Photographs compiled by Frederick K. Morris documenting his travels in China, 1920-1923; Mongolia, 1922-1923; and Japan and Korea, 1923 and 1925. The photographs were made or collected by Frederick and Florence Morris in Shanghai, Yokohama (after an eathquake), Tianjin, Beijing, Zhangjiakou, Kyoto, Nara, Nikko, Seul, and Kaijo, as well as various villages. They depict scenery, cities, clothing, transportation (including rickshaws, boats, and animals), fishing, peddlers, tradesmen and craftsmen, students, Pei Yang University, the tomb of Confucius, ceremonies and festivals, agriculture, and tourist sites such as the Great Wall and palaces. The collection also includes photographs of the Morris family, their friends, and personnel of the Third Asiatic Expedition. A few newspaper clippings, postcard, sketches, and souvenirs are also in the albums.
Biographical/Historical note:
Dr. Frederick Kuhn Morris (1885-1962) was a geologist and professor at Massachusetts Institute of Technology. He first visited China as a visiting professor at Pei Yang University (Bei yang shi fan xue tang) at Tianjin from 1920-1921. Joining the American Museum of Natural History's third Central Asiatic Expedition (circa 1925) as the expedition's geologist, Morris assisted expedition leader Roy Chapman Andrews to collect natural history specimens in Northern China and Mongolia.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
This program celebrated the centenary of diplomatic relations between the United States and Korea, and the equally-long relations between the Smithsonian and Korean scholars. Many of the kinds of traditions the first Smithsonian researchers encountered a century earlier were represented at the 1982 Festival, including musical instrument making, musical performance, pottery making and rituals from the indigenous shamanic religion of Korea. Visitors could also enjoy other venerable traditions including masked dance drama, hemp-cloth and hat making, and the occupational songs of farmers and women divers. Korean Americans presented traditions brought from Korea that have taken root in the American land.
The crafts represented at the Festival were typical of those produced during Korea's late feudal period, which ended with the termination of the Joseon Dynasty (1392-1910). Before the eighteenth century, most of the handcraft industries, such as pottery-making, metal smithing, and stone-working, were strictly regulated by the royal court, which controlled much of the country's commerce. During the declining years of the dynasty, however, small cottage industries thrived, as court artisans entered private life and peasant farmers sought to improve their precarious economic situation by producing textiles, baskets, and other crafts for market. On appointed market days in the villages, peddlers, local vendors, and farmers would spread their wares on the ground or in booths, where they could be viewed by passersby. This traditional open-air market remains a feature of modern Korean life, even though many of the older handcrafts were supplanted over the last few decades with machine-manufactured goods.
The great influx of technology to the Republic of Korea in the 1960s and 1970s tended to leave all traditional arts in its wake - both elite and folk traditions. As a result, folk survivals in the 1980s tended to be grouped together with the high arts because they were considered to be old, traditional, venerable. Together with the tendency towards professionalization, this led to the current state of such folk traditions as the Farmer's Dance (nongak), taught by professional musicians in conservatories. Farmers may still know how to do it, but most people would say that one has to go to the cities to hear it done well, done precisely. If someone in a village turns out to have performing talent, he or she studies with the best masters; then, if really good, it is on to the big city to try to make a career in the performance and recording-studio world.
In choosing and presenting Korean and Korean American participants at the 1982 Festival, Smithsonian organizers sought to explore the range of vernacular styles in music, dance, crafts, foodways, games, and so forth, as expressed through the skills of the best available practitioners. The intention was to provide a glimpse of the country, its cultures, and its peoples.
Korean Participants:
Note: In Korea, it is customary to list the family name followed by the first names. We have listed our Korean National participants in that manner while Korean-Americans are listed according to their preference.
Mask Dance Drama | Yangju Byeolsandae Nori | 양주별산대놀이
Hwang Kyung-hee, Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Kim Chung-sun, Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Kim Soon-hong, Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Ko Myung-dal (1911-1992; National ICH No.2), Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Suk Chong-kwan, Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Yoo Kyung-sung (1918-1989), Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Sinawi-Folk Instrumental Ensemble
Kim Chung-mahn, Seoul | 서울, Korea
Kim Moo-kyung, Seoul | 서울, Korea
Kim Moo-kil, Seoul | 서울, Korea
Kim Tong-jin, Seoul | 서울, Korea
Pahk Duk-yong, Seoul | 서울, Korea
String Instrument Maker | 악기장
Choi Tae-soon (Gyeonnggi-do ICH No.30), Seoul | 서울, Korea
Hwanghae Province | Hwanghae-do | 황해도, Folk Ritual
Choi Enm-jun, Incheon | 인천, Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Kim Keum-hwa (1931-2019; National ICH No. 82-b), Seoul, Korea
Lee Ok-ja, Incheon | 인천, Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Kim Jum-soon (1918-2008; National ICH No. 32), South Jeolla Province | Jeollanam-do | 전라남도, Korea
Earthenware Pottery Maker
Shim Sang-oon, Gyeonggi Province | Gyeonggi-do | 경기도, Korea
Horsehair Hat (Gat) Maker | 갓일
Chung Choon-mo (National ICH No.4), South Gyeongsang Province | Gyeonsangnam-do | 경상남도, Korea
Korean American Participants:
Note: In Korea, it is customary to list the family name followed by the first names. We have listed our Korean National participants in that manner while Korean-Americans are listed according to their preference.
Children's Area
Mark Chang, Cambridge, Massachusetts
Hein Kim, Bloomfield, Michigan
Sue Ann Lee, Bloomfield Hills, Michigan
Wook Lee, Cambridge, Massachusetts
Noodle and Kimchi Maker
Lee Young Sil, Fairfax, Virginia
Embroiderer
Kim Jung Ja, Arlington, Virginia
Seamstresses
Park Hea Sun, 1916-1980, Rockville, Maryland
Kim Sung Duk, Silver Spring, Maryland
Shin Bok Soon, College Park, Maryland
Folding Screen Maker
Yoon Sam Kyun, Arlington, Virginia
Music
Au Myung-ja, 1953-, -- gayageum -- | 가야금, Honolulu, Hawaii
Choi Kyung-man, 1947-, -- piri -- | 피리 & -- taepyeonso -- | 태평소 player, Glendale, California
Lee Byung Sang, 1946-, -- daegeum -- | 대금 & -- danso -- | 단소 player, Ontario, California
Lee Yun-ja, 1952-, dancer, Ontario, California
Park Hi-all, dancer, Leucadia, California
Sung Kum-you, 1923-1986, dancer, Honolulu, Hawaii
Un Bang-cho, dance artist, Chicago, Illinois
Yim Hwa-yon, dancer, Chicago, Illinois
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1982 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
The collection is the result of research conducted by Dr. Alixa Naff (1920-2013) relating to the study of the early Arab immigrant experience in the United States from about 1880-World War II. The study began with oral history interviews in 1962 and became a major project in 1980 with a grant from the National Endowment for the Humanities. It documents the assimilation of Arabic speaking immigrants in the United States.
Scope and Contents:
The collection documents the immigration and assimilation of mostly Christian Syrian-Lebanese who came to America at the turn of the twentieth century. The immigrants were predominately-small land-owning peasants and artisans from the village of Syria and Lebanon. According to Alixa Naff, immigrants knew exactly where they were going to live and what they were going to do once they immigrated to America. They mostly chose to live in cities where earlier immigrants had already created communities. The majority of the immigrants became peddlers. Peddlers carried packs containing scissors, razors, pins, buttons, ribbons, threads, needles, combs, mirrors, soap, voile and muslin, lace and crotchet crafts, perfume, scarves, picture frames, oriental rugs, fine linens, leather goods, pictures of saints, religious notions from the holy land, confections and cakes. Peddling offered the immigrants a source of income and a way to learn the English language, American customs and lifestyles. It often led to ownership of a small dry goods store. More successful businesspersons then went on to own a department store or a chain of stores. For those Syrian/Lebanese who chose not to pursue peddling as a source of income other occupations included farming, work in New England textile mills, Midwestern factories, Pittsburgh and Birmingham steel mills and Detroit's automobile assembly lines.
It was in these Syrian communities created by Arab immigrants that Dr. Naff sought interviews, photographs and personal papers. For Alixa Naff this pioneering generation of people offered a wealth of information on the immigrant experience and the critical role that peddling played. Naff conducted interviews in urban and small town communities with an emphasis on Midwestern states. Her informants included first and second generation Christians, Druze and Muslims. Locations of interviews included Detroit, Michigan because it was an industrial city with a large and stable Syrian population of all faiths. Cedar Rapids, Iowa was smaller, a railroad depot at the turn of the century and home to the earliest Muslim groups. Peoria, Illinois was also a small, railroad depot at the turn of the century and it consisted predominately of the Maronite Sect originally from one village in Mount Lebanon. Spring Valley, Illinois was a small mining town with a Christian community and the remnant of a once flourishing peddling settlement. Their Eastern Rite Syrian Orthodox Church was the only one in Illinois until 1961 and served smaller Syrian groups.
Oral history interviews deal with the sociological factors of the assimilation process. Most tapes have been fully transcribed or abstracted. Information from the interviews are supported with published articles; demographic statistics; articles from the Arab-American press, books, journals and dissertations published in the United States or in Arab countries. Personal papers collected from individuals and families provide evidence of the experiences discussed in the interviews and add a personal touch to the reference materials. While there are a number of original items included among the personal papers, there is a substantial amount of duplicate materials. Naff would often collect the originals make copies and then return the originals to the donors.
Arrangement:
Collection is arranged into the eight series created by Alixa Naff.
Series 1, Personal Papers, 1891-2002, undated
Series 2, Photographs, 1890-1996, undated
Series 3, Oral interviews, Abstracts, Transcripts and Supporting Materials, 1962-1995, undated
Series 4, Publications, 1862-2000, undated
Series 5, Subject Files, 1888-2000
Series 6, Project Files, 1977-1995
Series 7, Alixa Naff Personal Papers, 1943-1996, undated
Series 8, Audio Visual Materials, 1908-1994, undated
Biographical / Historical:
The Faris and Yamna Naff Collection is the result of the dedication and research efforts of Dr. Alixa Naff, the daughter of Syrian-Lebanese immigrants. She spent most of her life documenting the early American experience of the generation of Arabs, mostly Christian, from Syria/Lebanon who came to this country around the turn of the century.
After an administrative career in private industry, Alixa Naff enrolled at the University of California to obtain her B.A. degree. During her senior year, she was required to write a paper for an American history seminar. The topic for the seminar was immigration. Alixa Naff chose Arabs in America as her subject. According to Naff, there was a lack of reference materials relating to her topic. Therefore, she relied mostly on conversations with her parents' friends. Impressed by her work, Alixa Naff's professor offered her a grant to collect Arab folklore.
Alixa Naff conducted her research during the summer of 1962. She interviewed eighty-seven people in sixteen communities across the United States and eastern Canada. All of her informants were at least sixty years old at the time of the interviews and represented the last surviving members of her parents' pioneer immigrant generation. After completing her fieldwork, Naff went on to earn her master's and Ph.D. degrees. She taught on the college level at California State University and the University of Colorado. In 1977, she left teaching citing anti-Arab feelings as the reason for her shift in career paths. Her desire to counter the anti-Arab stereotyping with accurate sources of information created yet another opportunity for her to pursue more research about Arab Americans.
Later in 1977, Alixa Naff served as a consultant on a documentary film relating to Arabs in America. She again realized existed on the subject of the Arab immigrant experience in America. Moreover, much of what she found conflicted with what pioneer informants had told her. Naff was also painfully aware that family members of decreased Arab immigrants often discarded the early artifacts, personal papers, photographs and books brought to America. Shortly after, she began working on a study on the history of Arab immigrants. In 1979, Alixa Naff met Gino Baroni, then undersecretary of the United States Department of Housing and Urban Development and founder of the National Center for Urban Ethnic Affairs. His center helped her secure funding for her research from the National Endowment for the Humanities and provided an office for her to work. The result of this work was a book entitled Becoming American: The Early Arab Immigrant Experience published in 1985. Richard Ahlborn, then curator of the Smithsonian's Community Life Division (now its Department of Cultural Affairs), convinced Naff to donate the collection to the Smithsonian in honor of her parents, Faris and Yamna Naff, and their generation of Arabs who immigrated to America.
Alixa Naff died on June 1, 2013 at the age of 93.
Related Materials:
Materials at the National Museum of American History
The Division of Home and Community Life (now Division of Cultural and Community Life)holds artifacts related to this collection including. See Accession #: 2007.3245.
Materials at the Smithsonian Institution
Photo Lot 2011-02, Alixa Naff photographs of Europe, the Middle East and the Mediterranean and audio tapes on Mediterranean folklore, National Anthropological Archives, Smithsonian Institution.
Provenance:
The collection is the result of research conducted by Dr. Alixa Naff relating to the study of the early Arab immigrant experience in the United States from about 1880-World War II. The study began with oral history interviews in 1962 and became a major project in 1980 with a grant from the National Endowment for the Humanities.
Restrictions:
Collection is open for research.
Researchers must use microfilm copies. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Viewing film portions of collection require special appointment; please inquire with a reference archivist. Do not use when original materials are available on reference video or audio tapes.
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:
Associations, institutions -- voluntarism Search this
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Northern Sierra Nevada Mountains: Mehrten Spring Road, 0.5 mile north of CA-88/Carson Pass Hwy (Peddler Hill 7.5' +/- 1000m)., El Dorado, California, United States, North America
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.
Collection Citation:
Forman H. Craton Collection, 1902-1983, Archives Center, National Museum of American History.
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.
Collection Citation:
Forman H. Craton Collection, 1902-1983, Archives Center, National Museum of American History.
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.
Collection Citation:
Forman H. Craton Collection, 1902-1983, Archives Center, National Museum of American History.
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.
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.
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.
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jervis McEntee papers, 1796, 1848-1905. 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Cushing Loring papers, 1899-1961. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Cushing Loring papers, 1899-1961. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
"Dreaming, Dreaming," 1897, THE SERENADE "Fairy Tales," 1897, THE IDOL'S EYE "I Love Thee, I Adore Thee," 1897, THE SERENADE "I Want a Man to Love Me," 1909, OLD DUTCH "If Only You Were Mine," 1900, THE SINGING GIRL "I'll Dream of Thee," 1908, ALGERIA "March," 1899, instrumental, THE SINGING GIRL "March," 1900, instrumental, THE VICEROY "My Gypsy Sweetheart," 1909, OLD DUTCH "Nancy, I Fancy You," 1906, DREAM CITY-THE MAGIC KNIGHT "Only One of Anything," 1908, ALGERIA "The Only One," 1905, WONDERLAND "The Serenade," 1897, instrumental, THE SERENADE "A Soldier's Love," 1908, THE PRIMA DONNA "Star Light, Star Bright," 1895, THE WIZARD OF THE NILE "Tony, the Peddler," 1903, BABETTE "Waltzes," 1895, instrumental, THE WIZARD OF THE NILE "Waltzes," 1899, instrumental, THE SINGING GIRL "When the Bugles Are Calling," 1895, THE WIZARD OF THE NILE.
Series Restrictions:
Collection is open for research.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution
The collection is open for research but is stored offsite. Arrangements must be made with the Archives Center staff two weeks prior to a scheduled research visit.
Collection 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.
Reproduction restricted due to copyright or trademark.
Collection Citation:
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Music and Ephemera, 1866-2009, Archives Center, National Museum of American History, Smithsonian Institution.
