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John Challis Records

Creator:
Challis, John, 1907-1974  Search this
Truesdale, Ephraim  Search this
Donor:
Frayer, William W.  Search this
Extent:
24 Cubic feet
Type:
Collection descriptions
Archival materials
Advertisements
Ledgers (account books)
Sound recordings
Photographs
Magazines (periodicals)
Design drawings
Letters (correspondence)
Concert programs
Drawings
Musical scores
Diplomas
Trade literature
Clippings
Business records
Date:
circa 1900-1974
Scope and Contents:
The collection documents the Challis Harpsichord business, and the lives of Mr. Challis and his partner, Ephraim Truesdale. The collection contains correspondence, both personal and business; business records, including ledgers and journals; drawings, including design drawings for harpsichord decorations and elements; client files; subject files, especially on harpsichord and musical instrument subjects; printed materials such as concert programs, trade literature, magazines on the subject of music and musical instruments, clippings, advertisements and publicity materials; photographs, including many of instruments and many of Challis' family members; music scores; ceremonial items such as diplomas; templates for elements of harpsichords; and recordings.
Arrangement:
Collection is unarranged.
Biographical / Historical:
John Challis was an American builder of harpsichords and clavichords. He attended Michigan Normal College (now Eastern Michigan University), where his interest in constructing keyboard instruments emerged. He spent four years apprenticing with Arnold Dolmetsch in England, returning in 1930, when he set himself up building instruments in a two-story space above a dress shop in Ypsilanti, Michigan.
Provenance:
Collection donated by Dr. William W. Frayer, 2016.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.
Topic:
Musical instrument makers  Search this
Harpsichord  Search this
Harpsichord makers  Search this
Musical instruments  Search this
Clavichord  Search this
Genre/Form:
Advertisements -- 20th century
Ledgers (account books) -- 20th century
Sound recordings
Photographs -- 20th century
Magazines (periodicals) -- 20th century
Design drawings
Letters (correspondence) -- 20th century.
Concert programs
Drawings -- 20th century
Musical scores
Diplomas
Trade literature
Clippings -- 20th century
Business records -- 20th century
Citation:
John Challis Papers, ca. 1930-1974, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1375
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1375

Hubbard Harpsichord Records

Creator:
Frank Hubbard  Search this
Names:
Hubbard Harpischords, Inc.  Search this
Extent:
30 Cubic feet (76 boxes)
Type:
Collection descriptions
Archival materials
Business records
Newsletters
Photographs
Project files
Financial records
Legal documents
Account books
Correspondence
Research
Manuals
Design drawings
Place:
Framingham (Mass.)
Massachusetts
Date:
1930-2003
bulk 1949-2003
Summary:
The collection documents approximately fifty years of the Hubbard Harpsichord business. The records include correspondence, financial and accounting materials, sales and promotional materials, records, newsletters, dealer files, project files, photographs, research files on European instruments, kit manuals, and design drawings.
Scope and Contents:
The collection documents the approximately fifty years of the Hubbard Harpsichord business. The records include correspondence, financial and accounting materials, sales and promotional materials, records, newsletters, dealer files, project files, photographs, research files on European instruments, kit manuals, and design drawings.

Series 1, Correspondence, 1949-2003, consists of letters among representatives of the company, individuals, churches, seminary schools, musical societies, companies, universities, harpsichord owners and enthusiasts. The correspondence is rich with information about historical issues, construction techniques, ownership genealogy, the early music movement, and Hubbard's importance to the historical building movement. The correspondence is handwritten and typed. There are some loose papers, notes, and postcards. Requests for information on the harpsichord manual kit, harpsichord purchases, and questions/answers pertaining to the building of harpsichords comprise the majority of the series. There are also invoices, checks, and publications such as the Wall Street Journal, the New York Review, and Saturday Review. Correspondents include the Smithsonian Institution, Harvard University, Yale University, a number of professional harpsichordists, and dealers of the company. The series is arranged in chronological order, then alphabetically by correspondent's last name or business name.

Series 2, Business Files, 1965-2000, is divided into three subseries: Subseries 1, Annual Meetings and Reports, 1965-2000; Subseries 2, Corporate Affairs, 1960-1997, and Subseries 3, Employee Files, 1967-1997.

This series documents both the development of Frank Hubbard Harpsichords Kit, Inc., the company created to sell "do-it-yourself" kits, and Frank T. Hubbard Harpsichords, the finished instruments company. Hubbard headed the finished instruments company, officially established in 1973, until his death, while Lawrence C. Erdmann headed the kits company. The issue of what role the two separate companies should take was a prominent question before and after Hubbard's death. Diane Hubbard, Hubbard's wife, began running the company after Hubbard's death in 1976 until her retirement in 2000. This series is arranged topically, then in chronological order.

Subseries 1, Annual Meetings and Reports, 1965-2000, documents many of the issues the company faced at the corporate level. Minutes, corporate resolutions, and correspondence highlight yearly financial and operational activities, financial and operations projections, consolidation of the two companies, review of leadership positions, proposed investments, incoming stockholders and activities of the board of directors, and acquired leases.

Subseries 2, Corporate Affairs, 1960-1997, includes property leases the company held from its founding at Moody Street in 1959, until the 1980's. This subseries documents stockholder, stock purchases by Phil Cooper, a major shareholder in the company in the 1990's. Other items include the Hubbard Memorial Committee which documents a memorial concert, the establishment of the Historical Harpsichord Monograph essays, and some of Hubbard's publications. Dr. Howard Schott, author of the Historical Harpsichords series, and Dr. John D. Montgomery, chairman of the Frank Hubbard Memorial Committee are frequent correspondents. A finished instruments schedule documents (Box 21/folder 9), through notes and correspondence, the length of time it took to complete building the harpsichord. The same box holds records of the company's acquisition of a clavichord business (Box 21/folder 10), and a 1997 business plan (Box 21/folder 11).

Subseries 3, Employee Files, 1967-1996, consists of correspondence among representatives of the company, college students searching for internships, and job applicants seeking positions. The materials document the continually changing structure and hierarchy of the company through notes and correspondence. There are materials relating to the employment of Michel Van Hecke, an apprentice craftsman in the late 1960's, and Robert A. Murphy, a piano craftsman, in 1984, which document the company's hiring process over time.

Series 3, Frank Hubbard Harpsichords Kit, Inc., 1964-1997, is divided into three subseries: Subseries 1, Kit Instructions, 1964-1989, undated, Subseries 2, Price Lists and Costs, 1974-1999, undated, and Subseries 3, Catalogues of Hubbard Harpsichords, 1984-1997.

Determined to offer instruments of authenticity and perfection, Hubbard initially created a finished instruments company. In 1963, Hubbard also developed a kit manual which anyone with basic woodworking skills could follow in order to build their own harpsichord. This series is arranged topically, then chronologically.

Subseries 1, Kit Instructions, 1964-1989, undated, consists of the pioneering kit manuals Hubbard promoted while waiting for finished instrument orders. The earliest manual, 1964, is a general purpose harpsichord manual that is most likely an early kit for a French harpsichord. Others include the Flemish harpsichord, fortepiano by Johann Andreas Stein, a German maker of keyboard instruments, English bentside spinet, 17th century Flemish Ottavino, Flemish virginal-museler spinet, and Flentrop chamber organ.

Subseries 2, Price Lists and Costs, 1974-1999, undated, consists of the costs, price, and inventories related to the production of kit manuals.

Subseries 3, Catalogues of Hubbard Harpsichords, 1984-1997, contains Hubbard harpsichord catalogues and price list booklets. Orders for kits are with the packing lists under sales and promotional materials.

Series 4, Research, 1930-1973, is divided into eight subseries: Subseries 1, Notebooks, 1932-1973, undated; Subseries 2, Correspondence and Notes, 1955-1956, undated; Subseries 3 Drawings, 1950-1959; Subseries 4, Publications and Manuscripts, 1930-1974, undated; Subseries 5, Photographs, undated; Subseries 6, Card Files, undated; Subseries 7, Samples, undated; and Subseries 8, Miscellaneous, 1934-1960, undated.

Research files document Hubbard's efforts to perfect his skills building harpsichords in the 1940's and 1950's. Hubbard journeyed to archives in small towns and gathered information there. He also worked as an apprentice at Arnold Dolmetsch's workshop and later with Hugh Gough in England. This research eventually resulted in instruments that had all the qualities of their older models. This series is arranged topically, then chronologically.

Subseries 1, Notebooks, 1932-1973, includes Work and Ideas of Arnold Dolmestch, which paved the way for building harpsichords based on historical principles. Other notebooks include the Ruckers Taskin (an eighteenth century Flemish harpsichord) and Hubbard's notebook on the alteration of a Hemsch Harpsichord in 1972. There are some notebooks titled by volume that relate to the Hubbard and Dowd Company.

Subseries 2, Correspondence and Notes, 1955-1961, undated, consists of letters and technical notes such as workshop methods, the Ruckers Taskin, and notes from the Harding Museum. The majority of correspondence and notes are unidentified.

Subseries 3, Drawings, 1950-1959, undated, consists of tracings, rubbings, templates, and Hubbard and Dowd drawings of harpsichord designs and harpsichord parts. Some drawings depict the construction of harpsichords by earlier builders. The drawings are unprocessed.

Subseries 4, Publications and Manuscripts, 1930-1974, undated, includes loose pages of an "Ars Organi sketch," articles by Edwin W. Ripin, and loose pages of the French Encyclopedia. There are publications in French, such as a biographical note on the "Blanchet" describing Parisian harpsichord makers. Illustrated London News, Le Soir Illustre, Christian Science Monitor, and Cincinnati Enquirer magazine articles are also included.

Subseries 5, Photographs, undated, consists of unidentified photographs of harpsichords.

Subseries 6, Card Files, undated, consists of index cards documenting instruments examined and instrument makers. There is an index for the cards.

Subseries 7, Samples, undated contains DeQuoco harpsichord iron strings, wood samples, DeQuoco harpsichord wire, and soft iron wire samples.

Subseries 8, Miscellaneous Items, 1934-1960, undated, includes a map of Central Europe, sheet music, museum procedure forms, concert programs, Successor Brocco Instruments, a 1950's instrument maker of the fortepiano, and promotional material for instrument makers.

Series 5, Sales and Promotional Materials, 1961-2000, is divided into six subseries: Series 1, Sales Journals, 1983-1998, Series 2, Instruments on order, 1968-1987, Series 3, Dealer files, 1975-1990, Series 4, Packing lists, 1970-2000, Series 5, Promotional files, 1961-2001, and Series 6, Catalogs of Other Instruments. It is arranged topically then chronologically.

Subseries 1, Sales Journals, 1983-1998, consists of loose pages of expenses and receipts for the instruments produced by the company in the 1980's and 1990's. These include the French harpsichord, the English Bentside Spinet, fortepiano, virginal, ottavino, and organ.

Subseries 2, Instruments on Order, 1968-1987, includes correspondence between representatives of the company and individuals, companies, musical societies, and colleges relating primarily to orders for finished instruments. Requests for kit orders and replacement parts are included. There are also instrument-on-order tracking sheets, invoices, and shipping orders and forms that document the orders that were placed.

Subseries 3, Dealer Files, 1975-1990, contains correspondence between Hubbard representatives and dealers, both domestic and international, who promoted Hubbard harpsichords. The customs broker company, T.D. Downing, is also represented. Other materials include tracking sheets, shipping forms invoices, bills, checks, inventory lists, mail, telegrams, and certificates of insurance between the Hubbard Harpsichords Company and dealers. Dealers include Japanese companies like Arai and Company and German individuals like Klevers. Dealers from Australia, Belgium, Canada, England, Finland, France, Germany, Israel, Italy, Japan, Netherlands, New Zealand, Norway, Sweden, Switzerland, and United States are also represented.

Subseries 4, Packing Lists, 1970-2000, consists of the kit orders placed for the French harpsichord, English bentside spinet, fortepiano, virginal, ottavino, and organ the company produced. Some packing lists indicate the number of kits the company packed each year. The numbers on the folders indicate the number of kits produced by the company.

Subseries 5, Promotional Files, 1961-2001, includes correspondence and catalogs from festivals, exhibitions, workshops, and projects that helped the company reach out to the wider public. The Boston Early Music Festival, for which Diane Hubbard was a board member, is well represented. Workshops in skills such as voicing, tuning, repair, and general woodworking classes helped amateur craftsman receive instructions for harpsichord-related activities. The special projects document other activities and venues, such as high school projects, and other activities by the Hubbard's to share their knowledge of, and enthusiasm for, harpsichords.

Subseries 6, Catalogs of Other Instruments, undated, consists of competitors' catalogs for early instruments. Hubbard's notable competitors include Wallace Zuckerman (Zuckerman harpsichords), and Hubbard's former business partner, William Dowd. The subseries is arranged alphabetically by competitor name.

Series 6, Financial Records, 1976-2000, consists of general financial documents, balance sheets, tax information, and payrolls.

Materials include account receivables, kits work in progress, monthly expense budgets, accounts payable, cash disbursements, write-offs and cancellations, bad debts, finished instrument orders and sales, miscellaneous income, monthly totals from sales journals, cash disbursements petty cash statements, kits ordered and shipped, restorations and fixed assets. Balance sheets, tax information, payroll documents, and related income statements complement the general financial documents to document the company's finances. The materials are arranged chronologically, then topically.

Series 7, Legal Records, 1959-1987, undated, consists of memoranda, notes, correspondence, and financial materials relating to legal cases and commercial acquisitions for the Hubbard Harpsichord Company from the 1970's to 1980's. The series is divided into five subseries: Subseries 1, Notes of John Ashby, 1968-1977; Subseries 2, Notes of Henry S. Healy, 1973-1978; Subseries 3, Belt v. Hubbard, 1963-1977; Subseries 4, Correspondence, 1963-1979; and Subseries 5, Acquisitions and Mergers, 1959-1987.

Subseries 1, Notes of John Ashby, 1968-1977, consists of notes of the company's lead attorney John H. Ashby pertaining to legal agreements between Hubbard and Erdmann, Hubbard's estate, Belt v. Hubbard, and general financial matters.

Subseries 2, Notes of Henry S. Healy, 1973-1978, consists of the notes of Henry S. Healy regarding the company's acquisition of commercial real estate and leases.

Subseries 3, Belt v. Hubbard, 1963-1977, consists of correspondence, memos, notes, affidavits, pleading matters, and pending matters used in the Belt v. Hubbard case.

Subseries 4, Correspondence, 1963-1979, consists of general correspondence. Wallets five through nine deal with merger acquisitions and sublease agreements during the 1970's and 1980's. Reviews of the company's financial operations are included in accountant reports, tax returns, and documents for the board of directors meetings.

Series 8, Soundboard Newsletters, 1979-1999, consists of a yearly newsletter with information about the company's activities for harpsichord enthusiasts.

Series 9, Photographs, 1968-1993, undated, consists of two albums of harpsichord photos and slides at events and concert halls.

Series 10, Drawings, undated (unprocessed)
Arrangement:
The collection is arranged into nine series.

Series 1: Correspondence, 1949-2003

Series 2: Business Files, 1965-2000

Subseries 2.1: Annual meetings and reports, 1965-2000

Subseries 2.2: Corporate Affairs, 1960-1997

Subseries 2.3: Employee Files, 1967-1996

Series 3, Frank Hubbard Harpsichord Kits, Inc., 1964-1997, undated

Subseries 3.1: Kit Instructions, 1964-1989, undated

Subseries 3.2: Price lists and costs, 1974-1999, undated

Subseries 3.3: Instruments on order, 1968-1987

Subseries 3.4: Catalogues of Hubbard Harpsichords, 1984-1997

Series 4: Research, 1930-1974

Subseries 4.1: Notebooks, 1932-1973, undated

Subseries 4.2: Correspondence and Notes, 1955-1961, undated

Subseries 4.3: Drawings, 1950-1959, undated (partially processed)

Subseries 4.4: Publications and Manuscripts, 1930-1974, undated

Subseries 4.5: Photographs, undated

Subseries 4.6: Card Files, undated

Subseries 4.7: Samples, undated

Subseries 4.8: Miscellaneous, 1934-1960, undated

Series 5: Sales and Promotional Materials, 1961-2001, undated

Subseries 5.1: Sales Journals, 1983-1998

Subseries 5.2: Dealer Files, 1975-1990

Subseries 5.3: Instruments on Order, 1968-1987

Subseries 5.4: Packing Lists, 1970-2000

Subseries 5.5: Promotional Files, 1961-2001

Subseries 5.6: Catalogs of Other Instruments, undated

Series 6: Financial Records, 1976-2000

Series 7: Legal Records, 1959-1987, undated

Subseries 7.1: Notes of John Ashby, 1968-1977

Subseries 7.2: Notes of Henry S. Healy, 1973-1978

Subseries 7.3: Belt v. Hubbard Materials, 1963-1977

Subseries 7.4: Correspondence, 1963-1979

Subseries 7.5: Acquisitions and Mergers, 1959-1987

Series 8: Soundboard Newsletters, 1979-1999

Series 9: Photographs, 1968-1993, undated
Biographical / Historical:
Frank Twombly Hubbard (1920-1976) was an American early instruments maker who with William R. Dowd (1922-2008) and the German harpsichord maker Martin Skowroneck, resurrected historical methods of harpsichord building. Many harpsichord makers in the United States are in debt to Frank Hubbard, his research, and his work with Dowd which became central to the twentieth century revival of harpsichord building in the United States.

Born on May 15, 1920, in New York, Hubbard graduated from Harvard University (Bachelor's, 1942; Master of Arts, 1947). At Harvard, Hubbard met William Dowd (1922-2008) who also had an interest in early instruments. Together they constructed a clavichord, an early stringed keyboard instrument used during the fifteenth to eighteenth centuries. Hubbard and Dowd both decided to leave Harvard to pursue instrument making. In 1947, Dowd went to work with John Challis in Michigan, while Hubbard went to England and became an apprentice at the workshop of Arnold Dolmetsch in Haslemere. Not learning much about the historic harpsichord, Hubbard worked with Hugh Gough in London in 1948. During his one-year stay with Gough, he was able to visit collections of early keyboard instruments around Europe and study the instruments of fifteenth to eighteenth century harpsichord makers.

Hubbard returned to the United States in 1949 and founded a workshop with Dowd, called Hubbard and Dowd, Inc., in Boston, Massachusetts, which was dedicated to building harpsichords on historical principles. Hubbard and Dowd restored harpsichords in public and private collections (including the Smithsonian) which helped improve their own techniques of design and construction. In 1958 the partnership ended and Hubbard formed his own workshop, Frank Hubbard Harpsichords, Inc. on the Lyman Estate in Waltham, Massachusetts. Dowd opened a larger workshop in Cambridge, Massachusetts.

Hubbard held several fellowships--a Fulbright Fellowship (1957), American Philosophical Society Grant (1958) and the Belgium American Educational Foundation CRB Fellowship (1958)--to examine instrument collections in Europe. From 1967 to 1968, he set up the restoration workshop for the Musee Instrumental at the Paris Conservatoire. In the 1970s, he taught courses at Harvard and Boston Universities. Hubbard wrote Three Centuries of Harpsichord Making in 1965. Ralph Kirkpatrick, a harpsichordist, wrote, "Hubbard unquestionably knows more about the history and construction of harpsichords than anyone alive today."

Hubbard developed a harpsichord in 1963 based on a 1769 French harpsichord which was sold as a "do-it-yourself" kit. It included a manual and all the crucial parts. Any person with a good grasp of woodworking and basic knowledge of harpsichord making, with dedication and careful work, was able to produce a fine instrument. Other kit designs followed in subsequent decades, and were marketed and sold under the name of Frank Hubbard Harpsichord Kits, Inc.

Frank Hubbard died on February 26, 1976 in Wellesley, Massachusetts. Operations at the Hubbard shop continued under the direction of Hubbard's wife, Diane Hubbard until 2000. Diane Hubbard died in 2009. Approximately 300 instruments were built in the shop, and nearly 4,000 kits were sold to customers around the world.
Related Materials:
Materials at the National Museum of American History

Materials in the Archives Center

Dowd Harpsichord Collection, 1949-1997 (AC0593)

The Division of Culture and the Arts

The division has a Hubbard clavichord and harpsichords built by other makers.
Provenance:
The collection was donated by Hendrik Broekman, President, Hubbard Harpsichords, Inc., on September 20, 2011.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
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.
Topic:
Musical instrument makers  Search this
Harpsichord makers  Search this
Harpsichord  Search this
Musical instruments  Search this
Genre/Form:
Business records -- 20th century
Newsletters -- 20th century
Photographs -- 1950-2000
Project files
Financial records -- 20th century
Legal documents -- 20th century
Account books -- 20th century
Correspondence -- 20th century
Research -- 20th century
Manuals
Design drawings -- 20th century
Citation:
Hubbard Harpsichord Records, 1930-2003, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1256
See more items in:
Hubbard Harpsichord Records
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1256
Online Media:

Interview with Tae Soon Choi, Korean musical instrument maker

Creator:
Smithsonian Institution. Festival of American Folklife. Korea Program 1982 Washington, D.C.  Search this
Vennum, Thomas (field worker)  Search this
Kazadi wa Mukuna (field worker)  Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Extent:
1 Sound recording (compact audio cassette)
1 Sound cassette (analog.)
Culture:
Koreans  Search this
Type:
Archival materials
Sound recordings
Sound cassettes
Place:
United States
Washington (D.C.)
Korea (South)
Date:
1982 July 5
Local Numbers:
FP-1982-CT-0070
Date/Time and Place of an Event Note:
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:
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; please submit this form. Licensing fees may apply in addition to any processing fees.
Topic:
Oral history  Search this
Musical instruments -- Construction  Search this
Collection Citation:
Smithsonian Folklife Festival records: 1982 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1982, Item FP-1982-CT-0070
See more items in:
Smithsonian Folklife Festival records: 1982 Festival of American Folklife
Smithsonian Folklife Festival records: 1982 Festival of American Folklife / Series 3: Korea / Fieldwork
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-sff-1982-ref2806

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

Lucreaty Clark, 1904-1986, basket maker, Lamont, Florida

Burlon B. Craig, 1914-2002, potter, Vale, North Carolina

Mrs. B. Craig, potter, Vale, North Carolina

Edsel Martin, musical instrument maker, Old Fort, North Carolina

Irene Miller, 1907-, rag rug maker, Oakland, Maryland

Jack McCutcheon, 1923-2001, chair maker, Mt. Judea, Arkansas

Lois McCutcheon, 1929-, chair maker, Mt. Judea, Arkansas

Lee Willie Nabors, 1916-, chair maker, Oklona, Mississippi

Judd Nelson, 1911-, blacksmith, Sugar Valley, Georgia

Ada Thomas, 1924-1992, basket maker, Charenton, Iowa

Donny Tolson, wood carver, Campton, Kentucky

Celestine Turner, 1928-, basket maker, Mt. Pleasant, South Carolina

Southeastern Crafts Exhibition, Exhibitors

Melvin Owens, pottery, Seagrove, North Carolina

Robert Brown, pottery, Arden, North Carolina

Lanier Meaders, pottery, Cleveland, Georgia

Daniel Garner, pottery, Robbins, North Carolina

Charles Craven, 1944-1997, pottery, Robbins, North Carolina

Hobart Garner, 1922-1985, pottery, Robbins, North Carolina

Burlon B. Craig, pottery, Vale, North Carolina

Vernon Owens, 1941-, pottery, Seagrove, North Carolina

Mary Livingston, pottery, Seagrove, North Carolina

David Farrell, pottery, Seagrove, North Carolina

Wayman Cole, 1905-1987, pottery, Seagrove, North Carolina

Walter Cornelison, pottery, Waco, Kentucky

Dorothy Cole Auman, 1925-1991, pottery, Seagrove, North Carolina

John Wiltshire, carvings, Coffee County, Indiana

Dicie Malone, corn shuck mat – Knox County, North Carolina

Mrs. Blaine Whitaker, corn shuck bonnet, Henderson County, North Carolina

Fairy Moody, 1907-1994, corn shuck crèche, Ashe County, North Carolina

Dieudonne Montoucet, Cajun triangle, Scott, Louisiana

Napolean Strickland, cane fife, Como, Mississippi

Clifford Glenn, 1935-, banjo & dulcimer, Sugar Grove, North Carolina

Dewey Shepherd, 1906-1996, gourd fiddle, David, Kentucky

Edsel Martin, dulcimer, Old Fort, North Carolina

Albert Hash, 1917-1983, fiddle, Mouth of Wilson, Virginia

Audrey Hash Miller, 1949-, dulcimer, Mouth of Wilson, Virginia

Mr. Mabry, wood carvings, Stone County, Arkansas

Willard Watson, wood carvings, Watauga County, North Carolina

Donny Tolson, wood carvings, Campton, Kentucky

David Allen, 1925-, wood carvings, Homer, Iowa

Dallas Bump, furniture, Royal, Arkansas

Charlie Christian, furniture, Mount Judea, Arkansas

Jack McCutcheon, 1923-2001, furniture, Mount Judea, Arkansas

Lee Willie Nabors, 1916-, furniture, Okolona, Mississippi

Bill McClure, furniture, Bloss, Kentucky

Amanda Palmer, baskets, Mount Pleasant, South Carolina

Susan Peoples, 1898-1986, baskets, Aragon, Georgia

Mildred Youngblood, baskets, Woodbury, Indiana

Eva Wolfe, 1922-, baskets, Cherokee, North Carolina

Carol Welch, baskets, Cherokee, North Carolina

Agnes Welch, baskets, Cherokee, North Carolina

Dolly Taylor, baskets, Cherokee, North Carolina

Geneva Ledford, 1921-1998, baskets, Cherokee, North Carolina

Ada Thomas, 1924-1992, baskets, Charenton, Louisiana

Lucreaty Clark, 1904-1986, baskets, Lamont, Florida

Edna Langley, baskets, Elton, Louisiana

Earnest Patton, wood carvings, Compton, Kentucky

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 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: 1981 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1981, Series 7
See more items in:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-sff-1981-ref52

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:
1 Sound recording (sound tape reel)
1 Item (sound-tape reel, analog, 7 in.)
Type:
Archival materials
Sound recordings
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:
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: 1985 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1985, Item FP-1985-7RR-0431
See more items in:
Smithsonian Folklife Festival records: 1985 Festival of American Folklife
Smithsonian Folklife Festival records: 1985 Festival of American Folklife / Series 2: Cultural Conservation / 2.1: Fieldwork
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-sff-1985-ref1253
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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
Participants:
Estonia

Music and Dance Traditions

ALLE-AA -- ALLE-AAÜlle Jantson, Vändra, Pärnu, EstoniaOtt Kaasik, Vändra, Pärnu, EstoniaAndo Kiviberg, Vändra, Pärnu, EstoniaÜrjo Jaama, Vändra, Pärnu, EstoniaThule Kann, Vändra, Pärnu, EstoniaAare Kiviväli, Vändra, Pärnu, EstoniaToivo Luhats, Vändra, Pärnu, EstoniaRaivo Sildoja, Vändra, Pärnu, EstoniaAivar Teppo, Vändra, Pärnu, EstoniaMargus Veenre, Vändra, Pärnu, EstoniaEnrik Visla, Vändra, Pärnu, Estonia

KIHNUMUA (KIHNU GROUP) -- KIHNUMUA (KIHNU GROUP)Ly Leas, singer, Kihnu, Pärnu, EstoniaReene Leas, lace maker, singer, Kihnu, Pärnu, EstoniaArgo Lilies, singer, Kihnu, Pärnu, EstoniaVeera Nazarova, singer, Kihnu, Pärnu, EstoniaVeronika Nazarova, singer, Kihnu, Pärnu, EstoniaHeldy Odinchenko, embroiderer, singer, Kihnu, Pärnu, EstoniaLiisi Sang, singer, Kihnu, Pärnu, EstoniaKülli Sepp, singer, Kihnu, Pärnu, Estonia

KULDATSÄUK (SETU GROUP) -- KULDATSÄUK (SETU GROUP)Taimi Auser, singer, EstoniaEgo Kõiv, singer, EstoniaHelena Kudre, lace maker, singer, EstoniaEevi Laanetu, singer, EstoniaValve Poolak, singer, EstoniaMaret Vabama, sash maker, singer, Estonia

LEIGARID -- LEIGARIDTiiu Aasa, dancer, maker of traditional clothing, Talinn, EstoniaMarget Indov, dancer, maker of traditional clothing, Talinn, EstoniaSille Kapper, dancer, maker of traditional clothing, Talinn, EstoniaMerike Reinok, dancer, maker of traditional clothing, Talinn, EstoniaÕie Rekand, dancer, maker of traditional clothing, Talinn, EstoniaLembe Torop, dancer, maker of traditional clothing, Talinn, EstoniaTõnu Aas, dancer, game leader, Talinn, EstoniaHeinar Kukk, dancer, game leader, Talinn, EstoniaAlar Leming, dancer, game leader, Talinn, EstoniaTõnu Linno, dancer, game leader, Talinn, EstoniaMargus Paap, dancer, game leader, Talinn, EstoniaPaavo Saare, dancer, game leader, Talinn, EstoniaElina Aasa Parra, musician, Talinn, EstoniaEero Sommer, musician, Talinn, EstoniaJaan Sommer, musician, Talinn, EstoniaToomas Torop, musician, Talinn, Estonia

Craft Traditions -- Craft TraditionsTiit Sarapuu, boat builderKati Sihvre, traditional clothing makerAivar Siim, herbalistValdur Tilk, woodworkerLiina Veskimägi, wool processor

Latvia

Music and Dance Traditions

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

RASA -- RASAKārlis Freibergs, LatviaGita Lancere, LatviaRūta Muktupavela, LatviaValdis Muktupāvels, 1958-, LatviaIveta Tāle, Latvia

SALMANIS FAMILY -- SALMANIS FAMILYIndra Čekstere, LatviaIlze Prīmane, LatviaAina Salmane, LatviaPēteris Salmanis, LatviaUldis Salmanis, LatviaAnda Skuja, LatviaDāvis Skuja, LatviaTālivaldis Skuja, LatviaZane Zvaigzne, 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

MARCINKONYS VILLAGE FOLK ENSEMBLE -- MARCINKONYS VILLAGE FOLK ENSEMBLERūta Antulytė, Marcinkonys, Varena, LithuaniaJonas Bajoriūnas, Marcinkonys, Varena, LithuaniaJonė Cerebiejienė, Marcinkonys, Varena, LithuaniaJuzė Česnulevičienė, Marcinkonys, Varena, LithuaniaStanislovas Česnulevičius, Marcinkonys, Varena, LithuaniaJuzė Grigienė, Marcinkonys, Varena, LithuaniaAntanina Kokienė, Marcinkonys, Varena, LithuaniaJuozas Korsakas, Marcinkonys, Varena, LithuaniaBirutė Korsakienė, Marcinkonys, Varena, LithuaniaVincas Miškinis, Marcinkonys, Varena, LithuaniaAldona Paulauskienė, Marcinkonys, Varena, LithuaniaRože Pačkauskienė, Marcinkonys, Varena, LithuaniaJonas Sereičikas, Marcinkonys, Varena, LithuaniaPetronele Sereičikienė, Marcinkonys, Varena, LithuaniaJoana Serenčikienė, Marcinkonys, Varena, LithuaniaRozalija Vilčinskienė, Marcinkonys, Varena, Lithuania

SODAUTO (LITHUANIAN FOLK ENSEMBLE OF GREATER BOSTON) -- SODAUTO (LITHUANIAN FOLK ENSEMBLE OF GREATER BOSTON)Birutė BanaitienėBronius BanaitisVytautas BazikasGintaras ČepasValentina ČepienėAndrius DilbaVytautas DilbaTeresė DurickasDarija GiniūnaitėDanutė KazakaitienėKristina KrikščiukaitėLilija KulbienėAidas KupčinskasGita KupčinskienėKęstutis KveragaRikantė KveragienėJūratė NarkevičienėGintautas NarkevičiusKotryna RhodaHenrikas RimkusVida RimkuvienėDanguolė SenutienėRenata ŠvedaitėJanina ŠvedienėRima TamulėOrinta Vaičiulytė

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

Craft Traditions

Vytautas Jarutis, blacksmith, Lithuania

Alfredas Jonušas, amber worker, Lithuania

Rūta Jonuškienė, -- sodas -- (straw craft) designer, Lithuania

Monika Kriukelienė, weaver, Lithuania

Stasys Mickus, fence maker, Lithuania

Adelija Mickuvienė, Easter egg decorator, Lithuania

Raimundas Puškorius, woodcarver, Lithuania

Leokadija Šalkovska, -- verba -- binder, Lithuania
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: 1998 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1998, Series 2
See more items in:
Smithsonian Folklife Festival records: 1998 Smithsonian Folklife Festival
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-sff-1998-ref18

Festival Recordings: Narrative Stage: Instrument Making; Funana and Coladeira: Social Comm.; Morna History and Styles

Creator:
Smithsonian Institution. Festival of American Folklife. Cape Verde Program 1995 Washington, D.C.  Search this
Dye, Craig (recorder)  Search this
Performer:
Pires, Ivo  Search this
Fonseca, João Baptista  Search this
Lopes, Manuel de Jesus  Search this
Ramos, Simão  Search this
Lopes, Simão  Search this
Costa, Malaquias Antonio  Search this
Gonçalves, Manuel Nacimento  Search this
Brito, Protazio  Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Extent:
1 Sound recording (compact audio cassette)
1 Sound cassette (analog.)
Culture:
Cape Verdeans  Search this
Americans  Search this
Cape Verdean Americans  Search this
Type:
Archival materials
Sound recordings
Sound cassettes
Place:
United States
Washington (D.C.)
Massachusetts
Sô Vicente Island (Cape Verde)
Brockton (Mass.)
Cape Verde
Santiago (Cape Verde)
New Bedford (Mass.)
Date:
1995 June 27
Track Information:
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:
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.
Topic:
Oral history  Search this
Coladeira  Search this
Funana (Music) -- Cape Verde  Search this
World music  Search this
Political ballads and songs  Search this
Morna  Search this
Violin  Search this
Guitar  Search this
Gaita  Search this
Accordion  Search this
Ferriǫ  Search this
Iron bar  Search this
Cavaquinho  Search this
Ukulele  Search this
Musical instruments -- Construction  Search this
Musical instruments  Search this
Emigration & immigration  Search this
Collection Citation:
Smithsonian Folklife Festival records: 1995 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1995, Item FP-1995-CT-0335
See more items in:
Smithsonian Folklife Festival records: 1995 Festival of American Folklife
Smithsonian Folklife Festival records: 1995 Festival of American Folklife / Series 2: The Cape Verdean Connection / 2.3: Audio
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-sff-1995-ref593

LS-0525

Collection Creator:
Spandorf, Lily  Search this
Extent:
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".

Festival Program: Baltic Nations: Estonia, Latvia, and Lithuania

Subjects: Maris Jansons, musical instrument maker

Signed: yes
Collection Restrictions:
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at rinzlerarchives@si.edu or 202-633-7322 for additional information.
Collection Rights:
Copyright restrictions apply. Contact archives staff for additional information.
Collection Citation:
Lily Spandorf drawings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
See more items in:
Lily Spandorf drawings
Lily Spandorf drawings / Drawings and Papers
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-span-ref5406

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
Participants:
PERFORMANCE TRADITIONS

AFGHAN MUSIC

(AFGHANISTAN, UNITED STATES)

Homayoun Sakhi, vocal, -- rubab

Toryalay, tabla

Araa Zalmai, vocal, -- doira

AITYS: -- NOMADIC TOURNAMENT

(IRAN)

Masheallah Akbari (Azeri), vocal, -- balaban

Asheq Hasan (Azeri), vocal, -- saz

Youssef Dibaei (Turkmen), vocal, -- kamanche

Anaberdy Vejdani (Turkmen), vocal, -- dutar

(KAZAKHSTAN)

Almasbek Almatov, vocal

Sayan Aqmolda, vocal, -- qylqobyz

Rysbek Ashimov, vocal

Sholpan Beimbetova, vocal

Yedil Khussainov, jew's harp

Amandik Komekulu, vocal, -- dombra

Serzhan Shakrat, vocal

(KYRGYZSTAN)

Ruslan Jumabaev, -- komuz

Kenjekul Kubatova, -- komuz -- , vocal

(TAJIKISTAN)

Sator Fozilov, -- doira

Oumar Temourov, -- ghijak

(TURKMENISTAN)

Lale Begnazarova, vocal

Maksat Begnazarov, vocal

Osman Gujimov, -- dutar

(QARAQALPAKSTAN, UZBEKISTAN)

Zulfiya Arzumbetova, vocal, -- dutar

Salamatdin Kaipnazarov, -- ghijak

BADAKHSHANI MUSICAL TRADITIONS (TAJIKISTAN)

Nobovar Tchanorov, -- satar -- , -- rubab -- , vocal

Mouborakcho Djoumaev, -- rubab

Zarina Kobilova, dancer

Djoumakhon Madjidov, -- rubab -- , vocal

Ulfatmo Mamadambarova, vocal, -- doira -- , -- chang

Moussavar Minakov, -- satar -- , -- ghijak -- , -- rubab

Gulbek Saodatov, -- satar

BEIJING OPERA FEATURING QI SHU FANG (CHINA)

Ding Mei-Kui

Huang Chen Lin, second fiddle

Huang Shi Rong, big drum

Li Peng

Li Shi-sheng, gong

Liu Chunnuan

Qi Shufang

James Qian, fiddle

Sun Ya Hui

Zhao Zhen Ping, moon mandolin

Zhao Zong Quan

BEZMÂRÂ (TURKEY)

Kemal Caba, -- kamanche

Ayse Serap Çağlayan, -- kanun

Walter Feldman, -- kudum

Aziz Şenol Filiz, -- ney

Fikret Karakaya, -- çeng

Osman Kırklıkçı, -- sehrud

Birol Yayla, -- tanbur -- , -- kopuz -- , guitar

BUKHARAN JEWISH MUSIC AND DANCE (UNITED STATES)

Ilyas Malaev Ensemble -- Ilyas Malaev EnsembleYusuf Abramov, tarMatat Barayev, doiraOchil Ibrahimov, vocal, tar, ghijakTamara Kataev, dancerIlyas Malaev, vocal, tarIzro Malakov, vocalMuhabbat Shamoeva, vocal

Shashmaqam -- ShashmaqamAboshaul Aminov, vocalOsher Barayev, doiraDavid Davidov, tarFiruza Junatan, dancerBoris Kuknariyev, vocal, accordionShumiel Kuyenov, doiraIzro Malakov, vocalShoista Mulldzhanova, vocal

Sazandas -- SazandasTravis F. JarrellFiruza JunatanTamara KataevTofahon Pinkhasova

CALICANTO (ITALY) -- CALICANTO (ITALY)Claudia Ferronato, vocalNicola Marsilio, clarinet, flute, sax, dudukGiancarlo Tombesi, double bassRoberto Tombesi, vocal, mandola, diatonic accordion, bagpipesPaolo Vidaich, percussion

CHINESE STORYTELLING (CHINA)

Chong Yujie, Jingyun -- dagu

Jai Jainguo, Kuaiban

Jiang Yunxian, Suzhou -- tanci

Lian Liru, Beijing -- pingshu

Mu Xiangzheng, -- sanxian -- accompanist

Tang Gengliang, Suzhou -- pinghua

ETHNOS SHINGIGAKU: ASIAN MASK DANCE THEATER (JAPAN)

Mannojo Nomura, producer

Théodore Bah (Guinea), actor

I Made Djimat (Indonesia), actor

Fujita Shuji, staff

Hashimoto Katsutoshi, actor

Hatakeyama Yuko, musician

Ino Makiko, actor

Irino Tomoe, musician

Challissery Antony Joy (India), actor

Kang Cha Wook (Korea), musician

Kawamura Kohei, musician

Kim Do Yoen (Korea), actor

Kim Yong Mok (Korea), actor

Koga Kumiko, staff

Lakshmipathy Narendra Kumar (India), actor

Kuwabara Kayo, staff

Lee Dong Yong (Korea), actor

Lu Hairong (China), actor

Miura Tsuneo, actor

Qian Tenghao (China), musician

I Ketut Rudida (Indonesia), actor

Sugawara Kaori, actor

Latyr Sy (Senegal), musician

Shinsuke Suzuki, staff

Ye Fang (China), actor

HUA FAMILY SHAWM AND PERCUSSION BAND (CHINA)

Hua Jinshan, drum

Hua Lei, small cymbals

Hua Yinshan (leader), shawm

Hua Yun, shawm

Xie Jian, gong

INDIAN MELA PERFORMERS (INDIA)

Aziz Khan, magician

Kishan, son of Laxman Bharti, juggler

Kishan, son of Sharwan Nath, -- behrupia

INDIAN OCEAN (INDIA)

Ashim Chakravarthy, tabla, drums

Amit Kilam, drums

Rahul Narasimha Ram, bass

Susmit Sen, guitar

KATHPUTLI PUPPET THEATRE (INDIA)

Guddi Bhatt

Jagdish Bhatt

Puran Bhatt

MANGANIYAR MUSIC OF RAJASTHAN (INDIA)

Gazi Khan Bar ana, -- dholak -- , -- khartal -- , -- morchang

Anwar Khan, vocal

Kheta Khan, vocal

Chanan Khan Manganiar, -- khamayacha -- , -- vocal

MAQAM (UZBEKISTAN, TAJIKISTAN)

Mastona Ergashova, vocal

Abdurahim Hamidov, -- dutar

Jurabek Nabiev, vocal

Shawkat Nabiev, -- ghijak

Shuhratdjon Nabiev, -- tanbur

MONGOLIAN MUSICAL TRADITIONS

I. Amartüvshin, -- morin huur

G. Khongorzul, -- urtiin duu -- (long song singer)

Ts. Sansarbayar, -- yatga

N. Sengedorj, -- hoomii -- throat-singer, fiddles

B. Tsengelmaa, -- bielgee -- dancer

MUGHAM -- (AZERBAIJAN)

Elnur Ahmadov, -- kamanche

Aydin Aliyev, -- garmon

Niyamettin Babyev, vocal

Elchin Hashimov, -- tar

Adalat Nasibov, -- saz

Leyla Rahimova, vocal

MUQAM OF THE UYGHURS (CHINA)

Rozi Tukhluk (Uzbekistan), vocal, -- rawap -- , -- tanbur

Nur Mähämmät Tursun, -- satar -- , -- tanbur

Sänubär Tursun, vocal, -- dutar

MURAS (KYRGYZSTAN)

Toktobek Asanaliev, komuz, vocal

Gulbara Baigashkaeva, -- komuzl temir komuz

Bakytbek Chatyrbaev, -- qylqiyak

Nurlanbek Nyshanov, -- komuz -- , -- chor -- , -- chopo chor -- , -- temir komuz

PARISA AND DARIUSH TALAI: PERSIAN CLASSICAL MUSIC (IRAN)

Parisa, vocal

Dariush Talai, -- tar

ROKSONAKI (KAZAKHSTAN)

Yermek Diyarov, vocal, guitar

Ruslan Karin, vocal, -- saz-syrnai -- , -- shan-kobyz

Viktor Khomenkov, keyboards

Yedil Khussainov, vocal, -- djetygen -- , -- shan-kobyz -- , -- saz-syrnai -- , -- sybyzgy -- , -- kamys-syrnai

Abay Rakhyshev, vocal, drums

Kazbek Spanov, vocal, guitar

SABJILAR (KHAKASIA, RUSSIA)

Altyn Tann Anna Burnakova, -- khai -- , percussion

Chanar Khyr Khaas, -- khai -- , -- chatkhan

Aycharkh Sayn, -- khai -- , -- chatkhan -- , -- qobyz

SHOGHAKEN ENSEMBLE (ARMENIA)

Tigran Ambaryan, -- kamanche

Gevorg Dabaghyan, -- duduk

Aleksan Harutyunyan, vocal, dancer

Hasmik Harutyunyan, vocal, dancer

Karine Hovhannisyan, -- kanun

Kamo Khachatryan, -- dhol

Grigor Takushyan, -- dham duduk

Levon Tevanyan, -- shvi -- , zurna

THE SILK ROAD ENSEMBLE

Edward Arron, cello

Nicholas Cords, viola

He Cui, -- sheng

Gevorg Dabaghyan, -- duduk

Sandeep Das, tabla

Joel Fan, piano

G. Khongorzul, long song vocal

Jonathan Gandelsman, violin

Joseph Gramley, percussion

Colin Jacobsen, violin

Dong-Won Kim, -- chang-go

Yo-Yo Ma, cello, -- morin huur

Shane Shanahan, percussion

Mark Suter, percussion

Kojiro Umezaki, shakuhachi

Yang Wei, -- pipa

Beixing Xiang, erhu

UZBEK PUPPET THEATER

Venera Yusupova

Gulshat Nazarova

Dinara Yuldasheva

CRAFT TRADITIONS

BEAD MAKERS

Haji Ashoor (Pakistan)

Luigi Cattelan (Italy)

Abdul Momin (Pakistan)

CALLIGRAPHERS

Issa M. Benyamin (United States)

Niyaz Kerim Xarki (China)

Muhittin Serin (Turkey)

Alvin Y. Tsao (United States)

Oğuzhan Tuğrul (Turkey)

John S.C. Wang (United States)

CERAMICISTS

Chen Xinching (China)

İbrahim Erdeyer (Turkey)

Mehmet Gürsoy (Turkey)

Higaki Hachiro (Japan)

Kang Qing (China)

Maekawa Denko (Japan)

Masuda Shigeyuki (Japan)

Haripada Pal (Bangladesh)

Ahmet Hürriyet Şahin (Turkey)

Nurten Şahin (Turkey)

Tatebayashi Hirohisa (Japan)

Xu Xiutang (China)

Yie Dongxi (China)

CLOTHING DESIGNERS

Lola Babayeva (Uzbekistan)

Turdukan Borubaeva (Kyrgyzstan)

Tatiana Vorotnikova (Kyrgyzstan)

Nakagawa Sochi (Japan) -- Nakagawa Sochi (Japan)Azechi RikaKishimoto KanehiroKoiwa JunNakagawa MasahiroNakagawa Tatsuya

Taras Volikov (Uzbekistan)

GLASS BLOWERS (SYRIA)

Hasan al Kazzaz

Mhd. Nazir al Kazzaz

METALWORKERS AND JEWELERS

Richard Furrer (United States)

Sirajul Islam (Bangladesh)

Mohamad al Malli (Syria)

George Oubid (Syria)

B.D. Soni (India)

MUSICAL INSTRUMENT MAKERS

John Bertles (United States)

Marat Damdyn (Tuva, Russia)

PAINTERS

Yeshi Dorjee (United States)

Mohammed Nasseripour (United States)

Gyan Prakash Soni (India)

Aram Vartanov (United States)

PAPER ARTISTS

Tohtu Baqi Turdi (China)

Fukunishi Hatsumi (Japan)

Fukunishi Masayuki (Japan)

Guerrino Lovato, mask maker (Italy)

Asif Mian, kite maker (India)

Feridun Ozgoren (Turkey, United States)

Roberto Rapanotti (Italy)

Zhang Fengxue (China)

STONE CARVERS

Iftikar Ahmed (Pakistan)

Ghulam Mustafa (Pakistan)

Lorisa Norbu (Tuva, Russia)

Alexei Salchak (Tuva, Russia)

TEXTILE ARTISTS

BLOCK PRINTER (INDIA)

Shaikh Mohammad Hussain

BROCADE WEAVERS (SYRIA)

Ahmad Chakkaki

Louai Jarkas

IKAT WEAVERS (UZBEKISTAN)

Bobir Ismailov

Dilbar Khalimova

Davlat Umaralyev

IKAT PATOLA WEAVERS (INDIA)

Salvi Bharatkumar Kantilal

Salvi Rohitkumar Kantilal

Salvi Vinayak Kantilal

JAMDANI WEAVERS (BANGLADESH)

Shawkat Ali

Md. Enamul Haque

NAVAJO CARPET WEAVER (UNITED STATES)

D.Y. Begay

RABARI WEAVER (INDIA)

Ramiben Ratna Rabari

TIBETAN CARPET WEAVERS (NEPAL)

Tsering Bhuti

Dawa Tsamchoe

TURKISH CARPET WEAVERS (TURKEY)

Ahmet Balcı

Mukaddes Kavak

Ummu Gülsum Yılmaz

TURKMEN CARPET WEAVERS (PAKISTAN)

Abdul Baqi

Sadaf Baqi

TUSSAH SILK WEAVER (INDIA)

Gunia Devi

TRUCK PAINTERS (PAKISTAN)

Haider Ali

Jamil Uddin

NOMADIC TRADITIONS (KAZAKHSTAN)

Almasbek Almatov, yurt builder

Sayan Aqmolda, yurt builder

Rysbek Ashimov, yurt builder

Baltabay Ibrayev, yurt builder

Amangul Ikhanova, felt maker

Zhangir Umbetov, leatherworker, yurt builder

FOODWAYS TRADITIONS

Najmieh Batmanglij (Persian)

Mukadder (Katie) Buyukunsal (Turkish)

Jinghua Chi (Chinese)

Roberto Donna (Italian)

Enzo Fargione (Italian)

Shajan Fazelyar (Uzbek)

Huilan Hu (Chinese)

Nahid Javadi (Azerbaijani)

Jila Naim (Afghan)

Marco Nocco (Italian)

Shukrieh Raad (Afghan)

Shobha Shah (Indian)

Fay Shahidi (Persian)

Nikta Shahidi (Persian)

Behjat Shahverdiani (Persian)

Sakina A. Shehadi (Syrian)

Leda Zenian (Armenian)

SACRED TRADITIONS

ALEVI SEMAH OF HUBYAR (TURKEY)

Aysel Adigüzel

Rıza Adigüzel

Allı Aydın

Hasan Aydın

Bahar Bayrı

Tutca Cücü

Hüseyin Denizhan, -- ashik

Rüştü Durna

Süleyman Duran

Ahmet Güngör, -- ashik

Dürdane Karagöz

Cemal Özcan

THE KUSHTIA BAULS (BANGLADESH) -- THE KUSHTIA BAULS (BANGLADESH)Anjali Ghosh Durga, vocalShunil Kormakar, vocalMd. Naimul Karim Melal, vocalSanchita Paul, vocalMd. Belal Siddique, vocal

Madan Gopal Singh (India)

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 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: 2002 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.2002, Series 2
See more items in:
Smithsonian Folklife Festival records: 2002 Smithsonian Folklife Festival
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-sff-2002-ref18

Arkansas

Collection Creator:
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

July Clemonson, dulcimer player, Arkansas

Jimmie Driftwood, 1907-1998, Ozark ballad singer, Arkansas

Cleda Driftwood, 1918-2004, Ozark ballad singer, 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

Ohlen Fendley, 1910-1993, jig-dancer, Arkansas

Retha M. Fendley, 1916-2004, jig-dancer, Arkansas

Ollie Gilbert, 1892-1980, ballad singer, Arkansas

Walter Gosser, 1937-2009, banjo player, Arkansas

Loving Sisters -- Loving SistersGladys McFadden, gospel singer, ArkansasJosephine Dumas, gospel singer, ArkansasAnna James, gospel singer, ArkansasLorraine Leeks, gospel singer, ArkansasLeonard Givens, organist, Arkansas

Gospel singers -- Gospel singersRev. Myron Parrish, gospel singer, ArkansasWanda Parrish, gospel singer, ArkansasPatti Jane Parrish, gospel singer, ArkansasGene Emberton, gospel singer, ArkansasFay Emberton, gospel singer, Arkansas

Caroline Rainbolt, 1913-2006, jig dancer, Arkansas

Almeda Riddle, 1898-1986, Ozark ballad singer, Arkansas

Jean Simmons, dulcimer player, Arkansas

Pam Simmons, dulcimer player, Arkansas

Tommy Simmons, dulcimer player, 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 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 restrictions apply. Contact archives staff for information.

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: 1970 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections , Smithsonian Institution.
Identifier:
CFCH.SFF.1970, Series 2
See more items in:
Smithsonian Folklife Festival records: 1970 Festival of American Folklife
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-sff-1970-ref18

G – K

Type:
Archival materials
Date:
May 1865–May 1866
Collection Restrictions:
Freedmen's Bureau Digital Collection, 1865–1872, is a product of and owned by the National Museum of African American History and Culture, Smithsonian Institution. Copyright for digital images is retained by the donor, FamilySearch International; permission for commercial use of the digital images may be requested from FamilySearch International, Intellectual Property Office, at: cor-intellectualproperty@ldschurch.org.
Collection Citation:
Courtesy of the U. S. National Archives and Records Administration, FamilySearch International, and the Smithsonian National Museum of African American History and Culture.
Identifier:
NMAAHC.FB.M869, File 6.2.3
See more items in:
Records of the Assistant Commissioner for the State of South Carolina, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1870
Records of the Assistant Commissioner for the State of South Carolina, Bureau of Refugees, Freedmen, and Abandoned Lands, 1865–1870 / Series 6: Records Relating to Restoration of Property / 6.2: Registered Applications for Restoration of Property
Archival Repository:
National Museum of African American History and Culture
EDAN-URL:
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History and Art Fundraising - Contemporary Musical Instrument Makers Exhibition, 1978

Collection Creator::
Smithsonian Institution. Assistant Secretary for History and Art  Search this
Container:
Box 35 of 48
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 281, Smithsonian Institution, Asbsistant Secretary for History and Art, Records
See more items in:
Records
Records / Series 4: Office of the Secretary, 1965-1979 / Box 35
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0281-refidd1e8781

Untitled

Collection Creator::
Smithsonian Institution. Traveling Exhibition Service  Search this
Type:
Archival materials
Summary:
Heart and Hands: Musical Instrument Makers of America (073), 4/2000-5/2003
Collection Rights:
Restricted for 15 years, until Jan-01-2022; Transferring office; 9/27/1984 memorandum, Glenn to Loar; Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Accession 08-059, Smithsonian Institution, Traveling Exhibition Service, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 7
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa08-059-refidd1e4404

Heart and Hands: Musical Instrument Makers of America (73) (public relations files), 04/2000 - 03/2003 (8 folders)

Collection Creator::
Smithsonian Institution. Traveling Exhibition Service  Search this
Container:
Box 6 of 18
Type:
Archival materials
Collection Rights:
Restricted for 15 years, until Jan-01-2021; Transferring office; 9/27/1984 memorandum, Glenn to Loar; Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Accession 06-059, Smithsonian Institution, Traveling Exhibition Service, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 6
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa06-059-refidd1e1312

Heart and Hands: Musical Instrument Makers of America, March 7-April 24, 2002

Collection Creator::
Smithsonian Institution. Office of Exhibits Central  Search this
Container:
Box 5 of 11
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 13-079, Smithsonian Institution, Office of Exhibits Central, Exhibition Records
See more items in:
Exhibition Records
Exhibition Records / Box 5
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa13-079-refidd1e1129

Records

Topic:
Tower Concert (Concert series)
Flentrop in America
Organs in Mexico
Creator::
National Museum of American History. Division of Musical History  Search this
Extent:
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.
Topic:
Museum exhibits  Search this
Museum curators  Search this
Music -- History  Search this
Musical instruments  Search this
Genre/Form:
Audiotapes
Floor plans
Black-and-white negatives
Black-and-white photographs
Black-and-white transparencies
Manuscripts
Brochures
Clippings
Newsletters
Floor plans
Posters
Videotapes
Citation:
Smithsonian Institution Archives, Record Unit 485, National Museum of American History. Division of Musical History, Records
Identifier:
Record Unit 485
See more items in:
Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-faru0485

Musical Instrument Makers, 1976-1977

Collection Creator::
National Museum of American History. Division of Musical History  Search this
Container:
Box 12 of 75
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 485, National Museum of American History. Division of Musical History, Records
See more items in:
Records
Records / Box 12
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0485-refidd1e5070

Musical Instrument Makers/Craftsmen - Lists, 1974-1978

Collection Creator::
National Museum of American History. Division of Musical History  Search this
Container:
Box 12 of 75
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 485, National Museum of American History. Division of Musical History, Records
See more items in:
Records
Records / Box 12
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0485-refidd1e5573

Musical Instrument Makers Exhibition, 1977-1979 (includes cassette)

Collection Creator::
National Museum of American History. Division of Musical History  Search this
Container:
Box 13 of 75
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 485, National Museum of American History. Division of Musical History, Records
See more items in:
Records
Records / Box 13
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0485-refidd1e5882

Musical Instrument Makers Exhibition - Correspondence, 1977-1980

Collection Creator::
National Museum of American History. Division of Musical History  Search this
Container:
Box 13 of 75
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 485, National Museum of American History. Division of Musical History, Records
See more items in:
Records
Records / Box 13
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0485-refidd1e5893

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