64.08 cu. ft. (49 record storage boxes) (26 tall document boxes)
Type:
Collection descriptions
Archival materials
Audiotapes
Floor plans
Black-and-white negatives
Black-and-white photographs
Black-and-white transparencies
Manuscripts
Brochures
Clippings
Newsletters
Posters
Videotapes
Date:
circa 1954-1994
Descriptive Entry:
This record unit consists of curatorial and staff correspondence and memoranda pertaining to the Tower Concert series, exhibitions at the Hall of Musical Instruments,
staff research and publications, organ building, acquisition of musical instruments, and funding for seminars and musical performance recordings. Also included are inquiries
from private collectors, musicians, universities, and instrument manufacturers; minutes of meetings; floor plans for the Hall of Musical Instruments; recital announcements;
audiotapes of Fesperman's organ performances; contracts with publishing companies; Fesperman's research material for the publications Flentrop in America and Organs
in Mexico; exhibition proposals, scripts, loan agreements, and brochures from Contemporary Musical Instrument Makers; funding information, progress reports, photographs,
and program booklets from Music at the Smithsonian, as well as the Tower Concert series; audiotapes and cassette recordings of concert performances, interviews with musicians,
and music used for exhibitions; administrative records; photographs and slides of American and European chamber organs; correspondence between Fesperman and organ builder
F. A. Flentrop; and staff research notes.
The collection documents the history and development of the Wurlitzer Company and consists of company publications, business records, employee files, manufacturing records, sales and marketing records, product information, publicity, advertising, photographs, audiovisual materials, and organ installation drawings.
Scope and Contents:
The collection documents the history and the development of the Wurlitzer Company. Materials include company publications, business records, employee files, manufacturing records, sales and marketing records, product information, publicity, advertising, photographs, audiovisual materials, and organ installation drawings. The material in the collection spans from 1856-1986, although information prior to 1899 is sparse.
Arrangement:
The Collection is arranged into fourteen series.
Series 1: Wurlitzer Company Histories, Company Events, and General Business Materials, circa 1880-1987; undated
Series 2: Publications, 1910-1989; undated
Series 3: Advertising and Promotional Materials, 1911-1978
Series 4: Product Information, 1860-1984; undated
Series 5: Photographs of Wurlitzer Manufacturing Plants, Employees, Stores, and Dealerships, 1869-1970; undated
Series 6: Photographs of Wurlitzer Products and Product Sales Promotions, 1900-1978; undated
Series 7, Photographs Used in Wurlitzer Advertising and Public Relations, 1904-1970; undated
Series 8: Wurlitzer Employee Records and Related Materials, 1909-1961; undated
Series 9: Production and Shipping Records, 1905-1987
Series 10: Shipping and Sales Records for Wurlitzer Dealerships, Wurlitzer Retail Stores, and Rembert Wurlitzer, Incorporated, 1917-1952
Series 11, Records of Stock Certificates, Meeting Minutes, and Related Financial and Legal Documents, 1907-1972
Series 12, Rudolph Wurlitzer Company Financial Records, 1893-1986
Series 13, Maps and Charts, 1931-1976
Series 14, Organ Installation Drawings, 1920-1931; undated
Historical Note:
The Wurlitzer Company began in 1856 when Rudolph Wurlitzer, a Cincinnati bank clerk, sold seven hundred dollars worth of musical instruments he had bought from family and friends in Germany. The busi¬ness was incorporated in Ohio in 1890 under the name the Ru¬dolph Wurlitzer Company." For the first fifty years, Wurlitzer was primarily a retail instrument business operating out of its Cincinnati Store headquarters. Although fire destroyed the com¬pany's headquarters in 1904, a new building was completed in time to celebrate Wurlitzer's fiftieth anniversary in 1906.
In 1908, the Wurlitzer Company bought the DeKleist Musical In¬strument Manufacturing Company in North Tonawanda, New York. The Rudolph Wurlitzer Manufacturing Company continued produc¬tion of automatic musical instruments including player pianos, military bands and pianorchestras. In 1910, the Wurlitzer Company bought the Hope-Jones Organ Company and began to manufacture unit-or¬chestra pipe organs at their North Tonawanda plant. These were pipe organs equipped with bells, gongs, horns and sirens. They became known as Mighty Wurlitzers and provided the musical back¬ground in silent movie houses all over the world and were also built for churches and private homes. In 1919, Wurlitzer bought the Melville-Clark Piano Company of DeKalb, Illinois. Wurlitzer pianos were then manufactured at the DeKalb facilities under a variety of names: the Apollo Piano Company, the DeKalb Piano Company and the Wurlitzer Grand Piano Company. Each name des¬ignated a different quality, price range and style.
With the decline of sales during the 1920s and 1930s, pro¬duction of automatic musical instruments ceased until the manu¬facture of the first jukebox in 1934. In 1930, the Julius Bauer Piano Company was purchased and continued to build pianos in that name until shortly before World War II. For a brief time, radios and refrigerators were made by the Wurlitzer controlled Air-Amer¬ican Mohawk Corporation. It was not a successful venture and ended in the mid-1930s. Many of the Wurlitzer retail stores were, at that time, in bad locations and needed repairs. The solutions to these problems came about with a reorganization of the company in 1935. With the reorganization, many retail stores were sold, piano manufacturing was consolidated in DeKalb and many subsidiaries were dissolved or absorbed completely into the Wurlitzer Company.
During World War II, Wurlitzer halted production of musical in¬struments. The company's defense production efforts were rec¬ognized in 1943 and 1944 when it is North Tonawanda and DeKalb plants received the Army-Navy "E" Award. In 1946, peacetime production resumed and the Wurlitzer Company introduced two new instruments: the electric organ in 1947 and the electric piano in 1954. In 1956, the Wurlitzer Company celebrated its centennial. That same year a new plant at Corinth, Mississippi, was completed. Later, plants were opened in Holly Springs, Mississippi (1961), Logan, Utah (1970) and Hullhorst, West Germany, (1960). The new facilities replaced those at North Tonawanda and DeKalb. The North Tonawanda plant ceased production of jukeboxes in 1974, becoming the company's engineering and research center. In 1973, the DeKalb plant ended production of pianos maintaining only mar¬keting and administrative offices. In 1977, the Wurlitzer Com¬pany's corporate headquarters moved to DeKalb, including the en¬gineering and research center from North Tonawanda.
Wurlitzer's three sons had assumed leadership of the company after his death in 1914. Each son acted as president then, chair of the board, successively. The company hired R.C. Rolfing in 1934 as vice-president and general manager. His re¬organization helped the company through the Depression years. Rolfing succeeded the last of the founder's sons in 1941 as pres¬ident of the company and in 1966 as chair of the board. Farny Wurlitzer, Rudolph's youngest son, died in 1972. A.D. Arsem succeeded Rolfing in 1974 as chair of the board. George B. Howell succeeded W. N. Herleman as president of the company.
Related Materials:
Materials in the Archives Center
Steinway & Sons Records and Family Papers, 1857-1919 (AC0178)
Chickering & Sons Piano Company Collection, 1864-1985 (AC0264)
Sohmer & Company Records, 1872-1989 (AC0349)
William J. Lenz Piano Tuning Collection, circa 1903-1955 (AC0511)
Janssen Piano Company Records, 1901-1929 (AC0512)
John R. Anderson Piano Trade Literature and Ephemera Collection, circa 1850-1990 (AC1257)
Warshaw Collection of Business America's Piano and Organ related materials (AC0060)
Provenance:
Collection donated by Northern Illinois University, and Regional History Center, 1994, November 11.
Restrictions:
Collection is open for research.
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.
40 pp. plus cover, black ink except for "Alexandre" printed in red on the cover. Descriptions and illustrations of organs for sale. Includes organs suitable for churches and various other types and styles.
Biographical / Historical:
According to the cover, the Alexandre Pere & Fils company was founded in 1829.
Translation of Title:
Organs [catalog].
Varying Form of Title:
CATALOGUE-ALBUM / des / Orgues d'ALEXANDRE Pere & Fils / 81, Rue La Fayette, 81 / PARIS.
Restrictions:
Unrestricted research access on site by appointment. However, this fragile item needs to be handled with extra caution.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Warshaw Collection of Business Americana Subject Categories: Organs, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Music, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Collection is open for research. Some items may be restricted due to fragile condition.
Series 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.
Series Citation:
Warshaw Collection of Business Americana Subject Categories: Music, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
1 Drawings (visual works) (Medium: pen, 8.99 x 11.87)
Container:
Box 1, Folder 19, Item LS-0525
Type:
Archival materials
Drawings (visual works)
Date:
1998
Scope and Contents note:
Man constructs kokle while two visitors observe in background. Inscription on back reads, "Kokle, Maris Jansons, Latvia".
Missing Title
Festival Program: Baltic Nations: Estonia, Latvia, and Lithuania
Subjects: Maris Jansons, musical instrument maker
Signed: yes
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:
Lily Spandorf drawings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
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 Baltic Nations: Estonia, Latvia, and Lithuania
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
On August 23, 1989, people in the Baltics formed a human chain stretching 430 miles, connecting their capital cities Tallinn, Riga, and Vilnius. They remembered the day in 1939 when Hitler and Stalin had made a secret pact that sealed their fate for several decades. Their massive demonstration told the world that they existed as nations and that they yearned to be masters of their own destiny. They sang their messages and called it the Singing Revolution - a revolution that would result two years later in independence for the three countries from their former Soviet overlords.
Folklore - and singing in particular - had long been a fascination to Baltic citizens seeking to establish a national identity, and the Singing Revolution built upon recent decades of renewed public interest in folklife. During the 1970s collecting and recording traditional cultural expressions increased on the professional, academic, and grassroots levels. Local folk in various rural regions and young people studying in urban settings formed performing groups to perpetuate song, dance, and musical traditions. Everywhere there was an impetus to learn as much as possible about the past and to actively relate that knowledge to the present. These activities were in full swing in the late 1980s. The numerous folk ensembles became an integral part of the mass rallies comprising the Singing Revolution in all three Baltic nations. Many said they could not imagine the national re-awakening having occurred without the ensembles and the entire folklore movement.
These ensembles continued to play a vital role after independence, as Festival visitors could experience for themselves. In these newly reborn countries, society was undergoing many changes at the time of the 1998 Festival. The market economy was affecting daily life, not always beneficially. Western popular culture was exerting a homogenizing influence, especially on the younger generation. The desire to join the ranks of "modern nations" sometimes clashed with the urge to celebrate one's cultural uniqueness. The 1998 Festival program, coming after only a few years of national independence, thus offered a timely opportunity to ponder whether the people of the Baltic countries would continue to practice and cherish their traditions now that they no longer served the function of political resistance to a foreign oppressor. Festival participants from the Baltic nations had lived through many swift and significant changes. They had much to show and tell; and Festival visitors had much to learn.
Curators of the program included: Kalev Järvela (Estonia), Dainis & Helmī Stalts (Latvia), Zita Kelmickaitė (Lithuania). Coordinators were: Alar Ojalo (Estonia), Alvis Lidaks (Latvia), Vida Şatkauskienė (Lithuania); Kerry Stromberg was the Program Coordinator. The Baltic American Festival Committee included Guna MacDonald (Coordinator), Liina Keerdoja (Estonian American Council), Aivars Osvalds (American-Latvian Association), Laima Şileikis-Hood (Lithuanian-American Committee, Inc.), and Dalė Lukas (LAC, Inc. Washington, D.C. representative).
The program was made possible by and was produced in cooperation with the Estonian Government and Estonian Ministry of Culture, the Latvian Government and Latvian Ministry of Culture, and the Lithuanian Government and Lithuanian Ministry of Culture. Additional support came from the Cultural Endowment of Estonia, the American Latvian Association, and the Lithuanian Foundation.
Researchers:
General program
Ilze Akerbergs, Elena Bradunas, Rebecca Maksel, Kerry Stromberg
Estonia
Ingrid Rüütel, Chair, Paul Hagu, Kalev Järvela, Ats Joorits, Peeter Laum, Mart Maripuu, Alar Ojalo, Linda Sade, Aivar Siim, Liivi Soova, Anu Tarvis, Valdur Tilk, Igor Tõnurist, Lembe Torop
Latvia
Juris Gagainis, Juris Indāns, Lilita Līdaka, Valdis Muktupavels, Inese Pētersone, Guntis Šmidchens, Ernests Spičs, Daina Vītoliņa
Lithuania
Giedrė Ambrozaitienė, Birutė Imbrasienė, Zita Kelmickaitė, Juozas Kudirka, Vacys Milius, Jolanta Paškevičienė, Giedrė Puodžiukaitytė, Vida Šatkauskienė
Presenters:
Estonia
Kristiina Paul, Leena Valge, Silvi Valge
Latvia
Andris Rūtiņš, Guntis Šmidchens, Līga Varesa
Lithuania
Elena Bradunas, Audronis Braukyla, Darius Sužiedelis
DANDARI -- DANDARIElīna Kūle Braže, Rīgā, LatviaElīna Hermane, Rīgā, LatviaInta Jansone, Rīgā, LatviaZigmārs Kristsons, Rīgā, LatviaZane Kriumane, Rīgā, LatviaSandra Lipska, Rīgā, LatviaLauris Neikens, Rīgā, LatviaIlmārs Pumpurs, Rīgā, LatviaValdis Putninš, Rīgā, LatviaErnests Spičs, Rīgā, LatviaIeva Tamane, Rīgā, LatviaJuris Zalāns, Rīgā, Latvia
STALTS FAMILY -- STALTS FAMILYMārtiņš Heimrāts, Rīgā, LatviaZoja Kļujeva, Rīgā, LatviaMarga Stalta, Rīgā, LatviaHelmī Stalte, Rīgā, LatviaJulgī Stalte, Rīgā, LatviaDainis Stalts, Rīgā, LatviaDāvis Stalts, Rīgā, LatviaRaigo Stalts, Rīgā, LatviaRičards Stalts, Rīgā, LatviaValda Vītola, Rīgā, Latvia
Craft Traditions
Olğerts Gerdiņš, fishing net maker, Latvia
Juris Indāns, traditional craftsperson, Latvia
Māris Jansons, musical instrument maker, Latvia
Aldis Kalcenaus, boat builder, Latvia
Māris Karlsons, ceramicist, Latvia
Daina Kraukle, weaver, Latvia
Ilga Madre, knitter, Latvia
Inita Straupe, weaver, Latvia
Vitauts Straupe, metal jewelry maker, Latvia
Vilnis Vincēvičs, blacksmith, Latvia
Ingrīda Žagata, potter, Latvia
Lithuania
Music and Dance Traditions
Veronika Povilionienė, singer, Lithuania
INSULA -- INSULAAlvydas Alimas, Vilnius, LithuaniaSigita Dacienė, Vilnius, LithuaniaJonas Latakas, Vilnius, LithuaniaRita Macijauskienė, Vilnius, LithuaniaVygandas Norvilas, Vilnius, LithuaniaMilda Ričkute, Vilnius, LithuaniaLoreta Šarkaitė, Vilnius, LithuaniaValdemaras Skugaras, Vilnius, LithuaniaElvyra Spudytė, Vilnius, LithuaniaLinas Ulkštinas, Vilnius, LithuaniaZenaida Vaičikauskaitė, Vilnius, LithuaniaGintaras Vaitkaitis, Vilnius, Lithuania
SUTARAS -- SUTARASAntanas Fokas, Vilnius, LithuaniaBronislovas Glovickis, Vilnius, LithuaniaRobertas Kunickas, Vilnius, LithuaniaGintautas Paukštis, Vilnius, LithuaniaLaimutis Žemaitis, Vilnius, Lithuania
TRYS KETURIUOSE -- TRYS KETURIUOSEDaina Norvaišytė, Vilnius, LithuaniaGabrielė Širkaitė, Vilnius, Lithuanialngrida Varnienė, Vilnius, LithuaniaDaiva Vyčinienė, Vilnius, Lithuania
Leokadija Šalkovska, -- verba -- binder, Lithuania
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: 1998 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
101 Musical Instrument Makers / Ivo Pires, João Baptista Fonseca. Violin,Guitar.
102 Funana and Coladeira: Social Commentary / Manuel de Jesus Lopes, Simão Ramos, Simão Lopes. Guitar,Gaita,Accordion,Ferriño,Iron bar.
103 History and Styles of Morna / Malaquias Antonio Costa, Manuel Nacimento Gonçalves, Protazio Brito. Violin,Guitar,Cavaquinho,Ukulele.
Local Numbers:
FP-1995-CT-0335
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 27, 1995.
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.
Festival Recordings: Narrative Stage: Cowboys continued: Native American & Hawaiian Music: NEA Folk Arts Program: Kmhmu
Creator:
Smithsonian Institution. Festival of American Folklife. Cultural Conservation Program 1985 Washington, D.C. Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
sound tape reel
1 Item (sound-tape reel, analog, 7 in.)
Type:
Archival materials
Place:
United States
Washington (D.C.)
Date:
1985 July 7
Local Numbers:
FP-1985-7RR-0431
Publication, Distribution, Etc. (Imprint):
United States Cultural Conservation Program 1985
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 7, 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.
Collection Citation:
Smithsonian Folklife Festival records: 1985 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Recorded in: Washington (D.C.), United States, July 5, 1982.
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.
Music and Crafts of the Southeastern United States
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Virtually every area of the South harbors a potter, weaver, toy maker, wood-carver, boatbuilder, calligrapher, ornamental blacksmith, sign painter, or seamstress who has maintained his or her craft in the face of nearly total indifference by the outside world. It is true, certainly, that many southern craftworkers have discarded quilt making, coverlet weaving, and pottery turning as unpleasant reminders of their humble origins. For others, the crafts remain a beloved preoccupation that, like family reunions and music festivals, have grown to symbolize an important component of regional and ethnic identity.
There are few generalizations that can be made about contemporary southern craftworkers as a group. Some are articulate about their work while others are inexpressive. Some practice crafts originally restricted to only one sex and passed from parent to child through an informal apprenticeship while others have not been so constrained. Many find monetary benefit in what they do; a few such as the solitary carver or painter work to some inner purpose largely devoid (until the coming of the folk art collector) of remunerative value. While some folk craftworkers employ modern labor and timesaving techniques, in every case they blend these with the preindustrial technologies of earlier generations. Such technologies, as well as the forms of the objects themselves, are the product of family and regional folk traditions.
The craft component at the 1981 Festival had three subdivisions:
1. a demonstration area where craftworkers were explaining their work; traditional Southeastern music - played, in part, on instruments made by the demonstrators - was also featured;
2. an exhibition of carefully-selected items commissioned specifically for the Festival and reminiscent of forms and styles made by the craftworkers' forebears; these objects were later sold at auction;
3. a general sales tent, planned with the Smithsonian Museum Shops, where an array of traditional crafts made for the Festival were on sale daily.
Secretary S. Dillon Ripley, in commenting on a previous Festival, noted: "The possibility of using a museum that is essentially a historical documentary museum as a theatre of live performance where people actually show that the objects in the cases were made by human hands, and are still being made, practiced on, worked with, is a very valuable asset for our role as a preserver and conservator of living cultural forms." Indeed, many of the objects crafted, exhibited, and sold at the 1981 Festival were very similar to items on view in the Museum. In fact, some of the objects in the permanent collections were purchased from Festival craftworkers in the late 1960s.
Participants:
Participants
David Allen, 1925-, walking stick carver, Homer, Louisiana
Linda Bowers, Seminole jacket maker, Clewiston, Florida
Charles Christian, chair maker, Mt. Judea, Arkansas
Louise Jones, baskets, Mt. Pleasant, South Carolina
Floyd Harmon, baskets, Ocean City, Maryland
Goodwin Family Weavers, Blowing Rock, North Carolina
Pecolia Warner, quilt, Yazoo City, Mississippi
Ora Watson, 1909-2004, quilts, Watauga County, North Carolina
Linda Bowers, Seminole jacket, Clewiston, Florida
Sally Tommie, Seminole jacket, Clewiston, Florida
Philip Simmons, 1912-, metal work, Charleston, South Carolina
Phipps Bourne, metal work, Elk Creek, Virginia
Erwin Thieberger, 1908-1997, metal work, Wheaton, Maryland
James Barnwell, metal work, Henderson County, North Carolina
Pete Howell, 1902-1981, metal work, Yancey County, North Carolina
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: 1981 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The third program to focus on a particular State, the Arkansas presentations at the 1970 Festival sought to give visitors an overview of the State's folklife and to present an intensive picture of the persistence and variety of the area's folk cultural patterns. The Swiss and Italians who settled in Arkansas in the late nineteenth century with the black farmers of the delta and with the mountaineers, whose forebears hailed from Britain, are contributors to the patchwork of traditional cultures characterizing the State of Arkansas. Festival programming sought to emphasize this diversity and mutual influence. Musician Jimmy Driftwood loaded up a bus with dozens of his friends and neighbors from Mountain View and nearby Ozark communities and drove two days to Washington. Other presentations included electric blues from West Memphis and black gospel singing, as well as various string band traditions. Craft presentations included chairmakers, musical instrument makers, tool makers, and decorative arts, as well as makers of wine and sorghum.
Sponsorship for the Arkansas presentation came from the Honorable Winthrop Rockefeller, Governor of Arkansas, the Arkansas State Parks Recreation-Travel, and the Crossett Art League.
Fieldworkers:
Mae Francis Johnson, Brenda Jones, Worth Long, Mack McCormick, Bernice Reagon, Jerry Ricks, Jane Sapp
Participants:
Craftspeople
Myra Adams, 1906-1987, corn cookery, Arkansas
Dallas Bump, 1918-2016, chair maker, Arkansas
Fred Bump, 1894-1977, chair maker, Arkansas
Floyd Carter, fishing lures, Arkansas
Ruth Marie Carter, fishing lures, Arkansas
Charles Christian, chair maker, Arkansas
Betty Christian, chair maker, Arkansas
Junior Cobb, wood carver, Arkansas
Jimmy Nelson, wood carver, Arkansas
Isaac Doss, blacksmith, Arkansas
Deborah Gibbs, silhouette cutter, Arkansas
La Vonne Gibbs, silhouette cutter, Arkansas
George Gibson, basket maker, Arkansas
Ben Harris, cooper, Arkansas
Roy Harris, 1920-, carver, doll maker, Arkansas
Alma Harris, 1919-1993, carver, doll maker, Arkansas
Violet Hensley, 1916-, fiddle maker, Arkansas
Sandra Hensley, fiddle maker, Arkansas
John C. Hoovler, 1908-1993, knife and tool maker, Arkansas
V. Otis Johnson, turkey caller maker, Arkansas
Len McSpadden, dulcimer maker, Arkansas
Elliott Hancock, dulcimer maker, Arkansas
Alice Merryman, corn husk broom and doll maker, Arkansas
Bill Phillips, log cabin builder, Arkansas
Claude Phillips, log cabin builder, Arkansas
Tim Sparks, basket maker, Arkansas
Morbuert Stewart, corn miller, Arkansas
Kevin Stewart, corn miller, Arkansas
Ira Tillman, Sr., sorghum maker, Arkansas
Erma Jean Tillman, sorghum maker, Arkansas
Harvey Lee Tillman, sorghum maker, Arkansas
Ira Tillman, Jr., sorghum maker, Arkansas
Johnny Lee Tillman, sorghum maker, Arkansas
Fred Tillman, sorghum maker, Arkansas
Willie Lee Tillman, sorghum maker, Arkansas
Dorothy Tillman Husky, sorghum maker, Arkansas
Essie Ward, 1902-1981, country scene painter, Arkansas
Herman Wiederkehr, 1895-1985, wine maker, Arkansas
Al Wiederkehr, 1897-1974, wine maker, Arkansas
Brenda Wiederkehr, wine maker, Arkansas
Gail Wiederkehr, wine maker, Arkansas
Grace I. Wilson, quilter, Arkansas
Performers
Children's Game Group, black singing games, Arkansas
Copeland Family Band -- Copeland Family BandPercy Copeland, 1914-2008, member of family band, including harmonica and strings, ArkansasIda Copeland, 1918-1997, member of family band, including harmonica and strings, ArkansasDale Copeland, member of family band, including harmonica and strings, ArkansasBetty Lou Copeland, 1958-, member of family band, including harmonica and strings, Arkansas
String band -- String bandLonnie Avey, 1910-1983, guitarist in string band, ArkansasSeth Mize, 1901-1977, fiddler in string band, ArkansasBookmiller Shannon, 1908-1985, banjo player in string band, ArkansasBob Blair, fiddler in string band, ArkansasWesley Blair, guitarist in string band, ArkansasDean Hinsley, mandolin in string band, Arkansas
Ira Tillman Family, shape note singers (7-shape), Arkansas
Sherman Ward, 1933-1995, guitarist and singer, Arkansas
Phyllis Whitfield, dulcimer player, Arkansas
Joe Willie Wilkins Blues Band -- Joe Willie Wilkins Blues BandJoe Willie Wilkins, 1923-1979, lead guitarist, ArkansasTheophlies "Fat Hurd" Hessensha, 1922-1977, drummer, ArkansasHouston Stackhouse, 1910-1980, rhythm guitarist, ArkansasWillie Kilgrew, bass player, ArkansasSammy Lewis, harmonica player, Arkansas
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: 1970 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections , Smithsonian Institution.
