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.
Mirza, Sana. 2022. "An Ethiopian Indian Ocean Tradition: The Qur'an Manuscripts of Harar." In Muslim Cultures in the Indian Ocean: Diversity and Pluralism, Past & Present. Pradines, Stéphane and Topan, Farouk, editors. 21–39. Edinburgh, Scotland: Edinburgh University Press.
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 1990 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: Musics of Struggle
Series 3: Senegal
Series 4: U.S. Virgin Islands
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 1990 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 the 1990 Program Book, Secretary Robert McC. Adams noted that the Festival of American Folklife, the annual extension of the Smithsonian onto the National Mall of the United States, was a long-lived national and international model for the research and presentation of living culture. Emphasizing the Smithsonian's commitment to cultural pluralism, Adams pointed to the Festival ais an example of cultural pluralism in research, exhibition development, and public education. In 1990, programs on the folklife of the U.S. Virgin Islands, the cultures of Senegal, and the Musics of Struggle presented people with much to say about the cultures they represented, but whose voices were not frequently heard in national or international cultural forums. Field research to develop those programs was conducted largely by academic and lay scholars from the U.S. Virgin Islands, Senegal, and the featured communities, and usually in close collaboration with local cultural institutions. Program interpretation was multivocal, as tradition bearers, local scholars, and Smithsonian curators spoke for themselves, with each other, and to the public. Together they created a rich, pluralistic, and knowledgeable perspective in the Festival presentations.
The 1990 Festival took place for two five-day weeks (June 27-July 1 and July 4-8) 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 1990 Program Book included schedules and participant lists for each program; the Program Book featured substantial essays laying out in depth the rationale for the Festival as a whole and for each of the three Festival programs, complemented by shorter pieces focusing on particular topics (not all of which were presented on the National Mall).
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; Peter Seitel, Senior Folklorist; Anthony Seeger, Curator, Folkways Records; Thomas Vennum, Jr., Senior Ethnomusicologist; Olivia Cadaval, Director, Quincentenary Projects; Richard Kennedy, Program Analyst; Betty Belanus, Education Specialist; Diana N'Diaye, Jacquelin Peters, Curators; Marjorie Hunt, Ed O'Reilly, Frank Proschan, Nicholas Spitzer, Research Associates; Arlene L. Reiniger, Program Specialist; Jeffrey Place, Archivist
Folklife Advisory Council
Roger Abrahams, Richard Bauman, Henry Glassie, Rayna Green, John Gwaltney, Charlotte Heth, Adrienne Kaeppler, Ivan Karp, Bernice Reagon, John 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: 1990 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.
Indians of North America -- Southwest, New Search this
Type:
Collection descriptions
Archival materials
Place:
District of Columbia -- Piney Branch Quarry -- Archeology
Date:
1872-1920 assembled May 7th, 1932."
Scope and Contents:
The Story of the Human Race. Notes for Lecture. 1916. (Sketches Nos. I and IX Missing) 2. Bearing of Archeological Evidence on the Place of Origin and on the Question of the Unity or Plurality of the American Race. 1912. 3. Art in Stone. Lithic Art in History. 4. Stone Age Among Eastern and Northern Tribes. 5. The Place of Archeology in Human History. 1915. 6. American Archeology. Prepared for the International Cyclopedia. 1913. 7. Dr. Holmesʹ Letter to Colonel Sherrill, April 29, 1925 concerning erection of bronze copy of the Piney Branch Quarry group. One illustration. 8. The Great Lesson of the Quarry Shops. 9. The End of Paleolithic Man in America, 1889-1894.
10. America and the Far East. 11. Paper on trans-oceanic contacts. (First six pages of this article missing.) 12. The American Man and his Culture. 13. Handbook of Aboriginal American Antiquities. Preface and table of Contents. (Volume left unfinished with Mr. Judd, Bulletin 60, pt. 2)
14. Report to Dr. Langley suggesting archeological explorations. 1904. 15. The Story of our Local Aborigines, Historic and Prehistoric. (Lecture for museum course, 1918-19.) 16. Sites of Aboriginal Occupation. (Local) 17. On the Race History and Facial Characteristics of the Aboriginal Americans. (Taken from Art and Archeology, and incomplete.) 18. An Adventure with the Indians. 1875. 19. Letter of W. H. Jackson to W. H. Holmes, Fort Defiance, Arizona Territory, April 27, 1877. Re issue of cattle to the Navajo Indians and other matters. -- Miscellaneous scraps.
Local Numbers:
NAA MS 4695
Local Note:
Photographs filed separately; see separate catalog entry under Photos, 4695 (part).
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.
Scope and Contents:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.
ATOA's recordings chronicle the American art world, covering critical discussions and significant art world issues over five decades. Thousands of artists such as Will Barnet, Louise Bourgeois, Christo and Jeanne-Claude, Robert De Niro, Agnes Denes, Michael Goldberg, Robert Longo, Ana Mendieta, Robert Morris, Elizabeth Murray, Alice Neel, Philip Pavia, Howardena Pindell, Larry Rivers, Sylvia Sleigh, Kahinde Wiley, Hannah Wilke, David Wojnarowicz, and others speak about their work. The original recordings exist in a variety of formats, including U-Matic and VHS videotape, MiniDVs, sound cassettes and sound tape reels. ATOA digitized most of the video and sound recordings prior to donating the collection.
The collection also includes printed histories, board and program committee meeting minutes, financial statements, general correspondence files of the president and chair, attendance statistics, grant files, panel participant release forms, sixteen panel transcripts, a complete set of panel flyers (many are annotated) and other printed materials, three dismantled scrapbooks, as well as photographs, slides, and negatives of panels and panel participants.
Arrangement:
The records are arranged into nine series.
Series 1: Adminstrative Files, 1974-2013 (0.4 linear feet, Box 1)
Series 2: Director's and Chairman's Correspondence, 1977-2006 (0.4 linear feet, Box 1)
Series 3: Grant Files, 1977-2009 (1 linear foot, Boxes 1-2)
Series 4: Panel Release Forms, 1978-2012 (1 linear foot, Boxes 2-3)
Series 6: Printed Materials, 1975-2015 (0.8 linear feet, Boxes 3-4; 0.434 GB, ER02)
Series 7: Scrapbooks, 1975-1989 (0.2 linear feet, Box 4)
Series 8: Photographic Materials, circa 1975-circa 2000 (1 linear foot, Boxes 4-5)
Series 9: Video and Sound Recordings of Events, 1977-2016 (59 linear feet, Boxes 6-65; 317.43 GB, ER03-ER04)
Biographical / Historical:
Established in 1974 and still active in New York, Artists Talk on Art is the art world's longest running and most prolific aesthetic panel discussion series organized by artists for artists. Founded by Lori Antonacci, Douglas I. Sheer, and Robert Wiegand, the forum has presented 6,000 artists in nearly 1,000 documented panels or dialogues. ATOA held its first panel, "Whatever Happened to Public Art," on January 10, 1975 and it drew a "crowd" of 77 people. In the decades that followed, ATOA presented dozens of panels or dialogues a year, tackling such diverse topics as "What is Happening with Conceptual Art," with Louise Lawler and Lawrence Weiner; "Painting and Photography: Defining the Difference," with Sarah Charlesworth, Jack Goldstein, Joseph Kosuth, Barbara Kruger, and Robert Mapplethorpe; "Organizing Arts Activism," with Lucy Lippard; "The Artist and the Epidemic—an information panel about AIDS"; "Cross-generational Views of Feminism"; and hundreds more.
Provenance:
The Artists Talk on Art (ATOA) records, including digital files of the video and sound recordings, were donated to the Archives in 2016 by Douglas Sheer, Chairman of ATOA.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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.
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Three programs at the 1980 Festival focused attention on immigrant communities, two of which involved what was called the "New Immigration", subsequent to passage of the 1965 Immigration and Naturalization Act. The 1965 Act represented an effort to equalize opportunity for immigrants to the United States without favoring the traditional Western-Northern European or Western Hemispheric source countries. The new immigrants tended to be largely urban located and oriented. Because of their visibility and the discrimination against visible minorities, they often suffered multiple levels of disregard by the larger population. The life styles, cultures, and languages of the new immigrants were perceived to be little known, appreciated, or regarded by the general American public as the decade began.
American cities were seen as the frontiers of the new immigrants; the arenas where the wills, interests, and cultures of each group came into contest with those of other ethnic groups; and the settings where competition or coalescence took place among them. It was cities that saw scenes of confrontation between traditions and of adjustments from both sides - natives and immigrants. The cities were also the sites of the celebrations and the contributions of most new immigrants. This was true both for the Southeast Asian Americans program and for the Caribbean Americans program.
Many factors, including the growing acceptance of "cultural pluralism" rather than "Anglo-conformity" as a model for the United States, imbued the contemporary Caribbean immigrant community with the confidence to proclaim and practice openly their Caribbean heritage. An obvious example was the proliferation in many North American cities of the Caribbean festival of Carnival that had been featured in the 1979 Festival. In Boston, Hartford, New York, Montreal, Toronto, and Los Angeles, this festival has emerged as a full-scale annual community celebration, while in Philadelphia, Washington, D.C., Miami, and other cities, some aspects of Carnival can be seen on a smaller scale. One function of these carnivals was the impetus they give to the internal unification of the Caribbean communities themselves. Considerations of class and island origin have tended to divide members of the American Caribbean community from each other, but the carnivals have emerged as Caribbean, and their acceptance by the community as such held the potential for even greater unification in the future.
In addition to Carnival, the Caribbean immigrant community contributed to the American scene in sports, religion, music, dance, literature, and the arts. Cricket, once considered an elite British game, is the sport that every child is introduced to in the Caribbean. West Indians have been credited with bringing to a game that was once considered stylish but stuffy a spirit of fun and fete that can now be enjoyed any Saturday or Sunday afternoon in West Indian communities in such cities as Hartford, Boston, and New York.
In Miami, New York, and Washington, the distindly Caribbean religions of Santeria, the worship of Vodun (Voodoo), and Rastafarianism can be found. Santeria, practiced by many Cubans, is a synthesis of Catholicism with the Yoruba religion of West Africa. Vodun, a Haitian religion, is a similar blend of Christianity and the religious worship of ancient Dahomey. Rastafarianism, however, is a modern religion that originated in Jamaica in the 1930s based on belief in the divinity of the former Emperor of Ethiopia, Haile Selassie, and the perception of Ethiopia as the original homeland to which Black people in the Western Hemisphere should repatriate. Caribbean music was part of the sound of many an American city - whether the Yoruba drumming of Santeria, the reggae rhythms that originated with the Rastafarians, or the rumba, the samba, and the calypso - and likewise part of the 1980 Festival. Syncretism between these Caribbean rhythms and the rhythm-and-blues beat of the United States was demonstrated in such new dance beats as the "salsa" and "soca" (soul-calypso).
Caribbean contributions to American community life featured at the 1980 Festival thus included an impressive record of achievement and an infusion of cultural forms adding to the vitality and diversity of American life through the contributions of immigrant communities.
Katherine Williams was Caribbean Americans Program Coordinator, and Roy Bryce-LaPorte was Special Consultant
Participants:
Miguel Alpizar, Santero, Silver Spring, Maryland
George Andre, 1946-, Brazilian music discussant, Washington, D.C.
Ruthven John Blake, 1947-, publicist & M.C., Silver Hill, Maryland
Elliott P. Boisdore, Mardi Gras discussant, New Orleans, Louisiana
Brightwood Elementary School, Hispanic American games, Washington, D.C.
Marie Brooks & Claude Brooks, dancer and drummer, New York, New York
William Brown, Umbanda discussant leader, Brazilian costumed band, Washington, D.C.
Selwyn Callendar, stick fighter, Washington, D.C.
Isolina Campbell, Botanica, Washington, D.C.
Caribbean American Carnival Day Association (Edward Harry, leader), costume band, Boston, Massachusetts
Sons of His Majesty (Satta Blue, 1954-, leader), Nyabingi drummers, Rastafari discussants, Washington, D.C.
Triangle Systems (Linda Phifer, leader), kiddies and costume band, Washington, D.C.
The Trinidad and Tobago Baltimore Steel Orchestra (Paul Gervais, 1941-, leader), steelband, Baltimore, Maryland
The Trinidad and Tobago Steelband of Washington, D.C. (Franklin Harding, 1941-, leader), steelband, Washington, D.C.
Brian Walker, 1957-, dancer, costume band, Washington, D.C.
Levi Warren, Cornelia Cotillion Square Dance Club, New York, New York
Reginald Warren, Cornelia Cotillion Square Dance Club, New York, New York
The West Indian American Labor Day Association (Carlos Lezama, 1923-, leader), carnival organizer, New York, New York
Peter Whiteman, 1944-, costume designer, costume band leader, Washington, D.C.
The Wild Tchoupitoulas (Jason Berry, agent), Mardi Gras krewe, New Orleans, Louisiana
Connie Williams, cook, Brooklyn, New York
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1980 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Alabama-English, 2433 typed cards in 2 boxes; English-Alabama, approximately 3000 typed and autograph A. cards in 2 boxes. Includes terms written in pencil and marked "(K)," which may be terms in Koasati. Informants are Harden Sylestine and others.
Swanton's arrangement of the Alabama-English section is generally alphabetical, with many terms grouped together by stesm. The cards have been stamped with consecutive numbers 1-2433, and Swanton's order has been preserved. Cards that had been clipped together now have a second number, beginning with 1 for the first in a clipped group (e.g., if cards 25-27 were found clipped together, they would now be numbered 25-1, 26-2, 27-3).
The Alabama-English section (with sequentially numbered cards) contains utterances identifiable by a following number in parentheses. If the number does not begin with zero, apparently if refers to Swanton's page numbers in his rough field notes (M 4151 "second set"). Numbers beginning with zero seem to refer to the"first set," MS 4151-- Karen Lupardus, August 18, 1978.
Biographical / Historical:
The note by Swanton preceding Alabama-English section reads? "The material marked (H) was furnished by an Alabama Indian, Harden Sylestine, who translated in his own way. His translation is usually preserved lest a mistake be made in altering; the material is to be corrected later. This includes all of my Alabama material except 12 pages of text by native informants and a vocabulary which for the most part duplicates what has been given."
Local Numbers:
NAA MS 2435
Place:
Texas Polk County
Other Archival Materials:
Related Collection: Manuscript 4151
Related Collection: Manuscript 7360
Related Collection: Manuscript 7361
Topic:
Language and languages -- Documentation Search this
Indians of North America -- Southern states Search this
Genre/Form:
Dictionaries
Citation:
Manuscript 2435, National Anthropological Archives, Smithsonian Institution
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