1932-, cornhusk doll maker, Axtell, Nebraska

Wayne Robinson, sausage maker

Alton Schlag, musician

James Schwab, musician

Larry Schwab, musician

Billy Marlene Short, cattle crew, Piedmont, South Dakota

Dennis Short, 1938-1984, cattle crew, Piedmont, South Dakota

Marlene Sitting Crow, cook, dancer

Murphy Sitting Crow, bustle maker, dancer

Johnny Smith, auctioneer

John E. Stratman, 1908-1989, agricultural spokesperson, Wilcox, Nebraska

Wilhelmine Thue, 1902-1989, cook, Howard, South Dakota

Joe Trottier, musician

Mary Wallette, dancer, cook

Earl Waltner, 1915-1979, blacksmith, Bridgewater, South Dakota

Douglas D. Weber, musician

Gene Weisbeck, musician

Donna Wilkie, dancer, cook

Edward Wilkie, dancer

Helen Wilkinson, quilter

Hugo Wuebben, 1910-1984, carver, Hartington, Nebraska

Alice Yellow Wolf, bead worker

Bert Yellow Wolf, 1939-1995, singer

Joe Zacharias, 1933-, accordion, Wagner, South Dakota

Marie Zaste, dancer, cook

California Heartland

Leslie Alamsha, dancer

Juan Alvarado, 1930-, -- pregonero -- , -- guitarrista -- , -- jaranero

Manuel Azevedo, caller, dancer, singer

Nora Bogdanoff, 1913-1981, Molokan singer

David Botello, muralist

Jane Botieff, Molokan singer

William J. Botieff, Molokan singer

Francisco Carrillo, -- guitarrista

Alfonso Chavez, charro

Kate Chernekoff, 1922-1999, Molokan singer

Peter Chernekoff, 1912-1988, Molokan singer

Jeoffrey Chiang, special Chinese consultant

Vivian Chiang, coordinator

Richard Ching, Chinese yo-yo, shuttlecock, cat's cradle

Dai T. Chung, musician, shadow player

Marilyn Cunningham Cleary, fiddler

Earl Collins, fiddler

Nemo Concepcion, yo-yo demonstrator

Danny Cruz, charro, Los Nietos, California

Jack Cunningham, fiddler

Van Cunningham, 1896-1984, fiddler, Bodfish, California

Antonio Garcia Da Rosa, mandolin player

Leonel Garcia Da Rosa, mandolin player

Al Figueroa, singer, guitarist, Blythe, California

Carmela Figueroa, singer

Alex A. Galkin, 1920-1976, Molokan singer

Juan Gandara, charro, vice president of La Alteña

Alicia Gonzalez, paper crafts, Los Angeles, California

Guadalupe D. Gonzalez, paper crafts, cook, Los Angeles, California

Jose Luis Gonzalez, muralist, Los Angeles, California

Rebecca Gonzalez, paper crafts, cook

Blanche Gonzalez, crafts, cook

Kenneth M. Hall, 1923-2013, mandolin player

Marta Louise Hall, musician assistant

Fermin Herrera, -- harpista

Jorge Herrera, -- jaranero

Maria Isabel Herrera, -- jaranera -- , -- requintera -- , dancer

Chi-mei Kao Hwang, Chinese craft assistant

Hubert Isaac, drummer

Rinold Isaac, dancer

Andrea Ja, shadow player

Robert Ernest Lee Jeffery, 1915-1976, blues pianist, San Diego, California

Kate Kalpakoff, Molokan singer

Craig Ernest Kodros, bee hive maker

George Harry Kodros, bee hive maker

Anna Koh, northern Chinese cook

David Koh, assistant northern Chinese cook

Jim A. Korneff, 1916-1994, singer

Julia Lazar, baker, spinner

Robert Lazar, dancer

Calvin E. Long, tinker, San Diego, California

Pauline Loo, Chinese craft assistant

Francisco Macias, charro

Eddie Martinez, muralist, Hacienda Heights, California

Heli Medeiros, 1921-2003, singer

Nellie Melosardoff, 1913-2007, Molokan singer

Anna Mendrin, Molokan singer

John Mendrin, 1923-1989, Molokan singer

Jonnie Kay Neavill, fiddler

David Page, uilleann bagpiper

Sara J. Patapoff, 1924-1993, Molokan singer

Jack Pavloff, 1919-2000, Molokan singers' director

Mary J. Pavloff, Molokan singer

Dolores Pequeño, singer

George M. Prohroff, 1937-2001, Molokan singer

Pamella Ramsing, shadow player

Rigoberto Rincon, charro, president of La Alteña

Victor Romero, -- guitarrista -- , -- vihuelo

Juanita Saludado, singer, Earlimart, California

Paul Saludado, singer, guitarist, Earlimart, California

Roy J. Samarin, 1920-1994, Molokan singer

Don Jesus Sanchez, 1910-1983, violinist, Los Angeles, California

Surma D'Mar Shimun, 1883-1975, dancer

Joel Silva, -- festa -- coordinator, dairyman

Jose V. Silva, tuna boat designer

Manuel Silva, -- guitarrista

Mary Silva, cook, flower maker

Julia Silveira, -- guitarrista

Rafael Furtado Simas, 1916-2006, violinist

Rosa Maria Simas, dancer, baker

João Soares, singer

Shirley Sun, presenter

Araks Talbert, baker, spinner

Anna Tarnoff, Molokan singer

Smith Tester, banjo player

Eugene Ung, assistant southern Chinese cook

Maizie Ung, kite making, paper folding, ribbon fish demonstration

Agostinho Valim, 1917-2000, singer

Laurindo Valim, dancer

Manuel Vasquez, 1935-, -- requintero

Moses A. Volkoff, 1892-1989, Molokan composer

Ossie White, guitarist, Lakewood, California

Roscoe White, 1923-2009, fiddler, Lakewood, California

Margaret L. Wong, southern Chinese cook

Judy Woo, assistant shadow player

Jesse Wright, singer

Jimmy Wright, singer, Fresno, California

Walter Wright, singer, Fresno, California

William Wright, 1914-1982, singer, Selma, California

Annie Zolnekoff, 1924-2010, Molokan singer

Paul Zolnekoff, 1919-2005, Molokan singer
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1975 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1975, Series 8
See more items in:
Smithsonian Folklife Festival records: 1975 Festival of American Folklife
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5900565d0-2672-465d-92db-bc8e8f08e0c1
EDAN-URL:
ead_component:sova-cfch-sff-1975-ref1044

Con Safo Group, San Antonio, Texas, Organization (see also: Casas, Mel; Martinez, Santos; Reyes, Felipe)

Collection Creator:
Ybarra-Frausto, Tomás, 1938-  Search this
Container:
Box 8, Folder 33
Type:
Archival materials
Date:
1971-2000, undated
Scope and Contents note:
(letter to Dr. Guy Bensusan, Associate Professor, University of Arizona, 07/22/1972; Con Safo organizational information: list of needs, meeting notes, mission statement - Brown Paper Report; "General Comments" [by Felipe Reyes?]; clippings; exhibition announcements; catalogs; photographs of Con Safo members; material for TYF's course on Chicano Culture)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Tomás Ybarra-Frausto research material
Tomás Ybarra-Frausto research material / Series 1: Subject Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94a9f4892-fea3-4b62-8121-7c311caea4da
EDAN-URL:
ead_component:sova-aaa-ybartoma-ref550
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U.S.-Mexico Borderlands

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Type:
Archival materials
Introduction:
Based on research in the rich and dynamic living culture of the border, the Borderlands Festival program of 1993 was designed to provide a glimpse of the border - its histories, its diverse communities, local and regional identities, and its music, arts, crafts, healing practices, foodways, and narrative. The program was about community-based culture. It presented cultural practices found on the border and cultural expressions about the border, and it explored cultural patterns that were created by the border. It also addressed the cultural heritage, adaptability, and creativity of Native Americans and of the Mexican, Hispanic American, Anglo, and other immigrant communities that have played a part in creating the life that surrounds the Mexico-U.S. border - those who maintain it, those who cross it, those who are left behind, and those who dwell in the border region. The program explored the processes through which such groups create, adapt, and preserve culture to meet the challenges of life on the border. It sought to present and understand community codes of behavior that evolved on the border including confrontation, evasion, violence, and romance, especially as these have been transformed into narrative and other forms of artistic expression.

Music performances at the Festival included emergent forms such as the conjunto, which grew out of the interaction between different cultural communities; older forms, such as the corrido, which has been used to preserve a historical vision in the defense of disputed territory; and adapted forms such as the string band music now incorporated into the traditional repertoire of the Tohono O'odham Native American communities. Also featured in the program were five muralists, whose work reflects the traditions of Mexican cholo and United States Chicano muralism. Murals continue to be touchstones of common historical experiences, archaeologies of sociocultural movements, and powerful statements of identity, ethical principles, and community aspirations. The unique fusion of border aesthetics and handcrafted technology was embodied for Festival visitors in lowriders - distinctively customized automobiles. These lowslung, hopping cars complemented the iconography of murals as statements of cultural identity.

Vaqueros of south Texas demonstrated their skills, crafts, and foodways associated with their cowboy tradition, which dates back to the Spanish colonial era. A fisherman from the port of Brownsville demonstrated shrimping techniques. A Laredo blacksmith forged stirrups, belt buckles, and other implements of vaquero life, along with a number of traditional and contemporary decorative objects. A ropemaker demonstrated the use of the local fiber called lechuguilla (a fibrous plant of the agave family). While fine craft traditions like guitar- and furniture-making are not specific to the border, craftspeople have incorporated motifs and instruments native to the region, like the bajo sexto guitar. Other occupational groups characteristic of the border environment included federal Immigration and Naturalization Service (INS) agents who regulate movement across the border; coyotes and polleros, who help migrants evade immigration regulations; and workers in maquiladora assembly line industried. Narrative sessions focused on the culture of craft and occupation in the context of the border.

Artisans also demonstrated crafts used in the home and for special celebrations, including quilt-making, flower- and piñata-making, candlemaking, and reverse-painted glass. Participants prepared regional specialties, traditional foods served for fiestas, and offered a sampling of typical vaquero outdoor cooking. Finally, the Festival presented members of the Mixteco Indian community in Tijuana, a recent migrant group, which preserves its cultural identity and contributes to the economy at the border by maintaining ties with other Mixteco communities in Oaxaca and California.

The United States-Mexico border has had a profound effect on the lives of millions of people. The then-pending NAFTA free trade agreement was only the latest in a long line of international socioeconomic arrangements with wide ranging local impacts. Critical attention in Mexico and the U.S. had increasingly focused on the historical consciousness created in this borderland and on its expression in traditional and other forms of art. Recognition of the vitality and value of borderland culture was growing in 1993 at the margins, among borderland populations, as well as in the centers of power and opinion in both countries. Scholars and political leaders increasingly realized that the cultural encounters, syntheses, and resistances characteristic of border life signaled similar cultural developments in the larger societies. This intensifying concern and scrutiny centered on the margin, but could it reduce the marginality in human rights, social dignity, and economic opportunity at the border? Festival organizers hoped that listening to community voices of the border from the Mexican and United States sides could better inform our thinking and decision-making.

Olivia Cadaval served as Program Curator, with Peter Seitel as Research Advisor; Héctor Antonío Corporán was Program Coordinator and Betty Belanus was Presentation Coordinator.

Collaborating institutions included Centro de Información de Historia Regional, Universid Autónoma de Nuevo León; Consejo Nacional para las Culturas y las Artes – El Programa Cultural de las Fronteras; El Colegio de la Frontera Norte (COLEF); El Paso-Hispanic Chamber of Commerce; Embajada de México en Washington, D.C.; John E. Conner Museum, Texas A & I University; Institute of Texan Cultures; Instituto Cultural de México; Instituto de Bellaas Artes del Estado de Baja California; Instituto Nacional Indigenista; Instituto Mexicano de Cultura, San Antonio; Laredo State University; Mexican Cultural Institute; Museo Regional de la Universidad Autónoma de Baja California en Mexicali; National Museum of the American Indian; New Mexico State University, Las Cruces, New Mexico; Pimería Alta Historical Society, Arizona; Texas A & I University; Texas Folklife Resources; Tumacácori National Historical Park, Arizona; University of Arizona Library's Southwest Folklore Center; University of Arizona – Bureau of Applied Research in Anthropology; University of New Mexico, Albuquerque; University of Texas – Brownsville; University of Texas, Center for Mexican-American Studies; University of Texas – Pan American; and U.S. Immigration and Naturalization Service.

United States-Mexico Borderlands was made possible with the support and collaboration of the Consejo Nacional para la Cultura y las Artes - El Programa Cultural de las Fronteras, El Colegio de la Frontera Norte, Texas Commission on the Arts, Cerveza Tecate - Imported Beer, Texas Folklife Resources, University of Arizona Library's Western Folklore Center, Tumacácori National Historical Park, Universidad Autónoma de Nuevo Léon - Centro de Información de Historia Regional, Universidad Autónoma de Baja California, Gubierno de Nuevo Léon, Mexican Cultural Institute, and the recording industries Music Performance Trust Funds.
Fieldworkers:
María Eugenia de la O, Enrique Madrid, Angel Norzagaray Norzagaray, Manuel Peña, Kathy Raglan, Michael James Ritchie, Suzie Reyes, Irene Vásquez Valle, Kathy Vargas, Felipe de Jesús Valenzuela
Presenters and fieldworkers:
Enrique Avilés, Norma Cantú, Jessica Chapin, Andrew Connors, Maricela González Felix, Mary Lou Gortárez, Everardo Garduño, James S. Griffith, Celso Garza Guajardo, Ian F. Hancock, Pat Jasper, Enrique Lamadrid, Laura Larco, Francisco Javier Moreno, Daniel Sheehy, Emily Socolov, Michael C. Stone; José Manuel Valenzuela Arce, Meynardo Vásquez, Laura Velasco Ortíz, Thomas Vennum, Jr., Cynthia Vidaurri
Participants:
Tijuana, Baja California

Olga Lidia Cortés, Mixteca, hat and basket maker, Tijuana, Baja California, Mexico

Guadalupe Isabel Flores de Estrada, 1939-, Mixteca, altar maker, cook, Tijuana, Baja California, Mexico

Juvencio Extrada Maceda, 1936-, Mixteco, storyteller, oral historian, candlemaker, Tijuana, Baja California, Mexico

Gloria López López, Mixteca, vendor, altar maker, cook, Tijuana, Baja California, Mexico

Elia Ilda Maceda Flores, 1971-, Mixteca, altar maker, cook, Tijuana, Baja California, Mexico

Ofelia Santos López, Mixteca, vendor, oral historian, hat and basket maker, altar maker, cook, weaver, Tijuana, Baja California, Mexico

Francisco Paulino Sierra Cruz, 1955-, Mixteca, schoolteacher, Tijuana, Baja California, Mexico

Cathedral City, California

Carmen Moreno, guitarist, singer, Cathedral City, California

Santa Catarina, Baja California

Benito Peralta González, Paipai, storyteller, oral historian, Santa Catarina, Baja California, Mexico

Tecate, Baja California

José Luis Lee Sandoval, furniture maker, Tecate, Baja California, Mexico

Mexicali, Baja California

Taller Universitario de Teatro -- Taller Universitario de TeatroAngel Norzagaray Norzagaray, 1961-, Mexicali, Baja California, MexicoHeriberto B. Norzagaray Norzagaray, 1959-, Mexicali, Baja California, MexicoLoreto Ramón Tamayo Rosas, Mexicali, Baja California, MexicoAlejandra Rioseco de la Pena, Mexicali, Baja California, MexicoAndrés García Moreno, Mexicali, Baja California, MexicoPedro Gabriel González Castro, Mexicali, Baja California, Mexico

San Simon Village, Arizona

Tohono O'odham String Band -- Tohono O'odham String BandBlaine W. Juan, 1936-, violin, dancer, San Simon Village, ArizonaJoseph Alonzo García, 1924-, violin, dancer, San Simon Village, ArizonaFrank N. Pedro, 1928-, guitar, San Simon Village, ArizonaVictor Augustine García, 1922-, violin, San Simon Village, ArizonaNacho J. Feleys, 1909-1994, snare drum, San Simon Village, ArizonaMike L. Francisco, 1926-, bass drum, dancer, San Simon Village, Arizona

Lupe Lopez, 1927-, Tohono O'odham basket maker, San Simon Village, Arizona

Marie Leon, 1930-, Tohono O'odham basket maker, San Simon Village, Arizona

Nogales, Sonora

Maria Gloria Moroyoqui de Roques, 1930-, Yaqui cook, piñata and flower maker, herbalist, Nogales, Sonora, Mexico

Imuris, Sonora

Anastasio Léon, birdcage and frame maker, Imuris, Sonora, Mexico

Francisco Silva, birdcage and frame maker, Imuris, Sonora, Mexico

Magdalena, Sonora

Felipe de Jesús Valenzuela, regional historian, Magdalena, Sonora, Mexico

Tumacácori, Arizona

María Rodríguez, 1912-2001, tortilla maker, flower maker, cook, Tumacácori, Arizona

Tucson, Arizona

Reynaldo B. Hernandez, INS border patrol, storyteller, Tucson, Arizona

Arturo Carrillo Strong, 1930-, author, oral historian, Tucson, Arizona

Los Hermanos Cuatro, Yaqui Norteño Band -- Los Hermanos Cuatro, Yaqui Norteño BandJesús Juan Yucupicio, 1965-, electric bass, Tucson, ArizonaAlbert M. Yucupicio, 1954-, accordion, Tucson, ArizonaAngel M. Yucupicio, 1966-, drums, Tucson, ArizonaPeter S. Yucupicio, 1957-, bajo sexto, Tucson, Arizona

Ciudad Juárez, Chihuahua

Brigada por La Paz -- Brigada por La PazAlonso Encina Herrera, 1968-, muralist, Ciudad Juárez, Chihuahua, MexicoJesús Alberto "Pee Wee" Rodriguez Medina, muralist, Ciudad Juárez, Chihuahua, MexicoGustavo "Sleepy" Grado Tiscareño, 1973-, muralist, Ciudad Juárez, Chihuahua, MexicoMiguel Angel "El Tandy" Sandoval Lira, 1971-, muralist, Ciudad Juárez, Chihuahua, Mexico

Oscar Ramírez, 1944-, guitar maker, Ciudad Juárez, Chihuahua, Mexico

Los Alegres del Norte, norteño band -- Los Alegres del Norte, norteño bandJosé Flores Cordova, accordion, Ciudad Juárez, Chihuahua, MexicoDiego Hidalgo Alvarez, 1944-, bajo sexto, Ciudad Juárez, Chihuahua, MexicoEmilio Chaírez Muñoz, tololoche, Ciudad Juárez, Chihuahua, Mexico

El Paso, Texas

Agustín Castillo, 1950-, woodcarver, furniture maker, El Paso, Texas

Carlos Callejo, Chicano muralist, El Paso, Texas

Romulo Frías, lowrider, El Paso, Texas

El Divisidero, Chihuahua

Guadalupe Carrasco Leyva, 1923-, quilter, cook, El Divisidero, Chihuahua, Mexico

Paso de Lajitas, Chihuahua

Baltazar Rodríguez Puentes, 1942-, ranching crafts, Paso de Lajitas, Chihuahua, Mexico

Lajitas, Texas

Adolfo O. Rodríguez, 1971-, ranching crafts, Lajitas, Texas

Presidio, Texas

Richard Mark Bernholz, 1954-, INS border patrol, storyteller, Presidio, Texas

Nacimiento, Chihuahua

Gertrude Factor Vásquez, 1921-, oral historian, cook, herbalist, Nacimiento, Chihuahua, Mexico

Alice Fay Lozano, 1916-, oral historian, cook, herbalist, Nacimiento, Chihuahua, Mexico

Del Rio, Texas

Ethel I. Warrior, 1919-, oral historian, cook, Del Rio, Texas

William F. Warrior, 1927-, oral historian, storyteller, Del Rio, Texas

Laredo, Texas

Armando Flores, 1953-, blacksmith, Laredo, Texas

María Paredes de Solís, 1923-, quilter, Laredo, Texas

Monterrey, Mexico

El Palomo y el Gorrión, Norteño Band -- El Palomo y el Gorrión, Norteño BandMiguel "El Gorrión" Luna Franco, 1948-, drums, composer, vocals, Monterrey, MexicoMoisés García, guitar, Monterrey, Mexico

Hebbronville, Texas

Omar Galván, 1920-1999, vaquero, rope maker, cook, storyteller, Hebbronville, Texas

Kingsville, Texas

Joe O. Mendietta, 1961-, vaquero, horsehair braider, Kingsville, Texas

San Diego, Texas

Canuto Soliz, 1924-2006, vaquero, leatherworker, storyteller, guitarist, San Diego, Texas

Elsa, Texas

Los Hermanos Layton, Conjunto Band -- Los Hermanos Layton, Conjunto BandAntonio V. Layton, 1946-, guitar, vocals, Elsa, TexasRené Layton, drums, Elsa, TexasNorfilia Layton González, vocals, Elsa, TexasGilbert González, bass guitar, Elsa, TexasBenigno Layton, 1950-, accordion, vocals, Elsa, Texas

Brownsville, Texas

Julius Collins, 1928-, shrimper, net maker, cook, Brownsville, Texas
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1993 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1993, Series 5
See more items in:
Smithsonian Folklife Festival records: 1993 Festival of American Folklife
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk53366ad74-9495-4412-9336-ea97e6c0f67a
EDAN-URL:
ead_component:sova-cfch-sff-1993-ref41

Dorr Bothwell papers

Creator:
Bothwell, Dorr  Search this
Names:
Pollock-Krasner Foundation  Search this
Adams, Ansel, 1902-1984  Search this
Adams, Virginia Best  Search this
Adnan, Etel  Search this
Chinn, Benjamen, 1921-2009  Search this
Falkenstein, Claire, 1908-1997  Search this
Howard, Charles, 1899-1978  Search this
Jackson, Martha Kellogg  Search this
Packard, Emmy Lou, 1914-1998  Search this
Extent:
10.6 Linear feet
1.72 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Drawings
Sketchbooks
Photographs
Visitors' books
Interviews
Travel diaries
Scrapbooks
Collages
Sketches
Contracts
Awards
Diaries
Lecture notes
Date:
1900-2006
Summary:
The papers of California painter, printmaker, and art instructor Dorr Bothwell date from 1900-2006, and measure 10.6 linear feet and 1.72 GB. Found within the papers are biographical material, correspondence, personal business records, notes and writings, five diaries, art work and 19 sketchbooks, three scrapbooks, printed material, and print and digital photographs.
Scope and Content Note:
The papers of California painter, printmaker, and art instructor Dorr Bothwell date from 1900-2006, and measure 10.6 linear feet and 1.72 GB. Found within the papers are biographical material, correspondence, personal business records, notes and writings, five diaries, art work and 19 sketchbooks, three scrapbooks, printed material, and print and digital photographs.

Biographical material consists of biographical sketches, resumés, identity cards, award certificates, typescripts of autobiographical interviews, address books, and a file concerning UFOs, spirituality, and philosophy.

Correspondence consists of letters exchanged between Bothwell and her colleagues and friends discussing their art-related activities, travel, and birthday greetings. There are scattered letters from Ansel and Virginia Adams, Etel Adnan, Benjamin Chinn, Claire Falkenstein, and Emmy Lou Packard.

Personal business records include teaching contracts, contracts and royalty statements for the publication of Bothwell's book Notan, insurance records, income tax records, records concerning a grant from the Pollock-Krasner Foundation, estate records, card files, lists of art work, price lists, exhibition entry cards, receipts for the sale of art work, travel receipts, medical receipts, and consignment/sales records.

Notes and writings include three diaries, two travel journals, guest books, miscellaneous lists, schedules of classes for various organizations and art schools including the Ansel Adams Yosemite Workshop, typescripts of lecture notes, and miscellaneous notes. There are also scattered writings by Bothwell and others.

Seventeen sketchbooks, including several completed during Bothwell's travels, and one dated 1942 illustrated with daily drawings of her activities while preparing for World War II, are found within the papers. There are also miscellaneous drawings, collages, a serigraph It's Time for a Change, an etching by Martha Jackson, and a drawing by Charles Howard.

Three scrapbooks contain clippings, exhibition announcements and catalogs, programs, and photographs of art work. Scrapbook 3 contains materials concerning spiritualism and mysticism. Additional printed material consists of clippings, exhibition announcements and catalogs, press releases, brochures for art classes, the sale of art work, travel, and camera equipment, reproductions of art work, picture postcards, programs, books, and miscellaneous commercial business cards.

Photographs are of Bothwell, her mother and brother, her studio/residences, miscellaneous friends and colleagues including her former husband, sculptor Donal Hord, miscellaneous events, and art classes conducted by Bothwell. There are also photographs of art work by Bothwell and others, as well as numerous photographs and slides of travel various forms in nature that Bothwell would incorporate into her art work.
Arrangement:
The collection is arranged as 8 series:

Missing Title

Series 1: Biographical Material, 1939-2001 (Box 1, 11, 13, 15; 0.6 linear feet)

Series 2: Correspondence, 1942-2002 (Box 1-3, 13; 2.3 linear feet)

Series 3: Personal Business Records, 1925-2006 (Box 3-4; 0.7 linear feet)

Series 4: Notes and Writings, 1949-1998 (Box 4, 11, 14, 15; 0.8 linear feet.)

Series 5: Art Work, 1920-1994 (Box 4-5, 11, 13, 16, 17; 1.5 linear feet)

Series 6: Scrapbooks, 1926-1979 (Box 5, 11, 12; 0.5 linear feet)

Series 7: Printed Material, 1923-2000 (Box 5-7, 12, 13; 1.8 linear feet)

Series 8: Photographs, 1900-2001 (Box 7-9, 10; 2.4 linear feet, ER01-ER04; 1.72 GB)
Biographical Note:
Dorr Bothwell (1902-2000) worked primarily in California as a painter, printmaker, and art instructor.

Doris Bothwell was born on May 3, 1902 in San Francisco, and later changed her first name to Dorr in order to more easily enter the art business. Bothwell began her art studies in 1916 with her parents' friend Anna Valentien, a student of Rodin. Between 1921 and 1922, she studied at the California School of Fine Art, and continued her studies at the University of Oregon at Eugene. After attending the Rudolph Schaeffer School of Design in 1924, she established her own studio in San Francisco from 1924 to 1927. Also during this time Bothwell, with eight other artists opened the Modern Gallery on Montgomery Street, mounting her first solo exhibition there in 1927.

Between 1928 and 1929, Bothwell traveled to American Samoa, where she created paintings and drawings, and documented tapa (barkcloth) drawings for the Bishop Museum of Honolulu. She then spent a year of study in Europe, returning to San Diego, California in 1931 and marrying sculptor Donal Hord. Four years later, they divorced and she moved to Los Angeles where she worked for the pottery manufacturer Gladding McBean, joined the post-surrealist group around Lorser Feitelson and Helen Lundeberg and opened the Bothwell-Cooke Gallery.

Between 1936 and 1939, Bothwell worked in the mural division of the Federal Arts Project of Los Angeles, and learned the art of serigraph printing. She designed dioramas and mechanized exhibitions for the Los Angeles County Museum. In 1940 she also created murals in the Manning Coffee Restaurant in San Francisco.

After teaching color and design at the California School of Fine Art in San Francisco from 1944 to 1948, Bothwell was awarded the Abraham Rosenberg Traveling Scholarship that financed study in Paris from 1949 to the fall of 1951. In 1952 she taught textile design for mass production at the Parsons School of Design in New York City.

Returning to San Francisco, Bothwell taught again at the California School of Fine Art from 1953 to 1958, and at the San Francisco Art Institute from 1959 to 1960. From 1960 to 1961 she took a sabbatical in England and France, creating paintings for an exhibition. In 1962 she was asked to teach at the new Mendocino Art Center and she taught there until 1983. She was also asked by Ansel Adams to teach design and composition for photographers at his Yosemite Workshop summer sessions, which she did from 1964 to 1977.

From 1966 to 1967, Bothwell documented indigo dying techniques, strip weaving, and pottery in Western Nigeria and Tunisia. In 1968, she published her book, co-authored with Marlys Frey, NOTAN The Principle of Dark-Light Design. The book was reissued in 1991. Bothwell continued her travels from 1970 to 1971, when she studied 12th century enamels in England, France, and Holland, and conducted a symposium, "Notan Design," for the London Educational Authority. In 1974, she traveled to Bali, Java, and Sumatra, making a slide documentary on batik, woodcarving, and folk design.

In 1977 Bothwell moved to Joshua Tree, California, from Mendocino in Northern California, but moved back and forth between the two studio/residences until 1992 when she moved to her last residence on the desert at Apache Junction, Arizona. From 1979 to 1980, she taught composition at the Victor School of Photography in Colorado and a design course at the Women's Art Guild in Kauai, Hawaii. Following a tour of China with a watercolor artists' group in 1982, Bothwell conducted workshops at the Mendocino Art Center. In 1985, she traveled to Japan.

Dorr Bothwell died on September 24, 2000 in Fort Bragg, California.
Provenance:
The Dorr Bothwell papers were donated in 1978 by the artist, and in 2002, 2009, and 2012 by the Dorr Bothwell Trust.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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.
Occupation:
Muralists -- California  Search this
Painters -- California  Search this
Art teachers -- California  Search this
Printmakers -- California  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women educators  Search this
Women printmakers  Search this
Artists' studios -- Photographs  Search this
Surrealism  Search this
World War, 1939-1945  Search this
Women muralists  Search this
Genre/Form:
Drawings
Sketchbooks
Photographs
Visitors' books
Interviews
Travel diaries
Scrapbooks
Collages
Sketches
Contracts
Awards
Diaries
Lecture notes
Citation:
Dorr Bothwell papers, 1900-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bothdorr
See more items in:
Dorr Bothwell papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ea68aa35-b63d-4c1e-a251-57c54f91e232
EDAN-URL:
ead_collection:sova-aaa-bothdorr

Clippings

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box OV 3, Folder 3
Type:
Archival materials
Date:
1987-1998
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 4: Printed Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9892210c7-a4e0-414f-91e1-630abb620a0b
EDAN-URL:
ead_component:sova-aaa-casamel-ref43
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Clippings digital asset number 1

Exhibition Announcements and Catalogs

Collection Creator:
Casas, Mel, 1929-2014  Search this
Container:
Box 2, Folder 11
Type:
Archival materials
Date:
1990-1995
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
See more items in:
Mel Casas papers
Mel Casas papers / Series 4: Printed Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw902615a2c-67c5-46ad-882a-26e6144f6583
EDAN-URL:
ead_component:sova-aaa-casamel-ref48
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Exhibition Announcements and Catalogs digital asset number 1

Oral history interview with Arthur and Jean Goodwin Ames

Interviewee:
Ames, Arthur Forbes, 1906-1975  Search this
Ames, Jean Goodwin, 1903-1986  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Federal Art Project (Calif.)  Search this
New Deal and the Arts Oral History Project  Search this
Albro, Maxine, 1903-1966  Search this
Bruton, Helen, 1898-1985  Search this
Bruton, Margaret, 1894-  Search this
Drerup, Karl, 1904-2000  Search this
Extent:
30 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 June 9
Scope and Contents:
An interview of Arthur and Jean Goodwin Ames conducted 1965 June 9, by Betty Hoag McGlynn, for the Archives of American Art New Deal and the Arts Project. They speak of their participation in WPA projects at Newport Harbor Union High School, the San Diego County Courthouse, the Jon Lindbergh Junior High School, and the California Federal Building and Loan in Los Angeles; mural, mosaic and tapestry techniques and materials; Karl Drerup and the development of enameling in America; and the effect of the federal art programs on contemporary art. They also describe the work of Maxine Albro and Helen and Margaret Bruton.
Biographical / Historical:
Arthur Forbes (1906-1975) and Jean Goodwin Ames (1903-1986) were mural painters, mosaicists, and tapissiers from Claremont, California.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 4 digital wav files. Duration is 1 hr., 12 minutes.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Tapissiers -- California -- Interviews  Search this
Topic:
Federal aid to the arts  Search this
Mosaics -- California  Search this
Mural painting and decoration -- California  Search this
Tapestry -- California  Search this
Mosaicists -- California -- Interviews  Search this
Muralists -- California -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.ames65
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw917e4630c-6d30-48ab-8a20-45433b71a2aa
EDAN-URL:
ead_collection:sova-aaa-ames65
Online Media:

Oral history interview with David Avalos

Interviewee:
Avalos, David  Search this
Interviewer:
Nieto, Margarita  Search this
Extent:
100 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1988 June 16-July 5
Scope and Contents:
An interview of David Avalos conducted 1988 June 16-July 5, by Margarita Nieto, for the Archives of American Art. Avalos speaks of his childhood, education at the University of California at San Diego; his involvement with the Centro Cultural de la Raza; the socio-political environment that produced the San Diego Chicano Muralist movement (specifically Chicano Park); the formation of the Border art Workshop (BAW/TAF); the collaboration between the Centro and the La Jolla Museum of Contemporary Art (presently the San Diego Museum of Contemporary Art); art activity in San Diego; Chicano activity distinct from Los Angeles; his philosophy on conceptual art; and his art career.
Biographical / Historical:
David Avalos (1947-) is a painter and administrator from San Diego, California.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 10 digital wav files. Duration is 4 hr., 44 min.
Provenance:
These interviews are part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Painters -- California -- San Diego -- Interviews  Search this
Latino and Latin American artists  Search this
Chicano artists  Search this
Mexican American art  Search this
Mexican American artists  Search this
Mural painting and decoration -- 20th century -- California -- San Diego  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.avalos88
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93ecf1441-e4c4-49e0-a259-1632aa2da159
EDAN-URL:
ead_collection:sova-aaa-avalos88
Online Media:

Monty Lewis papers

Creator:
Lewis, Monty, 1907-1997  Search this
Names:
Coronado School of Fine Arts  Search this
Extent:
1.6 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1928-[ca. 1960.]
Scope and Contents:
REEL LA 2: A clipping, August 28, 1955, about Lewis; a book, Murals by American Painters and Photographers, Museum of Modern Art, 1932; a catalog, "The Bulletin of the Museum of Modern Art", vol. 4, July 1937; a newsletter, "Conferences on Inter-American Relations in the Fields of Art, Music, Education and Publications and Libraries, 1939-1940," March 1940.
UNMICROFILMED: Personal and business letters; Lewis' curriculum vitae; photographs of Lewis' WPA murals projects in New York and New Jersey and a renderings of a design proposal for a New Jersey WPA project; price lists of works; two travel diaries (1930-1931) from a trip to Europe; and a scrapbook, 1928-1947, containing newspaper articles, exhibition catalogs, and announcements.
Biographical / Historical:
Painter, muralist, educator; Coronado, Calif. Died 1997. Born in Cardiff, Wales, Lewis studied at the Art Students League in New York and received a Guggenheim Fellowship in 1930, studying architecture and related art forms. His mural commissions include the Museum of Man Building for the 1939 New York World's Fair and for public schools in New Jersey. He moved to Coronado, Calif. in 1942 and founded the Coronado School of Fine Arts in 1945, serving as its director until 1990. At the time of its founding, it was the only school teaching the art of fresco. The school practiced a stylized method of instruction that was highly individualistic and informal, allowing instructors complete freedom in their teaching procedures.
Provenance:
Printed material on reel LA 2 lent by Monty Lewis, 1965. Unmicrofilmed material donated 1998 by Kathryn Lewis Crane, daughter of Monty Lewis.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Muralists -- California -- San Diego  Search this
Muralists -- New York (State) -- New York  Search this
Topic:
Mural painting and decoration, American  Search this
Mural painting and decoration -- 20th century -- New Jersey  Search this
Mural painting and decoration -- 20th century -- New York (State) -- New York  Search this
Federal aid to the arts  Search this
Identifier:
AAA.lewimont
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9027bca1d-0547-4b8b-bbf8-e9f0fb447312
EDAN-URL:
ead_collection:sova-aaa-lewimont

Oral history interview with Monty Lewis

Interviewee:
Lewis, Monty, 1907-1997  Search this
Interviewer:
McGlynn, Betty Hoag  Search this
Creator:
New Deal and the Arts Oral History Project  Search this
Names:
Coronado School of Fine Arts  Search this
New Deal and the Arts Oral History Project  Search this
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
Extent:
1 Sound tape reel (Sound recordings, 5 in.)
15 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1964 June 25
Scope and Contents:
An interview of Monty Lewis conducted 1964 June 25, by Betty Hoag, for the Archives of American Art.
Interview conducted at Coronado School of Fine Arts in San Diego, Calif. Lewis discusses his art training at the Art Students' League in N.Y., his study of mural and easel painting in Europe, and his freelance mural work before his involvement with the Public Works of Art Project. He describes the developing presence of mural art in New York with Diego Rivera's mural at Rockefeller Center and the 1939 New York World's Fair. Lewis tells of the Artists, Painters, and Sculptors Collaborators, a collaborative group interested in developing community art projects, and discusses the use of murals in the 1939 New York World's Fair and the different techniques used for those and other public projects.
Biographical / Historical:
Monty Lewis (1907-1997) was a painter, designer, muralist in New York and California.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav files. Duration is 49 min.
Provenance:
Conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Painters -- California -- San Diego -- Interviews  Search this
Muralists -- California -- San Diego -- Interviews  Search this
Federal aid to the arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.lewis64
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9451a0e60-085e-49ed-8895-466a14e47ad7
EDAN-URL:
ead_collection:sova-aaa-lewis64
Online Media:

41c Mendez v. Westminster single

Title:
Scott Catalogue USA 4201
Medium:
paper; ink(multicolored)
Type:
Postage Stamps
Place:
United States of America
Date:
September 14, 2007
Topic:
Hispanic Heritage  Search this
Education & Teaching  Search this
U.S. Stamps  Search this
Credit line:
Copyright United States Postal Service. All rights reserved.
Object number:
2007.2025.1
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm861c6eb41-6def-4492-9547-3b8537b25232
EDAN-URL:
edanmdm:npm_2007.2025.1

Oral history interview with Arthur and Jean Goodwin Ames, 1965 June 9

Interviewee:
Ames, Arthur Forbes, 1906-1975  Search this
Ames, Arthur Forbes, 1906-1975  Search this
Interviewer:
McGlynn, Betty Lochrie Hoag, 1914-2002  Search this
Subject:
Ames, Jean Goodwin, 1903-1986  Search this
Albro, Maxine  Search this
Bruton, Helen  Search this
Bruton, Margaret  Search this
Drerup, Karl  Search this
Federal Art Project (Calif.)  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Federal aid to the arts  Search this
Mosaics -- California  Search this
Mural painting and decoration -- California  Search this
Tapestry -- California  Search this
Mosaicists -- California -- Interviews  Search this
Muralists -- California -- Interviews  Search this
Theme:
New Deal  Search this
Record number:
(DSI-AAA_CollID)12923
(DSI-AAA_SIRISBib)213229
AAA_collcode_ames65
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213229
Online Media:

Oral history interview with Lowell Houser, 1964 July 31

Interviewee:
Houser, Lowell, 1902-1971  Search this
Houser, Lowell, 1902-1971  Search this
Interviewer:
McGlynn, Betty Lochrie Hoag, 1914-2002  Search this
Subject:
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Mural painting and decoration -- Iowa  Search this
Federal aid to the arts  Search this
Muralists -- Iowa -- Interviews  Search this
Painters -- Iowa -- Interviews  Search this
Theme:
New Deal  Search this
Record number:
(DSI-AAA_CollID)13061
(DSI-AAA_SIRISBib)213575
AAA_collcode_houser64
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213575

Oral history interview with David Avalos, 1988 June 16-July 5

Interviewee:
Avalos, David, 1947-  Search this
Avalos, David, 1947-  Search this
Interviewer:
Nieto, Margarita  Search this
Type:
Sound recordings
Interviews
Topic:
Painters -- California -- San Diego -- Interviews  Search this
Latino and Latin American artists  Search this
Chicano artists  Search this
Mexican American art  Search this
Mexican American artists  Search this
Mural painting and decoration -- 20th century -- California -- San Diego  Search this
Theme:
Latino and Latin American  Search this
Record number:
(DSI-AAA_CollID)5428
(DSI-AAA_SIRISBib)213765
AAA_collcode_avalos88
Theme:
Latino and Latin American
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213765
Online Media:

Oral history interview with Monty Lewis, 1964 June 25

Interviewee:
Lewis, Monty, 1907-1997  Search this
Lewis, Monty, 1907-1997  Search this
Interviewer:
McGlynn, Betty Lochrie Hoag, 1914-2002  Search this
Subject:
Coronado School of Fine Arts  Search this
New Deal and the Arts Oral History Project  Search this
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
Type:
Sound recordings
Interviews
Topic:
Painters -- California -- San Diego -- Interviews  Search this
Muralists -- California -- San Diego -- Interviews  Search this
Federal aid to the arts  Search this
Theme:
New Deal  Search this
Record number:
(DSI-AAA_CollID)12016
(DSI-AAA_SIRISBib)216443
AAA_collcode_lewis64
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_216443

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