This collection contains over 37,000 35mm slides, 3,000 glass lantern slides and garden files that may include descriptive information, photocopied articles (from journals, newspapers, or books), planting lists, correspondence, brochures, landscape plans and drawings. Garden files were compiled by Garden Club of America (GCA) members for most of the gardens included in the collection. Some gardens have been photographed over the course of several decades; others only have images from a single point in time. In addition to images of American gardens, there are glass lantern slides of the New York Flower Show (1941-1951) and trips that GCA members took to other countries, including Mexico (1937), Italy, Spain, Japan (1935), France (1936), England (1929), and Scotland.
A number of the slides are copies of historic images from outside repositories including horticultural and historical societies or from horticultural books and publications. The GCA made a concerted effort in the mid-1980s to acquire these images in order to increase its documentation of American garden history. Because of copyright considerations, use of these particular images may be restricted.
Biographical/Historical note:
The Garden Club of America was established in 1913 in Philadelphia, Pennsylvania, when the Garden Club of Philadelphia and eleven other garden clubs met to create a national garden club. Its purpose is to foster the knowledge and love of gardening and to restore and protect the quality of the environment through educational programs and gardening and conservation efforts. The GCA was incorporated in Delaware in 1923, with its headquarters established in New York City. Today, local clubs are organized under twelve regional zones. The GCA continues its tradition of hosting flower shows and publishing material related to gardening in the United States.
The GCA's glass lantern slides were used by The GCA for presentations and lectures about notable gardens throughout the United States dating back to colonial times. An effort was made in the late 1980s, in preparation of the 75th anniversary of the Garden Club of America's founding, to collect the disbursed slides. These slides were to eventually form the Slide Library of Notable American Parks and Gardens. The informational value of this collection is extensive since a number of images of the more than 4,500 gardens represented show garden designs that have changed over time or no longer exist. While the majority of images document a range of designed upper and upper-middle class gardens throughout the U.S., the scope of the collection is expanding as volunteers photograph and document contemporary gardens including community and vernacular gardens.
The gardens illustrate the design work of dozens of landscape architects including Marian Coffin, Beatrix Farrand, Lawrence Halprin, Hare & Hare, Umberto Innocenti, Gertrude Jekyll, Jens Jensen, Warren Manning, the Olmsted Brothers, Charles Platt, Ellen Biddle Shipman, and Fletcher Steele. Because of their proximity to the gardens, works of notable architects and sculptors may also be featured in the images.
Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
1 Photograph (lantern slide, hand-colored, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Place:
Tennessee -- Nashville
United States of America -- Tennessee -- Davidson County -- Nashville
Date:
c. 1934
General:
Mount reads: "Plan drawing by Mr. A. J. Baker. Text on mat: Edward Van Altena, 71-79 W. 45th St., N.Y.C."
Historic plate number: "77."
Historic plate caption: "Tennessee. Plan of Hermitage Garden."
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
United States of America -- Virginia -- Orange County -- Orange
General:
"Our garden is essentially a spring and early summer garden, the major part carved out of what was originally a densely wooded area with a stream flowing from a spring on the property to the Rapidan River. It is also a "his and her" garden, the perennials and herbs being "hers" and the woodland wildflowers, rhododendrons and rock garden being "his"."
"The garden is on three levels: the street level with a perennial garden against the ha-ha wall, an herb garden and lily border lead to a second level with three perennial borders and two paths, one with a view of the Rapidan River sloping down to the rock garden and the other to the wildflower garden and stream."
"There are approximately 600 rhododendrons and azaleas on the property, grown largely from seed or cuttings by the owner, some quite rare or unusual. One is R. bureavii from the garden of King Gustav of Sweden, obtained as cuttings from Dr. Serbin, ARS. Also cuttings from Dr. Serbin are several very dwarf and slow growing Rhododendron kiusoami (Hillier form). Many deciduous azaleas were grown from seed from Scottish gardens."
"Historically the property is on the north, east and south bounds of the Octonia Grant of 1722 to eight related members of the Beverley, Standard and Winslow family."
Persons associated with the property include: Fred A. Spicer (former owners from 1933 to 1964); Donald R. Ober (former owner from 1964 to 1975); Frank G. Scott, II (former owner from 1975 to 1978); Theodore G. Scott, Jr. (former owner from 1978 to 1996).
Related Materials:
Scott Garden related holdings consist of 1 folder (8 35 mm. slides)
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
The Perry H. Wheeler Collection includes the design, client and business records of Perry H. Wheeler, a landscape architect best known for his work on numerous townhouse gardens in the Georgetown neighborhood of Washington, D.C., during the 1960s as well as the redesign of the White House Rose Garden in collaboration with Rachel Lambert ('Bunny') Mellon during the Kennedy administration.
Scope and Contents note:
The Perry H. Wheeler Collection includes the design, client and business records of Perry H. Wheeler, a landscape architect best known for his work on numerous townhouse gardens in the Georgetown neighborhood of Washington, D.C. during the 1960s as well as the redesign of the White House Rose Garen in collaboration with Rachel ('Bunny') Lambert Mellon during the Kennedy adminstration. The collection includes photographic images, plans, drawings, client correspondence, plant lists, invoices, newspaper and magazine clippings, certificates, awards, and invitations. The bulk of the collection and most of the professional papers date from about 1950 to 1965 and relate to various garden design projects by Wheeler, many of them located in the Georgetown neighborhood of Washington, D.C. Of particular note are documents for Wheeler's public design work including the White House grounds, Washington National Cathedral, U. S. National Arboretum, President John F. Kennedy's gravesite in Arlington National Cemetery, and the British and Cambodian Embassies in Washington, D.C. Noteworthy correspondents include President and Mrs. John F. Kennedy, Ladybird Johnson, Mr. and Mrs. Paul Mellon, and Margaret Truman.
There are also over 3,000 35mm slides dating from the 1950s and 1960s that document Wheeler's personal travels to Europe, Africa, South America, the Caribbean, Canada, and the American West.
Biographical/Historical note:
Perry Hunt Wheeler (1913-1989), a Georgia native, began his higher education at Emory University, going on to graduate from the University of Georgia with a Bachelor of Fine Arts degree in 1937. Immediately afterward Wheeler enrolled in Harvard University from which he earned a graduate degree in Landscape Architecture in 1938. After graduation, Wheeler collaborated on garden projects in Atlanta, Georgia with fellow landscape architect Helen Hawkins Clarke. During World War II, Wheeler moved to Washington, D.C. to serve under the Office of Civilian Defense and the Office of Strategic Services Camouflage Division. Following the war, Wheeler worked at Garden House a Georgetown shop where he advised homeowners on tasteful garden design, accessories, and furnishings. By 1948 Wheeler had established a landscape architecture practice in Washington, D.C. His practice grew via word of mouth through Washington's social circles and through a shared office with landscape architect Rose Ishbel Greely, and later with architect Gertrude Sawyer.
In 1947, he formed a 'bachelor household' in Georgetown with James Snitzler. Later, at the invitation of Rachel Lambert "Bunny" Mellon, he and Snitzler created a second home outside of Washington called "Spring Hill" on property owned by Mellon. Shortly after Snitzler's death in 1968, Wheeler moved permanently to Middleburg, Virginia and continued to travel, lecture, and consult with clients. Wheeler semi-retired in 1981 to 'Budfield,' a property in Rectortown, Virginia where he passed away in 1989, leaving his estate to his partner, James M. Stengle.
Wheeler is best known for his work on private gardens in Washington's Georgetown neighborhood. He frequently employed the use of intricate brickwork, low-maintenance planting, and simple water features in creating his charming and functional designs. His most noteworthy commissions outside the private realm include collaboration with Bunny Mellon on the White House Rose Garden, designing a Garden Club of America-commissioned gazebo and its surroundings for the U.S. National Arboretum, and plantings for the National Cathedral and President John F. Kennedy's gravesite in Arlington National Cemetery.
Provenance:
Gift from the estate of James M. Stengle, 1993.
Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
American Society of Landscape Architects Search this
Type:
Archival materials
Place:
Les Ormes (Washington, D.C.)
United States of America -- District of Columbia -- Washington
Scope and Contents:
The folders include worksheets, magazine and newspaper clippings, plans (drawings), and other information.
General:
Les Ormes (The Elms) was the home of George and Marguerite Skirvin Tyson and Mrs. Tyson's sister, the well-known Washington hostess and political figure Perle Skirvin Mesta. Perry Wheeler created the landscape design for the property, which was situated in the hilly Spring Valley section of the city, and gave it a French flavor in keeping with the style of the house and the taste of its owners. Taking advantage of the natural slope of the site, Wheeler designed a series of terraces which incorporated existing flowering trees amidst flagstone surfaces and gravel walkways. Seating areas were placed throughout, while spring bulbs--Thalia daffodils, tulips, and grape hyacinths--provided abundant color. At one end of the house the terraces descended to a fountain pool and summer house punctuated with large holly standards. The property was sold in the early 1960s to then Vice-President Lyndon Baines Johnson and Ladybird Johnson. The Tyson-Mesta menage moved to an apartment for which Perry Wheeler did one design, for a terrace roof, included in the Archives of American Gardens as series DC120.
Persons associated with the garden include Perry H. Wheeler (landscape architect, 1955-1956); Perle Skirvin Mesta (former owner, ca. 1955-1961); and George and Marguerite Skirvin Tyson (former owners, ca. 1955-1961); and Lyndon Baines and Ladybird Johnson (former owners, ca. 1961-1963).
Related Materials:
Les Ormes related holdings consist of 3 folders (19 slides (photographs); 10 safety film negatives; 11 plans (drawings))
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1995 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 6 series.
Missing Title
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: The Cape Verdean Connection
Series 3: The Czech Republic: Tradition and Transformation
Series 4: Heartbeat: The Voices of First Nations Women
Series 5: Russian Roots, American Branches: Music in Two Worlds
Series 6: Special Events
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1995 Festival of American Folklife was produced by the Smithsonian Center for Folklife Programs and Cultural Studies and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
The 1995 Festival featured American Indian women's musical traditions, the heritage of the Czech Republic and Czech Americans, music of Russian and Russian American groups, and the cultural life of the Cape Verdean community. These programs testified to the vitality of the human spirit, and to how people, ideas, and forms of cultural expression increasingly cross boundaries of geography, politics, language, race, and gender. Special events included evening concerts devoted to African immigrant communities in the Washington, D.C. area and a memorial concert for Festival founding director, Ralph Rinzler.
Heartbeat: The Voices of First Nations Women presented the musical culture of American Indian women. The program examined how these women express their identity through the use of a variety of musical forms - from traditional songs of home to contemporary songs of Indian life, from the appropriation of men's music to the fusion of root music with country, folk, blues, and gospel.
The Czech Republic: Tradition and Transformation provided a broad survey of the ways national, regional, ethnic, and local traditions have been defined in a complex state located at the crossroads of Central Europe. The "Velvet Revolution" of 1989 and the separation of the Czech and Slovak Republics in 1993 have prompted further examinations of cultural identity, the relationship between the state and popular expression, creativity and tradition. Czech Americans, too, have looked at these changes and the reestablishment of relationships to their ancestral homeland.
A third program, Russian Roots, American Branches: Music in Two Worlds, explored the musical culture of Old Believers and Molokans, Russian religious communities created in the 17th and 18th centuries. The program united immigrant communities long established in the United States with those from Russia, and brought together people who, although separated by generations and different social environments, have nonetheless faced parallel issues with regard to cultural persistence and adaptation.
All these programs involved complex institutional arrangements, local-level research and documentation, and strong commitment to and pride in Festival representation. The Cape Verdean Connection program well demonstrated these processes. Cape Verde is an independent island nation and former Portuguese colony located off the west coast of Africa. Cape Verdean Americans, now numbering about 400,000, most born and raised here, historically settled in New England during the 18th century, playing instrumental roles in the whaling and cranberry industries. Cape Verdeans had an important story to tell about their role in American life, their immigrant and continuing transnational cultural experience, their multiracial heritage, and their enduring sense of community - a story with much to tell others as well. Cape Verdeans provided the impetus for the Festival program, carried out most of the research in concert with Smithsonian scholars, led the effort to raise funds from governments, foundations, corporations, and individuals through benefit dances, auctions, and other community events, and, as is fitting, joined with the Smithsonian to share their experiences with the American public.
The 1995 Festival took place during two five-day weeks (June 23-27 and June 30-July 4) between Madison Drive and Jefferson Drive and between 10th Street and 13th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan). It featured four programs and several special events.
The 1995 Program Book included schedules and participant lists for each program; essays provided background on the Festival and each of the four programs.
The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife Programs & Cultural Studies.
Center for Folklife Programs & Cultural Studies
Richard Kurin, Director; Richard Kennedy, Deputy Director; Diana Parker, Festival Director; Anthony Seeger, Director, Smithsonian/Folkways Recordngs; Peter Seitel, Senior Folklorist; Thomas Vennum, Jr., Senior Ethnomusicologist; Betty Belanus, Olivia Cadaval, Amy Horowitz, Marjorie Hunt, Diana Baird N'Diaye, Curators, Folklorists, Educational and Cultural Specialists; Carla M. Borden, John W. Franklin, Charlene James-Duguid, Program Managers; Felicia Erickson, Arlene L. Reiniger, Mary Van Meter, Program Specialists; Jeffrey Place, Archivist; Kenneth M. Bilby, Roland Freeman, Ivan Karp, Corrine Kratz, Alan Lomax, Worth Long, Yook Jung Park, Kate Rinzler, Research Associates & Collaborators
Folklife Advisory Council and Folkways Advisory Council
Roger Abrahams, Jacinto Arias, Michael Asch, Jane Beck, Don DeVito, Pat Jasper, Ella Jenkins, Jon Kertzer, Barbara Kirshenblatt-Gimblett, John Nixdorf, Bernice Reagon, John Roberts, Carol Robertson, Gilbert Sprauve, Jack Tchen, Ricardo Trimillos, Carlos Vélez-Ibáñez
National Park Service
Roger Kennedy, Director; Robert G. Stanton, Regional Director, National Capital Region
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Forms Part Of:
Smithsonian Folklife Festival records: 1995 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
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.
44.5 Cubic feet (4,317 glass negatives. 363 film negatives. 182 glass lantern slides. 12 photograph albums. 56 plans and drawings. 3 monographs.
)
Type:
Collection descriptions
Archival materials
Negatives
Blueprints
Albums
Plans (drawings)
Lantern slides
Date:
1899-1964
Summary:
The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and 3 monographs by or about Sears.
Scope and Contents note:
The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and monographs by or about Sears.
Several of the glass lantern slides are duplicates of glass plate negatives in the collection. They apparently were chosen by Sears to illustrate some of his best design work, perhaps for lecture or client purposes.
In addition, there are 56 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina. They range in date from 1917 to 1937 and from 1955 to 1964. Sears photographed some of his early plans; they are included in with the photographic images. Sears also photographed a handful of design plans by landscape architect Sibley Coslett Smith who practiced in Providence, Rhode Island; Sears and Smith shared the same business address there.
The Thomas Warren Sears Collection does not fully document the extent of Sears' design work. The use of glass plate negatives—which make up the bulk of the Thomas Warren Sears Collection—as a photography medium waned sometime during the first quarter of the twentieth century. As a result, the images in the Sears Collection capture examples of Sears' early to mid-career design work but they do not include jobs designed by Sears during the latter half of his design career.
Arrangement note:
The glass plate negatives were originally housed in numerous cardboard boxes manufactured for the sale of undeveloped glass plate negatives. Sears annotated the outside of the boxes with project or client names and/or locations, but the contents do not always match these labels. In addition, because very few of the glass plate negatives and lantern slides were labeled or captioned, it is not always evident where one job ended and another began if multiple projects were stored in the same carton. As a result, there are many instances in the Sears Collection where images have been inadvertently mislabeled because their identification is not apparent. Misidentified images are subject to correction as their proper identification is discovered.
Each project has been assigned its own unique AAG job number based on its geographic origin. Those groups of images that have not been identified as to their location have been assigned a project number starting with 'SRS.'
The collection is arranged into 3 series:
1) Photographic images (including glass plate negatives, film negatives, glass lantern slides, and photograph albums)
2) Plans and Drawings
3) Monographs
Biographical/Historical note:
Thomas Warren Sears was born in 1880 in Brookline, Massachusetts. He received a Bachelor of Arts degree from Harvard University in 1903 and Bachelor of Science degree in landscape architecture from the Lawrence Scientific School of Harvard in 1906. Sears was an amateur photographer who won awards for his photography while at Harvard. In 1915 his images were published in the monograph, Parish Churches of England. After graduation he worked for the firm of Olmsted Brothers Landscape Architects for two years and then briefly practiced in Providence, Rhode Island. In 1913, Sears established a landscape design office in Philadelphia, Pennsylvania where he spent the remainder of his professional career. Sears at one point was in a professional partnership; some of his design plans list the firm name of Sears and Wendell. He was made a Fellow of the American Society of Landscape Architects in 1921.
Sears designed many different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments. His designs were primarily located in Pennsylvania, Maryland, and New York. Just a few of his private landscapes include Marengo in Easton, Maryland; Sunnybrook, the Isaac H. Clothier, Jr. estate in Radnor, Pennsylvania; and Balmuckety in Pikesville, Maryland. In 1915, Sears started work on Reynolda, a country estate in Winston-Salem, North Carolina. He generated design plans for the property intermittently over the next two decades. Reynolda's formal gardens, greenhouses, and acres of fields and woodlands subsequently became part of Wake Forest University.
During World War I, Sears designed Army camps in Battle Creek, Michigan and Spartanburg, South Carolina. He also helped lay out Langley Field, at that time an experimental aviation field in Hampton Roads, Virginia. In the 1940s, Sears designed the amphitheater at Swarthmore College in Swarthmore, Pennsylvania for concerts, outdoor performances, and other special events. During that decade he also worked on Colonial Revival gardens at Pennsbury, William Penn's country estate in Bucks County, Pennsylvania located by the Delaware River. Sears retired in 1964 and died in 1966.
Related Archival Materials note:
The Philadelphia Architects and Buildings Project (PAB), administered by The Athenaeum of Philadelphia, includes references to design projects by Sears.
Harvard University's Loeb Library includes a number of images by Sears, some of them documenting gardens that he designed.
Harvard University's Fine Arts Library, Special Collections includes a collection of photographs and negatives of English parish churches by Sears, c. 1908. Some of the images were published in the monograph, Parish Churches of England.
The Reynolda House Museum of American Art in Winston-Salem, North Carolina includes plans by Sears of Reynolda in its Estate Archives.
Provenance:
Gift of Eleanor Sears Tibbetts, Sears' daughter, to the Horticulture Services Division (later Smithsonian Gardens) in 1992.
Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
This collection is open for research. Access to original papers requires an 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:
Jud Fine and Barbara McCarren papers, circa 1968-2009. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an 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:
Jud Fine and Barbara McCarren papers, circa 1968-2009. Archives of American Art, Smithsonian Institution.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1986 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 6 series.
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: 20th Anniversary Music Stage
Series 3: American Trial Lawyers
Series 4: Cultural Conservation: Traditional Crafts in a Post-Industrial Age
Series 5: Japan: Rice in Japanese Folk Culture
Series 6: Tennessee
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1986 Festival of American Folklife was produced by the Smithsonian Office of Folklife Programs and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
1986 saw the 20th annual Festival. Twenty years previously, the Smithsonian's 1967 Festival of American Folklife had announced in a national forum that study and conservation of living traditional cultures were a continuing part of the Federal government's engagement with arts, humanities, and science. Since that time, this idea has resonated outside the Institution in a way that helped to shape a coordinated Federal approach to traditional cultures.
1986 marked as well the 10th anniversary of the American Folklife Center in the Library of Congress, on whose board the Secretary of the Smithsonian sits as an ex-officio member. In his remarks for the Festival Program Book, Secretary Robert McC. Adams took note that the Smithsonian had collaborated with the Center on several folklife matters, among them the Federal Cylinder Project, which preserved and was actively making available to Indian communities the earliest sound recordings of American Indian music. He offered his congratulations to the American Folklife Center and also to the Folk Arts Program at the National Endowment for the Arts, in its 14th year in 1986, for their continuing good work.
The 1986 Festival featured four thematic programs and a series of musical performance celebrating the Festival's 20th anniversary. The 1986 Program Book included schedules and participant lists for each program; the Program Book essays provided a larger context for the Festival presentations, without being limited to traditions actually presented at the 1986 Festival.
The 1986 Festival took place for two five-day weeks (June 25-29 and July 2-6) between Madison Drive and Jefferson Drive and between 10th Street and 14th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan). A visual highlight of the 1986 Festival site was a large flooded rice paddy in the Japan program, where daily rice-transplanting rituals were enacted. The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Office of Folklife Programs.
Office of Folklife Programs
Peter Seitel, Director; Richard Kurin, Deputy Director; Diana Parker, Festival Director; Thomas Vennum, Jr., Senior Ethnomusicologist; Alicia María González, Assistant Director for Program Development; Marjorie Hunt, Phyllis M. May, Nicholas R. Spitzer, Folklorists; Richard Derbyshire, Archivist
National Park Service
William Penn Mott, Jr., Director; Manus J. Fish, Jr., Regional Director, National Capital Region
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Forms Part Of:
Smithsonian Folklife Festival records: 1986 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
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.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1978 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 10 series.
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: Chesapeake Bay Traditions
Series 3: Children's Folklife
Series 4: Coal Miners & Oil Workers
Series 5: D.C. Folklore
Series 6: Folklife in the Museum: A Nation of Nations
Series 7: Folklife in the Museum: Renwick Gallery
Series 8: Mexican & Mexican American Traditions
Series 9: Other Programs
Series 10: San Juan Pueblo Culture
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1978 Festival of American Folklife was produced by the Smithsonian Folklife Program of the Office of American and Folklife Studies and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
With the 1978 Festival, the Smithsonian began a five-year cycle of variations on the theme of "community," exploring folklore as the artistic expression of community life, and the pleasure and dignity found in that process. When the Smithsonian Folklife Program staff decided to use "community" as the theme of the 1978 presentation, they were not grafting an idea onto the Festival, but featuring an aspect of the Festival that had been present throughout its history. Folklore consists of the traditional ways in which community people work and play together, and their customary forms of entertaining and instructing each other. Community is composed of people meeting regularly who have inherited or developed ways of celebrating their sense of coming together.
"Community" had been involved in the past eleven festivals in many ways. For communities - whether inherited or joined - serve as a vital buffer between individuals and a world of megastates and megacorporations. They are more manageable units in which all can participate - men and women, young and old - and give some living proof of Schumacher's notion that "small is beautiful." Festival organizers sought to reaffirm that humans are important, and that we are, like plants and other animals, dependent upon communities for survival.
As with the preceding year, the 1978 Festival (October 4-9) was held on a site on the National Mall later to be occupied by the National Museum of African American History and Culture, between 14th and 15th Streets and between Constitution Avenue and Madison Drive (see site plan). Indoor activities took place in the National Museum of History and Technology, the National Museum of Natural History, and the Renwick Gallery. The San Juan Pueblo programs took place outside of the National Museum of Natural History. As had been the case in 1977, Festival programming in the museums sought to connect objects on exhibit with people who could demonstrate, explain, or comment upon them; programming was again marked by collaboration between Folklife Program staff and museum curators. Festival programs included:
Missing Title
Chesapeake Bay Traditions
Children's Folklife
Coal Miners & Oil Workers
D.C. Folklore
Folklife in the Museum: A Nation of Nations (including presentations on Ellis Island, Dunham School,family folklore, sleeping car porters, and a wheelwright)
Folklife in the Museum: Renwick Gallery (featuring presentations on Mexican masks and on musicalinstruments)
Mexican & Mexican American Traditions
Other Programs (featuring organ-building in the Hall of Musical Instruments and sharecroppers in the Hallof Everyday Life in the American Past)
San Juan Pueblo Culture
The 1978 Program Book provided information on each of the programs, including a schedule and participant lists.
The 1978 Festival was again co-presented by the Smithsonian Institution and National Park Service, with support from the U.S. Department of Energy, McDonald's Washington Area Family Restaurants, and the Music Performance Trust Funds. It was organized by the Folklife Program within the Office of American and Folklife Studies.
Folklife Advisory Council
Wilcomb E. Washburn, Chairman, Roger Abrahams, Richard Ahlborn, Richard Dorson, William Fitzhugh, Lloyd Herman, Robert Laughlin, Scott Odell, Bernice Reagon, Ralph Rinzler, E. Richard Sorenson
Folklife Program, Office of American and Folklife Studies
Ralph Rinzler, Director; Jeffrey LaRiche, Program Coordinator; Peter Seitel, Senior Folklorist; Thomas Vennum, Jr., Ethnomusicologist; Susan Kalcik, Folklorist; Steve Zeitlin, Folklorist; Jack Santino, Folklorist; Frank Proschan and Richard Derbyshire, Archivists
National Park Service
William J. Whelan, Director; Manus J. Fish, Jr., Regional Director, National Capital Region
Fieldworkers and presenters:
Héctor Aguíñiga, Holly Baker, Karen Baldwin, Charles Camp, Susan G. Davis, Hazel Dickens, Jason Dotson, Ben Evans, Alicia González, Richard Haefer, Charlotte Heth, Marjorie Hunt, Amy Kotkin, Maria La Vigna, Phyllis May, Pat Mullen, Salvador Ortega, Keith Rollinson, Daniel Sheehy, Nick Spitzer, Peggy Yocom, Jean Alexander, Kate Rinzler, George McDaniels
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Forms Part Of:
Smithsonian Folklife Festival records: 1978 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
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.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1971 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 5 series.
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: Northwest Coast Indians
Series 3: Ohio
Series 4: Performances
Series 5: Union Workers
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1971 Festival of American Folklife was produced by the Smithsonian Division of Performing Arts.
For more information, see Smithsonian Folklife Festival records.
Introduction:
The Festival of American Folklife, since its initiation in 1967, sought to present varied folk traditions representing a broad spectrum of our nation's cultural groups. It was the Smithsonian's hope and belief that the 1971 Festival would deepen and advance public appreciation of the richness and viability of American grass-roots creativity.
The 1971 Festival featured the State of Ohio, Pacific Northwest Coast Indians and Alaskan Eskimos, and the American worker as a part of organized labor. It took place for five days on the National Mall, between Madison Drive and Jefferson Drive and between 10th Street and 14th Street, south of the National Museum of History and Technology and the National Museum of Natural History (see site plan).
Evening programs took place in two locations: Indian Pow Wows were held in the Indian Area at 13th Street opposite the National Museum of History and Technology nightly except July 4th when a powwow was held on the Washington Monument Grounds. Evening concerts took place on the Main Stage located in front of the National Museum of Natural History. The Main Stage also hosted its own performers and others drawn from one of the Festival's three other programs; the resulting recordings constitute a separate subseries below.
The 1971 Festival was once again produced by the Division of Performing Arts, where James R. Morris was Director and Richard Lusher was Deputy Director. Ralph Rinzler continued as Festival Director, with Gerald L. Davis as Assistant Director and Kenneth S. Goldstein as Special Assistant to the Secretary on Folklore and Folklife.
The 1971 Program Book included information on all of the programs, a participant list, and schedule.
Festival speakers and consultants:
Roger Abrahams, Daniel Barnes, Mike Cooney, Hazel Dickens, Josh Dunson, Kenneth S. Goldstein, Archie Green, Richard Hulan, Martin Koenig, George Mitchell, Patrick Mullen, Hoyle Osborne, Ethel Raim, Alice Foster Seeger, Bob Siggins, Frances Utley, Arthur Walker
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Forms Part Of:
Smithsonian Folklife Festival records: 1971 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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. at 202-633-7322 or rinzlerarchives@si.edu for additional information.
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.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1989 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 5 series.
Missing Title
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: American Indian Program
Series 3: The Caribbean: Cultural Encounters in the New World
Series 4: Les Fêtes Chez Nous: France and North America
Series 5: Hawai'i
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1989 Festival of American Folklife was produced by the Smithsonian Office of Folklife Programs and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
In commemoration of our common French and American covenants of human rights and in recognition of our common French heritage, the 1989 Festival celebrated the Bicentennial of the French Revolution and the Declaration of the Rights of Man and of the Citizen (on display during the Festival in the Smithsonian's Arts and Industries Building). One of the Festival's four programs thus featured Francophone musicians and craftspeople from France, Quebec, New England, Louisiana, Missouri, and North Dakota.
The Hawai'i program included the descendants of immigrants, mainly from the Pacific rim (but also from the Atlantic), who came to the islands to work on plantations, enduring servitude and hardship in hope of a better life. Hawai'i is unique in that its indigenous culture suffuses its society as a whole, giving nuance to the forms of immigrant cultures that came there. This thirtieth anniversary of Hawaii's statehood invited the Smithsonian to reflect upon human cultural freedom - equity for and conservation of traditional cultures, as the Festival celebrated the vitality and open spirit of an indigenous Hawaiian culture that endured political, ideological and commercial attempts to restrict its practice and growth.
The continuity of culture depends upon access to various natural, social, and cultural resources. We bridle at unfair restrictions of such access that limit our freedom to realize our visions of who we are. The American Indian program in 1989 examined such restrictions and their impact upon contemporary tribal life. What happens when tribal rituals depend on endangered species, or traditional means of subsistence are threatened by land and water pollution? The program also illustrated attempts by various tribes to gain freedom over their cultural future through the innovative management of traditional resources.
The Caribbean program illustrated the historical flow of cultural and aesthetic ideas between diverse Native, European, and African populations in several island societies. Caribbean populations are characterized by the creative creolization of music, food, language, and art. Indeed, this encounter of diverse peoples defined the New World that developed in the wake of the Columbian voyages, whose 500th anniversary would be commemorated a few years later, in 1992. The Festival hosted contingents of musicians from Cuba, Haiti, Jamaica, and Puerto Rico so that Americans could hear their musics and the complex historical tale they tell about the making of the New World.
The 1989 Festival took place for two five-day weeks (June 23-27 and June 30-July 4) between Madison Drive and Jefferson Drive and between 10th Street and 14th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan). The 1989 Program Book included schedules and participant lists for each program; the Program Book featured four substantial essays, each laying out in depth the rationale for one of the four Festival programs.
The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Office of Folklife Programs.
Office of Folklife Programs
Richard Kurin, Acting Director; Diana Parker, Festival Director; Anthony Seeger, Curator, Folkways Records; Thomas Vennum, Jr., Senior Ethnomusicologist; Peter Seitel, Senior Folklorist; Olivia Cadaval, Marjorie Hunt, Phyllis M. May-Machunda, Heliana Portes de Roux, Frank Proschan, Nicholas R. Spitzer, Folklorists; Betty Belanus, Education Specialist; Richard Kennedy, Winifred Lambrecht, Curators; Jeffrey Place, Archivist
Folklife Advisory Council
Richard Bauman (Chair), Roger Abrahams, Henry Glassie, Rayna Green, John Gwaltney, Charlotte Heth, Adrienne Kaeppler, Ivan Karp, Bernice Reagon, John Kuo Wei Tchen, Carlos Vélez-Ibáñez
National Park Service
James M. Ridenour, Director; Robert G. Stanton, Regional Director, National Capital Region
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Forms Part Of:
Smithsonian Folklife Festival records: 1989 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
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.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1996 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 5 series.
Missing Title
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: The American South
Series 3: Iowa - Community Style
Series 4: Special Events
Series 5: Working at the Smithsonian
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1996 Festival of American Folklife was produced by the Smithsonian Center for Folklife Programs and Cultural Studies and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
In 1996, questions of national unity and purpose remained as salient as they had been twenty years before, for the Bicentennial Festival - yet there was also much to celebrate, and good cause to do so. On the state level, the year marked the 150th anniversary of Iowa statehood; on the international level, it marked the 100th anniversary of the modern Olympics; and for the nation and the world, the Smithsonian celebrated its 150th anniversary. Each of these anniversaries recalled what we value as Americans and helped set our course for the future.
The 1996 Festival joined with the Atlanta Committee for the Olympic Games to present a program on the culture of the American South, both on the National Mall and, before a world audience, back home in Atlanta during the Olympic Games. The Olympics symbolize people from the world over coming together in common athletic and artistic purposes. Just as a watershed is fed by the confluence of numerous streams, so too does the culture of the South represent the confluence of Native American, African, and European traditions, joining together with a stream of visitors from around the globe.
Iowa, which celebrated its sesquicentennial on the National Mall, is known as the land between the Mississippi and Missouri rivers, and symbolizes an important cultural watershed. For many, Iowa represents grassroots America, our heartland. The land and the rivers give Iowans a strong sense of purpose, and have nourished the value of community life as a centerpiece in our national consciousness - a value that was ever-present in the Iowa Festival program.
The Smithsonian, which has grown into the world's foremost national scientific, historical, and artistic complex, represents yet another kind of cultural watershed. It collects aspects of America's heritage, documenting the ebb and flow of history over the years and across the nation, and encourages visitors to find themselves in its never-ending course. For its 150th anniversary, visitors had a chance to peer behind the scenes and to meet Smithsonian workers in every field.
The Smithsonian saw the Festival as a wonderful way to help celebrate the anniversaries of these institutions, for like them, the Festival stands as a tribute to our own ability to speak with each other, to share our cultures and traditions, and to do so in a civil, tolerant, respectful, and enlightening way. The Festival itself is an enduring institution, and in 1996 it marked its own thirtieth event in typical fashion - by working hard to amplify the voices of others.
The 1996 Festival took place during two five-day weeks (June 26-30 and July 3-7) between Madison Drive and Jefferson Drive and between 9th Street and 13th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan). It featured three programs and a special event, the second Ralph Rinzler Memorial Concert.
The 1996 Program Book included schedules and participant lists for each program; essays provided background on the Festival and on each of the programs.
The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife Programs & Cultural Studies.
Center for Folklife Programs & Cultural Studies
Richard Kurin, Director; Richard Kennedy, Deputy Director; Diana Parker, Festival Director; Anthony Seeger, Director, Smithsonian/Folkways Recordngs; James Early, Director, Cultural Studies & Communications; Thomas Vennum, Jr., Senior Ethnomusicologist; Olivia Cadaval, Chair, Research & Education; Betty Belanus, Marjorie Hunt, Diana Baird N'Diaye, Peter Seitel, Curators, Folklorists, Educational and Cultural Specialists; Carla M. Borden, Program/Publications Manager; John W. Franklin, Program Manager; Arlene L. Reiniger, Program Specialist; Jeffrey Place, Archivist; Stephanie Smith, Assistant Archivist; Roland Freeman, Ivan Karp, Alan Lomax, Worth Long, Kate Rinzler, Research Associates & Collaborators
Folklife Advisory Council and Folkways Advisory Council
Roger Abrahams, Jacinto Arias, Michael Asch, Jane Beck, Don DeVito, Pat Jasper, Ella Jenkins, Jon Kertzer, Barbara Kirshenblatt-Gimblett, John Nixdorf, Bernice Johnson Reagon, John Roberts, Carol Robertson, Gilbert Sprauve, Jack Tchen, Ricardo Trimillos, Carlos Vélez-Ibáñez
National Park Service
Roger Kennedy, Director; Robert G. Stanton, Regional Director, National Capital Region
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Forms Part Of:
Smithsonian Folklife Festival records: 1996 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
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.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1982 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 5 series.
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: Children's Program
Series 3: Korea
Series 4: National Heritage Fellowships Program
Series 5: Oklahoma
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1982 Festival of American Folklife was produced by the Smithsonian Office of Folklife Programs and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
Having returned to the summer with the 1981 Festival, in 1982 the Festival of American Folklife returned to its original plot on the National Mall among Smithsonian Museum buildings. It took place for two five-day weeks (June 24-28 and July 1-5) between Madison Drive and Jefferson Drive and between 10th Street and 14th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan). As noted by Secretary S. Dillon Ripley, "We celebrate the return to a quieter, more easily accessible, and larger site, and also to one that makes more clearly visible the strong, complimentary relationship between museum collections and the presenters of living traditions."
The 1982 Program Book provides information on each of the four programs.
The 1982 Festival was co-presented by the Smithsonian Institution and National Park Service, with support from the Diamond Jubilee Commission of the State of Oklahoma, Oklahoma Department of Tourism and Recreation, International Cultural Society of Korea, and Music Performance Trust Funds, and with cooperation of the National Endowment for the Arts. It was organized by the Office of Folklife Programs.
Folklife Advisory Council
Wilcomb E. Washburn, Chairman, Roger Abrahams, Richard Ahlborn, William Fitzhugh, Lloyd Herman, Robert Laughlin, Scott Odell, Ralph Rinzler, Peter Seitel, Richard Sorenson, Thomas Vennum
Office of Folklife Programs
Ralph Rinzler, Director; Richard Derbyshire, Archivist; Susan Kalcik, Folklorist; Jeffrey LaRiche, Program Coordinator; Diana Parker, Festival Program Coordinator; Jack Santino, Folklorist; Robert Sayers, Anthropologist; Peter Seitel, Senior Folklorist; Thomas Vennum, Ethnomusicologist; Kazadi wa Mukuna, Ethnomusicologist
National Park Service
Russell E. Dickenson, Director; Manus J. Fish, Jr., Regional Director, National Capital Region
Fieldworkers and presenters:
Hannah Atkins, Jay Bailey, George Carney, Rodger Harris, Alan Heyman, Geraldine Johnson, Susan Kalcik, Doug Kim, Kim Yong Pil, Paul Lehman, Guy Logsdon, Lucy Long, Clydia Nahwoosky, Fred Nahwooksy, Michael Saso, Robert Sayers, Daniel Sheehy, Bob Teske, Peggy Yocom, Yoon Yeol Soo, Zozayong
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Forms Part Of:
Smithsonian Folklife Festival records: 1982 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
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.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1972 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 4 series.
Missing Title
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: Maryland
Series 3: Southwest Indians
Series 4: Union Workers
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1972 Festival of American Folklife was produced by the Smithsonian Division of Performing Arts.
For more information, see Smithsonian Folklife Festival records.
Introduction:
The 1972 Festival continued the pattern set by previous festivals, taking place for five days on the National Mall, between Madison Drive and Jefferson Drive and between 12th Street and 14th Street, south of the National Museum of History and Technology (see site plan). Maryland was the featured State, and the craft and music presentations on the main Festival site were complemented by activities at Hains Point in West Potomac Park that showed the rich maritime traditions of the Chesapeake Bay. Programs devoted to American Indians of the Southwest and to Union Workers (including the diverse musical traditions of working Americans) rounded out the Festival.
Seeking to strengthen the connection between the living presentations at the Festival and the exhibitions within the walls of Smithsonian museums, the 1972 Festival introduced an addition intended to heighten visitors' experience and strengthen the educational content. At numerous locations where skills and crafts were demonstrated, small signs entitled "Museum Guides" directed visitors to locations within the museums where a correlative view of the products and skills seen at the Festival could be reviewed in an historic context.
As in previous years, the 1972 Festival was produced by the Division of Performing Arts, where James R. Morris was Director and Richard Lusher was Deputy Director. Ralph Rinzler continued as Festival Director, with Gerald L. Davis as Assistant Director and Kenneth S. Goldstein as Special Assistant to the Secretary on Folklore and Folklife.
The 1972 Program Book included information on all of the programs, a schedule, and participant lists.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Forms Part Of:
Smithsonian Folklife Festival records: 1972 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
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.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1985 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 5 series.
Missing Title
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: Cultural Conservation
Series 3: Louisiana
Series 4: Mela! An Indian Fair
Series 5: Special Events
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1985 Festival of American Folklife was produced by the Smithsonian Office of Folklife Programs and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
From the first Festival of American Folklife in 1967 through the 1984 Festival, more than 10,000 participants traveled to Washington to share their wisdom and talent with visitors, Festival Director Diana Parker recalled in the 1985 Program Book. In explaining and demonstrating their skills as singers, dancers, musicians, cooks, artisans, storytellers, and workers, they represented legions more in their home communities. Because of the time and knowledge they shared, lives had been enriched, while the cultural understanding of the aesthetic variety in this and other nations had broadened. Meanwhile, the Smithsonian's archive of folklife research and programming experience had grown incrementally each year. There remained much still to be learned, and each participant's story added to our understanding of the mosaic of folk culture.
Festival participants often spoke of their struggle to maintain traditions in the face of overwhelming odds. Each year brought another person to inform visitors, "I am the last who knows how to do this the old way." For this reason the Folklife Programs viewed conservation of culture as an issue equal in urgency to the conservation of natural resources, for the pluralism reflected at each year's Festival would be terrible to lose. The Smithsonian was not, of course, the only organization concerned with cultural conservation. The American Folklife Center at the Library of Congress consistently contributed on a national scale to research and preservation of traditional culture. Numerous state and local programs were also hard at work in similar efforts and have made notable contributions. As the National Endowment for the Arts celebrated its 20th anniversary in 1985, the Smithsonian was especially aware of the immense contributions of its Folk Arts Program.
The 1985 Festival took place for two five-day weeks (June 26-30 and July 3-7) between Madison Drive and Jefferson Drive and between 10th Street and 14th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan).
For the 1985 Festival, more than two hundred participants came to Washington to share in a great celebration of cultural diversity. Three thematic programs were presented, complemented by a number of special events. The 1985 Program Book provides information on each of the programs.
The 1985 Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Office of Folklife Programs. In addition to specific support (acknowledged below) for the Louisiana and Mela! programs, the recording industry provided support in part for the instrumental music in performances at the Festival through the Music Performance Trust Funds (Martin A. Paulson, Trustee).
Office of Folklife Programs
Peter Seitel, Director; Diana Parker, Festival Director; Thomas Vennum, Jr., Senior Ethnomusicologist; Marjorie Hunt, Folklorist; Alicia María González, Folklorist and Program Developer; Kazadi wa Mukuna, Ethnomusicologist; Richard Derbyshire, Archivist; Laurie Kalb, Foodways Coordinator
National Park Service
William Penn Mott, Jr., Director; Manus J. Fish, Jr., Regional Director, National Capital Region
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Forms Part Of:
Smithsonian Folklife Festival records: 1985 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
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.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1974 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 9 series.
Missing Title
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: African Diaspora
Series 3: Children's Program
Series 4: Family Folklore
Series 5: Festival Stage
Series 6: Native Americans
Series 7: Old Ways in the New World
Series 8: Regional America
Series 9: Working Americans
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1974 Festival of American Folklife was produced by the Smithsonian Division of Performing Arts and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
With the 1974 Festival of American Folklife (July 3-7 and July 10-14, 1974), the seven programs that would constitute the Bicentennial Festival were all in place. As in 1973, the Festival took place in the western part of the National Mall alongside the Reflecting Pool, between 17th and 23rd Streets, and between Constitution Avenue N.W. and Independence Avenue S.W. (see site plan). It was co-organized by the Smithsonian Institution, Division of Performing Arts (James R. Morris, Director; Richard Lusher) and the National Park Service (Ronald H. Walker, Director). Ralph Rinzler was Director of the Folklife Program and the Festival.
The 1974 Festival included seven programs, with a Festival Stage bringing together performers from other programs and, in the second week, its own participants. The 1974 Program Book was supplemented by daily folios with additional information on that day's programs.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Forms Part Of:
Smithsonian Folklife Festival records: 1974 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
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.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1987 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 4 series.
Missing Title
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: Cultural Conservation and Languages: America's Many Voices
Series 3: Metropolitan Washington
Series 4: Michigan
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1987 Festival of American Folklife was produced by the Smithsonian Office of Folklife Programs and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
The 1987 Festival took place for two five-day weeks (June 24-28 and July 1-5) between Madison Drive and Jefferson Drive and between 10th Street and 14th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan). Held on parkland among many of the nation's most treasured memorials and institutions, the Festival explored the city beyond Washington's federal buildings. Visitors learned of its diverse, vibrant and evolving musical traditions - a hometown to Americans of many cultures. In any culture language is a primary source of unity and pride. Through the 1987 Festival visitors had the opportunity to learn about the valued role of language in some of America's linguistic communities. Culture and language have played an important role in shaping the character of each state in the union. In this, Michigan's sesquicentennial celebration year, traditional craftspeople, musicians, cooks, woodworkers, boatmen, and others shared with Festival-goers the particular history and culture of their state.
The 1987 Program Book included schedules and participant lists for each program; the Program Book essays provided a larger context for the Festival presentations, without being limited to traditions actually presented at the 1987 Festival.
The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Office of Folklife Programs.
Office of Folklife Programs
Peter Seitel, Director; Richard Kurin, Deputy Director; Diana Parker, Festival Director; Thomas Vennum, Jr., Senior Ethnomusicologist; Alicia María González, Director, Folklife Quincentenary Programs; Marjorie Hunt, Phyllis M. May-Machunda, Frank Proschan, Nicholas R. Spitzer, Folklorists; Peter Magoon, Archivist
National Park Service
William Penn Mott, Jr., Director; Manus J. Fish, Jr., Regional Director, National Capital Region
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Forms Part Of:
Smithsonian Folklife Festival records: 1987 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
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.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1983 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 6 series.
Missing Title
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: Aviation Program
Series 3: Festival Sampler
Series 4: French/French-American Program
Series 5: National Heritage Fellowships Program
Series 6: New Jersey
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1983 Festival of American Folklife was produced by the Smithsonian Office of Folklife Programs and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
Like its predecessor, the 1983 Festival took place for two five-day weeks (June 23-27 and June 30-July 4) between Madison Drive and Jefferson Drive and between 10th Street and 14th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan). A program on the folklife of flight celebrated the 200th anniversary of human flight, with other major programs focusing on French and French American music and dance, the folklife of New Jersey, and the second awarding of National Heritage Fellowships by the National Endowment for the Arts.
The idea that shaped this year's program - and any year's program, for that matter - was the Smithsonian Institution's abiding commitment to cultural conservation. The selected traditions were brought to the National Mall not only for visitors' enjoyment and intellectual edification, but also as a statement to the people who keep the traditions, to their communities, and to the great American public that these cultural traditions were more than the artistic flowering of a healthy community. They were often the very roots of a group's cultural identity, community feeling, and shared sense of style and, as such, were crucial to its well-being and productivity. Visitors were encouraged to find entertainment in the beautiful and significant traditions presented at this year's Festival and to understand their importance in the lives of the performers and their communities. Festival organizers also expressed their hope that visitors would join in making our nation an environment in which myriad cultural traditions can flourish.
The 1983 Program Book provides information on each of the programs.
The 1983 Festival was co-presented by the Smithsonian Institution and National Park Service, with support from Festival New Jersey '83!, the Government of France, Continental Telecom, Inc., Music Performance Trust Funds, and John & Clara Higgins Foundation, and with cooperation of the National Endowment for the Arts. It was organized by the Office of Folklife Programs, in conjunction (for the Aviation Program) with the National Air and Space Museum.
Folklife Advisory Council
Wilcomb E. Washburn, Chairman, Roger Abrahams, Richard Ahlborn, William Fitzhugh, Lloyd Herman, Robert Laughlin, Scott Odell, Ralph Rinzler, Peter Seitel, Thomas Vennum
Office of Folklife Programs
Ralph Rinzler, Festival Director; Peter Seitel, Acting Director; Jeffrey LaRiche, Acting Assistant Director; Diana Parker, Associate Festival Director; Thomas Vennum, Senior Ethnomusicologist; Marjorie Hunt, Folklorist; Kazadi wa Mukuna, Ethnomusicologist; Jack Santino, Folklorist; Richard Derbyshire, Archivist
National Park Service
Russell E. Dickenson, Director; Manus J. Fish, Jr., Regional Director, National Capital Region
Fieldworkers and presenters:
Barry Ancelet, Tina Bucuvalas, Lynda Burack-Novick, Tom Carroll, David Cohen, Angus Gillespie, John Herbst, Pandora Hopkins, Mary Hufford, Michael Licht, Amanda McQuiddy, Rita Moonsammy, Kazadi wa Mukuna, Kathleen Mundell, Catherine Perrier, Charlie Sayles, Daniel Sheehy, Nick Spitzer, Bob Teske, Norma Threadgill, Tom Vennum, John Vlach, Hank Willett, John Wright, Peggy Yocum
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Forms Part Of:
Smithsonian Folklife Festival records: 1983 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
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.
