To a considerable degree, the James H. Howard papers consist of manuscript copies of articles, book, speeches, and reviews that document his professional work in anthropology, ethnology, ethnohistory, archeology, linguistics, musicology, and folklore between 1950 and 1982. Among these are a few unpublished items. Notes are relatively scant, there being somewhat appreciable materials for the Chippewa, Choctaw, Creek, Dakota, Omaha, Ponca, Seminole, and Shawnee. The chief field materials represented in the collection are sound recordings and photographs, but many of the latter are yet to be unidentified. A series of color photographs of Indian artifacts in folders are mostly identified and represent the extensive American Indian Cultural collection of costumes and artifacts that Howard acquired and created. Other documents include copies of papers and other research materials of colleagues. There is very little original material related to archeological work in the collection and that which is present concerns contract work for the Lone State Steel Company.
Scope and Contents:
The James Henri Howard papers document his research and professional activities from 1949-1982 and primarily deal with his work as an anthropologist, archeologist, and ethnologist, studying Native American languages & cultures. The collection consists of Series 1 correspondence; Series 2 writings and research, which consists of subject files (language and culture research materials), manuscripts, research proposals, Indian claim case materials, Howard's publications, publications of others, and bibliographical materials; Series 3 sound recordings of Native American music and dance; Series 4 photographs; and Series 5 drawings and artwork.
Howard was also a linguist, musicologist, and folklorist, as well as an informed and able practitioner in the fields of dance and handicrafts. His notable books include Choctaw Music and Dance; Oklahoma Seminoles: Medicines, Magic, and Religion; and Shawnee! The Ceremonialism of a Native American Tribe and its Cultural Backround.
Some materials are oversize, specifcially these three Winter Count items: 1. a Dakota Winter Count made of cloth in 1953 at the request of James H. Howard, 2. a drawing of British Museum Winter Count on 4 sheets of paper, and 3. Photographs of a Winter Count.
This collection is arranged in 5 series: Series 1. Correspondence, 1960-1982, undated; Series 2. Writings and Research, 1824-1992; Series 3. Sound Recordings, 1960-1979; Series 4. Photographs, 1879-1985; Series 5. Drawings and Artwork, 1928-1982.
1925 -- James Henri Howard was born on September 10 in Redfield, South Dakota.
1949 -- Received his Bachelor of Arts from the University of Nebraska.
1950 -- Received his Master of Arts from the University of Nebraska and began a prolific record of publishing.
1950-1953 -- Began his first professional employment as an archaeologist and preparator at the North Dakota State Historical Museum in Bismarck.
1955-1957 -- Was a museum lecturer at the Kansas City (Missouri) Museum.
1957 -- James H. Howard received his Ph.D. at the University of Michigan. Joined the staff of the Smithsonian's River Basin Surveys in the summer.
1957-1963 -- Taught anthropology at the University of North Dakota.
1962 -- Chief archeologist at the Fortress of Louisberg Archeological Project in Nova Scotia.
1963-1968 -- Taught anthropology at the University of South Dakota; State Archeologist of South Dakota; Director of the W. H. Over Dakota Museum.
1963-1966 -- Director of the Institute of Indian Studies, University of South Dakota.
1968-1982 -- Associate professor of anthropology at Oklahoma State University at Stillwater (became a full professor in 1971).
1979 -- Consulted for exhibitions at the Western Heritage Museum in Omaha, Nebraska.
1982 -- Died October 1 after a brief illness.
James H. Howard was trained in anthropology at the University of Nebraska (B.A., 1949; M.A., 1950) and the University of Michigan (Ph.D., 1957). In 1950-1953, he served as archeologist and preparator at the North Dakota State Historical Museum; and, in 1955-1957, he was on the staff of the Kansas City (Missouri) Museum. During the summer of 1957, he joined the staff of the Smithsonian's River Basin Surveys. Between 1957 and 1963, he taught anthropology at the Universtity of North Dakota. Between 1963 and 1968, he served in several capacities with the University of South Dakota including assistant and associate professor, director of the Institute of Indian Studies (1963-1966), and Director of the W.H. Over Museum (1963-1968). In 1968, he joined the Department of Sociology at Oklahoma State University, where he achieved the rank of professor in 1970. In 1979, he was a consultant for exhibitions at the Western Heritage Museum in Omaha, Nebraska.
Howard's abiding interest were the people of North America, whom he studied both as an ethnologist and archeologist. Between 1949 and 1982, he worked with the Ponca, Omaha, Yankton and Yaktonai Dakota, Yamasee, Plains Ojibwa (or Bungi), Delaware, Seneca-Cayuga, Prairie Potatwatomi of Kansas, Mississipi and Oklahoma Choctaw, Oklahoma Seminole, and Pawnee. His interest in these people varied from group to group. With some he carried out general culture studies; with other, special studies of such phenomena as ceremonies, art, dance, and music. For some, he was interest in environmental adaptation and land use, the latter particularly for the Pawnee, Yankton Dakota, Plains Ojibwa, Turtle Mountain Chippewa, and Ponca, for which he served as consultant and expert witness in suits brought before the United Stated Indian Claims Commisssion. A long-time museum man, Howard was also interested in items of Indian dress, articles associated with ceremonies, and other artifacts. He was "a thoroughgoing participant-observer and was a member of the Ponca Hethuska Society, a sharer in ceremonial activities of many Plains tribes, and a first-rate 'powwow man'." (American Anthropologist 1986, 88:692).
As an archeologist, Howard worked at Like-a-Fishhook Village in North Dakota, Spawn Mound and other sites in South Dakota, Gavin Point in Nebraska and South Dakota, Weston and Hogshooter sites in Oklahoma, and the Fortess of Louisbourg in Nova Scotia. He also conducted surveys for the Lone Star Steel Company in Haskall, Latimer, Le Flore and Pittsburg counties in Oklahoma.
Howard's American Indian Cultural Collection of Costumes and Artifacts, that he acquired and created during his lifetime, is currently located at the Milwaukee Public Museum. In Boxes 19-21 of the James Henri Howard Papers, there are photographs with accompanying captions and descriptions in binders of his American Indian Cultural Collection of Costumes and Artifacts that his widow, Elfriede Heinze Howard, created in order to sell the collection to a museum.
These papers were donated to the National Anthropological Archives by James Henri Howard's wife,
Elfriede Heinz Howard, in 1988-1990, 1992, & 1994.
The James Henri Howard papers are open for research.
Access to the James Henri Howard papers requires an appointment.
Duplicated transcriptions of Arapaho songs collected by Mr. Z. Salzmann, of Indiana University. They accompanied a paper read recently at a meeting of the Musicological Society at Michigan State College. The following titles are represented: Wolf Dance Song; Rabbit Dance Song; Sun Dance Song; Round Dance Song; Soldierʹs Song; Skybird Song; Peyote Cult Song; a duplicate copy is enclosed.
File consists of invoices, purchase orders, receipts, shipping orders, and correspondence. Correspondents include: Barry Taylor, Wolfgang Thies, Thunder Bay Public Library, Tombeur, Vasile Tega, Genichi Tsuge, Robert Tyler, Jean-Jules Tetreault, Charles Tran, Talent Artist Ltd., Tham Hay Thin, J.B. Thornhill, Jim Tomkinson, Alvin G. Tannen, Toowong Music Centre, Clare Thaxton, GMA Cramer Trading, B.N. Thadani, Hubert Tremblay, and E.J. Turner. Important to note: Genichi Tsuge is a professor of Musicology in Japan, 03/14/1981; Robert Tyler is starting an M.A. program in African Music in Tanzania, 01/26/1981; Tham Hay Thin, Thornhill and Tomkinson specifically requests Pete Seeger, 11/29/1978, 03/19/1979, 06/06/1979.
Access by appointment only. Contact the Ralph Rinzler Folklife Archives and Collections at email@example.com or (202) 633-7322 for additional information.
Copyright restrictions apply. Contact archives staff for additional information.
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information.
The American Academy in Rome records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
American Academy in Rome records, 1855-2012. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
The Millard Meiss papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Millard Meiss papers, circa 1918-circa 1977, bulk 1950-1975. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
The Lisa Chickering and Jeanne Porterfield collection documents their work as travel filmmakers, photographers, and writers from 1954-2015. Their films are an example of the travel lecture film, a genre which combined silent travelogue films with live narration. Chickering and Porterfield presented their films throughout the United States and Canada in the 1960s and 1970s before turning to freelance still photography and travel writing in the early 1980s. The audiovisual and photography collection begins with their first joint travels in the 1950s and covers a range of their professional activities through the early 2000s, mainly encompassing original travel footage, edited travelogues, and travel still photography. Supporting documentation includes film scripts, lecture recordings, personal and professional manuscripts, financial and professional records, and a substantial amount of newspaper and magazine articles which serve as a record of the press generated by and about Chickering and Porterfield.
Scope and Contents:
The Lisa Chickering and Jeanne Porterfield collection documents their work as travel filmmakers, photographers, and writers from 1954-2015. The audiovisual and photography collection begins with their first joint travels in the 1950s and covers a range of their professional activities through the early 2000s, mainly encompassing original travel footage, edited travelogues, and travel still photography. Supporting documentation includes film scripts, lecture recordings, personal and professional manuscripts, financial and professional records, and a substantial amount of newspaper and magazine articles which serve as a record of the press generated by and about Chickering and Porterfield.
Records pertaining to Chickering and Porterfield's film career include full lecture scripts for their five major silent travel films: Austria à la Carte (1960), Caribbean Dutch Treat (1963), Bravo Portugal! (1965), Europe's Mini-Countries (1968), and Winter in Mexico (1973). Chickering and Porterfield delivered these scripts at venues throughout the United States in front of live audiences while the (silent) travelogues were screened behind them, essentially acting as live narrators. Silent access copies are available for each of these films except for Austria à la Carte; audio recordings of their live lectures are available for Austria à la Carte, Caribbean Dutch Treat, Winter in Mexico. Reference video is also available for Chickering and Porterfield's two shorter sound films: Four Seasons of Austria (1962) and Portugal with Pleasure (1968). Other film material includes several sets of lecture tour records listing dates, locations, topics, and fees, as well as a large amount of advertising material.
Also included in this collection are a large number of published and unpublished manuscripts, including both personal projects and assignment travel writing. Several personal narrative essays and more complete memoir drafts give insight into Chickering and Porterfield's filmmaking process, industry tips, and travel methods, as well as anecdotes from the field. Assignment travel writing ranges geographically, with a focus on cruise ships.
Other materials in the collection include extensive inventories of still photography, personal and professional correspondence, and a substantial amount of printed material which was retained as a central resource for press generated by and about Chickering and Porterfield.
This collection is arranged in 9 series: Series 1. Film documentation, 1959-1986, undated; Series 2. Still photography documentation, 1958-2004, undated; Series 3. Writings, 1954-1997, undated; Series 4. Printed material, 1959-2002, undated; Series 5. Other professional materials, 1987-2000, undated; Series 6. Correspondence, 1957-1992, 2000, 2015, undated; Series 7. Films and film-related sound recordings, circa 1960-2015; Series 8. Other audiovisual material, 1957, 1966, 1981, undated; Series 9. Photographs, 1956-2001, undated.
Biographical / Historical:
Lisa Chickering (1922-) and Jeanne Porterfield (1923-2010) were travel filmmakers, photographers, and writers in New York City whose professional output spanned from the 1960s through the early 2000s. Chickering and Porterfield first met in Chicago, where they were childhood friends and neighbors. Porterfield attended the University of Chicago and eventually earned a master's in musicology from the American Conservatory of Music, after which she trained under Uta Hagen to pursue stage and television acting; Chickering trained as an opera singer and pianist before turning to work as a stage and cabaret singer, as well as a model at the John Robert Powers Agency. The pair's filmmaking career began in 1954, when they traveled to Paris for a singing engagement Chickering had booked. When they arrived, they found the engagement had fallen through. Porterfield began to act as Chickering's agent, and the two cobbled together a three-year international tour, which they documented on an 8mm camera. Upon returning to New York in 1958, they incorporated a production company, Viewpoints, Inc., and returned to Europe to film their first professional project.
Viewpoints, Inc. released five full-length (70-80 minute) silent travelogues through the 1960s and early 1970s, set in Western European and North American tourist destinations: Austria à la Carte (1960), Caribbean Dutch Treat (1963), Bravo Portugal! (1965), Europe's Mini-Countries (1968), and Winter in Mexico (1973). Chickering and Porterfield acted as directors, producers, cinematographers, and editors on each film. The pair also presented these films on the travel lecture film circuit at venues in the United States and Canada ranging from Kiwanis clubs to major concert halls, narrating their silent footage onstage in front of live audiences.
Viewpoints, Inc. also released two shorter 30-minute public relations sound films sponsored by Volkswagen of America: Four Seasons of Austria (1962, which used footage from Austria à la Carte) and Portugal with Pleasure (1968, which used footage from Bravo Portugal!). Both of these films won awards at the American Film Festival. A third public relations film, co-sponsored by KLM Royal Dutch Airlines and the Curaçao Tourism Board and titled Curaçao: The Caribbean Dutch Treat, was released in 1962 and used footage from Caribbean Dutch Treat.
Chickering and Porterfield turned to still photography in earnest in the 1980s and continued working through the early 2000s; their work was published as educational filmstrips as well as in various leading travel and lifestyle publications, including in The New York Times, Travel & Leisure, Town & Country, Glamor, Gourmet, Harper's Bazaar, and Better Homes & Gardens. The pair also authored a number of travel features to accompany their photos, with a particular emphasis on cruise ships.
Porterfield died in 2010 in New York City, where Lisa still lives.
1922 -- Lisa Chickering born December 24 in Chicago, Illinois.
1923 -- Jeanne Porterfield born February 14 in Beloit, Wisconsin.
1954 -- First joint travels abroad
1958 -- Viewpoints, Inc. (production company) incorporated
1960 -- Austria à la Carte released
circa 1962 -- Recipients, Silver Plaque of Merit in Tourism from Austrian National Tourist Office
1962 -- Recipients, American Film Festival Blue Ribbon (for Four Seasons of Austria) Four Seasons of Austria released
1962 -- Recipients, Blue Ribbon from the American Film Festival Travel Category (for Four Seasons of Austria)
1963 -- Caribbean Dutch Treat released
1965 -- Bravo Portugal! released
1968 -- Europe's Mini-Countries released
1968 -- Recipients, American Film Festival Blue Ribbon (for Portugal with Pleasure) Portugal with Pleasure released
1968 -- Recipients, Blue Ribbon from the American Film Festival Travel Category (for Portugal with Pleasure)
1972-1975 -- Educational filmstrips photographed by Chickering and Porterfield distributed by the Society for Visual Education, Inc.
1973 -- Winter in Mexico released
circa 1975 -- Began working in still photography and travel writing
1982 -- Recipient (Porterfield), Grand Prize for Black and White Photography, Society of American Travel Writers
1983 -- Recipients, First and Second Prize, Society of American Travel Writers Freelance Council Photo Contest
1987-1990 -- President (Chickering), Travel Journalists' Guild
2008 -- Recipient (Chickering), Bern Keating Award for Lifetime Service, Travel Journalists' Guild
2010 -- Died (Porterfield) January 15 in New York, New York.
This collection was donated to the National Anthropological Film Collection (formerly the Human Studies Film Archives) by Lisa Chickering in 2015.
The Lisa Chickering and Jeanne Porterfield collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.
Lisa Chickering and Jeanne Porterfield Collection, National Anthropological Film Collection, Smithsonian Institution
Benjamin O. Davis, Jr. Collection, Acc. 1992.0023, National Air and Space Museum, Smithsonian Institution.
See also bibliography of F.D. (Anon.) published in Ethno-Musicology, Newsletter, No. 7, April 1956, pp. 13-29, and Ethno-Musicology, 2:3, 1958, pp. 131-132 with letter to the Editor by Frank Gillis with additions and corrections to published bibliography
Most complete bibliography, 1901-1957, -- 10 pages
4 reprints of Frances Densmore's bibliography from -- Journal of Musicology -- , Vol. IV, Nos. 2 and 3, 1901-1945, circa 1945
Various bibliographic lists prepared by Frances Densmore, 1901-1955, -- approx. 41 pages ; typed
Approx. 120 3" x 5" bibliography cards
The Frances Densmore papers are open for research.
Access to the Frances Densmore papers requires an appointment.
Manuscript 4250 Frances Densmore papers, National Anthropological Archives, Smithsonian Institution
The Oral History Program is part of the Smithsonian Institution Archives. The purpose of the program is to conduct interviews with current and retired members of the
Smithsonian staff who have made significant contributions, administrative and scholarly, to the Institution. The project's goal is to supplement the published record and manuscript
collections in the Archives, focusing on the history of the Institution and contributions to the increase and diffusion of knowledge made by its scholars.
The Reagon interviews were accessioned into the Oral History Collection because of her significant role in the development of the Festival of American Folklife and African-American
scholarship at the Smithsonian.
The Bernice Johnson Reagon Interviews were conducted during two sessions between in 1986. John Warren Jackson, a student in Dr. Pamela M. Henson's Oral History Seminar
at the University of Maryland, conducted the interviews as his class research project. The interviews consist of approximately 3 hours of tape, 76 pages of transcript, and
occupy 1.00 cubic feet of shelf space.
The interviews may only be used by researchers with the written permission of Bernice Johnson Reagon, so please contact the Archives in advance to request permission.
Bernice Johnson Reagon was born October 4, 1942. Her father, Reverend Jessie Johnson was a Baptist minister. In her youth, Dr. Reagon participated in community church
services and sang at funerals. It was in this environment that she learned black traditional music, which established the foundation for her later artistic career.
In 1959, she entered Albany State College, where she majored in music. Discouraged by her inability to master the piano, she changed her major to biology in her second
year. In 1961, during her junior year at Albany she was suspended for participating in civil rights demonstrations. During the next five years she was active in the National
Association for the Advancement of Colored People (NAACP) and Student Nonviolent Coordinating Committee (SNCC) and further contributed to the movement as a freedom singer,
field researcher, and organizer of community-based events.
In 1962, she married Cordell Hull Reagon, a SNCC field worker from Nashville, Tennessee. The couple had two children, Toshi and Kwan Reagon. They were divorced in 1967.
Dr. Reagon received a B.A. in history from Spellman College in Atlanta, Georgia. In 1975, she completed her Ph.D. in American History from Howard University. Her research
emphasized Afro-American history and cultural and oral history methodologies.
Professionally she has emphasized two different but complimentary careers: music and the study of black culture and the African diaspora.
Bernice Johnson Reagon recorded her first album as a member of the Freedom Singers in 1963. In 1964 she recorded her first solo album, "Songs of the South," on Folkways
Recording. In 1973 she formed her a cappella singing group, Sweet Honey in the Rock. The group has performed nationwide and has several recordings on the Flying Fish label.
Dr. Reagon has written, researched, and lectured extensively in Afro-American history and culture, including the history of the civil rights movement and also traditional
black music forms. An ardent proponent of the African diaspora movement, she has been instrumental in the spreading the concept of black linkages and a common African culture
Dr. Reagon began working with the Smithsonian Institution in the 1960's as a field researcher, and with several projects relating to black culture. In 1974 she joined the
Division of Performing Arts and was instrumental in creating the African Diaspora program for the Festival of American Folklife. The bicentennial festival of 1976 was the
zenith of her efforts. Dr. Reagon traveled internationally, promoting the concept of African diaspora and recruiting black artists for the festival. In 1976, she transferred
to the National Museum of American History as the Director and Cultural Historian for the Program in Black American Culture. In 1988, she was named Curator of the Division
of Community Life at the National Museum of American History.
The Smithsonian Institution Archives began its Oral History Program in 1973. The purpose of the program is to supplement the written documentation of the Archives'
record and manuscript collections with an Oral History Collection, focusing on the history of the Institution, research by its scholars, and contributions of its staff. Program
staff conduct interviews with current and retired Smithsonian staff and others who have made significant contributions to the Institution. There are also interviews conducted
by researchers or students on topics related to the history of the Smithsonian or the holdings of the Smithsonian Institution Archives.
Cynthia Adams Hoover, Curator of Musical Instruments at the Smithsonian's National Museum of American History from 1961 to 2004, was interviewed in 1986 by Richard Binfield,
a student in an oral history seminar at the University of Maryland, to document her long and distinguished career as a scholar of American music and her role in engaging the
scholarly community at the Smithsonian.
Cynthia Adams Hoover was interviewed in 1986 by Richard Binfield, a student at the University of Maryland, as part of a seminar project that focused on interviews of
Smithsonian staff members, taught by Smithsonian Institution Archives Historian Pamela M. Henson. This interview of Hoover covers her youth, education, and career at the Smithsonian,
including the development of a musical instruments division, her special interest in the keyboard collection, her work on various publications, programs, and exhibits, and
reminiscences of colleagues and administrators. The collection consists of 1.5 hours of recording: 2 original 5" reel-to-reel audiotape recordings, which are in security storage;
3 digital preservation files; 2 cassette audiotapes and 3 digital reference files, as well as 28 pages of transcript, and occupies 0.5 cubic feet of shelf space. Box 1 contains
transcripts of the interviews and reference copies of the audio recording.
Cynthia Adams Hoover (1934- ) received her B.A. from Wellesley College in 1957, the M.A.T. from Radcliffe College in 1958, and the M.F.A. from Brandeis University in
1961. She was appointed an Assistant Curator of Musical Instruments in the Division of Cultural History, National Museum of History and Technology (now the National Museum
of American History) in 1961. In 1964, she advanced to Associate Curator and in 1975 she advanced to Curator of Musical Instruments. Upon her retirement in 2004, she was named
Curator Emeritus. Hoover was instrumental in creating the Yale-Smithsonian Seminar Series which focused on material culture research, was the founder of the Material Culture
Forum at the Smithsonian Institution, and was involved in several professional societies, including the American Musicological Society. Her research specialties include the
cultural, social, and technological history of musical instruments, especially the piano, made and used in America; music in eighteenth- and nineteenth-century American life;
and interpretation of American material culture. Her work has resulted in exhibitions and publications on such subjects as Music in Early Massachusetts, Nineteenth-Century
American Ballroom Music, 1840-1860; Music Machines-American Style, and PIANO 300: Celebrating Three Hundred Years of People and Pianos. Hoover received a
Guggenheim Fellowship to research the changing intersections of technology, culture, and commerce of the piano, work that resulted in the PIANO 300 exhibition and related
programs in 2000 2001.
The recordings are available for research use, but the transcripts of the interviews of Cynthia Hoover do not have prefaces. Researchers may submit a written request to interviewee, heirs, or assigns for written permission to use the transcript.