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.
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 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.
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.
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 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.
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.
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 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.
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.
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.
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 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.
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 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.
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.
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.
